This is a great night out starts before the show does. The House Soirée at Piper’s Playhouse creates an interactive experience from the moment you walk in the door. From the moment I arrived at Crown Melbourne, the evening was already in motion.
A woman greets you at the entrance selling glasses of champagne. From there you slip through red curtains into a room with series of small booths. In the first, guests write confessions on red tickets. In others, the confessions are written onto the wall. Through a window, a performer sits at her mirror applying her makeup and getting ready for the night ahead. You meet her again later in the show. There is a wall covered in red tickets, each one holding someone’s juicy secret. Before the show has started, you already feel part of the story.
Inside, a host shows you to your table. Seating is cabaret style, arranged around a stage that pushes out into the middle of the room, so most of the action happens in the round. The room has a carefully crafted vibe. Despite being a couple of floors above street level, it feels like an underground secret club, the kind of place you access via a secret door.
Hosted by Le Maître and his housemates, the show unfolds across three acts, and the cast is fantastic. Circus performers, burlesque, singing and dance numbers all share the bill, with plenty of playful audience interaction woven through. The energy starts high and stays there, helped by a cast that roves through the crowd at the start and again at the end, stopping to have fun with guests at their tables. Everyone plays multiple roles, the drag performer also takes a turn as the DJ. The action moves quickly around the space and never loses momentum. At one point the dancers take over the bar itself. Towards the end, a famous style of burlesque performed in a giant glass becomes one of the night’s standout moments, and I won’t spoil it here.
The costumes are bold, strong and inventive. A palette of black, white and red runs through every look, with details like big red lips and lush oversized flowers that lean into the sexy atmosphere of a Parisian soirée. Corsets, paired with lace and animal print match the high energy of the performances. The audience embraced the theme too. On the night I attended, the crowd arrived dressed to the nines and ready to play. When the audience commits as much as the cast, the evening goes beyond an experience you are only there to watch.
If you want a night out that feels elevated, fun and interactive, and leaves you ready to kick on, I highly recommend The House Soirée. It makes a perfect pick for the holiday season or for celebrating with friends. The season runs Thursday to Saturday until 30 January, so plan your outfit and book a table.
Inside the ETU ballroom of the Trades Hall, I come upon the depths of a smoke-filled room, with chairs lined up much like a church choir hall, with a six piece band across the back of the stage, seemingly ready to roll.
A bass player. A female drummer wearing a pink cap. A guitarist. A female keyboard player. Even a keys 2. Finishing off with a horn player.
‘A Woman Song’ by Emmy Meli plays overhead. As does ‘Good luck babe’ by Chappell Roan. Pink stage lights beam above, bouncing off the myriad of sparkly items that sit on a prop table: a glittery notebook, a mobile phone, a pair of pink crocs, a bedazzled hairbrush, a makeup pouch entitled ‘passenger princess’, a hot pink beauty headband, and a matching-coloured facial roller.
On the left, and hung on a pole railing, sits a sheer mesh, faux fur trim, long sleeved kimono robe, ready for the taking. Ready to be worn by a bold and empowered performer, Amelie Peters, who, as far as I had read, will aim to take us through a whirlwind, topsy-turvy sing-a-long extravaganza – like no other.
An intro is heard overhead. Of Amelie anxiously getting ready to perform. Putting her heart on her sleeve: at setting the show’s tone from the beginning. So we understand completely, without a doubt, that this show will be an in-depth, thought-provoking look at her life. About the trials and tribulations of a single girl in her thirties, and how she navigates her life in a modern, ever-changing world.
And if I thought this show would be straightforward, it couldn’t be further from the truth. This is fringe, and by fringe, I mean it is meant to be an experience that evokes the unexpected. The opposite of what we expect a show to be.
And Amelie, in sassy sista style, knows exactly what she is doing, as she enters through the back of the room and up the aisle – to the stage, dressed in a pink coat with fluffy, faux fur trim, launching into a harried opening number, showing off her operatic diva style, and letting us know that we must think of her as our ‘emotionally unstable godmother’, and that this is going to be the most intimate 60-minutes of our lives.
