Cabaret
RAW: A Norah Jones Tribute @ The Promethean
Jun 16th
Following on from a sellout season at the Adelaide Fringe, Georgie Aue presents music of acclaimed singer/songwriter Norah Jones.
Focusing on Jones debut album “Come Away With Me” the Georgie Aue Quartet comes out very energetic in the second half of the show. The quartet performs a number of songs written by Georgie Aue after the Adelaide Fringe season herself which where greatly influenced by Norah Jones.
The quartet includes Locky Ridge on guitar, John Aue on double bass and Jamie Jones on percussion.
Two more shows on Sat 19th and 26th.
Kryztoff Rating: 3.5K
RAW: Lady Sings the Blues @ The Promethean
Jun 16th
After a successfull season at the Adelaide Fringe Sidonie Henbest brings us Lady Sings the Blues. Again well accompanied by Mathew Carey. This time also accompanied with some great work on the double bass by Alana Dawes.
A great variety of songs are performed to an eager audience, including Come Rain or Come Shine, Nobody Knows You When Your Down and Out, Bewitched, Bothered and Bewildered and I’ll Get Along Without You Very Well.
The seconed half achieved a great level of energy to the delight of the audience. It’s a pleasure listening to artists, such as Henbest perform who realy enjoy what they are doing.
Kryztoff Rating: 3.5K
RAW: Lanie Lane presents Betty Baby & the Blues of a Bygone Era – Festival Centre
Jun 13th
Lanie Lane’s musical style – an eclectic mix of old style blues and modern fashions – is matched in her physical appearance; emerging in a short 1950s style dress, complimented by sparkly black leggings, and with coiffed hair she presented an interesting blend of old and new.
Lane credits her guitar, Betty Baby, as her long time song-writing partner and, following a small hitch with the amplifier which rendered Betty mute for the first track, together they played a set of both original songs and covers. Adding a fuller sound to the evening were Paul Derricott on drums, David Symes on bass and Jared Masters on grand piano. Together they made a pleasing overall sound.
One of the more interesting covers of the show was her interpretation of Britney Spears’ Toxicity, the rearrangement of which was pleasantly unrecognisable. A harmonica, hanging around Lane’s neck, appeared to be for aesthetic purposes only but eventually got a play during Hoochie Coochie Man; one of the crowd favourites. The final track, What Am I To Do, was an audience sing-a-long number, with many still humming it as they left.
While Lane, and the group as a whole, were musically right on the money, and the applause was quick coming for each song, the banter in between was somewhat lacking. Lane’s fey, innocent little girl persona became a little grating and more could have been made of the song introductions to make the show into more of a cabaret experience.
Kryztoff Rating 3.5K
RAW: Earl Okin – Cabaret Festival
Jun 11th
Earl Okin is a funny man. At first blush he is, to look at, one part Roy Orbison and three parts Henry Kissenger. His claims to being a sex symbol are immediately silly as the archetypal respressed and restrained English gentleman and his guitar greet you and produce a song of such hilarity first up that this hour promises everything Friday evening entertainment can be. Strangely however, and I assume in recognition of this being a cabaret festival, Okin took to playing some straight cabaret ballards that had either no humour or the merest excuse associated with it. As a result moments of the show drifted that had he stuck to a stricter comedy routine would have delighted.
Nonetheless there were magic moments, his tribute to Andrew Lloyd Webber and finales to women who aren’t beautiful (because there are so many more of them) were highlights of these. His horn solos were terrific and his puns and double entendres always amusing.
Kryztoff Rating 3.5K
RAW: Lisette and Her Faux Manouches – Nexus Cabaret – 3rd June
Jun 8th
A musical exploration of love and all its pleasures and pains is common fodder for the Cabaret Fringe. But Lisette and Her Faux Manouches promise some less expected songs portrayed in less expected ways (Roy Orbison in Spanish anyone?) and delivers a beautiful and at times tragic review of love in all its forms.
Lisette battled on through a thin audience and an ill-fitting and sterile venue with a voice that drips with experience, aided by her excellent backing band: her faux manouches, or, for the steadfastly mono-lingual, ‘fake gypsies’ . Her voice is unpretentious, she leaves all the vocal acrobatics to the amateurs on reality television shows, and what is left is pure, unguarded and evocative.
Likewise, her musicians are all skilled and understated, and they let the finely crafted songs do the talking, blending the traditional with gypsy, jazz and Cabaret. Lisette served to remind us of the beauty of Jaques Brel, Django Reinhardt, Roy Orbison, and even the James Bond theme; their songs interwoven with her far flung stories of love.
Though one might suspect Lisette’s patter between songs was slightly over-rehearsed and at times was somewhat deflated by the venue and reticent audience (her jokes worked best when off the cuff) Lisette and Her Faux Manouches was close to captivating if for nothing but the music itself – a worthy look for anybody appreciative of music with a European twist.
Kryztoff Rating – 3.5K
RAW: Dry Martinis & Cigarettes of Doom – Prom – 4th June
Jun 7th
The concept of “vaudeville noir” is delightfully promising; take the wonderfully varied and entertaining performance styles of vaudeville and add a dash of mystery and intrigue to create the ultimate cabaret experience. Unfortunately The Dry Martinis and the Cigarettes of Doom did not live up to this potential.
