Most people have certain expectations of their self- portraiture and “life” but as we all know, the ambiguity of it all can send us turning. Jenny Wynter’s theatrical rendition of her life so far was the classic case of everything NOT going according to planned. It’s all about the gorgeous husband, Sydney mansion and the “Flashdance Moment”. Right? Right? …Wrong!
Jenny Wynter in The Unexpected Variety Show
Wynter presents a one woman 90-minute show that showcases her amazing musical ability and songwriting skills. The song Bring On The Men perfectly illustrated the crazy sexual escapades that Wynter has found herself in. This followed by the unexpected, “social life” threatening news that any single girl dreads hearing (cue: you’re pregnant!), and voila! A song tribute to child birth and labour found its way to the stage. My midwife of a mum, who was sitting next to me and has seen her fair share of babies and “hoo haas”, absolutely loved Wynter’s song! The Comic Mummy also shared her hilarious mother-daughter duet that shifts from “Mummy Rocks” to “Mummy Sucks”. Though this incredibly sensual lady may not think she is “living the life” as an official actress/comedian, it seems she is well on her way.
There was a real passion and vibrancy within Wynter’s voice, stance and facial expressions. I just loved her energy! At one point, I felt Wynter’s piercing gaze slice through me, even though she was probably staring at the wall behind me, seriously gave me the shivers. She finally had the opportunity to perform to Irene Cara’s What A Feeling and have her “Flashdance Moment” – and will do for at least two nights more. I know could see her over and over again.
The venue, Tuxedo Cat, was fitting, the audience attentive and the lighting really set the mood: dim for the heartfelt and bright for the energetic. It really added to the emotional rollercoaster in the tiny theatre room.
Jenny Wynter oozes talent, and The Unexpected Variety Show is a very passionate piece. It runs at Tuxedo Cat until 25 June. Book your tickets here.
Jenny Wynter is the down-to-earth Comic Mummy from Brisbane, QLD. She will be travelling down to our dear city of Adelaide with her ‘Unexpected’ Variety Show next week as a part of the Adelaide Cabaret Fringe Festival. The show runs a short season at Tuxedo Cat from 23 June to 25 June.
Before you read Wynter’s witty responses below to our “hard” questions here at Adelaide ArtBeat, see how her rehearsals are going in anticipation of the show…
RC: How did you first get into stand-up comedy?
JW: Ever since I can remember I wanted to be an actor, and looking back now – though it wasn’t something I intentionally pursued – I can see that I was always cast in the comedic role. Then when I became a mother relatively early in life (at least in terms of what I had planned to happen!), I thought performing was over for the time being and found that ridiculously hard to deal with.
Then one day I saw a sign up for a stand-up comedy competition and without thinking, I just rang up and registered. I didn’t have the faintest idea what material I would say, I didn’t have anything! But I knew that a deadline would force me to come up with something! At that point it really wasn’t anything serious, it was more just a way for me to feel better about having a guaranteed night out of the house doing something that had nothing to do with being a mum. It was only as it started to snowball that I realised I’d kinda accidentally stumbled into a comedy career.
RC: Tell us about your first stand-up gig…
JW: Well, it was at the Triple J Raw Comedy Competition, which I think was a brilliant start as the audience there knows it’s all newbies and they were very supportive. That said I was still completely terrified!
I took a guitar up onstage with me, reasoning that even if people didn’t laugh at me, if I played music they’d at least listen! It was a bit of a psychological crutch: I’d never ever played guitar in public before, in fact I had no idea how to even plug the damn thing in. When the sound guy realised this he gave me a look that said “Oooooh boy you tragic little lady!” But to my surprise it went quite well. And when you’re bitten by the high that is ‘strangers laughing at/with me!’, it bites you hard.
It’s funny to me now though, thinking that I only did a song to start with because I was so scared – nowadays, musical comedy is the main focus of what I do!
Jenny Wynter in The Unexpected Variety Show
RC: Where do you find the inspiration for your jokes and stories?