Next, she tries to warm us up as if we are in a choir, leading us in singing the scale of DO-RE-MI. I get excited, thinking that she will be coaching us in singing songs that we already know, as she is a singing coach. Songs by Britney Spears comes to mind, or the Spice Girls. Something light, fun and karaoke-like. Something safe and light-hearted.
But as we sing and hold a note, something else happens. Amelie throws out questions to the audience about the lows and lows of online dating and being ghosted.
As we wonder where this is going, I gather that Peters is not only a seasoned contemporary musical theatre performer and a standout operatic warbler, but she also writes songs. And not just any songs about the human condition. But songs that speak of the thoughts that consume the minds of a girl in her thirties, trying to bravely navigate her role in the world. A world where women are still fighting for their own truth. For their chance to shine.
About online dating? Peter’s sings a charming bopping ditty, ‘left, right, left’. Keeping up with the challenging of beauty standards? ‘Lotions, potions and circular motions’ to a 70’s beat. The challenges of driving with a man on a date? ‘Passenger princess’, even inviting a male onstage to hold a steering wheel prop. The value of friendship? ‘I choose mates over dates’. From ‘Life is hard’, lamenting when situations go wrong, to ‘living life filter free’, about stopping our own comparison wheels, to a song called ‘Fairybread’, about ‘adding some sprinkle when you are in a pickle’, Peters sings and story-tells through her songs with the utmost conviction, all of which we are invited to sing-a-long to and absorb along with her.
Peters contemporary musical theatre voice is no doubt superb, and I feel she definitely has the scope to write and perform in this hugely popular ‘Girl Era’ genre, similar to the success of ‘Legally Blonde’ or ‘Heathers’.
If I had to be more critical, it would be that I feel the show needs a bit more structure, if an audience is to be included in the singing. As some songs had lyrics on the projector wall, and some didn’t. I also feel that it could do with better pacing. As in, I would have like to have heard more storytelling monologues without music from Peters, as at times, it was difficult to hear her words with the band playing.
But if you are looking for a pop-infused, funky night where you can just bask in your girly-era, enjoy off-the-cuff singing with great amounts of audience interaction – plus the added bonus of ‘thinking pink’ with a glass of bubbly in your hands, then this is indeed the show for you!
Adore Händel’s Birthday Party: Little Black Book Vol. 3 Rating
★★★★★
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On a balmy Friday night, The Melbourne Fringe has upped-its-ante. As I await to enter its famed Archive room to see Adore Händel’s latest instalment, ‘Adore Händel Birthday Party: Little Black Book Vol. 3’, I am greeted in the foyer by characters walking around in costume: a life-sized lobster encased in glitterati and a death-defying clown in gothic garb, preparing me for a night of theatrical otherworldly-ness.
A sold out evening. A 60-seat theatre. A high-ceiling room – one side laden with tall grey architraves. The other?With pencil-lined burgundy stencilling on the walls. The scene unfolding? I am a guest at the birthday party of Adore Händel, no less. A spectacle-inducing,18th century time-travelling Baroque performer, who is turning 269 years old.
But age is only a number. For in the span of an hour, I am transported to the world of Adore, conceived by Melbourne-based baritone Luke Bell. Where, like an 18th century rock star, he bursts upon the stage singing ‘Sweet time traveller’, laden in the theatrical brilliance of maximalist European court hair, makeup and fancy-pants, party-hearty costuming. Think ornate embellishments. Luxe ribboning. Puffed-up hot and light pink organza sleeves with gold detailing. And… a larger-than-life, quick-witted personality to match.
The scene I have entered? Adore’s annual birthday fest, where with a flourish-and-a-disney-ditty, plans to launch his little black book documenting a plethora of scandalous dalliances that he has kept a secret, until now.
Proudly singing the “Toreador Song” from Carmen, Adore boasts about the excitement, danger, and glory of his past lovers and ill-advised rendezvous, lost in a bullring of scandal and bon-vivant desire, much to the audiences delight.
But alas? This rapturous little book has disappeared. Sheepish and embarrassed, Adore frantically tries to contact Peter, his long-time assistant, while giving us a dramatic rendition of Queen’s ‘The show must go on’, despite these sets of most unfortunate circumstances.
And so, Adore is on a mission, to rescue his prized possession and set out to capture the unsuspecting wrongdoer of this heinous, unforgiving crime.
