Saturday, June 27, 2009
RARE PHOTO DETAILS
Rare photo of Stu Hamstra and sister Ann Travis taken on Friday, June 26th in Saddle Brook, NJ - copies will probably be available on e-bay at $500 each at some future date.
SUE MATSUKI TO RECEIVE JEFF MATSON AWARD
Once again CABARET HOTLINE ONLINE will be presenting two awards at the annual birthday show - and we are ready to announce the first, the JEFF MATSON AWARD - given annually to a person(s) who has done extraordinary work in supporting, mentoring and giving leadership to others in cabaret. This year we are presenting the award to Sue Matsuki, a lady who has done all those things over the years, in addition to performing, volunteering, and even promoting fellow performers (and attending a lot of shows). Sue has also assisted CABARET HOTLINE ONLINE and me personally in producing many of the special events we have sponsored - like our Birthday Parties. As an award winner, Sue will also perform a number in the show. I hope you will come to the party this year to help us honor this very loving, giving - and talented lady.
The DOTTIE BURMAN SONGWRITER award will be announced shortly.
The DOTTIE BURMAN SONGWRITER award will be announced shortly.
Thursday, June 25, 2009
TOWNHOUSE HAS TALENT CONTEST WINNERS ANNOUNCED
CABARET HOTLINE ONLINE is proud to announce the winners of the TOWNHOUSE HAS TALENT shows, hosted by Paul Sheesley and featuring musical directors Steve Bocchino and David Pelegrene. Over all, 41 singers competed to sold out houses each week, with 3 top contestants selected each week from the 15 to 20 singers competing weekly every Monday night at 9:30 pm. The winners, selected on Monday night, June 22nd were 1st place: Helen Klass; 2nd place: Beth Sacks; and
3rd place: John Michael Martinez. Paul Vincent came in a close 4th. Cash prizes were awarded, with the winner receiving $500. The contest was so successful, THE TOWNHOUSE OF NYC (236 East 58th Street, NYC - 212-754-4649 - ) has decided to repeat the series three more times this year. Stay tuned.
3rd place: John Michael Martinez. Paul Vincent came in a close 4th. Cash prizes were awarded, with the winner receiving $500. The contest was so successful, THE TOWNHOUSE OF NYC (236 East 58th Street, NYC - 212-754-4649 - ) has decided to repeat the series three more times this year. Stay tuned.
THE 2009 ADELAIDE CABARET FESTIVAL REPORT - FINAL WEEK
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/
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/
Monday, June 22, 2009
N.E.AREA: AMAZING THINGS OPEN MIC WITH BARBARA KESSLER
N.E.AREA: AMAZING THINGS OPEN MIC WITH BARBARA KESSLER
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Every other Wednesday night Leslie Holmes holds an amazing Open Mic night at the AMAZING THINGS ARTS CENTER (160 Hollis Street, Framingham, MA - 508-405-2787 - ), and each show features a special guest. On Wednesday, June 24th the featured guest is singer/songwriter Barbara Kessler, with Steven Sussman at the piano for the open=mic. The show starts at 7:30 pm, and there is an $8 cover charge ($7 cover for BACA members).
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Every other Wednesday night Leslie Holmes holds an amazing Open Mic night at the AMAZING THINGS ARTS CENTER (160 Hollis Street, Framingham, MA - 508-405-2787 - ), and each show features a special guest. On Wednesday, June 24th the featured guest is singer/songwriter Barbara Kessler, with Steven Sussman at the piano for the open=mic. The show starts at 7:30 pm, and there is an $8 cover charge ($7 cover for BACA members).
NYC: WEDNESDAY NIGHT AT THE IGUANA WITH LORGE & SKIPPER
NYC: WEDNESDAY NIGHT AT THE IGUANA WITH LORGE & SKIPPER
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Dana Lorge and Richard Skipper will be hosting "Wednesday Night at the Iguana" on June 24th at 8:00 pm at IGUANA'S VIP LOUNGE (240 West 54th Street, NYC - 212-765-5454 - ). This new comedy and musical variety show will feature special guest stars: Suzannah Bowling, Randy Charleville, Cynthia Crane, Sunny Leigh,and Maria Ottavia, with Jordan Clawson on keyboard, Saadi Zain on bass. There is a $10 cover, no minimum.
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Dana Lorge and Richard Skipper will be hosting "Wednesday Night at the Iguana" on June 24th at 8:00 pm at IGUANA'S VIP LOUNGE (240 West 54th Street, NYC - 212-765-5454 - ). This new comedy and musical variety show will feature special guest stars: Suzannah Bowling, Randy Charleville, Cynthia Crane, Sunny Leigh,and Maria Ottavia, with Jordan Clawson on keyboard, Saadi Zain on bass. There is a $10 cover, no minimum.
NYC: ANY WEDNESDAY FEATURES JEFF IDE
NYC: ANY WEDNESDAY FEATURES JEFF IDE
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ANY WEDNESDAY, the free in-store concert series that features the best in cabaret, jazz and theater music takes at THE BARNES & NOBLE BOOKSTORE (66th Street and Broadway, NYC). Performances are at 6:00 pm. On Wednesday, June 24th at 6:00 pm, featured performer is Jeff Ide who will be singing selections from his newly released CD: WITHIN THE HEART OF ME - and he is joined by musical Director Paul Greenwood, Bassist Michael Blanco and guitarist Ric Molina. No Reservations taken. No cover. CDs for sale after show.
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ANY WEDNESDAY, the free in-store concert series that features the best in cabaret, jazz and theater music takes at THE BARNES & NOBLE BOOKSTORE (66th Street and Broadway, NYC). Performances are at 6:00 pm. On Wednesday, June 24th at 6:00 pm, featured performer is Jeff Ide who will be singing selections from his newly released CD: WITHIN THE HEART OF ME - and he is joined by musical Director Paul Greenwood, Bassist Michael Blanco and guitarist Ric Molina. No Reservations taken. No cover. CDs for sale after show.
NYC: MIDTOWN JAZZ AT MIDDAY: SANDY STEWART & BILL CHARLAP
NYC: MIDTOWN JAZZ AT MIDDAY: SANDY STEWART & BILL CHARLAP
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MIDTOWN JAZZ AT MIDDAY continues on Wednesdays at ST. PETER'S CHURCH - LIVING ROOM (Lexington Avenue at 54th Street, NYC). This long-running series was created by Edmund Anderson and is now produced by Ronny Whyte. Next show is on Wednesday, June 24th featuring the award-winning jazz duo Sandy Stewart & Bill Charlap. Performances are at 1:00 pm, $7 donation.