JW: Like that famous Wet, Wet, Wet song says, “It’s all around.” “I feel it in my fingers.” “I feel it in my toes…” I’ll stop now. But yes, it’s really just drawn from anything in life.
There’s a saying that goes “bad for life, good for comedy” and I think that’s definitely true. Sometimes now even when something terrible is happening, there is a small part of me inside that is busily taking notes, going “this will be great material some day…” I don’t know if that’s very healthy or not!
JW: Haha! I’m impressed you’ve read my blog, even my hubby refuses to!
This show is very, very different from anything I’ve gone before – it really is a one-person variety show (it goes way beyond my normal stand-up and features musical, character, improv comedy and storytelling) that delves into the unexpected segments of life.
It’s a real first for me in that it’s by far the most deeply personal material I’ve ever done. I think it’s quite different than my traditional stand-up, which really just aims to make people laugh. In this show, people who’ve seen it have laughed, cried, come to see the show twice and often come up and hugged me afterwards in the foyer. Which I welcome. I love affection that doesn’t involve snot on my shoulder.
But yes, if you see my stand-up, you might laugh at me, if you see this show, you might laugh, but you’ll also get to know me. I make no claims as to whether this is an actual good thing.
Comic Mummy, Jenny Wynter
RC: Why have you chosen to come down and perform at the Adelaide for the Cabaret Fringe Festival?
JW: I first heard about the Cabaret Fringe Festival from a lovely comedian friend of mine, Liz Skitch (of “Skitchtease” fame.) We performed together earlier this year at “Titters” in the Adelaide Fringe and had the most incredible time and for me personally, this was a hugely significant turning point. Namely because 2010 had been a spectacularly awful year – I was wiped out in a head on collision weeks before my show was to make its Aussie debut and found myself sidelined from performing altogether for months.
So performing in Adelaide earlier this year felt in many ways like my stage re-entry. I couldn’t believe how beautiful the audiences were and how much they were open and connected with my stuff, so on the back of that tremendously special experience, I absolutely leapt upon the opportunity to come back here to mark the Aussie debut of my show, much like a rabid dog jumps on rabid dog stuff. Doing it in Adelaide just seemed kinda perfect. And unexpected. How poetic is that?!
Almost like a mini-gala event, prepare yourself for a couple hours of pure entertainment where Melbourne duo Wrongtown (Claire Bowman and Rose Sejean) take on pop-cabaret starlet Cookie Baker following vocal talent Ryan Coffey.
Coffey (pictured below) opened the show with three original tracks, and impressed the intimate crowd at La Boheme with his ability to sing and beatbox at the same time. He also used a loop machine to great effect, creating backing tracks on-stage for each song. His comedic routine was also well received.
Coffey then invited Jaan Kiploks (guitarist) and Cookie Baker to join him on stage. The transition between Coffey and Baker’s sets was seamless. Their cover of Portishead’s Glory Box was simply magic: Baker’s vocals, Kiplok’s strumming and Coffey’s beatboxing and kazoo-playing melded perfectly.
Baker stayed on with Kiplok to perform some of her best original material about ‘boys and booze’ (which unfortunately, for now, is not available on CD). Her initial on-stage diva antics seemed a little hollow (and ultimately unnecessary) but were quickly forgotten as her fingers danced over the keys and her voice filled the room. The diverse set included some fast and fun numbers, like the above Clean Sheets And My Bottle Of Gin, as well as the slower, emotional ones. Baker also admitted to having a crush on Dr Steve Taylor from All Saints – so much so that she even wrote a song for Dr Steve.
After a brief intermission, not to mention a chance to refill cocktail glasses, we were promptly transported to Wrongtown…
Claire Bowman (pictured above) and Rose Sejean performed a series of satirising skits featuring their abilities as actors, impersonators, singers and dancers. Characters included convincing impersonations of Cher and Christina Aguilera, tele-shopping hosts and Karen Carpenter as well as some who were clearly disturbed and deranged. My favourite (as a Chicago fan) had to be their adaptation of the Cell Block Tango, littered with references to Geelong and Adelaide. The pair entertained the crowd, whose attention did not waver despite the late hour.
