Cabaret Confessional

Melbourne Comedy Festival: WHEN THE SEX IS GONE @ The Butterfly Club from 25th March

2010-03-20T19:51:28Z

WINNER 2009 MELBOURNE AIRPORT AWARD ‘BEST NEWCOMER’

WINNER 2009 MELBOURNE FRINGE ‘BEST CABARET’

NOMINEE 2010 ADELAIDE FRINGE AWARD ‘BEST CABARET’

“Much has been made of Bradson’s winning the Best Newcomer and Best Cabaret awards at the 2009 Fringe Festival, and rightly so. Fringe has been known to get these kinds of things fantastically wrong, but not this time … it is probably the must-see of this year’s upcoming Melbourne International Comedy Festival.‘

Read the full review from Inpress Magazine at the bottom.

A hilarious portrait of eroticism as told by a broken-hearted hermaphrodite. Charlie Martini & Alastair Estaire, a stripper and a boxer, inhabiting the one body, muse over a life lived in the dark belly of desire. A unique story with original songs, this comic cabaret show is ‘guaranteed to SHOCK and AMAZE.’

Written and performed by Tommy Bradson, with the assistance of Jacqueline Morton (aka ‘Boris’).

Venue: The Butterfly Club 204 Bank Street South Melbourne

Every Thursday, Friday and Saturday of the festival (25-27 March; 1-3, 8-10, 15-17 April)

Time: 10.30 pm

Ticket price: $22 full / $18 concession and for groups of 8 or more

Bookings: click here or call 03 9690 2000

Reviews from the press:

REVIEW - INPRESS MAGAZINE, March 2010

Tommy Bradson: When the Sex is Gone

Part stand-up comedy, part dark cabaret, part Angela Carter-style magic realism, When The Sex Is Gone is all surprisingly entertaining and engaging. Like a long novel that, five pages in, you’re suddenly delighted to find stretches to a haemorrhoid-scorching 800, the widely talented Tommy Bradson has us utterly hooked from very early on. Bradson is equally beautiful as a women (the first half of the show) and a man (the second). Given When The Sex Is Gone’s subject - the widely erotic life story of a broken hearted hermaphrodite - this was probably just as well. Bradson may be an actual hermaphrodite him/herself, he/she may not. For our purposes here, it hardly seems to matter. Regardless of sex, Bradson can sing, can crack a wickedly funny joke, is masterful as accents are concerned and, most importantly of all, engages on a level not usually associated with ‘lowely’ artforms such as comedy or cabaret.

Set piece musical numbers such as Blowjob For Breakfast and I Can’t Fuck Myself So Don’t Tell Me To, while hilarious in and of themselves, and expertly accompanied on piano by composer Jacqueline Morton, do little to telegraph the underlying seriousness of the story. Like all good comedy, there is universality to When The Sex Is Gone, a mordant earnestness swimming just below the surface, a slow-burn kind of poignancy that lingers long after the show is over and it’s all about empathy, perhaps even love.

Much has been made of Bradson’s winning the Best Newcomer and Best Cabaret awards at the 2009 Fringe Festival, and rightly so. Fringe has been known to get these kinds of things fantastically wrong, but not this time. In the very pages of this publication he has been referred to as ‘a terrifying talent’. In fact, this may be Brave New Comedy, Brave New Theatre, or Brave New Cabaret, possibly a combination of all three and others this reviewer is too dull-witted to fully comprehend. Either way, it is probably the must-see of this year’s upcoming Melbourne International Comedy Festival.

Tony McMahon

More reviews from the web:

When the Sex is Gone - Reviews from the web

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Lea Salonga blogs about the 'Journey So Far' opening night

2010-03-20T06:57:16Z

Photo by Monica Simoes/BroadwayWorld

From BroadwayWorld

March 9, 2010 was my first night at the hallowEd Halls of the Carlyle. And it was one of the most amazing nights of my life, ever.

All of us had been rehearsing for nearly two weeks without a day off. For two weeks we went through all the music, put together patter, had script meetings, and just ran the show over and over again. Ripley-Grier rehearsal studios became my home for the fortnight; I have no idea how many cups of butternut apple soup I had! (By the way, if ever you find yourself there, you have to get a roll with your cup of soup. Jerry, the guy at the cafe calls it a “little bit of heaven”.)

