Skank Sinatra: A Hilarious, Glamorous Night of Drag Cabaret

Skank Sinatra Rating

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Imagine stand-up comedy, but with music, glamour, and a powerhouse voice – that’s Skank Sinatra. Performed by the strikingly beautiful Jens Radda, this drag cabaret show is a witty, melodic, and delightfully cheeky celebration of song and storytelling.

Radda is radiant as Skank Sinatra – her skin flawless, makeup impeccable, and smile utterly disarming. The audience was clearly captivated, not just by her looks, but by her nuanced, hilariously expressive facial gestures and effortless stage presence. She moves with grace and confidence, her costume choices both bold and elegant. A sleek white ensemble showed off her svelte figure, and a clever costume change added to the theatrical flair.

But what truly sets Skank Sinatra apart is her voice. A rich contralto (with flashes of tenor range), Radda reimagines classic Sinatra tunes with clever lyrics that kept the audience highly amused. Her musicality is matched by strong storytelling – tales that span smoky jazz clubs in New York, the underground cabarets of Berlin, the flamboyant streets of Sydney, and even the wild savannas of South Africa – all delivered with charm, humour, and often while accompanying herself skillfully on the keyboard.

 

At times, the backing music could have been slightly louder, but that’s a small note in an otherwise polished, confident performance. She sings on key and with style – an absolute pleasure to listen to.

The intimate Loading Dock at Qtopia adds charm and closeness, though one couldn’t help but imagine how spectacular this act would be in a “Cotton Club”-style venue – a cabaret setting where the audience could dine, sip cocktails, and soak in the ambience. Still, the energy and enthusiasm in the room were palpable. Many in the crowd were return fans; others curious to see if the buzz was justified. It was – and then some.

Skank Sinatra has won Best Cabaret at the Adelaide Fringe two years running. It is excellent entertainment, blending glamour, satire, and musical talent in equal measure. Radda doesn’t miss a beat! Highly recommended.

Qtopia: The venue itself is worth a visit. Located in the heritage-listed former Darlinghurst Police Station, Qtopia is the largest museum and cultural centre dedicated to queer history and culture in the world. With four buildings on site, it’s worth arriving early or staying after the show to explore. A bar onsite offers refreshments, and the audience – an even mix of ages and genders – added to the warm, community feel.

To book tickets to Skank Sinatra, please visit https://www.skank-sinatra.com/.

Photographer: Joel Devereux, MJ Bently

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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.

 

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.

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.

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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Perth Comedy Festival: Tomas Clifford Got Stood Up

Tomas Clifford Got Stood Up

Tomas Clifford Got Stood Up Rating

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Heart, flair and talent to boot. That’s how to best summarise Tomas Clifford, who recently dazzled crowds at the understandable encore season of his cabaret Tomas Clifford Got Stood Up.

Having not been able to attend the initial run of the show during Perth Fringe, I was itching to see it, following nothing but praise from others who had snagged a ticket. Presented as part of the Perth Comedy Festival, and showing at the Rechabite – it was the perfect venue for this production, providing a sense of intimacy while also just enough grandeur to allow Clifford to milk his moment in the spotlight.

Though based on his own experience of a date gone wrong, whirlwind hour grapples with themes everyone can strongly resonate with – feeling alienated, the desire to be accepted and most importantly self love. Mostly sung through; the music and vocals – both written by Clifford – are outstanding, featuring an eclectic mix of genres that keeps audiences on their toes. His clever lyricism was both witty and thought-provoking, but it was ultimately his overall candidness that truly drove home the messaging. I really enjoyed the way the tunes were both performative yet conversational, helping to build rapport with the crowd.

Having previously seen Clifford on stage in acting roles, it was great to see his personality shine through here. The authenticity added a whole extra layer to the performance and it was very evident, as is told within the show, that he is so confident in who he is and was proud to celebrate that with the world.

Props must also go to the small but mighty band helping bring the story to life – drums, keys, bass and guitar, rounded out by the welcome brassy tones of a saxophone and trumpet – along with three backing vocals, all phenomenal in their own right. Clifford’s relationship with both his band and BVs was refreshing, ensuring they were just as much a part of the performance as he was – with the vocalists in particular helping to serve as other ‘characters’ in his life.

All in all, this was an excellently executed cabaret that audiences evidently had a lot of fun at – helped largely in part by that fact that Clifford was too. I cannot wait to see what he does next.

The Perth Comedy Festival runs from 21 Apr to 18 May. To book tickets to a show, please visit https://www.perthcomedyfestival.com/.

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