Moonshinin' - Perth Cabaret Collective (6 December 2018)

Take a few flights of stairs off Hay Street into the bowels of His Majesty’s Theatre, order a drink, take a seat, close your eyes, and listen. 

It’s not hard to imagine you’re in a nightclub in Berlin during the height of the Weimar Republic; or a club in New Orleans pretty much in any decade where jazz reigns supreme; perhaps even watching the Kelly Sisters perform in a dive in Chicago… before, you know, that unfortunate incident.

The music is timeless – the slide of the trombone; the slap of the bass; fingers tinkling the ivories; the wail of a trumpet; the caress of a saxophone; the crispness of a snare. Together, sublime. Music to make you smile, to tap your toes, to sway in time to the beat. Then you add the voices. Playful and sexy, crooning, snarrrrrrrrling, soaring. Music and vocals working in harmony. 

The Perth Cabaret Collective band and the talents of Jessie Gordon, Mark Turner, and Cougar Morrison.

An irresistible combination in the packed venue known simply as Downstairs at the Maj. Playing jazz standards and classic songs for almost two hours on an early summer’s night in the city. It doesn’t get much better than this.

Open your eyes and you are presented with a constellation of lights in the backdrop that will pulse and change colour throughout the evening. Illuminating the band, the performers, and the mood.

The sense of timelessness is aided and abetted almost immediately by Jessie Gordon appearing on stage like a movie starlet from Hollywood’s Golden Age. Gorgeous gown; winning smile; all confidence and sass. She works the audience with consummate ease before launching into Ain’t Misbehavin’ that sets the tone for what’s to come. Playful, sexy, and a little bit naughty.

Mark Turner is all suaveness and self-deprecation as he joins his childhood friend onstage. That friendship is immediately discernible in their banter and comfort in the other’s presence. They sing Dream A Little Dream to each other as if there was no one else in the room. An intimacy and authenticity that is compelling to experience. 

Then throw in the wildcard. The Queen of The Court, Cougar Morrison, who adds a sense of unpredictability and edginess. If it’s possible to upstage Gordon in the fashion stakes then Morrison does so with a battery of sequins, bold accessories, bolder make-up, and more costume changes than a Cher concert. But the lad can hold his own in the singing stakes while cutting a striking figure in a skin-tight gown. 

Morrison’s banter is far bawdier and he’s aware that his appearance may unsettle some of the punters. His mischievous “can you smell the fear?” as he prowls through the crowd at the beginning of the second set is priceless. But then so too is the acknowledgement of his parents in the audience and the support they have given him in his chosen career. It’s a touching moment, echoed later as Turner greets his own folks.

The nine-piece band under musical director Jess Herbert is in cracking form. They all get their moments to shine and together they are a rollicking sonic force. The exuberance of their playing is matched by the sheer talent involved. Of particular note is the trumpet playing of Matt Smith and Erin Royer on alto saxophone and clarinet. But they’re all damn good – Herbert on baritone saxophone, Luke Minness on tenor sax, Ricki Malet on 2nd trumpet, Tom Salleo on the trombone, the bass playing of Kate Pass, Tim Voutas adding ‘subtlety’ on piano, with Alex Reid on drums. 

The two set lists are littered with classics that are instantly recognisable. Some of the highlights – the classic St James Infirmary sung by Gordon that had me down in the New Orleans bayous; the slow build of Shake That Thing into a crescendo of vocals and musicianship – when the collective talent on stage is in mass attack mode as they were here then the table and chairs be a vibratin’!

Morrison delighting in rolling more R’s than a hundred Edith Piaf impersonators whilst singing C’est Si Bon. Turner crooning his way through I Get A Kick Out of You and The Way You Look Tonight; the chaos Morrison brought at various points, one of which was a duet with Turner on a retro-fitted Lady Is A Tramp. The trusty crowd-pleaser Mein Herr with Gordon at her cheeky best as she expertly builds to a thumping conclusion with that glorious voice. The instrumental jams such as Climax Rag.

All culminating in Diamonds Are A Girl’s Best Friend, the Moulin Rouge arrangement no less, that would have made Nicole Kidman blush as a now pneumatic Morrison breathed new life into Satine; with an encore of Gordon and Turner, best friends fittingly together, doing Kander and Ebb’s wistful Nowadays.

There are only two more shows of this incarnation, all no doubt sold out. But never fear, the Perth Cabaret Collective will be showcasing an hour-long version at next year’s Fringe in the magical Edith Spiegeltent. On the evidence of this performance it will be one of the hottest tickets in town.