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MIDTOWN JAZZ AT MIDDAY continues on Wednesdays at ST. PETER'S CHURCH - LIVING ROOM (Lexington Avenue at 54th Street, NYC). This long-running series was created by Edmund Anderson and is now produced by Ronny Whyte. Next show is on Wednesday, June 24th featuring the award-winning jazz duo Sandy Stewart & Bill Charlap. Performances are at 1:00 pm, $7 donation.
NYC: MAC SEMINAR: CABARET 101 AT WHERE EAGLES DARE
NYC: MAC SEMINAR: CABARET 101 AT WHERE EAGLES DARE
FEATURED CABARET ORGANIZATION EVENT
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MAC (Manhattan Association of Cabarets) continues its popular primer seminar Cabaret 101, on the basics of producing a successful cabaret show on Wednesday, June 24th at 6:30 pm at WHERE EAGLES DARE's Blackbird Room (347 West 36th Street, NYC). Moderated by Hector Coris, panelists signed on so far are Tracy Stark, Lisa Moss, Sue Matsuki and Linda Amiel Burns. No cover for members of MAC - $10 for non-members.
FEATURED CABARET ORGANIZATION EVENT
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MAC (Manhattan Association of Cabarets) continues its popular primer seminar Cabaret 101, on the basics of producing a successful cabaret show on Wednesday, June 24th at 6:30 pm at WHERE EAGLES DARE's Blackbird Room (347 West 36th Street, NYC). Moderated by Hector Coris, panelists signed on so far are Tracy Stark, Lisa Moss, Sue Matsuki and Linda Amiel Burns. No cover for members of MAC - $10 for non-members.
NYC: "THE TOWNHOUSE HAS TALENT" FINALS TONIGHT
NYC: "THE TOWNHOUSE HAS TALENT" FINALS TONIGHT
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THE TOWNHOUSE OF NYC (236 East 58th Street, NYC - 212-754-4649 - ) continues with its Talent Contest for Singers - THE TOWNHOUSE HAS TALENT - hosted by Paul Sheesley and held every Monday night through June 22nd, at 9:30 pm. You must sign up by 8:00 pm. Musical directors are Steve Bocchino and David Pelegrene. 1st prize is $500 and a guest spot on Paul Sheesley's TV Show "American Songbook". 2nd place: $250 and 3rd place $100. Tonight's show is the final of this series - with the winners of the past shows competing for the top prizes.
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THE TOWNHOUSE OF NYC (236 East 58th Street, NYC - 212-754-4649 - ) continues with its Talent Contest for Singers - THE TOWNHOUSE HAS TALENT - hosted by Paul Sheesley and held every Monday night through June 22nd, at 9:30 pm. You must sign up by 8:00 pm. Musical directors are Steve Bocchino and David Pelegrene. 1st prize is $500 and a guest spot on Paul Sheesley's TV Show "American Songbook". 2nd place: $250 and 3rd place $100. Tonight's show is the final of this series - with the winners of the past shows competing for the top prizes.
SHOWS SEEN - DEZUR KENNA & EUAN MORTON
I saw two shows last week that really impressed. Dezur Kenna's "In These Shoes" at DON'T TELL MAMA on Thursday, June 18th is a rollicking fun show about the roles people play in life - and the shoes they wear to play them. Cleverly written and humorously performed, the show included an original song ("My Own Shoes") by Ms. Kenna, and an entertaining monologue interwoven with the title song "In These Shoes". Once more, Steven Ray Watkins' musical direction and arrangements, and Lennie Watts direction, were up to the dynamic talents of this most gifted entertainer. It has been 10 years since I saw her powerful presence on stage in ERIK AND THE SNOW MAIDENS (as Anna Dorothea) at EIGHTY-EIGHTS and in INDIGO RAT (as Fraulein Ulrike Spinwrecker) at ROSE'S TURN. Now she's back and as great as ever - in an entirely different milieu. Additional performances are scheduled for Thursday, June 25th at 8:30 pm and Sunday, June 28th at 5:30 pm. You'll find its just the right design and size for comfort.
On Saturday, I was at THE METROPOLITAN ROOM at 9:45 pm for a performance by another of my favorite performers, Euan Morton. This lad has crystal clear vocals with a Scottish flavor, and a knack for putting on a show that seems like it was written just for you. He makes it all look so easy, and his singing is so natural, one does not detect the perfect craftsmanship and hard work he puts into his performances. The show is a tribute to Robert Burns and the 250th anniversary of his birth. "Caledonia: Songs for the Homecoming" is a humorous and witty telling of Burn's life, interwoven with anecdotes from Euan's own youth in Scotland. It is a solid, entertaining hour featuring some of the most glorious singing heard in this town. Euan performers this week - Thursday through Saturday, June 25th through 27th at 9:45 pm. I guarantee you will be captivated.
On Saturday, I was at THE METROPOLITAN ROOM at 9:45 pm for a performance by another of my favorite performers, Euan Morton. This lad has crystal clear vocals with a Scottish flavor, and a knack for putting on a show that seems like it was written just for you. He makes it all look so easy, and his singing is so natural, one does not detect the perfect craftsmanship and hard work he puts into his performances. The show is a tribute to Robert Burns and the 250th anniversary of his birth. "Caledonia: Songs for the Homecoming" is a humorous and witty telling of Burn's life, interwoven with anecdotes from Euan's own youth in Scotland. It is a solid, entertaining hour featuring some of the most glorious singing heard in this town. Euan performers this week - Thursday through Saturday, June 25th through 27th at 9:45 pm. I guarantee you will be captivated.
EXCERPTS FROM "HERE & THERE" MONDAY, JUNE 22, 2009
This is the issue I spoke of on Thursday - the one that you may not receive, since I will be touching on a subject that I have been pondering and ruminating on for over a week now. To write about it, it is necessary to use some words that your spam/porn filter (or your internet server's setup) might reject. I will be putting it up on the website as soon as possible after it goes out. I will also be publishing the pertinent section on the blog - http://cabarethotlineonline.blogspot.com/ . Note that you may add your own comments right on the blog and, if appropriate, I will allow their display.
If comments are received and interest shown, I will also be expanding my thoughts and comments found here to a more detailed report on the website and blog, incorporating any of the comments I might receive as a result of this short "dissertation" today.
I'm sort of "sticking my neck out" on this one - there is a chance I may lose some subscribers, memberships and/or advertisers. I actually sort of doubt that. CABARET HOTLINE ONLINE subscribers/advertisers/members are pretty open minded and realize that, as usual, I write what I feel in my heart - and if what I feel in my heart turns our to be entirely wrong, my mind is changed accordingly.
