Jailhouse rocks, thanks to cheeky cabaret delights

THE CAT, THE RAT AND ME 2.5/5 Sheila Bradley, Kew Court House, season ended. UNDIES 3.5/5 Megan Shorey, Kew Court House, season ended.

By InvestSMART · 18 Jul 2012

By InvestSMART ·
18 Jul 2012

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THE CAT, THE RAT AND ME 2.5/5 Sheila Bradley, Kew Court House, season ended. UNDIES 3.5/5 Megan Shorey, Kew Court House, season ended.

KEW Court House is a charming new small arts venue, converted at some expense from a heritage police station. It has theatres and jail cells in the one building, and for the coming week, is hosting a range of acts from the Melbourne Cabaret Festival.

Sheila Bradley first came to Australia in the '50s to star in a show called Grab Me A Gondola, at the invitation of the J. C. Williamson's company. She stayed, and has settled into pleasantly eccentric retirement on the Sunshine Coast after a long career in the theatre, here and abroad.

The Cat, The Rat and Me, co-written by the supremely talented Tony Sheldon, is a lively and amusing autobiographical cabaret that looks back over her life in showbiz. Bradley is a fount of humorous backstage anecdotes, and traces her rise from young girl singing for kippers, through her big break on the West End (a star fell, and she found herself playing Lalume in the original production of Kismet), to her strong connection with the Australian stage over many decades.

While it's true Bradley's voice has descended in timbre and frayed with age, she can still act with it, and the show is at its best during music-hall numbers and sea-shanties, rather than big show tunes. The funniest is Sheldon's Noel Coward-like ditty about the lack of straight men in the theatre game. Bradley's winning stage presence, mischievous demeanour her skill as a raconteur, and the deep vein of theatrical history she mines, all help the show rise above its vocal cracks.

No range issues with Megan Shorey's voice: in her merrier moments, she sounds as if she might achieve takeoff from the piano stool and fly into the lighting rig. Her musical heights are directed down below: Undies takes on the history of knickers, from primitive loincloth to spandex thong.

Sharp and satirical songs, dexterously woven with cheeky feminist humour, rove over the differences between boys' and girls' undergarments, the perils of lingerie, and the joys of letting it all hang out. One buoyant and slightly sentimental song about being a mum didn't seem to fit, but the rest of the show is seamless and clever, with Shorey's musical antics and elastic expressions making for an entertaining and sometimes very silly ride.

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Frequently Asked Questions about this Article…

What is Kew Court House and why is it getting attention during the Melbourne Cabaret Festival?

Kew Court House is a charming new small arts venue converted from a heritage police station. With theatres and even old jail cells in the one building, it’s hosting a range of acts from the Melbourne Cabaret Festival for the coming week, making it a notable stop on the festival circuit.

Which cabaret shows were reviewed at Kew Court House in this article?

The article reviews two shows: Sheila Bradley’s autobiographical cabaret The Cat, The Rat and Me (rated 2.5/5) and Megan Shorey’s show Undies (rated 3.5/5), both presented at Kew Court House as part of the Melbourne Cabaret Festival.

Who is Sheila Bradley and what can audiences expect from The Cat, The Rat and Me?

Sheila Bradley is a veteran theatre performer who came to Australia in the 1950s (invited to star in Grab Me A Gondola by J. C. Williamson’s) and later settled on the Sunshine Coast. The Cat, The Rat and Me (co-written by Tony Sheldon) is a lively, amusing autobiographical cabaret full of backstage anecdotes, music‑hall numbers and sea‑shanties. The review notes Bradley’s stage presence and storytelling shine even though her singing voice has aged.

What is Megan Shorey’s Undies about and what makes it entertaining?

Undies is a cheeky, satirical musical look at the history of undergarments—from primitive loincloths to modern spandex thongs. Megan Shorey delivers energetic performances, dexterous songs and playful feminist humour. The show is described as seamless, clever and often very silly, though one slightly sentimental mum‑themed song felt out of place.

What are the strengths and weaknesses of The Cat, The Rat and Me according to the review?

Strengths: Bradley’s mischievous stage presence, rich theatrical anecdotes, and the show’s music‑hall and sea‑shanty moments lift the piece. Weaknesses: her singing voice has lost some range and frayed with age, so the show works better in intimate, character‑driven numbers than in big show tunes.

What are the highlights and minor flaws of Undies mentioned in the review?

Highlights: Shorey’s strong vocal range, energetic musical antics, sharp satirical songs and clever feminist humour make the show entertaining. Minor flaw: a single buoyant, sentimental song about motherhood didn’t sit comfortably with the rest of the cheeky, satirical set.

Is the Kew Court House setting notable for cabaret performances?

Yes. The converted heritage police station provides a distinctive, intimate setting—complete with theatres and former jail cells—that adds charm and character to cabaret performances staged there during the Melbourne Cabaret Festival.

How might someone use these reviews to choose which cabaret to see at the festival?

If you prefer nostalgic, anecdote‑rich autobiographical theatre and music‑hall moments, Sheila Bradley’s The Cat, The Rat and Me may appeal despite some vocal limitations. If you want high energy, satirical songs with a cheeky feminist edge and strong vocal performance, Megan Shorey’s Undies is the livelier, more consistently entertaining pick according to the review.