Posted by Peter in Cabaret
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
Posted by Peter in RAW: Film
Angry Mia (Katie Jarvis) lives in a nasty, soul destroying British housing estate. She has dysfunctional relationships with everybody from her family to girls her own age. At 15, she faces dilemmas over whether to pursue her dancing or go to a special school desired by her mother but for the moment rage is mostly all that consumes her. All that changes however when her mother (Kierston Wareing) brings home Connor (Michael Fassbender) who promises to inject some love into the home.
This is a highly confronting film where the boundaries of property and person disappear in ways that becoming ever more problematic as the movie progresses. The language is coarse and the cinematography often contributes to the sense of dissonance. Jarvis gives a magnificent performance, mixing both anger and determination to get what she wants. Fassbender’s Prince Charming is totally convincing even though there are persistent worries as to the appropriateness of his relationship with Mia.
The last 15 minutes is deeply unsettling and is as uncomfortable to view at times as say scenes from last year’s Samson & Delilah. The juxtaposition of homely desires – the family picnic, tidy rooms, generosity to all – against the moral vacuity that all the players embrace keeps one engrossed.
Rated as the best British film of the year, Fish Tank is a must see (if you can stomach it.)
Kryztoff Rating 4K
Posted by Peter in Cabaret
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
Posted by Peter in Cabaret
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