The whole issue I will write about below came to mind on hearing some comments attributed to the current nominee for Supreme Court Justice, having to do with the different sensitivities that are often not addressed in today's society. I'm not going to get into the politics/racism thing, but want to address the issue only as it pertains to cabaret/nightlife.
Let's start with a note about my friend Daniel, who accompanies me to many cabaret shows and events. Daniel is from Ecuador, he is Latino, and (in the same way the Supreme Court nominee has said she looks at the law) definitely sees cabaret from a different perspective - something many cabaret performers do not seem to be sensitive to. Jokes and snide remarks about folks from "south of the border" are rampant in cabaret and comedy, seemingly more so since political correctness forbids the denigration of other groups in today's society. I see him wince when this happens, and I myself have become quite sensitive to this as well.
Personally, I prefer the good old days, before the PC police began to crack down on Irish jokes, Polish jokes, etc. Seems today you can only tell ethnic jokes if your are of the same ethnicity of the subject of the joke. (Strange that no one seems to mind Mexican jokes or Mormon and Catholic Priest jokes, for that matter.) I feel everyone should loosen up a bit - after all, its meant to be funny - but that's a whole different topic for another day.
OK, back to perspectives. Several weeks ago I received a request from a journalist friend for me to include a statement about gay marriage in the newsletter. I demurred, and responded to the writer that CABARET HOTLINE ONLINE was about cabaret and entertainment, sent to 2700 people, each of whom probably have a different viewpoint on this topic, a topic which had no real relationship to cabaret. His response - a paraphrased quote - was that 90 percent of the male performers in cabaret were gay, as was 90 percent of the audience.
My response was that perhaps he was not seeing the same performers and attending the same shows as I. While I agree that one finds more gay folks in the entertainment field than, say, in the construction industry or at a hockey game, his generalization was far from accurate. But his comment planted a seed. After all, this was his perspective.
Then, step two. I attend the MAC awards, and noticed something that truly was mind bending - the amazing open-minded MAC voters! The results in some of the categories were astounding. It seems that the MAC voters were making choices this year on the basis of the quality and entertainment values of the shows rather than simply the popularity of the performers (as has been the rule so often in the past). I am writing, of course, about presence of several lesbian performers in the winner's circle - openly lesbian performers, I add. Of course, that's my perspective of the event.
Next comes that comment attributed to the Supreme Court nominee, which leads the question I pose today. Let's face it: just as so many gays have found a place to be themselves in the entertainment field, other gays have found a place in the field of writing about cabaret. And I have had numerous e-mails from non-gay and lesbian performers who feel that they are at an unfair advantage when it comes to getting reviewers to come to their shows - and to even get fair treatment in the reviews that result when they do come. That's not necessarily my perspective, but I can surely understand their concern. Just remember, not all cabaret reviewers/writers are gay, just as not all hockey players and construction workers are straight.
But from the perspective of those who have complained, its sort of a reverse kind of gay prejudice on the part of reviewers. (By the way, I think that performers of color might also feel they are overlooked by the "entertainment press" - except perhaps in the jazz/blues area.) You see, if my journalist friend feels that male cabaret performers and cabaret audience members are 90% gay, could it be that he is being selective in his coverage and insensitive/neglectful when it comes to openly lesbian and straight performers?
I originally was going to interview two lesbian cabaret performer/friends on this topic, and spoke briefly with them last week. But I decided to open this discussion to everyone - gay/lesbian/straight, writers/readers, etc. I would like your thoughts and comments - your perspective. Do you feel that sexual orientation has help/hindered performers in their quest for recognition in the field of cabaret? As a performer, have you had to "closet" yourself as either straight or gay to get that record contract, that cruise line job, that booking, that good review? Or, maybe, conversely, have you been forced to "out" yourself? Please don't name names - that's not what this is about. I want to hear about experiences - and not just in NYC or the USA. Please be tasteful but honest in your comments. Just e-mail them to me - or post them on the blog in the comments area below this item when it appears there, if you feel so inclined.
I often ask for readers to comment on various things I write about - and folks rarely do (I am lucky to get 2 or 3 reactions, at best). But here is something that I really need folks to write in about. Of course your name will be held completely confidential (unless you wish to be directly quoted). Confidentiality is easy to promise here, because CABARET HOTLINE ONLINE is strictly a one-person operation: I'm the only one who reads my mail.
And, even if you prefer not to comment on the issue at hand, let me know your thoughts about the inclusion of these kinds of articles in the newsletter and on the website - not quite editorials, not quite exposes - just things I feel we should not keep bunched up inside. That's my perspective.
YOUR COMMENTS ARE ENCOURAGED - either e-mail me at stuhamstra@svhamstra.com or click on the line just below marked COMMENTS and post your thoughts right here - comments are moderated for appropriateness and good manners.
Special note: if I only receive a few responses, I will drop the subject. It seems important to me, but may be of little or no interest to most of you.
If comments are received and interest shown, I will also be expanding my thoughts and comments found here to a more detailed report on the website and blog, incorporating any of the comments I might receive as a result of this short "dissertation" today.
I'm sort of "sticking my neck out" on this one - there is a chance I may lose some subscribers, memberships and/or advertisers. I actually sort of doubt that. CABARET HOTLINE ONLINE subscribers/advertisers/members are pretty open minded and realize that, as usual, I write what I feel in my heart - and if what I feel in my heart turns our to be entirely wrong, my mind is changed accordingly.
The whole issue I will write about below came to mind on hearing some comments attributed to the current nominee for Supreme Court Justice, having to do with the different sensitivities that are often not addressed in today's society. I'm not going to get into the politics/racism thing, but want to address the issue only as it pertains to cabaret/nightlife.
Let's start with a note about my friend Daniel, who accompanies me to many cabaret shows and events. Daniel is from Ecuador, he is Latino, and (in the same way the Supreme Court nominee has said she looks at the law) definitely sees cabaret from a different perspective - something many cabaret performers do not seem to be sensitive to. Jokes and snide remarks about folks from "south of the border" are rampant in cabaret and comedy, seemingly more so since political correctness forbids the denigration of other groups in today's society. I see him wince when this happens, and I myself have become quite sensitive to this as well.
Personally, I prefer the good old days, before the PC police began to crack down on Irish jokes, Polish jokes, etc. Seems today you can only tell ethnic jokes if your are of the same ethnicity of the subject of the joke. (Strange that no one seems to mind Mexican jokes or Mormon and Catholic Priest jokes, for that matter.) I feel everyone should loosen up a bit - after all, its meant to be funny - but that's a whole different topic for another day.
