Kabaret Dietrich – A Delicious Theatrical Affair

Kabaret Dietrich: A delicious theatrical affair unveiling the alluring enigma of Marlene Dietrich through song and story

At one time Hollywood’s highest paid actress, Marlene Dietrich died penniless. Her fascinating story is reimagined through her famous character Lola Lola in the classic 1930s film ‘The Blue Angel’.

Hot off her recent tour of the hit show ‘No Regrets – The Edith Piaf Story’ in New York City, Nikki Nouveau reveals her latest creation debuting at The Butterfly Club Melbourne.

The show is set in Weimar Republic Berlin and unmasks the trials of an ageing film star, from her early beginnings as a musician, an under-recognised performance career in cabaret and theatre, through to her emergence as a shining legend of the silver screen. Dietrich was at heart a gentleman, prepared to take on a man’s world in a man’s uniform with a man’s daring. Her influence on modern icons such as Bowie, Madonna and Annie Lennox was undeniable.

Featuring a repertoire of cabaret classics, including ‘Falling In Love Again’, ‘Lili Marlene’ and ‘La Vie En Rose’, delivered in German, French and English with accompaniment by piano and musical saw, played by Nouveau who has trained in the dark arts of musical saw playing in NYC.

Created and performed by Nikki Nouveau, a songstress, writer and producer whose glamorous productions have toured internationally to New York, Edinburgh, Adelaide, Sydney and Melbourne. Her popular cabaret ‘Bordello Blues’ enjoyed sell-out seasons at Edinburgh and Sydney Fringe Festivals as well as Melbourne’s Spiegeltent. Nouveau’s debut cabaret production ‘Burlesque Assassin’ had a sell-out season at Adelaide Fringe Festival and was nominated by The Sydney Morning Herald for the ‘Most Thrilling Theatrical Event’ Award (Sydney Fringe Festival).

Kabaret Dietrich is a uniquely inspiring interpretation of one of the greatest style icons of our time. This production opens on January 17th and runs for 5 nights. Bookings highly recommended.

”Nouveau demonstrated the very best of cabaret with style and grace”

  • Cabaret Scenes Magazine, NYC

Show Details: Kabaret Dietrich

Dates: January 17th, 18th, 19th, 20th, 21st

Time: 7:00pm

Cost: $25-32

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com

Tina Del Twist Gold Class

Tina Del Twist, a gin soaked pickle of a woman, well past her prime, a washed up has been in the most endearing of ways. Though she maybe in serious need of a permanent stint at The Betty Ford Clinic she can still belt out a number like few can, and her show is still the most enjoyable kind of late night, boozey cabaret.

From the moment Del Twist steps onto the stage, her audience are involved with little they can do to escape. As the performance continues we are let privy to more of her story, her retelling is nothing short of crass and dirty, sporting the greatest kind of vulgarity, Her command of the space and way in which the whole venue is utilised, simply brilliant. Mid show, she stumbles through the audience and off into the dark, then only to bring the last row of empty seats, crashing to the floor proudly proclaiming, a sell out show. 

Tina del Twist is the creative makings of Wes Snelling, a man who has a long standing relationship with the Melbourne cabaret scene. Tina del Twist: Gold Class really pulls together the most recognised of Tina’s repertoire from the past decade or so. Testament to his comic genius, the material remains fresh and delivers big on belly laughs. Joined on stage by Twist (Stephen Weir) who accompanies on guitar, matching Tina’s voice should be a challenge, but his playing is brilliant and these two are equally as awe inspiring. The connection between each performer is evident and this really does bring joy.

The work doesn’t try to go to deeply into any particular line of conversation. Though it is slightly ocker, it doesn’t really tap into political or social issues, it’s pure entertainment, a great late night foray. Vocally bang on, tightly composed, we need more of this and we need it now.

This performance took place at Map57 in St Kilda, to keep up to breast with  the work of Del Twist click here

Mothers Ruin at Map57

Mother’s Ruin is Gin 

Gin. Specifically, the alcohol beverage of Gin was called mother’s ruin because in the mid eighteenth century the effects of gin on the family and economy were disastrous. Considered the poor man’s drink due to its affordability, gin drinking had started out as medicine but due to its easy availability, men became impotent while women became sterile causing the London birth rate to decline drastically.  

