Soul Divas, Sung by Sarah C.

Soul Divas

Soul Divas Rating

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FRIDAY, 3RD OCTOBER – ‘SOUL DIVAS’ AT MEMO MUSIC HALL, ST KILDA

There’s Soul…and then there are Soul Divas.

On a balmy Friday night in Spring, it was time to head to the live music institution that is MEMO Music Hall, for “a celebration of one the greatest female voices of all time, sung by Sarah C” and backed by her very tight and talented band.

On entry to the venue, I met some energetic characters working the door and behind the bar, each of them obviously proud in playing their parts in vibing with members of the audience at one of Melbourne’s finest live music jewels, Memo, a space that offers an intimate room with rich and clear sound supporting a plethora of performers.

Waiting excitedly at my cabaret table, I knew I would be listening to some timeless soulful hits once sung by famous divas, but I had no idea how close Sarah C’s voice, and her talented band would come to the authenticity of those favourites.

Sarah C is known for her powerhouse voice and dynamic and glamourous stage presence. She’s done lead vocals on TV’s Dancing with the Stars and backing vocals on ‘X Factor’ as well as backing for big names like Kylie Minogue, Jessica Mauboy, Paulini, Tania Doko and Ross Wilson – but this lady belongs front and centre.

Sarah’s ‘Forever Whitney’ show tours nationally and has sold-out venues across Melbourne, including The Palms at Crown. Now an international recording artist, her recent credits include singing for Oscar winners, Goldie Hawn and Susan Sarandon.

That’s not surprising. Her voice is both powerful and emotive, technically excellent and, by taking us on a journey through every song, inspiring of human connection.

Sarah has also created original music – a debut EP, ‘Fearless’; working with Mobin Master (as her alias, ‘Carerra’) on the track ‘Werk’, gaining two million streams on Spotify; and has collaborations with dance/house gurus including Ian Carey, Jolyon Petch and Ron Carroll, with releases on Ministry of Sound, Hed Kandi, Vicious, One Love, Safari and Shock records.
So, Sarah C is clearly versatile as well as vivacious, but it was her tribute to the soul divas of the world we were there to hear that Friday night and her incredible ‘Soul Divas’ show not only took on some of the most iconic voices of all time, she’s totally conquered some of the most iconic songs of all time.

While many singers take a whole show to lead up to a couple of these hard-hitting soul classics, Sarah gifted the audience with her unique talent and power straight up over two hours and with hit after hit.

 

 

Singing ‘Love is a Losing Game’ and ‘Back to Black’ from Amy Winehouse’s second and final studio album of the same name, Sarah and the band exquisitely captured the mournful mood in ‘Back to Black’, contrasted against its’ retro/60’s Pop girl sound.

I was delighted to hear Renee Geyer’s inclusion in the mix of Soul Divas, Renee’s powerhouse voice irreplaceable since 1975. I was so “Ready to Deal” with Sarah’s rendition of ‘Heading in the right direction’ and she nailed it. After that, Sarah slipped an original into the mix, ‘My World Was you’, her own soulful invention, that fit comfortably, smoothly and stylishly amongst this nights’ repertoire, just as slick as any of the classics we were here to love:

– Tina Arena’s power ballad, ‘I’m in Chains’;
– Adele’s ‘Set fire to the rain’;
– Aretha Franklin’s ‘Natural Woman’;
– Tina Turner’s ‘Rollin’ on the river’ …and so many more great songs were mastered.

Closing my eyes during some of these songs, I could’ve sworn I was sitting right there in the room with Amy or Adele.
The show was already amazing and then we got to the finale with Whitney Houston’s songs from The Bodyguard film.
It’s unusual to hear anyone sing ‘I have nothing’ or ‘I will always love you’ with the emotion and skill the originals deserve but once more, we were in for a rare treat.

It’s always a pleasure to watch a slick band and while Sarah conducted hers, the band showed us as much heart as they had talent. Multi- instrumentalist, Hayden Baird killed it on the Saxophone and also played keys in the show. His sax solo during ‘I will always love you’ was perfection.

Damien Thomas mastered his guitar riffs.

Drummer, Jay Bruno, a steady strength with every song, syncopated with Billy Cooper on bass.

Billy’s popping slap bass kept us in the pocket all night, Billy also adding some funk to Sarah’s soul – his swag was shades of Larry Grahame from Sly and the Family Stone.

Jade Talbot played the keyboard and contrasted backing vocals, also singing a duet or two with Sarah C, Jade’s dulcet notes of angelic clarity matched against Sarah’s sonorous and smoky vocals.

The band played as one, their camaraderie warm and tangible. The audience could see the respect they had for Sarah and the gentle authority she had with her “family” of musicians.

People of all ages and styles were up to dance before the interval and were also fully focused in fandom towards Sarah and the band on stage.