OK, back to perspectives. Several weeks ago I received a request from a journalist friend for me to include a statement about gay marriage in the newsletter. I demurred, and responded to the writer that CABARET HOTLINE ONLINE was about cabaret and entertainment, sent to 2700 people, each of whom probably have a different viewpoint on this topic, a topic which had no real relationship to cabaret. His response - a paraphrased quote - was that 90 percent of the male performers in cabaret were gay, as was 90 percent of the audience.
My response was that perhaps he was not seeing the same performers and attending the same shows as I. While I agree that one finds more gay folks in the entertainment field than, say, in the construction industry or at a hockey game, his generalization was far from accurate. But his comment planted a seed. After all, this was his perspective.
Then, step two. I attend the MAC awards, and noticed something that truly was mind bending - the amazing open-minded MAC voters! The results in some of the categories were astounding. It seems that the MAC voters were making choices this year on the basis of the quality and entertainment values of the shows rather than simply the popularity of the performers (as has been the rule so often in the past). I am writing, of course, about presence of several lesbian performers in the winner's circle - openly lesbian performers, I add. Of course, that's my perspective of the event.
Next comes that comment attributed to the Supreme Court nominee, which leads the question I pose today. Let's face it: just as so many gays have found a place to be themselves in the entertainment field, other gays have found a place in the field of writing about cabaret. And I have had numerous e-mails from non-gay and lesbian performers who feel that they are at an unfair advantage when it comes to getting reviewers to come to their shows - and to even get fair treatment in the reviews that result when they do come. That's not necessarily my perspective, but I can surely understand their concern. Just remember, not all cabaret reviewers/writers are gay, just as not all hockey players and construction workers are straight.
But from the perspective of those who have complained, its sort of a reverse kind of gay prejudice on the part of reviewers. (By the way, I think that performers of color might also feel they are overlooked by the "entertainment press" - except perhaps in the jazz/blues area.) You see, if my journalist friend feels that male cabaret performers and cabaret audience members are 90% gay, could it be that he is being selective in his coverage and insensitive/neglectful when it comes to openly lesbian and straight performers?
I originally was going to interview two lesbian cabaret performer/friends on this topic, and spoke briefly with them last week. But I decided to open this discussion to everyone - gay/lesbian/straight, writers/readers, etc. I would like your thoughts and comments - your perspective. Do you feel that sexual orientation has help/hindered performers in their quest for recognition in the field of cabaret? As a performer, have you had to "closet" yourself as either straight or gay to get that record contract, that cruise line job, that booking, that good review? Or, maybe, conversely, have you been forced to "out" yourself? Please don't name names - that's not what this is about. I want to hear about experiences - and not just in NYC or the USA. Please be tasteful but honest in your comments. Just e-mail them to me - or post them on the blog in the comments area below this item when it appears there, if you feel so inclined.
I often ask for readers to comment on various things I write about - and folks rarely do (I am lucky to get 2 or 3 reactions, at best). But here is something that I really need folks to write in about. Of course your name will be held completely confidential (unless you wish to be directly quoted). Confidentiality is easy to promise here, because CABARET HOTLINE ONLINE is strictly a one-person operation: I'm the only one who reads my mail.
And, even if you prefer not to comment on the issue at hand, let me know your thoughts about the inclusion of these kinds of articles in the newsletter and on the website - not quite editorials, not quite exposes - just things I feel we should not keep bunched up inside. That's my perspective.
YOUR COMMENTS ARE ENCOURAGED - either e-mail me at stuhamstra@svhamstra.com or click on the line just below marked COMMENTS and post your thoughts right here - comments are moderated for appropriateness and good manners.
Special note: if I only receive a few responses, I will drop the subject. It seems important to me, but may be of little or no interest to most of you.
Friday, June 19, 2009
NYC: MAC SEMINAR: CABARET 101 AT WHERE EAGLES DARE
NYC: MAC SEMINAR: CABARET 101 AT WHERE EAGLES DARE
FEATURED CABARET ORGANIZATION EVENT
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MAC (Manhattan Association of Cabarets) continues its popular primer seminar Cabaret 101, on the basics of producing a successful cabaret show on Wednesday, June 24th at 6:30 pm at WHERE EAGLES DARE's Blackbird Room (347 West 36th Street, NYC). Moderated by Hector Coris, panelists signed on so far are Tracy Stark, Lisa Moss and Sue Matsuki. No cover for members of MAC - $10 for non-members.
FEATURED CABARET ORGANIZATION EVENT
---------------
MAC (Manhattan Association of Cabarets) continues its popular primer seminar Cabaret 101, on the basics of producing a successful cabaret show on Wednesday, June 24th at 6:30 pm at WHERE EAGLES DARE's Blackbird Room (347 West 36th Street, NYC). Moderated by Hector Coris, panelists signed on so far are Tracy Stark, Lisa Moss and Sue Matsuki. No cover for members of MAC - $10 for non-members.
NYC: ALGONQUIN SALON THIS SUNDAY: "FATHER OF THE BRIDE!"
NYC: ALGONQUIN SALON THIS SUNDAY: "FATHER OF THE BRIDE!"
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2009 MAC AWARD NOMINEE Mark Janas' Algonquin Salon usually takes place on Sunday nights from 7:00 to 10:00 pm in the lobby of THE ALGONQUIN HOTEL (59 West 44th Street, NYC - 212-419-9331 - ). The Salon is a weekly event in which singers, writers and musicians share their talent with each other and audience members in the lobby of the Algonquin Hotel. Salon Secretary Peter Napolitano reports that on Sunday, June 21st, hosts/pianists for the evening will be Annie Lebeaux and Bill Zeffiro. Co-host will be Peter Napolitano. To celebrate Father's Day and June, the "wedding month", this will be a special evening of material celebrating fathers, brides, grooms, weddings and wedding music. Any song about, or from a show with, fathers and/or a wedding, would fit. Also any song you've heard (or sung!) at a wedding would be welcome. Remember, any material, on or off-theme, is always welcome at the Algonquin Salon. There is no cover and no minimum.
---------------
2009 MAC AWARD NOMINEE Mark Janas' Algonquin Salon usually takes place on Sunday nights from 7:00 to 10:00 pm in the lobby of THE ALGONQUIN HOTEL (59 West 44th Street, NYC - 212-419-9331 - ). The Salon is a weekly event in which singers, writers and musicians share their talent with each other and audience members in the lobby of the Algonquin Hotel. Salon Secretary Peter Napolitano reports that on Sunday, June 21st, hosts/pianists for the evening will be Annie Lebeaux and Bill Zeffiro. Co-host will be Peter Napolitano. To celebrate Father's Day and June, the "wedding month", this will be a special evening of material celebrating fathers, brides, grooms, weddings and wedding music. Any song about, or from a show with, fathers and/or a wedding, would fit. Also any song you've heard (or sung!) at a wedding would be welcome. Remember, any material, on or off-theme, is always welcome at the Algonquin Salon. There is no cover and no minimum.
