By Peter Maddern

Fans of traditional cabaret may not know whether to laugh or cry as Meow Meow, clad only in her underwear (as a result of ‘a hiring stuff up by her producer’), takes to classic Weimar and New York table entertainment with sword and satire. Whether seeking to inject ‘atmosphere’ into a frigid Adelaide crowd, spice things up with Vegas style lighting and making perhaps the most awkward costume change in theatre history, Melissa Madden Gray is a rollicking delight.

Anyone who has witnessed Dame Edna’s antics will spot the provenance of this show but Gray is unabashed as hapless males are brought up on stage to nurse her various protrusions and folds while she sings and even the members of her two piece band are required to strip down in sympathy with her.

Notwithstanding the roses and rockette dolls flying around at will, there is actually singing going on; rich, edgy and pulsating renditions of works from Brel to Brecht to Radiohead – though amongst the mayhem it is perhaps the weakness of the show that one does not get more of an opportunity to appreciate Miss Meow’s vocal skills.

The is fine entertainment and somewhat like Eddie Perfect’s musical, it may be you will never look at the genre in quite the same way again. A show to enjoy over and over with her crowd surfing finale amongst who booked the earliest a memory that will joyfully stay with you for a long time beyond the show.

Kryztoff Rating   5K

Gay has put together an eclectic and enjoyable mix of songs – from The Backstreet Boys through to The White Stripes, Kanye West through to Casey Chambers – which manage to bring this feeling to the stage. In addition to some wonderfully original covers of iconic songs – think a calypso-esque version of Sinead O’Connor’s Nothing Compares to You – she has a flare for mash-ups, weaving together songs that you wouldn’t normally think would complement each other, into an hilarious yet musically satisfying mix. Assisting her in this are the brilliant Benny Cann on drums, Gavin Pierce on bass and Musical Director Simon Ross on Piano.

Through all of the numbers, Gay’s voice soars out over the crowd. It is powerful and enveloping, with a syrupy quality and clarity that never falters. Her stage presence is mesmerising and her energy, at the same time coupled with the suggestion of more than a hint of the exhaustion brought about by lack of sleep, is infectious.

This is a superb vehicle for Gay to show off her considerable musical and comedic talent and she provided a highly enjoyable hour of entertainment.

Kryztoff Rating: 5K

Technically, the show was impeccable. Flawlessly performing standards from the Great American Songbook including favourites such as ‘Feeling Good’, ‘Got You (Under My Skin)’, ‘Under the Sea’ and ‘Sway’, Burlinson took the audience on a musical lecture describing the origins of swing music, the rise, fall and rise again of superstars such as Tony Bennett, Frank Sinatra and then the genesis of the ‘new’ Kings of Swing Harry Connick Junior and of course the divine Buble.

The only problem was that the whole show felt slightly – well, cheesy. It wasn’t the music (which I love), it wasn’t the ability of Burlinson to vocalise it…. it was something indefinable about the whole performance which made it feel a tiny bit as though I was attending a performance in a nursing home or on a cruise ship. There was just a touch too make fakery in the smile, a touch too much wiggle in the hips, to make this show a true success.

If you are a fan of swing, this is a show worth watching. But if you’re not – pick something else from the line-up.

3K

By Ben Nielsen

Following the success of the critically acclaimed Songs for Nobodies, Bernadette Robinson returns to the Adelaide Cabaret Festival to debut a new solo cabaret show.

Robinson is the most remarkable performer. As with Nobodies, much of her new show rests upon her ability to channel various iconic singers. This uncanny mimicry is a talent that is even better used comically; “I Love the Nightlife” a la Julie Andrews had the audience in stitches.

Robinson’s classical training has not restricted her ability to successfully delve into other genres.  It may appear a little bit karaoke, but she seamlessly transitions, adapting not just her character but also her entire musical approach.

It’s a shame that the show is quite so consumed by the representation of other artists. A particularly beautiful rendition of “The Blower’s Daughter” is perhaps the only time that the audience really ever hears Robinson’s own voice.

The show is a little too similar to Songs for Nobodies, but it is easy to be swept away by the extraordinary talent that is Bernadette Robinson.

