THE 2009 ADELAIDE CABARET FESTIVAL - FINAL WEEK
The final week of the ninth Adelaide Cabaret Festival ended with a record breaking attendance of over 48,000 and 60 shows sold out. "We've doubled our national and international visitors," said David Campbell. Foxtel will be screening headline act Bernadette Peters on its Bio channel in Australia on 27 June.
The opening night of the third week had only eight empty seats in the whole Festival Centre complex, with at least two shows in each of the six venues. The excitement in the air was palpable.
So what could be a better way to start the final week than with the sassy, uninhibited Lillias White and her amazing voice in "From Brooklyn to Broadway". From dancing on her grandmother's dining table in Brooklyn to the shining lights of Broadway, Lillias takes us on her journey featuring songs from her Award winning work in theatre and film. From the beginning you immediately felt her command of the stage and her audience, and knew you were in good hands and in for a good time. Backed up by a terrific funky trio led by the talented Matt Carey, Lillias dazzled us with her rich vocal range and big voice. With a flirtatious look in her eyes, Lillias' ample body did a 'shimmy and a shake' to the rhythms of the music to the delight of the audience.
Donning a huge, dishevelled afro wig she gave us a "show stopper" number singing The Oldest Profession, as the tired old prostitute Sonya from Cy Coleman's Broadway Musical "The Life". Lillias' comic delivery had just the right touches of pathos to create the blase character of the hooker, which won her a Tony Award. For her finale, Lillias capped her stunning performance with a medley of gorgeous "Lilliasised" versions of songs made famous by contemporary greats like Streisand.
The "Carpenters From Kempsey" is a very different type of tribute show as two country hicks Darren and Sharon Carpenter perform the songs of those other famous siblings. Fortunately they do sing the songs well because their antics, bickering and 70's fashion look are hilarious. The audience happily joined in a sing-along of old favourites Close To You, Top of the World and Only Yesterday. The hicksville country line dancing and other routines were appropriately awful as was there 'back of the barn' stories. It was this clever juxtaposing of the lovely Carpenter style singing and the contrasting monotone drawl of the country bumpkins that made the show so amusing and enjoyable.
One of the great attractions of the Adelaide Cabaret Festival is the incredible variety of acts presented, with lots of surprises along the way. "Janet Kline and Her Parlor Boys" is one of these unusual delights. This Ukulele Lady from California takes us on a charming nostalgic trip down memory lane of the 1920' and 30's by researching and bringing to life "the innocent and happy songs" that peppered those boom and bust years. Delicately flouncing about in her pretty lavender chiffon frock this cute flapper recreates the dream world of Hollywood's depiction of the times. Rather than the harshness of life in the Great Depression and the brutal reality of the corruption and gangsterism fostered by Prohibition.
No wonder the act has such appeal to us in our depressing times. Janet Kline and her Parlor Boys charmed us into their make believe world. This escapism was made irresistible as Klein's flashing eyes effused a 'champagne bubbly' invitation to join in the fun. Launching into Who's That Knocking at My Door, Hello Bluebird Hello and what was considered bawdy in its day How Could Red Riding Hood Have Been so Very Good. Her Parlor Boys were equally talented and good fun such as when the piano player gave us When Erasmus Plays His Old Kazoo on a wahzoo.
Under David Campbell's artistic leadership the Festival is encouraging and helping established performers such as Mark Trevorrow to develop new shows. Mark's famous alter ego Bob Downe goes to war in a tribute to troop shows of the past in "World War Bob". With hilarious, satirical characters and songs of wartime, the history of war unfolds from the Crimean to the Cold War around the theme and song War: what is it good for? Absolutely nothing!
With only four multi-talented performers we are treated to a spectacular show. A cavalcade of fabulous characters kept the show rollicking along. Jane Markey appeared as a formidable Britannia, Florence Nightingale and Bob's mum. Musical director/pianist John Thorn and drummer Jeremy Hopkins managed some nifty song and dance routines as well as playing multiple characters. Jeremy's beautiful tenor voice in Lili Marlene melted our hearts for the short lived lives of so many young that are always sacrificed in war.
Private Bob keeps making well timed entrances in his 'fabulous' costumes, even a flowing caftan from the Peace Movement of the '60's. The back projections drawn from authentic sources added to the validity and punch to the show's theme. Sing-alongs of the old songs were enthusiastically belted out by the audience with the help of song sheets. Private Bob brilliantly soldiered on entertaining the troops in a terrific show.
I never thought I would enjoy a yodelling show until I saw Mary and Melinda Schneider, mother and daughter, in "Schneiderville". This is the beauty of the quality and variety presented in the Adelaide Cabaret Festival that if you are prepared to take a few risks, new joys can be experienced. Mary is a showbiz legend having yodelled on stage with the likes of Jose Carreras and Peter Ustinov and has toured the world for over 50 years. Mary now joined by her daughter, award wining country singer/composer Melinda, make a formidable duo. Campbell saw them on a talk show and was so impressed with their singing and comic banter he immediately called them to do a show for the Festival ...and the audience loved it.
Comedians, who can sing, especially their own satirical songs, are delightful morsels in the feast of cabaret on offer at the Festival. In the smallest venue, funny lady Jackie Loeb in "I Really Am Lovely" delivers a solo, non-stop, one hour attack on many sacred icons. I thought there was a strong possibility of being struck by a vengeful lightning bolt as she lampooned the idiosyncrasies of the many different gods that humanity worships (Christian, Jewish, Hindu etc...). Loeb really stirred the pot when she cross-pollinated sacred beliefs of two religions to make a new hybrid religion. Loeb gave us a rip roaring act that recalled the German Weimar cabaret comedians 'who took no prisoners'.
