In Vogue: Songs by Madonna.

How can a solo cabaret performer possibly hope to encompass and encapsulate the 30-year career of one of the most successful and influential artists in pop music history, with only 60 minutes at his disposal? A formidable challenge, but Michael Griffiths’ show is an enjoyable attempt to capture the heart of both the music and the writer/performer behind it.

In Vogue is at its best (and most convincing) when it concentrates on the music, on communicating these tunes afresh, often on an unfamiliar level or in a reconfigured context. Griffiths’ solitary-microphone-and-keyboard presentation, enhanced by lighting effects that are surprising and appropriately ‘starry’, conjured up an intimate and personal atmosphere that carried over into the musical rearrangements. The man really does have the technical talent to get a surprisingly and satisfyingly full sound from his instrument, as well as the dramatic ability to breathe new life into these familiar songs.

Griffiths is rather less innovative when it comes to his characterization of Madonna’s public persona, seemingly happy to play the part of a talented, vain, self-absorbed bitch (i.e. nothing that we haven’t seen from Madonna before, or heard from her critics). While it is a consistent and energetic portrayal, it is also a bit too one-note.

Broaching the touchy subject of the woman’s film career is a shrewd move, and one that pays off well. Her two marriages also provide strong highlights to the storytelling. On the other hand, attempting to lightly make fun of the artistic process of lyric composition, Griffiths ends up turning song-word snippets into one-liners by taking them out of context. This approach doesn’t always hit the target, and can feel both easy and tired.

Fortunately, he makes the music shine like it deserves to. The set list is varied, ranging across the spectrum of the lady’s career, and the interpretations are generally splendid. ‘Borderline’ and ‘Dress You Up’ in particular are refreshing in the way they showcase the songs’ innate quality and timelessness. Even the much-maligned ‘Die Another Day’ makes a brief appearance, and may cause many to rethink whether it’s been unfairly ignored and underrated for years.

‘True Blue’ doesn’t quite survive, let alone thrive in, its translation to a semi-classical idiom, and ‘Papa Don’t Preach’ somehow feels like the wrong choice to attempt tugging heartstrings with, but ‘Material Girl’ takes on surprising dimensions when interspersed with accounts of Madonna’s string of 90s post-divorce partners (remember Vanilla Ice…? How hard we strove to forget!)

As far as audience communication goes, Griffiths is gratifyingly ingratiating, especially when he’s not pushing the Madonna clichés too hard. His references to the recent Adelaide downpour feel natural and apt, while his break-from-character at the climax of the show is both warm and funny – though by this point he is throwing in one sneering Lady Gaga reference too many! The encore with invitation for requests from the audience is a very nice touch indeed (a certain person had to muffle their urge to call out for ‘Causing a Commotion’ – but how could we all have forgotten ‘Cherish’?? The best of them all!)

For an appropriate and moving farewell, the second best Madonna song of all – ‘Like a Prayer’ – is performed by the talented Michael Griffiths with all the respect and love that the artist, the song, and the fans deserve. Sounding rather like Darren Hayes, delicate and emotional and strong at the same time, it gave this reviewer (and fan) a dose of the warm fuzzies. If you are yourself a fan, it’s not likely you will be disappointed by In Vogue. While falling short of perfect, there’s simply too much to enjoy and be impressed by here to let quibbles get in the way!

Anthony Vawser

Photographer: Jon Green