Jun 25

The Adelaide Cabaret Festival – 2016 – The Birds – The Space Theatre – 3K

By Tom Eckert

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To walk into The Space Theatre occupied by The Birds is to feel like you are walking into the dimly like smoke halls of burlesque past. Women lounge lasciviously around the hall awaiting you to take your seat.

From the outset this takes the form of a typical burlesque show. Each individual performs a routine with the occasional input from other members displaying various costumes, attitudes and feats.

Each individual act is very impressive in The Birds. Highlights are some phenomenal athleticism displayed on a course rope in place of the more traditional silks and a blindfolded trapeze act.

In a divergence from the typical one of the cast members is a  male made up into a very convincing and glamorous diva who has potentially the most impressive and powerful falsetto I have ever heard delivering a number of ballads with the clarity and high tone purity of an Italian Prima Donna.

I personally feel that the show could be improved with a stronger sense of longitudinal narrative, each feature appeared disconnected with the rest and so there was disrupted flow. In addition, the characterisation of each performer could be developed further as the personalities conveyed felt a little two dimensional which decreased the potential for the audience to invest in the narrative of each feature.

Kryztoff rating: 3K

Jun 24

3.5K – The Adelaide Cabaret Festival 2016 – Starman – Sven Ratzke – The Space Theatre – 3.5K

By Tom Eckert

 

 

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Sven Ratzke, a Dutch man performing the work of Bowie inhabits the Space Theatre like a moody wolf prowling the stage (and occasionally the auditorium). He owns the space he occupies and does so it the most flashy of ways.
This man has a reservedly rich voice comfortable in all registers that belies the power, agility and sensitivity behind it. There is a strength there that gives the impression that it would be equally comfortable singing classical arias as he is the recitative of the opening bars of Space Oddity. With a flair for costuming and holding an audience, Ratzke does not miss a beat and in fact barely pauses for breathe throughout the show.

His back up band more than match him for ability with delicate instrumental arrangements of Bowie’s classics executed with admirably precision. In addition, the synth effects are utilised to exceptional effect to recreate those sounds so idiosyncratic to the original tracks.

An often underutilised element, the technical stage work also added a great deal to the experience. With  an extensive lighting rig used to phenomenal effect to truly modulate the emotive landscape throughout the piece as well as adding a deal of gravitas to songs.

An unfortunate detractor  from the show is Ratzke’s banter between tunes. His camp comedy style, whilst at times very entertaining, leans a little too heavily towards slapstick which ultimately takes away from the shine of the musicianship and the musical dignity of the homage to a recently passed talent that the show makes out to be.

A strong performer who loses out a little to cheap jokes and easy laughs.

Kryztoff rating : 3.5K

Jun 24

CABARET FESTIVAL – Dash Kruck – 3K

cabaretlogoBy Peter Maddern

As Mr Kruck’s (aka Lionel) examination of Wikipedia revealed, cabaret can take many forms yet its constituent elements pretty much remain the same. Throw in a good opening, some sex, booze (lots of it preferably), a narrative to draw the audience in and a rollicking good finish and you have the archetypal cabaret show.

Here the combination of the loss of his boyfriend, Neil, and the tauntings of his fearsome German analyst, Griselda, have Lionel alone and terrified on stage in front of a hundred strangers and little but the aforementioned source to get him through an hour.

It is a brave, almost a scary brave approach to a show though Kruck’s comic prowess gets him through with undiluted gin proposed as the shield that weathers the storm of his self-consciousness.

The songs and arrangements of Benjamin Kiehne and Chris Perren are serviceable even if Kruck’s voice is not exactly a pristine machine. The deep introspection of his latter numbers probably played well to the same sex partners listening in and those up for an amusing challenge would enjoy the mania.

But while the struggle for his audience was not as great as Kruck portrayed for himself on stage, 60 minutes proved as much as one would want, even with a cold night to greet one on departing.

Kryztoff Rating 3K

Jun 22

CABARET FRINGE PREVIEW – ¡VIDORRA! – Fri 24th & Sat 25th – Nexus

FLAMENCO COMPANY LIVES THE HIGHS AND LOWS OF “¡VIDORRA!” – A LIFE MEANT TO BE LIVED  (ALL PROCEEDS TO THE LEUKAEMIA FOUNDATION OF SA)

24-25th June, 9pm, Nexus Centre, Adelaide.

Marduk Flamenco’s latest production ‘¡Vidorra!’ presents a night of passionate Spanish music and dance in an intimate cabaret setting.   ‘¡Vidorra!’, roughly translated “a life meant to be lived”, expresses through music and dance the range of emotions in everyday life. For the artists of Marduk Flamenco, this is particularly important as it reflects the highs and lows of life experienced by a close friend of the company, recently diagnosed with Leukaemia.

