Presented by the Adelaide Cabaret Festival
Reviewed Thurs 17th June 2010
http://www.adelaidecabaretfestival.com
Venue: Dunstan Playhouse, Adelaide Festival Centre
Season: 7:15PM nightly to 19th June
Duration: 1hr
Tickets: Premium $45.95/Adult $35.95/ Conc $32.95
Bookings: for all Cabaret Festival shows: BASS 131 241 or http://www.bass.net.au
Although he was born in Belgium, Jacques Brel (8 April 1929 – 9 October 1978) became, mistakenly, known as a French chansonnier (singer/songwriter) and is, in fact often considered to be one of the leading lights of French Cabaret. He was born in Schaarbeek in Belgium but moved permanently to Paris in 1959 to pursue a career in music. He also appeared in a number of films as an actor and even directed a couple. He died of lung cancer in the Parisian suburb of Bobigny and was buried, close to the grave of Paul Gaugin, in the Marquesas Islands.
Many of his songs were later recorded, both in the original French and in reworded English, by quite a few British and American singers, although the translations are often a long way from the original lyrics and have been criticised for this. This can be seen in one of his best known songs, Ne Me Quitte Pas, which literally translates as Don’t Leave Me. The English version, by Rod McKuen, is called If You Go Away, giving it a very different meaning, reflected in the softening of the revised lyrics, as well as the new title.
Brel wrote it after being thrown out by his lover, a finality, but McKuen gives it a different interpretation, saying how he would feel if the lover were ever to leave, a possibility. The edge of Brel’s version is completely lost. That edge, a certain degree of darkness, runs through much of Brel’s work, starting around the time when his wife left him, taking their children, and returned to Belgium. He stayed in Paris for the rest of his life, estranged from them.
One has only to listen to the seamy side of life portrayed in the opening song Au Suivant (Next), or another about the port of Amsterdam, or hear the underlying sadness or bitterness in songs about women, such as Madeleine or Mathilde, to realise that translations are unlikely to impress as much as the original words.
John Waters sings Brel’s songs in their original French versions in this fine performance, preceding each with an explanation of the thematic material and the intended emotional content. He is backed by a six piece band consisting of piano and keyboards, piano accordion, bass, drums, guitar and reeds; flute, soprano saxophone and clarinet. They are really attuned to the style of Brel’s music and complement Waters beautifully.
Waters has a voice that greatly suits these songs, but to say that he sings them is an understatement. He gets right to the core of each song and immerses himself in it, using his facial expressions and his body as much as his voice to convey them. This is a high energy performance by a performer who is dedicated to his subject and is sure to delight the serious cabaret enthusiast as well as those new to the genre. If you still want more after the performance, his new CD is available while supplies last. This was a masterly performance that should not be missed.
Reviewed by Barry Lenny, Arts Editor Glam Adelaide.
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