A Very Naughty Christmas: An Irreverent, Rude and Slightly Nude Cabaret

A Very Naughty Christmas

A Very Naughty Christmas Rating

Click if you liked this article

The Twelfth Night Theatre in Bowen Hills is packed out for A Very Naughty Christmas, an evening of festive filth and perfect end-of-year leer, courtesy of Woodward Productions. Billed as Australia’s longest running adults-only Christmas show, mixing stand-up, sketches, powerhouse vocals and dancing you don’t want you Mum to see, AVNC prides itself as a loud, proud and gloriously unholy comedy-concert-cabaret mashup, and a must see for merry mischief.

The concept is clever and perennially popular, now entering its 9th year of production; AVNC parodies favourite Christmas numbers, borrowing musically from popular culture while also comically satirizing more topical and serious issues; Because Santa is a foreigner with a beard and headdress, he may need to be detained at Christmas Island this festive season in “Santa Won’t Be Welcome Here”. “The Snowflakes are Ruining Christmas” is another highlight, the ode of a Sky News Australia watching ‘Trad Dad’, bemoaning social progress and inclusivity to the detriment of his bigoted and entitled world views. There is also an enjoyable skit where an Olympic Games bid for the North Pole is mooted, before running into predictable (and somewhat familiar!) logistical concerns.

 

 

The standard and versatility of the Cast is very high, each singing and dancing and many taking on distinct characters; They all blend beautifully together with dynamic chemistry and charisma. Highlights include Steve Hirst as Santa, bringing cheeky cheer and everyman likability, even though we are in the end slightly concerned for Santa’s missing sack! Sam Ward is perhaps my favourite individual vocalist, with a smooth jazzy croon and striking presence on stage, while the female singing trio (I believe they were Nina Carcione, Olivia Horne and Aurélie Roque) harmonised beautifully and looked just as great. Lara Trevor stood out among the dancers, with mesmerising rhythm and remarkable flexibility, with Anthony Craig, Lachlan Greenland and Croft Phillips commendably completing the talented Cast.

The Live Band are another first-rate feature, effortlessly elevating the atmosphere and tone of the evening.

So much work goes into this type of a show, and enormous credit is due to the entire team of creatives, led by Director/Choreographer Daniel Venz, with special mention also to the work of Skit Writer and Composer of Original Songs, Matt Semple. Great comedy is easy to watch but very hard to create; Judging by the opening night crowd’s response, AVNC delivers like Santa Claus on Christmas eve. The show is as full of surprises as it is double entendre, and the Cast are equal parts fearless and shameless. As the name suggests, this isn’t A Slightly Naughty Christmas; But if you are prone to blushes, don’t worry – red is a very festive hue. AVNC is an irreverent, rude and slightly nude cabaret- that promises tremendous fun.

To book tickets to A Very Naughty Christmas , please visit https://twelfthnight.com.au/.

Spread the word on your favourite platform!

Blanc de Blanc Encore

Blanc de Blanc Encore (World Champagne Day)

Blanc de Blanc Encore (World Champagne Day) Rating

Click if you liked this article

4

Blanc De Blanc Encore is a cheeky cabaret-cirque fusion that contains more fizz than the champagne it’s themed around. Masterfully weaving elements of comedy, cirque, dance, cabaret and singing; it’s a titillating time. Furthermore, the West End Electrique feels like the perfect venue allowing for action in, on, amongst and over the audience proving to never allow a dull moment. The interactivity between the performers and audience provides an experience that will be ever changing with each show, making it feel fresh and unpredictable. An all-star cast also elevates this performance to be a next-level experience.

Dylan Ingwersen and Eric Allen enthrall the audience, be it through their comedy or the anxiety of knowing no-one is safe from their crowd work. Ingwersen does a great job embodying his outrageous French character, and has an almost sweet chemistry with Allen. Allen is no-joke, flexing his muscles in skillful work on a static pole as well as for some fun bits that play with physicality and sound recordings. The entire cast show great skill in group dance numbers, most with a fun champagne flair or mischievous twist. Abi Wells uses her talent to mesmerise us with great fluidity and control throughout her dance numbers, showcasing her temptress abilities. Brett Rosengreen is equally as established, showcasing a diverse dance skillset from thigh-high heels to isolations to feather fans. Rosengreen had great on-stage presence, constantly flirting with the audience.

