Jun 22

CABARET FESTIVAL – The New Score – 2.5K

adelaide-cabaret-festival-760By Peter Maddern

Kate Ceberano’s three year stint in charge of the Adelaide Cabaret Festival came to an end last night with The New Score, the finale in the main Festival Theatre.

Led by Tamil Rogeon and Ryan Ritchie of Melbourne’s Raah Project, what was promised was ‘the world’s greatest songs re-mixed and reimagined’ but disappointingly the two hour plus show delivered a whole lot less than that. While their three backing / solo singers (of which Ceberano was one) added much when called upon, this was pretty much a self-indulgent display with Ritchie way short of the type of front man to carry off such a milestone event in a room of this type.

The_Raah_Project_Barrio_Adelaide_FestivalIn fairness to Ceberano, this was clearly, as she said, an attempt to broaden the festival’s demographic reach with the Raah Project’s focus on hip-hop, ‘jungle’ and electronica. However, the call around the ‘world’s greatest songs’ seemed to fail in its quest with only her ‘seasoned’ festival goers seemingly prepared to take on the evening’s many challenges.

Fortunately, the night was somewhat saved by an unpublicised cameo by Darlene Love who lifted the roof with River Deep, Mountain High and Lean on Me with orchestrations that similarly outshone those that preceded it (bar 24 Hours in Lapa).  That, late in the second half, may have suggested the Raah Project was somewhat out of its depth and a quick end would be a good move but still they ploughed on for another 20 minutes.

What we did also enjoy was the excellent Adelaide Art Orchestra that delivers so much across this festival each year and some solo work from the somewhat rare bear iOTA and Ceberano herself but spread around a somewhat painful on-the-hop hip hop word fusion thing and anything much would have shone.

Kryztoff Rating  2.5K

Jun 20

CABARET FESTIVAL – Johanna Allen – 4.5K

adelaide-cabaret-festival-760By Peter Maddern

Local girl, Johanna Allen is back again for the Cabaret Festival but no one should feel ‘been there, done that.’

Taking on the songs from Harold Arlen, nee Hyman Arluck, the show travels the usual path of song and chat, giving titbits about the life and times of her subject that got going in the mid 1920s and which starting losing their commercial lustre at the end of the 1950s.

But what separates out The Songs that Got Away is the pace of it all. This starts out as 1920s razzamatazz in New York’s Cotton Club and Allen never lets her audience think about anything other than her and the various women who, as time would have it, were fortunate to sing Arlen’s songs; from Ethel Waters and Peggy Lee to Lena Horne and, of course, Judy Garland. For, as Johanna emphasises effectively, Arlen knew no other way than to communicate his feelings via his music.

johanna-allen-900x600Of course, Allen tantalises with her vocal talents, rousing her audience often to exclaim their appreciation for the renditions before they delivered to her a much deserved standing ovation.

Funny, charming, sexy, at times sombre but also uplifting, this is one excellent show, a highlight of the entire Festival and a delightful trip down memory lane for those who remember the era or who have also danced themselves over the rainbow.

Jun 19

CABARET: Vandemonian Lags – Festival Theatre – 4.5K

An impressive group of Australian performers has been gathered by writer and songwriter, Mick Thomas, to tell the story of the Vandemonian Lags – the almost seventy thousand men and women transported to Tasmania to serve out sentences for convictions ranging from minor theft through to murder. In this incarnation of the show, we heard of the crimes, the hardships, the loves and the lives of seventeen of these original settlers.

While the songs were the major component of the performance, it was much more than just a concert. Narration was provided throughout by Brian Nankervis and Tim Rogers, setting the scenes of each story and keeping the pace up, as the other musicians came out from behind their instruments to portray the characters discussed. In many instances, the stories were also played out in animations or film clips, projected on a screen at the back of the stage. These were an interesting mix of concepts, most conforming to the “old world” aesthetic of the show, and provided an entertaining accompaniment to the songs.

