Fight for the floor

Somewhere between Monteverdi and Miles is jazz of the '20s and '30s, variously styled as ragtime or Dixieland or New Orleans or trad, often played with banjos and sousaphones and plenty of brass (common instruments left over from the civil war) and with cut times and group improv and the like. Then into Satchmo solos and swing and big bands and off to bebop and the modern styles. But that early jazz, and later jazz played in a vintage style, remains immensely popular, not least with dancers, and Zackerbilks is a great local exponent. We caught them today at the Canberra Jazz Club's monthly event at Southern Cross Club, Jamison. It was packed. The dance floor didn't last 10 seconds before the swing dancers were up. Namesake Zach was in fine form, blowing a call of introduction (less sedate than his roles in CSO) then into song and dance. The dresses were full and bouncy, the guys wore waistcoats and the colour was on cheeks and lips but also in the lively, flouncy music. This is entertaining, fun, warmly welcomed. Not the steadfast seriousness of the jazz I normally attend, although still played with demanding skills. And was not just 2-feels. There was swing, too, but all pretty early in style, all bustling. Great fun from a great band. Much enjoyed by very many.


Zackerbilks played at Canberra Southern Cross Club, Jamison, for the Canberra Jazz Club. Zackerbilks are Zach Raffan (trumpet, vocals), Miriam Miley-Read (vocals, uke), Robbie Mann (piano), Christopher Harris-Scott (banjo), Thomas Manley (or Thomas Azoury , clarinet), Rob Lee (or Matt Ricketts, trombone), Scott Temby (bass), Simeon Staker (or Jamal Salem, drums).

Sex and the once-single $hopper

Sex is involved in all sorts of matters, so why not in saving the economy? The Reluctant $hopper is a lighthearted comedy by local playwright Bruce Hoogendoom. It was Bruce who took tickets at the entrance and his parents who served us at the bar so this seemed particularly local, but Bruce has had his plays performed around Australia and as far away as Helsinki. This play was a comedy: light, somewhat frothy and short. There were four cast and three central characters. Barry works for a local Business Council. There’s another financial crisis and the government is too indebted to support the economy, so he blackmails Sam, a very tight public servant, after-hours DVD salesman – and millionaire inheritor – with threats of denunciation to the Tax Department. Sam has to spend $100K in the local shops. Suffice to say, Sam does not find this easy or pleasant but the alternative is fines and gaol. At one shop (a deliciously unnecessary gift shop), they spy the very attractive shopaholic Lisa. Her credit is maxed out, so Sam helps out and soon Sam and Lisa are an article. Barry decides he’s done wrong, that PA shopper Lisa is just after Sam’s money, but loves conquers all, Sam learns to enjoy shopping (and ignores his depleting bank account), Lisa recognises her problem, Barry adjusts himself to his reality, and everyone’s happy in the end. Why not a comedy about economics? After hearing just recently about fraudulent Irish bankers and LIBOR, we need a few laughs. And we might need Barry’s techniques soon enough.

The Reluctant $hopper by Bruce Hoogendoom (playwright, director, producer) was presented at the Courtyard Studio. The cast was Brendan Kelly (Sam), Elaine Noon (Katrina, Debbie, shop assistant), Kimberley Balaga (Lisa) and Rob de Fries (Barry). Kelly McGannon (lights) and Miriam Miley-Read (costumes) assisted offstage.

Mikado @ Philo

I’ve been busy with family visits and an upcoming jazz event (attendance is essential, see JazzUncovered.net) so CJ has suffered of late, but my musical outings picked up over this weekend. Friday evening was to be a Toucani gig, but that ended up as a double booking, so it was a free night and they owe us one.

But Saturday was more productive: an outing to comic opera, Savoy opera as in Gilbert & Sullivan. It was surprisingly good and quite funny. It took me some time to adjust to the style, the Victorian themes, and settling in to the skills of catching the lyrics, but it turned out to be a very satisfying night. My 21st Century mind found the theme of executions a challenge, but it was also a cute love story, and works out OK in the end: as long as you accept that the matching of meek Lord High Executioner, Ko-Ko, with the she-wolf, Katisha, is acceptable. I love the duets with tenor and soprano harmonies, and there were some lively choral parts. Joseph McGrail-Bateup played the central charater of Ko-Ko. He has years of experience in Dirty Dick’s theatre and it shows. He minced around as this innocent executioner who couldn’t swat a fly, to the hilarity of all. Erika Tolano, as one of the three little girls, was hilarious throughout. Robyn Collins and Yum-Yum, and Grant Pegg as Nanki-Poo were well voiced; not that I felt their love so intensely, but it is comedy. Peter Dark was in great humour as the corrupt public servant, Pooh-Bah, with his all-knowing bass voice. Miriam Miley-Read as Katisha was imposing and fearful; no longer a sweet nun in Puccini’s Suor Angelica. The theatre was a surprise, too. Erindale Theatre is well presented, well raked, well provided with a little phased-array PA and a decent orchestra pit: most impressive. We all know of Canberra Philharmonic, but I must admit this is my first outing. This is a semi-professional group, but their output is worthy. I enjoyed the night immensely, and I trust it’s not my last. They are doing my favourite musical in Aug/Sept, West Side Story, so I must pencil that in.