 Mother’s Ruin is a deliciously entertaining cabaret that takes us through a Gin laced journey transporting us to 18th century London, to the prohibition, to the Peruvian jungle and even the Australian outback, with the common denominator being: Gin! In fact everything in Mother’s Ruin is about the Gin. 

The gorgeous, talented and appropriately voluptuous Maeve Marsden and Libby Wood are the creators and stars of the show and share the stage with Tom Dickins on the piano. The duo’s angelically seductive voices fill our ears with sublime vocals and tickle our senses with their hilarious stories while the piano man completes the act with his jazzy cabaret sound and style. 

Mothers Ruin is a collage of Impressions that travels the audience to smoke filled bars, naughty women, drunken sailors and witty humour that intoxicates the audience like Gin taking effect in their bloodstream. Beautiful renditions of songs by Amy Winehouse, Nina Simone, and Pretenders amongst others are woven into stories of Gin, creating an atmosphere of decadence, giving an even more integrated insight to the subject: Gin. In this unique cabaret the audience can taste, hear, see and even feel the Gin.  

A lot of Gin, Oompah-Pah, laughter and good old fashioned entertainment. Mother’s Ruin intoxicates your senses with this decadently indulgent Gin cocktail of pure, potent, quality entertainment. Bottoms up! 

The Butterfly Club Seek Expressions of Interest

The Butterfly Club are seeking Expressions Of Interest (EOIs) from producers and artists who wish to be a part of their 2017 /18 Curated Spring and Summer programs. Successful applicants will produce a one-week season of their work between September 2017 and February 2018. The Butterfly Club will consider independent works including theatre, cabaret, comedy, sketch, vaudeville, burlesque and live music.

Now in their 19th year of operation, The Butterfly Club are renowned for supporting independent performing artists by presenting their work, and by working with producers on audience development and marketing identity. The curated season will provide an opportunity for independent artists and producers to launch new works and to further develop established productions.

We launched our curated programs last year as a way of highlighting some of the finest examples of independent theatre, cabaret, burlesque, music, comedy and vaudeville” says Alexander Woollard, Artistic Director of The Butterfly Club. “Shows featured in last year’s Spring and Summer programs received wide critical acclaim, festival awards and touring opportunities.”

As with all productions at The Butterfly Club, show durations must be no longer than 60 minutes and must comply with all relevant OHS requirements.

Successful applicants will be offered a season of 6 performances at 8.30pm for a week during Spring or Summer. Expressions of Interest should be submitted via The Butterfly Club website here by 5pm on Monday the 17th of July.

Expressions of Interest: Curated Spring and Summer Programs

Dates: September 2017 – February 2018

Deadline: 5pm, Monday the 17th of July

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com

Put The Blame on Mame

Chapel Off Chapel – June 24-25


Fresh-faced Willow Sizer swaggers on stage for her debut cabaret Put The Blame on Mame, a tribute to her favourite jazz artists of the 40s. Draped in a fur coat which she soon discards, she buzzes with excitable energy.

Sizer has a knack for impressions. She slips into different characters, from the brusque Jane Russell performing Big Bad Jane to the sultry Eartha Kitt, pausing occasionally to pour herself a drink from the bottle of wine on the small side table.

She keeps the mood light with dry, self-aware remarks, transitioning between artists and songs with a selection of her favourite stories and facts about the women to whom she pays homage.

The show is an insight into her own childhood as well as a brief tour through the 40s; she throws in quips about growing up in rural Victoria, rifling through the “big dubs” bargain bin and going on spirals through the depths of Youtube. Donning a headpiece adorned with plastic fruit, she tells of how she came across Carmen Miranda’s The Lady in the Tuttit Frutti Hat on one such spiral before launching into the song.

Thanking her “mumager” in the second row and the audience for indulging her, she manages to be both unapologetic and self-deprecating. Quirky, witty, and a little bit risque, Sizer’s Put The Blame on Mame is an evening filled with gorgeous vocals; it’s a pleasure to share her obvious passion for performing.

Of Mothers Milk

Storming back into town with their (nothing short of) triumphant piece of cabaret, Mothers Ruin are Maeve Marsden and Libby Wood. It traces the history of one of histories more notorious liquors back to it roots, through times of prohibition and protest. Make no mistake, this show packs it in, featuring an incredible eye for detail and songs that are here rebirthed in a salubrious and untoward fashion. TAGG once again spoke with the trio (well one half of) ahead of their second coming, this time at Map57 in the custom built space The Box down on the St Kilda Foreshore.

