Live Music

Australia Really Does Have Talent!

Homo Grown

Homo Grown Rating

★★★★★

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Apologies in advance, I tried to catch as many names of these talented performers as possible but I have definitely missed some and will jumble them up. Homo Grown was an absolute treat! For this queer musical lover, it was like a slice of Heaven.

Host and co-founder of “Home Grown Aus”, Nick Ledger, opened us with Princess by Matthew Lee Robinson. Home Grown Aus, co-founded by Nick and husband Ben Nicholson, is the grassroots movement championing and producing original new works in Australian musical theatre. I actually attended a reading of “Mackenzie” by one my favourite musical theatre writers, Yve Blake, earlier in the week. That was produced by Home Grown and Hayes Theatre.

Our next act was a stunning cameo by Australia’s first female Prime Minister, performed by Mandy Isher. It brought the house down and the energy up to stay.

McBeanie and Hurley then performed a duet based on their musical chronicling the life and times of (very) obscure playwright, Robert Wiseman. This was a cute little back and forth called “The First Time I Met You” and left us with heart eyes for this real life couple.

Powerhouse Carla then took to the stage with “We’ve Got Chemistry” by Jordy Thomas. Those pipes!! Carla has power and presence and a sexy, sultry voice. With this melting “Ooh” that was like liquid chocolate! And I even I understood most of the chemistry puns, despite flunking science! Carla lights up the room and is an artful performer.

Yasheith performed “One Day In September” by Maverick and Cohen, about a closeted football star. Yakeith’s performance was earnest and nuanced, with unique use of dramatic timing. Such a beautiful voice too.

 

Homo Grown
Homo Grown

Nick Hedger returned to the stage with a love song for the gamers, nerds and misfits. It was a rock opera style ballad that hit the feels.

Robbie Alexander gave us a taste of the opening of their upcoming musical, warning it would be long and referred to it as their “Bohemian Rhapsody”. It was such a wonderful song that leaves me wanting to watch the whole musical. Charlie is the main character, who just can’t make main character status, so “Other Charlie” steals their limelight. The two Charlies and an ensemble of three delivered this number, with Charlie’s therapist’s voice being absolutely extraordinary!

Nick returned for an homage to Peter Allen which was poignant and touching.

The next was from a musical about netball. The names here got quite muddled for me. I think Sophie Davies and Harry Collins may be the composers. Lauren introduced the mother/daughter duo performance of “Married To Netball” which was absolutely hilarious and both Addie Robinson and Sinead Christado nailed the song.

We then finished with an entirely can’t-possibly-be-human performance by Carla once more. As a singer myself, I was left completely at a loss as to how one voice can do so many things and yet make it look like it’s the simplest thing in the world! I told my Plus One that Carla has to be AI!

It was such a wonderful and joyful hour of celebrating queer musical theatre creatives. I am already a big fan of Home Grown and the work they are doing, and I am so excited to see these upcoming new works and more of these incredible performers. Australia really does have talent!

To book tickets to Homo Grown, please visit https://events.humanitix.com/homogrown/tickets.

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A Campy, Quirky, Delightful Emotional Rollercoaster Ride That Will Delight

Madame Martha's Parisian Cabaret

Madame Martha’s Parisian Cabaret Rating

★★★★★

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Madame Martha’s Parisian Cabaret is a campy, quirky, delightful emotional roller-coaster ride, that will hit you in all of the feels, over a truly captivating hour of queer joy.

What better place for my first theatre review than my beloved Old Fitz, which I fell in love with with “Cut Chilli”, and have since frequented as a viewer, and even performed in their “Senseless & Fitz” Shakespeare night. The vibe is funky and atmospheric. The bartender very accommodating of requests for a “lemonade top up” when I realised that Negronis may look cool, but taste rather vile.

The welcome is warm as we enter the theatre. The set is very much in line with Parisian cabaret. Deep burgundies and mixed glass lampshades, doorways adorned with “show lights”. I sit in the second row, knowing all spots in this delightfully intimate theatre are a winner.

