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Prima Artists showcase

Published Wednesday 25 March 2009 at 14:45 by Mark Ritchie

A trade showcase aimed exclusively as the cruise ship entertainment market was staged in the comfortable surroundings of this established live entertainment venue.

The MacDonnell family are the people behind this cruise supply agency business and the day began with a warm welcome from Prima’s Sarah MacDonnell.

First up was a reminder of the resurgence in interest and awareness of the music of Frankie Valli, which has apparently arisen in the wake of the hit musical The Jersey Boys.

There is nothing quite like a good strong bit of falsetto to wake up slumbering bookers and four piece live band Lets Hang On opened up with rousing versions of Rag Doll and Sherry.

In their scarlet stage jackets, this tuneful four piece and their diminutive frontman made their compelling case for lucrative work with an authentic sounding showcase appearance, which may well have attracted some interest.

The term ‘multi-tribute comedy act’, used widely these days usually means what we used to call a comedy impressions act. The Professionals opened in familiar territory with a Blues Brothers skit and an appearance from Jake and Elwood. We then saw further George Michael skits “all the way from Hampstead Heath”, but acts of this kind work better with quick change set-ups, as opposed to full song sketches, in which surely a vocal sound alike is a prerequisite for success. The accent here was on fun, as opposed to sound-alike accuracy.

Tribute band Imagine the Beatles adopted the authenticity route, for which most successful tribute bands seem to score most heavily with. It sounded a little early in the day on the vocal front for the bloke playing Paul, but the combination of the Vox amps, the sound-alike quality and the reassuring look of talent and experience here should have attracted interest.

Vocal impressionist Samantha Mercer, we were informed during the introduction, took the Jane Horrocks role in the national tour of Little Voice. Soon her talent for musical mimicry was in full flight with spot-on impressions of Shirley Bassey, Marilyn Monroe and Cilla Black, among others.

Tribute artistes Darren and Tania Alboni presented a segment of their two hour Ultimate Tribute Show, with a glimpse of their Amy Winehouse and Mick Hucknall impressions. If this rest of the show is up to this standard, then surely lucrative cruise ship work would seem to be assured. The vocal quality and the sincerity of the impressions will surely make this a superior addition to the tribute market. The sound-alike quality - in particular the Mick Hucknall - impression was quite stunningly accurate.

Lee Baker also performs a number of other tribute shows, but here we saw him taking a crack at Freddie Mercury. Baker is clearly a talented and experienced singer, but it is tough to get within shouting distance of replicating the Queen frontman. Perhaps, as was the case with a number of the singers, this was a little early in the day for Baker, but I’m afraid this particular tribute just didn’t work that well for me.

Closing the first session out was five girl tribute act Girls Alouder.

There are a number of similar acts around to this, but this particular example is attractively presented and it was interesting, being one of the early arrivals, to see the girls sound-checking in their curlers.

As any women will tell you, you simply can’t rush perfection and this particular tribute is sure to do considerable business, with appeal to a limited but significant number of cruise products.

During a break and a tasty lunchtime repast, we were entertained by the Apollo String Quartet, a group of well turned out young ladies, whose selection of light classic certainly made an apposite accompaniment to the cold collation on offer.

The Pussycat Dollies were another tribute act, hot on raunchy choreography and short on subtlety.

The phrase never knowingly under-sold certainly applies and there’s often nothing wrong with that in the tribute market, but there was something slightly raucous and under-rehearsed here in my view. Additionally the backing tracks were too obtrusive and fussy for comfort.

Comedian Dave Kristian is exactly the kind of witty, quick, well-rehearsed gag merchant that should be well at home on board traditional cruise ships.

With an act designed to suit this very specific market, Kristian should continue on his cruise ship adventures for many years to come. Poems and comedy songs, one in the style of the great Robb Wilton, should be lapped up by cruise holiday folk with a few miles on life’s clock.

Earlier in the day we had seen the two members of the Ultimate Tribute show in the guise of Amy Winehouse and Mick Hucknall.

The pair soon re-appeared, this time taking a crack at Cher and Elvis. The Cher was fine in look-alike terms at least, but not of the same standard as the preening and self-absorbed earlier portrayal of Winehouse.

As for Elvis, this was a pretty good impression in vocal terms, but on the tribute trail it is rare to find parity in both look-alike or sound-alike quality.

Comedy juggling act the Citrus Brothers gave us unicycling, plate-spinning and further malarkey.

On board ship we were informed this was fun for all the family, with even a circus skills workshop thrown in for good measure. Just a taste of what they offer was on show and hopefully this zany pair will have made new friends after this brief but enjoyable showcase offering.

Back on the tribute trail, a long overblown introduction included a voiceover, which advised women that, if they have ice in their glass they should stick it down their knickers. The reason for the excitement? The arrival of singer Lee Pashley, performing his tribute to Robbie Williams.

Trawling an audience consisting mainly of fellow acts, Pashley gave a totally sincere, hyperactive, yet measured impression of his chosen subject and it is hardly a surprise to hear that a singer of this quality is so close to the top of the Williams tribute pecking order.