*Images courtesy of Claire Alexander

'Tis the Season... - Maverick Newman & Stacey Thomsett (28 October 2018)

Ah, Christmas. A moment when families come together in the spirit of goodwill and friendship to spend quality time in celebration of whatever their beliefs dictate. A joyous time of bonhomie and inclusion; of catching up with loved ones and relatives perhaps otherwise unseen. But that’s for functional families… and where’s the fun in that?

Brother and sister Bailey (Maverick Newman) and Bonnie (Stacey Thomsett) come from a decidedly dysfunctional family. Their parents are divorced, and Dad seems to go through more girlfriends than a gluttonous uncle gorging himself on the fruit mince pies. Christmas festivities are therefore beset by all sorts of lecherous rellies; family secrets; and a revolving door of wannabe mums.

What better way to cope than to stage a cabaret and sing about the trials of tribulations of their annual Christmas ordeal? Yes, the audience is complicit in this witty and perceptive hour-long cabaret that received a raucous reception upstairs at the Lazy Susan’s Comedy Den.

The Christmas setting is a smart way to explore all sorts of issues – intolerance, whether it be political, sexual, or religious; the stereotyping of gender and age groups; the mocking of family dynamics (and what more stressful setting is there than at Christmas time?); inappropriate behaviour by older men at such gatherings; and generally making fun of sibling rivalry and the oddball characters you might find in any family.

The original songs are clever and pointed in their observations but never shy away from some dark home truths while being hilariously delivered by Newman and Thomsett. And what a combination they are – Thomsett plays Bonnie as a character with a perky disposition whilst seemingly craving acceptance from her brother; while Newman is all faux outrage and confidence as Bailey. With a quick costume change and a couple of glorious wigs, he also plays the guests – 13 year old Maisie (who demands to be called Maz) who sings of her love of an unlikely suitor in Love is Love (Maz’s Lament); and Patricia who’s trying a little stand-up comedy to disastrous effect.

The byplay and stagecraft of the two performers is excellent – the choreography of Newman’s and Thomsett’s movement in the tiny space is slick; the looks and asides all perfectly timed for maximum comedic effect. Then there are the vocals with the two newly minted WAAPA musical theatre graduates equally adept at belting out a gospel tune such as Praise Be; the jaunty opening number Christmas Time; or the standout torch song I Don’t Need a Boyfriend.

It’s a simple set-up with two microphone stands and a keyboard. Both take turns supplying the musical accompaniment with those transitions amusing in themselves. Add some dramatic lighting, notably for the extended sequence of role-played surrogate mum introductions during the defiant I’m Not Gonna Call You Mum; a touch of piped in choral flourishes; and those unruly wigs and you have an effective backdrop to the onstage antics. 

The humour can be bruising with quite a few “should I be laughing at this?” moments as you howl with approval. But that’s the strength of the premise – everyone can relate to the bizarre goings on of a family Christmas. Pushing this to extremes only enhances the fun. Throw in some embarrassing call and response confessions that have a perfect payoff from the audience and this is a bawdy, riotous show that is sure to put a smile on the face of even the sternest, bah-humbag Santa hater.

The Ruby Red Fatales - Paper Haus (20 July 2016)

Garters, guns, Nazis, and jazz - what more could you want in this musical comedy romp where ‘Allo ‘Allo meets Cabaret? The former is supplied in a script by Heather Jerrems (who also directs) where, amongst other things, a woman poses as a man who poses as a woman to infiltrate a crack unit of Nazi assassins who are ordered to take down an American trained unit of burlesque dancers-cum-assassins. At the end of the second act when the silliness is at its height there are more guns onstage than at a Republican National Convention. The latter comes courtesy of some slinky outfits for our heroines and a cracking jazz quintet made up of WAAPA students. The venue itself, the intimate Ellington Jazz Club, provides the atmosphere.

Two key ingredients make this work – the show knows exactly what it is and plays up to the absurdity; and there is an impressive level of musicianship and vocal chops you wouldn’t necessarily expect for such a deliriously over-the-top confection.

To wit, the band of Harry Josland (trumpet), Joshua Cusak (double bass), Matthew Salt (saxophone), Oscar van Gass (drums), and Thomas Freeman (guitar) sounded right at home in Perth’s premier jazz venue. They also added a few sight gags of their own behind the performers in the tight stage space. You have the impression that they would have happily kept playing through the night. The audience would have happily kept listening. The smooth musical arrangements by Alex Turner added a touch of class.