What would a contemporary cabaret fest be without some reference to the Beatles so the aficionados turned up to pack the house for "Everybody's Got Something To Hide (except me and my monkey)". The rapt audience didn't seem to mind that most of the Beatles' biggest hits would be omitted and instead substituted with such lesser known songs as Crippled Inside, She's Leaving Home and a most moving rendition of Beautiful Boy. Libby O'Donovan and Melissa Langton sang up a storm with their rich, powerful voices. Mark Jones on piano joined in the singing and led a stunning band to the delight of the Beatles' fans in this cabaret show about the Fab Four and their repertoire.
One of the most original and moving shows in the Festival came form Ursula Yovich. Born of a Serbian father and an aboriginal mother her predicament is symbolised in the title "Magpie Blues", since the Magpie bird is neither white nor black. A natural story teller this young woman, exposed her very emotional journey in her search: for identity; for love; for acceptance; for knowledge and finally reconciliation with her aboriginal heritage. Her engaging inner beauty surfaced as she narrated in such an unaffected and honest way, growing up, nearly going off the rails, realising her singing ambitions and discovering her acting prowess that has won her roles in film and on stage. As she said "The whole 'somewhere over the rainbow' story for me hasn't finished yet as she launched into an almost mystical rendition of the song.
It was a frustrating experience being only able to catch a tiny segment of the premiere of Kate Ceberano's "Love & the Bottom Up". Her voice was as wonderful as ever but it was her acting that I was not familiar with which so impressed me. Pete Titcherner from the Independent Weekly said "What Kate does in this show is deliver a delightful insight into the female perspective of love...the good bits, the bad bits and the very, very ugly bits."
Patrick McDonald from The Advertiser commented that the appeal of the show "is due almost entirely to Ceberano's warmth, strength, humour and empathy. She sells the script as convincingly, emotively and powerfully as she does the song lyrics with the voice which has won almost every award in Australia." Apparently Kate's song journey of 'love gone wrong hits' was a hit, especially with the female members of the audience.
My final show left me with an unforgettable memory of this fabulous Festival. It was encapsulated in a vivid image of the handsome Nick Christo shaking it all about in a very sexy version of Shimmy Like My Sister Kate. Christo, without drag, re-creates the outrageous night club singer Francis Faye who visited and shocked Australia on a number of occasions. Dressed in a neat black suit, tie and silk shirt Christo channelled Faye, seducing us to experience her extraordinary life from singing in a speakeasy frequented by Al Capone to becoming a legend in her own life time. With his slinky hips, flashing eyes and sensual mouth Christo turned us on to what was so captivating about Faye. Her outlandish and flamboyant performance style influenced Bette Midler and Peter Allen. Certainly Nick Christos's highly skilled and finely tuned performance left a lasting impression and the desire to see more of his work.
It is nine years since The Adelaide Cabaret Festival was established and has become a hugely successful and popular event attracting cabaret artists and enthusiasts from around the world. This year's program continued to celebrate the diversity of cabaret and succeeded in attracting new audience streams.
Artistic Director David Campbell drew together a stunning program of some of the most successful artists of contemporary cabaret, along with exciting up and coming artists whose talent captivated audiences. He also challenged well known artists to push the boundaries and embrace the cabaret genre. With artists from the U.S., France, Canada, Argentina, New Zealand, along with a host of talented Australian performers the Festival attracted record attendances and accolades for the quality program. David Campbell has managed to extend the reach of the Festival and stamp his own vibrant personality on it.
This year's line-up included 257 Artists, 108 of them South Australian performers. The Festival presented 133 performances of 57 different shows in 6 venues across 16 days of the Festival opening on the Queen's Birthday long weekend.
In 2010 The Adelaide Cabaret Festival will celebrate its first decade, 11-26 June, so there is plenty of time to plan a trip to the best and biggest cabaret festival in the world. It's a great fun festival!
Full details of the program on
www.adelaidecabaretfestival.com/
Showing posts with label adelaide cabaret festival. Show all posts
Showing posts with label adelaide cabaret festival. Show all posts
Thursday, June 25, 2009
Thursday, June 18, 2009
THE 2009 ADELAIDE CABARET FESTIVAL - THE SECOND REPORT
THE 2009 ADELAIDE CABARET FESTIVAL - THE SECOND REPORT
by Frank Ford
NOTE: This same report - with photos added - appears on the CABARET HOTLINE ONLINE website as well.
The Second Week of the 2009 Adelaide Cabaret Festival started with a bang. Nine shows on offer in five venues filled to capacity! This is partly due to the generosity of law firm, Minter Ellison's sponsoring "Bring A Friend Free" on Wednesday nights. After the first ten days of the Festival one is already astounded by the variety and quality of the cabaret acts Campbell has conjured up.
There was the thrill of being present at that rare moment when a star is born. That star is 23 year old Hugh Sheridan. He was dazzling as he performed the life and times of Anthoney Newley in his show Newley Discovered. Sheridan's stage presence and stage charm is stunning as he portrays Newley's life through song, dance and character acting. The segues are seamless. He captured the spirit of Newley's character with the use of the simplest of props, by changing hats or coats. Alone on stage backed only by three musicians he held the stage and the audience by his theatrical magic.
Personality, one of Newley's biggest hits suited Sheridan perfectly and seemed to personify this young star. He sang Goldfinger, Candy Man but it was What Kind of Fool Am I that poignantly related to Newley's many falls from grace and Sheridan embodied the song with heart wrenching feeling. Sheridan traced the bumpy journey of Newley's rise to fame and fortune through to despair with amazing aplomb.
The calibre of his performance was that of a star of great experience.
And this is the young fourteen year old who at the second Adelaide Cabaret Festival after listening to a "What is Cabaret?" discussion, came up to me and said he wanted to be a cabaret star and could he do an act in the next festival? Well, Hugh got both of his wishes eventually.
Newley Discovered was expertly devised by director Dean Bryant, musical director Phil Scott and David Campbell.