Paranoid as an unraveled-pearl-torn-from-its-seam, Adore interacts with the audience to see if they were indeed the culprit – as he searches for means, motive and opportunity.
Hilarity ensues as Adore peeps out at us like a crime-solving Sherlock Holmes. A microscope is shone across our faces. Suspiciously searching with mild interrogation as to who has stolen his prized possession, time is fleeting by. Without a clue to stand on, and desperate for some answers, Adore thinks that perhaps the shifty culprit may be linked to one of his past lovers.
With misty-eyed recollections, brilliantly scripted by Hannah Belle, Adore then sings ‘Bring on the men’, and does the unthinkable – daring to take us on a journey back to his time-travelling past. To surprisingly unveil the stories of three seperate ‘Dangerous Liaisons’ – that may unmask the identity of this high-octane thievery.
And thus, we are taken on a cart-ride of Cinderella-like proportions. From a fiery 18th century ball in Venice; to a late 1930’s horse-riding heist in the American West; to a pop record-deal gone wrong, we are indeed on the case of this mad whodunnit.
But it is Luke Bell who truly steals this show with his tremendous collection of hilarious antics and standout vocal gymnastics. A rendition of a testosterone-fuelled Johnny Cash song, ‘Ring Of Fire’, that rouses the audience to laugh and clap alongside him. His beautifully baritone voice cutting through with deep resonance during ‘Cry Me A River’, with misty-eyed, emotional substance. His instrumental talents of playing a kazoo, and finally, having a glass of Chardonnay while blowing a party blower out as a cigarette. No pun intended.
In all, this Cabaret-style show, lovingly produced by Lydia Keulsen, has sass, style and bawdy humour all rolled-into-one, purely for those of us who just want to be entertained at the highest level. If you love campy wit, a rumpy-bumpy storyline, standout operatic singing and tight-as-a-corset choreography, then this striking show is for you.
Tony & Gaga: An Opulent Big Band Experience Rating
★★★★★
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Most know the late Tony Bennett and the much younger pop icon, Lady Gaga, who shared a musical partnership and a friendship for decades. Both were Italian singers with a mutual respect for each other, as well as two collaborative jazz albums.
After first meeting at the 2011 Robin Hood Foundation gala in New York City, when Bennett told Gaga, “Lady, you are a jazz singer”, later that year Gaga recorded “The Lady Is a Tramp” for Bennett’s Duets II album.
So successful, they then released the chart-topping jazz record Cheek to Cheek in 2014 and the Cole Porter tribute album Love for Sale in 2021.
What many don’t know is the mutual impact and support they shared revitalized Gaga’s love for music when she was considering quitting the music industry. Their partnership was that profound.
For the amazing Tony & Gaga tribute show in Melbourne last Friday, acclaimed powerhouse vocalist, Sarah C, (Dancing with the Stars, X Factor) teamed up with debonair Melbourne fashion icon, Dom Bagnato, to sing the unforgettable hits of the American Songbook.
Arguably, some of the best songs ever produced in our history, some nearly 100 years old, these timeless tunes fit somewhere into our lives emotionally, still today.
When I last reviewed Sarah’s ‘Soul Divas’ show, I met Dom in the audience, excited about doing this new show with Sarah C.
This had developed when Sarah and Dom had sung together at the birthday of Dom’s daughter when they realised they had some great musical mojo together. Now, the rest is history.
No coincidence, the 20-piece band backing Sarah and Dom on Friday night were named the Mojo Orchestra and, the chemistry between Sarah and Dom with this great band, was an absolute treat to behold.
Dressed in dinner suits and bow ties, the Mojo Orchestra stage setting was reminiscent of the halcyon days of the Glenn Miller Orchestra. Mojo had the same musical precision Miller’s band was famous for – when to come in loud and when to pull back – without anyone knowing how they timed that.
The first song of the night, sung by backing singers Cathy Moloney and Julie Kemelfield, was ‘Summertime’, from the musical Porgy and Bess. They were there to warm us up so, we had no idea how opulent our experience was about to be.
I had just flown in Friday morning from a friend’s “007” wedding in Greece and a week in Thailand’s relaxed humidity, straight into Melbourne’s frosty Friday night to do this review, so ‘Summertime’ seemed serendipitous.