The vocal talent headlined by sweet-voiced Cindy Randall and a brassy Sinead O’Hara was excellent. It also matched their characters to a tee. Randall was the fresh-faced innocent who becomes the main player in the battle between swastikas and stockings, guns drawn. Her Gina firstly becomes the improbably named burlesque tyro Miss Titties before assuming the male identity of Heimlich. Much humour is made of her/his appearance as confusion reigns and romance blooms. O’Hara is the leader of the Fatales as Miss Ruby and she embraces a take no prisoners approach to the role in a feisty performance. Emelia Peet is the third member of the troupe as Miss Scarlet, the faithful sidekick to Ruby. Peet has a couple of funny solo moments sending up advertisements of the period.

Their foes are the band of Germans headed up by Manfred (Brett Peart) and his mismatched assassins, Jurgen (Adam Droppert) and Klaus (Ryan Hunt). Jurgen falls for Gina/Miss Titties while Klaus falls for Manfred’s manly facial hair. Yes, there is bromance to go along with the romance. The outrageously kitsch I Don’t Just Need A Beard, I Need Two is a highlight. That it comes in the middle of the best sequence of the show is testament to a fine start to the second act. The duet between Randall and Droppert - When At War, Fall In Love – was not only the best song but performed with such joy and chemistry. Randall’s smile was incandescent. O’Hara replies after the follicle folly of Manfred and Klaus with a snarling Ultimateum; the sequence capped off by a beautifully sung and plaintive What’s It Going To Feel Like? by Randall. From there it’s all standoffs and conflicted loyalties as the climax gets a little messy but by then I was happy to forgive such excesses.

I can see why this reportedly did so well at Fringe World earlier in the year. It’s the perfect sort of fare for a couple of hours at a good venue having a drink and, in my case, one of their pizzas, while watching a talented cast and band frolic and play on stage. It’s funny, more than a little sexy, and showcases some serious talent. 

Written and directed by Heather Jerrems with Music and arrangements by Alex Turner, The Ruby Red Fatales has two more performances at The Ellington Jazz Club on Tuesday and Wednesday, 26 & 27 July. 

Nailed It! - Mackenzie-Spencer & Strano (26 May 2016)

Downstairs at the Maj is a wonderfully intimate venue that is perfect for the sort of cabaret stylings performer Andrew Strano presents. Highly personable and engaging, his tales and songs (written with Loclan Mackenzie-Spencer) about relationships, Harry Potter, and the vagaries of air travel are like having a conversation in your lounge room with a good friend; the kind of friend who occasionally bursts into song. Oh, and wears a sparkly jacket that would make Liberace envious.

The relaxed, conversational air was given added weight by the presence of his Aunty seated in prime position near the stage. Her smile throughout the show was as warm as her nephew’s casual banter. In Mackenzie-Spencer’s absence Strano was accompanied by Rainer Pollard on piano. His playing was quite marvellous and the two were in impressive sync after only three rehearsals.

Strano has a fine voice and the songs were examinations of relationships and love, most with a quirky twist and an explanatory introduction. The subject matter is instantly relatable and presented in relaxed fashion with plenty of eye contact and casual interaction that draws you in and, well, makes you feel right at home.

The best of the songs was an exploration of what happens when you ignore that warning light on the dash of your car. This, of course, was a metaphor for the care and attention it takes to maintain a relationship, a fact that perhaps didn’t need to be overtly stated at the end. Babies, flowers and twin sisters also form the basis for songs with Kristen Stewart given pride of place in a plea about difficult breakups.

The hassle of air travel and waiting around in airports for delayed flights was a negative turned into a positive. Those shared experiences with a partner can strengthen a relationship even though they can be stressful at the time. Cleverly, the songs describe such universal situations that the name of, for example, any low budget airline can be changed to fit the country of performance. Laker Airlines became Tiger Air; Frankston became Northbridge for another song and, after audience suggestions, the Armadale railway line proved the perfect substitute in the love letter to Harry Potter and Hogwarts.

An unexpected amusing moment came after a riff about unemotional Germans. A stereotype that was refuted by, you guessed it, an audience member from Germany. It’s testament to the convivial atmosphere Strano created that no lasting offence was caused as he charmed his way out of potential trouble. 

Charming he was and this was a most pleasant hour to start the cabaret season at His Majesty’s. The final performance is on Saturday 28^th at 7.30pm Downstairs at the Maj.

These Things Take Wine - Fringe World 2016 (9 February 2016)

The humble bottle of wine. Always waiting for you at the bottle shop. Always there no matter what your mood. Always your friend. And sometimes your worst enemy. It gives you courage, it gives you pause. It gives you a wicked hangover. It even gives you the basis for an hour long cabaret show exploring all of the above!

