BWW Reviews: ADELAIDE CABARET FESTIVAL 2015: FRISKY AND MANNISH Bring Modern Cabaret To Adelaide

Reviewed by Barry Lenny, Wednesday 10th June 2015

Frisky and Mannish are no strangers to Adelaide audiences, and their many fans turned out in force to fill the stage of the Adelaide Festival Theatre. Although the content of their shows revolves around the pop culture they are, in fact, cabaret performances. They are part of the new cabaret scene that also includes 'dark' cabaret seen in The Tiger Lillies, and Kit and the Widow, and 'punk' cabaret, the latter including artists such as Amanda Palmer and, with Brian Viglione, The Dresden Dolls. Palmer went further, describing the Dresden Dolls as Brechtian punk cabaret. There are also the lighter, but no less satirical performers such as Fascinating Aida.

Although not as dark as some, Frisky and Mannish are still quite subversive as they take aim at pop music, the stars, and those who think that they are, and the culture. Laura Corcoran and Matthew Jones, their offstage names, write all of their own material. They know their subject inside out and the wit and wisdom in their parodies and commentaries shows two very sharp observers at work.

Nothing and nobody is sacred to Frisky and Mannish, thank goodness. It was a night of surprises, opening with a tune that I haven't heard for a long time, The Look of Love, as they then recalled their first Cabaret Festival visit five years ago. Immediately, they sent up themselves and what they do. No, nothing and nobody is sacred. There's No Business Like Show Business? When did that become a pop song?

We have all heard about Sinead's O'Connor's letter to Miley Cyrus. It seems that they found a first draft, as well as letters to Beyoncé, Bieber, and others, which the duo had, naturally, set to music. There was even one to Sweden about a well-known foursome, and a short one to Iggy Azalea.

They also let us in on the knowledge that 81% of all pop songs were written by the Bee Gees. As if that news was not shocking enough, they then proved it with a series of songs as the Gibbs would have sung them. It was very clever, very funny, and just a little bit scary. It might just be true.

Another hilarious part of the evening was when, having noticed that the feminist movement lacked a definitive anthem, then ran through a good many possible candidates, discovering why, even though at first glance they all suggested that they might be suitable, there comes a point in each song when they suddenly turn into the complete antithesis of feminist songs.

All the work that goes into the writing of the show and the parodies of pop songs is only a part of the production. The performance works so well because of the range and versatility of their voices, which are quite amazing, and Mannish's great work on keyboards. They also have a winning way of engaging the audience fully throughout the performance, and getting them to join in. Add to that their quick fire dialogue, their enormous energy, and the gold costuming, not to forget Frisky's wig, and the complete package is irresistible.

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