Kryztoff Rating   4K

Writer Tom Holloway has shaped two characters that are likeable, intelligent, funny, strong, and scared. Under the direction of Yasmin Gureeboo, Jacqy Phillips and Peter Green bring this loving couple to life. Their portrayal highlights the sweetness and humour that can be present in such a situation while also recognising the ultimate seriousness of it. Their chemistry is wonderful and each creates a character with whom it is easy to empathise; however, at times the energy and emotion of some discussions didn’t quite hit the expected peak intensity.

The set from designer Manda Webber, creates an atmosphere of a world with little life left in it, but in a beautiful and natural way, highlighting the cyclical changes of life and the inevitability of death. The script is a mixture of scenes in the present and the past and Gureeboo has made the choice to present the flashback segments in film format, projected on the set, rather than live on stage. While this is effective on several levels – it differentiates the timing of scenes well, removes the need for scene changes and enables some interesting directorial links to be made between the characters on-stage and their earlier on-screen selves – and is done to a high quality, it also means that the audience-actor connection of theatre is diminished somewhat for large chunks of the story.

For anyone who has had someone close to them receive news of a terminal illness and faced the inescapability of the situation, this play and the performances in it will be gut-wrenching, heartbreaking and may leave you feeling emotionally shattered. For those that have not, the characters and their plight are still likely to resonate as we all realise it could be us, or someone we love, in that situation one day.

Kryztoff Rating: 4K

Fronted by Goodall, a band made up of some well-known faces (Harley Gray, David Heinrich, Emma Luker and Grant) wend their way through the tale, as the men leave their homes and their women for a fortnight’s hard work in the middle of nowhere. Between songs, Goodall provides poetic narration, as we are introduced to what drives each of the characters and are presented with the foreboding information that not all will make it back home. While this ties the songs together nicely and creates a journey for the characters, it isn’t quite enough to make you feel any emotional connection to them. All five performers are impressive with regards to their musicality, several regularly switching between a number of musical instruments and displaying great talent on each. The accompanying projected animation by Andy Ellis is suitably evocative and compliments the songs well.

The music is heavily based in the folk tradition and ranges from mournful ballads through to intense, modern rock numbers. The songs are all engaging, however there is space for some editing and at twenty minutes over the advertised running time, the creative team may want to think about removing a few of the shorter songs which, while excellent, are not really necessary to progress the story or enhance the atmosphere. There are numerous compositional references to other songs smattered throughout the original works, most notably the beautiful ode to the evils of money which harks back to the haunting strains of Leonard Cohen’s Hallelujah.  While Goodall provides lead vocals for the majority of songs and shows off a great range and vocal quality, Luker steps in to give a pleasing voice to the women left behind waiting for their men to come home. Their voices intertwine splendidly in the enchanting Return to Me.

While it still needs to be cut back and tightened in terms of the narrative and set list, the actual words, music and performances are all top quality and it’s a highly enjoyable show.

Kryztoff Rating: 4K

Momo Films is delighted to announce the release of the award winning Canadian feature film Cloudburst, on 11 July. Starring Academy Award winners Olympia Dukakis and Brenda Fricker and directed by Thom Fitzgerald (Hanging Garden), Cloudburst has won 30 Best Picture Awards and enjoyed sold out screenings at film festivals around the world.

Kate Whitbread and Spencer McLaren head up Momo Films which is a new and exciting independent boutique distribution company acquiring films from Australia and around the world.

“Our aim is to bridge the gap between filmmakers and their intended audiences by providing individual, imaginative theatrical and digital campaign strategies.  Often this means employing a more unusual approach than traditional campaigns. We are thrilled to have the opportunity to bring such a stunning film as Cloudburst to Australian audiences.”

Cloudburst is a romantic comedy that tackles some of contemporary life’s biggest issues. Stella and Dot have been together for 31 years, faithfully accompanying one another through life’s ups and downs. Now in their seventies and with Dot legally blind, they are forced to make a bold decision when Dot’s granddaughter Molly decides to intervene in their lives. Forced to become outlaws, Stella and Dot hit the road to Nova Scotia, Canada to get legally married. Along the way, they pick up young hitchhiker Prentice, on his way home to see his dying mother. Prentice has much to learn from Stella and Dot as they wage their unexpected battle struggling to keep their family together after three decades. With equal parts humour and grace, Cloudburst explores life, death and love through the eyes of this unusual trio.

