Melbourne Cabaret Festival 2013

Suade: Vocaltronics.

Ormond Hall, Village Melbourne. 6 June, 2013

As the closing show in my round of Melbourne Cabaret Festival reviews, Suade's Vocaltronics was a good choice - there's nothing better than finishing with a real treat, and this show fits the bill. Suade is a vocal group of four males who sing a cappella - that means, as we were reminded several times during the show, there is no musical accompaniment and NO BACKING TRACKS. Apparently the guys get very tired of having to point this out, but it's easy to understand how people who come to see them might get the wrong impression. The group's sound, built up via digital looping of their live vocals - which requires on the run 'cut and pasting' of parts of their singing to create a complex mix, including all manner of accompaniment sounds from bass lines to drum beats and ostinatos - is amazingly rich and at times sounds uncannily as though there MUST be musical backing. It is a truly remarkable achievement that this gloriously ‘thick’ sound is generated solely from four male voices in 'real time', albeit aided by the latest technology.

One of the obvious drawbacks of this approach is a very small margin for error - as mistakes can get looped and form part of the rest of the song. This requires all four singers to be extremely precise - and they certainly were. Not only do the guys sound very good together, they all have engaging personalities and terrific stage presence, and have clearly built up a strong rapport. Much of their act consists of good-natured ribbing and some outrageous mugging, which went down very well and made for a fun evening. The unexpected presence of three former group members, all of whom were invited to get onstage and participate in a couple of impromptu numbers including an impressive rendition of Queen's ‘Bohemian Rhapsody’, was a bonus treat.

Perhaps a small criticism could be leveled at the setlist, which was very heavily weighted towards popular songs from the past decade or so. It may be true that the standards have been done to death by more traditional vocal groups, but it would have been nice to hear the group tackle some of that material. That said, the Aussie medley - which encompassed ‘I Still Call Australia Home’, ‘Land Down Under’ and ‘You're the Voice’, among others - went down a treat, and the highlight of the evening for me was a stirring rendition of Stevie Wonder's Superstition, which managed thanks to the looping baselines to be authentically a-capella-funky - an impressive achievement!

Alex Paige

Mama Alto: The Porgy and Bess Project

The Butterfly Club. 3, 5 and 7 July.

His website describes Mama Alto as a “jazz singer, cabaret artiste and countertenor diva” and that’s as apt a description as one could easily apply to this category-defying performer. As his stage name suggests, Benny Dimas is focused on challenging traditional gender roles. Accompanied by an all-female jazz trio, Mr Dimas/Ms Alto (I’m resisting the temptation to type his/her throughout this review) performed a selection of songs from Porgy and Bess, while also using the show as a platform to espouse the cause of gender equality and make a plea for greater awareness and tolerance of those in our society marginalised through their differentiation from the norm. Though these are laudable ideals, it did seem as though he was preaching to the converted, as most in the audience likely shared them – and this emphasis on social commentary obviously cut down the amount of time dedicated to performing. This was a shame as Ms Alto possesses that rare commodity, a genuinely unusual voice, which was used to strong effect in interpretations which were at times evocative of jazz greats like Ella Fitzgerald and Sarah Vaughan – although at times his vocal stylisation threatened to override the emotional aspect of the songs. The jazz trio led by Tiffany Walton delivered solid and professional accompaniment. It was an entertaining show, but a shame the social comment was laid on so thick. And in the light of Mama Alto pointing out that black jazz artists had successfully “subverted the material” of songs appropriated from white composers and lyricists, I feel it’s important to affirm that Porgy and Bess, right from its original incarnation, was concerned with offering a empathetic and humanistic portrayal of the characters with which it is concerned.

Alex Paige

Little Orphan Trashley

Directed by Craig Ilott. Comedy Theatre Melbourne. July 4 – 14.

Not a cabaret show but an adult-themed panto, Little Orphan Trashley stars Trevor Ashley as Fannie, an orphan who would be a girl but for a few anatomical encumbrances, which she’s hoping to get removed. But before she can have gender reassignment surgery, she needs her parents’ consent – hence her quest to find them (that’s one reason; the other, as Fannie coyly reminded the audience, is “so there’s a f…ing plot”.)

Part ripoff of Oliver Twist and part parody of Little Orphan Annie, this is an uneven show suffering from an underdeveloped second act and an overlong first one. The story is, perhaps deliberately, self-contradictory at times, but no one’s really worried, as it’s really there to provide a structure to hang the one-liners on. While the show delivered plenty of laughs, there were also some fairly cringeworthy moments, including topical humour which fell wide of the mark and a few bits which just didn’t work.