On the same stage on the same nights we were treated to another gem. The eternally shining star of New York cabaret, the 84 years old, and not out, Julie Wilson... and as she emphasized "I'm not dead yet!" Julie is the lady of Peter Allen's song Quiet please there is lady on stage... but this lady also has plenty of punch as she delivered knockout versions of The Lady is a Tramp, Stormy Weather and Sondheim's Boy, Can That Boy Foxtrot.
Julie recalls highlights of her career with songs to match; special occasions with Billie Holiday and with Cole Porter who cast her as Bianca in Kiss Me Kate. The audience fell silent in awe of this living legend and in appreciation that there was ...a great lady of the stage on stage.
In stark contrast, drag show Gentlemen Prefer Blokes exploded in the Playhouse starring Courtney Act and Trevor Ashley and a fake drag, Virginia Gay. Virginia stepped in to rescue the show when Courtney broke a leg in a skiing accident. Virginia, ever so Gay, did such a great job they decided to keep her in the show, and how couldn't they with a real name like that! Best drag queen name ever. What must have her parents been thinking.
The threesome flaunted their considerable talents in a spirited song and dance routine of Three Little Girls from Adelaide via Little Rock as Jane Russell and Marilyn Monroe and her double. Other screen stars suffered similar fates as this revue style drag show sped on at breakneck speed.
Interlaced with film clips of their hilarious adventures, by referencing famous movies and encountering local theatre celebrities along the way, they re-captured the sheer fun of the silent movie knock-about comedies of yesteryear.
I feared an avenging bolt of lightning when two post-op "trannies for Jesus" preached "pray the gay away".
By the end I was dizzy with delight as was the elderly couple seated next to me, a show for all ages (almost).
Hayden Tee fresh from starring in Opera Australia's My Fair Lady is an accomplished musical theatre performer who charmed the audience with his mellifluous voice through songs of his show Generation whY?
Starting with "coincidences" in his past, he interwove songs through the discovery of his Maori heritage in search of his own identity. Family shots and video clips provided a visual background for his story telling. Images of the darker side of generation Y's view of the world, tended to obfuscate the simple, heart warming story of the emergence of the artist within Tee. He is a consummate artist that gives the audience an honest, quality, feel-good experience.
Cabaret Decadanse gave a brilliant, naughty French twist to the Festival's offerings. This puppet cabaret act featured an outrageous, gorgeous, sexy cavalcade of femme fatales who seduced us all. Two puppeteers manipulate each puppet while a masked glamour puss MC's the show in a babble of French, Spanish and English. Most extraordinary was the way the two puppeteers were completely visible at all times, their arms and legs become part of the puppet's gestures and even dance actions. One puppeteer provided the shapely legs in fishnet stockings to dance a show stopper version of I Can't Do It Alone from Chicago. A puppet resembling 'a lady of the night' gave a whole new raunchy meaning to the Beatles' It's A Hard Day's Night. A great selection of musical numbers added to this roller coaster fun ride. A wonderfully wild show!
As if Campbell is stating that cabaret should never become too respectable, following on from Decadanse was The Twink And The Showgirl. What looked like might be an X-rated show turned out to be a frolic without frocks with lots of cute numbers. Especially The Twink, Vincent Hooper arriving on stage in the briefest and tightest of hot pants and wowing us with a vocal range not heard since they stopped making castrati. The master pianist Phil Scott tinkled and twinkled away in more ways than one. In the engaging interplay between junior and senior the lines were drawn between the attitudes of two different gay generations. Phil nostalgically reminisces of the times when show tune sing-alongs occurred in gay piano bars. The spiky banter between them shocks and delights the audience into hysterics. Vincent's beautiful voice and Phil's stunning virtuosity on the piano creates a gay time for all.
On another night, in the same very intimate venue, we shared the space with Tyran Parke in A Little Knight Music... & other melodic quests as he fantasizes through song his Don Quixote-like search for his place in the world of musical theatre. Along the way he does actually meet luminaries of the genre such as Stephen Sondheim. Tyran sings with great conviction, songs from Sunday in the Park With George, Evita and of course song from Man of La Mancha. Tyran's quest was successful. His warmth, stage charm and gentle humour made for a most enjoyable evening of cabaret musical theatre.
I managed to catch the Dad And Dave show with David Campbell and his Australian rock legend father Jimmy Barnes and David's half-sister Mahalia. One of Campbell's stated aims as artistic director is to "urge well known performers to embrace the medium of cabaret". Barnes' fans rushed for tickets and thus Campbell's strategy brought a whole new audience stream to the Cabaret Festival and the audience heard a very different Barnes give many beautiful renditions of songs that are not in his usual repertoire such as Nina Simone's My Baby Just Cares For Me. Mahalia looking very much six months pregnant somehow managed to whip up a storm in the gospel In The Upper Room. David sang Peter Allen's Tenterfield Saddler which I heard at one of his first concerts years ago and his version still has no equal. So beautiful, was the way Dad's family were thoroughly enjoying themselves, backing each other up with harmonies and cheeky banter. After several encores they finally managed to escape an adoring audience.
Gutenberg! The Musical was a 'tour de force' for New Yorkers David Somerville and Simon Vander Stap as they try to sell their musical to pretend producers in the audience. Just as in real life, the composer and a couple of actors play all the roles trying to convince backers to put up money for their show. And as usual the performers gush with enthusiasm for their product. In a mind boggling speed juggling act, the two performers play 40 characters with the aid of named caps. One false change of caps and the already convoluted plot would be tied in a killer knot. This musical spoof about Johann Gutenberg's invention of the printing press is a revisionist version of history unequalled, with scant consideration for facts in order to fit the plot into the Broadway musical mould. The two exuberant performers Doug and Bud do a hard sell through song and dance routines at such a pace it leaves the audience gasping for breath. The show was clever, highly-skilled, fun entertainment.
