Where the Wild Roses Grow

Where the Wild Roses Grow

Babushka Cabaret

10th & 12th May 2012

Reviewed by Sarah Knight

When I Google mapped (is that a verb?) the venue for Babushka Cabaret’s show Where the Wild Roses Grow, there was no venue…as such.

Situated at Hamilton Reach on Brisbane’s north side, in an abandoned warehouse, this is a typical Anywhere Theatre Festival venue.  The Anywhere Festival, in its second year, ‘reconnects audiences and communities with theatre, with storytelling and with performance… anywhere.’

As I enter the street for this ‘spooky warehouse’, as described on Babushka’s website, I am already getting the vibe for this show. Described as ’tales of murderous passion’, this is exactly the kind of place you would dump a body. Seeing no signposts I gingerly follow a car into what seems…well… let’s just say that parking was NOT an issue.  On a vast abandoned lot on the edge of the Brisbane River, where new cars were once unloaded from cargo ships, stands a small solitary warehouse. From the warehouse drenched in colourful lights, I can hear the sounds of Babushka’s femme fatales warming up so am relieved, this is the right spot.

The audience enters the warehouse through a door marked ‘bulk cargo’. Inside is pleasantly warm and cosy, softly lit with hues of blue and red. The intimate audience of 50 are set close to the staging area. Candelabras complete with burning candles send thin waxy trails of smoke up into the high ceiling. Slightly right of centre sits an electric piano. At the back are stairs that lead to a mezzanine office flooded with red light, where the warehouse foreman once worked.

The girls begin the show with Where the Wild Roses Grow by Nick Cave. Unamplified and a capella, dressed in black and red, the girls stand just inside the upstairs office doorway.  I am instantly struck by the power and beauty of their classically trained blended voices, which fills the upper reaches of the warehouse.

The show includes an eclectic selection of songs like Faure’s art song Prison, I’d Love to Kill You With a Kiss by Katie Melua and Sufjan Steven’s song about serial killer John Wayne Gacy.

The threads that connect the pieces of verse and narration include stories of murder and death. Like in the case of Dido’s Lament the the story of Gillian Barber who jumped from Brisbane’s Story Bridge to her death in 1996.

Babushka Cabaret’s line-up has changed since I last saw them. Missing are Alicia Cush (on maternity leave) and the hilarious Laura Coutts. Fantastic regulars Bethan Ellsmore and Michelle Bull are back and the beautiful, mezzo soprano Jade Moffat takes a guest spot. Moffat, seemingly new to cabaret performance does not exude the confidence of the rest of the group. This thought is momentarily dispelled with her stunning rendition of Purcell’s Dido’s Lament. Sung from the upper balcony, her voice, like syrup for the soul, fills the space and casts a spell on the audience.

Matthew Samer on keys is such a delightful accompanist. Positioned centre stage he is right in the thick of it, which is great. He has an eager smile and seems to enjoy the show, even chuckling at the jokes as he plays.

Half way through I became confused by the show’s direction; energy lagged and some narration threads seemed forced. I loved the absence of amplification that created a more intimate bond between performer and audience, however, at times lyrics were lost, mainly due to some overbearing keys. The tight harmonies and symbiotic singing this group are capable of was at times missing as well.

Ellsmore stole the show for me. On stage she is captivating. She has a carefree, take me as I am manner, which makes me watch her even more. Ellsmore switches from violin to playing the keys to belting her own original number Down by the Creek to ‘pinging’ top Cs (or higher) with ease.

The highlight performance of the night was Greenkeeper’s Lotion, a song about a killer (from the movie Silence of the Lambs) who gets girls to put lotion on their skin, then fillets them and makes clothes out of their skin and wears it. The Babushka girls were creepy and hilarious in this number and this performance sums-up everything I like about them. The gals of Babushka Cabaret may be classically trained but they are no self obsessed woofy opera singers. They are sexy, sassy and ready to tackle the absurd. Babushka Cabaret. Watch-out for their next cabaret mash-up.

 

A Message from Queenie van de Zandt

If you’re in Sydney for Mother’s Day you may like to get to THIS!