ON RADIO: "EVERYTHING OLD IS NEW": MUSIC OF BILLY ECKSTINE
ON RADIO: "EVERYTHING OLD IS NEW": MUSIC OF BILLY ECKSTINE
CABARET ON THE RADIO - TV - WEB
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On Sunday, June 21st, EVERYTHING OLD IS NEW AGAIN, on the Radio over WBAI 99.5 FM and on the Internet at http://www.wbai.org/, usually heard from 9:00 to 11:00 pm and hosted by David Kenney will feature the music of Billy Eckstine. Some of the songs from his career that you will hear: "Stormy Monday Blues" with Earl Hines & His Orchestra; Billy Eckstine's "Mr. B's Blues"; "Passing Strangers" in duet with Sarah Vaughan; "Blue Moon" (Richard Rodgers/Lorenz Hart) ; "Everything I Have Is Yours" and "Once More With Feeling" with Billy May. Each week David presents the usual blend of big-band jazz, swing, standards, showtunes, contemporary cabaret and celebrity interviews plus MEGA-MEDLEY MADNESS. For more information contact: oldisnew@earthlink.net. You are also invited to e-mail your comments and suggestions for future shows. You can listen to past shows at any time by going to the WBAI Archives at http://www.archive.wbai.org/ .
CABARET ON THE RADIO - TV - WEB
---------------
On Sunday, June 21st, EVERYTHING OLD IS NEW AGAIN, on the Radio over WBAI 99.5 FM and on the Internet at http://www.wbai.org/, usually heard from 9:00 to 11:00 pm and hosted by David Kenney will feature the music of Billy Eckstine. Some of the songs from his career that you will hear: "Stormy Monday Blues" with Earl Hines & His Orchestra; Billy Eckstine's "Mr. B's Blues"; "Passing Strangers" in duet with Sarah Vaughan; "Blue Moon" (Richard Rodgers/Lorenz Hart) ; "Everything I Have Is Yours" and "Once More With Feeling" with Billy May. Each week David presents the usual blend of big-band jazz, swing, standards, showtunes, contemporary cabaret and celebrity interviews plus MEGA-MEDLEY MADNESS. For more information contact: oldisnew@earthlink.net. You are also invited to e-mail your comments and suggestions for future shows. You can listen to past shows at any time by going to the WBAI Archives at http://www.archive.wbai.org/ .
ON RADIO: "AT THE RITZ!" SATURDAYS & STREAMING AUDIO 24/7
ON RADIO: "AT THE RITZ!" SATURDAYS & STREAMING AUDIO 24/7
CABARET ON THE RADIO - TV - WEB
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Regular weekly live broadcasts of the AT THE RITZ! radio program can now be heard on WVOF 88.5FM on Saturdays from 1:00 to 3:00 pm. Producers and hosts Jeffrey C. Williams and Lynn DiMenna announce a new, convenient way to hear their weekly show, especially for folks outside of WVOF's local listening area. Simply go to http://www.attheritz.org/ and in one click you can enjoy AT THE RITZ! streaming 24/7 anytime! The Saturday shows are rebroadcast throughout the week along with some internet only music. AT THE RITZ! features cabaret, jazz, Broadway and similar sophisticated music along with celebrity interviews and commentary.
CABARET ON THE RADIO - TV - WEB
---------------
Regular weekly live broadcasts of the AT THE RITZ! radio program can now be heard on WVOF 88.5FM on Saturdays from 1:00 to 3:00 pm. Producers and hosts Jeffrey C. Williams and Lynn DiMenna announce a new, convenient way to hear their weekly show, especially for folks outside of WVOF's local listening area. Simply go to http://www.attheritz.org/ and in one click you can enjoy AT THE RITZ! streaming 24/7 anytime! The Saturday shows are rebroadcast throughout the week along with some internet only music. AT THE RITZ! features cabaret, jazz, Broadway and similar sophisticated music along with celebrity interviews and commentary.
NYC: AFTER PARTY WITH SPECIAL GUEST ADINAH ALEXANDER
NYC: AFTER PARTY WITH SPECIAL GUEST ADINAH ALEXANDER
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At THE WEST BANK CAFE/LAURIE BEECHMAN THEATER (407 West 42nd Street, NYC - 212-695-6909 - http://www.westbankcafe.com ) on Fridays at 10:30 pm, 2009 MAC AWARD NOMINEE Brandon Cutrell & 2009 MAC AWARD NOMINEE Alysha Umphress host AFTER PARTY, a free-wheeling open-mic with guest stars from Broadway and Cabaret, Ray Fellman at the piano and others serving up drinks and taking turns at the mic. Guest performers from Broadway, off-Broadway and cabaret drop by each week to sing, chat and join in the fun. This week AFTER PARTY special guest is Broadway's Adinah Alexander. No cover, no minimum.
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At THE WEST BANK CAFE/LAURIE BEECHMAN THEATER (407 West 42nd Street, NYC - 212-695-6909 - http://www.westbankcafe.com ) on Fridays at 10:30 pm, 2009 MAC AWARD NOMINEE Brandon Cutrell & 2009 MAC AWARD NOMINEE Alysha Umphress host AFTER PARTY, a free-wheeling open-mic with guest stars from Broadway and Cabaret, Ray Fellman at the piano and others serving up drinks and taking turns at the mic. Guest performers from Broadway, off-Broadway and cabaret drop by each week to sing, chat and join in the fun. This week AFTER PARTY special guest is Broadway's Adinah Alexander. No cover, no minimum.
GREAT SHOWS GIVING DISCOUNTS TO MEMBERS NEXT 10 DAYS
===============
GREAT SHOWS GIVING DISCOUNTS TO MEMBERS NEXT 10 DAYS
$25 WORTH OF DISCOUNTS AVAILABLE IN NEXT 10 DAYS!