Robyn Archer, Australia's stella cabaret artist has given us diverse, challenging and always outstanding offerings over the years of the Cabaret Festival. There was much anticipation for her new show, a history of French Cabaret, Que Reste-t' il? Starting with the early days of cabaret at the end of the nineteenth century she conjured up the milieu of Le Chat Noir, the Parisian venue where artists and a mixed clientele enjoyed the bitter sweet songs depicting the often hard times of their lives. Robyn eased us into this now obscure period by firstly reading the lyrics in English before singing the songs. The composers certainly didn't mince their words and the vitality of the cabaret genre shone through. Much admired and drawn by Toulouse Lautrec, composer Aristede Bruant's satirical lyrics described the other side of the Belle Époque as being not so Belle for the average person.
The show continued with songs from Jouy, Le Grand and Gainsbourg up to more modern times with Damia, Montand, Trent, Jacque Brel and of course of Edith Piaf. Archer endowed the songs with such intense feeling and meaning that you were transported to another time and place. Skilfully, Archer contrasted these songs with audience participation in fun ditties giving the program change of pace and variety. Musical director Michael Morley and his small band, including of course a piano accordion, created just the right musical atmosphere and excellent accompaniment. Robyn's fans cheered at the end of this non-stop two hour epic.
Try as I could I only managed to see the above performances of the many shows on offer in the second week. The crowds turned up in force as word of mouth spread the good news around town and most shows sold out. The Festival's box office target was reached by Friday night with still a week of the Festival to run. Campbell's programming has brought new audiences to the Festival by presenting such diverse artists as the young American beatboxing champion Butterscotch and Jimmy Barnes. He has created a Festival that truly has something for everyone.
by Frank Ford
NOTE: This same report - with photos added - appears on the CABARET HOTLINE ONLINE website as well.
The Second Week of the 2009 Adelaide Cabaret Festival started with a bang. Nine shows on offer in five venues filled to capacity! This is partly due to the generosity of law firm, Minter Ellison's sponsoring "Bring A Friend Free" on Wednesday nights. After the first ten days of the Festival one is already astounded by the variety and quality of the cabaret acts Campbell has conjured up.
There was the thrill of being present at that rare moment when a star is born. That star is 23 year old Hugh Sheridan. He was dazzling as he performed the life and times of Anthoney Newley in his show Newley Discovered. Sheridan's stage presence and stage charm is stunning as he portrays Newley's life through song, dance and character acting. The segues are seamless. He captured the spirit of Newley's character with the use of the simplest of props, by changing hats or coats. Alone on stage backed only by three musicians he held the stage and the audience by his theatrical magic.
Personality, one of Newley's biggest hits suited Sheridan perfectly and seemed to personify this young star. He sang Goldfinger, Candy Man but it was What Kind of Fool Am I that poignantly related to Newley's many falls from grace and Sheridan embodied the song with heart wrenching feeling. Sheridan traced the bumpy journey of Newley's rise to fame and fortune through to despair with amazing aplomb.
The calibre of his performance was that of a star of great experience.
And this is the young fourteen year old who at the second Adelaide Cabaret Festival after listening to a "What is Cabaret?" discussion, came up to me and said he wanted to be a cabaret star and could he do an act in the next festival? Well, Hugh got both of his wishes eventually.
Newley Discovered was expertly devised by director Dean Bryant, musical director Phil Scott and David Campbell.
On the same stage on the same nights we were treated to another gem. The eternally shining star of New York cabaret, the 84 years old, and not out, Julie Wilson... and as she emphasized "I'm not dead yet!" Julie is the lady of Peter Allen's song Quiet please there is lady on stage... but this lady also has plenty of punch as she delivered knockout versions of The Lady is a Tramp, Stormy Weather and Sondheim's Boy, Can That Boy Foxtrot.
Julie recalls highlights of her career with songs to match; special occasions with Billie Holiday and with Cole Porter who cast her as Bianca in Kiss Me Kate. The audience fell silent in awe of this living legend and in appreciation that there was ...a great lady of the stage on stage.
In stark contrast, drag show Gentlemen Prefer Blokes exploded in the Playhouse starring Courtney Act and Trevor Ashley and a fake drag, Virginia Gay. Virginia stepped in to rescue the show when Courtney broke a leg in a skiing accident. Virginia, ever so Gay, did such a great job they decided to keep her in the show, and how couldn't they with a real name like that! Best drag queen name ever. What must have her parents been thinking.
The threesome flaunted their considerable talents in a spirited song and dance routine of Three Little Girls from Adelaide via Little Rock as Jane Russell and Marilyn Monroe and her double. Other screen stars suffered similar fates as this revue style drag show sped on at breakneck speed.
Interlaced with film clips of their hilarious adventures, by referencing famous movies and encountering local theatre celebrities along the way, they re-captured the sheer fun of the silent movie knock-about comedies of yesteryear.
I feared an avenging bolt of lightning when two post-op "trannies for Jesus" preached "pray the gay away".
By the end I was dizzy with delight as was the elderly couple seated next to me, a show for all ages (almost).
Hayden Tee fresh from starring in Opera Australia's My Fair Lady is an accomplished musical theatre performer who charmed the audience with his mellifluous voice through songs of his show Generation whY?
Starting with "coincidences" in his past, he interwove songs through the discovery of his Maori heritage in search of his own identity. Family shots and video clips provided a visual background for his story telling. Images of the darker side of generation Y's view of the world, tended to obfuscate the simple, heart warming story of the emergence of the artist within Tee. He is a consummate artist that gives the audience an honest, quality, feel-good experience.