From the joy of an Alegria to the despair of the Solea, the dancers and musicians highlight Flamenco’s ability to express the variety of emotions in life. “Flamenco allows us to convey through music and dance how we feel, regardless of whether that emotion is playful or more serious. It is something that goes beyond the individual and is more a shared experience” says guitarist Marduk Gault.

Flamenco’s sense of community is evident through the dancers’ ‘jaleo’ (shouts of encouragement) as they cheer each other on through fast-paced footwork sections and slow expressive dances. Guitar, Cajon (flamenco drum) and Flute entwine together to complement the dancers’ footwork and hand clapping in a showcase of the sounds and emotions of Flamenco.

‘¡Vidorra!’ is dedicated to the company’s close friend, with all proceeds donated to the Leukaemia Foundation of South Australia. Two shows only – don’t miss out!

For more information contact: Peter Fernee / mob 0422 000 971 / peterfernee@live.com.au

http://www.cabaretfringefestival.com/marduk-flamenco-presents-vidorra/

Jun 20

CABARET FESTIVAL – Love and Death by Toby Francis – 3.5K

cabaretlogoBy Peter Maddern

While Meatloaf, no stranger to a stumble or two on stage it seems, is the name every one associates with Bat out of Hell, neither he (before and after) nor the album were anything without the songs penned by Jim Steinman. In Love and Death, Toby Francis takes us back to the days before and immediately after when Steinman’s take on the Peter Pan story, as a rock opera, founded and then so did the various relationships between the artists and the producers involved in the album. (It will surprise no one who follows the machinations of the record industry that the record companies are seen as the villains in all this.)

As such, the narrative of the show gets a little confusing as it alternates between versions of that stage production and the separate recorded music which included Rock and Roll Dreams from his solo album Bad for Good. Reading up on the history before the show starts would be time well spent.

Whether by intention or by accident, Francis’ voice very much mimics the slightly weedy, strained voice of Steinman and thus not a patch on the great man’s (but he is no orphan there) and some of the higher notes seemed to be a bit beyond him. Yet, pared back to just a guitar and piano, there was no mistaking the power of Steinman’s song writing – perhaps rightly seen as ‘the lost genius of pop’.

For fans of the album, the writer, and Mr Loaf, Love and Death is an enjoyable trip down memory lane.

Jun 19

Cabaret Festival – Sammy J: The Sammy J Songbook – 4K

By Olivia Henry

 

You might recognise Sammy J from his shows with Randy the purple puppet, the Adelaide Fringe, or ABC’s Playground Politics. Well, he’s back in Adelaide for the Cabaret Festival with The Sammy J Songbook.

 

Armed with a piano and a juice box, Sammy J takes the audience on a musical adventure through his vivid imagination. His material is surprisingly intellectual and unoffensive, despite covering a range of potentially controversial topics including politics and profanity. His song, “Keeping It Clean” cleverly discusses expletives in comedy without offending the audience, despite using the “F-word” more times than an Aussie bar fight.

 

Sammy J is particularly gifted when painting pictures of awkward situations, whether it be accidentally grabbing someone’s hand, or getting caught in a web of lies when making small-talk. He also balances musical comedy with chatter and audience participation, which is refreshing as musical comedy can easily get repetitive and boring if done incorrectly. His occasional use of backing tracks is particularly enjoyable, as his dancing is charming and adds an element of physical comedy to the show.

 

Sammy J is a regular in Adelaide. Click here for tickets to his last Cabaret show on June 19. Otherwise, keep an eye out for him on the Adelaide Comedy scene, because he’s sure to return to in the near future!

 

4K

Jun 17

CABARET FESTIVAL – Emma Pask: A Latin Fiesta – 4.5K

cabaretlogoOlivia Henry

 

The award-winning Emma Pask is an Australian vocalist with a new album heavily influenced by Latin Jazz. With an impressive resume (having performed with big names such as James Morrison and George Benson), Pask is the real deal when it comes to nailing that Latin feel. Pask and her band produce music that you can feel in the floor and through your body.

 

The show is located in the Festival Theatre Stage – literally on the stage. As you enter, you are guided through the doors and onto the stage, where you are seated at a round table to enjoy the performance. This Jazz Bar/Lounge Setting is wonderful and warm, however was made a little uncomfortable as the venue tried to squeeze in as many tables as possible in a small space. The idea was lovely and intimate, but could have been executed a little better. The best way to stay comfortable as an audience member, try to get in a little early to establish your seat and the space around you.