As Fannie, Trevor Ashley worked hard to carry the show, delivering charisma in bucketloads and plenty of star quality. Unfortunately his performance was hampered by some vocal problems – though none of his big finishes went south and he belted well, there were a few bum notes and one song in particular (during which he had to run about the stage) where lack of breath virtually did him in. Gary Sweet, as Fannie’s benefactor Daddy Warhorse, was cheekily in on the joke, but his singing was also a little shaky. Rhonda Buchmore, who appeared for all the world to be channelling an aging Les Girls performer (and very expertly at that), sent herself up mercilessly, with plenty of help from the script which poked continual fun at her public persona. Less successful was her turn as “Ellen Jones” (a send up of Sydney radio shockjock Alan). I should also mention the very entertaining presence of Rhys Bobridge as Fanny’s dog Bullshit, who could deliver a diabetic shock at twenty paces considering the amount of eye candy he had on constant display.

At times a very funny show, Little Orphan Trashley would have benefited from a tighter story structure and an effort to create characters about whom we could genuinely care, as opposed to simply laugh at.

Alex Paige

Little Orphan Trashley images: Rhys Bobridge, Trevor Ashley & Rhonda Burchmore and Gary Sweet & Trevor Ashley. Photographer: Prudence Upon.

See also Peter Novakovich's review of the Sydney season.

Stormy Weather – the Lena Horne Project

Starring Mary Wilson w. James Gavin and the Larry Dunlap Trio. Melbourne Recital Centre. 28 June, 2013.

Stormy Weather is a fascinating hybrid of a project – part narrated biography, part performance of the songs of Lena Horne. Presented by James Gavin, who wrote the Horne bio of the same name, and with songs performed by founding member of the Supremes, Mary Wilson, ably supported by a trio led by pianist Larry Dunlap, it offered some fascinating insights into what made Horne the woman and performer she was.

However, I’m guessing that most of the audience were there not because they were fans of Horne’s but because they were longstanding admirers of the glamorous and engaging Ms Wilson, who displayed strong interpretive skills and a voice unscathed by the passing of time. Although she was performing songs associated with Ms Horne, Ms Wilson was by no means attempting an impersonation. The vocal stylings and interpretations were entirely her own, delivered with impeccable taste.

Ms Wilson’s performances were interspersed with Mr Gavin’s narration of the story of Lena Horne’s life and career, often accompanied by video footage. While the archival nature of much of this rendered it fascinating, it was a pity about the relatively low resolution and audio quality – Ms Horne’s stirring speech to the NAACP was all but inaudible. And speaking of the NAACP, it would have been a good idea for Mr Gavin to explain what the acronym stood for rather than assuming the audience already knew.

It is of course very difficult to adequately cover Lena Horne’s long career over a two-hour show, but Mr Gavin did succeed in conjuring an impression of this multifaceted performer, placing her career within the context of America’s long civil rights struggle. Ms Wilson’s singing was the ideal complement to this story, even if it was a shame she didn’t get to do more songs. But we did get to hear some wonderful readings, backed up by a tightly professional trio led by the terrific playing of Larry Dunlap.

Alex Paige

"A trip to Chapel off Chapel is always a delight – the ambiance is great, the coffee is good and you always see someone you know. What’s more, the buzz is amazing. Last night (June 27) there were FOUR Cabaret shows staggered in the 2 performance spaces. I managed to see two." … says Coral Drouyn.

David Pomeranz – Chaplin: A Life.  In Concert - Chapel off Chapel - 27^th, 28^th June, 2013.

A great voice, staggering virtuosity on the piano, loads of charm and the ability to play forty roles in his musical Chaplin: A life in Concert. What more could you ask for? Well, you may not ask…but you get, as a bonus, a truly terrific musical score, certainly one of the best I have heard in many years. There are also fabulous sound effects and lighting and projected stills to add ambiance. This one man show is David’s way of workshopping the musical and providing great entertainment at the same time. Two songs - “Number One” which Charlie sings whilst a child seeking an agent to represent him, and “Too Many Words” – are genuine show stoppers. The latter is the show’s big ballad and Chaplin’s rationale for not making “talkies” like everyone else in 1930… “There are too many words in the world,” he sings, and we hold our breath. He even sings pre-recorded harmonies and counterpoint with himself. I am unsure about the book, because the show centres on the music. Biographies are notoriously hard to do because of the time span, but I’d certainly go to see it. Meanwhile you have a chance to hear it BEFORE it reaches a main stage, and if you love both musicals and cabaret, this will be a real treat. This is cabaret, not for the young who expect four letter words and irreverence, but for adults who welcome class and know it when they see it.

