The 2019 inaugural Sydney Cabaret Festival has packed up its chandeliers and put away the sequined outfits with the promise of doing it all again next year. Curated by the inimitable Trevor Ashley, the festival featured local and international cabaret stars (many appearing for the first time in Australia) brought together by a dedicated team and an appreciative set of sponsors. Over ten days the Seymour Centre was transformed into a playground for those who cherish this sublime artform. Paying homage to the many past venues that have hosted cabaret for over 50 years the existing Seymour theatre were renamed harking back to the glory days of Chequers, The Tilbury Room, Valhalla and Capriccio’s. Adding to the mix was an exhilarating live piano bar creating a true festival hub – and one that never seemed to close. It was a joy the see that grey monolith of a building called Seymour come alive and sparkle past 10pm for once.
Two events that stood out and represented the polar opposites that cabaret can form were Tim Draxl’s new show Love is a Drag and Natalie Joy Johnson’s offering entitled Relentless. However one could have been equally bedazzled by simply hanging out in the piano bar and enjoying the somewhat spontaneous acts that paraded by. To my good fortune an extra performance by Mr Draxl was programmed at the 11th hour at the very un-cabaret time of 5:30, though that is officially cocktail hour. His show was structured as a concept cabaret using the most intriguing source. In 1962 an album of love songs was released without much ballyhoo or even album cover credits. This mysterious addition to the music world became a cult favourite within the gay community. These standards, originally written for a female voice to romance a male beau, were in this case sung by a nameless male but retaining the masculine pronouns in the lyrics. Frank Sinatra, who thought he knew every singer’s voice in the business spent years listening to it intent on discovering its owner. For more information go to https://www.theguardian.com/music/2016/dec/05/all which details all about this fascinating and once hidden story now fully exposed.
This material has proved to be a goldmine for Tim Draxl and creative partner Bryce Hallet who have created a tender cabaret that straddles the personal travails of this singer/actor whilst charting a time, not so long ago, in the music business of the love that dare not “sing” its name. In my book Draxl can do no wrong, for as a performer he exudes charm, sincerity and enormous vocal talent. In complementing tuxedos he has supported by a very fine three-piece band led by musical director Daniel Edmonds.
The following evening literally bursting onto the stage, and almost out of her gown, was the final opportunity for Natalie Joy Johnson to be “Relentless”. This brassy wise cracking New Yorker is the very epitome of the kind of nightclub act you can stumble across late on a wet Wednesday in London’s Soho or the Big Apple’s Greenwich Village. Ms Johnson was most gracious in thanking us for taking pot luck with “the unknown commodity” and in her new found love for Sydney. Her outrageous comedy patter was ably assisted by life-time buddy on piano Brian Nash. Their banter is reminiscent of legendary cabaret stalwarts Kiki and Herb, and like them Ms Johnson is not all showtunes and iconic diva. Her voice has the power of Joplin and the skill of any Broadway star you may care to name, wrapped up as a latter day Bette Midler. While Draxl may have presented himself at arms’ length, Johnson dives in boots and all.
Festivals such as this can only nurture homegrown talent, while attracting the variety on offer from overseas. This should assist in re-establishing Sydney as a cabaret destination in tandem with the Adelaide Cabaret Festival. There is room for both so do catch it in 2020.
Mark Nagle – Theatre Now