The majority of songs were written by Thomas, who also performed as part of the ensemble, but the lead vocals were shared around the group, with many performers singing numbers written, and originally performed, by others also on stage. The music itself covered a wide definition of alternative/country/folk/rock, ranging from the simple guitar accompaniment of ‘The Book Thief’, which allowed the poetry of the lyrics (Darren Hanlon) to shine, through to full band numbers, such as ‘Sex Hospital’, which was written by Ben Salter but in this instance was performed by Rogers, who strutted across the stage as he savoured every deliciously bawdy verse.  

The major characteristic that made the show work so well was the energy, which never flagged; even the quieter songs were full of passion and heart. An interval didn’t slow the pace, with a spoof promotional song announcing the break in a fun manner and the gloriously consuming melody of ‘Van Diemen’s Land’ kicking off the second act with style. From the opening group rendition of the title song, through to the closing ‘Ikey Mo’, the performers showed why they are so well regarded in the industry. This was an evening of quality entertainment.

Kryztoff Rating: 4.5K

Jun 19

Mark Nadler – Runnin’ Wild

048956-f6a43d1a-f6bd-11e3-8ea9-a081f3513119By Heather Jean Moyes
Mark Nadler doesn’t just entertain, he grabs your attention. He enters the stage with: eyes that hook right into you, a mock threat in the ever present violin case, a sweeping comic touch in his delivery, a body that articulates emotion, drama and comedy with nuanced as well as larger than life movement – each underpinned by an actor’s very specific choices, timing to die for, a script that a series runner would kill for and a voice that delivers in spades. And to top it off, in a very cool and casual lounge lizard Master Bartender style, he demonstrates the making of a dry martini – the way it should be made. (Although I rather Noilly Prat Extra Dry Vermouth myself.)
On show for us was a running history of the 1920’s, with all its excess and a memorable line up of songs. Beginning with Cole Porter’s “Let’s Misbehave” and “Let’s Do It”, it ranged through torch songs and educational segues completely disguised as a gossip and giggle potted history of sex, drugs and alcohol. My favourite Willie The Weeper/Minnie The Moocher I knew as a Cab Calloway song, after all I saw the Blues Brothers, but didn’t realise it was based on the original by Irving Mills. My partner’s favourite was the “Three Penny Opera” medley. Kurt Weill is so authentically Cabaret. Flapper-esque clarinet player Sophia MacRae provided the perfect signification of the era with a snazzy costume. She and trumpet player Rob Chenoweth accompanied Mark brilliantly, while he tinkled the ivories of the grand piano. Yes, he did that well too. The show was a demonstration of consummate professionalism supported by a great behind the scenes team. (Forget the chicken in this shot – replace it with a martini and you have the overarching tone in a nutshell) Cheers to all!

Jun 14

CABARET FESTIVAL – Colin Hay – 4K

adelaide-cabaret-festival-760By Peter Maddern

If there was one sense that pervaded the former lead singer of Men at Work’s show last night it was a kind of melancholia. Somewhere amongst the heady days of 30 years or more ago, no one told Colin Hay that life would not always be like that and it seems that rather than longing for that high life which irks him.

We come to that conclusion through a wonderfully dry and amusing set of short anecdotes that focus closely on the Australia idiom; contortions of the language, that certain she’ll be right attitude that we bumble through and the oddity status we still have for immigrants.  Even after being in Australia 47 years to the day, there remains in his Scottish roots a certain reservation and shrewd eye for those around him and a natural sense of rebellion.

ColinHayBetween, Hay, alone with his three guitars and a tartan jacket, dished up songs both old and new that certainly underpinned the resilience of his unique voice with its penetrating higher scales. Stripped back of their pop music candy floss, his songs all stood the test of time and revived fond memories for his audience.

And while a certain sadness was left to settle on his patrons, Hay never attempted to spread any blame, neither to those that challenged his signature song’s origins nor to the fates that have taken away some of those who rose to stardom with him.

