RAW: Cabaret Fringe – New Coat of Paint – La Boheme – 4.5K

There was barely room to move in La Boheme for New Coat of Paint, a retrospective of the music of Tom Waits. With a three piece band and vocalist on stage, in addition to the piano and full drum kit either side, part of this was due to the act itself, however there was also a capacity crowd, ready for an evening of great tunes. Waits is a musician of many and varied styles, who is renowned for his distinctive, storytelling style and gravelly voice, so the promise of a female singer was intriguing.

Opening with the track after which the show was named, it was clear that we were in for an hour of top quality music. Alison Coppe’s voice is sublime. It is full and throaty, filled with rich tones and bubbling with emotion. Her range is wide, hitting the high notes with seemingly little effort and revelling in the sultry tones of the lower register. There is purity to her voice which could be thought of as the antithesis of Waits’ own sound but none-the-less it worked and brought out the beautiful melodies in his songs.

Providing the instrumental component of the evening were David Mazzarelli laying the foundations on drums, Michael Ciaramella, switching between electric and double bass, Luke Ferguson showing off his multi-instrumentality on electric guitar and trombone, Giovanni Clemente adding musical highlights on saxophone and, musical director Aaron Nash on piano. It was a slight pity that Nash was somewhat obscured from view, being on ground level, as his finger-work was a delight to watch.

All six performers were impressive on their respective instruments and had good onstage group chemistry. The set list was filled with songs in a range of musical styles and they met the requirements of each admirably. This was a sassy, energetic and powerful night of music. Hopefully this group of performers will be back with more of the same in the future.

Kryztoff Rating: 4.5K

RAW: Cabaret Fringe – Freewheelin’ – The Promethean – 4K

After a successful run of shows during this year’s Adelaide Fringe Festival, Tara Carragher returned with a single performance during the Cabaret Fringe of her wonderful tribute to the songs of legendary musician Bob Dylan. Once again this was staged at the Promethean – the perfect venue to relax with a drink on a Saturday afternoon and be enveloped in the sounds of this superb local talent.

The show was broken up into two sets, designed to represent the structure of Dylan’s own career. Initially it was just Carragher and her guitar on the stage, as she played tracks primarily from the sixties. This allowed the melodies of the songs to shine and Carragher’s voice soared. While there wasn’t a lot of small talk between songs (Carragher put this down to a desire to fit as many tracks into the allotted 90 minutes as possible), it was apparent that she was an affable person with a true love of the songs she was playing. To close this first set, pianist Richard Coats joined Carragher on stage for a rendition of Blind Willie McTell. This fuller sound, the combination of piano and guitar, gave a hint of what could be expected in the second half of the show.

The second set saw the backing band grow to five members with the introduction of drums, bass, electric guitar and lap steel. Carragher also switched between acoustic and electric guitar throughout this part of the show. Opening with the much loved All Along the Watchtower, the following 40 minutes included a delightful combination of well-known and obscure tracks with glorious guitar lines filling the space. While the majority of the tracks were still from Dylan’s early career, the comparatively recently released Things Have Changed showed that the man can still write a song.

Closing with a rendition of Knocking on Heaven’s Door we were reminded of just how much of a contribution Bob Dylan has made to music. Undoubtedly Carragher could have kept playing song after song, and we, the audience, would have been happy to keep listening. 

Kryztoff rating: 4K

RAW: Cabaret Festival – Freeway – The Chet Baker Journey – 4K

Tim Draxl assumes the role of both narrator and sometimes also the genius himself in this tribute to the man once known as the ‘James Dean of Jazz’.

From earliest days to his death in Amsterdam 23 years ago at the age of 58, Draxl and friends, Ray Aldridge (piano and direction), Dave Ellis (on bass), (both of whom looked they may have been Baker’s science teachers from school) with Eamon McNelis of trumpet take us on a journey that explains, exclaims and then covers the extinction of the sexy, isolated, drug addled Chet Baker.

Tim Draxl, in black suit, white shirt, thin black tie, does an excellent job, mixing the narration and signing with a style and look that certainly well mimicked the subject matter of the show. Intensely personalising his renditions (drawing his own tears as well as those of members of the audience) without melodramatics, Draxl left none in no doubt why Baker, the eternal wanderer, enjoyed the attention (Bruce Webber loved to photograph him) and recognition of the jazz world as well as of a broader fan base, even if his story ultimately was one of tragedy.