For the most part I was housed in studio 16H… then we started playing musical chairs with the studios, as that place books really quickly. We’ve seen the interiors of most of the other studios, including one on the 10th floor. I’ve also been able to see quite a few friends and former co-workers moseying around the halls! We’ve had a few impromptu reunions on the premises, which made me really happy.

The final three rehearsals were in front of test audiences… since there was a lot of comedy written into the script, we needed to see where the laughs would fall. All of us invited a few friends to each rehearsal, including workmates from the revival of Les Miz and the Asian tour of Cinderella. I held a poker night in my suite with my Les Miz poker group, to calm my nerves and have a little fun.

Fast forward to opening night. I had chosen the turquoise Andrew Gn number to wear for this special evening, as I would be performing in front of audience of good friends (including one of my bridesmaids and “gay of honor” Victor Lirio, artistic director of Diverse City Theatre Company). I wanted to look (and feel) like a princess. The Jimmy Choo sandals were a big help, too.

My make-up artist Yuko Takahashi arrived at my suite at around 6:15. While she set up, I took a quick shower to clear my head and freshen up, then warmed up as she was fixing my face and hair. A half hour before the show, Dan, Diana and Larry came up to wish me luck and to tell me that there was a lot of love in the room. I then went back to getting ready, and felt the butterflies in my belly begin to flutter… hoooh boy, it’s another opening night.

The show itself went like a blur. I messed up on a couple of things, but no matter! I did feel the love from everyone watching, and it was amazing!

Afterwards was an impromptu photo session in the lobby with the celebrities in attendance:Sandy Duncan, Rebecca Luker, Andrea McArdle, Leslie Uggams, Jose Llana and Paolo Montalban, who came with his mother Vivian. I then headed up to my suite, hung up my dress, got into my jammies and iced my foot (I had injured it in Manila previous to my arrival in New York). My friends then came upstairs and hung out for a bit.

So… how did my cabaret’s opening night go? I don’t think I could have asked for a better one, because of all the love in the room.

To read the blog on BroadwayWorld, click here.

If you enjoyed this post, you might also like these previous entries:

Tony Award Winner Lea Salonga Makes Her Cabaret Debut @ Café Carlyle (New York)

Barb Jungr’s ‘River’ show @ Cafe Carlyle reviewed

London Singing Sensation Barb Jungr Returns to Cafe Carlyle to Launch New Series (New York)

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Melbourne Comedy Festival: Anne Edmonds in SING US A SONG YOU’RE THE PIANO, ANNE @ The Butterfly Club from 23rd March

2010-03-19T08:34:21Z

Winner of 2010 Raw Comedy Competition - Victoria

‘Anne Edmonds. One to watch. And not just because she’s talented but because she’ll nick your wallet’ – Catherine Deveny

Anne Edmonds (Tough at the Top, ABC online) has been watching you … out the front of your house … at night … with binoculars. If you’re lucky you’ll end up as one of her characters. If not, you’ll end up in a skin suit under her house.

A night of stories, songs and ‘special’ guests.

Anne Edmond’s website: www.anneedmonds.com

Venue: The Butterfly Club 204 Bank St, South Melbourne

Tuesday 23 March to Sunday 4 April (no shows Mon 29 March)

Times: Tue / Wed / Sun at 8.00 pm

Thu / Fri / Sat at 9.00 pm

Tickets: $15 on Tuesdays; other nights $22 full / $17 concession and for groups of 8 or more

Booking: click here or phone 03 9690 2000

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Ute Lemper - Angels over Berlin Australian Tour

2010-03-18T11:46:00Z

The international singing sensation and undisputed queen of cabaret, Ute Lemper (Cats, Cabaret, Blue Angel, Chicago), returns to the Australian stage in May for an exclusive series of once-only concerts in Sydney, Brisbane, Melbourne and Adelaide.

Angels over Berlin is her brand new show. Her recent appearances in Europe and North America have wowed audiences and won the admiration of critics bowled over by the sheer presence and vocal mastery of this talented and charismatic artist at the height of her powers.

Opening in the Weimar Republic, Angels over Berlin journeys through the repertoire of Brecht and Weill for which Ute Lemper is justly famous, continuing into the poetic universe of the French chansons of Brel, Piaf, Ferre and further to the Argentinian world of Tango by Astor Piazzolla.