This was a fine 90 minutes of entertainment and certainly Colin Hay is a survivor still very much on top of his game.

Kryztoff Rating  4K

Jun 13

CABARET: Yon and His Prism of Sexy Thoughts – Art Space Gallery – 3.5K

Simon Hall, better known as Yon, has swapped his Tripod bandmates for solo leading-man status and the eighties inspired musical accompaniment (all the drum machines) of Georgia Mooney and Nao Anzai.

Yon got the crowd onside straight away and knew exactly how to interact with them successfully. The demand for audience participation in the first song could be considered risky, but he is a seasoned performer and knows just how to get a room buzzing; no one seemed reticent to get involved and there was a feeling of general frivolity from the very beginning. While the vocal quality was a little variable early on, it warmed up as Yon eased into the performance and this small detriment was easily forgiven as the real focus was on the humour in the lyrics. Tracks such as ‘I’ll Go Back on the Anti-depressants if You Do Too’ are a brilliant mix of sincerity and hilarity, and had the crowd almost crying with laughter.

Given the name and concept of the show, it’s hardly surprising that the content couldn’t exactly be described as family friendly. A lot of the humour comes from going places that are further than good taste may dictate, and the talent in such an art form is knowing just how far to push things so that they’re funny and a touch risqué, but not uneasy. For the most part the jokes stayed on the right side of this line but there were certain sections when it headed a little too far south and these moments broke the flow of the otherwise highly enjoyable show.

Kryztoff Rating: 3.5K

Jun 13

CABARET FRINGE FESTIVAL – Exposing Edith – 4K

Edith 4By Peter Maddern

There is something hauntingly familiar about the Edith Piaf story; for one the life of her contemporary Billie Holiday immediately springs to mind. A woman abandoned during her formative years gets a chance and from there lives parallel lives of fame and success on the one hand and abuse and unhappiness on the other as she searches for some kind of happy medium.

Michaela Burger, accompanied by Greg Wein on guitar, takes us through it all, even if the first 20 years get condensed into a mere 55 seconds. Burger, in Piaf’s trademark black dress and even bearing an uncanny resemblance to the French super diva when she sported short hair, tells the stories and sings the songs that not only were her most popular but also pivotal in her short life.

edith-piafTo be sure this is no rose coloured version of Piaf’s story though perhaps more of her self-destructive behaviour could have been highlighted; for example her two year old daughter it seems died as much of maternal neglect as disease.

But Burger is in fine form, after the first few minutes her voice strong and her hand gestures always creative and new. The seeming simplicity of the production ensures the emotional impact of the songs gets the full portrayal and nicely leads to the appropriate impact of the occasional use of loops.

Given the history and future of this production it is not clear why this show was not picked up for the centre court festival on the Torrens but perhaps that opportunity awaits them under Barry Humphries. For all lovers of French music, Piaf and her life Exposing Edith is certainly one sparrow that flies.

Shows still to come at Nexus this weekend and then on the 25th.

Kryztoff Rating  4K

Jun 12

CABARET: Freedman Does Nilsson – Dunstan Playhouse – 4.5K

adelaide-cabaret-festival-760Harry Nilsson is responsible for many well-known songs, whether performed by himself or famous acts like The Monkeys (Cuddly Toy) or Three Dog Night (One). He did not tour his music, but rather focussed on writing and producing albums. In this show, Tim Freedman (of The Whitlams fame) creates his idea of what a performance from Nilsson might have been like, had such a thing occurred.

Opening with the hit Everybody’s Talkin’, the show takes on a relaxed, friendly feel, with a trace of melancholia. The next hour includes a good deal of reminiscence, a hint of smut and an interesting mix of songs that you’ve probably heard a lot, though not necessarily known they were by Nilsson, which are now presented with some backstory, giving them a new dimension. These stories are delivered by Freedman in a gruff, American twang, coupled with his exquisite singing voice, which flows through your bones like a fine whiskey.