Like a true diva, Sarah had the audience eating out of the palm of her hand and kept them wanting more.

There’s soul and then there are soul divas. And Sarah Capodicasa is truly one of them.

To book tickets to Soul Divas, please visit https://www.memomusichall.com.au/memo-gig/sarah-c-presents-soul-divas/.

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The Art of Violin

The Art of Violin

The Art of Violin Rating

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The Sydney Opera House is always a breathtaking setting for live performance, but tonight’s concert in the intimate Utzon Room was something truly special. Making their debut in this iconic venue, Bach Akademie Australia delivered a spellbinding program that not only showcased the ensemble’s exceptional musicianship but also celebrated the rich legacy of the violin concerto.

Close your eyes, and you could almost believe you’d been swept back to the golden age of the violin. Picture yourself in late 17th-century Italy: candlelit salons, the gentle hum of anticipation, and the first brilliant notes of a new form capturing the public’s imagination—the violin concerto. With master luthiers like Stradivari perfecting the instrument’s design, and composers elevating it to virtuosic heights, the violin became the soul of the Baroque era. It sang with fire and finesse, captivating audiences and rivalling even the grandeur of opera in popularity.

Tonight, under the inspired direction of Artistic Director Madeleine Easton, that golden age was vividly reborn with clarity and passion by Bach Akademie Australia under the artistic direction of Madeleine Easton. Her insightful commentary guided the audience through the historical and musical evolution of the violin, framing each work with warmth and erudition. What followed was a program of extraordinary variety and cohesion, featuring works by Vivaldi, Leclair, Handel, Telemann, and Bach.

 

 

The ensemble performed with remarkable finesse and stylistic authenticity. The blend of violin, viola, cello, double bass, theorbo, and harpsichord created a rich and resonant Baroque sound world that felt both timeless and immediate. Each piece was delivered with a sense of joy and reverence, perfectly suited to the acoustics and intimacy of the Utzon Room.

Three violin soloists took turns at centre stage, each offering a unique voice. Rafael Font’s interpretation of Leclair’s Violin Concerto in D minor, Op. 7 No. 1 was luminous—technically agile and emotionally captivating, while Simone Slattery brought a poetic intensity to Telemann’s Violin Concerto in A minor, TWV 51:a1, illuminating its lyrical elegance and rhythmic drive.

As evening fell over Sydney Harbour, the music seemed to shimmer in response. Bach Akademie Australia did more than perform—they conjured a world, an era, and a spirit. The Art of Violin was not only a triumph of musicianship but a moving tribute to the enduring beauty of the instrument.

To book tickets to The Art of Violin, please visit https://www.bachakademieaustralia.com.au/events/the-art-of-violin-concert-1.

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Nostalgic, Hilarious, Infectious Fun for Fans Old and New!

Stranger Sings! A Parody Musical

Stranger Sings! A Parody Musical Rating

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The Eternity Playhouse Theatre in Darlinghurst is a perfect blend of plush red velvet and modern design, creating a space that feels rich with history, despite modern touches. To the side of the stage, a small band waits eagerly, giving that unique thrill only live musical theatre provides. Early show wrinkles were handled with humour and camaraderie, immediately setting the tone for a show that thrives on both chaos and connection.

Stranger Sings! The Parody Musical is exactly what its title promises: a satirical, joyfully camp reimagining of Stranger Things. Across 90 minutes, Hawkins is gleefully turned upside down, with the iconic core four; Mike, Lucas, Dustin, and Will; at the story’s centre. Each young performer captures their role with razor-sharp comic nuance. Raven Swinkels gives Eleven both haunting presence and playful edge, while Anouk Macarthur Mitchell leans into Will’s fragility with endearing self-parody. Julien Daher’s winning Dustin brims with charisma, Ruben Aguilera hits the mark as earnest Mike, and Jahzara Mariasson brings fiery energy to Lucas.

And then, of course, there’s Barb. Belle’s powerhouse vocals ensure justice is not just served but belted to the back row, a standout that lit up the night. The wider ensemble provide a constant stream of physical comedy and energy, morphing into bullies, scientists, and perhaps most memorably, a gloriously camp Demogorgon. Together, their knack for timing and willingness to push into parody’s extremes kept the show fizzing with momentum.

 

 

The production is deliberately low-fi in its design, which only adds to its charm. Simple staging is enlivened with clever costumes, witty choreography by Anna Jaques, and inventive ensemble work that makes even the scene changes cheekily entertaining. Musical director Mitch Brown guides the band through a synth-heavy score that perfectly skewers the 1980s vibe, layered with inside jokes and knowing winks to pop culture.

Vocally, the cast are outstanding. Occasional mic issues threatened clarity, but the performers carried through with enough charisma and vocal strength that the cracks only showed how strong the foundations were.

