LIZA ON AN E
LIZA ON AN E Civic Cabaret Underground, February 24, 25, 26; March 5, 6, 2010.
TREVOR Ashley has been a lynchpin of Sydney’s drag and cabaret scene for the past decade as a performer and also, in recent years, as an indefatigable promoter and producer (Showqueen etc). Ironically, his own talent has probably been overshadowed in the wider (straight) community by his ubiquity: he’s everywhere in such a whirlwind of perpetual motion he’s been impossible to catch and pin down.
Initially, and inevitably, “the public” fell in love with him when he created the role of Miss Understanding in Priscilla Queen of the Desert, the Musical, but such is the extent of his abilities he should be a household name. Turning 30 this evening (27 February) while queening it on his own float in the Mardi Gras parade, if he chooses, he’s the natural successor to Reg Livermore in theatre and has everything and more that iOTA dreams of in alternative performance-cabaret.
Liza on an E, co-written with Dean Bryant, could easily change Ashley’s cult/niche status if it gets to a broad audience. It premiered during the visit to Sydney by its inspiration, Liza Minnelli, in late 2009 and caused a bit of a stir with the diva’s management as well as the audience that got to see it. Now, in 2010, the rough diamond is polished and, backed by a tight and excellent seven piece band, Ashley is in total command of the idea and the material.
His ambition, ability and vision are possibly greater than he is yet prepared to admit (to himself) despite the apparent bravado, and are encapsulated in the band. There is no cherry-picking of recordings to be played over the PA, no lipsynch, no mime, no tat. Instead, there’s a serious four-man brass section (trumpets, trombone, saxes, clarinet and flute); double bass, drums and Bev Kennedy on keyboards. The latter is a ubiquitous musical whirlwind in her own right even if, in the substance-induced haze of the show, “Liza” believes her to be the legendary Billy Stritch. Drummer Andy Davies is the show’s musical director and the sophisticated arrangements, the sass of the score and this level of musical excellence is thrilling.
Liza on an E is an imaginary autobiographical concert starring the legendary star of Cabaret and serial marital disasters. Ashley has an unerring eye and ear for human behavior and foibles; consequently he is a comical and accurate impersonator (remember his Tina Turner – all elbows – in Priscilla). In this show he skewers his subject with satirical humour and honesty, yet the performance is underpinned with affection and it makes all the difference. It’s probably the most significant ingredient in Ashley’s appeal. While the script and his portrayal are acerbic, outrageous and teetering on the edge of cruelty, there is a basic sweetness and humanity in what he does that makes the caricature a human being – even when the human being in the spotlight is, in reality, closer to caricature than Minnie Mouse.
As a real-life source Liza Minnelli has to be true: nobody would believe her if she were the creation of a fiction writer. The same goes for her mother, the even more notoriously legendary Judy Garland. Their incredible and tragic lives are the stuff of melodrama and among the most well documented of 20th century showbiz. What’s interesting about Liza on an E is that as well as the astringent humour and irreverent mockery of Hollywood excesses, there is glorious gossipy background research enough to give even the most ardent fan something to think about.
All in all, Liza on an E is a great night’s entertainment with a cheeky edge, with buckets of laughter and with an unexpected and huge heart that lifts the show above most cabaret and way beyond the drag norm. Let’s hope it gets seen beyond the inner sanctum of the already converted: ordinary people deserve this kind of uplift. It’d be better than an E. And there's March 4 and 5 this time around.