Olympia Dukakis is an actress, director, producer, teacher, activist and author. Her resume includes a multitude of film, theatre and television credits and prestigious awards including an Oscar for Best Supporting Actress for her role in Moonstruck (1987). 

Brenda Fricker is an acclaimed stage, television and film actress. She won an Oscar for Best Supporting Actress in 1990 for her role in My Left Foot: The Story of Christy Brown.

By Ben Nielsen

He may be outrageous, bizarre, flamboyant, endearing and comedic, but none of these words adequately describe Paul Capsis and his Adelaide Cabaret Festival revue.

Capsis’ voice is putty, moulding from the mellifluous depths to a high, raspy screech. Accompanied by an incongruously conservative (but rocking) four-piece band, Capsis traverses repertoire from Bowie to Winehouse. He does not impersonate any of these artists, but embodies them.

There was very little dialogue, but the audience responded well to Capsis’ cheeky interactions and casual commentary.

Energetically flouncing across the stage, he had the audience clapping and laughing, heads bobbing along to the infectious beat. But no one was quite confident enough to accept the invitation to stand and dance, to which Capsis lamented “you’re so introverted tonight, Adelaide”. Though the audience may have been introverted, they were liberal with applause and ovation.

There is no doubt, Paul Capsis guarantees entertainment.

Check out our interview with Paul Capsis at CLICK HERE

Kryztoff Rating  4K

The 16^th Spanish Film Festival, presented by Estrella Damm, will open with a bang when Cesc Gay’s A Gun in Each Hand (Una pistola en cada mano) screens at Palace Nova Eastend Cinemas on   13 June. Featuring one of the most star-studded and talented casts assembled in modern Spanish cinema – including the phenomenal Ricardo Darín, Luis Tosar, Javier Cámara, Eduardo Noriega, Leonor Watling, Candela Peña and Cayetana Guillén Cuervo– A Gun in Each Hand is a witty and brutally hilarious portrait of forty-something men and  the changing gender roles of contemporary Spanish society.

This year’s closing night event showcases Luis Buñuel’s 1970s classic Tristana, the surrealist masterpiece starring Catherine Deneuve that explores religion, politics and love in a way that marks it as a revolutionary film to this day. The dark, artistic love story will close the festival this year, with a nod to this internationally revered Spanish director who changed the landscape of cinema forever.

In addition to these two key events, the 16th Spanish Film Festival, presented by Estrella Damm, features 20 other stand out Spanish and Spanish-speaking Latin American titles.

“This is an exciting year for Spanish cinema and our program reflects the quality emerging from these regions. We are thrilled to present 21 Australian premieres that capture the true spirit and scope of Spanish and Spanish-speaking Latin American film. This year we introduce a number of special events with our sponsors Estrella Damm and Torres Wines which will include tapas and live entertainment followed by carefully curated films”, said Palace Cinemas Acting National Festivals Manager Genevieve Kelly.

The Festival is extremely pleased to welcome Mexican director Natalia Beristáin as a guest. In her debut feature, She Doesn’t Want to Sleep Alone (No quiero dormir sola),  Beristáin has crafted a gentle, character driven drama about two women at very different stages of life, who need one another more than they realise.

The Spanish Film Festival invites audiences to shake off the winter blues with a special screening of

The Summer Side, a superbly-balanced fusion of eccentric comedy, melodrama, and tenderness. Set in the

Canary Islands, the film centres on the trials and tribulations of a wonderfully dysfunctional family.

 The JAZZ & JEWELS special event is another opportunity to party, with drinks courtesy of Estrella Damm and Torres Wines, tapas and live jazz. This will be followed by a special screening of Hold Up! an energetic, crowd-pleasing knockabout heist caper with serious, even tragic, undertones. The film is based on the bizarre true story of a complicated plan concocted to prevent the wife of Spain’s dictator General Franco getting her hands on jewels once owned by Argentina’s fabled first lady, Evita. (Palace Nova Eastend – Wednesday 19 June, 6.15pm arrivals for 7pm screening. Full $26/ Palace Movie Club Members $22)

AUSTRALIAN PREMIERE highlights include:

• Oscar winning director Fernando Trueba’s (Chico y Rita, Belle Epoque) The Artist and the Model (El artista y la modelo). Nominated for 13 Goya Awards this year including Best Director and Best Picture, this exceptional Spanish production, in the French-language, unfolds in the rural splendour of the French Pyrenees in 1943.