I was ready for the warmth of “crooner” tunes, when Musical Director, Peter Foley, introduced us to Sarah C and Dom Bagnato as Gaga and Bennett and their first duet, the classic, ‘The Lady is a Tramp’. It is a playful song about a woman who hates strict social rules, made famous by singers like Frank Sinatra and Tony Bennett, celebrating being free and real. What more could one want?
Sarah C, always so glamourous – was wearing a leopard print blazer, diamante brooch and a Fedora hat, the first of her many changes – showed us her vocal versatility with some matching Beebop, (first developed in the 40s by legends like Charlie Parker and Dizzy Gillespie.).
The band sounded romantic and fabulous and the audience couldn’t wait to hear what more was in store for their evening.
Next, Sarah and Dom performed ‘Heaven’ with Sarah’s tone reminiscent of Amy Winehouse, she always sings so brilliantly; followed by ‘Night and Day’, composed by Cole Porter in 1932 for the Broadway musical, Gay Divorcee; and ‘Under my Skin’, also by Cole Porter in 1936 and adopted by Sinatra as one of his signature hits.
Dom bantered happily with our audience like he knew us all personally.
“When I travel, I like to sing, especially this one’, ‘I left my heart in San Francisco’. He sang a very apt tribute to Tony Bennett, who originally recorded and popularized the song in 1962, when it quickly became Bennett’s signature song.
Dom then chose the Sinatra hit, ‘The way you look tonight’, originally sung by Fred Astaire and, Mojo’s trombones were exquisite.
Then, another Sinatra hit with an arrangement by Quincy Jones from 1964, ‘Fly me to the Moon’ – later becoming tied to NASA’s Apollo space missions.
The Mojo band excelled during this number with their eight saxophones especially synchronised, powerful and melodic.
Sarah C returned to the stage in a long pink satin dress to sing us ‘La Vie ‘en Rose’ (Life in pink), in French. A wonderful tribute to Edith Piaf’s 1945 version, which later became a hit in the USA in the 50’s.
Next was ‘At Last’, originally recorded by the Glenn Miller Orchestra with vocals by Ray Eberle and Pat Friday in 1941. Most know Etta James’ 1960 soul version. Sarah C’s smoky depth gave us a little mix of both, Sarah taking full advantage of her exquisite 20-piece orchestra at that moment.
The audience was invited to take a break and on return, Dom treated us to a Sinatra and Dean Martin medley: ‘Come fly with me’, ‘All of me’, ‘You’re nobody ‘til somebody loves you’ and finally, ‘My Way’, which Dom sang with all his heart and soul, totally winning over the audience and causing us all to stand and cheer.
Sarah C in her a beautiful, long pink gown, tied in a huge bow – designed by Ella Atkins – paired with a stunning Halo diamante Tiara, sang one of my all-time favourite songs – once recorded by Sammy Davis Junior, John Coltrane, Michael Buble, and, most famously, the irrepressible Nina Simone – the very cool and extremely groovy, ‘I’m feeling good’.
To hear this classic sung by Sarah in an intimate band room, performed live by the magnificent Mojo orchestra, was spine-tingling.
As were the following hits, ‘Orange coloured Sky’ originally by Nat King Cole; ‘My Baby just cares for me’; ‘I get a kick out of you’; Duke Ellington and Ella Fitzgerald’s, ‘Don’t mean a thing if you ‘aint got that swing’ and finally, ‘New York. New York.’
By this time, the audience was singing along loudly and with joy.
Brunswick Ballroom is one of Melbourne’s live music gems. Not only does it host live original and cover bands of every genre on Fridays, Saturdays and Sundays – and some weekdays – on this marvellous night, it opened at 6.30pm for dinner before the show starting at 8.30pm.
Who doesn’t love a dinner and show?
This was something different – An opulent big band experience, everyone dressed up to the nines in an intimate ballroom, hosting a 20-piece orchestra behind two powerhouse voices, two good friends, who, like the real Tony and Gaga re-igniting these classics, had a camaraderie and talent too good to miss.
A time of chivalry, respect, romance and joy. Melbourne needs more of this.
Don’t miss your chance to see this great show. Upcoming dates are:
Frankston Arts Centre – Saturday, 5th September, 2026.