Backed by a superb line-up of musicians - Vana Gierig on piano, Steve Millhouse on bass, Tito Castro on Bandoneo and drummer, Eric Halvorson - Angels over Berlin will show Australian audiences, eager for her return since her triumphant national tour in 2003, why Ute Lemper is regarded as one of the world’s great performing artists.

Admired worldwide for her dazzling solo performances and leading roles in Broadway and West End musicals including Cats and Chicago, Ute Lemper is also a successful recording star who achieved major international recognition with the release of Ute Lemper Sings Kurt Weill, Songbook, a collaboration with the British composer Michael Nyman as well as a string of solo recordings including Punishing Kiss, But One Day, Blood & Feathers: Live at the Cafe Carlyle and most recently, Between Yesterday and Today.

Australian Tour Dates:

Sydney

19^th May

State Theatre 8:00pm

Adult $95

Concession $89

Groups 10 or more $89 per ticket

Book here or call 136 100.

Brisbane

QPAC, Concert Hall 8:00pm

Adult Premium $89, A Reserve $79, B Reserve $69

Concession Premium $79, A Reserve $69, B Reserve $65

Groups of 10 or more save $10 per ticket from $69 per person

Book here or call 136 246

Melbourne

21^st May

The Arts Centre, Hamer Hall 8:00pm

Adult A Reserve $95, B Reserve $85

Concession A Reserve $89, B Reserve $79

Groups 10 or more $89 per ticket

Book here or call 136 100.

Adelaide

22^nd May

Her Majesty’s Theatre 8:00pm

Adult A Reserve $95, B Reserve $85

Concession A Reserve $89, B Reserve $79

Groups 10 or more $89 per ticket

Book here or call 131 246

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Melbourne Cabaret Festival 22nd-25th July - first show featuring Eddie Perfect on sale now

2010-03-18T10:10:16Z

A dedicated cabaret festival in Melbourne at long last! The very first Melbourne Cabaret Festival will take place this year between 22^nd to 25^th July at intimate and eclectic premier cabaret venue The Butterfly Club and the adjacent South Melbourne Town Hall. 40 plus performances will be showcased over four nights.

The first show and the world premier of ‘Songs From the Middle’ featuring Eddie Perfect (Shane Warne the Musical), The Brodsky Quartet from the UK and musicians from the National Academy of Music went on sale this month. See it before it opens in Sydney and Brisbane later in the year. Tickets are selling fast – book them before it’s too late.

Songs From the Middle with Eddie Perfect and The Brodsky Quartet

About the show

Comedian, actor, composer, performer and 2009 Helpmann Award winner, Eddie Perfect takes a detour into the world of cabaret with the ever innovative UK based Brodsky Quartet and musicians from the Australian National Academy of Music in his new song cycle.

Like a lot of other white people, Edmund Thomas Perfect was born and raised in suburbia. He had what you would call a ‘good childhood’ in a good suburb called Mentone.

Mentone, with its long stretch of beach, its wide nature-strips, access to public transportation, high quality schools, ten-pin bowling alley, beautiful Catholic church and (much later) Bunnings Warehouse. There wasn’t much you could say was missing.

Still, Edmund couldn’t wait to leave and as soon as he could, he headed to the inner-city, and, as time passed, forgot all about Mentone.

Now, driven by a brand of nostalgia reserved only for new fathers, Edmund Thomas Perfect has decided to return to Mentone in order to find inspiration for a new musical work. What is it about a place that leaves a permanent print? Why is it so difficult to make peace with such a harmless, ultimately charming, seaside suburb?

The same man who penned satirical songs on everything from politics, the media, capitalism and popular culture to an entire musical on the life of Shane Warne, has decided to get personal with a cycle of songs about Mentone. Ranging from the historical to the intimate, the painfully factual to the patently fanciful, these songs pay homage to a place where every third or fourth person knew your name.

This is a piece about the nature of belonging, the reason people live in the places they do, and why those places matter. It’s about remembering and pretending to forget. It’s a show about Mentone. The show will tour to the Sydney Opera House from Sunday 1 August and the Brisbane Powerhouse on Friday 6 August after its world premiere at the Melbourne Cabaret Festival.

Music director: Iain Grandage

The Brodsky Quartet

The Brodsky Quartet are Daniel Rowland, violin; Ian Belton, violin; Paul Cassidy, viola; and Jacqueline Thomas, cello. T They are also known for their pioneering work with a diverse range of performing artists, including singers Elvis Costello, Sting, Anne Sofie von Otter, Dawn Upshaw and Björk.