Cabaret Decadanse gave a brilliant, naughty French twist to the Festival's offerings. This puppet cabaret act featured an outrageous, gorgeous, sexy cavalcade of femme fatales who seduced us all. Two puppeteers manipulate each puppet while a masked glamour puss MC's the show in a babble of French, Spanish and English. Most extraordinary was the way the two puppeteers were completely visible at all times, their arms and legs become part of the puppet's gestures and even dance actions. One puppeteer provided the shapely legs in fishnet stockings to dance a show stopper version of I Can't Do It Alone from Chicago. A puppet resembling 'a lady of the night' gave a whole new raunchy meaning to the Beatles' It's A Hard Day's Night. A great selection of musical numbers added to this roller coaster fun ride. A wonderfully wild show!
As if Campbell is stating that cabaret should never become too respectable, following on from Decadanse was The Twink And The Showgirl. What looked like might be an X-rated show turned out to be a frolic without frocks with lots of cute numbers. Especially The Twink, Vincent Hooper arriving on stage in the briefest and tightest of hot pants and wowing us with a vocal range not heard since they stopped making castrati. The master pianist Phil Scott tinkled and twinkled away in more ways than one. In the engaging interplay between junior and senior the lines were drawn between the attitudes of two different gay generations. Phil nostalgically reminisces of the times when show tune sing-alongs occurred in gay piano bars. The spiky banter between them shocks and delights the audience into hysterics. Vincent's beautiful voice and Phil's stunning virtuosity on the piano creates a gay time for all.
On another night, in the same very intimate venue, we shared the space with Tyran Parke in A Little Knight Music... & other melodic quests as he fantasizes through song his Don Quixote-like search for his place in the world of musical theatre. Along the way he does actually meet luminaries of the genre such as Stephen Sondheim. Tyran sings with great conviction, songs from Sunday in the Park With George, Evita and of course song from Man of La Mancha. Tyran's quest was successful. His warmth, stage charm and gentle humour made for a most enjoyable evening of cabaret musical theatre.
I managed to catch the Dad And Dave show with David Campbell and his Australian rock legend father Jimmy Barnes and David's half-sister Mahalia. One of Campbell's stated aims as artistic director is to "urge well known performers to embrace the medium of cabaret". Barnes' fans rushed for tickets and thus Campbell's strategy brought a whole new audience stream to the Cabaret Festival and the audience heard a very different Barnes give many beautiful renditions of songs that are not in his usual repertoire such as Nina Simone's My Baby Just Cares For Me. Mahalia looking very much six months pregnant somehow managed to whip up a storm in the gospel In The Upper Room. David sang Peter Allen's Tenterfield Saddler which I heard at one of his first concerts years ago and his version still has no equal. So beautiful, was the way Dad's family were thoroughly enjoying themselves, backing each other up with harmonies and cheeky banter. After several encores they finally managed to escape an adoring audience.
Gutenberg! The Musical was a 'tour de force' for New Yorkers David Somerville and Simon Vander Stap as they try to sell their musical to pretend producers in the audience. Just as in real life, the composer and a couple of actors play all the roles trying to convince backers to put up money for their show. And as usual the performers gush with enthusiasm for their product. In a mind boggling speed juggling act, the two performers play 40 characters with the aid of named caps. One false change of caps and the already convoluted plot would be tied in a killer knot. This musical spoof about Johann Gutenberg's invention of the printing press is a revisionist version of history unequalled, with scant consideration for facts in order to fit the plot into the Broadway musical mould. The two exuberant performers Doug and Bud do a hard sell through song and dance routines at such a pace it leaves the audience gasping for breath. The show was clever, highly-skilled, fun entertainment.
Robyn Archer, Australia's stella cabaret artist has given us diverse, challenging and always outstanding offerings over the years of the Cabaret Festival. There was much anticipation for her new show, a history of French Cabaret, Que Reste-t' il? Starting with the early days of cabaret at the end of the nineteenth century she conjured up the milieu of Le Chat Noir, the Parisian venue where artists and a mixed clientele enjoyed the bitter sweet songs depicting the often hard times of their lives. Robyn eased us into this now obscure period by firstly reading the lyrics in English before singing the songs. The composers certainly didn't mince their words and the vitality of the cabaret genre shone through. Much admired and drawn by Toulouse Lautrec, composer Aristede Bruant's satirical lyrics described the other side of the Belle Époque as being not so Belle for the average person.
The show continued with songs from Jouy, Le Grand and Gainsbourg up to more modern times with Damia, Montand, Trent, Jacque Brel and of course of Edith Piaf. Archer endowed the songs with such intense feeling and meaning that you were transported to another time and place. Skilfully, Archer contrasted these songs with audience participation in fun ditties giving the program change of pace and variety. Musical director Michael Morley and his small band, including of course a piano accordion, created just the right musical atmosphere and excellent accompaniment. Robyn's fans cheered at the end of this non-stop two hour epic.
Try as I could I only managed to see the above performances of the many shows on offer in the second week. The crowds turned up in force as word of mouth spread the good news around town and most shows sold out. The Festival's box office target was reached by Friday night with still a week of the Festival to run. Campbell's programming has brought new audiences to the Festival by presenting such diverse artists as the young American beatboxing champion Butterscotch and Jimmy Barnes. He has created a Festival that truly has something for everyone.
Friday, June 12, 2009
THE 2009 ADELAIDE CABARET FESTIVAL FIRST REPORT
THE 2009 ADELAIDE CABARET FESTIVAL FIRST REPORT
Reported by Frank Ford
NOTE: This same report - with photos added - appears on the CABARET HOTLINE ONLINE website as well.
David Campbell, international Australian musical theatre and cabaret entertainer, is the new artistic director of the Adelaide Cabaret Festival.
In its 9th year the Festival features International and Australian artists.
Over 250 artists in 57 shows will give 133 performances across the 16 days of the Festival, 5 - 20 June. Over 40 performances sold out before the Festival opened and it is set to outsell previous Festivals' 46,000 plus audience members.
The Adelaide Festival Centre and its higly skilled staff utilise the three existing theatres (2000, 600 and 400 seats) and convert the banquet room and various areas in the complex into attractive intimate cabaret venues with two or three performances in each venue every night of the Festival.
