By Nick Pilgrim
I am what I am
I am my own special creation
So come take a look
Give me the hook or the ovation
It’s my world that I want to have a little pride in
My world, and it’s not a place I have to hide in
Life’s not worth a damn till you can say
I am what I am
La Cage Aux Folles (1983)
One of the joys of being a critic is to experience any new work which is fresh, unique and daring. To say that the renowned cabaret artist Meow Meow, is one of a kind, would be a complete understatement.
The invention and on-stage persona of Melissa Madden Gray, it is by sheer accident I first became acquainted with Meow Meow’s work.
In 2011 I was visiting London and, on a whim, saw The Umbrellas of Cherbourg. Based on the cult movie classic of the same name, the West End reimagining also featured rising musical theatre star Cynthia Erivo.
In it, Meow Meow played the show’s narrator, Maîtresse. Her character perfectly befitted that wistful experience. From time-to-time she would break the fourth wall and mingle with the audience. In short, Maîtresse was French, flirty and thoroughly charming.
Assuming Meow Meow was of European origin, while doing background research for this review, I was surprised and delighted to learn that she is in fact a home grown Australian.
A graduate of the University of Melbourne and the Western Australian Academy of Performing Arts, Madden Gray has spent much of her professional life developing and touring her act overseas. Previous international shows she has fronted include Meow Meow in Concert (2011), The Little Match Girl (2012), and A Midsummer Night’s Dream (2016).
How would I describe The Red Shoes?
Hans Christian Anderson’s nineteenth century cautionary tale tells of a young girl who becomes obsessed with a pair of red shoes, only to find that she cannot stop dancing once she puts them on. The fable was made famous by Michael Powell’s haunting 1948 film, and much later, Mathew Bourne’s balletic tribute. These brilliant examples aside, Meow Meow’s retelling takes a completely different path.
Presenting the story as a springboard to her multi-faceted thought process, The Red Shoes is like stepping inside Meow Meow’s rich and colourful imagination. An amalgam of deep personal thoughts and considered cultural references, the chanteuse ties the experience together with an eclectic set list that includes everything from Radiohead to Patrick Watson.
Reworking these songs in her own inimitable style, Meow Meow has a magnetic showgirl presence. Like any artist with that certain je ne sais quoi, you simply cannot take your eyes off her.
She also reminds me of divas past and present including Karen Akers, Shirley Bassey, Debbie Byrne, Queenie van de Zandt, Marlene Dietrich, Marianne Faithful, Judy Garland, Diana Krall, Ute Lemper, Lady Gaga, Lotte Lenya, Edith Piaf, Gilda Radner, Annie Ross and Nina Simone.
All rolled into one.
Backed by the trio of Mark Jones, Dan Witton and Jethro Woodward, their expert musicianship is second to none. Whether they are playing upright pianos in any number of contorted positions, guitar, double bass or drums, adds to the absurdist speakeasy vibe.
Such is their ability to bounce off one another, the group’s timing and attention to detail make what is surely rehearsed to the hilt seem fresh and spontaneous.
Special guest Kanen Breen (who has stolen many shows including Charlie & The Chocolate Factory, Sweeney Todd and The Elephant Man), is every bit Meow Meow’s eccentric match. Together, they make this an experience which takes viewers everywhere.
Kate Champion (Direction) and Woodward (Musical Direction) combine forces to construct a dreamlike cabaret circus this show takes great length to build. Creative support from Dann Barber (Set & Costume Design), Rachel Burke (Lighting Design), Woodard (Sound Design) and Lisa Osborn (Stage Management) tie the journey together into a wondrous and cohesive whole.
Of the 80-minute journey’s many highlights, two segments highlight Meow Meow’s vast range as a performer. The first, retooled Shakespeare’s Hamlet as a 1960s Eurovision Song Contest pop song entry. The second, was her powerful rendition of Watson’s Here Comes The River. Fully aware of her rare ability to seize our attention, these two moments alone are worth the price of admission.
The Red Shoes is weird, wacky and worldly. Overflowing with food for thought, this show will stay with you long after the lights dim. Having heard the encouraging whispers before seeing her in full flight for myself, I defy anyone not to become an instant fan. Meow Meow is indeed her own special creation.
Hot on the heels of a sell-out season at the Belvoir Street Theatre in Sydney, I cannot think of a better treat to round out what has been an eventful 2025. This is easily my pick of the year.
Don’t miss it.
Image: Brett Boardman
