It has been far too long since I’ve posted a concert review. The last time I went seven months without a concert I was probably in my early teens. I’m not sure I’ve ever gone that long without going out somewhere fun and social, but my husband and I have been hermitting hard during the pandemic. I wasn’t sure what it’d take to give me the confidence to venture out, but The Art House nailed it with The Stage Door Cabaret Sessions.
Before I talk about the Greg Gould show, I want to let you know all about the excellent measures The Art House has in place. The show was limited to just 45 attendees. We sat at tables on the stage in our ticket bubbles, further apart than the minimum 1.5 metres required. That left plenty of space for the venue’s staff to walk to deliver drinks and plates of cheese and antipasto to our tables. You could order them from a pop-up bar in the loading dock or via SMS from our table. We loved this option as it let us avoid bar queues. We were allowed inside as soon as we arrived and exiting was staggered to help us all maintain that vital social distance when we left.
The tables on the stage weren’t the only thing topsy turvy for this show. We entered and exited via the stage door, rather than the main entrance. A red carpet laid out for us made us all feel like VIPs. We used the bathrooms in the dressing rooms rather than those in the foyer. These changes made this show feel so special and gave us a new perspective of the theatre we all love.
The show started with a speech from Art House executive director, Anne-Marie Heath welcoming us back to the theatre and explaining the tradition of the ghost light, a light that traditionally stays on while a theatre is unoccupied. The Art House’s ghost light has lit up the theatre for seven months as the staff cancelled and postponed shows. What a thrill to toast to the Art House as that light went out.
And what a show to open the Art House with. Greg Gould has such an incredible voice, which could really shine in this intimate setting. It was his show, showcasing music from his current covers album 1998 and a few other choice cuts, but his special guests Andrew Worboys and Melanie Lewin were every bit a part of the show. Andrew Worboys provided piano accompaniment but also showed off his own vocal chops when Greg decided to tinkle the ivories. Melanie sang with Greg on his cover of “How Do I Live” on this album, but she showed her talent singing the parts of some of Australia’s most acclaimed female vocalists including Tania Doko and Prinnie Stevens. Greg and Mel are old friends, and their chemistry on stage really made the night something special.
1998 was an exciting time for me. It was my first year of university, that time when I really felt I was leaving my childhood behind and discovering my independence. Listening to songs from that period is such a nostalgic experience. Greg’s covers are so clever. He gives each song a new identity without straying too far from what made it great. And he’ll always out-sing a Britney Spears! I particularly loved his versions of “Together Again” and “Buses and Trains.” And that TLC medley had me wanting to violate that covid-safe no singing rule!
The Art House is showcasing the talents of other Central Coast talents like Greg, Mel, and Andrew at its The Stage Door Cabaret Sessions every Friday and Saturday night for the next few weeks. Tickets are incredibly limited to keep the events covid-safe, but I thoroughly recommend them if you’re anywhere near the coast! Head to The Art House website for all the details.
Image source: Stephen Katulka