Already, after the Opening weekend of the Festival, David Campbell has put his own distinctive stamp on the event. In developing the artistic direction of this year's Festival David said he was "eager to focus on three things; (1) showcasing the established (2) promoting the up and coming and (3) urging well known performers to embrace the medium of cabaret. The performances may be varied but the one common denominator is quality."
The sensational Opening Night Gala Variety Performance showcased just that. The sold out 2000 seat Festival Theatre buzzed with excitement and the audience was fed a feast of brilliant performances. A mind boggling 17 acts delighted the audience which responded with thunderous applause as they experienced a glimpse of some of the great shows on offer at the Festival.
Campbell, resplendent in gold lame jacket and his glamorous co-producer wife Lisa welcomed arriving guests as they walked the red carpet, setting the scene for a night to remember.
The show got off to an equally glamorous start with Steven Brinberg's brilliant, seductive portrayal of Barbra Streisand. He stunned the audience by inviting a local football legend and sports columnist to join Barbra in a duet of Neil Diamond's You Don't Bring me Flowers. They both scored a hit with the audience.
The evening presented a rich smorgasbord of cabaret royalty and rising new talent, emphasising Campbell's aim of presenting a stimulating quality program. The 84 year old Queen of Cabaret, Julie Wilson won the hearts of the audience with a spunky rendition of The Lady is a Tramp. Equally the surprise appearance of the Cabaret Festival's star attraction, Bernadette Peters was a knock out! The audience was spell bound by her super-star presence and her deeply moving No-one is Alone from Into The Woods.
John Bucchino, Broadway composer, whetted our appetite for his two shows in the Festival by having Hayden Tee give us an ever so sweet performance of Bucchino's beautiful ballad Sweet Dreams.
Host, comedienne Julie Morris, skilfully linked the acts with her sharp repartee. International cabaret acts like the gorgeous Barbara Luna was a Latin hotspot and the sparkling French comedy and music duo Duel were jewels which indicated the exotic touches of the coming events in the Festival.
Australian stars like opera/jazz singer comedienne Ali McGregor dazzled; Glam drag couple Trevor Ashley and Virginia Gay, in clever song and dance routines convinced us Gentlemen Prefer Blokes; Nick Christo shimmied the legend of Francis Faye; the hilarious Bob Downe as World War Bob led the audience in a patriotic sing-along; Mr Percival by recording loops created his own orchestra; Trace Canini converted us with her gospel ensemble and Phil Scott resurrected Liberace with a dazzling display of his virtuosity on the piano. Rising talent like Sheridan Harbridge and Hugh Sheridan convince you news stars are in the making.
The Gala Variety Performance was a cornucopia of enticing tastes that wetted the appetite for wanting more. The Gala was a great success and is sure to feature in future Adelaide Cabaret Festivals.
The first weekend June 5 - 7 offered so many different shows it was impossible for me to see them all. Here are the ones I managed to see and some critics' comments on some of the ones I was unable to catch.
The jewel in the crown of the Adelaide Cabaret Festival 2009 is surely "An Evening of Bernadette Peters" in the 2000 seat Festival Theatre. Adoring fans jumped to their feet applauding her loudly on her entrance, which she topped by launching into a full on frontal attack of Let Me Entertain You. Her dynamic stage presence and focussed energy was breath taking. This "Broadway Baby" really has it all. A bravura display of her talents gushed forth. With a twinkle in her eye she sizzled through Fever reclining atop the grand piano. She topped and tailed her songs with comic quips. And as a great interpreter of Stephen Sondheim she enchanted us with memorably performances of his songs such as the beautiful No One Is Alone from Into the Woods which he wrote for her and Johanna backed up by the grand Festival Theatre pipe organ.
Her musical theatre talents came to the fore when she burst into Mama Rose from Gypsy. She then delivered a knock out There Is Nothing Like A Dame as part of her Rodgers and Hammerstein tribute along with the delightful When I Marry Mr Snow and Some Enchanted Evening. But I thought that I had died and gone to Heaven when she sang sublimely, almost a capella Shenandoah while an occasional phrase from a harmonica drifted in and out.
As an encore and as a tribute to her friend Peter Allen she sang so tenderly I Honestly Love You. I honestly love you Bernadette Peters and so did the audience witnessed by their standing ovations and cheering.
A genuine surprise of the Festival was DUEL, a vaudeville act by two brilliant musicians as they engaged in combat and comedy. French cellist Laurent Cirade and Romanian pianist Paul Staicu battled it out upside-down or entwined with string bow and keyboard and other odd objects, while often playing several shared instruments. The visual comedy was enriched with their wide range of musical references from the classics to The Beatles, expertly played in the most excruciating positions. The audience was doubled-up too, with their hilarious antics.
With the smallest of gestures, New Yorker Steven Brinberg convinced us that we were in the presence of super star Barbra Streisand as he captured her magic in his show Simply Barbra. With loving care he delivered her repertoire entertaining us with his strong grip on the material, his vocal range and his take on the Barbra personality. His understated exposure of Barbra's ego and attitudes were delicious moments of satirical comedy. His renditions of her ballads were the most enjoyable and brilliantly accompanied by Christopher Denny on piano.
Each year the Adelaide Cabaret Festival presents a living composer and this year in the show John Bucchino & Friends many people were introduced to this Award -Winning New Yorker and his work. With Bucchino on piano and his line up of eight extremely talented friends we were treated to a survey of his meaningful words and music. Buchinno in a very relaxed manner, modestly and with gentle humour introduced his songs and their back stories. Last year he had his first Broadway show A Catered Affair and won the Drama League Award for Best Musical.