Maeve, Since it’s inception at Slide Bar, and through it’s further development and presentations, how has this work grown?

Oh gosh, it’s grown so much. We’ve added songs, changed the script, added stories, shifted focus on some sections. The beauty of performing cabaret is that it’s adaptable and it grows with us as we tour our work. We’ve also performed the show now in so many contexts – in a spiegeltent or two, distilleries, bars, theatres and so on. We are so comfortable with the material, it’s just a joy to go to work.

Has it started to feel at all stale to you both,  given it’s continuing life and be honest now, are you sick of each other yet?

Haha! No, we aren’t sick of each other. It doesn’t feel stale because we let it adapt with us over time. Also, the stories are meaningful to us and we love these characters. We find new things in the words and music all the time. We are also currently rehearsing with a different pianist, Tom Dickins; he brings a different energy and character so the show changes again. Libby and I are also lucky to have a friendship that is focused on creative collaboration; we became friends because we love working with each other, rather than the other way around. And we get breaks from each other when we’re not on tour!

What do you think it is about the show that people just love so god damn much?

People love gin? I mean, obviously gin is popular right now and people love to learn about the things they are interested in. Also, and this is an odd concept to explain, but I think people enjoy the effort of the show. Sometimes, in the search of ‘cool’ performers aim to be blasé and detached. There’s none of that with us. Our passion and work ethic is really evident and I think people appreciate the effort that has gone into the research, the storytelling, the musical arrangements. It’s also silly and fun and we aren’t the worst singers…

What should audiences expect of this new season of work, taking it from the butterfly club to this new venue?

The show has matured, I think. We’ve really relaxed into the story telling and we’re super comfortable with the material. The venue at Map 57 is bigger as well so there’ll be the energy of a bigger crowd.

What have been some of the more bizarre comments you have heard in response to the performance? 

Reviewers sometimes comment on our appearance in weird ways, finding odd ways to let potential audiences know that we’re fat. “Buxom,” “physically fulsome” etc. A lot of audience members want to tell us their own gin stories but we love that.

Do you still love gin, are you still throwing them back like there is no tomorrow?

Um, yes. If anything, performing this show makes us love gin more. People want us to try the new gin they just tasted, audience members bring us their home made sloe gin, distilleries invite us to tour their facilities and try their creative blends, bars offer us their best cocktails. This is a dream job for a gin lover!

So folks, it maybe winter, but shake of those blues, and head down South for a night that will be decidedly gin soaked, but so very very fabulous. For more info or to book your tickets click here

Dolly Diamond: The Lady is a Tramp

THE LADY IS A TRAMP is an autobiographical tell-all and celebration of the life of a hard-working and fearless woman. Featuring tales of Dolly Diamond’s life, loves and (alleged) lascivious behaviour this show features sensational new material and the incomparable Shanon Whitelock on piano.

Like so many pioneering women before her Dolly refuses to be branded a ‘scarlet woman’ for simply embracing her sexuality or ‘opinionated’ for speaking her mind. This cabaret diva is making a loud and proud contribution in her lifetime and refuses to apologise for that.

Dolly says “I’m so excited about ‘The Lady is a Tramp’ – there’s so much musical talent in this show. It’s going to be my exciting show to date … guaranteed.”

Time Out says “She’s quick with a witty riposte and a loving put-down, and the audience laps it up. Dolly is no Diamond in the rough, but a rare and polished stone that lights up any room she’s in.”

The Herald Sun says “The music is fantastic and it’s impossible to keep feet or hands still … the highlight is Dolly’s interaction with the audience, which redefines what it means to be quick-witted, and leaves the audience hoping for a song so they get a chance to stop laughing and catch their breath.”

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Time: 9.00pm
Dates: Tue 27 June (preview) to Sat 1 July (five performances)
Duration: 60 minutes approx.
Bookings: www.melbournecabaret.com
Prices: $39 full price
$34 for concession-card holders
$34 for groups of six or more people
$29 for Festival Friends

Dolly Diamond will also host the festival’s exclusive Opening Gala on Tuesday 20 June, and it’s closing night on Sunday 2 July. See www.melbournecabaret.com for full details.

Cabaret From The Fringe

Kicking Off again on the 20th of June is our cities very own Cabaret Festival, and if your tastes are more excited by new, undiscovered talent, by pass all that is taking place south of the Yarra and head straight to The Butterfly Club. This local beacon to everything cabaret, everything awesome and everything independent, will be serving up a smorgasboard of tasty treats to keep you out at night and sure to be entertained, TAGG spoke with Xander from the club ahead  of the upcoming season….

