Melbourne Cabaret Festival Gala

A gala of cabaret acts, each appearing to promote their individual shows, sounds marvellous in theory and certainly there was talent galore on the stage. However, cabaret requires intimacy, venues where the artist can embrace the audience, make eye contact. The beautiful Palais theatre is cavernous, 1,000 people are easily lost in it, and it provided none of the intimacy required. The Athenaeum, packed to the rafters, would have provided a far better venue. Nevertheless the stage was dressed beautifully and there was an air of expectation in the auditorium.

Fem Belling, an extraordinary vocalist (albeit with some strange vocal idiosyncrasies) MC’d the proceedings. She opened the show with a stunning version of Lush Life…a torch song which needs smoke and wine as a backdrop. It was totally the WRONG song for the show, and even more so as an opening. Belling’s voice is strong and strident, the complete opposite of Blossom Dearie’s fragile “little girl” voice. But there are dozens of Blossom’s original point numbers, sassy and sophisticated, which would have been better openings. Later, talking about Blossom, she sings Rain On My Parade, a song which originated with, and is forever associated with, Barbra Steisand. Its stridency would have had Blossom turning in her grave. Belling’s hosting, in an exaggerated upper crust British accent, was boring at best. Not a good start!

Trevor Ashley and Rhonda Burchmore were a wicked delight in an excerpt from “Little Orphan Trashley” – an absolute must see. It was a chance to laugh out loud and they are super vocal talents, both of them. Tara Minton, “jazz” (in inverted commas) harpist and great vocalist, was another terrific artist whose subtlety was lost in the huge space. David Pomeranz, hit song writer and cabaret artist extraordinaire, was fabulous and provided a great appetiser for the older cabaret goers. He’ll present his one man version of his new musical “Chaplin”. Bradley McCaw showed us a glimpse of why he is off to take on New York; and Spanky, last year’s cabaret Green Room Award winner gave a lip smacking performance full of charisma and four letter words, from his new show Dead Bitches. This may well be the Festival’s number one ticket. Joey Arias, a truly class act, channelled his inner Billie Holliday to great effect, just stunning. Adam Guettel showed why he is a “Cabaret Icon”… talent, charm and class in one perfect package. Mary Wilson is glamorous, has sensational musicians, sings well and looks truly beautiful. Another must see.

But it’s the wonderfully open (in more ways than one) sensationally talented Yana Alana who stole the night. In a massive blue wig and naked except for a transparent top to toe blue body stocking, she let it all hang out (!) and showed us all her ample talent with an excerpt from her “Between The Cracks” cabaret. She epitomised what cabaret should be about (funny, irreverent, confronting, musically brilliant) and made real contact with her audience. She’s been away from our stages for two years – and that is two years too long. Her show promises to be a standout for all cabaret lovers of any age. If only I could get there for opening night….but I’m too old to manage the many stairs at 45 Downstairs….so please go for me, and channel your delight.

Coral Drouyn

 Images: Spanky and Joey Arias.