Be quick, it’s almost SOLD OUT!

And a message for Brissie friends before next Friday’s show at the Judith Wright Centre.

Are you on Queenie’s cyber mailing list? You’d better be!

 

Hi Brissie Gang…

Ok – below is the poster with all the low-down on the go-down on Friday. A guy called “Prince” is doing his show on the same night…but he’s only a prince – and I’m a fucking Queen…

On that – because you are on my ‘cyber-mailing list’ you get cheepo tix to my gig…(bet Prince whatever his name is doesn’t do that…). 

So if you mention the word “Prince” when booking your tix – you can get tix at the concession rate instead of paying full price.

I hope to see lots and lots of you there!

Q: What do a woman masturbating in the audience while you’re singing on stage AND getting verbal diarrhoea when meeting Olivia Newton John have in common?

A: THEY BOTH HAPPENED TO QUEENIE VAN DE ZANDT.

Ever since she pulled on her ABBA socks at age eight, Queenie van de Zandt knew she was destined to become a performer (or hairdresser). Her mind, and face, made up, she plunged into the shady world of eisteddfods, speech and drama exams and school musicals. At 18, Queenie finally got her “big break” at a cabaret venue in the theatrical epicentre of… Queanbeyan.

Thus began 21 years of bizarre theatrical experiences ranging from performing on the stages of Asia with some of the great actors of our time, to accidentally pooping herself in a performance of HAIR. Yes ladies and gentlemen, this right regal star of the stage has seen and done it all.

Don’t miss a night of hilarious anecdotes, insightful observations and beautiful songs from one of Australia’s best-loved cabaret and musical theatre stars!

 

 

EPIPHANY

EPIPHANY

 

THE ONLY SUNSHINE COAST CONTINGENT IN THE ANYWHERE THEATRE FESTIVAL

Sunshine Coast creatives Mary Eggleston and Sue Davis are breaking new ground on several fronts with their latest production to be staged as part of the Anywhere Theatre Festival this weekend.  This is the first Sunshine Coast production to be included in the Anywhere festival with the show being staged in a rather interesting ‘red shed’ in Yandina, currently housing the Sunshine Coast School of Photography.  2Muse Productions has also re-energised the traditional fairytale format with this show drawing on new media and various theatrical forms to tell a spellbinding story called Epiphany. Another feature of the process and performance is that young people are working alongside local and international professional artists, with the professional artists performing alongside the young artists on stage. (This makes it a community development project – Ed).

Younghee Park and Pak Hoyoung are performance artists from Korea who have extensive experience in physical theatre and performing for young people, but this is the first production they have worked on where they are both performing themselves while also mentoring young performers. They are working with the project organisers, Sunshine Coast’s own youth theatre directors, Mary Eggleston and Sue Davis to devise and shape this original performance piece.  The production crosses over artforms as well with input from video artist James Muller (of Earth Base Productions) and local musician and performer, Simon Russell-Baker.

Young performers hail from Caloundra to Cooroy and they have been working for months to create characters drawn from circus, vaudeville and freak shows.  The show was originally staged in a début performance in November 2011 at the SCAIP Black Box Theatre in Nambour but with the support of RADF funding has been totally reworked to showcase the talents of the young people and the Korean guest artists.

The show centres on the tale of young Queenie D, an Alice in Wonderland type character who is drawn into a fantastical new world that exists beyond the mirror.  The cast have been developing a unique physical language for the production and have been exploring new media and old with the performance featuring digital imagery using iPad Apps.

The show is the first Sunshine Coast production to be staged as part of the south-east Queensland based Anywhere Theatre Festival.  A unique festival, its parameters are that shows can be performed anywhere but in a theatre.

Writer and theatre reviewer, Simon Denver, counted Epiphany amongst the best of Sunshine Coast theatrical productions in 2011. Don’t miss it this time ’round!

An End To Dreaming

An End To Dreaming

Emma Dean & Jake Diefenbach

Judith Wright Centre

Friday 27th April

Reviewed by Andy Clark

My Favourite Sin(ger)s

Some singers are made to sing together - Emma Dean and Jake Diefenbach are definitely one of these perfect pairings.