===============
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NYC: DEZUR KENNA AT MAMAS IN "IN THESE SHOES"
MEMBER DISCOUNT: $5 OFF THE COVER
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Dezur Kenna premiers her new show "In These Shoes" to DON'T TELL MAMA (343 West 46th Street, NYC - 212-757-0788) for four performances in June - Thursdays, June 25th at 8:30 pm and Sunday, June 28th at 5:30 pm. Dezur created roles in ERIK AND THE SNOW MAIDENS (Anna Dorothea) at EIGHTY-EIGHTS and in INDIGO RAT (Fraulein Ulrike Spinwrecker) at Rose's Turn. Musical director is Steven Ray Watkins and the show is directed by Lennie Watts. There is a $15 cover plus a 2-drink minimum. $10 cover for members of CABARET HOTLINE ONLINE.
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NYC: BOB O'HARE SINGS OF HOME AT MAMA'S
MEMBER DISCOUNT: $5 OFF THE COVER
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Bob O'Hare sings about "home" at DON'T TELL MAMA (343 West 46th Street, NYC - 212-757-0788) on Monday, June 22nd at 6:30 pm. The show is a musical exploration of the concept of "home", with songs by Flaherty and Ahrens, Bernstein, Bucchino, Carnelia, Coleman and Leigh, Arlen and Mercer, Kander and Ebb and others. Musical director is Tom Nelson, with direction by Eric Michael Gillett. There is a $20 cover plus a 2-drink minimum. $15 cover for members of CABARET HOTLINE ONLINE.
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NYC: JENNA ESPOSITO SINGS THE SONGS OF CONNIE FRANCIS
MEMBER DISCOUNT: $5 OFF THE COVER
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"Cabaret's Sweetheart" will be singing the songs of "America's Sweetheart" in Jenna Esposito's brand new show celebrating the songs of Connie Francis at THE METROPOLITAN ROOM (34 West 22nd Street, NYC - 212-206-0440 - ) on Tuesdays at 7:00 pm, June 23rd through July 14th. A 2008 and 2009 MAC award nominee for female vocalist, Jenna made her NYC cabaret debut in August, 2004 and has since performed shows at the Duplex, Danny's Skylight Room, the Laurie Beechman Theatre, and the Metropolitan Room. Jenna is also the host of Metrojam the Metropolitan Room's open mic, which takes place on the first Friday of every month. In the show, Jenna sings the songs of "America's Sweetheart," Connie Francis including favorites such as "Where The Boys Are," "Stupid Cupid," and "Who's Sorry Now," as well as some lesser-known gems. Directed by Lennie Watts, with musical direction by Fortune Esposito. There is a $20 cover plus a 2-drink minimum. $15 cover for members of CABARET HOTLINE ONLINE.
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NYC: "KEEPING MY COMPOSURE: SONGS OF BRETT KRISTOFFERSON"
MEMBER DISCOUNT: $6 OFF THE COVER
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MAC-Award nominated songwriter Brett Kristofferson presents "Keeping My Composure" for one night only at THE WEST BANK CAFE/LAURIE BEECHMAN THEATER (407 West 42nd Street, NYC - 212-695-6909 - ) on Friday, June 26th at 8:00 pm. In this revue, Kristofferson presents his complex, entertaining and intriguing songs featuring some of NYC's best cabaret and theatre performers. Scheduled to perform: Christina Bianco (Forbidden Broadway), Brandon Cutrell, Natalie Douglas, Jenna Esposito, Rob Langeder, Miles Phillips, Molly Pope, Dominic Sheehan-Stahl, Angela Shultz, Liz Strickland, Lennie Watts and Jonathan Whitton. Hector Coris directs the evening with musical direction by Brett Kristofferson. As a composer/lyricist, Kristofferson's work has been heard in numerous venues around New York City. Brett has served as music director for Urinetown, Gypsy, Bat Boy, Into the Woods, and Carnival at the Professional Performing Arts School in Manhattan. Other recent credits include Guys and Dolls for The Interprovincial Music Camp in Ontario, Canada, Merrily we Roll Along for Wingspan Arts Summer Conservatory, the world premiere of Theater Boys (Fresh Fruit Festival), and the national tour of Girl's Night. There is a $15 cover plus a $15 food/drink minimum. $10 cover for members of CABARET HOTLINE ONLINE.
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NYC: VICKIE PHILLIPS IS "MUSICALLY INCLINED"
MEMBER DISCOUNT: $6 OFF THE COVER
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Broadway Bound Productions presents "Musically Inclined", a program of songs that include Lieber & Stoller, Rodgers & Hart, Dory Previn, Gerry Dieffenbach and Bob Ost, featuring award winning singer/actress Vickie Phillips at DON'T TELL MAMA (343 West 46th Street, NYC - 212-757-0788 - ) on Wednesday, June 24th at 9:15 pm. Also included in the show is an original song written for Vickie by Ost and Dieffenbach, A Song Is Like a Friend. The show is written and directed by Bob Ost. Music director is Gerry Dieffenbach. There is a $12 cover plus a 2-drink minimum. $6 cover for members of CABARET HOTLINE ONLINE.
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NYC: MARCUS SIMEONE WITH "EVERYTHING MUST CHANGE"
MEMBER DISCOUNT: $5 OFF THE COVER
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Bistro & 2009 MAC Award winner Marcus Simeone brings a brand new show to THE METROPOLITAN ROOM (34 West 22nd Street, NYC - 212-206-0440 - ) for two more performances - Sunday, June 28th at 7:00 pm and Saturday, July 11th at 7:30 pm. The show, "Everything Must Change" is all about the beautiful songs that changed lives through the music and lyrics of Johnny Mercer, Jimmy Van Heusen, Rodgers & Hammerstein, Bobby Darin, Carol King and more. The songs are a unique and visionary mix of familiar and rarely heard songs celebrating the insistence of change as seen through the eyes of this acclaimed and exciting singer. As an artist and a person, Marcus Simeone has experienced exceptional life-alterting experiences over this past year, contributing to the development of this show. Marcus will be accompanied by a band led by musical director Barry Levitt. There is a $20 cover plus a 2-drink minimum.$15 cover for members of CABARET HOTLINE ONLINE.
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NYC: LAST TUESDAYS WITH TERESE GENECCO & LITTLE BIG BAND
MEMBER DISCOUNT: $10 OFF THE COVER
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Scobar Entertainment presents LAST TUESDAYS at IRIDIUM JAZZ CLUB (1650 Broadway, NYC - 212-582-2121 ) on Tuesday, June 30th featuring Bistro Award and 2008 & 2009 MAC AWARD WINNER Terese Genecco & her 7-Piece Little Big Band. Terese and her band will be appearing the last Tuesday of every month in an open-ended run. The band for this performance will include Barry Levitt on piano, Jon Burr on bass, Joe Abba on drums, Joe Passaro on percussion, Kenny Lavender on trumpet, Jeff Lederer on sax and Mark Miller on trombone. Special guest star Barry Lloyd (San Francisco's Crown Prince of Cabaret!) will also appear with the band in both sets. There is a $25 cover plus a $10 food/drink minimum. $15 cover for members of CABARET HOTLINE ONLINE.
