PERFORMANCE: VAMP
REVIEW BY SUNDAY FRANCIS-REISS
Vamp is Meow Meow’s homage to the femmes fatales, women both empowered and dis-empowered by their sexuality. A strong concept with good songs, performed by a more than capable mistress, the show as a whole is sadly under-realised.
Meow Meow’s voice is extraordinary, a testament to a life well lived: rich, textured, and with no audible limits. It feels like her voice could take one anywhere. She is a stunning performer ‘ of that we, and she, have no doubt ‘ and she undeniably possesses the necessary larger-than-life personality required by a true cabaret artiste. Yet Vamp is a show devoid of any truly glorious moments.
Structured, though lacking discernable trajectory, the show is based around Seven Deadly Songs for the End of Time, written by Meow and keyboardist Ian Grandage. The band, the Orchestra of Wild Dogs, are exceptional, pumping gypsy, jazz and cabaret volume underneath Meow’s raunchy vocals.
The choreography is perplexing, displaying Meow’s potential as a dancer without actually requiring her to execute anything of note. A 90-minute solo show is a sustained effort, but it feels like a lot of the energy in this show is wasted with unnecessary running around.
The encore, a piano-accompanied rendition of Radiohead’s ‘Fake Plastic Trees,’ is a lopsided moment of vulnerability that comes all too late in the evening, with many of the audience already done with the show.
Vamp
Until October 5
The Studio, Sydney Opera House
Tickets: $28-$39, 9250 777 or www.sydneyoperahouse.com