I first saw Emma and Jake perform the lead song of their An End to Dreaming show before The Dresden Dolls played The Arena on Valley Fiesta Friday in 2006. That performance was emphasised by the specifically placed members of Zen Zen Zo in the audience, who performed above us, after we were all asked to sit on the floor. The song was a like a multicoloured chrysalis that was beautiful in it’s own way, but is primed for greater things in the future. It was showcased again as their Grand Finale number in 2009 when Emma and Jake did their Downside Up show at The Judith Wright Centre.

Friday night’s performance started with two very young and talented Brisbane singers who may one day be as accomplished as E&J. Pixie and the Halloran intersperse their beautiful songs with simultaneous talking that has been rehearsed to a tee. Dressed like they have just pranced in from the bottom of the garden, these Fairy-like singers bounce off each other’s voices with a lovely balance and only occasionally does the blend of their voices not create a dreamy sense of magic in the heads of the audience. James Halloran’s booming mellow voice dominated their show for me, which is hardly surprising as Indigo (Pixie) is unbelievably, only 16 years old; she is totally enchanting and will be a star before she’s 20.

However, they are but an appetiser for THE Show that is about to be unleashed on the lucky throng. Emma and Jake appear in the middle of The Judy between the tiered seats and the circular tables as if by magic. Cloaked in what look like black capes, they weave their way toward the stage, where their cloaks are seen to be blood red. Their show goes through stages of development from The Darkness with Emma’s song Black to The Light, via The Awakening, The Reckoning and The Healing, with a special moment when they perform the superb Stuck in the Mud.

Jake’s keyboard acrobatics are a sight to behold and he compliments Emma’s piano, violin & melodium. Their voices are very similar and merge and mix with each other so perfectly I hope they perform together forever.

The show climaxes with the 2012 version of An End to Dreaming, which meanders it’s way from deep and dark to spectacular and dramatic and it is a delight to see how this song has evolved into a multilayered, multicoloured butterfly.

Then just when you think it’s all over, they return for an awesome rendition of My Favourite Sins, to cap off an exceptional evening. Next stop for this spectacular show is the New York International Fringe Festival. Maybe the next stop after that should be not Briz Vegas, but Las Vegas?

seeking brave vocalists

Image by Morgan Roberts

The Danger Ensemble are seeking two female, trans or drag actors of any age for upcoming !Metro Independents surrealist-tragic-cabaret

Loco Maricon Amor

Major commitments for the work fall between June and August.

This is a profit share production. The company is seeking brave actors with singing experience interested in experimental work and devised-collaborative process to join an exciting team of actors Chris Beckey, Caroline Dunphy, Polly Sara, Peta Ward and Thomas Hutchins.

To express interest please email steven@dangerensemble.com with a CV, headshot or photo.

n.b. technical singing training is not needed but being able to sing is essential.

Rachelle Durkin: Metropolitan Magic

In an Australian exclusive, New York based Metropolitan Opera soprano, Rachelle Durkin, will perform Metropolitan Magic for one night only on April 26th at berardo’s restaurant. Rachelle will be coming to Noosa after a month of performing the lead role of Violetta in La Traviata for Opera Australia’s critically acclaimed Opera on the Harbour extravaganza. The production will be screened on Foxtel’s STUDIO channel on Monday 30th April at 8:40pm.

She was last seen in Noosa on the big screen in December as the female lead in the Metropolitan Opera’s production of Satyagraha (part of Noosa Cinema’s Opera at the Met season).

As well as performing with The Met over the past decade, Rachelle has performed internationally with Chicago Opera, Hawaii Opera, Lyric Opera of San Antonia, Bilboa Opera, Salzburg Festival, Bellingham Music Festival, Hong Kong Philharmonic and at Carnegie Hall.

In Australia she has performed lead roles with Opera Australia, West Australian Opera and Opera Queensland as well as performing as a soloist with many of the state Symphony Orchestras.

