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Reviewed 14th June 2013
Becky Blake, who had the great Clemens Leske as one of her piano teachers, began her career, she told us, as a pianist at Adelaide's Hilton Hotel. She is now the pianist and singer with the very popular show band, Chunky Custard, as well as working in solo shows and small groups. In the last Adelaide Fringe show she put together two shows, the Piano Chicks, looking at famous women who accompanied themselves on piano, and The Piano Boys, along the same lines.
For the Adelaide Cabaret Fringe, at The Promethean, she works primarily alone for two hours, with an interval, playing a collection of songs requested by audience members, who select from a list placed on each table. Hence the title The Piano Chick: Solo and by Request. As this is supposed to be a cabaret event, this seems a strange choice, dropping the original format, which would have conformed to the cabaret structure of a definite theme, and a consistent narrative linking the songs, in favour of what was simply a concert, with a random collection of numbers that were related by nothing more than the fact that they are in her repertoire.
Although it was not really a cabaret performance it was, nonetheless, a pleasant evening of music, although there is little point in discussing the interpretation of any particular numbers, as they will be different every night. Blake is, of course, an exceptionally skilled and talented pianist, with the ability to cover a wide range of styles and genres. She also has singing voice that is a pleasure to listen to, if not, perhaps, as remarkable as her playing. This was highlighted when she introduced her guest of the evening, Libby O'Donovan, a truly sensational professional cabaret artist, with vast experience in performing in that genre, having also been a highly respected jazz performer before making the switch.
When O'Donovan appeared she was instantly recognised and drew great applause then, not being restricted by being tied to a piano, and having the advantage of a powerful, trained voice, the entire dynamic changed as she threw herself into her songs with all of the enthusiasm that we have come to expect from her. The energy level of the evening suddenly soared.
With O'Donovan's departure, we returned to what might best be described as a piano bar style of performance. Unfortunately, the crowd of women at the rear of the venue treated it as just that, and returned to their inward facing circle, ignoring the performer, chattering loudly, giggling, and laughing, rather spoiling the evening for the other patrons. It was embarrassing to discover that, not only were they ignorant of audience protocol, disrespectful to the performer, and inconsiderate of other patrons, but were also, in fact, Blake's workmates. One can only hope that words were exchanged later.
Without those women in attendance, the remaining performances should be much more enjoyable, as a well presented and performed evening of light entertainment.