Madame Martha's Parisian Cabaret
Madame Martha's Parisian Cabaret

Then our beautiful trio enter; graceful, careful, flowing and enchanting as they fill they space with their bodies and soon their harmonic voices. With Meg Hickey having absolutely no limits to what can be achieved with those vocal pipes… and an accordion to boot. Their costumes are gorgeous and each artist moves with their own unique elegance as they dance and sing a rendition of “Bad Guy”.

It becomes clear their physical freedom, poetic exploration and musical gifts feed off the shared talent of the trio and their reverie is only broken by the omnipresent, fearsome watchful eye of “Madame Martha”.

The choreography is stunning. Every movement is full-bodied and intentional. There is a collective heart between this troupe that keeps you captivated, entranced and SAFE as deep themes are tackled through the many facets and layers of “cabaret” with a touch of Vaudeville. Be prepared for tits and tips (well, more than that, but I couldn’t resist the alliteration). The actors bare themselves both literally and figuratively on the stage with full abandon and celebration of their forms.

Madame Martha's Parisian Cabaret
Madame Martha's Parisian Cabaret

My eyes filled with tears as Iva Rosebud delivered a deeply moving “What Makes A Man A Man” taking us on a heartfelt musical journey.

Jens Radda is giving “Mother” energy and keeping the three of them connected and intertwined throughout.

The crowd favourite was clearly the extraordinary “Pink Pony Club” where the harmonies slayed, and the audience were ready and rearing when it became clear we could now sing and clap along.

This show lets you all the way in and touches you in deep places. It was a delight!

To book tickets to Madame Martha’s Parisian Cabaret, please visit https://www.oldfitztheatre.com.au/madame-marthas.

Photographer: Solitude & Co

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Elvis Tribute Artists: Jack Gatto & Charlie Gaylard

Jack Gatto & Charlie Gaylard Show

Jack Gatto & Charlie Gaylard Show Rating

★★★★★

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10

The promo read: For the first time ever, two of Australia’s finest Elvis tribute artists share the stage for an unforgettable night of music! Charlie Gaylard, the 16-year-old sensation from Colac who’s putting the Elvis world on notice, joins Jack Gatto, the Geelong powerhouse with arguably the best Elvis voice in the world. Backed by the world-renowned Tributes In Concert Band—soon to perform for Elvis Presley Enterprises in Memphis—this two-hour spectacular promises electrifying performances, classic hits, and the ultimate tribute to The King.

Jack Gatto, 29, is a born entertainer; a vocalist, guitarist and drummer, with exceptional versatility; he understudied for The Wiggles. So, yes, even without perfecting his tribute in performing the vocals, charisma and audience interaction of ‘Elvis’, he’s a very accomplished and engaging performer. Unexpectedly, I learn that he’s also a wildlife and zoo reptile keeper, but tonight he dons a blue studded jumpsuit and leaves the crocodile shows behind for something else mesmerizing on stage….ELVIS!

Charlie Gaylard has already got his ETA (Elvis Tribute Artist) career kicking goals (after being inspired by Baz Luhrmann’s 2022 movie – he wasn’t even a fan before seeing it) and he has only been doing this for a year and a half.

At the huge annual Parkes Elvis Festival in January, which I attended, a lady behind me said (as Charlie rolled by in a pink suit in the vintage car street parade), ‘Hubba Hubba Who’s That?’; someone replied ‘It’s Charlie! How can you not know him?’, another said ‘Yeah, he’s the boy Go Charlie!’ LOL – Charlie smiled his perfected Elvis lip and waved back (bonus that he does look alike). These fans were in their 70s, and definitely not the usual fanbase for a 16 year old singer, but next time, given Charlie’s rapidly growing popularity, they may be bringing their grandchildren.

There were apparently (according to my chats with locals) more young people at the NSW Parkes festival this year than any prior and probably same with the growing Geelong Elvis Festival (according to the owner of the motel I stayed at this weekend), and, whilst my daughter (19) was no doubt one of the youngest audience members at this show in Geelong, she is a huge Elvis fan and was singing the words just as well as the grey haired gentleman with a walker aide on the aisle; both of them having a great time.

