Category Archives: Cabaret

An End to Dreaming

Posted on by adelaideartbeat
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An End to Dreaming – Emma Dean and Jake Diefenbach by Jane Durbridge

The  intimate and plush La Boheme is the perfect setting for the entrance of this cloaked and hooded pair.  Hidden from view and with a countertenor singing voice, Jake’s sexuality could be ambiguous, (apart from protruding man arms and an obviously male name!), but there is no doubting his musical ability.

The scenes are set in 5 stages, each set comprising 2 well crafted songs to lead you through The Darkness (hooded), The Awareness (Emma is now blond, and matching her Aryan brother-from-another-mother Jake), The Reckoning, The Healing, and finishing with The Light.

We’re taken on a twisted Hansel & Gretel tale into a mesmerizing dark place, each song filled with discord and a mix of strong emotions until we’re walked out of their darkness to a safer place.

Jake and Emma work effortlessly together, complimenting each other with their harmonies and styles.  It’s an awkward pas de deux within the confines of a small stage filled with a large keyboard and piano, but they move between their stations quietly and affectionately – supporting each other through the forest of life.

Their dream like state ends with such rousing applause that the pair demurely provide an encore – almost as though they’re surprised we’re in the room.  They seem a bit abashed at their ability to move the audience to such support, but it’s all very well deserved.

We’re charmed by their tale.

On tonight until Sunday….

Ps Bit thrilled to have my first review for this Adelaide Fringe Sammy J sitting next to me too (ok – at the next table) at my last review for this Festival….my circle of reviewing!

Wrongtown: Homicide and Homecooking

Posted on by adelaideartbeat
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Wrongtown: Homicide and Homecooking.  by Jane Durbridge

I’ve heard many things, but there were a couple of ‘Whoa’ moments in the opening song of Homicide and Home Cooking…moments where I felt a  little embarrassed to have invited someone to come along, but relieved they were a someone who was laughing!

It’s almost as though if you smile in that song, the worst has been said and you can warily relax.  If you’re shocked you should probably scull your drink and get out of (wrong) town.

Rose and Claire are quick and sassy, and their harmonizing vocals are indeed golden, often belying their brassy lyrics.

In the sumptuous ‘La Boheme’ the show starts with a series of comedy scenarios revealing the seedier side of life.   While the songs depicting Adelaide showed they’d done their homework, the Geelong gags didn’t translate as strongly.  Perhaps Geelong’s reputation isn’t as maligned over the border?

Regardless, we are enthralled by the team, and lighting issues not withstanding, await each set change eagerly.

Their comedic digs seem to have no boundaries, slowly making their way through Adelaide’s “City of Corpses”  murders like the murky Torrens, before moving onto international superstars and burlesque.

The burlesque highlight for me was the raunchy version of “In These Shoes” performed brilliantly by Claire in a pair of….I won’t spoil the punchline.

The burlesque continues as they cook up a very special therapeutic treat, and some braver audience members feel safe enough to receive a taste as reward for successful participation.

This was a thoroughly entertaining show with outstanding vocals, but take note, it does have offensive lyrics and plastic nudity…you have been warned.

Queer – The Wicked Webs We Weave

Posted on by adelaideartbeat
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Queer by Jane Durbridge

The basement at Higher Ground  was a welcome relief on a hot Adelaide night.  It’s  several degrees cooler in that awkward subterranean world….worth noting if its a cool night already. The stage is set with 3 musicians ( Logan Watt, Hannah Bennett and Tim Overton) when Charles Sanders steps androgynously on to the stage.

His opening number, and all those to follow, show his outstanding vocalism off to perfection – and the band don’t miss a beat (sorry) either.

However, only by reading reviews since do I understand this Cabaret.
We (& I’ll include my +1 here too who was also bemused) seemed to miss the character changes and trying to weave the personalities together left us with a confusing, but still intriguing, show.

I’d rather leave it more eloquently to the following to explain…and thank them for their insight/experience:-

http://www.glamadelaide.com.au/main/tag/queer-the-wicked-webs-we-weave/

Or

http://www.cabaretconfessional.com/cabaret-confessional/2012/3/5/adelaide-fringe-2012-review-queer-the-wicked-webs-we-weave.html

Higher Ground 7 & 16 March

 

Sister Mary Lucy

Posted on by peteskiau
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Sister Mary Lucy

I had originally wanted to see Lucy Russell’s show during last years Cabaret Fringe Festival, but unfortunately the season was cancelled, so I was pretty stoked to see that the show would be making a brief but brilliant return for this years festival. I really enjoyed her show; Lucy is comedic, endearing and talented to boot. Its hard not to love someone who can speak about Sister Janet Mead and The Flying Nun.

Its a mix of story telling, comedy and music. She guides us through her journey of discovery by the  sources she used to confirm if it was  good idea (checking sources like The Sound Of Music, Wikipedia & and “The Broadway Musical’) while occasionally reinterpreting the song for a more purposeful meaning.

There are a few moments where I got a bit lost; for instance when she impersonates Ethel Merman, Kristin Chadwick & another person that I forget the name of, but I put my being lost down to the fact that i’m a little younger than everyone else in the audience. Having said that though she keeps everyone entertained and focused on her.

I wanted to be able to list a few of the songs from the performance (but i lost my little notepad after the show) so all I’m able to inform you is that there is a couple of pieces from Jesus Christ Superstar & The Sound Of Music; I do know the other songs i just can’t remember the names!! Peter Johns on the piano does an excellent job too.

Lucy is a wonderful performer, she is graceful and a darling to watch on the stage, and I think the La Boheme Venue suited her show just wonderful. Although her run of shows has now finished for this season, definetely keep an eye out for her in the next season!!

Butterscotch was a salty, sweet delight

Posted on by The Diane Lee Show
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One of the wonderful things about being a reviewer for Adelaide Art Beat is that I get to see shows that I normally wouldn’t. And that’s not because these shows aren’t worthwhile or worthy, but because there just isn’t enough time to see everything.

That said, I am so glad I got to see Butterscotch. I took a friend who had never, ever been to a Fringe show (ever!) and this was the perfect venue and show to initiate a Fringe virgin.
La Bohéme, in case readers are unaware, is tucked away on Grote St. With its French theme and intimate, candle-lit, bistro/bar style setting, La Boheme is perfectly suited to cabaret.

Armed with gin martinis, extra dirty with four olives apiece, my friend and I settled in to watch the show. From the moment Emma Clair Wood walked through the audience to the stage, she captivated us with her mesmerising story of childhood, growing up, womanhood, travel and lost loves. Told in lyrical prose and song – in true cabaret style – it must be said that Emma has the voice of an angel.

There were funny chuckle-worthy moments, but no belly laughs. That’s to be expected, because the story is more tragedy than comedy. Finishing on a gorgeous, jazzy, sensual rendition of “Feeling good”, my friend and I walked out of Butterscotch feeling pretty damn good that we got to see such an enthralling show.