Tag Archives: Cabaret

A Storm in a D Cup (Assembly Roxy: 5-30 Aug. 21.30, 1hr)

Posted in 4*, Assembly Roxy, Cabaret, Plus 3 by

“Squirmishly enjoyable”

Editorial Rating: 4 Stars

Amelia Ryan’s likeability is apparent before she even makes it to the stage. Fighting with the back cloths, she finally emerges from underneath the drapery, glass in hand, wrapped in a towel and wearing odd socks. Off to a cracking start.

She goes on to tell us how the show is made up from 100% true stories and very quickly reveals one of her family not-so-secrets. This is interspersed with a very cleverly re-lyriced version of What’s Going On?, and immediately the tone is established as an open-book cabaret show that’s funny and free.

Naturally it’s not long before she first calls an audience member to the stage for assistance. It’s clear she’s well practised at this, and while she doesn’t always get what she wants, she knows when she’s beaten and swiftly moves on rather than making a scene. Thankfully ours was quite an obliging crowd, though hilarity ensued when she unknowingly attempted to coerce a teenager on stage to help her reenact an anecdote from her days of being an exotic dancer. Luckily, he owned up and she moved on…

While many cabaret shows draw on the artist’s life story for creative inspiration, one does often wonder how much mileage that has, and what their next show might look like if this one is so self-effusive. A Storm in a D Cup is somewhat guilty of this, but Ryan points out how this show also aims to be educational for others in terms of how to avoid the “storms” she’s weathered. A bit thin, but pleasant all the same.

One of the most enjoyable moments was Ryan’s peculiar rendition of the Cell Block Tango from Chicago. For this she borrows three new audience members to keep rhythm for her, while she flaunts about sharing stories of former lovers, again, adapting lyrics cleverly to fit the song. Watching three slightly uncomfortable people trying not to be distracted while keeping rhythm was squirmishly enjoyable.

While Ryan’s storytelling and likeability were spot on and thoroughly engaging, at times I felt let down by her singing voice, which seemed to lack punch in the upper register. While closing number As We Stumble Along played to her strengths in personality, a huskier, more soulful approach to some of the songs I feel would have been more powerful.

Overall this show was heaps of fun. You’re never quite sure what’s going to happen next, but absolutely worth the ride.

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin  (Seen 9 August)

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THIS REVIEW HAS NOT BEEN SUBEDITED

Nailed It! (Assembly Roxy, 7-11, 14-17 Aug : 20.15 : 1hr)

Posted in 4*, Assembly Roxy, Cabaret, Plus 3, Rated: Outstanding by

“They did indeed “nail it””

Editorial Rating: 4 Stars: Outstanding

To describe Nailed It! makes it sound quite basic: two guys; one singer; one pianist; a collection of gloriously lyrical tunes; and fabulous sparkly jacket. But for Fringe debut act Mackenzie-Spencer and Strano this was a masterclass in getting all the basics of cabaret spot in. They did indeed “nail it”.

Andrew Strano’s voice is uncompromisingly musical theatre, and the songs composed with partner in crime Loclan Mackenzie-Spencer more than complement his personality and style. While not a particularly unique voice, he has a fantastic range and used his instrument to bring a full spectrum of emotion and empathy to each number.

With comical tunes covering topics such as the “birds and bees” and having intimate relations with one’s twin sister(!), to a beautiful touching number about relationships, the pair’s songwriting talent is simply wonderful. Nailed It! is comprised exclusively of original songs, all of which could have featured in the latest off-Broadway hit musical.

What makes this show really special though, is the perfect blend of professionalism and fragility on display. It is clearly solid and well rehearsed musically, but with the anecdotes in between Strano showed a real vulnerability and honesty in his imperfections, which made him incredibly likeable.

Special mention should also go to Mackenzie-Spencer’s seemingly virtuosic keyboard playing, deftly belting out complex melodies, all the while making it seem inhumanly simple. His quieter persona delightfully balanced Strano’s more extroverted stage presence and they were clearly very at ease with each other.

One worry many of us face when attending cabaret shows is around audience interaction. Are they going to pick on me? Fortunately Strano makes the audience feel so comfortable that those fears are almost immediately allayed. Questions are asked of the audience in general, and both performers dealt well with the random responses they received (there’s always one…) and seamlessly wove them into the next song as if it were all planned without seeming overly choreographed.

If I had one criticism, and this is very much down to personal preference, it is that theatrically I would have liked to have seen a few more risks taken. While the songs covered some fairly close-to-the-line topics, what was missing to make this show really unforgettable was something a bit out of the box, a real wow factor. However, next year, when these guys come back (which they absolutely must), it will be with a sure-fire five star show.

 

outstanding

StarStarStarStar

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Reviewer: Steve Griffin  (Seen 7 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

K’rd Strip: A Place to Stand (Assembly Roxy, 7-31 Aug : 18.40 : 1hr 10mins)

Posted in 4*, Assembly Roxy, Cabaret, Dance, Plus 3 by

“Delightfully camp and full of personality”

Editorial Rating: 4 Stars

I’m not often lost for words, but during the first half of this show I was rendered pretty speechless. To be fair, it’s a cabaret performance by six gutsy guys wearing nothing but short leather kilts and heels, so that should have given me a fair idea of what to expect.

However, there were layers of real intelligence, depth and unexpected artistry in among the madness – from the opening tightly choreographed, animalistic dance section – to the warrior dance-like motifs used throughout. In between the obligatory drag queen acts, of course.

In the piece we meet various characters, played out in different mediums, from a questionable contact improvisation dance depicting a one night stand, to an overly camp “lady of the night” known as Destiny. Perhaps the most tragic and painfully relatable of all was “Horsey”, an outcast who clearly had a heart of gold but had been misunderstood his whole life, and whose final scene was a painful reminder of some basic prejudices.

This is unapologetic cabaret – there were plenty of individual songs and dance numbers – my favourite of which was the moving I’m not lost. It was pleasing to see connections between each section, at least stylistically, even though for most of the show I was desperately searching and waiting for the one thing that would really tie all the the elements together and make it into a theatrical triumph. I almost got it when certain characters re-appeared and narratives started to entwine, but even by the show’s emphatic closing number I felt like the troupe hadn’t quite completed the circle.

Overall, the singing was good, the dancing and choreography were good and the acting was good. However for me this show was just missing that sparkle that could tip it into being spine-tinglingly exceptional.

K’rd Strip is absolutely not going to be everyone’s cup of tea – from a traumatic rape scene to a prostitute “shooting up” – both right at the front of the stage – this show doesn’t ’pull any punches. It’s edgy, it’s raw and it’s honest, shining a light on a subculture that is often taken for granted. It’s also delightfully camp and full of personality, if that sounds possible in one show. Definitely one for those with an open mind.

 

 

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin  (Seen 7 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED