Conjuring their inner Rapunzel/Goldilocks (Judy Hainsworth), wicked step-mother/Queen (Alicia Cush), and Little Red Riding Hood (Bethan Ellsmore), the three Babushka divas have concocted a delightfully-distorted and ever-so entertaining reworking of many well-known fairy tales. Hats off to the performers, and to Penny Challen, designer and co-director of Little Match Productions. Think popular music, inverted and re-worked with different musical styles, add in a sparkle of fantastic styling, and tie it all together with humorous dialogue from a highly-professional team. Or what Cush described as “musical mashups, quirky humour and simple choreography”. It works. And don’t just take my word for it. This was one of the few cabaret shows I’ve been to where the evening ended with a standing ovation.
Fairy tales are cautionary myths. In Happily Ever After many of our favourite stories (and songs) are reinterpreted and postmodernised with great style. Twisting everything from the Snow White & Seven Dwarfs’ I’m Wishing ( ‘the story of the girl who swiped right’) through to the audience-pleasing Umbrella (‘Dirty Little Cinderella’) Babushka’s mashups had us all captivated. The talented Luke Volker (Musical Director, ‘narrator’ & Piano) introduced each chapter (or song) of their anthology of fairy tales, all were reinvigorated into what Volker referred to as “marvellous morals for modern maidens.”
If opera isn’t really your ‘thing’, don’t be put off by description of operatic skills. Cush, Hainsworth and Ellsmore are three talented divas with fantastic voices. Not only can they produce some stunning close harmonies, but they also add to the musical diversity of the evening with piano accordion, kazoo, violin, triangle and drum. And they selected an eclectic collection of material, twisting and transforming songs that spanned many decades.
Favourite moments? Ellsmore’s princess and the pea references had the audience in fits, Cush was absolutely compelling with her reflections of a bitter queen (‘I’ll put a spell on you” tango, sung to the apple, of course). And I’d happily buy a copy of the Babushka re-working of Lordes’ Royals (great performance by Hainsworth, but also for the memories of the disdainful triangle-playing by Cush). Certain songs just lend themselves to this show of twisted fairy-tales—memorably Umbrella and the Hungry Like a Wolf/Like a Virgin medley (for the vocals, and for Hainsworth’s performances). If you only go to see one cabaret, make it a Babushka show like this (and ideally one that includes their performance of Sweet Dreams are Made of This).
The ‘peasants’ from the ‘Fabled Kingdom of New Farm’ had a ball. All too soon it was time for Mr Sandman to send us on our way, after a deserved standing-ovation. I’ll certainly be following Little Match on ‘fairybook’ for details of future shows. And looking out for the 2019 Wonderland Festival program.
Verdict: Standing ovations all round. Look out for future Little Match Productions. You’ll be enthralled, enchanted and entertained.
Audience tip: 60 minutes, Brisbane Powerhouse Visy Theatre (15+. Limited coarse language and adult themes). There are only three performances of Happily Ever After in the 2018 Wonderland Festival program (9pm, 29 November until 1st December 2018). Tickets were $32 ($30 concession, and pp for a group of 6+) plus $5.95 transaction fee. Why not keep an eye on the Powerhouse website, and see what else might tempt you (and plan your festive celebrations around the 2019 Wonderland Festival).
The reviewer attended the Friday 30th November 2018 performance (9pm).
Pictures Credit: Creative Futures Photography.