The Wives of Wolfgang (Hannah Belansky & Co)
Brisbane Powerhouse, Turbine Platform
December 1 – 3
“Three women: the cat, the wife and the mistress, meet in the wake of their mutual lover’s death to ensure that he doesn’t take all his secrets with him to the grave.” Certainly “The Wives of Wolfgang” is enigmatic in its self-promotion as a sexy and entertaining cabaret of songs, burlesque and dark comedy to awaken the senses… and the dead. In execution it is just as enigmatic, but in a beguiling and intriguing way.
‘What’s the time mister wolf?” its three female characters chant in combined question to Wolfgang (Michael Whittred). The occasion is the lone-wolf’s funeral, where the three unacquainted ladies meet, set upon solving a few mysteries and share some secrets. When they do so in poetry, it makes for a wonderful artistic experience, especially as lush lighting compliments the stylised, sexy movement of stage. It is an aesthetic that is established from even before the show starts, with Wolfgang frozen in stance on stage alongside his coffin, but one which is unfortunately not always maintained throughout the show’s realisation, as comical moments of dialogue parroting contrast to the sophistication of others, created a confused rather than coherent tone. The show’s music, however, is a standout, especially the numbers featuring Composer and Performer Whittred on guitar. And his vocals, in particular, resonate richly, particularly in a number sung to his wife in admission of wrong doing but belief still in their relationship.
Jessica Kate Ryan has a beautiful voice but even in a catchy, melodic introduction to her cat character, the lyrics are not always clear in competition with the soundtrack. Writer and performer Hannah Belanszky gives a committed performance as the perfect wife, self-indulgent and better in all that she does, while Caitlin Hill exploits every comic possibility from her role as the mistress in search in validation. They are all strong, yet flawed, complex female characters, which is superb to see, even if at times it seems like we only scratch the surface of their characters in what feels like a rush through their stories. Although its aesthetic is generally mesmeric, things could be clearer. The cat metaphor, for example, creates some unnecessary complication and has audiences potentially urging for the simplicity of less elements, all given opportunity to excel, as opposed to the woe of mismatched content and sensibility.
As cabarets go, “The Wives of Wolfgang” is certainly original in its sensory experience. And although overt references, for example, clang against its generally sexy and seductive tone, it is, on the whole, entertaining. Its “The Stepford Wives” meets “Chicago” description is absolutely apt and something worth focusing on without distraction for its potential to be realised.