IMG_0552Freedman has set his fictional concert in the early nineties, when Nilsson was 50, and just a couple of years away from death; a fact which the character is keenly aware of and makes reference to throughout, revelling in the memories of the excesses enjoyed during his life. As a performer used to presenting his own material, Freedman is believable as the reclusive, talented singer-songwriter, telling the tales behind the songs with authenticity. While the impersonation of Nilsson doesn’t really carry through to the vocals, Freedman’s distinctive voice is honed and powerful, meeting all the requirements of the songs, and his performance is thoroughly enjoyable. The closing rendition of Without You is breathtakingly executed with passion and strength.

For those familiar with Freedman’s own back catalogue, it’s not difficult to see the parallels between his writing and that of Nilsson. This will be a particularly enjoyable show for the fans of each artist, though knowledge of either is unlikely to be required for it to be rewarding. Those that are not acquainted with the musical talents of one or the other may also find that it introduces them to a new favourite artist.

Kryztoff Rating: 4.5K

Jun 12

CABARET FESTIVAL – Melanie – 4.5K

adelaide-cabaret-festival-760By Peter Maddern

Given her history, she was surprisingly nervous for this, so she told us, her first Australian concert for 37 years. But while the long flowing blonde hair and the youthful face of her generation have somewhat dissipated, the Melanie of hope, love and fun was strong as ever at the Playhouse last night.

Taking us through a mix of current and past favourites, Ms Safka certainly warmed to her task and by the end she had her aging audience reliving their youth; standing, singing along and applauding as if they too had returned to being faces of the future.

Melanie_Safka_mch3-2bRather than just roll out the hits, Beautiful People, Brand New Key and Lay Down included, the audience were also treated to some insights as songs were sometimes compiled before us, aided and abetted by her four piece backing band which including her doting and obedient son, Beau.

While many artists try out different styles as their careers progress, Melanie’s newer work was almost indistinguishable in form and vibe as her famous stuff and the whole built in momentum, including an impromptu Alexander Beatle.

Yes, a trip down memory lane but also ninety minutes of the kind of fresh, innocent and melodic folk singing that current music almost totally lacks.

Kryztoff Rating  4.5K

Jun 12

CAB FEST – Variety Gala – 3.5K

adelaide-cabaret-festival-760By Peter Maddern

The farewells for Kate Ceberano , at the end of her three year stint as the Cab Fest’s Artistic Director, began in earnest last night with the always popular and upbeat Variety Gala. The evening opened with the red carpet parade of celebrities and performers in the foyer and ended with 100 performers spilling out, Ceberano upfront, into the Winter Garden, much to the bemusement of the Beyond India staff.

In between Todd McKenny dizzled and dazzled front of house (with the seven member Horns of Leroy seemingly stalking McKenny’s every move) and the engaging Amelia Ryan chimed in from the wings as the 20 or so performers strutted their stuff.

Rhonda Burchmore

Rhonda Burchmore

Based on last night’s snippets, those choosing their preferred shows now should look closely at our own diva, the Barbie legged Rhonda Burchmore who delivered a seductive montage before receiving her Festival Icon of Cabaret award. The four Swing on This boys seemed in good form and Caroline Nin spun her own Edith Piaf tribute while Kim Smith is back and seems well prepared to deliver another captivating and saucy Weimar style show.

Europe legend Sven Ratzke gave an inkling into show with a Bertold Brecht all about, well sex. Meanwhile Ali McGregor shared the stage with some flaying and swinging children and the extra prominence being given this year to the Class of Cabaret was highlighted when they joined in the chorus for the finale of the (surprisingly) diminutive Melanie Safka and her much more burly son, Beau.

The Adelaide Cabaret Festival warms the town’s winter hearts and minds like no other and 2014 looks like being no exception to the cracking pace that has been set in recent years for the event.

Kryztoff Rating   3.5K