One thing you can always be sure of when Sidonie Henbest, Catherine Campbell, Jamie Jewell, and Hew Parham team up is that you never know what you are going to get.
In addition to the solid cabaret techniques and skills, Siegmann’s versatile, powerhouse voice confirms the belief that this performer is one to watch.
With the cream of Adelaide Cabaret in Catherine Campbell, Sidonie Henbest and Libby O’Donovan, all accompanied by the talented Matthew Carey, this show couldn’t be a better example of great cabaret.
Carla Conlin, with tongue firmly in cheek, explores the minefield that is dating and relationships.
The show is thick with musical and textual references, hilariously parodying the original songs and shows. Everybody will find this extremely funny.
Brigitte Baden-Rennie's examination of love and its complications is a comical, sexy, infectious romp into that four letter word we all crave.
If you saw any performances in the Cabaret Festival, Cabaret Fringe, or go to Cabaret Live at La Bohème, then you will no doubt have heard some of the songs from this show before. Everybody in the world of cabaret seems to be tackling them.
Benjamin Finn proved himself an impressive vocalist and the most charming of comedians.
Sex, kleptomania, murder, and sexy kleptomaniac murderers are all on the agenda in Antje Guenther’s kabarett des mordes.
It is easy to understand why Muriel matters after enjoying Sheila Duncan’s delightful tribute to some of our forgotten history.
One of the notable points in this performance is the fine harmonisation of their voices.
Another dreary winter’s evening was warmed by a hot jazz performance as Jenna Stamp set The Promethean alight with her music.
With an entry fee of only $7, or $5 concession, Cabaret Live! has to be one of the best value nights out in Adelaide.
Liz Skitch is naughty, but nice, and her mischievous sense of humour and cheeky smile let her get away with just about anything.
The 2010 Cabaret Fringe kicked off with the Royal Gala, a taste of things to come, with a small selection of acts from the 40 that will be appearing during the month.
Skilfully directed by Delia Olam to bring out the subtext, these two plays carry a considerable impact in the intimate confines of this venue.