Canberra Theatre Centre Playhouse performance
28th April 2024 reviewed by BILL STEPHENS.
The lights
go to black-out and after a loud, largely unintelligible, voice- over, the
drums roll, the curtains open, and there, in a blinding spotlight, stands the
always remarkable, REUBEN KAYE. His name is in capitals because that’s how he
is…LARGER THAN LIFE.
Immaculately
coiffed and remarkably costumed by Kingsley Hall and Tristan Seebohm, each
costume a work of art in itself, Kaye pauses just long enough to allow the
gasps to subside, before launching into tirade of outrageous, wicked and witty pronouncements,
daring his audience to be offended as
they collapse into paroxysms of laughter.
 |
| Reuben Kaye in full flight. |
Luxuriating
in his unapologetic campery Kaye deliberately courts controversy. No subject is
out of bounds, be it communism, capitalism, planned obsolescence, fashion,
marriage, or sexuality… especially sexuality.
A skilled
raconteur, Kaye’s script is perfectly crafted, his storytelling masterful and
his brilliantly timed asides devastating as he tantalises his audience with
outrageous stories about his Jewish family and his childhood upbringing in
Melbourne.
According to
Kaye, his father was a painter and sculptor; his mother a dancer and filmmaker;
and his grandmother, a Collins Street couturier.
But it is
his favourite Uncle Helmut who is the focus for most of Apocalipstik and for whom Kaye reserves his unfettered admiration. It
turns out that besides being a musician and clown at children’s parties, Uncle
Helmut had a side hustle as a bank robber and pornographer. It was Uncle Helmut, Kaye claims, who inspired Kaye to live a life of unfettered decadence. A
lifestyle he enthusiastically recommends to his audience.
Believe what
you like, it doesn’t matter, for Kaye has the knack of having the audience hang
on his every word, waiting for his next
outrageous utterance.
Featured
throughout the show are several clever songs written by Kaye and his musical
director Shanon D. Whitelock which allow Kaye to show off his impressive vocals.
An excellent quartet consisting of Whitelock on keyboards, Alana Dawes on Bass,
John McDermott on Drums and Willow Fearns on Guitar, not only provide excellent
accompaniment, but also contribute atmospheric sound effects on cue, and give
the impression that they too are as surprised as the audience by Kaye’s
off-script remarks.
Also integral
to the show is long-suffering Stage
Manager, Moose, who does her best to be invisible while efficiently clearing the stage of discarded costuming and props, even rescuing
an awkward moment when a costume
malfunction threatened to bring the star undone.
Reluctant to
let his audience escape, Kaye greets them in the foyer after the show happy to
chat and pose for selfies.
Reuben Kaye is a one of a kind showman who lives to entertain. Apocalipstik captures him at his best.
This review also appears in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au