For two non-stop hours we enjoyed toe tapping tunes, hard-belt lyrics and soft sweetness up there on that stage with banging traditional lighting as good as any nightclub, an extraordinary band and in-theme back-up singers. Along with a bit of comedy from both Jack and Charlie, the crowd loved every second from everyone contributing to the spectacle and the two hours flew by.

My Mum played ‘Elvis’ a lot (she was one of those actual teen fans of his heyday, just like most watching this sold out concert at The Sphinx). I knew pretty much all his music by the time I was 12, thanks Mum! In recreating the love, there were quite a lot of ladies like my Mum eagerly going up for a scarf given out by Jack, just as the real Elvis did for his lucky fans.

My favourite song is and always has been HOUND DOG and tonight was no exception with LOVE ME TENDER a close follow up. I could list a heap of others also that were mind blowingly good; Suspicious Minds, Blue Suede Shoes, Burning Love, etc. etc. each and every one totally authentic; our jaws dropped in disbelief on multiples, “just like watching the real thing” my daughter agreed.

Jack Gatto & Charlie Gaylard Show
Jack Gatto & Charlie Gaylard Show
Jack Gatto & Charlie Gaylard Show

My daughter didn’t once look like she’d had enough, the atmosphere of seeing live music she has discovered is far better than ‘clubbing’. Her faves were LITTLE LESS CONVERSATION by Charlie and the duet rendition of JAILHOUSE ROCK where Charlie and Jack were on stage together for the end of the show.

Throughout the night, every single person of any age around us was smiling and cheering in astonishment at the likeness of Elvis as a young performer by Charlie and as a more mature man with Jack on the mic. They were both incredible at showing us his different eras. Jack was generous in giving the scarves out to the ladies too, it was all such fun!

Elvis was one of the most incredible entertainers of all time and what a privilege for these two to keep his stage presence alive, Vegas style! Love love loved!!

Follow @domarpaproductions for updates and give them a huge round of applause for everything they are doing to bring Elvis back for the ‘oldies’ and hopefully introduce more of his undying music to the ‘youngies’.

If you didn’t fly to America in your youth to see Elvis live in concert (or you weren’t born then); you CAN be transported back in time – just go see Jack Gatto and Charlie Gaylard. The two speak highly of each other; they know they are not the real Elvis and the crowd knows it of course; everyone goes along because they loved everything about Elvis from his famous voice to perhaps his even more famous dance style which shocked the world – it’s all part of the fun and the memories and these two tribute artists do Elvis proud! Both Jack and Charlie are down-to-earth and humble of their ability to light up the lives of those watching them as ‘Elvis’ for a night. “Thank-you very much!”

You might likely catch Jack and Charlie together again in November – book quick because they sell out quick, they just have added this new show by popular demand.

See: https://geelongelvisfestival.com.au/ in Geelong or keep posted on all shows ‘Elvis’ via promoters DOM ARPA PRODUCTIONS https://domarpaproductions.com.au/

Venue & Parking: can’t miss the huge “Sphinx” so easy to find and venue has plenty of parking, but it was fairly full for this event so go early, we did however queue outside for a while.

Accommodation: Geelong is an easy commute from Melbourne. We stayed at Rippleside Park Motor Inn a 5min drive from the venue and can highly recommend as a great basic affordable motel centrally located for seeing any show in Geelong – it’s always nice to go away for a night as well to see a show out of town and Geelong has a lot to offer.

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Review: The Central Australian Aboriginal Women’s Choir

Central Australian Aboriginal Women's Choir

The Central Australian Aboriginal Women’s Choir Rating

★★★★★

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6

“Try connection, try love, try understanding: it will fill your hearts with joy and change your life!” This plea from the heart of Morris Stuart, Artistic Director of the Central Australian Aboriginal Women’s Choir (CAAWC), could be the catchcry of this unique ensemble. The values of connection, love and understanding underpin the choir’s history and allowed two seemingly disparate cultures to find a common ground in singing.  German Lutherans arrived in Hermannsburg/Ntaria, NT, in 1877 bringing hymns of faith. They collaborated with Western Arrarnta people to the translate the hymns into Western Arrarnta language. The old musical form from overseas merged with the old language of the interior, and both were preserved in a new form by four generations of Western Arrarnta women, some of whom are singing in the choir today.

