The concept of a 1933 Berlin cabaret with the final performance of a Jewish star held immense theatrical promise that unfortunately was not delivered.
Presented by: Three Fish ProductionsVenue: Seymour Centre, Sydney Thursday 4th August, 2011 (Opening Night) The concept of a 1933 Berlin cabaret with the final performance of a Jewish star held immense theatrical promise that unfortunately was not delivered. Instead a mish mash of genres, styles and periods resulted in a very ordinary night. Alexis Fishman was the cabaret performer Erika Stern and co-wrote the piece with James Millar. The hour long entertainment could not seem to decide if it was indeed cabaret, theatre, club show or period piece. The initial mood suggested intimate cabaret. This was set by having audience seated at tables surrounding a small raised dais. A three piece orchestra played (Chris King, Greg Jones, Eric Hutchens), although the music did not seem to evoke the period sufficiently. Designer David Fleischer could have done more in the way of visual props and staging to suggest time and place and increase the cabaret feel. Fishman appears late on stage as Stern, with a bloody nose and sings some narrative songs in an accent which was intrusive and became annoying as the show continued. The music throughout the show was a mixture of some songs which seemed in keeping with the period and were nicely delivered by Fishman (“I’ve been in love before”, “Everything’s made for love”) interspersed with parodies like “So Blame the Jews” set to an aria from Carmen. In between songs Fishman told the story of her love, her dismissal from the club and her victimization as a Jew. There was little grace and even knowing the history of the persecution Fishman’s portrayal of Stern did not engender empathy. Some of the songs and lyrics tried to be provocative “No Wonder She’s a Blushing Bride”, “Masculine Feminine” “Hail Hitler Ja Ja Ja” but just did not work. Fishman certainly has the vocal range and ability to deliver a show stopper, but we did not see one here. There were some attempts at lewdness or naughtiness (gloves having sex) and jokes fell flat as Fishman looked ill at ease with these elements. Throughout she referred to Otto (pianist and band leader) who could only pull faces in response. There was little connection or working with the audience which is the heart of all good cabaret. The final song medley of “Go Away Little Boy” and “If You Go Away” would have been more at home in a club show review. What was missing was cohesion, a theatrical arc and a commitment by the writers and director Tanya Goldberg to totally embrace one style, one period or one theme. Until August 13thBookings: Seymour Centre