Twin boy duo the Chapman Brothers are refugees from The X Factor, who are now trying to carve their niche in the cabaret market after their brief telly fame odyssey.

Plenty of energy here and considerable quality but, given the dashing on and off the stage by both breathless members, things became a little ragged, particularly during an ambitious version of the Hollies hit He Ain’t Heavy He’s My Brother, which would have benefited from a more suitable backing track. An attractively presented act though and many a full dance floor wherever these bonny brothers appear I would wager.

After a welcome coffee break, it was back to the acts and the welcome arrival of smooth comedy magician Andre.

Loads of props and magical paraphernalia on offer, delivered with all the assured panache of a real cruise ship pro. In short, just the type of all-rounder who possesses both the performance skills and the necessary on board bonhomie .

The second Elvis impersonator of the day was another hunk of burning love by the name of Mario Kombu. This particular version of the king of rock and roll was of the sultry, brooding variety, more a Heathcliff of the Elvis world really.

The magnificently costumed Suzy Hopwood presented her Kylie tribute act, which is known as The Red Blooded Woman Show. In costume and sound alike terms, Hopwood’s tribute was quite superbly accurate and well put together. However, certain presentational realities make this tribute not totally believable in true look alike terms.

To be quoted within the introduction of an entertainer from a previous review certainly makes a reviewers ears prick up.

Apparently after my last viewing of Andy Nolan, as Ronan Keating, I mentioned the fully rounded quality of this particular tribute and on this latest viewing I can only echo my earlier sentiments on the real quality of Nolan and his chosen tribute.

Wherever energetic American singer Bruce Parker goes, a party probably breaks up shortly after his arrival.

Nothing subtle here, just an entertainer with a capitol E who, when not trawling the audience with a radio microphone in a quest for ‘some lurve in this house tonight’, is singing at his audience with joy and real gusto.

As I said a couple of years ago in a previous review, Bruce Parker doesn’t sing to you, he sings at you.

The McDonald brothers were the act chosen to close the session out.

Many fans of TV talent shows will recall the boys and their appearance in the Final of The X factor, where Leona Lewis beat them to the first prize.

In cabaret the lads offer pop music duets, with some Scottish reels and what many people dismiss as tartan biscuit tin lid music. The lads play fiddle and accordion and the combination of modern covers, but an acoustic version of the Sting song Fields of Gold revealed a bit of depth to their talents.

Hopefully their venture south of the border may remind cabaret bookers that they are anything but talent show also-rans.

As the assembled guests reconvened again, the strains of the Richard Holmes Jazz Trio made a welcome musical accompaniment for the early arrival.

After a welcoming address from agency director Tony McDonnell, we met the first cabaret act of the day Toonful. More a small choir really, this six-handed band of singer/actors have put together a cabaret attraction with a difference, as they evoke memories of music and songs which were originally written for animated musical classics. ‘With a small pinch of pixie dust and giant spoonful of sugar’, this youthful sextet showed that something that little bit different can be added here and there, given the diversity of entertainment within today’s cruise market. Toonful are also part of the Shakespeare 4 Kids show.

Comedian Jimmy Darch gave a highly accomplished and extremely funny comedy patter spot, which should have found favour with cruise people present.

Darch has a lovely smooth comic delivery and offers material which, if this is typical of his cruise ship act, should be bang on the money. We are told there is a shortage of mainstream stand-up merchants who know which side of the taste line to set their comic pitch. Jimmy Darch gives an object letter in exactly how to present a showcase pitch.

Shoo Shoo Baby is the name of a brace of female vocalists, who adopt the guise of vampish roaring twenties flappers.

Sadly limited appeal for sophisticated cabaret these days, but perhaps the roles which these singing actresses have converted into cabaret could provide something that little bit different for cruise ships which attract customers who are mature or sophisticated enough to be familiar with the era.

Backed by the Richard Holmes Trio, it was then the turn of singer Peter Scott Powell.

Memories of Bobby Darin and Sammy Davis were evoked by this smooth crooner and it seemed that a trend towards showcasing West End and musical theatre-type performers was being established here. Great to listen to in the wee small hours in a cruise ship lounge, this particular singer clearly loves the musical niche he occupies.

Caroline Owen is a young violinist who plays to some pretty fancy backing track arrangements. The whole delightful confection is further sweetened by great stage moves and a bright and breezy approach. Comparisons with the Vanessa Mae mode of sex appeal certainly, but hopefully her own future niche to carve.

Alegria Musica is ostensibly a male/female vocal and instrumental duo, but they are really much more than that. Violin, vocals and percussion combine to reflect smooth Latin rhythms and a vaguely holiday floorshow type feel. Attractively presented certainly and workable on board ship, most definitely.

As we were waiting for the arrival of a key booker, the audiences patience was assuaged with another appearance from the excellent Richard Holmes Trio, who kept toes tapping and the minds of those with travel arrangements already in place after the event away from the possibility of having to depart before the end of the event.