 

Pask started strong, with a team of talented musicians by her side. Throughout the evening, she sang in Portuguese, Spanish and English. Between each song, she told stories about the music and her background. This felt genuine and gave a wonderful, personal twist to her performance. At one point, Pask sheepishly mentioned that she participated in the Voice, season 2, and her coach Ricky Martin asked her to appear on his upcoming album. Although this would have been an exciting opportunity for Pask, it is better that she remained independent, as she is clearly not a commercial performer; she is a Jazz musician and belongs with musicians like her.

 

Pask performed a range of music from standards to her own original work. It seems to be surprisingly difficult for artists to produce original jazz that fits comfortably with the old favourites, but Pask pulls this off extremely well.

 

It’s difficult to discover new acts these days, as jazz (especially Latin Jazz) is hard to master and nail that ‘feel.’ However, Pask does pull it off, seemingly effortlessly with warm, rich tones and excellent rhythm.

 

A Latin Feel was an enjoyable evening and is highly recommended for jazz lovers of all ages. It’s here for the Cabaret Festival until the 18th of June. For more information and tickets, click here.

Jun 12

CABARET FESTIVAL – Maeve Marsden and Libby Wood’s Mother’s Ruin – 4K

cabaretlogoBy Peter Maddern

From the opening reworking of the Lord’s Prayer around the attractions of gin to the final piano sing-along , Maeve Marsden and Libby Wood tackle their subject matter with surprising clarity given its many presences with them on stage.

Taking us back to the earliest discoveries of the delightful fruits of the juniper and its companions – products containing quinine – the story of gin it seems is much more than a bottle on a shelf capable of dispensing the occasional afternoon lift. Using a wide variety of material, from the very old to contemporary classics and even a little hip-hop, the physically fulsome Marsden and Wood revel in the possibilities.

There is some amusing audience participation, the aforementioned sing-along and a restrained use of foul language that together by the conclusion had most of the audience on its feet – and that before announcing the free gin top up available at the bar after!

Mother’s Ruin is a terrific pre-dinner indulgence with plenty to recall as the night develops later.

Kryztoff Rating  4K

Jun 12

CABARET FESTIVAL – Robyn Archer – Dancing On A Volcano

cabaretlogoBy Peter Maddern

The enduring affection this town has for Robyn Archer was on full show at a packed out Space Theatre Saturday afternoon for her latest cabaret show Dancing on the Volcano. That name derives from the sensation described by cabaret poets and songwriters in Germany, particularly Berlin, between the wars. Archer narrowed her range of material, diligently unearthed and researched by pianist Michael Morley, as songs written between 1920 and 1932 as these were the years where the frothy rivers of post WWI relief and celebration started to develop unsettling undercurrents about what would come.

Drawing on the usual luminaries of the era – Brecht, Weill, Eisler and a delightful series of Frederich Hollaender songs – Archer in her trademark cheery disposition delved through a raft of themes, from Brecht’s obsessions around murder to the schlock and kitsch that came from eventual emigres once the Nazis came to power and they were forced, in a great big hurry, to flee for their lives.

The numbers were short and precise but the jovial delivery did not mask these aforementioned undercurrents starting to surface as the years passed, with all the unease and anxiety that this period would ultimately wrought on the world, all starting with the Wall Street Crash of 1929.

Whether intentionally or otherwise, Archer seemed to also allude to our current world where the similarities between where we are eight years on after the Global Financial Crisis and then have eerie if not yet unsettling parallels.

For those set on an annual fix of Weimar cabaret at our Cabaret Festival, Archer delivers a strong and compelling performance.

Kryztoff Rating  3.5K

Jun 11

Adelaide Cabaret Festival – The Composer is Dead – 4K

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By Amy Nancarrow.

Frank Woodley returns to Adelaide in all his slapstick comedy glory in The Composer is Dead.

Teaming up with the Adelaide Symphony Orchestra, “Inspector” Woodley works his way through the various sections of the band, trying to figure out who murdered the composer of the orchestra’s waltz. He investigate the strings, brass, woodwinds and percussion sections, mixing in his trademark physical, slapstick humour brilliantly in time with the music.

This show is a brilliant way to introduce kids to orchestral music. Most instruments are given the time to shine, even the singular harp and tuba. Woodley cleverly gives each section its own personality, and has both adults and kids alike in stitches. In the end, the murderer is revealed, but it may not be who you expect.

The finale of the show uses 20 audience members as a new section of the orchestra, and although the preparation needed for the skit stalled the show somewhat, it was an inventive way to round out the show. Although some pacing issues at the beginning and end, The Composer is Dead was a smart, funny show that suited both orchestral music and Frank Woodley’s comedic style.

Kryztoff Rating: 4K