What Natasha York gives you is a boisterous performance with a voice as big as her bedraggled hair. That voice is put through its paces with a diverse range of songs all of which focus on her love affair with wine. Jamie Burgess is an excellent accompanist on piano who also supplies smooth vocal stylings and the occasional admonishment when York’s enthusiasm needs reining in.

And that’s an aspect I really enjoyed. York isn’t afraid to throw caution to the wind and give a full-throated performance here. Her onstage persona is larger than life and this works well given the material. For example, I never knew the things one could conceal in a little black dress including a small bottle of wine!

Indeed wine is scattered around the sumptuous performance space Downstairs at the Maj including a prop bottle… whatever the hell that may be. The opening of that bottle was done in flamboyant style as was the comic touch in its consumption.

Lyrics to well known songs are altered to incorporate a viticultural bent; bad puns are thrown around like disused wine casks; and amusing tales are shared with gusto. One particular thread throughout the evening involved York’s musical theatre background which rang utterly true given this town has a little place called WAAPA. From the pitfalls of craving sex with ‘Music Theatre Boys’ to being an entertainer at kids’ parties to the obligatory karaoke sessions, this was hilariously accurate. There was even some audience participation as York revelled in mock inebriated antics. 

The most telling moments though are when she changes gear and allows moments of genuine self-reflection and regret. These are amplified by almost mournful versions of a Carole King classic and Cyndi Lauper’s Time After Time.

Strip away all the attitude and bluster and you’re left with York’s voice which is a powerful instrument that effortlessly filled the space. When she cuts loose on a song like Feeling Good it’s a joy to hear. Yes, she’s humorously playful with her vocal ability particularly when dropping down to the lower registers but it’s done with great style and confidence.

This was an enjoyable evening of great songs warped for comic effect and a ballsy performance that was funny and in your face but with a touch of emotional truth that will resonate. 

These Things Take Wine is on at the gloriously air-conditioned space Downstairs at the Maj until 13 February.

Dinner is Served - Fringe World 2016 (4 February 2016)

The humble dinner party. An event full of potential land mines that could ruin friendships, end relationships, hospitalise guests, and be the cause of any number of social transgressions that will see you ostracised to the couch in your pyjamas eating pizza alone for all eternity.

Thank goodness we have Megan Kozak and Harry Prouse to guide us through the harrowing and, quite frankly, terrifying prospect of inviting people over for dinner. I mean, there’s so much to consider – what to wear, where to hold your soiree (if the Ellington Jazz Club is inconveniently unavailable), what entertainment to provide, what to talk about… oh, and I suppose what to serve.  

Speaking of which, Harry forgot to go to the butchers before the show so the promise of succulent lamb roast was but a fleeting expectation for my tastebuds (so cruelly dashed!). Good news though, the Ellington does a nice range of pizzas and other finger foods.

Clearly, however, such culinary pearls of wisdom can only be delivered with a healthy accompaniment of songs. Coincidentally, an accomplished piano player happened to be in attendance, one David Wickham of WAAPA renown. Fancy that!

It was an eclectic mix of songs. I would be tempted to say ‘pot luck’ except I’m fearful Megan would attack me with a cocktail fork. There were appropriately themed musical theatre numbers from some of the greats (Cole Porter, Kander & Ebb, ahem, Beauty and the Beast); a scoop of Sinatra, a dash of Nat King Cole, and, if I’m not mistaken, a pinch of Frankie Valli amongst others.

Sure, Megan and Harry may clash over how to host the perfect gastronomic evening but one thing they do share is the ability to belt out a song with the best of them. The singing is excellent as is the piano playing by Mister Wickham.

What was perhaps even more impressive is the rapport the two WAAPA graduates shared on stage. It was comfortable and relaxed like a 50s screwball comedy as they exchanged barbs and banter with some lovely physical comedy and sight gags thrown in for good measure.

Kozak had a touch of a blonde Lucille Ball as she ranted about the fatal error of asking guests to bring dishes at random or ‘pot luck’ as she called it. Or threatening to walk out... at least as far as her microphone cord would allow. Prouse was more the straight man but injected his own sly sense of humour as the two bounced off each other over the course of 45 punchy minutes. There’s even a little audience participation. All I’ll say about that is be prepared to show off your table presentation skills. 

Dinner is Served is on for two more nights at the Ellington Jazz Club, 10-11 February at 7pm. To use a dinner metaphor, this is a perfect entree for an evening in the city while Fringe is on. 