What elevates Stranger Sings! beyond parody is its cheeky breaking of the fourth wall. These playful intrusions make the audience co-conspirators, reminding us all that this is both fan satire and affectionate send-up. Even for those of us who lost track of the show past season three, the humour lands. The references are sharp enough for superfans, yet broad enough to keep casual viewers grinning throughout.

Above all, the joy radiating from this young cast is infectious. They aren’t just parodying Netflix’s most nostalgic property; they’re celebrating the simple delight of putting on a show with gusto, fearlessness, and a palpable sense of fun. To see so much future talent unified in delivering something this funny, smart, and warm is a treat, and a reminder that Sydney’s next wave of performers is already here.

Did I want to leap onto the stage to join them? Absolutely. And that’s the upside-down magic of Stranger Sings!: a parody that revels in its chaos, and a cast that makes you want to be part of the ride.

To book tickets to Stranger Sings! A Parody Musical, please visit https://sydneyfringe.com/events/strangers-sings-the-musical-parody/.

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Colour and Light: The Art of Sondheim

Colour and Light: The Art of Sondheim

Colour and Light: The Art of Sondheim Rating

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Buckle in. There is going to be a lot of hyperbole in this review. When something is this good, how else can you describe it?

Colour and Light: The Art of Sondheim, presented by Watch This at Theatre Works, is less a musical revue and more a velvet-draped love letter to the genius of Sondheim. It’s the kind of show that slips under your skin, reshapes your idea of what cabaret can be and sets a new standard for how theatre should be made.

Theatre Works is perfect venue for this show. It balances epic with intimate, using the high ceiling to hang long luscious drapes but keeping the audience close enough that we felt every word on the stage. Designer Rob Sowinski has conjured a stage that feels like a plush, lived-in lounge room (art deco drinks trolley and all) with a circle of tiered staging, bathed in the soft glow of vintage table lamps. It’s intimate and luxurious.

What follows is a breathtaking journey through Sondheim’s songbook. Yes, the big numbers are here, but so are the deep cuts and the “why-don’t-more-people-sing-this?” gems. I’m sure Sondheim diehards will know that he wrote songs for the 1990 film, Dick Tracy, but I had no idea and it was a revelation to hear music from the soundtrack on the stage. The show flows with purpose and precision, thanks to the clean, intelligent direction of Melanie Hillman and Dean Drieberg, whose love of the material radiates through every moment. The loose thematic arc is shaped around Seurat’s artistic principles of Order, Design, Tension, Balance, Harmony. The structure gives the evening clarity without ever feeling constrained or contrived. This is cabaret at its best.

And then there’s the music.

 

 

Dr Trevor Jones, who arranges, musically directs and performs from the piano, is the beating heart at the centre of the piece. His arrangements are stunning. They are lush, showy when needed, simple when called for and always with a focus on the emotional truth of the songs. This is some of the finest musical storytelling I’ve heard on a Melbourne stage and reminds me why, when done well, musical theatre is one of the greatest art forms ever.

Johanna Allen is a master of her craft. Her ability to navigate the razor-thin line between vocal fireworks and emotional restraint is unmatched. She brings a knowingness to the stage that draws the audience in and lets us share the humour and pathos in all of her delivery. There are countless moments she channels such precision and ache that you could feel the entire theatre holding its breath. This is vocal acting of the highest order.

Vidya Makan broke my heart multiple times across the night. There’s an emotional directness to her performance that’s magnetic. Her choices are always fresh, never predictable and she elevates everything she touches with nuance and grace. Her I’m Still Here was a stand out moment in a evening of stand out moments. She gave us an exquisitely rendered journey from introspective calm to triumphant exuberance with countless little gut-punches along the way.

Nick Simpson-Deeks, as ever, delivers with polish and pinpoint clarity. He finds the architecture in each song, builds it, then knocks it down with a smirk or a sigh. It looks effortless, but this has to have been crafted and perfected over years. His Send in the Clowns has ruined every other version for me. Honestly. It needs to be bottled and prescribed to every aspiring performer and every audience member.   It is good for the soul.

Jacob Rozario brings vibrant charisma and thrilling musicality. They shift gears effortlessly from the ridiculous to the sublime and their voice is an instrument of total control and warmth. There wasn’t a moment when their performance wasn’t a captivating blend of playful, detailed and vocally dazzling. His delivery of Can That Boy Foxtrot will stay with me for a long time. 

Colour and Light: The Art of Sondheim elicited a palpable love in the room, not just for Sondheim, but for collaboration, for precision, for joy. The audience left buzzing, visibly moved and audibly delighted. As for me? I’ve already booked to see it again.

This is one of the finest tributes to Sondheim I’ve seen anywhere in the world. Don’t miss it.

To book tickets to Colour and Light: The Art of Sondheim , please visit https://www.theatreworks.org.au/2025/colour-and-light.

Photographer: Ben Fon

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