Some Christmas kook for the Christmas cynic
By Leeor Adar
Few performers can request audience members to inflate plastic animals and giveth o’er their personal possessions, but cabaret queen Meow Meow does this and the audience giggles and obliges. Meow Meow’s personal charm aside, her performances are always memorable and mercurial in equal measure. Apocalypse Meow is a Meow Meow Christmas special, carting out tricks, music and orphans; no stone is left unturned.
The stage is a haphazard mess, affectionately (or not so) referred to as a “shelf”. A fire burns in a tv, there’s sheets everywhere and a band perches themselves at the ready in golden glitz uniforms (they are fantastic). Meow Meow enters, all apologies and grandiosity. She was set for the Royal Albert Hall, but no room; Sydney Opera House? Forget it. She’s left with the Malthouse shelf, and this is where she will take us through to the end of time.
Conceptually, this show is a cracker. It’s the cynics guide to Christmas. But don’t you worry, cynicism doth crack, and sentimentality will floweth. Every Christmas cliché is carted out and thrown off kilter with Meow Meow, and it really is an anti-Christ-mas of belly laughs and shtick. There is a level of depth reached that at first is hard to imagine, her prerogative is to sift through the Hallmark holiday dregs and find the bonafide core of what it all means, usually through the lens of a child’s eyes. Deep down, does Meow Meow not hope and dream?
The show starts with large promises and an air of embarrassment; Alan Cumming, Rufus Wainwright and Jake Shears are set to appear, apparently, but instead Meow Meow finds herself greeted at the door by children singing Christmas carols. Meow Meow finally relents to the carollers and drags two orphans out to sing at her will alongside a boy mannequin. It’s very clever, and very funny. And just when I think Meow Meow is softening, she begins a rendition of Nick Cave’s ‘Red Right Hand’ to scare the daylights out of the orphans – not to mention herself.
The descent is not over, and the arrival of her über talented doppelgänger (Michaela Burger) takes this show into a kooky Christmas variety show that would make the Kransky Sisters marvel. Anything goes in Meow Meow’s apocalyptic world of sparkles and dilapidation, so it is a pleasant surprise when tenderness rears its head towards the close of the show. My eyes water a little as things take a mellow turn, and Meow Meow’s gorgeous voice is soon replaced by her transforming into a child-like ballerina, dancing until the end of the show.
Merry Christmas cynics.
You can catch her Christmas kook until Sunday 1 December. Tickets on sale: https://malthousetheatre.com.au/whats-on/apocalypse-meow
Photography courtesy of Magnus Hastings