The show consisted of multiple short scenes of an assortment of art-forms; from the usual song and dance, to slapstick interludes, lamentable magic tricks and a somewhat more enjoyable fire-twirling routine. The stage set-up was simple, appropriate and functional, with backdrop banners differentiating scenes effectively. Two major flaws of the show were the slow pace and the stilted transition from one act to another.
The two lead “characters” primarily interacted through tango and, though technically accurate, the lack of emotion and engagement of the performers was disappointing. In contrast, the dance routines performed by ‘The Doomettes’ were undoubtedly the highlights of the show, particularly the cheeky number Senora which lifted the energy in the room and got the audience clapping along. Unfortunately, this momentum was then lost due to the imposition of an unnecessary interval.
Though there appeared to be some effort made to include an overarching plot-line to tie the various aspects of the show together, this was not clear and became even more confused and unfathomable as the performance went on. Overall, the production felt disjointed and, while there were some commendable features, it did not work as a complete package.
Kryztoff Rating 2.5K
RAW: Bygone Error – Whitmore Hotel – Also 18th & 25th June
Jun 7th
Bygone Error are promoted as “purveyors of fine entertainment” and this is a very apt summary. In the function room of the newly refurbished Whitmore Hotel, this father and son team (Paul and Christian Reynolds) take their audience on a whimsical and wholesome journey through the world of the Victorian Music Halls, complete with sing-a-longs and double entendres to spare.
This engaging duo interspersed songs of the era (you’ll be shocked by how many you recognise) with a dash of history – including interesting anecdotes about the composers of said songs and information about the environment they were first performed in – as well as various jokes; some hilarious, some satisfyingly groan-worthy. The music was spot on; both men have pleasing voices that blend well together and lend themselves admirably to the style, while the simple accompaniment was appropriate and well executed.
Despite the drawbacks of low numbers at the late night session and the fact that it was their second show of the evening, the performers kept up an impressive level of energy and engaged the audience throughout. This is a unique, locally produced show, which is highly entertaining, creates joy and will leave you with a smile on your face.
Kryztoff Rating 4.5K
RAW: Burlesque Ball @ Adelaide Town Hall
Mar 11th
While Dita Von Teese, Has one hell of a pout,
My lips, while modest, Are kissable, no doubt!
And yes, the green fairy, Has a great pair of wings,
But, although I can’t fly, I can do other things!
And I know Lady Marmalade can dance,
And striptease and much more,
If I ever went to the Moulin Rouge,
I’m sure I too could work its floor!
And, no, I’m no fire breather, No contortionist, I’m sorry,
But I know a trick or two, I assure you, don’t worry!
So as you can see, At the Burlesque Ball I belong,
I’ve no doubt that the Ball will beat the hell out of this song!
Written by Kelly Angus, Kryztoff WInner for the Burlesque Ball
Kicking On at the Burlesque Ball
Kelly was not wrong – the Burlesque Ball was kicking! Most attendees really got into the spirit of things, dressing up (or down, as the case may be) in some spectacular outfits! (For more pics, click here)
New York headliner Julie Atlas Muz performed her famous balloon trick, while MC Ophelia Bitz kept the crowds stirred right up!
Sure, most of the acts could be boiled down to an extended exotic ‘legitimate’ striptease, but it was so much more… The grandeur of the Adelaide Town Hall, the perfect venue for the Ball, must of course be preserved -presumably, that’s why there was no fire nor silks.
So much more than a show, it’s the atmosphere that will draw Kryztoff back…
Kryztoff Rating: 4K
>> Check out more interviews, videos, feature articles and polished previews in our latest Fringe Guide, http://www.kryztoff.com/fringe
RAW: Lady Carol @ Bosco Theatre, GoUD
Mar 3rd
The Lady with step in her voice, Lady Carol presented a phenomenal performance.
Last year, we were introduced to her unique yodelling vocals during the nightly variety show, A Company of Strangers. It’s such a treat to see Lady Carol in all her finery for a full hour solo show… well, almost. Her ukelele is never far from her lap, and she ‘decorates’ the stage with a decent drum kit and electronic keys. The manly musicians are enthusiastic, but naturally Lady Carol retains the spotlight.
Lady Carol is also appears comfortable on stage: she engages the crowd well with her self-deprecating wit and amusing anecdotes.
A must-see show, see Lady Carol belt out her favourites, including Radiohead’s Creep, as well as a few originals.
Kryztoff Rating: 4.5K
RAW: Last of the Red Hot Mamas @ The Promethean
Mar 3rd
Before Madonna, before Marlene – there was the one they called the Last of the Red Hot Mamas.
Sidonie Henbest accompanied by Matthew Carey bring us Sophie Tucker’s autobiography carbaret style.
Sophie Tucker was the original provocateur – an undisputed super star in an age before radio and television, she was a legendary singer and performer. Her love of the double-entre and risqué comic songs, her trademark. She defined the vaudeville and early jazz era for female singers and influenced some of the great female performers of the 20th century, including Judy Garland and Bette Midler.
Henbest’s voice has a rich range and the two performed this tribute well together. The energy building as the show went on, to the hight where you wished it would never end. However every good show must come to an end as the audience sadley realised with thonderous applause.
Kryztoff Rating: 3.5K
>> Check out more interviews, videos, feature articles and polished previews in our latest Fringe Guide, http://www.kryztoff.com/fringe