 

 

Ruby McQueen makes a great addition to the dance team, but really proves herself in her aerial number. McQueen shows confidence and makes her technical movements through the air look effortless, all while remaining connected to the audience. Similarly, Maria Moncheva does expert work on the aerial chains, captivating attention skyward. Moncheva interestingly doesn’t emphasise the ‘danger’ or metallic clanking of the chains during her performance, which assists it to feel gentler and more high-class. Finally, Lily Bourne offers some vocal talent to the mix, with sassy powerful vocals that feel stylistically perfect for the show. She teases and at times bullies the audience all through song, showcasing her vocal range and character capabilities.

All the great talent on display really shines through thanks to adventurous and creative staging. Performers are often situated right amongst the audience, or doing numbers that include interaction such as a giant parachute being sent out over everyone. These interactive additions elevate this from a show to an experience that really includes everyone present. The choreography felt well suited, combining elements and style from more classical jazz with a contemporary flare. The lighting design created a heightened atmosphere, with fantastic use of backlighting to provide silhouettes at times, or spots to highlight performers situated throughout the venue. The content of the show was unique and didn’t feel contrived or dated; bringing an exciting modern feel to the classic tropes of cabaret. With the exception of two numbers, the pacing felt perfect throughout the show with well placed transitions driving us forward. Blanc De Blanc Encore is an exceptional, classy and playful experience that ensures every member of the audience will leave with a smile. Be sure to catch this one before February, when the fizz runs out and they leave the West End Electrique.

To book tickets to Blanc de Blanc Encore (World Champagne Day), please visit https://strutnfret.com/shows/blanc-de-blanc-west-end-electric/.

Spread the word on your favourite platform!

Scandalous Cabaret

Scandalous Cabaret

Scandalous Cabaret Rating

Click if you liked this article

Scandalous Cabaret is a fusion of Circus, Comedy and Cabaret all rolled into one travelling act in a tent. With a larger cast of twelve performers they advertise their show as a ‘hybrid’ adults only Circus, that delivers a sensually themed collection of acts.

The performance contained many old favourites from the Circus arts however with modern twists. We see the Unicycle, but also a miniature version, a three-wheeled version and a two-story off-centred version. Juggling is another classic, but performed with bounce, movement and up to 7 balls at once.

The absolute standout of the act was the talented Trapeze artist who also performed an aerial act with chains and neck spinning. She was mesmerising, with incredible strength and fluidity of movement. A great commendation is needed for the choreographer of the acts, as every performance had amazing flow of movement and contained many transitions.

The choreography knew when to contrast stillness and movement, and constantly used symmetry between the aerial artists. This was evident across the board, including a contortion routine that contained so much elasticity and smoothness of movement. Another standout was a fire performance containing skin transfers and fire eating. This act had great transitions and practical use of fire palms, bubbles and wands with excellent variation between these things.

 

The individual circus acts were to an incredibly high standard, where it seems that achieving a continuum would be within their grasp. The dance choreography had a very classic jazz style and made little interludes between acts, which was not unwelcome. There was mention of tracking ‘gossip’ surrounding relationships as a story-line for the performance, but this was quickly forgotten.

It would be nice to see this story-line develop more or play a more active role in the way things are staged. We did get a nice classic jazz number that was sung quite well, it would be nice to see more showcasing of vocal talents in their line-up in the future. The song choices and comedy included in the show feel a little crude and immature, not giving a high-class cabaret feel to the show. It would be good to see the staging and theming evolve to better showcase the fantastic talent contained within their cast.

Overall, Scandalous was not very much so, but a great showcase of fluid choreography and talent. It still proved an entertaining time with nice reinventions of older circus acts, and a large cast of professionals.

Scandalous Cabaret runs 15th November – 14th December.

To book tickets, please visit https://scandalous.com.au/

Spread the word on your favourite platform!

Spread the word on your favourite platform!