Reviewed by Barry Lenny, Monday 13th June 2016
The recipient of these year's Cabaret Icon Award, Robyn Archer, whose own show, Dancing on the Volcano, was a big hit, is the MC for
The Weill File, this glorious exploration of the life and music of Kurt Weill, probably the biggest name in the German Kabarett between the wars. With the rise of the Nazis he, like so many other Jewish people, fled Europe, in his case to America, where he continued his career as a composer. This performance takes us from the Weimar Republic through to Broadway, in the 1940s, and the development of his career.
He is best known for his work with the poet and playwright, Bertolt Brecht, with whom he wrote his first, and probably biggest hit, The Threepenny Opera, to star his wife, Lotte Lenya. The best known song from that work, Mack the Knife, the tale of the sadistic murderer, MacHeath, has gone on to be recorded by more singers that I'd care to count.
I'd also hate to try to count how many time's Archer has sung this song during her career, and the opening number added one more to that count. That set the ball rolling admirably for what was to be a varied and expansive look at the music and influence of Weill, who sent the Broadway musical on a new path.
Archer performed with her usual duo, Michael Morley at the piano and George Butrumlis on piano accordion, while John Thorn took over the piano as musical director, leading the small band of superb musicians, to accompany all of the other artists, and even sang one number himself.
What a line up of performers there were for this production, including the Cabaret Festival's co-artistic directors, Ali McGregor and Eddie Perfect, McGregor's wonderful soprano reminding us that she began her musical career in opera.
Die Roten Punkte tackled the Weill and Brecht song,
The Ballad of the (Nazi) Soldier's Wife, making it, if that is possible, even more sombre than usual. They intended it to be broadcast at Germany in a attempt to demoralise German soldiers, and that can be heard in this interpretation as the soldier travels from Prague to the Russian Front.
Hew Parham, in drag, added some comedy to the proceedings with a Weill inspired song,
Das Chicago Song, written by Michael Cohen and Tony Geiss for the 1966 show, Mixed Doubles. Weill's influence can still be found after all this time.
Barb Jungr had the opportunity to sing one of the big numbers from Weill's repertoire,
Surabaya Johnny, from Happy End, and what a powerful and meaningful version it was. Adelaide can never get enough of this remarkable performer.
Throughout the diverse programme, Archer would appear to add commentary, putting the songs into context and telling Weill's story, which added another layer to the marvellous performance. Sadly, though, it was all too quickly over.