The significance of this preservation, particularly for a threatened Aboriginal language, is revealed in Naina Sen’s documentary “The Songkeepers” (2017), available on SBS, which followed the CAAWC’s 2015 journey to Germany to sing sometimes forgotten hymns to the churches that originally sent them, in the languages of Western Arrarnta and Pitjantjatjara 140 years later.

The CAAWC performed at the Melbourne Recital Centre on Sunday 23rd March to a very supportive audience. The choir of 25 members (including four men) have a very distinct sound due to the thick, guttural, nasal quality that is the preferred vocal timbre of Aboriginal musicians. The hymn arrangements from the time of Bach to early Romantic period take on a new life with this tonal quality and use of Central Australian Aboriginal languages. Every song was infused with joy and there was an artlessness about the performance that engaged me in its honesty.

Most of the sacred songs were Lutheran hymns with lyrics translated into Western Arrarnta or Pitjantjatjara. With Aboriginal languages increasingly endangered, this choir and its members are living history. To be able to sing for us in their first language is a privilege that has had to be fought for. It is a continuing conversation about culture and language preservation that the choir invites us to have. Artistic Director, Morris Stuart, reminded us that Areyonga/Utju’s 50 years of bilingual education program in the NT had to be fought for, even to the point of involving the Human Right’s Commission.

Central Australian Aboriginal Women's Choir
Central Australian Aboriginal Women's Choir

I was particularly interested the two sacred songs in the repertoire that were original compositions. One was written in 1921 by Western Arrarnta elders, Moses Tjalkapurta and Johannes Ntjalka in the style of a traditional ceremonial chant (3- line chant) with modern harmonic elements. Some of the choir members are their descendants.

The other original song was “Godanya” written by Carolyn Windy, her niece  Petrina Windy (both choir members) and Adelaidean Holly Webb. It celebrates the Holy Trinity – God the Father, Son and Holy Spirit. To me this song was the highlight of the evening. The influence of hymn was there in its strophic form and diatonic harmony. However, the synergy of words and melody was remarkably seamless and the simple homophonic texture gradually grew into a wall of sound, unified and balanced, with no unnecessary movement. There was a power in its compositional simplicity that moved me. The choir was particularly of one voice in this song – my guess is that it must be one of their favourites – like one person breathing. In a later conversation with Morris Stuart, he agreed that it is the choir’s “tour de force”. It is more original songs like this that I look forward to hearing in the future.

Apart from the early Romantic style hymns and original sacred songs, we were treated to a Bach Chorale conducted by teacher, linguist and author, David Roennfeldt, as well as two German rounds with Western Arrarnta lyrics by Lily Roennfeldt.

There was also a short set of three more familiar songs which were beautifully supported by collborative pianist, Marten Visser. The audience were taught Western Arrarnta words to Kumbayah and invited to sing along. Waltzing Matilda showcased the choir’s storytelling ability and humour. But the most memorable was “We Are Australian”, sung in Western Arrarnta language. We were invited to simultaneously sing the last chorus in English and the connection between choir and audience was palpable. We rose to our feet to give a heartfelt standing ovation.

For me, the word that sums up the CAAWC and this performance is connection. At one point, Stuart asked for the house lights to come up so they could see who they were singing to. They waved to us as they exited the stage singing, and we waved back, our hearts filled with joy, and then went out to meet them in person in the foyer.

The Central Australian Aboriginal Women’s Choir is made up of members of six remote community choirs from Ntaria, Areyonga, Titjikala, Mutitjulu, Docker River and Mission Block, Alice Springs. This tour is produced by Margot Teele from Andrew Kay and Associates Pty Ltd and includes Nuriootpa, Womadelaide, Bunbury, Perth, Canberra, Melbourne, Brunswick, Sydney and Bateman’s Bay.

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