The Melbourne Cabaret Festival
Chapel Off Chapel, Prahran
Reviewed on June 29, 2013
This season on Broadway alone, two radically different one – woman plays, but both centred on gritty American icons, have been critically acclaimed box office standouts.
In “Ann”, veteran TV actress, Holland Taylor, showcased Ann Richards, the outspoken yet beloved, late Democratic Governor of Texas.
A long-time stage and screen idol also, Bette Midler headlined the other. Tapping partly into the Divine Miss M’s own persona, “I’ll Eat You Last” outrageously snapshot Sue Mengers, the foul – mouthed power agent to some of Hollywood’s biggest names.
It seems inevitable, that one of the richest, most forceful and influential figures from recent media history would garner wry yet generous tribute as well.
Love her or loathe Oprah Winfrey, there is no denying the former queen of daytime talk’s extraordinary rags to billionaire riches success story.
From her dirt – poor beginning and with sheer drive against all odds, Winfrey somehow broke through size, race, and gender corporate ceilings.
One of the highlights from the 2013 Melbourne Cabaret Festival, Oprahfication captured that lightning in a tightly – capped bottle.
For her entire adult life, singer / actress Rachel Dunham has been told how much she looks like the Afro – American media mogul. Then, one night over a glass of wine, Dunham had an epiphany.
Taking the comparison in her stride, Dunham has developed a brilliant new act with fellow writer and composer, Shanon Whitelock. In director Dirk Hoult’s skilled hands, Oprahfication answers all of Winfrey’s fans and detractors biggest questions head on.
Dubbed “The Ultimate Interview”, the show is 60 minutes of high – energy entertainment non-stop.
Backed by a four – piece band, Dunham has a belt voice to rival the Jennifer Holliday, the original Dream Girl. Intertwining six original songs with true tales from Winfrey’s own career, Dunham nails Oprah’s famous mannerisms, vocal inflections, and egotistical self – affirmations with hilarious flair and uncanny accuracy.
Though spare, the set features Winfrey’s famous confessional couch. But in a stroke of genius, Chapel off Chapel’s loft quickly doubles as a TV studio recording complete with commercial breaks.
During these quiet moments, Dunham confides by phone one – sided, with her best friend forever and constant companion, Gayle King. Riding the roller coaster of emotions, Oprah’s private side is put on show for all. Dunham never lets up, exploring these high and lows with equal measure.
Dunham plays on the building hysteria, at one point encouraging the audience to join her in the gospel – inspired, “Fat, Black, And A Woman.”
Further, when Dunham smashes the fourth wall, we are no longer passive viewers but cast as Winfrey’s delirious devotees, chanting and worshipping at her altar.
Propelling cabaret to thrilling new heights, this is a show not to be missed.
Image Source: nymf.org