If I’d been doing the cabaret circuit or the club circuit or the Saturday night telly that was around in the 80s, I wouldn’t be around any more, because those shows have fallen by the wayside. So I have had to keep changing.
I don’t know how to explain how, probably to my detriment, unselfpromoting I am. I used to have a cabaret act and I didn’t even like to tell me people about that. I really hate selling myself.
I played piano for cabaret stars and stuff and then eventually moved from my hometown of Perth in Western Australia to Melbourne, and somewhere in there, I decided to book myself a room and do a cabaret show of my own material.
I spent thousands of thousands of hours playing the piano, and by thousands of hours, I mean playing in cover bands or wedding bands or disco bands or original bands or playing cabaret for Todd McKenney.
My own cabaret is constantly evolving with what is occurring in my own life, so motherhood is a natural addition to it.
I grew up listening to bands like the Cure, Joy Division, Cocteau Twins, Dead Can Dance – these are the bands that I actually grew up with, and I always had these things in my taste, too. And I always loved industrial music as well: I listened to Throbbing Gristle, SPK, Cabaret Voltaire. And shoegaze bands like Slowdive and My Bloody Valentine.
The wonderful thing about cabaret is, you can do a lot of things you can’t do in a concert. You can’t do smoky ballads for 50 minutes in a concert. It’s a different animal.
I don’t think I was considered to be a cabaret singer because I didn’t have patter that was written.
I just love to dance and ‘Cabaret’ seemed like an opportunity where I could explore that. I wanted to take a chance and see if people will accept me in this kind of role, if what is expected of other women is expected of me. Or maybe it’s for shock value.
I want to do good films. It is not that I have any problem doing commercial roles, with all the glitter. I am doing ‘Cabaret.’ It is very glamourous.
The wonderful thing about cabaret is, you can do a lot of things you can’t do in a concert. You can’t do smoky ballads for 50 minutes in a concert. It’s a different animal.
I don’t think I was considered to be a cabaret singer because I didn’t have patter that was written.
I just love to dance and ‘Cabaret’ seemed like an opportunity where I could explore that. I wanted to take a chance and see if people will accept me in this kind of role, if what is expected of other women is expected of me. Or maybe it’s for shock value.
I want to do good films. It is not that I have any problem doing commercial roles, with all the glitter. I am doing ‘Cabaret.’ It is very glamourous.
The satellite and digital space is where the audience for ‘Cabaret’ lies: a discerning lot who don’t rush to the cinema hall on the first day, first show, and prefer instead to consume their entertainment at their time and comfort.
I was once part of a Christmas cabaret. I sang ‘I Saw Mommy Kissing Santa Claus.’ I tap-danced. I had a ten-gallon hat. It was quite absurd.
I was once part of a Christmas cabaret. I sang ‘I Saw Mommy Kissing Santa Claus.’ I tap-danced. I had a ten-gallon hat. It was quite absurd.
In the early days of the Libertines, we used to put on Arcadian cabaret nights. There’d be some girl climbing out of an egg; we’d try and get a couple of mates to tell a few jokes, performance poets, and then we’d play in the middle of it all. More people were on stage than in the crowd.
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