Dinner and show information

A two course à la carte fixed-price dinner option is available, which must be booked at the time of ticket purchase. To view the menu, Click Here

While seating is arranged at tables of 8 or 10, any number of tickets can be selected.

Songs From the Middle with Eddie Perfect and The Brodsky Quartet

Date: Sunday 25 July 2010

Dinner from 7pm, Performance starts 8.30pm
Tickets: Dinner and Show package/ $104 Full, $99 Concession, Show only/ $50 Full, $45 Concession (+ transaction fee)

Venue: South Melbourne Town Hall

Bookings: Click here or call 1300 273 896 (a higher transaction fee applies for phone bookings)

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Melbourne Comedy Festival: IN SEARCH OF ATLANTIS @ The Butterfly Club from 18th March

2010-03-17T12:31:24Z

Nominee: 2010 Adelaide Fringe Festival ‘Best Cabaret Award’

Winner: 2009 Melbourne Fringe ‘Melbourne Cabaret Festival Professional Development Award’

In a time since past, two courageous explorers begin a dangerous journey to discover the lost city of Atlantis. Armed with nothing but a guitar and mandolin, these brave young men traverse into the unknown to find the sunken city. A musical comedy of epic proportions, these men will take you on a journey the likes of which have never been seen.

Created and performed by Tim Mager and Kai Smythe

Produced by Tessa Waters.

Become a Facebook fan: Click here

Listen to them on Myspace: Click here.

Thursday 18 March – Sunday 4 April (shows Thursdays to Sundays) Previews 18– 21 March

Times: 7.00 pm (Sundays 6.00 pm)

Tickets: $22 full / $17 concession and for groups of 8 or more / $15 Previews

Venue: The Butterfly Club

204 Bank St, South Melbourne

Booking: click here or phone 03 9690 2000

A review from Adelaide Theatre Guide

A musical comedy act in the vein of Tripod, Flight of the Conchords and Tenacious D, Ky (the one with the mandolin) and Tim (the one with the guitar) display superb singer/songwriting and comic talent in the hour-long show; folk-rock songs are interspersed with laugh-out-loud comic scenes featuring a bevy of wacky characters - including a charmingly racist historian, a depraved Egyptian merchant and several arrogant, keyboard-wielding Atlanteans.

Read the rest of the review by Jamie Wright here.

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Tony Award winner Lea Salonga makes her cabaret debut @ Café Carlyle (New York)

2010-03-17T11:26:46Z

I was excited to read that Olivier and Tony Award winner star Lea Salonga made her cabaret debut at the Café Carlyle (New York) last Tuesday in an exclusive three-week engagement.

Her autobiographical show titled The Journey So Far follows her career, which began in her native Philippines three decades ago. Since then, she gained international acclaim as a musical star in Miss Saigon, and Le Miserables, as well as the singing voice of heroines in Disney animated motion pictures Aladdin and Mulan.

Salonga will be supported by a quartet lead by her Musical Director and pianist Larry Yurman and the season continues to the 27^th of March.

I really wish I could go to the show to see how she crosses over from a Broadway/West End/Hollywood star to a cabaret artist. She seems to be (wisely) playing it safe and the show is getting positive reviews. Here’s hoping that it is the beginning of her long and successful cabaret career.

The Journey So Far

Tues.-Thurs. at 8.45pm General seating, $75 per person; VIP seating, $125 per person; Bar, $45 per person

Friday at 8.45pm General seating, $85 per person; VIP seating, $125 per person; Bar, $45 per person

Saturday at 8.45pm & 10.45pm General seating, $85 per person; VIP seating, $125 per person; Bar, $45 per person

The Café Carlyle 35 East 76th Street at Madison Avenue

For booking call 212-744-1600. For more information, visit www.thecarlyle.com.

Reviews from the Press:

From The New York Times

A bright, utilitarian voice that sweeps across continents as it conjures the aspirations of the inner princesses in millions of nice young women from Manila to London: no, it’s not Celine Dion, but Lea Salonga, the demure 39-year-old Philippine star whose autobiographical show, “The Journey So Far,” opened a three-week engagement at Café Carlyle on Tuesday evening.

Ms. Salonga is the vocal personification of what might be called the Broadway and Hollywood international style, which embraces Disney songs, Rodgers and Hammerstein ballads and the anthems of Schönberg and Boublil. Hers is a talent groomed to express inspirational generalities that please most of the people most of the time without taxing their emotions. Beyond an eagerness to please, impersonality is its signature quality.