Highlights for this reviewer were Foolish Things, I was Born To Be Blue and the opening number, My Funny Valentine.

This is top flight cabaret, not without risk to present a tribute in such a mirrored way for both Draxl and McNelis but both succeed admirably.

Kryztoff Rating  4K

RAW: Cabaret Festival – Tuba Skinny – Banquet Room – 4.5K

Tuba Skinny have a sound and energy which is, strangely, both relaxing and invigorating at the same time. Made up of the expected tuba (Todd Burdick), a trombone (Barnabus Jones), trumpet (Shaye Cohn), guitar (Kiowa Wells), vocals (Wells and Erika Lewis) and washboard (Robin Rapuzzi), this group of young performers create music reminiscent of the speakeasies and jazz clubs of 1920s America. Hailing from New Orleans, they are fresh faced but old souled, injecting heart into the music they play. While they are accomplished musicians, it’s hard to believe they’ve been playing together for five years (two as Tuba Skinny) with their collective age surely not much more than 100.

If you can manage to draw a crowd, the advantage of doing a late night show is that the audience is likely to be made up of the more enthusiastic of show goers. This was the case for this particular performance, with appreciative applause thundering through the banquet room following each number and also mid-song after some of the more impressive solos – particularly Rapussi’s enthusiastic turns on the washboard.

While a space had been provided for dancing, only a few were brave enough to get up and strut their stuff. Props to those who did, as this music was made to be danced to. There are however certain drawbacks to having a dance floor at such a gig in such a venue. Firstly, when it’s empty, it’s the awkward, vast, elephant in the room. On the flip side, when it’s full, the dancers somewhat block the view of the remaining audience due to the low stage. This problem was compounded by the necessity for two-thirds of the band to be seated. Ultimately though, the music was so enjoyable that although it was disappointing to miss out on the visuals at times, the aural pleasure was enough to leave their audience satisfied.

Kryztoff rating: 4.5K

RAW: Cabaret Festival – Simon Burke – Festival Centre Stage – 4K

Simon Burke is well known to Australian audiences for his roles on TV and in films, having wowed the population with his AFI winning performance in The Devil’s Playground at the tender age of 13 and then appearing in such beloved TV shows as Brides of Christ and, the big one, Play School. He has appeared at previous Adelaide Cabaret Festivals but this is the first time he’s presented his own show.

Something About Always, shares its title with his debut album, though the show includes many songs from other parts of his life, as well as a handful from this record. Joining Burke on stage, providing pleasant musical accompaniment, are his co-producer Daniel Edmonds on piano, Lucas Edmonds on drums and piano accordion, Brendan Clarke on bass and Barrie Shaw on reeds.

Over the course of an hour and a quarter, Burke presented us with highlights from his life, performing favourite songs from musicals he’s starred in and adding fun behind-the-scenes stories in between. Showcasing his additional talent as a dramatic actor was a scene from Three Furies – Scenes from the life of Francis Bacon. For the most part though, the atmosphere was light and fun, with many song lyrics “reimagined” in amusing ways to tell the story of Burke’s journey.

Burke’s voice is full and rich, showing why he has got to the level he has in musical theatre. His choice of material is a good mixture of fun and sincerity. For someone who has performed on some of the most renown stages, with some of the best known actors, in some of the best loved shows in the world, it was sweet to see a small amount of nervousness in his performance as he presented his first cabaret show to Adelaide audiences.

Kryztoff Rating: 4K

RAW: Cabaret Fringe – Comedy Hypnosis – Higher Ground – 3K

By Nicki Bullock

It was a Thursday night upon a darkened stage at Higher Ground that I found myself being hypnotised by Isaac Lomman.  His Comedy Hypnosis show runs from 16th-18th June as part of the Cabaret Fringe Festival, in Higher Ground, just off Light Square.

The experience was relaxing, joyful and amusing.  At one stage in the night I believed I could tapdance and dominated the stage as if the world’s greatest performer.  The suggestion that I could only sing and not talk during intermission found more resistance within my mind though; a mind stubbonly sure that the voice it controls cannot sing!  Not at all what I expected from a Thursday evening out, throughout the whole performance I was in a state of peace, and often abundant joy; it was like a guided meditation with an element of play.

