By Ash Cottrell
For me, Wednesday evenings during summer are for opening nights and mid-week drinks. While January in Melbourne is, in many cases, about the tennis, it’s important not to forget the joy and stimulation of another kind of spectacle – the theatre. A cabaret show, against the backdrop of this scintillating summer, felt to me, like a match made in heaven.
One of the more intimate theatre spaces at, The Arts Centre is, The Showroom. I’ve seen a few performances there now and it continues to situate itself as versatile and committed to capturing emerging storytellers and theatre makers. On a surface level, it is also undeniably beautiful and as you walk into the performance space to take your seat, you are momentarily mesmerised by the kaleidoscopic walls – a stunning and dramatic entrance.
Until the 25th of January, The Showroom is hosting, Tomáš Kantor’s show, Sugar. This one-person cabaret tells the story of Sugar, a newbie to the elusive, intoxicating world of the sugar baby. High-flying clientele, sexual discovery, jaw-dropping views from Melbourne’s best hotels and designer shopping, set against a backdrop of pop music and the romanticism and mythology of the Pretty Woman storyline.
Tomáš Kantor’s vocal talent is undeniable and in parts of this show, with the motorised disco ball overhead, made moving and evocative. The set design was simple, yet effective and practically served the narrative in creative and unexpected ways. Kudos to both the visual designer, Bethany J Fellows and lighting designer, Spencer Herd for their considered choices in these respective spaces.
The blocking and use of the space was dynamic and served the story beats. Tomáš Kantor’s physicality and embodiment of, Sugar was also beautiful, varied and undeniably enjoyed by the audience.
Despite the intoxicating frivolity of the show, the lack of character development meant that the dramatic arc didn’t feel earnt. The emotional zenith of the performance was a powerful and impactful message worthy of exploration but because we didn’t get to know the characters outside of a surface level prior to this beat, it failed to land as powerfully. Further, the threat of the exposure of revenge porn by our protagonist also undermined the key messaging around celebration of identity and a ‘coming of age’ in one’s twenties. Obviously, I’m cognisant of the fact that this is pure entertainment, but these choices pulled me out of the world and eroded the integrity and inherent joy of the messaging.
The renditions of pop music were fun, displayed an impressive vocal range and did what all good covers do, forced me to think about the lyrics in a different light and with new meaning. Kantor also incorporated a range of musical instruments to punctuate story beats, notably the piano and cello, leaving little doubt that they are a talented, varied performer. In short, if you like Lady Gaga, this is the show for you. Like all good cabarets, there was also significant audience interaction which was well received.
There is little doubt that the audience enjoyed, Sugar and revelled in the sense of adventure that the storytelling encouraged. I did feel that the show had momentum and for the most part, I was lost in the protagonist’s journey and the sense of wonderment that the narrative lent itself to. Despite the aforementioned forces working against the impact of the messaging, I can appreciate, Sugar in the spirit of fun and enthusiasm that I am sure it was created in.
Image: Mark Gambino