Order a drink, have a pizza and a laugh but as all dinner hosts know, once the show is over it’s time to fire up the vacuum and tell your guests to get the hell out. At least you’ll do so with a smile on your face.

La Soiree - Fringe World 2016 (24 January 2016)

The human body.

Perfect. Beautiful. Powerful. Strong. Supple. Lithe. Flexible. Sexy. Erotic. Mesmerising.

In a show of jaw dropping brilliance there was one unmistakeable conclusion – not only is this troupe comprised of superb entertainers but they also count among their number world class athletes.

From the strength and control of the English Gents Denis Lock and Hamish McCann to the lithesome dexterity of hula hoop artiste extraordinaire Satya;

From the smouldering acrobatics of Yammel Rodriguez (I’m coming to you Mooky... just hold on a sec) to the graceful precision of Bret Pfister on a suspended hoop;

Even to what some may consider the imperfection of the double-jointed, easily dislocated limbs of contortionist Captain Frodo;

The human form is featured in a celebration of untold, unimaginable hours of training, discipline, commitment, and exceptional skill.

The results are awe inspiring and breathtaking.

Not to be outdone, the troupe mixes up feats of supreme athleticism and grace with the soaring vocals of Miss Frisky; the showmanship of Clarke McFarlane’s Freddy Mercury worshipping Mario; and – wait for it – the acting ability of possibly the greatest living thespian ever to grace a Spiegeltent, Mooky Cornish.   

Wrangled together by Creative Producer and Host Brett Haylock this two hour extravaganza moves from one unforgettable act to another with such energy, pizazz and good humour that you can’t help but be simply enthralled.

I felt like a young boy again sitting in wide-eyed wonder as my brain tried to comprehend what my eyes were seeing. Thankfully my hands retained the ability to clap non-stop while the vocal chords hollered on their own accord. My grey matter lurched at the sheer improbability of feats I couldn’t even dream were humanly possible.

I have to tell you, there were also moments that were as sexy as all get out. Yammel’s act on a single strap while casually smoking a cigar with attitude to burn was incandescent. Hamish McCann’s pole-dancing routine was equally as hypnotic.

I boisterously sang along to Queen hits and even a classic from West Side Story. I grimaced as Captain Frodo somehow managed to fit his entire body through not one but two tennis rackets (I’ll never be able to watch the Australian Open or Wimbledon the same way ever again). I roared with laughter at Mario's and Mooky’s haphazard antics.

I listened in awe to Frisky’s haunting vocals. I gazed upwards as acts gyrated and cavorted above me. I squirmed as audience members were invited onstage terrified I might be one of them.

If theatre is a shared experience where we are moved, entertained, surprised and astounded then La Soiree is right up there among the very best on offer anywhere. I was so jazzed after the show I simply couldn’t sleep for hours.

Lastly, there was a new act that had been incorporated – one that reminded me of the scene from American Beauty with the plastic bag that dances in the wind - bubble blowing. An act performed by Denis Lock with understated English wit and delicacy whereas earlier he had been a rippling tower of phenomenal strength. The shapes he created and infused with smoke from his pipe were as ephemeral as they were astonishingly beautiful.

La Soiree indeed reminds us that there is so much beauty in the world.   

The two hour show is on at the Spiegeltent in the Museum Gardens until 6 March. Beg, borrow, steal to get a ticket.

Backseat Diamond - Fringe World 2016 (22 January 2016)

Fringe World 2016 burst into life Friday night and with 700 shows on offer everyone is looking for that diamond in the rough. Well, look no further. Powered by 2015 WAAPA graduate Megan Kozak and ably supported by current third years Jason Arrow and Rory O’Keeffe this hour long show sparkles in the intimate Casa Mondo situated in The Pleasure Garden (Russell Square).

The storyline is simple – Mary (Kozak) has been a backing vocalist for ten years and quite frankly she believes greater things beckon. An unfortunate ‘mishap’ to her fellow Diamonds allows Mary to take centre stage with the help of Jason (Arrow) on keyboards. She launches into various Motown classics before Chris the security guard (O’Keeffe) intervenes having discovered the lengths to which Mary will go to seize her big moment. Not to be deterred – after all the audience has paid for tickets – she co-opts Chris by appealing to his inner rock star. What follows is a clutch of Aussie classics before the curtain comes down on Mary’s brief reign as budding superstar.