Although a much lauded opera singer, Rachelle is equally at home performing cabaret and musical comedy numbers. Metropolitan Magic will not only feature some great opera classics but will also include a little Bernstein, Sondheim etc.

Co-starring with Rachelle will be Mark Coughlan, a highly respected concert pianist, accompanist, musical director and compere, who has performed in Europe, South East Asia & Australia, including a critically acclaimed solo Beethoven recital at Sydney Festival.

This concert heralds the fourth collaboration between the Zonta Club of Noosa, berardo’s restaurant and Philanthropy Initiative Australia in presenting evenings of world class music to raise money for Zonta funded projects.

Previous Zonta concerts at berardo’s have featured Jane Rutter, Taryn Fiebig, Sara Macliver and Andrew Foote and have successfully raised thousands of dollars for such charities as United Synergies and Birth Kits Foundation Australia. Once again, all proceeds from this concert will go to Zonta supported projects including Cooroy Family Support Centre.

Rachelle Durkin: Metropolitan Magic

April 26 at 6pm at berardo’s restaurant & bar

$95 includes 3 course dinner with glass of sparkling wine on arrival plus 2 x 45 minute sets

Bookings: Carole Tretheway of Zonta on 0414 713955

Noosa Food & Wine Festival 2011 from Source Media on Vimeo.

david hawkins brings ben vereen

OMIGOD! The most exciting news all day!

David Hawkins, of Showtune Productions, is bringing the legendary Tony Award winning song and dance man

BEN VEREEN

to Australia in June! *screams*

Now, it’s unlikely that I’ll get to travel south to see him live, due to all the Travelling North I’m doing at the moment, followed by our commitment to the Noosa Longweekend (full program released on May 1st), but in case you’re able to go, here are the delicious details.

BEN VEREEN in

STEPPIN’ OUT LIVE WITH BEN VEREEN

22 JUNE 2012
FESTIVAL THEATRE,
ADELAIDE CABARET FESTIVAL

23 JUNE 2012
ATHENAEUM THEATRE, MELBOURNE or PH 13 2849

28 JUNE 2012
PARADE THEATRE – NIDA, SYDNEY or PH 13 2849

A true legend of Broadway, Ben Vereen will be Steppin’ Out with a unique blend of artistry combining a journey of his amazing career on Broadway, and paying tribute to Frank Sinatra, and Sammy Davis Jr. Each performance is filled with song and dance, stories of his life, and a great deal of humour.

Tony Award winner for his role in Pippin, Vereen has appeared on Broadway in Wicked, Fosse, Chicago, Jesus Christ Superstar, Hair, Grind, Jelly’s Last Jam, A Christmas Carol and I’m Not Rappaport. Vereen’s film credits include Bob Fosse’s classics Sweet Charity and All That Jazz and Barbara Streisand’s Funny Lady. Vereen starred as ‘Chicken George’ in the 7 Emmy Award winning mini-series Rootsas ‘Chiken George’, other TV appearances include How I Met Your Mother, Grey’s Anatomy, Law and Order: CI, OZ, Touched By An Angel, Second Noah, New York Undercover, The Nanny, and Star Trek – The Next Generation.

Well, when I read the news on Facebook today during our tech run, I exclaimed out loud something a little more Legally Blonde than Travelling North like, “OMIGOD! YOU GUYS! BEN VEREEN!” And Julia, who plays Frank’s daughter, Joan (Andrea Moor played the role in the film), was just as excited as I was and that was so excited that we started singing PIPPIN. And by singing PIPPIN I mean dancing around the new dressing room, singing the opening number at the top of our voices. Andree, who makes her stage debut as Helen, just stared. Clearly, we should have been running lines. But look, you can never have too much PIPPIN. It stays with you. I was Fastrada when I was fifteen…

Fastrada costume (sans character shoes) by Mum. Taken on location at the Stringybark Road residence.

And our Pippin? Well, he’s also gone onto bigger and better things!

Look for him on stage at  the Olivier Awards, performing with the UK touring company of South Pacific!

