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Not that she really wants the limelight as this character is giving up cabaret and looking for a new job A skill set is a skill set and being an internationally lauded star does build a unique CV. So what to do? Various choices rise as a possibility. Accompanying herself expertly on electric piano and ukulele, the show has a clever structure which keeps it flowing and energetic.

Plus it ends where it begins which is always an indicator of quality and thoughtful design. Apart from the adept performance of the comic songs, she has a lovely warped view of life, there is also some well-conceived audience participation which is engineered in a warm and engaging environment. Trust us, we decided to make a night of it at the Bondi Feast on an evening of arctic winds with nary a heater or coffee anywhere on the premises!

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Please fix that for next year … from a begging teetotaller! Huddling with the tallest of us as a windbreak, the discussion about going home was ramping up. They are an intergenerational circus with a distinctly post-modern act.

Your Day, Your Way

Stream of consciousness advice whiffles, non-sequiturs abound and the women go flenuring around the space, with only two tables and three chairs for grounding. And their relationship is so warm as to chase away the Winter outside. As the show begins, the absurdity suddenly goes mach and there is laughter all around and the physicality of these women begins to climb to dangerous and unseen heights.

Literally, because when they tower up they can be lost in the velvet folds at the top of the tent. And, yes they tumble … a lot! The hour show will feature balances and throws and falls and acrobatics and a healthy amount of competition between them. They egg each other on and muck around with words; wry words often. Funny as anything as well. Their physical work, the structure of the show, on the other hand, on both hands, is meticulousness incarnate.

Our elder citizen is not the birdlike, light framed top of the tower but the solid stability and strength of the base quite often. How the hell they can wear those skimpy, architecturally knitted costumes and simply have no bruises beggars belief. Much about this show has that intangible magic to it. How, for example, does the audience instinctively know when to be breathlessly still and when it is ok to nudge and laugh with a companion at the on-stage antics? For an hour of unparalleled excellence, A Good Catch envelop the audience in an unstoppable display of precision and strength in the comfy warmth of chatty preparation and the frenetic, jaw dropping craziness of implementation.

And laughs, so much fun in the show. Go out of your way to see the team and the show next time they pop up, are hurled gracefully onto a program or are balanced delicately at some festival. Three times have I seen Rueben Kaye this week and he is a very naughty young man! Sharply dressed, with sincere forearms and with a show which has the cyclic nature sure to get a good review by crits, what choice do I have but to love him?

And I do. I adore his work! Kaye could write that treatise I am sure because the man can craft! This is a wordsmith of excellence. That feminist one liner is still my favourite line of the festival. He may be naughty but Kaye is clever as fuck and educated well beyond a well-placed sparkle. Deceptively so, because it flows like seminal fluid around and through the audience eager to lap ….

Does that work? Thrown really; not presented gently. Why do we love to be insulted? He starts the show by thanking his band and crew! Which is lucky because the lighting guy has a very passive-aggressive LX style - I have to say, that is the best lighting joke I have ever seen! I, literally had to get out tissues for the spotlight section; it is award worthy in my weeping-with-laughter eyes.

Kaye is a rude and bold boy! He flames brightly through craft and outrageous exuberance. And that voice. Rueben Kaye is a singular talent in a merciless production designed for communal laughter, transcendent indulging and, let no-one tell you otherwise, a love of man.

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Reuben Kaye is playing a part of the Sydney Cabaret Festival. The Art of the Mashup is a very winning show with a talented and caffeine riddled host who hears the world differently. He just does! Bette and Whitney … a no brainer. Tonight he was also joined by a real friend, Natalie Joy Johnson. Faithful and soulful in collision there was a huge climax before a sweet and soft ending. And their work-inspired mashup found them snuggled together on the piano stool while the assembled were just nodding away in time.

I also very much enjoyed his warm and honest banter with the crowd.

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Egged on by the audience no less. But with an adoration of Tim Tams to win over any Australian audience and an obvious pleasure in being part of the Cabaret Festival.

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Some mashups sneak up on us with an audience ah as the recognition sets in. Other times, as part of his intro to the pieces, there is quite an insight into how he puts the elements together. Nash says he started piano late - he found C and never looked back in his late teens.

He sure can play!

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But perhaps that was the caffeine. Apart from the woman of limited talent in the row in front who thought that all around would rather hear her than Streisand on the pre-show, I had a fantastic night at the Finals of the Sydney Cabaret Competition. A regular and dedicated cabaret space would be such a wonderful asset to this city.

Her bridge joke was one of the top throws of the evening. When she swaps to a dressing gown as her mother, drops down into a lower register and shares a beautifully emotional song, the audience is drawn forward until, in the next bit, all hands are in the air waving. That must have looked great from the stage.

The crystal clear risen notes and the sense of longing as the smoke curled above her was as powerful in the big space as in the small room during the heats. Sarah Murr took to the audience to give her character a bit more context than in the heats. Every eye was attendant as Murr made her way through the crowd with a wicked grace and slowtime glove removal.

PDF Lighting the Way Home (Delectable Book 2)

And for that final boopboopdedo an embracing lean forward to the crowd. After a break, Billie Palin eased on in with her Dubbo inspired comic song and a whole heap of Dubbo in the crowd to support a home town artist. With that final note lofted perfectly, the reach into the audience was complete and not just to the Dubbo-ites.

The blokes near me were having waaay too much fun. Well done again to the design team who bathed the stage in green — even the right shade of green. Huge cheers of appreciation heralded that killer final note. It was an hilarious beginning for Naomi Livingston whose stellar writing gifts are subtly displayed in a set which has her original writing embedded in a stream of consciousness, non-sequitured patter which allies with the songs for a clever, weirdly logical and scarily possible theme.

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Her soul ripping song about the death of a parent has a rising emotion that climbs sentimentally until the true meaning drops with a heartbreaking thud. Bravura work! Her song about being an aunt hit me in the chest again as a nuanced character emerged without any disruption to the music.