In essence, what makes this program within the broader  Melbourne Cabaret Festival- “fringe”, how do you define this term, and in are broader context, do you perhaps identify with other fringe festivals loosing focus on  supporting artists in favour of audience development and sponsorship deals.

Well that question escalated quickly. In terms of where our program sits in relation to the Cabaret Festival and what makes it ‘the Fringe’, I think is best displayed by looking at the two programs side by side. On one hand the Melbourne Cabaret Festival has performers like Queenie van de Zandt, Ginger & Tonic and Jon Jackson, all cabaret veterans (for lack of a better term), and all shows promising polish and to be pretty ‘safe’ (also for lack of a better term).
Then you look at the Cabaret Fringe program and you get a whole bunch of brand new faces, risk takers and artists that are still fleshing out their own cabaret identity, classic ‘diamond in the rough’ Fringy stuff.
Cabaret has been around for a very long time, through it’s constant evolution of presentation style, performance and concepts, has lead to the form in which it embodies today, aside from such longevity, why is  it still  so relevant and popular with today audiences?
I think you have answered the question for me – because cabaret is constantly evolving, cabaret has stayed relevant. Cabaret is often a commentary on the current social, political climate mixed in with personal reflections, so as the social and political landscape changes, it feeds the cabaret artists new material. There is also a stream of cabaret that is nostalgia, which is really just the same evolution just at a parallel point in history.
In Australia, it can be argued that cabaret has it strongest following in Melbourne, due to the work of people like Mathew Grant, Neville and David  and now Simone who have not only been custodians of the space but pioneers in developing audiences for Cabaret. But after 24 years, how exactly will this years festival be able “push the boundaries of the art form” ,and is it even possible to further define locally made work?
I think the constant evolution of cabaret is always going to allow artists to push the boundaries of the art form. If you look at what cabaret is in Adelaide or Brisbane, you will find very different versions of cabaret as to what we know here in Melbourne. I also believe that there are a few artists sneaking around that are ridiculously talented and are raising the bar here in Melbourne.
Lets move on, give us a quick run down of  each  of the shows whats a single thing from each of them that have intrigued you? Are there any works that directly respond to the current state of affairs both here and abroad, and also have central themes emerged between them?
Fully Made Up – There are very few people that I would trust to do a good improvised solo cabaret show. Jenny is one of those people.
Send Nudes – These guys are young, enthusiastic and curiously cynical.
Yada Yada Yada – I am not a huge fan of 90s pop nostalgia, but Lauren Edwards and Jude Perl are cooking up something good, it’s going to be 90s and I’m going to like it.
Finding Felix – Soon to be another new face to the Melbourne scene (he’s still studying at some music theatre school in Perth)
Adulting – Tash York is always happy to turn a mirror to herself for a laugh, and it’s always relatable and enjoyable.
Raising Ell! – Definitely one of the quirky ones, and a good example of someone doing their own thing and giving no fucks.
Tragedy! A New Comedy – It’s Greek theatre meets pop culture in a one woman cabaret tackling the age old trope, narcissism.
You mention in your press release that these works are to a degree “untested” is this exciting/daunting, or a way to spring board emerging artist while providing the resources needed to  create, is  this kind of generosity a shrinking commodity for local creatives and if so, why?
It definitely sits on the exciting side for me, I love that I can pick up the phone and speak to an artist that I’ve never seen or met before and say ‘we’re going to let you use our venue and if you don’t sell any tickets, you don’t owe us any money’. I wouldn’t go so far as to call us a ‘spring board’, maybe ‘cabaret hoarders’ instead?
Finishing on a brighter note, what do you love most about the festival and this program, and what do  you think audiences will most appreciate taking away post performance?
At this stage I think I love it’s intimacy and it’s infancy, I remember when the Melbourne Cabaret Festival was at a similar stage, when only the most discerning of audiences would actually know there was a festival on and this wasn’t just another week at the Club.
Any last words?
I guess I should encourage people to see some shows.


Crazy Horse Paris Forever Crazy
Crazy Horse Paris Forever Crazy

Over the past 65 years, Crazy Horse Paris shows have drawn over 15 million patrons among them numerous celebrities over and over again, including, Elizabeth Taylor, President John F. Kennedy, Madonna, Christina Aguilera, Jean Paul Gaultier, Pedro Almodovar, Sting, Beyoncé, Rihanna… just to name a few.