Then it was time to meet West End star and Olivier Award nominee Rosie Ashe. A comic verse version of Chopin’s Minute Waltz was followed by Puccini’s O Mio Babbino Caro, which has rarely been performed with such conviction.

Whether on a West End stage or in cabaret, Ashe is a real star and what a treat to see her heading out into the cruise ship market.

Comedian Mike Newman Jnr is a highly accomplished patter merchant and he also has some nice sight gags to offer. Safe, yet sharp and funny, Newman should do the business in front of a variety of audiences and his slightly edgy stage persona proved to have enough energy to make mincemeat of this tricky showcase environment.

Good looking tenor singer Adrian Grove was yet another from the West End contingent who are trying to make the journey across into cabaret. Grove showed a personable side and a line in crowd approach which many of the West End types often do not possess. Too many are all technique and no warmth, but performers with the natural likeability displayed by this particular vocalist are almost always successful when crossing the divide which undoubtedly exists between the two disciplines. Although perhaps someone should have a quiet word and tell the otherwise highly capable Mr Grove that talking down applause is never a good thing to do.

Virtuoso violinist Craig Owen is just crying out to cruise. I can’t remember a young male violinist within the cabaret market since Gary Lovini. However, Owen is no Lovini and the tailcoat and bow-tie image are really at odds with what he is trying to sell. The whole act really needs to be sexed up in my view, especially if the otherwise brilliant Owen wishes to cut it in the mainstream market.

John Barr is yet another West End singer who now also performs in cabaret.

Barr possesses great vocal ability and is very sincere. However, there is an uncomfortable dividing line which exists between what is considered sophisticated cabaret and what is lumped together, in content terms at least, as mainstream.

Barr seems, from this showcase outing at least, to occupy this particular strand of show business territory, with a jazzed up version of George Michael’s moody ballad Different Corner exemplifying the taking of material which some may consider obscure and making even more so by virtue of a change in the original arrangement. In short, I’m not sure what I made of Barr, but I did enjoy and appreciate his talent and sincerity.

West End leading lady Sarah Ryan opened sweetly with the soprano classic Think Of Me, from Phantom of the Opera, before regaling us with tales of a few of her musical theatre mishaps.

The second day at the Prima Artiste Showcase was apparently aimed at a particular showcase product, which they clearly believe can be serviced by West End, theatrical performers.

As West End leading ladies go, they probably don’t come more tuneful or glamorous than Sarah Ryan.

The only magic act of the entire event was master illusionist Matthew McGurk and his glamorous assistant Jade. I once read that Sir Arthur Conan Doyle was said to have been convinced regarding the authenticity of spiritualism when he witnessed a table tipping illusion performed during an afternoon seance.

McGurk showed that what Conan Doyle saw would not have fooled Sherlock Holmes, as the illusion of the levitating table is just that, a very well-performed illusion. Having said that McGurk, who offers a fly-on act for cruise ships, is the smoothest of smooth operators. This was my first look at this particular illusionist and surely here we have a market-leading attraction.

Singer Anna Reay had taken a flight down to the conveniently placed Southampton airport to attend this event.

Reay gave us a version of the Etta James hit I Just Want To Make Love To You and her adopted strategy of chatting to her audience was most endearing. In fact Reay’s line in crowd approach made a welcome change from that adopted by many of the West Enders and I liked everything about her. The biggest selling point here however was something you cannot train, coach or acquire by purchase. I’m referring of course to Reay’s sheer charm and stage presence.

New York-based Brit Jon Peterson brings back to life the respective careers and music of a quintet of great showmen. From the ebullient George M Cohan to a celebration of the truncated career of the great Bobby Darin. Next came tales and music from the lives of Fred Astaire and Gene Kelly.

Finally Peterson paid homage to the performer who many of today’s entertainers would just love to emulate, the incomparable Anthony Newley.

Here, in the shape of one massively charismatic and engaging performer, a 21st century audience can see cabaret with a theme and oh how superbly delivered it all was. For this reviewer Peterson’s appearance was the highlight of the entire event.

Evelyne Brink is a German singer who performs a Madonna tribute act.

A real look-alike certainly and a good singing voice, with lilts and refrains very similar in style to Madge herself.

A chatty performance here, which may suit the area of the market place which Brinke hopes to tap into. There were elements of a dynamic, dance-based performance too though and the suggestion that this particular tribute artiste may just be able to tailor this tribute to suit a variety of crowds.

Closing out the entire event was a quartet of musical theatre performers, who have come up with a Tamla Motown-themed show.

There are lots of soul vocal groups around the UK, but I don’t think I’ve ever seen one made up entirely of established West End performers. The Emperors of Soul are tuneful and know how to harmonise. They also have all the moves and look a good bet to cruise in what was a great showcase pitch.

Well done to all at Prima Artistes for covering all the bases and presenting an absolutely splendid showcase event.

This really is how all showcases should be presented, trade only and designed with specific markets in mind.

In short, a pleasure for a reviewer to attend and we reviewers can’t always truthfully place such sentiments within our finished review.

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