Well known Australian actor John Waters gave a superb performance of the songs of Jacqui Brel entirely sung in French. Water's preceded each song with an expressive English interpretation imbued with the intense feelings imbedded in the actual song. Using his acting skills to the full in these introductions, he prepared us so well that when he launched into the songs we were there with him, experiencing the joy and expressiveness of his husky-voiced French delivery. We feel the angst of the lover's plea of Ne Me Quitte Pas (Don't Leave Me) and Brel's observation of the underbelly of life in the Port of Amsterdam and prostitution in Next. In contrast on the lighter side, Waters gave us songs such as Brel's humorous depiction of a corpse musing on the motives of those who came to say farewell. Backed by an excellent six piece band, including of course a piano accordion, Waters gave a masterful performance that riveted the attention of the enthusiastic audience.
What a treat it was to have Broadway star, Donna McKechnie as beautiful and graceful as ever, dancing, singing and acting the story of her spectacular career. Starting with her first Broadway show How to Succeed in Business Without Really Trying in 1961, she takes us through 50 years of musical theatre history. Backed by a trio headed by Matt Carey, her opening medley brilliantly illustrated this with the songs and shows with which she had been associated. In her glamorous, rose coloured, floating, chiffon gown she added spectacle to her show by dancing her way through the years, with elegant moves reminiscent of Fred Astaire to the angularity of the Bob Fosse's style. Donna delighted us with her wonderful vocal range and with such talent you can understand how songs were written for her and her close association with the greats of musical theatre such as Sondheim, Fosse and of course, Martin Hamlisch composer of A Chorus Line in which she created the starring role of Cassie. The Coup de Grace of this trouper was the song I'm Still Here from Sondheim's Follies. A standing ovation showed how grateful we were that she was here with us.
Political satire doesn't come any better than the revue "Pennies from Kevin" which lampoons Australia's politicians and their foibles. The title refers to the largess of projects funded by the Prime Minister Kevin Rudd to stave off the effects of the world economic crisis. Although his efforts were successful there were some problems, of course. One would have to know quite a bit about Australian politics to fully appreciate their scathing wit, gross characterisations yet beautifully tempered by very clever, satirical songs. Virginia Gay performed with the talented team of Jonathan Biggins, Drew Forsyth and Phillip Scott who have been brilliantly dishing out these big serves for the last 10 years. They write, compose and then perform in this cavalcade of national political issues. No one is safe, not even our Ambassador in Rome trying to organise the imminent canonization of the first Australian Saint. Pope Benedict was present of course, played by Biggins, dwarf-like on his knees. I thought lightning might strike at any moment. Fortunately we live in a very tolerant democracy so this grand tradition of good humoured satirical revue lives on. Freed from contrived political spin, the good citizens lapped it up.
Meow Meow has become a favourite of the Adelaide Cabaret Festival. Her new show Feline Intimate wowed them in the aisles literally, as this crowd surfing diva was dangerously hauled across the audience while intermittently singing or screaming at her handlers as her body parts seem go in all directions. It is deliriously funny mayhem. Her signature tune Brel's Ne Me Quitte Pas (Don't Leave Me) is sung while she tightly wraps her body in unsuspecting male audience members. She deconstructs and re-constructs cabaret as she intimately connects with her audience on many levels. Operating on a bare stage except for her patient pianist John Thorn, and amid chaotic lighting cues Meow Meow with her superb voice sings of love, mixing an exotic cocktail of songs from Weill to Radiohead. Meow Meow is a consummate cabaret artiste who never fails to surprise and delight.
One of Artistic Director, David Campbell's innovations for the Adelaide Cabaret Festival is to invite outstanding artists from different genres, from rock to opera to try their hand at cabaret. After making his entrance in the dark singing Gluck's aria Paradisa, distinguished opera star David Hobson smiled cheekily, remarking since it's cabaret I suppose you want to know something about my life. To our surprise it all started in his youth, with his love of rock music and even writing a rock opera, to become a leading operatic tenor. He soon got into the swing of this 'cabaret thing' by engaging us in his personal musical journey. He surprised us with the musical range of his gorgeous voice as he sang Celtic songs from his new CD; musical theatre; Leonard Cohen; The Beatles and a few of his own. At the end he looked quite pleased with his first attempt at cabaret. The audience were too, demanding encores.
Australian matinee idol, David Harris charmed us with his good looks, warm smile, gentle humour and openness, as he took us on the journey of his career through the songs and roles he played. As a young boy he idolised Peter Allen and his first job in the theatre was as an usher for Miss Saigon, dreaming that one day he would play the leading role of Chris. Twelve years later his dream came true, giving his all to this highly emotional role, so much so that after 15 months it took its toll on his health and life. His show 'Til the Night is Gone, also the title of his new album, showcased his stunning voice, and his emotional intensity wooed the audience into a sublime state of adoration.
Another Aussie boy, Kim Smith, now living in New York, has an entirely different mystique and take on cabaret. His show Morphium is derived from the music of Mischa Spoliansky 1920's Berlin Kabarett. So he is a popular performer at the cafes of Neue Gallerie, New York which specialises in German art. Smith's handsome chiselled features, hi-lighted by a whitish make-up and enhanced by eye liner created an 'other worldly', drug induced image, hence the title of his show. His appearance was like a living Egon Schiele expressionist painting, hard edged, challenging and pointed. Every pose, gesture and interpretation had that hard-edged, penetrating definition. There was nothing extraneous in his finely honed performance. Even when working the room and moving among the patrons he maintained his composure and mystique. Singing in French, German and English he used the particular sounds of the languages to enhance his interpretations; sometime bitter, sometimes sweet. Seamlessly he mixed his magic potion of music; pop, like The Supremes with Kabarett gems. This young star shone out brightly among the firmament of the many stars in the Cabaret Festival.
Mitchell Butel was recently seen here playing the lead in the highly successful national tour of the musical Avenue Q. In his new cabaret show he gives us again not only a bravura display of his virtuosity but also a glimpse into this thoughtful artist's mind as he contemplates 'time' in his show "Killing Time". We learn that he has recently turned 40 and perhaps arriving at that moment in life when one for the first time senses one's mortality. Through a collage of diverse songs, poems and quotes, what we hear is the inside of Butel's head. This self portrait has resonance for us all, as he asks existential questions that we can all relate to. As a consummate performer he entertains us as he sings and acts out his thoughts. His stage charm connects us to his meanderings and we share his speculations on his thoughts on 'time'. His eclectic choice of material provides little shocks that keep us listening to his heart and mind. Joni Mitchell's Chelsea Morning begins his journey through one day, and then follows songs of Bernstein, Pink Floyd, Dolly Parton, Sondheim, including Pete Mill's hilarious, gay caveman's lament "Way Ahead Of My Time". Butel's Killing Time was a memorable experience leaving us with lasting feelings and thoughts.
I only managed to see the above performances of the many shows on offer in the second week. The audiences have learned to trust the quality of shows in the Festival, so many shows are booked out in advance. Campbell's programming has kept the Festival fresh by presenting new artists and new shows by established artists.
Word of mouth spread the good news around town and there has been a rush for tickets for the final week.
Frank Ford
Frank Ford
Full details of the program on http://www.adelaidecabaretfestival.com/
copyright 2010 - CABARET HOTLINE ONLINE - POST YOUR COMMENTS BELOW