• Indie box office hit in Spain Carmina or Blow Up (Carmina o revienta) is a glorious and outrageous comedy. Written and directed by Paco León in the style of a documentary, the bizarre and hilarious Carmina or Blow Up follows the filmmaker’s mother, a 58-year-old tavern manager in Seville.

• Days of Grace (Dias de Gracia), a 2011 Cannes Film Festival Camera d’Or nominee and winner of 8 awards including Best Actor, Best First Work and Best Supporting Actress at the 2012 Ariel Awards of Mexico. The gripping crime drama takes place in Mexico set against the backdrop of three soccer world cups (2002, 2006 and 2010).

• Don’t Fall In Love With Me (No te enamores de mi) puts a fresh spin on the term “romantic comedy” with a good dose of courage and sincerity. Pablo Rago (The Secret in their Eyes, 2009) leads this gorgeous cast composed of an exciting new generation of Argentinian actors who will leave you reflecting on your concept of love in our modern times.

• From the producers of The Impossible, Biutiful and Red Lights, and writers of Cell 112, The Impossible and The Orphanage, The End (Fin) is a suspense-filled, visually stunning thriller that wraps a thought-provoking novel by David Monteagudo in blockbuster production values. With brilliant performances from Maribel Verdú (Pan’s Labyrinth), Clara Lago (SFF13, I Want You), and Daniel Grao (Julia’s Eyes), The Endwill have you glued to your seat right up until its last haunting moments.

For more information visit www.spanishfilmfestival.com.au

Stay in touch through Facebook (facebook.com/spanishfilmfestival), Twitter (twitter.com/spanishfilmfest) or subscribe to our e-news and be first in the know.

LISTING DETAILS

WHAT:                  16th Spanish Film Festival presented by Palace

Date:                    13 – 23 June

VENUE  :               Palace Nova Eastend Cinemas

TICKETS:               Palace Movie Club Members $15/ Full $19.50 / Conc $16.50

BOOKING:          www.palacecinemas.com.au

MORE INFO:       www.spanishfilmfestival.com.au  

ADELAIDE’S NEW CABARET CLUB

As Cabaret stars from around the world visit our town for the Adelaide Cabaret Festival, the Cabaret Fringe is presenting local talent in cabaret venues around the city. One of the new venues this year is Harry’s Bar, a heritage listed pub in the heart of Adelaide.

Located at 12 Grenfell St, the upstairs heritage-listed Tatersall’s club (opened in 1879) is equipped with dance floor, dining area, balcony and a performance space that seats a hundred guests.

The bar debuted as a performance space with great success during the Adelaide Fringe this year and now freelance Marketing Manger and local comedian, Marcel Blanch- de Wilt, is attempting to recreate that success by transforming the bar into a Cabaret Venue with nightly entertainment.

‘It’s a brilliant performance space and the thousands of people who visited during the Adelaide Fringe thought it was beautiful,’ says Marcel Blanch-de Wilt, ‘Most of them had never visited Harry’s Bar before; it was our little secret and now we want to share it with the Cabaret crowd.’

The venue is playing host to two Cabaret Fringe shows, Tears, Beers and Beautiful Girls: A Musical Survival Guide, a show about dating in Adelaide as a twenty-something male and the intriguingly titled Depression: The Musical which includes true stories about coping with mental illness.

Harry’s Bar is celebrating the start of festive month with an Opening Night Party on June 1^st featuring live bands, show previews, drink specials and a cabaret-themed dance party. Everyone is welcome and admission to the event is only $5.

For more information about the event or the season of shows contact Festival Marketing Manager Marcel Blanch- de Wilt on 0421 771 816 or via e-mail at marcelblanchdewilt@gmail.com.