Tag Archive: Interviews


Vox Popcorn #5

Ashley was waiting at the door for Alchemical Cabaret (look for the Unfringed review) to start, but it wasn’t the only Newcastle-based cabaret show on his mind. On Friday he plans to see the “fun and quirky” Ms Denis Gold with some friends.

He was also looking forward to seeing In a Pink Tutu which he explained was a black comedy about eight students who killed their teacher. “It sounds like fun!” he said.


I also bumped into Nadia from SURCAS (Sydney Uni’s circus group) at the box office. She has organised for a large group of students to watch Alchemical Cabaret Wednesday, but then couldn’t make it herself, so decided to see it earlier. She was very excited to see it: “Dangerboy is my glass-eating mentor!” she exclaimed, referring to Jason Hodgson’s danger act.

Nadia has already seen Lost and Found, and, as a hula-hoopist herself, particularly enjoyed the first and final scenes. “Some of the skills Heidi Hillier performed I had never seen live before – only on video.”


While I was talking to Nadia, Chris Baird stopped to say hello. Chris was on the way to his dressing-room for the Alchemical Cabaret performance, but he had just come from a performance of Blind As You See It. He was still laughing at the breaking of the wall between the puppeteers and the puppets, in a scene involving a suicidal chair. He recommended it as “experimental art with a dramatic sound and lighting scape… and chair liberation.”

Vox Popcorn is a series of quick interviews with fringe-goers about what they are seeing.

Vox Popcorn #2

Anne-Louise Rentell and Toby Knyvette were waiting to see Lost and Found: The Sugar Candy Show. They had been involved in the production of earlier versions, and were keen to see how it had progressed.

Despite being busy with her own show, The Governess in Lessons Learnt, Anne-Louise had a list of shows she was hoping to catch, foremost Lillian Pang in Cric Crac Crone. (Alas, my pen ran out at this critical juncture. Sorry, Anne-Louise! All I can make out from my scratchy notes is “Vampire: The Musical” which sounds like a great show, but, alas, is not part of the Sydney Fringe. Maybe next time.)

Toby hopes to see Traptura for the sound-design.

He is also looking forward to listening to Mark Haslam’s Concrete: Heartbeat which, Toby explains, is a Def Jam-inspired Hip Hop piece with musical overtones, covering his perspectives and social commentary over a travelogue. Mark Haslam generally works backstage and seeing him come forward in front of the audience is an exciting move.

Vox Popcorn is a series of quick interviews with fringe-goers about what they are seeing.

Identity Crisis – cabaret confessions…

Tell us a little about your background, and what brings you to cabaret.

I am originally from Brisbane, I moved to Perth to study at WAAPA and I settled in Sydney almost 2 years ago. I have taken on various projects since graduating and after performing a small cabaret in the final of the Cabaret Showcase last year I decided that I wanted to create my own show. Cabaret seemed the perfect way to express myself and perform the songs that I don’t often get the chance to. It also gave me a platform to work on characterisations and just have some fun!

Where did the idea of Identity Crisis spring from?

I have always felt that I am made up of a few people squashed together. Identity Crisis invites us all to think of the multiple personalities that we deal with on a day-to-day basis. The idea started after I graduated from WAAPA and I had absolutely no idea as to what my casting type was. I had always played the older roles at drama school because I was the oldest looking female in my class. I had a huge moment when I realised that there were plenty of 40-year-women in the world to play the 40-year-old’s. So who was I and where did I fit in? I began writing the show as a bit of comic therapy and it turned into something I am very proud of.

The release media release says Identity Crisis ‘shows how one young performer can be a murderer, sweetheart, temptress and psychopath all in one.’ How much of yourself have you brought to this show?

Wouldn’t you like to know! No seriously, I have brought all of myself to every story. The beauty of this show is that it is all about the extremes. No matter how exaggerated the stories they are all derived from truth. The fun part is working out which is which. 

Tell us about the music you use, and your approach to it.

It was really important for me to find different styles of music. I didn’t want it to all be one genre. I think it is so interesting when you hear a really familiar tune sung in a completely new way. When choosing the music the most important criteria for me was the lyrics. There is no point in singing a pretty song that goes nowhere.

You also perform in more conventional musical theatre and opera – explain a little about the shift and experience for you in cabaret performance?

The difference between Cabaret and conventional Music Theatre and Opera is HUGE! Instead of playing a character written by someone else I am performing something close to home and it is very exposing. It is such a raw medium and I think that is why people enjoy it – who doesn’t like to have a bit of a perv? The scale is so different – cabaret is much more intimate and personal. I am so excited to be performing a piece that I have written – there will be no one in the world who could play it better than me!  

In a nutshell, what sort of experience can audiences expect?

An intimate date with the many faces of Katie McKee. I think the audience will relate to many of the themes. It is an evening full of some of my favourite songs, stories and confessions. Enjoy!

The Faces behind the Fringe – Meryl Rogers

So, there’s this big ass festival happening. And while it’s lovely to imagine fringe arts springing from beneath the pavement like proverbial shrubbery, there are actually behind-the-scenes peeps keeping it all chugging along.

NB: am unaware of any proverb referring to shrubbery, I just like both “proverbial” and “shrubbery” and once I’d put them together in a sentence I wasn’t willing to let go…

Anyway, enough about me…

Meet Meryl Rogers.


1. Who are you and what do you do with the Sydney Fringe?

Meryl Rogers, General Manager – Lately I seem to be generally managing a lot of Fringe programs and Fringe banners!

2. When in your life have you felt like a black sheep?

Always!

3. Which show are you most excited about seeing in Sydney Fringe and why?

I am excited about the whole idea of the Fringe  and lining up as many shows as possible to see.

Already on my dance card:  Mrs Bang (sexiest person in the Fringe according to our Technical Director, Andy), Monica Goes to Rehab, (great tunes) Havana Harlem, (who could resist anything with Cuba in it), Careers for Attractive Ladies (because it’s about London in the 70’s) and that is just the beginning.