Read the rest of the review by Stephen Holden here.

From The Theatre Mania

As this is her first official foray into cabaret, it’s not surprising that Salonga adopts a fairly traditional approach to the genre. She introduces herself through “Salamat, Salamat Musika,” a song from her native country, The Philippines, and then intertwines her early personal and musical history as a child performer though an enchanting section that includes spirited renditions of “Sing,” “Tomorrow,” and “Matchmaker, Matchmaker” — as well as a hilarious recitation of the Girl Scout pledge.

It’s her courtship and eventual marriage to Rob Chien, however, that leads to the strongest section of her act — and the one that veers from a “greatest hits” format. Salonga belts out a snappy “Something’s Comin,” which is followed by an extraordinarily heartfelt pairing of “Fallin’” and “I Still Believe in Love” (both from They’re Playing Our Song), a pitch-perfect take on Marcy Heisler and Zina Goldrich’s pattery “There’s Nothing I Wouldn’t Do,” a breathtakingly beautiful version of the Gershwin’s “Someone to Watch Over Me,” and a positively lovely rendition of “Two Words.” In each of these songs, Salonga’s exquisite technique and commitment to the song is unmissable.

Read the rest of the review by Brian Scott Lipton here.

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If you enjoyed this post, you might also like these previous entries:

Barb Jungr’s ‘River’ show @ Cafe Carlyle reviewed

London Singing Sensation Barb Jungr Returns to Cafe Carlyle to Launch New Series (New York)

Late Night Lounge @ Sydney Opera House - Highlights from February

2010-03-16T11:28:35Z

A monthly variety show Late Night Lounge at the Sydney Opera House has been a massive success so far - the second show with a stellar line-up including Paul Capsis, Frisky and Mannish, Ian Stenlake and DJ Sveta performed to a full-house last Saturday on the 13th of March.

Click here to see some highlights from the February show including Meow Meow, Frisky and Mannish, Jenny Morris and more.

Photos from both February and March have also been posted on their facebook page.

With only three shows left in April, May and June, don’t miss out and book your tickets now - April line-up will be announced soon.

Late Night Lounge

Venue: The Studio, Sydney Opera House

Saturday 10 April, 10.00pm
Saturday 15 May, 10.00pm
Saturday 12 June, 11.00pm

Book at the Sydey Opera House on 02 9250 7777 or click here.

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If you enjoyed this post, you might also like these previous entries:

Late Night Lounge @ Sydney Opera House Saturday 13th March

Meow To The World: Crisis Is Born. Again @ The Sydney Opera House

Meow Meow In Crisis Is Born: Again - Review From The Web

Review: This Must Be…Frisky And Mannish

Barb Jungr's 'River' show @ Cafe Carlyle - Reviewed

2010-03-15T09:57:45Z

From Huffington Post by David Finkle

In just about every field, there are practitioners and then there are artists. In the still-cogent cabaret area, this distinction is usually between singers and those who take singing to a higher plane.

The number of genuinely valuable inductees in the former category is gratifyingly large—the performers blessed with interesting voices, excellent taste in songs and appealing personalities. The artist population is smaller, and at the moment one of the best, if not the best, is Barb Jungr, who completes a six-night stay in the soigné Café Carlyle at the end of this week (Thursday-Saturday at 10:45).

Jungr—based in London but born and raised in northern England as the daughter of parents with a middle-European heritage—has the requirements to fit effortlessly into the strong-singers group. Her mezzo is robust when she wants, supple when she decides it’s time to modulate the volume and unendingly moving. She has an unerring eye and, more pointedly, ear for good material and her true smile alone makes her irresistible—if that’s what she wants to beat any given moment.

What she has that transcends the sincerely worthwhile is an ability to combine intellectual depth with authentic emotionalism. Jungr doesn’t simply sing a series of carefully selected songs built around a theme. She goes to a songwriter (or singer-songwriter like Bob Dylan or Jacques Brel) or a singer (Elvis Presley or Nina Simone), or she chooses a subject (as she does with rivers for her current show) and makes a thorough study of whatever about the choice has caught her fancy.