Forever Crazy
Forever Crazy

Since its inception, Crazy Horse Paris has acquired an impeccable reputation for presenting women in an incomparable, sensual and sophisticated way. Its rich artistic legacy is recognized worldwide, especially among creators, artists and designers. Over the past years Crazy Horse Paris has collaborated with David Lynch, Miuccia Prada, Roberto Cavalli, Kylie Minogue and Ellen von Unwerth.

Crazy Horse Paris has been home to a long list of exceptional artists who have made guest performances with the troupe, including Dita Von Teese, Pamela Anderson, Carmen Electra, Arielle Dombasle, Clotilde Courau and Conchita Wurst.

Celebrating 65 years of naked couture and Parisian Glamour.

Media Note – please contact your local publicist for access to the Crazy Horse Paris Media
Dropbox that contains background information, images, footage, and more.

Australia: let’s go Crazy!


VENUE The Palms at Crown Melbourne
DATES Tuesday 8 August to Sunday 20 August CHRISTINA AGUILERA
BOOKINGS Ticketmaster.com.au


VENUE Crown Theatre, Perth HUGH HEFNER
DATES Wednesday 6 September to Sunday 17 September
BOOKINGS Ticketmaster.com.au


VENUE State Theatre, 49 Market Street, Sydney
DATES Wednesday 27 September to Sunday 1 October
TIMES Wednesday at 7.30pm
Thursday, Friday & Saturday at 7pm and 9.30pm
Sunday at 6pm and 9pm
BOOKINGS Ticketmaster.com.au


VENUE The Canberra Theatre, Civic Square,
London Circuit, Canberra
DATES Wednesday 4 October to Saturday 7 October
TIMES Wednesday, Thursday, Friday at 7.30pm
Saturday at 7.30pm and 9.30pm
BOOKINGS Canberratheatrecentre.com.au

Anya Anastasia presents – ROGUE ROMATIC

Serenades from a Delinquent Diva Contemporary, bold, sparkling, sexy and packed with punchy humor this new work from Anya Anastasia follows on from her award winning hit Torte E Mort: Songs of Cake and Death.

Feisty, feminist, fierce, multi-award winning, internationally acclaimed cabaret femme fatale
Anya Anastasia has gone ROGUE!

Rogue Romantic is the follow up from Anya’s latest award winning show Torte e Mort: Songs
of Cake and Death that won awards, hearts and stars all over Australia.

The limited season of this new work will run from Wednesday March 29 to Sunday April 2 at
the beautiful Melba Spiegeltent, Collingwood.

Armed with a biting wit, fuelled by a lust for revenge and backed up by her new kick-ass full
band Anya’s Rogue Romantic is a seductive and exhilarating night of music, theatre and fun.
A night filled with electrifying twists, hilarious physical comedy, intense audience interaction and Roque should draw out a titter or two. Audiences will experience the thrill of this extravagant, glamorous and off-kilter diva right in their very laps (literally)!

Channelling Yma Sumac and Shirley Bassey, Anya’s vocals range from husky cabaret to operatic soprano, to the delight of cabaret, live music and theatre lovers.

Rogue Romantic follows hot on the heels of her smash hit 2016 Edinburgh Fringe season of ‘Torte e Mort: Songs of Cake and Death’ which also won The 2016 Adelaide Fringe Weekly Award for Best Cabaret.

Now we can bear witness to this multi-talented artist as she smashes the stage with a star-studded band and all new original songs.

Rogue Romantic is directed by Wes Snelling, with dramaturgy by Clare Bartholomew (Die Roten Punkte), and musical direction by Lucian McGuiness (Scotch and Soda, Company).
Don’t miss the performer critics and audiences alike are labelling “a major MAJOR talent” Stage Whispers.

Tickets are limited, so book now at trybooking.com

Event Details
Anya Anastasia presents

Serenades from a Delinquent Diva.
Melba Spiegeltent,
35 Johnston St, Collingwood

Dates: Wednesday 29 March to Sunday 2 April, 2017
Times: 8.00pm
Tickets: Adult – $30
Concession – $25
Parental guidance recommended (PG)
Bookings: trybooking.com

Website: anyaanastasia.com
Facebook: www.facebook.com/anyaanastasiaartist
Video Content: anyaanastasia.com/gallery/video/