There is no doubt that Kozak is a powerhouse vocalist. Early on I was a little worried about the sound of the air-conditioning unit in the relatively small space. But when she cuts loose on songs like Aretha Franklin’s immortal Respect or gets her Whitney on such fears quickly melt away. The first half of the show is a roster of classic songs including Son of a Preacher Man, Ain’t No Mountain High Enough and I Heard It Through The Grapevine before an hysterical change of pace to the much lambasted I’ve Never Been To Me which Kozak delivers with such over the top earnestness that the audience was in stitches.

It’s here that Kozak really impresses above and beyond her vocal ability – the stagecraft on display is exceptional. Looking stunning in a blue sequin dress she assumes the persona of Mary, American accent and all, with impeccable comic timing and exaggerated facial and physical movement. The audience is hooked early as Mary tells her backstory and interacts with individuals directly. (Well done to Peter for supplying ‘backing vocals’ to Respect!) The fine line between delusion and unquenched ambition is crossed with abandon to amusing effect.

O’Keeffe, stepping in for the original Chris (Chris Wilcox), is a handsome comic foil playing the straight man that Kozak riffs off. Her attempted seduction of Chris to stop (watch for the running gag) turning Mary in to the police is another highlight. He has his own musical moments as Motown gives way to Johnny Farnham and other true blue working class anthems. Their duet of Endless Love, however, was lovingly mocked with exuberance.

Jason Arrow provided the main musical accompaniment on keyboards while supplying increasingly exasperated asides to Mary’s antics. O’Keeffe featured on guitar while Kozak was relegated to kazoo… due to budgetary constraints!

This is funny, well performed, and exceptionally sung. My only quibble would be that the ‘Chris threatening to dob in Mary’ card is played a few too many times but it’s a minor complaint in an otherwise entertaining and thoroughly engaging show that is perfect for Fringe.

Backseat Diamond is on at the Caso Mondo, The Pleasure Gardens, 8pm every night until 27 January.

Gillian Cosgriff is Whelmed - Fringe World (11 February 2015)

Beware the gift giver! The ones who impart the ‘gift’ of inspiration and false advice; the ‘gift’ of all the spurious knowledge you could ever wish for nowadays in the palm of your hand; and those people who simply give bad gifts. 

Yes, in her new show, Cosgriff is squarely taking aim at all the fortune cookie nonsense that passes for wisdom these days and the means of its dissemination. Plus, you know, all 198 capital cities of the world, some crazy ass lizards from Madagascar, and a handbag made out of an old pair of jeans.

Early on, Cosgriff mentioned how some people compare her to Tim Minchin because, well, they both play keyboards and sing witty songs with a healthy dose of stand up comedy thrown in for good measure. I’ve never seen Tim Minchin perform live but I've seen Gillian Cosgriff twice now and she is forging her own identity as a gifted entertainer. There is the engaging stage presence, excellent voice and keyboard skills, and songs that crackle with wit and intelligence - probably due to all the research done online in the name of procrastination and over-achievement.

Earlier on though, the show starts before the show starts with a song about the usual sort of front of house announcements to do with mobile phones being switched off and where the exits are and hoping people don’t burn to death in a fire and the like. It’s all sensible advice that would look great on the poster... of a lush rain forest. Yes, wanky motivational tools, #thinspiration, #fitspiration and #hashtags in general #bugthehelloutofgillian.

Then we launch into an explanation of the title ‘Whelmed’ which is indeed a real word and has something to do with boats not capsizing. Don’t worry, it’s fine; tricky stuff, sure, but you’re in safe hands as Cosgriff is nothing less than a compelling storyteller and has a knack for making the obscure come to life in the funniest of ways.

Like her award show from last year, This Is Why We Can’t Have Nice Things, plenty of personal revelations pepper her feeling of whelmedness (this may actually not be a word) and this time her mother plays a pivotal role in the tale of ‘The ugliest bag in the world, parts one and two’ with a charming reprise.

Some guy named Guy is called up from the front row to be an accessory to Cosgriff’s ability to overachieve at learning new things that totally don’t help her write a new show... until she decides to take all that stuff and put it in her new show. A tantalising ten dollar note was on offer if the guy Guy could stump her with the aid of an online quiz about capital cities. That bounty ain’t going nowhere but back into (probably) the ugliest bag in the world, my friends. I have not the slightest doubt that all 198 cities are committed to memory... because 56 just wasn’t good enough for our procrastinating, overachieving heroine the first time around!