The crowd for the opening night was small – a cosy, friendly gathering around candlelit tables.  Waves of laughter rose and ebbed as Lomman generated an environment cheery and trusting, and slightly absurd in a very fun sense.  A play on senses and perceptions, for the participants who find themselves on stage it is an opportunity not to be bound by the conscious mind, to let yourself play, letting your imagination flow open to Lomman’s suggestions as he guides us through a unique journey, memorably peaceful and joyous.

A unique and amusing experience for the audience too, this is an evening out well worth the admission price.

Kryztoff Rating  3K

RAW: Cabaret Festival – Chita Rivera’s My Broadway

By Julia Loipersberger

Not being a grand aficionado of Broadway music (and frankly wondering how, apart from involving singing, Broadway and Cabaret had anything in common) I was excited but a little apprehensive about reviewing Chita Rivera’s My Broadway tribute to, well, herself and her career. At almost 80 years of age (sorry, Chita. The Internet never lies) Ms Rivera is unquestionably one of the grand dames of Broadway, having appeared in the ‘original’ incarnations of recently revived musicals including Chicago, West Side Story, Sweet Charity and The Rink. But I queried, perhaps unfairly, whether just because a performer used to be the best at something in the 1950s was sufficient reason for them to keep treading the boards in 2011. As it turns out, whether or not Ms Rivera should be performing is irrelevant because she is still so good at it.

Ms Rivera exudes a vibrancy and happiness while performing which it is absolutely impossible not to enjoy. Dressed simply but elegantly in a flattering red dress with matching, sparkly shoes, Chita lit up the stage as she shimmied, kicked and spun her way through her set. With such an extensive career behind her, Ms Rivera took the (mostly older) audience on a trip down memory lane as she performed some of her most well known hits including ‘America’ from West Side Story, Where am I going’ from Sweet Charity, and a personal favourite of mine, ‘All that Jazz’ from Chicago.

Although I was a little disappointed not to hear some old favourites (including ‘Big Spender’ from Sweet Charity), this in itself is testament to Ms Rivera’s mastery of her art form. With the kind of voice you would expect from a Broadway diva, there were no real lowlights to Ms Rivera’s performance.

Ms Rivera’s obvious comfort performing meant that, rather than appearing to ‘entertain’ the audience with patter, she really seemed to be reminiscing about an amazing career which is showing no signs of slowing. Backed by a fabulous band, my only real criticism would be that at times the band risked drowning out Ms Rivera’s voice.

Although I didn’t quite leave the show wanting to slide down the banisters of the Festival Theatre with a top hat and feather boa, I do sincerely hope that I will be as good at – and love – my job as much when I am almost 80 as Ms Rivera clearly does. And no, I can’t do high kicks like Ms Rivera still can.

Kryztoff Rating  4K

RAW: Cabaret Festival – Leo Sayer – 4.5K

The little Englishman, now happily resident in Sydney, was in great form on the first of four nights at the Adelaide Cabaret Festival. Opening with More Than I Can Say and wearing a black glitter jacket over a black and white checked shirt, Sayer gave a first class display of what the ultimate entertainer is all about.

He just loves to perform and his audience quickly senses that and responds accordingly. But more than that, here was a man, now in his sixties, as fresh with his steps and his almost adolescent humour, as he seemed in his heyday of at least 30 years ago, albeit a little tubbier and with less of those distinctive curls than then.

His music has lost none of its zest with those great dance tunes attracting an audience of not only those keen to travel back in time but also newer generations of fans that gyrated to his music through their various revivals in the 1990s and 2000s.

Unlike many performers who give lip service to the town they are playing in, Sayer dared to recall his first concert in Adelaide in 1973 at the Apollo Stadium and informed and amused with other local tidbits along the way.

Pressing out the hits in the time allowed to him, the gems were Long Tall Glasses and Have You Ever Been In Love. The members of his six piece band were all on song as well, with Ross Middleton’s sax work a highlight.

At times, the backing music perhaps tended to homogenise those commercial sounds we all remember – perhaps the show had done a few too many performances at Sydney leagues clubs – and it was also difficult at various moments to square this buzzing ball of energy with his Pierrot the clown days singing the laments of the struggling artist and boy looking for love and recognition as well as food. But, hell, that wasn’t going stop Leo doing what he has always done – perform to deliver maximum enjoyment to his audience and himself.

Of the 70s pop stars wheeled out by David Campbell for this Cabaret Festival, for mine Sayer gets the nod as the best, ONJ included.

Kryztoff Rating  4.5K

RAW: The Wyrd Sisters – Bakehouse – Til 25th June – 3.5K

Terry Pratchett’s Discworld, a place where wizards, witches, heroes and the like exist and are taken seriously by its human inhabitants, is the source of this romps put on for us the Unseen Theatre Company at the Bakehouse.

In Wyrd Sisters, the fiendish death of the king (Paul Messenger) by Duke Leonal Felmet (James Loader), aided and abetted by his wife, the Duchess (Samm Blackmore) stirs the minds and actions of the three local witches (Pamela Munt, Therese Hornby and Lucy Haas-Hennessy) as they seek to restore right to the kingdom. In this quest, their work is assisted by a host of characters, the most notable of which is the Fool (Marlon Dance-Hooi).

Stephen Brigg’s adaptation, further worked on by Pamela Munt, of Pratchett’s original novel (one of 37) calls for a big cast and fourteen actors play out near on 30 roles. Leading the credits list in this rendition is Dance-Hooi. His is a terrific performance, multi coloured and faceted, that keeps us amused as he bells his way continuously across the stage.

James Loader as the evil Duke also deserves special mention, his scheming and unfortunate marks of the blood on his hands has elements of Monty Python’s Spanish Inquisition and Blackadder. In the second half, Hugh O’Connor delights as the battling writer/director Hwell and Pamela Munt (as Granny Weatherwax) and Therese Hornby (as Nanny Ogg) drive the witches’ sorcery forward with gusto and great credit to their make-up team.

Indeed, full marks are scored by all backstage as the costumes are terrific (the witches’ hats and the Fool’s gear and make-up notable amongst many fine pieces) and the manipulation of the stage near seamlessly achieved.

For a nice take on the rotten world we live in, with all our cunning vanities and other assorted failings, Wyrd Sisters makes for an enjoyable evening by a fine and (mostly) young cast.

Kryztoff Rating  3.5K

RAW: Soundwave Interview – Young Guns

By Socratos

The Young Guns are a band who have enjoyed a rare fast track to success from playing small gigs in 300-capacity ‘shacks’ to the main stage at Reading and Download festivals to crowds of 15,000 within 3 months. Their rise is a wave of success mainly encouraged by the release of the band’s first album entitled All Our Kings Are Dead.

I spoke to frontman Gustav about his philosophy behind the naming of the album;

It was some thoughts that arose within myself which I then thought could be applied generationally. Just a sense of lack of direction, mainly because we don’t have any leaders or role models in the traditional sense to look up to as we once might have had. So that leads to a lot of confusion and not knowing what to do as expressed in sons of apathy.  So that’s what that is all about, all our kings are dead. I tried to write an album that broke down the barriers and spoke about things that that a lot of people could connect to.

My conversation with Gustav took place as the band was between tours having some down time.  They are currently working on their second album when they get the time. I asked if they were looking forward to unleashing some of the new songs live during the tour.

We have a very perfectionist thing going on within our band, we like to keep the songs underwraps before we unveil them live. It’s nice to take some time off touring to be able to be in that headspace for writing.

Seeing as so much of your success has rested upon the first album do you feel anxious about changing or wonder about the direction of the band during the cross over to the second album?

We just let whatever comes out be and we focus a lot on making the album sound as good as it possibly can so in that way we are very commited in that way, it’s nice to have the time to concentrate on it. It’s nice to have something that you are passionate about in your life. I think that to be on that main stage infront of all these people you have to have a sense that that is where you are meant to be and a belief in it that makes it all come about, so I try not to think about how we got there so quickly in such a rush because it blows my mind a little bit!

Do you feel as though you are part of a scene of related bands in England or over in Europe?

Not to sound wanky as much as we love to play with other bands its nice to be able to be a part of the scene and then get away from it. There are a lot of young up and coming rock bands in England at the moment that we feel a part of like we are the ocean who we are heading to Australia with for Soundwave.

So far the highlights of our career are sharing the main stages at all the big festivals like Download and Reading and when we are over there we are sure that being on tour in Australia will probably be the high point.