Buchinno's Friends excelled themselves in delivering stunning presentations of his songs. Ursula Yovich sang a moving It Feels Like Home. Ali McGregor certainly gave us Sweet Dreams. Darren Percival surprised and wowed us with What You Need and Hayden Tee told us of the other side of domestic bliss in Painting My Kitchen. Artistic Director of the Festival, David Campbell and John Bucchino are old friends and had worked together before, so it was no surprise when Campbell sang Better Than I and the finale Grateful we experienced an insightful and thrilling performance.
So moved by Grateful I said to my partner I want that played at my funeral.
In the intimate JB Room which seats only 60, Campbell is "introducing the next generation of cabaret singers" such as the charming young chanteuse Elenoa Rokobara. Elenoa told us that she grew up listening to her father's records of jazz, gospel, blues and soul from the likes of great Billie Holiday and Ella Fitzgerald which were sources of inspiration and influence for her. This is reflected in the resonances and richness of her vocal range. What amazed was her ability to make her chosen songs her own as when she gave a stunningly fresh interpretation of George Gershwin's Summertime and Billie Holiday's God Bless The Child. Elenoa Rokobara is a fresh and original talent, someone to keep an eye out for.
As it is impossible to see all the shows on offer, here are two shows I missed and the critics loved. Dianna Carroll in the Independent Weekly said of Ali McGregor's Jazz Cigarette "From the opening notes of The Man I Love to the closing bars of Peel Me A Grape, McGregor was pitch perfect and oh so sexy. She is the embodiment of: "naughty but nice", super sexy in a playful pussycat way: she's no wanton alley cat. I don't think there was a woman in the audience who didn't want to be her, nor a man who didn't want her." And as a successful opera singer "in this show, she leaves opera behind to delve in the "darker side" of cabaret."
Stephen Whittington in The Advertiser wrote "Barbara Luna is a dynamo on stage. But in quieter moments she can summon up intense emotion, as she did a smouldering rendition of Una Noche Mas and, surprisingly, in the Jimmy Hendrix classic Little Wing...her songs traverse familiar emotional territory - the joy or pain of love - eternal themes that Latin music continues to thrive on."
The Piano Bar 'the festival club', offers free admission with a show ticket, no wonder it was packed out each night as shows finished. On Opening night artists gave impromptu performances and on other nights bands provide a party atmosphere to dance or as background music for patrons to excitedly chatter about the shows they had seen.
The First Weekend was a huge success and there is still a lot more to come in the next two weeks.
reported by Frank Ford
Reported by Frank Ford
NOTE: This same report - with photos added - appears on the CABARET HOTLINE ONLINE website as well.
David Campbell, international Australian musical theatre and cabaret entertainer, is the new artistic director of the Adelaide Cabaret Festival.
In its 9th year the Festival features International and Australian artists.
Over 250 artists in 57 shows will give 133 performances across the 16 days of the Festival, 5 - 20 June. Over 40 performances sold out before the Festival opened and it is set to outsell previous Festivals' 46,000 plus audience members.
The Adelaide Festival Centre and its higly skilled staff utilise the three existing theatres (2000, 600 and 400 seats) and convert the banquet room and various areas in the complex into attractive intimate cabaret venues with two or three performances in each venue every night of the Festival.
Already, after the Opening weekend of the Festival, David Campbell has put his own distinctive stamp on the event. In developing the artistic direction of this year's Festival David said he was "eager to focus on three things; (1) showcasing the established (2) promoting the up and coming and (3) urging well known performers to embrace the medium of cabaret. The performances may be varied but the one common denominator is quality."
The sensational Opening Night Gala Variety Performance showcased just that. The sold out 2000 seat Festival Theatre buzzed with excitement and the audience was fed a feast of brilliant performances. A mind boggling 17 acts delighted the audience which responded with thunderous applause as they experienced a glimpse of some of the great shows on offer at the Festival.
Campbell, resplendent in gold lame jacket and his glamorous co-producer wife Lisa welcomed arriving guests as they walked the red carpet, setting the scene for a night to remember.
The show got off to an equally glamorous start with Steven Brinberg's brilliant, seductive portrayal of Barbra Streisand. He stunned the audience by inviting a local football legend and sports columnist to join Barbra in a duet of Neil Diamond's You Don't Bring me Flowers. They both scored a hit with the audience.
The evening presented a rich smorgasbord of cabaret royalty and rising new talent, emphasising Campbell's aim of presenting a stimulating quality program. The 84 year old Queen of Cabaret, Julie Wilson won the hearts of the audience with a spunky rendition of The Lady is a Tramp. Equally the surprise appearance of the Cabaret Festival's star attraction, Bernadette Peters was a knock out! The audience was spell bound by her super-star presence and her deeply moving No-one is Alone from Into The Woods.
John Bucchino, Broadway composer, whetted our appetite for his two shows in the Festival by having Hayden Tee give us an ever so sweet performance of Bucchino's beautiful ballad Sweet Dreams.
Host, comedienne Julie Morris, skilfully linked the acts with her sharp repartee. International cabaret acts like the gorgeous Barbara Luna was a Latin hotspot and the sparkling French comedy and music duo Duel were jewels which indicated the exotic touches of the coming events in the Festival.
Australian stars like opera/jazz singer comedienne Ali McGregor dazzled; Glam drag couple Trevor Ashley and Virginia Gay, in clever song and dance routines convinced us Gentlemen Prefer Blokes; Nick Christo shimmied the legend of Francis Faye; the hilarious Bob Downe as World War Bob led the audience in a patriotic sing-along; Mr Percival by recording loops created his own orchestra; Trace Canini converted us with her gospel ensemble and Phil Scott resurrected Liberace with a dazzling display of his virtuosity on the piano. Rising talent like Sheridan Harbridge and Hugh Sheridan convince you news stars are in the making.
The Gala Variety Performance was a cornucopia of enticing tastes that wetted the appetite for wanting more. The Gala was a great success and is sure to feature in future Adelaide Cabaret Festivals.
The first weekend June 5 - 7 offered so many different shows it was impossible for me to see them all. Here are the ones I managed to see and some critics' comments on some of the ones I was unable to catch.
The jewel in the crown of the Adelaide Cabaret Festival 2009 is surely "An Evening of Bernadette Peters" in the 2000 seat Festival Theatre. Adoring fans jumped to their feet applauding her loudly on her entrance, which she topped by launching into a full on frontal attack of Let Me Entertain You. Her dynamic stage presence and focussed energy was breath taking. This "Broadway Baby" really has it all. A bravura display of her talents gushed forth. With a twinkle in her eye she sizzled through Fever reclining atop the grand piano. She topped and tailed her songs with comic quips. And as a great interpreter of Stephen Sondheim she enchanted us with memorably performances of his songs such as the beautiful No One Is Alone from Into the Woods which he wrote for her and Johanna backed up by the grand Festival Theatre pipe organ.
Her musical theatre talents came to the fore when she burst into Mama Rose from Gypsy. She then delivered a knock out There Is Nothing Like A Dame as part of her Rodgers and Hammerstein tribute along with the delightful When I Marry Mr Snow and Some Enchanted Evening. But I thought that I had died and gone to Heaven when she sang sublimely, almost a capella Shenandoah while an occasional phrase from a harmonica drifted in and out.
As an encore and as a tribute to her friend Peter Allen she sang so tenderly I Honestly Love You. I honestly love you Bernadette Peters and so did the audience witnessed by their standing ovations and cheering.
A genuine surprise of the Festival was DUEL, a vaudeville act by two brilliant musicians as they engaged in combat and comedy. French cellist Laurent Cirade and Romanian pianist Paul Staicu battled it out upside-down or entwined with string bow and keyboard and other odd objects, while often playing several shared instruments. The visual comedy was enriched with their wide range of musical references from the classics to The Beatles, expertly played in the most excruciating positions. The audience was doubled-up too, with their hilarious antics.
With the smallest of gestures, New Yorker Steven Brinberg convinced us that we were in the presence of super star Barbra Streisand as he captured her magic in his show Simply Barbra. With loving care he delivered her repertoire entertaining us with his strong grip on the material, his vocal range and his take on the Barbra personality. His understated exposure of Barbra's ego and attitudes were delicious moments of satirical comedy. His renditions of her ballads were the most enjoyable and brilliantly accompanied by Christopher Denny on piano.
Each year the Adelaide Cabaret Festival presents a living composer and this year in the show John Bucchino & Friends many people were introduced to this Award -Winning New Yorker and his work. With Bucchino on piano and his line up of eight extremely talented friends we were treated to a survey of his meaningful words and music. Buchinno in a very relaxed manner, modestly and with gentle humour introduced his songs and their back stories. Last year he had his first Broadway show A Catered Affair and won the Drama League Award for Best Musical.
Buchinno's Friends excelled themselves in delivering stunning presentations of his songs. Ursula Yovich sang a moving It Feels Like Home. Ali McGregor certainly gave us Sweet Dreams. Darren Percival surprised and wowed us with What You Need and Hayden Tee told us of the other side of domestic bliss in Painting My Kitchen. Artistic Director of the Festival, David Campbell and John Bucchino are old friends and had worked together before, so it was no surprise when Campbell sang Better Than I and the finale Grateful we experienced an insightful and thrilling performance.
So moved by Grateful I said to my partner I want that played at my funeral.
In the intimate JB Room which seats only 60, Campbell is "introducing the next generation of cabaret singers" such as the charming young chanteuse Elenoa Rokobara. Elenoa told us that she grew up listening to her father's records of jazz, gospel, blues and soul from the likes of great Billie Holiday and Ella Fitzgerald which were sources of inspiration and influence for her. This is reflected in the resonances and richness of her vocal range. What amazed was her ability to make her chosen songs her own as when she gave a stunningly fresh interpretation of George Gershwin's Summertime and Billie Holiday's God Bless The Child. Elenoa Rokobara is a fresh and original talent, someone to keep an eye out for.
As it is impossible to see all the shows on offer, here are two shows I missed and the critics loved. Dianna Carroll in the Independent Weekly said of Ali McGregor's Jazz Cigarette "From the opening notes of The Man I Love to the closing bars of Peel Me A Grape, McGregor was pitch perfect and oh so sexy. She is the embodiment of: "naughty but nice", super sexy in a playful pussycat way: she's no wanton alley cat. I don't think there was a woman in the audience who didn't want to be her, nor a man who didn't want her." And as a successful opera singer "in this show, she leaves opera behind to delve in the "darker side" of cabaret."
Stephen Whittington in The Advertiser wrote "Barbara Luna is a dynamo on stage. But in quieter moments she can summon up intense emotion, as she did a smouldering rendition of Una Noche Mas and, surprisingly, in the Jimmy Hendrix classic Little Wing...her songs traverse familiar emotional territory - the joy or pain of love - eternal themes that Latin music continues to thrive on."
The Piano Bar 'the festival club', offers free admission with a show ticket, no wonder it was packed out each night as shows finished. On Opening night artists gave impromptu performances and on other nights bands provide a party atmosphere to dance or as background music for patrons to excitedly chatter about the shows they had seen.
The First Weekend was a huge success and there is still a lot more to come in the next two weeks.
reported by Frank Ford
Friday, June 5, 2009
ADELAIDE CABARET BLOG COVERS BOTH FESTIVAL & FRINGE
Two cabaret events are happening right now in Adelaide (Australia): The gigantic ADELAIDE CABARET FESTIVAL and the CABARET FRINGE FESTIVAL - both opening on June 5th. You can follow them both on the CABARET CONFESSIONAL blog organized by Matthew Carey - with the link at the top of the right column on this blogsite - and Frank Ford, one of the founders of the ADELAIDE CABARET FESTIVAL will be providing weekly updates on the CABARET HOTLINE ONLINE website.
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