THE 2005 ADELAIDE CABARET FESTIVAL
Final Week
Performances from June 22 - 26


Reported by Bill Stephens

If the focus of the programs in the early days of the 2005 Adelaide Cabaret Festival tended to be on the composer and the song, then in the final week it most certainly focussed on the singer of those songs. Several extraordinary singers emerged.

Making her first appearances in Adelaide, raven-haired Irish enchantress Camille created a sensation similar to that achieved by Belgian, Micheline Van Hautem, last year. Backed by a tight five-piece band, led by her musical director, Fergal Murray, on piano, Camille drew on a repertoire of Jacques Brel, Tom Waits, Nick Cave and even Leiber and Stoller, to seduce her willing audience with a performance that can only be described as 'astonishing'. Her ability to get to the very heart of her songs was electrifying, and no one who saw it will forget her harsh, brutal, confronting interpretation of "Next" (Brel/Schumann/Blau) or her cheeky transformation from tigress to playful pussycat in "A Good Man Is Hard To Find." Sobbing, sighing, screaming, wailing, laughing, flirting or gently caressing her audience with Peggy Lee's "Is That All There Is?" Camille knows how to stamp her authority and sensuality on her many willing admirers.

Micheline Van Hautem showed last year that she is a singer of immense range, in her appearances with Miche en Scene. This year she returned, accompanied only by accordionist/pianist Frederik Caelen, and what a formidable combination they proved to be.

Due to some scheduling clashes, I was not able to see her Jacques Brel program, but did get to her second program, "Madame." Lighter in mood than her Jacques Brel, and commencing with a not-entirely-successful rendition of "My Funny Valentine" sung in German, this program provided Van Hautem with the opportunity to entrance her audience with a brilliant new repertoire, which included "Cry Me A River" in a captivating arrangement based on Chopin. She also offered a passionate account of the Gloria Gaynor anthem "I Will Survive," an idiosyncratic solo version of "He Had It Coming" from "Chicago" and a lovely arrangement of "Johnny" sung as a duet with Caelen. Van Hautem also has that ability to transcend genres to get to the emotional core of whatever she is singing and bring it intensely to life. Do not miss the opportunity to see her.

Although well known in Australia from her hit recordings, and from her starring role in the Australian production of "Rent," "Intimate and Deadly" was Christine Anu's first foray into cabaret. Under the careful direction of David Hawkins, and backed by a classy four-piece band led by Andrew Worboys, on piano, Anu turned out to be a cabaret natural, particularly in the telling of the stories of her Torres Strait Islander upbringing, in which she was joined by her sister Helen, to sing some charming traditional songs from their childhood. Anu upped the temperature with the songs, which have made her a national stage and recording star. It was a strong, confident performance, notable for showcasing Christine Anu's emergence as a top-flight cabaret artist.

New York visitors K.T.Sullivan and Mark Nadler said farewell to the festival with two performances of "Sweet and Low Down," their elegant and funny tribute to the music of the Gershwin brothers. This was their fifth individual show in a little over a week in Adelaide, and, as we have come to expect from this team, one that was also impeccably costumed, superbly sung and played. Highlights included a tap dance from Mark Nadler accompanying himself while seated at the piano, a hilarious musical tour through the Fred Astaire film "Shall We Dance?" and a finale, which saw them; both dressed in black tails for "Swannee."

"Breathing Easy" was the title chosen by Natalie Gamsu for her first Adelaide Cabaret Festival appearances. Gamsu, who was accompanied by excellent Sydney pianist Bev Kennedy, has been resident in Australia now for two years. This program demonstrated, that she has lost none of her vocal sophistication or trademark elegance. Included in her program was a stunning version of "Do You Know How I Feel?" a delightfully leisurely "I've Got a Crush on You," and an arresting arrangement of "Calling All Angels." Gamsu wound up her show with a touching interpretation of "Make Me A Kite."