The internet comes in for some stick as do those folks who try to cheer up depressed people by telling them others have it worse... saying things like, ‘Syria’. Then again, what’s the point of being happy when there are others even happier? I mean, Richard Branson bought an island when he was 28. The jabs at hypocrisy, nonsensical platitudes, and the obsession with being happy - in both lyric and patter - are razor sharp. Then there are those lizards. That’s a tale to be amazed by (Cosgriff clearly is) as an exuberant explanation details some seriously weird evolutionary shenanigans.

What I like about the performance style here is that Cosgriff isn’t afraid to follow tangents, to reveal personal information, and to engage with the audience by being effusive and self-deprecating. It’s all very impressive and when it’s done you’ll be singing the final song as you leave (trust me, you will, #noseriously) with a smile on your face. This show is what I’ve come to expect from Cosgriff - sharp, witty, and very clever. Get along and see it!

Gillian Cosgriff is Whelmed is on at the PICA Performance Space as part of Fringe World until 21 February. 

Tales of a Time Traveling Songstress - Playful Productions (4 February 2015)

You wouldn’t know it from a vantage point in Wolf Lane but tucked away in the upstairs reaches of the Cheeky Sparrow there’s some serious manipulation of time going on.

Yes, 1920’s girl Kitty from Davenport, Iowa is bouncing around the decades and having a helluva time along the way. We don’t know why this happens except that it started after Kitty’s mother died of pneumonia and her dad of a broken heart a few days later. But we don’t really care either - it is a smart device for performer Bobbie-Jean Henning to showcase an eclectic range of songs, wear a nice dress, and sport an American accent as she navigates different social mores, customs and musical styles while finding love and friendship along the way.

Henning proves to be a charming storyteller as she recounts Kitty’s experiences that take her from 1920s America to Paris in 1945, 1930’s London and 1962 Italy (amongst others) where there are brushes with the legendary Ella Fitzgerald and Marilyn Monroe. What grounds this though is the ultimately lost-in-time, tragic love story of her relationship with Toby; and a friendship with a woman named Lucy.

The 50 minute cabaret show began with Nat King Cole’s Nature Boy which is such an evocative song that set the mood nicely. Henning follows it with Corinne Bailey Rae’s Put Your Records On – a very good song – but the only one that didn’t seem linked to the time travelling conceit as it came early before the rhythms of the tale were fully established. While ‘Kitty’ was explaining her predicament it cast my mind to another small town girl dislocated not so much in time as in ‘dimensions’ yet Dorothy Gale was left in Oz though I do wonder what Henning would have made of Over the Rainbow.

Instead there was a part English, part French version of Windmills of Your Mind, a snippet of Summertime from Porgy and Bess; a raucous Cabaret; and amusingly a Frank Ifield song She Taught Me How to Yodel. The relationship with the writer Toby who Kitty met then lost then met again in London (uncontrolled time travel is a bitch when it comes to long-term relationships!) brought out the Sondheim in Kitty with Being Alive and a very emotional rendering of Losing My Mind as tragedy strikes.

A stint in California circa 1977 was always going to result in either a song from Hotel California or Rumours and it is indeed the latter though not the song you would expect as The Chain gets a slowed down workout. Henning is at her best when she lets her voice soar and Cry Me A River is a highlight. The Sia song Chandelier makes an appearance and even If My Friends Could See Me Now. An eclectic mix indeed!

The venue did Henning no favours as there were diners in the next room who could be clearly heard enjoying their boisterous conversations seemingly oblivious to our presence. This intruded in the quieter songs and linking stories but Henning kept her composure and focus admirably under less than favourable circumstances.

In all this was a most enjoyable performance and Henning has a lovely and versatile voice that the range of songs showed off to great effect. I also had the opportunity to have a chat afterwards and she was generous with her time and thoughts about the development of the show and experiences since graduating from WAAPA. It was a delightful evening cabaret show that in a more suitable venue could really soar. 

Once Upon A Time - Fireflies Entertainment (24 October 2014)

When you wish upon a star…

That’s exactly what audience members were asked to do before this charming cabaret show about chasing your dreams within the most unusual of circumstances.  All those dreams and wishes were pegged to a couple of fish lines across the black box performance space upstairs at the Spare Parts Puppet Theatre.

Performer Emma Davis then proceeded to tell us about her dreams which were brought into sharp relief on watching Disney’s The Little Mermaid when she was a toddler. As for the unusual circumstances, well, Emma is the 11th child of 12 with three brothers and eight sisters! A recurring theme became the quest to gain the attention of mum and dad and all the obstacles growing up in such a large family. This was given greater resonance by the presence of Mum in the audience along with three of Emma’s sisters.

