By Jennifer Beasley.
The co-dependent nature of Big and Little Edie from Grey Gardens backdrops this stunning and emotionally fulfilling cabaret from a talented trio.
Based upon the 1975 documentary, Grey Gardens (you can watch it on youtube), explores the co-dependent lives of mother and daughter Big and Little Edie, aunt and cousin to Jacqueline Kennedy-Onassis, as the once well-to-do socialites live in squalor at Grey Gardens in East Hampton, New York.
Famed for dancing and singing around their home, and known for their sharp humour, individuality and fashion sense, it is no surprise that the Ediths Bouvier Beales, have become Queer icons, with their decadent views on the world and an entitlement befitting previously wealthy New Yorkers.
Such a marvellously delicious setting and characters are perfect for the uber talented trio of Paul Capsis (Head On, Angela’s Kitchen), Adam Noviello (Hedwig and The Angry Inch) and Victoria Falconer (My Brilliant Career).
These three performers are perfect in their delivery. They balance each other in a minimal set of seven black chairs, a near invisible curtain obscuring the grand piano behind and fabulous lighting by Brockman that shows that less is simply better darling!
Capsis as Big Edie is a powerhouse of sultry, sexy singing. If you want to see a great show person, Capsis is it. This is one performer who becomes the character. The witty and sarcastic tone of Big Edie is only fodder to launch into yet another heart stopping song. Big hearted and gutsy, Capsis jives in heels, simple black dress allows free movement and is gracious enough to allow the solo violin from Falconer to soar up into the stratosphere. Incredible.
Noviello themselves is truly a spectacle. What a voice! And such a striking entrance as their tall and slim frame is decked in black, with a black lace scarf, as a nod to the headwear worn by Edith Bouvier Beale, to complete the look. Control, fluidity and a killer range allow this performer, as Little Edie, to slay Lana Del Ray’s Young and Beautiful. That rendition alone scored a standing ovation. Likewise, belting out I Touch Myself by the Divinyls while sitting nude at the piano, while tasteful screen intimacy images overlay Noviello, stirs down deep inside the gut, and once sung, you realise you have forgotten to breathe.
Falconer also sings as she bookends the performance with Windmills of The Mind, adding to the surrealist elements of this unique cabaret.
The only discord was the concurrent duet as Capsis low keys Send in The Clowns, as Noviello sings a contained, at first, Zombie. As Novello ramps up the refrain, the harmony doesn’t quite work.
Simply wonderful and at 70 minutes I was surprised to find it ended. A standing ovation is well deserved for these immaculate performers.
House of Rot is playing at The Malthouse Theatre until 20th June 2026.