Quick kudos also to Adam Boylon, who did not miss a beat as the audio and lighting technician on opening night.
Wrongtown Vs Cookie Baker in ‘Mischief Delicious’! runs for approximately two hours, by far the best value show so far in the Adelaide Cabaret Fringe Festival 2011 program. The show is on at La Boheme tonight and at Tuxedo Cat over the weekend. Last show Sunday 12 June, book your tickets here.
The enigmatic performance by Hew Parham as “Schmoo” in Odyssey Schmodyssey was a definitely an experience to be had by those with an open mind. Spotted shirts, spandex jumpsuits and a silently demanding hot pink feather duster made this show exquisitely unique. Sitting the audience, his piercing blue eyes scanned everyone else’s as he speaks in his own language, the mesmerising jabber had a poetic nature to it that only enticed everyone in the room to listen.
Having been educated at Flinders University and “Pochinko” Clowning in Canada, the ease of Parham’s ridiculous act was truly organic. As from my observation the complexity of Parham’s character took us for a stroll through his personal incongruence between Gods, demons, life, death and fear whether they were a deterrent or a guide. The soothing voice of Nina Simone and Van Halen’s Jump maintained the flow of the series of events within the emotional rollercoaster rides
with Schmoo as the nutcase “tour guide”.
The simplistic props of noodles, quilts, kilts, feathers and sock dolls were ideal for the playful nature of the character of Schmoo, adding extra randomness to the notions of exploration and “seeking out”.
Though Schmoo may not be to everyone’s personal preference, I highly recommend going to see this show; I have never seen anything as amazingly “fast talking” and as dramatised over feathers called “Petal” before in my life. It’s a bit like watching the same movie a few times and each time you learn something new about the story, your perception matures adding to the depth of your own understanding, Hew Parham is oracular.
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Schmoo Performing with 'Petal' at the Royal Gala for the 2011 Adelaide Cabaret Fringe Festival [Image Courtesy of Event Photography Adelaide
On a wet winters night The Tuxedo Cat, with its high vaulted ceilings, was chilly. I was tweeting this fact when I received a reply tweet from Emma Dean herself! This was going to be fun.
As Dean is introduced to the stage with its simple set of a red curtain, a dressmakers dummy, her keyboard, dressed in her aforementioned black unitard. With no costume distractions, we are drawn to her beautiful face painted white with 1 eye green and bright red lips. And then she sings.
Emma Dean
There’s a little bit of Master of Ceremonies (Joel Gray) from Cabaret as she headlines the show spectacularly with a similar enthusiasm and obvious enjoyment. She takes us through Part 1 while engaging intimately with each audience member, creating a rapport that helps leads us through her story in speech, song and movement.
At the first interval, we’re introduced to Emily Davis, who successfully distracts us, while Emma is changing into her next costume by incongruously yet humorously singing the ‘Shoe Shed’ theme on her ukulele!
Part 2 for Dean is all about ‘heartbreak and heart failure’. It’s evident now we see her stripped to the bare essentials, vulnerability and strength pouring from the lyrics in her songs. Her voice is beautiful and compelling and she has a commanding performance on stage …we can’t help but be drawn into her stories.
In Part 3, Dean asks Davis to collaborate and we then have the opportunity to appreciate how versatile they are as they change instruments to play the violin and guitar respectively on a version of the Tori Amos Cornflake Girl song: a great success.
Joel Gray is channelled again in the circus atmosphere of Part 4, entitled “Dear Mother & Father, I have become an outcast of society and I don’t know why, therefore I have decided to run away to the circus.”
The delightful hour has ended and it’s gone all too fast. Luckily, we are all so appreciative we’re treated to an encore, but even after that we still want more. We had to shake off the trance of her performance to step back into the colder, wetter, winters night.