GREAT SHOWS GIVING DISCOUNTS TO MEMBERS NEXT 10 DAYS
$25 WORTH OF DISCOUNTS AVAILABLE IN NEXT 10 DAYS!
===============
---------------
NYC: DEZUR KENNA AT MAMAS IN "IN THESE SHOES"
MEMBER DISCOUNT: $5 OFF THE COVER
---------------
Dezur Kenna premiers her new show "In These Shoes" to DON'T TELL MAMA (343 West 46th Street, NYC - 212-757-0788) for four performances in June - Thursdays, June 25th at 8:30 pm and Sunday, June 28th at 5:30 pm. Dezur created roles in ERIK AND THE SNOW MAIDENS (Anna Dorothea) at EIGHTY-EIGHTS and in INDIGO RAT (Fraulein Ulrike Spinwrecker) at Rose's Turn. Musical director is Steven Ray Watkins and the show is directed by Lennie Watts. There is a $15 cover plus a 2-drink minimum. $10 cover for members of CABARET HOTLINE ONLINE.
---------------
NYC: BOB O'HARE SINGS OF HOME AT MAMA'S
MEMBER DISCOUNT: $5 OFF THE COVER
---------------
Bob O'Hare sings about "home" at DON'T TELL MAMA (343 West 46th Street, NYC - 212-757-0788) on Monday, June 22nd at 6:30 pm. The show is a musical exploration of the concept of "home", with songs by Flaherty and Ahrens, Bernstein, Bucchino, Carnelia, Coleman and Leigh, Arlen and Mercer, Kander and Ebb and others. Musical director is Tom Nelson, with direction by Eric Michael Gillett. There is a $20 cover plus a 2-drink minimum. $15 cover for members of CABARET HOTLINE ONLINE.
---------------
NYC: JENNA ESPOSITO SINGS THE SONGS OF CONNIE FRANCIS
MEMBER DISCOUNT: $5 OFF THE COVER
---------------
"Cabaret's Sweetheart" will be singing the songs of "America's Sweetheart" in Jenna Esposito's brand new show celebrating the songs of Connie Francis at THE METROPOLITAN ROOM (34 West 22nd Street, NYC - 212-206-0440 - ) on Tuesdays at 7:00 pm, June 23rd through July 14th. A 2008 and 2009 MAC award nominee for female vocalist, Jenna made her NYC cabaret debut in August, 2004 and has since performed shows at the Duplex, Danny's Skylight Room, the Laurie Beechman Theatre, and the Metropolitan Room. Jenna is also the host of Metrojam the Metropolitan Room's open mic, which takes place on the first Friday of every month. In the show, Jenna sings the songs of "America's Sweetheart," Connie Francis including favorites such as "Where The Boys Are," "Stupid Cupid," and "Who's Sorry Now," as well as some lesser-known gems. Directed by Lennie Watts, with musical direction by Fortune Esposito. There is a $20 cover plus a 2-drink minimum. $15 cover for members of CABARET HOTLINE ONLINE.
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NYC: "KEEPING MY COMPOSURE: SONGS OF BRETT KRISTOFFERSON"
MEMBER DISCOUNT: $6 OFF THE COVER
---------------
MAC-Award nominated songwriter Brett Kristofferson presents "Keeping My Composure" for one night only at THE WEST BANK CAFE/LAURIE BEECHMAN THEATER (407 West 42nd Street, NYC - 212-695-6909 - ) on Friday, June 26th at 8:00 pm. In this revue, Kristofferson presents his complex, entertaining and intriguing songs featuring some of NYC's best cabaret and theatre performers. Scheduled to perform: Christina Bianco (Forbidden Broadway), Brandon Cutrell, Natalie Douglas, Jenna Esposito, Rob Langeder, Miles Phillips, Molly Pope, Dominic Sheehan-Stahl, Angela Shultz, Liz Strickland, Lennie Watts and Jonathan Whitton. Hector Coris directs the evening with musical direction by Brett Kristofferson. As a composer/lyricist, Kristofferson's work has been heard in numerous venues around New York City. Brett has served as music director for Urinetown, Gypsy, Bat Boy, Into the Woods, and Carnival at the Professional Performing Arts School in Manhattan. Other recent credits include Guys and Dolls for The Interprovincial Music Camp in Ontario, Canada, Merrily we Roll Along for Wingspan Arts Summer Conservatory, the world premiere of Theater Boys (Fresh Fruit Festival), and the national tour of Girl's Night. There is a $15 cover plus a $15 food/drink minimum. $10 cover for members of CABARET HOTLINE ONLINE.
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NYC: VICKIE PHILLIPS IS "MUSICALLY INCLINED"
MEMBER DISCOUNT: $6 OFF THE COVER
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Broadway Bound Productions presents "Musically Inclined", a program of songs that include Lieber & Stoller, Rodgers & Hart, Dory Previn, Gerry Dieffenbach and Bob Ost, featuring award winning singer/actress Vickie Phillips at DON'T TELL MAMA (343 West 46th Street, NYC - 212-757-0788 - ) on Wednesday, June 24th at 9:15 pm. Also included in the show is an original song written for Vickie by Ost and Dieffenbach, A Song Is Like a Friend. The show is written and directed by Bob Ost. Music director is Gerry Dieffenbach. There is a $12 cover plus a 2-drink minimum. $6 cover for members of CABARET HOTLINE ONLINE.
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NYC: MARCUS SIMEONE WITH "EVERYTHING MUST CHANGE"
MEMBER DISCOUNT: $5 OFF THE COVER
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Bistro & 2009 MAC Award winner Marcus Simeone brings a brand new show to THE METROPOLITAN ROOM (34 West 22nd Street, NYC - 212-206-0440 - ) for two more performances - Sunday, June 28th at 7:00 pm and Saturday, July 11th at 7:30 pm. The show, "Everything Must Change" is all about the beautiful songs that changed lives through the music and lyrics of Johnny Mercer, Jimmy Van Heusen, Rodgers & Hammerstein, Bobby Darin, Carol King and more. The songs are a unique and visionary mix of familiar and rarely heard songs celebrating the insistence of change as seen through the eyes of this acclaimed and exciting singer. As an artist and a person, Marcus Simeone has experienced exceptional life-alterting experiences over this past year, contributing to the development of this show. Marcus will be accompanied by a band led by musical director Barry Levitt. There is a $20 cover plus a 2-drink minimum.$15 cover for members of CABARET HOTLINE ONLINE.