Our Pippin, Lawrence Carmichael, with Director, Ian Austin in 1990

Hello, Sailor! South Pacific 2012

Meanwhile, you’ve booked your Ben Vereen tickets, haven’t you?

If you’re not booking them right away you’ll miss out!

And if you manage to get hold of a couple of extra tickets for Sydney on the 28th (we’re at the Noosa Longweekend until then) let me know! Seeing Ben Vereen as the Leading Player in PIPPIN (on VHS) changed my life a little bit . Imagine what it will be like to see this legend perform LIVE! This is what the independent producers do – well, this is what we’ve noticed David Hawkins does – he brings out the entertainers who will change your life.

 

 

divine divas coming soon to brisvegas

With a puff of glitter, and glamour galore, Australia’s hottest all-star Celebrity Female Impersonation show, Divine Divas, will hit the Queensland Performing Arts Centre’s (QPAC’s) Concert Hall stage for one night only on Saturday 28 April.

Featuring some of Australia’s brightest and most talented female impersonators, Divine Divas will bring their all star ‘Diva’ experience including $150,000 worth of authentically reproduced costumes to QPAC, as they pay tribute to some of the world’s best divas.

Fashioned together by Producer Mr Warren Gooch, Diva by night and Unit Manager for Medical Imaging, Melbourne Hospital Network by day; in the tradition of impersonation shows like La Cage aux Folles and Priscilla Queen of the Desert, Divine Divas celebrates Divas such as; Kylie, Madonna, Cher, Dolly, Celine, Barbra, Whitney and Britney, to name but a few.

Australia’s best Female Impersonator Compere ‘Miss Anita Beer’, will take you on a journey into a world of thrilling performances, sequined gowns, flamboyant feathers, amazing wigs and dazzling jewellery.

Don’t miss experiencing the glitz, mime and glamour of this high-class Las Vegas-inspired two hour extravaganza. Bringing all of your favourite stars together, Divine Divas offers an exciting, flashy ‘night of nights’ that will have you laughing and dancing all night long. They are un-boy-lievable!

bombshells

Bombshells

Queensland Theatre Company

Featuring Christen O’Leary

Directed by Wesley Enoch

17th March – 21st April

 

“A one person show is an act of endurance for a performer and a true showcase of their skills.”

Director, Wesley Enoch

From Australia’s foremost female playwright, Johanna Murray-Smith, who brought us the phenomenal Songs for Nobodies (currently pitching to the Broadway gods), comes this neat little show, which Murray-Smith wrote for award-winning, just-about-to-return-to-Broadway powerhouse performer, Caroline O’Connor. I think it’s fair to say that there is not a performer anywhere in the world, quite like Caroline O’Connor and despite her having teensy, tiny feet; O’Connor’s are big shoes to fill. Of course, there was never any intention to recreate the original production but it’s hard to forget it, isn’t it?

Luckily, Christen O’Leary won us over on Monday night – within seconds, in fact – with her first character, my absolute favourite, Meryl Louise Davenport, the inadequate mother, frantic with school day preparation, distraction and procrastination, continuously despairing over her unsuccessful attempts to “connect” with her children, her husband, herself as well as her inability to complete even the most menial tasks for the household when she’s “not even working”. Every mother must recognise this mother! In abject horror, we see in Meryl our own failings in every area – even sleep – and we have to laugh. But it’s from a place that is so uncomfortably familiar; we squirm and silently wonder, “Oh wow… was that really my day today?” And the louder inner voice, in the same rapid-fire delivery as O’Leary’s, which we feel sure everybody around us can hear, with its cruel judgment and damnation replies, “YES. Yes, it was, you hopeless, ambitionless, pathetic excuse for a child-rearing, formally-completely-capable, desirable woman, wife and mother.” Oh. Yes. Well, fuck.

O’Leary’s performance during this opening out-loud-inner monologue is absolutely superb. With heightened energy and frenetic business, her voice supports her thrown-together school-run persona (“lipstick, that’ll do it, whack it on; that way the other mothers will think I’m in control!”) and it’s funny because it’s true; we all have those days.