The show is a combination of audience participation (yes, I’m proud to announce my on stage singing debut, a rousing rendition of Puff the Magic Dragon with my fellow audience members), Disney songs with modified lyrics to suit, and engaging tales of family activities such as Christmas Day, picnics, and regular visits to the movies.

These stories were amusing logistical nightmares that come with invading a park or cinema in such numbers. But it’s the impact of the movies that shaped Emma’s ambition to become a performer, a Disney princess, and eventually to visit that ultimate dream factory. There are disappointments along the way leading to a lovely conclusion that again had more weight with Emma’s husband present doing the tech work. Indeed, Emma ‘directing’ Ben from the stage when sound cues were slightly wrong added to the charm and good-natured vibe throughout.

The other movies cited were Aladdin and Pocahontas. Now, I’m not a Disney aficionado – my formative movies growing up were Star Wars and Alien – but Emma’s passion and knowledge was clearly on display. I had no doubt she cried four steps into a Disney World every single time. And that’s the secret here – the authenticity of Emma’s story and the elements that influenced her as a person and performer. In many ways this reminded me of Allan Girod’s Absolutely… with songs. Both have a fundamental honesty, warts and all, that is engaging. I asked Emma’s mum afterwards how accurate it all was and she smiled and said they certainly knew how to clear a camping park!

To my shame I didn’t recognise the songs (did I mention Leia and Ellen Ripley were my movie princesses?) but Emma has a lovely singing voice that was featured to best effect in a homage to Disney then an ode to being a mermaid. Normally I am very reticent about being an active participant at the theatre but there was such an enthusiasm and delight here that it was hard not to get caught up in it all. Kudos to the gentleman plucked from the row behind me who, in a funny sequence, ‘played’ Emma’s youngest sister, Amy who I’m sure watched on bemused!

Emma returned to do an impromptu encore to warm applause and as we walked downstairs I was only left to wonder what all those other star shaped dreams left hanging on stage might have been…

Once Upon A Time stars Emma Davis and has one more performance upstairs at Spare Parts Puppet Theatre in Fremantle, 6pm, Saturday 1 November.  

This Is Why We Can't Have Nice Things - Fringe World (22 February 2014)

This hour long, one woman cabaret show by Gillian Cosgriff was staged at the intimate Noodle Bar, a part of the old Piccadilly Cinemas in the city. A front row seat meant I was only 2-3 metres away from Cosgriff who proved to be a vivacious, witty, and very charismatic presence as she combined original songs with insights into her life and that of her generation, those of the already nostalgic mid-twenties. The theme – we are oftentimes our own worst enemy whether it be through procrastination, poor choices, nostalgia… or the mysterious power of band-aids.

The songs are terrific – smart, funny, pointed – and Cosgriff has a wonderful voice and range. I did not have a programme so apologies if I don’t get the song titles correct, however, “The Great Procrastinator” certainly brought a wry smile to my face. Spot on observation of the things we do to avoid doing the things we really should do like, you know, become an adult (“Adulthood”). The songs also incorporated wonderful storytelling – “The Vegan and the Beekeeper” – where Megan the Vegan falls for Leigh the Beekeeper, unaware of the hives he keeps on the roof. Once discovered, she is badly stung and only the bees’ honey can save her – quite the dilemma for our heroine who we soon learn is firmly rooted in Cosgriff’s real world as a work colleague (sorry, Vicky).

And that is the beauty of this show – everything is based on true events. When not singing and playing the keyboard (and eventually the ukele after an amusing tuning mishap), Cosgriff gives hilarious anecdotes about her life and the creation of the show itself. We are told of ex-boyfriend Jasper, not the sharpest tool in the tool box but certainly the shiniest, who sent a serious of text messages after our heroine dumped him. These became the lyrics to “Jasper’s Lament”, mispronunciations and all (lolz). Then there was James whose indiscretions led to a pure tirade of a song that was devastating and funny in its honesty and brutality (and apparently just as satisfying every time to the singer!). An amusing sequence involves recorded messages of a drunken Cosgriff ringing ex-lovers and then there is the epic “Band-Aid Trilogy” where the shaving of legs badly can lead to all kinds of consequences.

When an audience member (take a bow Dennis) briefly left the Noodle Palace only to return later he became a part of the show in both banter and adjusted song lyrics. This is where Cosgriff’s real strength lies – she has a real flair for showmanship and is very sharp. The lyrics to one of the final numbers, “Prematurely Nostalgic”, were funny and perceptive … as is the whole show. Beautifully written and performed.

I was very happy I was able to see this – an extra and final show put on, no doubt, due to the tremendous response to this very talented performer.