Coral Drouyn

Joey Arias. Arias on Holiday - Chapel off Chapel - 27^th, 28^th June, 2013

There are some performers who only have to walk onto a stage and imaginary neon signs with arrows proclaim “Star”. They ooze charisma, they create their own aura, they demand your attention with just a turn of the head. Joey Arias is one such performer. A “Cabaret Icon” in New York, we are so lucky to get a chance to see him in Australia. Whist his channelling of Diva Billie Holiday was uncanny, Arias is smart enough to know that many of his audience don’t know who Holiday was, so he mixes it up with anecdotes, risqué humour, his own songs written for Cirque de Soleil and direct contact with the audience (I found myself part of the show during one song). He is never less than magnetic and commanding, and we were all held in thrall, even the great Mary Wilson of “Supremes” fame. This year’s Festival headliner was in the audience and sang along with the rest of us in his Motown tribute. Arias is just gobsmackingly good vocally in his own right, but it was Holiday’s “You’ve Changed” which gave me goosebumps and a lump in my throat. Astonishing, complete with the little catches in the voice, almost hiccups that could only be Holiday (and Arias). That one song is worth buying a ticket for on its own. Joey hopes to bring his big “Arias with a Twist” production show down to Australia next year. Meanwhile he is brilliantly accompanied by the fabulous Jeremy Brennan, a superb home grown talent. This is as good as it gets in the world of cabaret.

Coral Drouyn

Alex Paige caught another performance on that hectic evening at Chapel off Chapel.

Sitting with the Fat Man – the Songs of Randy Newman.

Performed by Sally Bourne and Mark Jones. Part of Melbourne Cabaret Festival 2013. Chapel off Chapel - 27-28 June, 2013.

As a longtime Randy Newman fan, I went into Sitting with the Fat Man with my fingers crossed. Newman’s songs are full of black humour and ironic subtext and often written from the point of view of very unpleasant characters (the publicity blurb for this show lists “bigots, petty criminals, slave traders, drunks, despots, deities, dirty old men and Lexus drivers”, and sure enough that pretty well covered the songs delivered). They are not easy songs to perform, but thankfully Sally Bourne (vocals) and Mark Jones (vocals and piano accompaniment) were up to the task.

Bourne and Jones alternated the performance between duets and solo spots for each performer and their selection of songs from Newman’s wide repertoire worked well. The highlight of the show was a very funny performance of “Let’s Drop the Big One Now”, perhaps the ultimate ode to American imperialism. Bourne also delivered a poignant reading of “That’s Why I Love Mankind”, an irony-laced blues from the Almighty.

Unfortunately the show suffered from a few technical hitches. The lighting in particular was problematic, with Bourne frequently having to adjust her position to stay in her spot. The decision to use a clipboard prop to signpost themes in the upcoming songs seemed like an attempt to introduce some between-song business for Ms Bourne but in fact was just distracting.

But the biggest issue was the misfired ending – it seemed as though our performers hadn’t worked out how to finish the show, and it was just odd that Mark Jones pointed out the audience hadn’t called for encores considering the fact that no one knew at this point that the next number was to be the last! This aside rather marred the intro to the last number (the much-maligned “Short People Got No Reason to Live”) and then it was abruptly all over.

Alex Paige

Adam Guettel in Concert.

Melbourne Cabaret Festival. Chapel off Chapel. 29 – 30 June.

Adam Guettel is a composer, lyricist and performer with a couple of Tony Awards under his belt for the Broadway musical The Light in the Piazza. Last night's show, which Guettel performed as part of the Melbourne Cabaret Festival with accompanying vocalist Haley Bond and Kim Grigsby on piano, included selections from that show, as well as numbers from a previous one, Floyd Collins, plus some songs from several new productions he's planning including one based on HG Well's The Invisible Man.

Guettel's unassuming stage persona (in fact he seemed a bit nervous) was a refreshing change from those performers who feel it necessary to project cap-C confidence at all times even when it's not backed up by talent. He performed the often intricate songs with gusto and commitment in a voice at times reminiscent of James Taylor and at others of Jimmy Webb. Guettel is arguably a better songwriter than he is a singer, and seemed to be keeping a certain emotional distance from the material, despite his best efforts.

The songs themselves, while admirably well-crafted, required a lot of explanatory context to allow their subject matter to be fully appreciated. Guettel did his best to provide the necessary background during his intros, but these were frequently in the form of big info dumps that the audience had little time to absorb before the song commenced. Folks already familiar with the material (and judging from the audience response, a lot of people at least knew Light in the Piazza) therefore had a greater opportunity to appreciate its complexities than did those (like me) for whom it was all new. The show would benefit from a pared-down setlist, giving Guettel more time to set the scene especially for the 'big' numbers, and a strong narrative throughline to tie it all together.

Alex Paige

Coral Drouyn's Cabaret Festival Preview.