Next, we meet her neighbor, Tiggy, a succulent lover. That is, a lover of succulents who has recently lost a lover. Her anguish is almost palpable and we feel for this woman, with such well laid plans that have come well unstuck. She is comforted by the success of her enormous cactus, ridiculously phallic, making us feel sorry for the poor bugger to which she likens it, whom she suddenly spots in the audience, thereafter directing every insult to him! Nicely staged. Meryl and Tiggy, along with the beautiful widowed soul, Winsome, who we meet later, at sixty-eight allowing the label afforded her, determine who she is. An unexpected erotic encounter changes Winsome when she – and we – presumed nothing of the sort would ever happen to her again. Those of us older than twittering age (and I’m not referring to social media) appreciate her gentle, stately grace, her benevolence, her life of new routine to fit in with “the widows”, while students, too young to see past the imagery conjured by mummy porn and O’Leary’s facial expressions as she reads it aloud, giggle at the comical, clever writing. O’Leary’s commitment to the woman’s story is assisted in this piece by the exquisite execution of pause. Giggling students take note and do see this play again in a few years.

Mary O’Donnell is the character I like least. I’ve seen all manner of interpretations – this monologue is popular for auditions and senior assessment – and her inflated ego and misguided ambition is the tragi-comedy of another familiar situation; that of the high school talent show. (Cue Mr G style approach to performance.) The character prepares Lloyd Webber’s Macavity, in full drama class cat regalia (ie leotard, tail and ears), only to find her nemesis performs the same song, leaving O’Donnell with no option but to perform an impromptu, interpretive Shaft number. It falls flat. I must say, I prefer all lip-synching (drag queens) or all singing (everybody but drag queens), rather than hear a combination of the two. It was during Macavity that I felt O’Leary’s voice started to tire and she appeared to work much harder at this point, to harness the massive amount of energy needed to go on with the show. The Shaft sequence is simply too long, albeit hilarious at first.

Next, the sister of O’Donnell’s trophy-touting, triple- threat nemesis, Theresa McTerry, is getting married and we get the sense that IT’S ALL ABOUT THE DRESS. This is one story I don’t relate to but I’m sure, from the number of reality TV shows built on the same premise, that other brides must. O’Leary sips pink sparkling while dressing and freaking out, knowing she’s about to make a huge mistake.

Cabaret star, Liza Zoe, is hardened and fabulously drunk, though she lays claim to sobriety and leaves us with our own lingering thoughts on the conflicts associated with celebrity and fortune, forcing the question, what is it all for? This final piece is the one which truly showcases Simone Romaniuk’s ingenious revolving set, all mirrors on this side (we’ve seen the practical reverse of cupboards and doorways, which house dozens of props and wardrobe items), taking over for a moment as the star of the show and providing a glittering backdrop to O’Leary’s final story, told largely in song (Composer/Sound Designer Phil Slade). Daniel Anderson’s lighting design (Lighting Consultant David Walters) is exemplary in the first and final scenes. O’Leary is stunning in a distinctive silver gown, featured in The Courier Mail’s interview with O’Leary on Saturday). The words were perhaps a little too slurred – I wanted to discern what she was singing about – and although I felt her vocals had recovered somewhat, I would like to hear O’Leary sing again. Something outside of this show, something that is ideal for her. I didn’t see Voice Coach, Melissa Agnew (my own, incidentally, back in the QUT days and it’s always a delight to run into her in foyers now) but I would be interested to hear what sort of tips she has for vocal health and stamina during the run of such a demanding show.

In each character we see the high level of commitment and subtext that can only come from a skilled actress and director, working in close partnership during the creative process. For students of the craft, there is more where that came from at QPAC this week. Not only O’Leary but also, Miriam Margoyles is this week at the venue. Margoyles attended the Bombshells preview on Monday night and stayed to sit in on director’s notes after the show (after being stopped for photographs with Matthew Flinders Anglican College students, who were kindly and most generously advised by the doyenne, “Always, always go to your light, girls”. A pointed note and a beautiful moment, which I’m sure they’ll remember for many years to come). Keep an eye out for Michelle’s review of Margoyles’ Dickens’ Women, which also opens tonight, when QPAC will be awash with pink and bling (the dress advice for Bombshells attendees).