Vocal impressionist Bernadette Robinson, accompanied on piano by husband Paul Noonan, presented an amusing and original act in which she imitated the voices of well-known artists singing the hit-songs of other artists. Her impressions are astonishly accurate, and very very funny. Melissa Langton also chose her husband Mark Jones as her accompanist for her show "A Walk On The Wild Side." The show was laid back, relaxed and funny, and certainly enhanced her reputation as a powerhouse singer and comedienne.

Melissa Langton, together with Naomi Eyers and Melissa McCaig, is a member of the hugely popular trio The Fabulous Singlettes, which chose the 2005 Cabaret Festival to present their farewell performances, before disbanding after 20 years together. This follows a tradition commenced by Combo Fiasco and The Four Kinsmen, two other ensembles that survived for many years and said farewell at previous Adelaide Cabaret Festivals. High hairdos, high harmonies and high camp combined with slick musical arrangements and clever choreography, made this group a household name and their three farewell shows at the festival attracted capacity houses in the 500 seat Dunstan Playhouse.

No sign of farewells though from Rhonda Burchmore, a leading lady whose stage credits include "Mamma Mia," "Sugar Babies" (with Eddie Bracken), "Mame," "Annie Get Your Gin," and "Stop The World I want to Get Off" (opposite Anthony Newley ). Backed by a slick eight-piece band conducted by Ray Aldridge, and drop-dead glamorous in black head-to-toe sequins and flowing red hair, the towering Burchmore entertained her audience with tales of the special men in her life who, it seems, included President Clinton. Between stories she included some superb arrangements of standards including "Where Do You Start," "Love Potion No. 9," and "Diamonds Are a Girls Best Friend."

Husky voiced Christa Hughes chose a striking white satin dress, white wig, gloves and boa and the unusual accompaniment of accordion, and beat box, both expertly played by Svetlana Bunic, to entice her audience into the joys of cigarettes, coffee, heroin, alcohol, sex and other temptations with a collection of songs on these very topics by such writers as Bessie Smith, Bryan Ferry, The Stranglers and Velvet Underground. It was an act that was as bizarre as it was entertaining.

One of the real highlights of the 2005 Adelaide Cabaret Festival came on the final night, with a once-only presentation of Andrew Lippa's poignant little two-hander musical "John and Jen." With music by Lippa and lyrics by Tom Greenwald this show was originally produced off-Broadway in 1995. However this concert version was directed and conducted by the composer himself. Lippa also provided a nifty narration to pull the show together and a set of new musical arrangements, which expanded his original piano and percussion setting to include a superb five-piece string section from the Adelaide Arts Orchestra.

Kay Tuckerman and David Harris, who learned their roles in less than a week, were superb in the title roles, sweeping the audience along through the evolving relationship between the childhood Jen and her baby brother. Their voices and attitudes changed convincingly to reflect the times, as they grew from an abusive home in the 1950's, through the flower power revolution of the 1960's and the eventual trauma of the Vietnam War in which John is killed. Eventually Jen tries to repair her relationship with her dead brother by also naming her son, John, and attempts to force him to become what her brother might have been.

The writing of the piece is clear, concise and moving, and this tour-de-force performance by the cast, musicians and the composer drew a well-deserved standing ovation from those lucky enough to be present.

Lest I've given you the impression that the final week of the Adelaide Cabaret Festival was all about the Divas, such was not the case. Greg Arthur, with his smooth, warm style was impressive with a program of songs by Porter, Berlin, Arlen and others including a couple of originals. Quirky Tim Minchin flashed his pianistic and song writing skills, while comedy trio Tripod and comedian Will Anderson drew large audiences, and there were others, but try as I might, I found it impossible to sample all the goodies on offer at this annual feast of cabaret that is the Adelaide Cabaret Festival..

Full Details of the 2005 Adelaide Cabaret Festival program can be found at http://www.adelaidecabaretfeastival.com/ .

Reported by Bill Stephens



Reports of the 2004 Adelaide Cabaret Festival

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