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NYC: LAST TUESDAYS WITH TERESE GENECCO & LITTLE BIG BAND
MEMBER DISCOUNT: $10 OFF THE COVER
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Scobar Entertainment presents LAST TUESDAYS at IRIDIUM JAZZ CLUB (1650 Broadway, NYC - 212-582-2121 ) on Tuesday, June 30th featuring Bistro Award and 2008 & 2009 MAC AWARD WINNER Terese Genecco & her 7-Piece Little Big Band. Terese and her band will be appearing the last Tuesday of every month in an open-ended run. The band for this performance will include Barry Levitt on piano, Jon Burr on bass, Joe Abba on drums, Joe Passaro on percussion, Kenny Lavender on trumpet, Jeff Lederer on sax and Mark Miller on trombone. Special guest star Barry Lloyd (San Francisco's Crown Prince of Cabaret!) will also appear with the band in both sets. There is a $25 cover plus a $10 food/drink minimum. $15 cover for members of CABARET HOTLINE ONLINE.
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.
Monday, June 15, 2009
NYC: BIG NIGHT OUT AT DON'T TELL MAMA
BIG NIGHT OUT, hosted by Jennifer Wren presents the fifth installment of our 2009 Featured Composers Series on Thursday, June 18th at 7:30 pm at DON'T TELL MAMA (343 West 46th Street, NYC - 212-757-0788 - ). The show will showcase the work of composer/lyricists (and brothers) David and Paul Rigano. The evening will span both their writing careers and include everything from special material to David's new musical project, Facing East, written with lyricist Mark Eugene Garcia. The evening will feature performances by Summer Broyhill (Hairspray), Bret Fox (The Full Monty national tour), Andrea Green (Red Masquerade by Jack Wade - reading), Sharone Halevy, ESJAE Jackson (Hair Italian tour), Lauren Morgan, and Ms. Jennifer Wren. Musical director is Bill Zeffiro. Call for cover/minimum information.
NYC: ANY WEDNESDAY FEATURES SIMAVI
ANY WEDNESDAY, the free in-store concert series that features the best in cabaret, jazz and theater music takes at THE BARNES & NOBLE BOOKSTORE (66th Street and Broadway, NYC). Performances are at 6:00 pm. On Wednesday, June 17th at 6:00 pm, featured performer is Simavi. He first fell in love with American music in his native Turkey, and now offers his own take on the songs of Sinatra, Bennett and others on his album, Memories of You. No Reservations taken. No cover.
NYC: MIDTOWN JAZZ AT MIDDAY WITH JUDY CARMICHAEL
MIDTOWN JAZZ AT MIDDAY continues on Wednesdays at ST. PETER'S CHURCH - LIVING ROOM (Lexington Avenue at 54th Street, NYC). This long-running series was created by Edmund Anderson and is now produced by Ronny Whyte. Next show is on Wednesday, June 17th featuring Judy Carmichael, piano; Mike Hashim, sax; Ed Ornowski, drums. Performances are at 1:00 pm, $7 donation.
NYC: JOAN CROWE'S LAST WEDNESDAY NIGHT OF THE IGUANA
Vocalist/comic Joan Crowe hosts a weekly series where "anything goes as long as it is fun and entertaining" on Wednesday nights at IGUANA'S VIP LOUNGE (240 West 54th Street, NYC - 212-765-5454 - ), but after her show on Wednesday, June 17th she will be turning over the hosting duties to Richard Skipper for the summer. Joan has special guests each week from all genres of music as well as stand up comics and for her "closing night" she has lined up Ray Jessel, Danny Leary, Laura Hull and Tom Leopold, with Mark Berman subbing in for Jordan at the piano. The show usually runs from 7:00 to 10:00 pm. Joan is the creator and star of the ground breaking video podcast: http://www.FunnyJazzChick.com/. There is a $10 cover charge.
N.J.AREA: BOB'S BIG MONDAY SHOWCASE TONIGHT AT STOCKTON INN
BOB's BIG MONDAY SHOWCASE returns on Monday, June 15th (and every other Monday), at 7:30 pm at the STOCKTON INN (1 North Main Street, Stockton NJ - 609-397-1250 - ). The show usually features 6 to 10 vocalists from the NY-NJ-PA area. Performers for for scheduled for this showcase include Jane Arthur, Cari Kassel, Ann Ellithorpe-Luker, Jerry Wichinsky, Kathy Grahm, Barbara Gurskey, Jack Cosgrove, Amy Levine, Lisa Sherman, William Vosseler & Krista Boshinski (with John Baxindine), Mike Mancini, Michael McGeehan and more to be announced. Only $10 cover/$10 minimum. Serving dinner, from 5:30 pm.
BENEFITS TONIGHT - MONDAY JUNE 15th
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BENEFITS TONIGHT
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NYC: FRIENDS WITH BENEFITS VIII WITH BROADWAY/CABARET STARS AT THE METROPOLITAN ROOM
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NYC: ANNUAL BENEFIT FOR GREENWICH HOUSE MUSIC SCHOOL
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CHICAGO: CHICAGO SINGS BERNSTEIN BENEFIT FOR PORCHLIGHT
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S.F.AREA: CASTS OF "WICKED," AND "SPAMALOT" PRESENT BENEFIT
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SEE DETAILS ON ALL THE ABOVE ON THE "SPECIAL FEATURED CABARET BENEFITS" PAGE ON THE CABARET HOTLINE ONLINE WEBSITE
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FOR MORE CABARET EVENTS ON THIS DATE SEE THE DIARY/DATEBOOK ON THE CABARET HOTLINE ONLINE WEBSITE
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BENEFITS TONIGHT
---------------
NYC: FRIENDS WITH BENEFITS VIII WITH BROADWAY/CABARET STARS AT THE METROPOLITAN ROOM
---------------
---------------
NYC: ANNUAL BENEFIT FOR GREENWICH HOUSE MUSIC SCHOOL
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CHICAGO: CHICAGO SINGS BERNSTEIN BENEFIT FOR PORCHLIGHT
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S.F.AREA: CASTS OF "WICKED," AND "SPAMALOT" PRESENT BENEFIT
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SEE DETAILS ON ALL THE ABOVE ON THE "SPECIAL FEATURED CABARET BENEFITS" PAGE ON THE CABARET HOTLINE ONLINE WEBSITE
---------------
FOR MORE CABARET EVENTS ON THIS DATE SEE THE DIARY/DATEBOOK ON THE CABARET HOTLINE ONLINE WEBSITE
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