I feel that the slightly older bombshells are sitting with O’Leary very comfortably. We see their ticks and take in their nuances. We feel for them and whether or not we are ready to see the harsh truth, the women become our mirrors, just as Murray-Smith intended.

So often, six women rather than one perform this show and it is little wonder; this is one of the toughest gigs in town to pull off. I’m sure the opening night audience tonight will find that Christen O’Leary does just that.

the eastside belles

If I were not already committed to seeing Ignatian’s Sweeney Todd on Saturday night, I’d be in Albion, enjoying dinner and a first class show from the newest vocalising vintage vixens to sweep into town, The Eastside Belles. If you’re quick, you can still book tickets for this one night only event. From what we hear, the venue, the vino and the fare on offer is all pretty fine too so if you can, spend your $80 each and get 3 courses and the show. There’s a $35 show only ticket too, if you’re opting for 2 minute noodles and pop tarts (do they still make pop tarts?) before you leave the house so you afford a cab. That’s okay too because the important thing is to see these girls. Performance Studies students, you should see these girls. With influences ranging from the Andrew Sisters to the Puppino Sisters and numbers from Cabaret, Chicago, The Color Purple and Jekyll and Hyde, there’s no one else like them in Brisvegas.

These are true triple-threat, versatile performers. (You might have seen Katie on a burlesque stage and you’ll soon see Cath in QMT’s upcoming production of Oliver!). You may already have seen The Eastside Belles perform with Big Bands Scream and Brassroots.

With an ecclectic 6 octave range, Cath Belle (Cath Toomey,) manages to capture the sultry to the sublime in her soulful vocals.

She’s known for her versatility and dynamic performance style which has taken her around the world.

She was based for almost 7 years in Europe where she fronted various Jazz, blues and Funk bands, held leading roles in a variety of touring musicals as well as co-ordinating opera and gospel music at the Vatican and key European Cathedral events.

Though having studied singing under a variety of European Gurus as well as training classically at Sydney’s Conservatorium of music, her natural ability for music was first fostered by her family and began creating a traditional soul, jazz and lyrical repertoire from the age of 5!

Originally trained as a pianist & violinist by Suzuki method, Catherine’s primary love is singing.  She attended MacDonald Performing Arts College as a Dancer and Musician and has Degree in Media and Communications from Macquarie University.

Katie ‘Blue-Velvet’ Belle appears sweet and timid at first… but wait until you really get to know her!

After studying piano and music theory as a child, at the age of 14 Ms Velvet wrote her first song and discovered she enjoyed belting out a tune.

Since then she has studied classical and jazz, and pursuid her passion for original music as a vocalist in rock bands for the past 10 years.

This creative gal has a degree in Graphic Design from Griffith University, and performs regularly on the local burlesque scene, swanning in feathers and sequins.

Her glances, sultry vocals and ‘bumps and grinds’ really capture the playfulness of yesteryear.

 

She is full of attitude and exuberance with a big voice to boot! Tash Belle (nee Tash York) has been involved in Brisbane’s entertainment scene for over 5 years and has been in over 15 stage/musical productions.

With a great passion for making music and voice work Tash’s love lies in Musical Theatre. Her theatre credits include Lady of the Lake (Spamalot), Ellen (Miss Saigon) and Sally Bowles (Cabaret).

She gigs in a variety bands and vocal groups but finds great joy in experiencing the harmonies and plethora of music genres that the Belles explore.

In 2010 she graduated from a double degree in Business (Human Resources) and Fine Arts (Drama) and instead of pursuing a steady job she has decided to follow her passion and study a Full time Music Theatre Course at the Queensland Conservatorium of Music (aka “the Con”).

Our Newest Belle brings an ‘old world class’ with a ‘new world edge.’

You don’t know what impresses you more, her emotional vocals, adorable movements or stunning looks.

This is an opportunity to meet The Eastside Belles in a more intimate setting.

Limited seating. A few tickets remaining. Bookings (07) 3262 3738