The Dark Cabaret musical genre continues to grow from strength to strength, and shows itself not to be a passing fad riding on the heels of burlesque, but the genuine discovery of a style and approach to song-writing that balances the historical and contemporary.

One such artist worth investigating as the soundtrack to your next absinthe imbibing is the brooding but sultry Nicki Jaine, who’s commanding voice is seemingly far greater than her diminutive stature.

Mesmerising cover versions of German cabaret songs from the 1940s emerge from within, along with her haunting original material. You would probably be forgiven for picturing in your mind something of a Marlene Deitrich-type with an acoustic guitar. And, in case you needed convincing of her credentials, in this genre through a good back story her musical education arose from individuals such as her grandfather, who reputedly learnt the fiddle from Transylvanian Gypsies.

Any more noir and it would hurt, no?

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Ok, we have been a little quiet lately - what, with one of us in a study frenzy while the other is still catching up on life’s demands after a trip to the US.

But here, this week, in Enmore, old Sydney town, its new, its blue….

its the Blue Moon Cabaret!

(And apologies to members who received multiple emails from us on this - we had some slight technical difficulties)

There will be burlesque, magicians, music, and our fine friends at Absinthe Salon will be lubricating the evening with the finest of the green muse.

And all you can eat. All for only $45 a ticket. This Thursday, 7th June.

Buy your tickets on line now at Under The Blue Moon.

Today is the last day of the Fringe, so if you haven’t been out to see something yet, for god’s sake log on and check out what is left with the remainder of the day - there is entertainment aplenty going until the wee hours of the night.

To round off my 2008 Fringe Experience I went to the one of the showcase Fringe Club nights this week at the Higher Ground Theatre. Built amongst the remains of what was once the Night Train Theatre Restaurant (although I remember its hey day as a laser tag venue 20 odd years ago), the Higher Ground Theatre is an incubator for new and established artists to present their work in the realms of theatre, circus, dance, music, cabaret or experimental acts of exploration.

Needless to say, post-Fringe, this is a venue to keep an eye on - permanent creative artspaces are becoming something of a rare bird in many cities.

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Through the good support of the fine folk at the Adelaide Fringe, Absinthe.com.au were fortunate to attend a ‘dinner date’ performance of cabaret & burlesque with the delightful Lorelei & Sarina at the deliciously 100% vegan & vego friendly/performance space venue - Sarah’s Cafe.

Compered by the hostess with the mostest, the infernally witty Gabrielle, the girls put on a highly polished performance that broke out of the standard conventions of ‘burlesque’, and took us on a journey to more unexpected places, to the festive Copacabana, and even the sex & glamour of 1970s drag strip racing.

We are also big fans of Lorelei (bom bom)

Lorelei was able to take time out of their busy schedule to give us her thoughts on the future of cabaret & burlesque, and a glimpse behind the golden curtain into the realities of the profession.

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Review of Meow Meow, Beyond Glamour: The Absinthe Tour, Bosco Theatre, Garden of Unearthly Delights - Adelaide Fringe Festival

There is something truly ethereal about Meow Meow.

I have seen her lovingly described in another review as a walking Art Deco theatre facing condemnation. And if she is as old as she jokes, then she is also a prowling feline who moves amongst and uses the shadows for her own purposes - who with the right song, the right mood can transmogrify from a faded cabaret diva of sepia tinged memories to a much younger starlet, full of a chimeric eye-batting innocence and steely determination to make her mark upon you like a branding iron.

From the minute she shambolically stumbled into the aging 100 year old Bosco circus theatre, dragging a suitcase in tow, fag in hand screaming abuse at the lighting technician she ensnared our hearts and minds and immediately stuffed them amongst the medication, the corsets, lingerie and many accoutrements in her luggage.

We, the individuals in the audience, for a brief moment or a whole show stopping number, could easily have been a lost friend, maybe her potential pillow for the night, her living music stand, her barman, her chaise lounge, her source of irritation, or manifestation of joy.

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