The result of the probe isn’t merely that she, say, subsequently recites biographical detail on the person whose career she’s looked into. She goes much farther by examining the canon for what it means to her and how she can reinterpret it so that she all but redefines the collection. For example, in her last (and debut) Carlyle show, called “The Men I Love,” during which she scrutinized American male songwriters of recent decades, she took Neil Diamond’s “I’m a Believer”—often considered nothing more than a bubble-gum chart-topper—and turned it into a slow and affecting ballad about being completely surprised by love.

Because Jungr is an actress as much as a singer—many of the best cabaret singers are accomplished actresses (Barbara Cook, Andrea Marcovicci, Betty Buckley, Karen Mason)—she gives considered thought to every word in a song. The cumulative effect is that the topic for the evening is immeasurably illuminated.

A highlight of her current show—which is actually an almost uninterrupted string of highlights—is the treatment she gives to Judy Collins’s “My Father.” When settling on whether she’d use it, she listened to a live Nina Simone recording and tried to figure out why Simone had changed a few lyrics. Concluding that Simone had forgotten the words for a split-second and substituted her own, Jungr reckoned nevertheless that she’d sing the Simone version, which she prefers.

Another distinguishing Jungr factor is the natural—extending into brilliant—humor, she displays during introductions. (That she can be hilarious within a song where it’s appropriate almost goes without saying.) Approaching the cabaret stage and just as often jazz and concert stages in this manner, she could be taking commercial risks by, for instance, focusing on less familiar songs. (From the Café Carlyle podium, she says she hopes she hasn’t been obvious about the river songs featured—when many singers would have said they hoped they’d delivered expected repertoire.)

As a result, in her direct, personal intros, Jungr has a way of bringing audiences to a song. By the time she’s finished explaining why she’s included it—often after a knee-slapping digression or two—the crowd is primed to love the songs she admits might be obscure. This is definitely what happens when she chants Ewan MacColl’s “Sweet Thames Flow Gently,” a stunning contemporary update of Edmund Spenser and John Milton.

(Jungr doesn’t mention Spenser or Milton. What she does with her humor is to position as a silly anti-intellectual notion any possible charge that artistry implies elitism.)

Though some of Jungr’s inclusions are little-known, she hardly limits herself to the outré. She launches without introduction into the Oscar Hammerstein II-Jerome Kern “Old Man River” and sings it with angry fervor—whereupon she segues to Bruce Springsteen’s quieter, even more disillusioned “The River.” And notice that both songs are usually identified with men, a detail that’s never a concern for Jungr.

It should be noted that accompanying her, she has Simon Wallace, who has artistry lineaments as well. His arrangements here are rich and deep. (Wallace and Jungr also collaborated on the subtly lush arrangements in her just-released “The Men I Love” CD release.)

Is this a perfect set? It would be with some minor microphone-level adjustments. When that’s taken care of? Yes, perfect.

To read the review on Huffington Post, click here.

Read The Men I Love: The New American Songbook CD reviews here.

To download the album or order the CD, click here.

Barb Jungr’s official website: www.barbjungr.co.uk

Naim Label’s official website: www.naimlabel.com

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If you enjoyed this post you might also like these previous entries:

Interview: ‘Less Is More’ – Barb Jungr Lets The Songs Breathe

London Singing Sensation Barb Jungr Returns to Cafe Carlyle to Launch New Series (New York)

Barb Jungr’s New Album Download Available Now – Review The Tasting Track And Win The Cd

Barb Jungr’s New Album Out Soon - Download The Sneak Preview Track

Adelaide Fringe Awards winners announced - The Best Cabaret Award goes to Where Was I?

2010-03-15T08:59:53Z

This year’s Adelaide Fringe Awards winners were announced at the ceremony last night. The ceremony was held at HQ to celebrate yet another successful season of Adelaide Fringe Festival, which celebrated its 50th anniversary. The Fringe Festival surpassed box-office targets by more than 50,000 tickets.

The Best Cabaret Award went to WHERE WAS I? - by Tom Dickins and Jennifer Kingwell. Dickins has also won a Short+Sweet Cabaret Award in 2008 and the show was the winner of Butterfly Club’s prestigious annual “Under Our Wing” award, one of Australia’s top awards given to emerging cabaret performers, in 2009.

WHEN THE SEX IS GONE by Tommy Bradson received the BankSA Support Act Award.

Congratulations to all nominees and winners!

Click here for full list of award nominees and recipients.

Where Was I? - Reviews from the web

When the Sex is Gone - Reviews from the web

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