Adelaide Fringe Review 2017: The Redhead Cabaret


From little things big things grow, so the song goes.

I prelude this review with this statement because I can see a lot of fast developing talent, and great ideas. Have no doubt, the crowd loved it – practically a capacity house.

But what I think I saw was a lot of good individual performances that have all the more capacity to be further woven together, and intermeshed, to make something greater than the sum of its parts.

I was simultaneously excited & disappointed that host- Miss Demeanour – fingers of fire on piano, accompanied by sultry Laveene Du Pearl on vocals and a take-no-prisoners drummer, Steph Fitzpretzel, were only musical interlude pieces. Seriously – I think they could, nay, should be used to underpin many of the danced performances too! These performers are not a mere counterpoint to the main show, to my mind.

red head

The show also delves into the mythological & archetypal power of the Red Head. For example, the role of antediluvian Adam’s first wife – Lilith – as a powerful symbol of feminist empowerment, was undertaken by Ivy Fox in her sensuous stage performance. There are two sides to Lilith – that has been reclaimed by women through self-empowerment, and that projected by men in both desire & fear. I think if you are met with a nervous audience who are yet to give it all – then there is a broader palette of emotions to play with to get the response you need and deserve as a performer. But it must be acknowledged that it is no easy thing to channel such a demi-Goddess.

There was a lot of polished technical work – Scarlett Fatale & Harlot Rose demonstrated restraint, poise & balance, showing that seduction can arise through minimalism & pure suggestion. Dulce Esperenza similarly expressed a callisthenic bond with a pair of feather fans that operated as a true extension to herself.

Porcelain LeBon was the embodiment of “switch” – in a routine that cleverly topped from below as she moved to suggest supplication, but cleverly not relinquishing control to those not worthy.

Sirena del Rossa blended sociopathic revenge with sensuality – because the lines between sex & death have ever been thin – and pulls off a body in barrels trope that South Australians would viscerally enjoy. In the wash up she also snubs her nose at occupational health & safety risk by performing worthy balancing acts of visual elegance on slippery surfaces, which we can only thank her for.


I’m going to mention boylesque perfomer L’Homme Blayze last. He provided the required comedy relief within what could be seen as a heavy programme – but I am going to openly question whether parody routines is the required manifestation of his presence. There is also a psychological gravitas to the male ‘Ranga – and in a show that delves into the Jungian forms that permeate our conscious & unconscious world, I see great opportunity to explore the notions of masculinity under the rulership of this colour – Mars/ Ares, the Irish Dagda…why even Erik The Red since Vikings are all the rage!

Good tribes stick together over time, and I hope this is the case here – because I think there is something more to be discovered in this production. This may be as much an unfolding for the performer as it is for the audience.

There are two more performances of The Redhead Cabaret at Nexus for Adelaide Fringe 2017 season.

Jonathan Feb 19th 2017 12:42 pm Burlesque,Cabaret,Reviews No Comments yet Trackback URI

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