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Cat is as sultry as she is exciting. She plays the comedienne and the tragedienne with all the panache of a Parisian. Her talent allows her to conjure up a scene out of nothing, while her presence and vocal expression make her impossible to ignore. Whereas some great entertainers need props to reveal their magic, Cat Lawrence requires nothing more than to walk onto the stage.
Reminiscent of Mireille Mathieu, Lawrence is as sensuous as a panther, as charismatic as Ute Lemper and moves like a python in a wet suit. Even when her voice wobbles and she makes a faux pas there is something savoir-fair about Lawrence’s performance.
Songs such as Dogtown by Harry Chapin, Roy Orbison’s Crying and In Dreams and even a Spanish version of My Way get the Djangology treatment by the fantastique Les Faux Manouches.
C'est Magnifique.
L’amour or Less is a genuine tour de force. Les Faux Manouches are hot and Le belle Lisette is par excellence.
The Program
Two shows are not enough to allow people to enjoy this excellent example of Cabaret entertainment. Lisette (aka Cat Lawrence) held the eager audience in the Bakehouse in the palm of her hand while she strolled through an eclectic selection of music all performed well.
The four piece band is tight playing the interspersed instrumentals with relish. They cover standards, mostly from Jango Reinhardt, and both Michael Baldwin and John Denlay have the talent to do these justice. With Bernadette Dempsey on accordion and Paul Jancovic on bass and suitable decorations they created the feel of a European café in the normally cold Bakehouse setting.
Full marks to the Bakehouse for hosting this excellent and talented group. It is to be hoped that they will book them for a much longer season next time!
Adelaide Theatre Guide
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