GlamourPussy and The Hip Replacements

She's a spicy mix of glamour & decay.  Young at heart…and slightly older in other places.  GlamourPussy declares herself with honesty, verve, style, and glittering sardonic repartee.  By way of her presence and talent she owns the stage from start to riveting and poignant finish and unhesitatingly claims the spotlight on behalf of all females of a particular life stage. 

GlamourPussy and The Hip Replacements is a ‘pandemic baby’ conceived by Naomi Eyers, who has consistently wowed audiences in Australia, Europe and the UK.  The Adelaide-born performer created two memorable groups here, The Fabulous Singlettes and Women With Standards, and her stellar international performing credits are worth a look-up. This solo creation was devised as a rebuttal of ageism, highlighting the ridiculous concept that women have little to offer after a certain age, and a loud and proud proclamation that we won’t be placed anywhere without consent, particularly on the sidelines.

Sondheim’s "I’m Still Here" was peppered with pointed post-menopausal musings on life and performing: “from a Green Room Award to pulling beers…”.  Ms GlamourPussy of the ‘autumn flush’ and draped in spangles told us in no uncertain terms that indeed, she (and we) are definitively ‘still here’ and fabulous.  In an aside as she gazed at the mostly female audience, Ms GP talks of living her life with confidence, and now with POISE - and yes, she definitely declared there probably wouldn’t be “a dry seat in the house”.  Given the laughter, she might be correct!  Definitely not a slave to original lyrics, Doris Day’s "I'd Rather Be Here With You" informed us that even though GlamourPussy could easily be off to “yell with Adele” or “sip on fine bourbon with Nicole and Keith Urban”, at least for one night, she’d rather be here with us.

Menopause is no joke for some women but we should loudly and definitely riff on the craziness that accompanies it and ‘it’ certainly should be a subject brought to humanity’s attention.  Likening menopause to “a long car journey when the air conditioning is broken and you can’t sleep”, GlamourPussy muses that “like Tailem Bend, it is best appreciated in the rear view mirror”.

Armed with a bag of tricks (pills, potions, menstrual cup, pads with wings, sexy undies, and more) our star sprinkles audience participation, strolls through the crowd and prize-giving moments throughout; you may even have the opportunity to use a Webster pack as a percussion instrument.  She exhorts us, “you do you”, and delivers a heart-rending version of "Masterpiece" (Mona Lisa).  So often women gaze backwards and wonder why they didn’t appreciate themselves more. 

GlamourPussy is celebrating transformation as we age, darlings, so let’s turn “drab to fab, invisible to invincible…”.  An interpretation of Danke Schoen follows as does a sexy, jazz-standard adaptation of Blondie’s "Call Me", with the lovely surprise of a zoom meeting-like array of virtual backing singers (all Eyers) on screen.  There is a moment of Madonna ("Like a Virgin") with spontaneous audience participation and then GlamourPussy’s version on "Every Breath You Take", combining her favourite things - 'Gospel songs and stalking'.  This song gave us a roof-raiser belted finish that would be at home on Broadway or in the West End.  We were treated throughout to the phenomenal vocal range that Eyers commands and she is rightly described as one of the best voices Australia has produced.

Some extra rehearsal and tightening up of just a few moments will see this new show ready for any cabaret venue, anywhere in the world. Director Shaun Murphy of Combo Fiasco (“renowned for harmonies so tight you could go to sea in them”) has graced this work with a beautiful flow and superb intimacy.  Accompanied by just two musicians, Adelaidean Tim Bowen on upright bass and Adrian Szondy on keys, the impeccable sound is managed by Steve Scanlon, studio recording, mastering, and live sound engineering legend.  Szondy also takes on the Musical Direction role with total professionalism.

Bernard Ighner’s "Everything Must Change", first sung by Quincy Jones in 1974, is a thoughtful and heartfelt finale.  As Eyers begins, the large upstage screen lights up with footage of her younger self singing the same song.  The performance is both a reflection on inevitable change and a celebration of our formative years and the power of embracing the journey from there to here.  The technology works beautifully but does not detract from the powerful moment as the two voices seamlessly combine in unison, harmony and canon. 

GlamourPussy departed the stage promising a return visit in future after the show heads to Melbourne and, hopefully, an even longer life elsewhere. Her hilarious choice to use The Angels’ "Am I Ever Gonna See Your Face Again?" for an encore (with obligatory audience refrain) was gleefully embraced by the appreciative crowd.

I’ve heard whispers of pushback about the title of this cabaret show so that publicity has been less than it should given Eyers abiding reputation. It seems remarkable in 2022 that a woman cannot reclaim the right to a word that has been used and abused by men and society with total abandon for a long time.  This is a wise, witty and glorious celebration of older-womanhood from a kickass, world class performer in control of a powerhouse voice that knocks your incontinence panties sideways.  Why this well-crafted, original offering has not been swooped upon by the Adelaide Cabaret Festival is beyond me.  Maybe next year?

Lisa Lanzi