LOVE SONGS FOR SIR LES

LOVE SONGS FOR SIR LES
BEST EVER ADELAIDE CABARET FESTIVAL CLOSES WHILE 2016 LOOKS PERFECT

On the night Barry Humphries announced Ali McGregor and Eddie Perfect as joint Artistic Directors of next year’s Adelaide Cabaret Festival, the wonderful Ali McGregor herself was the first among gloriously glamorous chanteuses to risk performing with Australia’s most outrageous knight, Sir Les Patterson, in Love Songs for Sir Les. The hilarious world premiere closed the 2015 Cabaret Festival with a raucous, F-word-peppered bang.

Ali McGregor’s stage presence shone through as her vocals soared. Gorgeous Amelia Ryan’s pace and energy was outstanding, although her lyrics were sometimes difficult to understand, so rapid-fire was her delivery. Trevor Ashley’s Shirley Bassey was towering and an absolute audience favourite, while The Song Birds’ harmony was to die for as the three vocalists demonstrated how the human voice can be used as an exquisite musical instrument. Lady Rizo’s performance, with her quirky humour, witty repartee and powerful vocals was Cabaret at its best.

The first three rows of the auditorium were filled with plastic-poncho-wearing audience members, a bit like being at the footy on a wet night, but these tense individuals knew they had a role to play. What splashed or dripped on them this night would not be rain, but more likely Sir Les Patterson’s flying saliva, his drool, his spilled beer and even his insults.

From the moment he stepped on stage, drink in hand and surrounded by scantily-clad female dancers, the night belonged to Australia’s best-known knight.

Sir Les was introduced by Ali McGregor and then it began.

Not a nicety was left standing as Sir Les returned time and again to shock, titillate and leave us gasping with laughter in response to his jokes and songs.  He was in his element as he salaciously relished his interaction with the gorgeous divas he’d invited to join him, shared intimate details of his life with Lady Gwen, told of his forays into Thailand and regaled us with his observations on arty types.

Sir Les is something of a mid-20th century anachronism in today’s far more sophisticated and politically correct Australia, yet his character has lost none of its boorishness and disregard for society’s conventions. He serves today to remind us of the Ugly Australian, someone who still exists in society and no doubt always will.

This character must surely be Barry Humphries’ most difficult persona to maintain as he pushes boundaries to absolute limits, always with foul-mouthed abandon, yet still endears himself to audiences.

The slickly paced show was directed by Andy Packer, with musical direction by Vanessa Scammell. The Adelaide Art Orchestra provided fine backing for the chanteuses and happily went along on Sir Les’s unpredictable ride, even though it was clear the musicians were struggling to keep professionally straight faces at times.

Towards the end of the evening Sir Les informed the audience in his own inimitable way that he would be leaving Adelaide next day and he therefore didn’t give a flying fedora (or more colourful words to that effect) if the Cabaret Festival organisers thought his language and graphically frank repartee unacceptable.

There’d be no fear of that, of course.  The organisers can’t wipe the smiles off their faces, as this Cabaret Festival was the highest grossing one in the event’s history.

Sir Les will be missed, as will Barry Humphries. His first-ever Artistic Directorship of an arts event has been a resounding and memorable success.

Next year’s Adelaide Cabaret Festival joint Artistic Directors, Ali McGregor and Eddie Perfect have huge shoes to fill indeed.

Lesley Reed

Read more on the new co-Artistic Directors

Images: Sir Les and Ali McGregor in Opera Burlesque.

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