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Entries in Sydney (99)


The Divine Miss Bette 2012 Slide season announced




After her sellout 2011 season in Sydney and Melbourne and fresh from her successful run at the Adelaide Fringe, acclaimed Sydney cabaret artist Catherine Alcorn returns to Slide with her hit show The Divine Miss Bette. The season begins this Friday on March 23 and will continue right through to Christmas. 

Trained by the man who discovered Midler, Catherine is bawdy, brash and just as glamorous as the original.

This is your chance to become intimately acquainted with one of the greatest cabaret artists of our time, when charismatic performer Catherine Alcorn channels Bette Midler, transporting you back to the Palace Theatre, New York 1973 for a cabaret tribute to a timeless diva.

The tickets are going fast - Book now to avoid disappointment.


A hit! The Divine Miss Bette is a glittering show whose smoke, mirrors, full-throttle power ballads and over-the-top costumes will lift your spirits. Featuring the music and bawdy humour of Bette Midler, the show has retained the raunch and exuberance that that first captivated Midler’s audiences.” -Time Out

See this diva before she’s on Broadway!” - Theatre Alive

Alcorn is practically flawless. A rare gift”



Catherine Alcorn in Divine Miss Bette

Dates: March 23, April 20, May 18, June 15, July 20, August 17, October 26, November 16, December 19

Venue: Slide Bar 41 Oxford Street Darlinghurst

Time: 7.00pm - dinner and show, 9.00pm - show only

Ticket price: Dinner and show $70/ Show only $25 plus booking fee

Bookings: Slide:  Call 02 8915-1899

Ticketek: Click here or call Ticketek on 13-2849


*If you are interested in having your show featured on Cabaret Confessional, click here for more information.

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Interview: Singing about love, madness and psychotherapy 



Love and relationships can make the best of us a little…crazy. An emerging cabaret artist and Australian International Conservatorium of Music graduate Nathan Budd went one step further and explored the mental health (or the lack of) side of emotional madness in the his debut cabaret Love and Other Mental Disorders. For this show, he teams up with his accompanist Jye Bryant to show his audience what happens when things get out of hand and you need a little help from the professional. He chatted to Cabaret Confessional about writing his first ever cabaret show.


How did you come up with the premise of your show?

When I was singing through some songs for fun, I came across some really interesting ones and started to think of ways to put a twist on them. I was talking with a friend on topics of relationships and love and thought that it sounded more like a therapy session. I later thought we could perform the songs from the perspective of someone going nuts and laughed about it. Soon, that became the show.


Out of all the cabaret shows that talk about dating, relationships, sex, broken hearts and the crazy world of love, what makes yours stand out and different?

What makes Love and Other Mental Disorders so interesting and different is while it deals with all the ordinary issues seen in many cabarets - love, sex, broken hearts, etc. - it focuses on the mental decay of a character and the solutions the society offers.

It’s not your ordinary love story, it’s not a bitter tale of tale of woe, but rather, it is a look into why we act the way we do and how we cope with the situations dealt to us.


What was the process of writing this show like?

It was an absolute joy. I had enjoyed every step of the way, finding the story as it went. We didn’t have a planned ending…we just started with a song and went with what felt natural for a crazy person. Soon after some playful banter between songs, we reached the conclusion for the story and had a great journey to take audiences on.


Your show features songs that have been immortalised by the likes of Kristin Chenoweth and Idina Menzel.  How have you interpreted the songs to make them your own?

I have tried to put my own personal spin on the songs to fit the story for the entire show. Although, I admire they performers who have made the songs into the marvels they are today that I like to think there’s a little bit of their performance coming through in my own.


What is the best cabaret performance you’ve seen so far, and why?

Jason Robert Brown performing his own work. It was a charming performance with wonderful stories behind each song. It had a beautiful simplicity of the piano and mic with the Adelaide Cabaret Festival star Rachael Beck on vocals – it created an intimate feel and a better appreciation for the songs.


How did you discover cabaret?

I had performed in musicals many small concerts where I sang songs with others performing but had never performed by myself, so when my friend Jye Bryant suggested we make a show and put it on somewhere I jumped at the opportunity.  Before long, we had trialed the show for some friends in the industry such as John David Love. We got some good reactions so we went ahead with it.


What do you enjoy the most about performing cabaret?

Being a fan of performing in musicals where the story and characters usually engage the audience rather than the singers themselves, cabaret is a great chance to engage the audience on a personal level.


What is cabaret to you?

It is a great expression of emotions and personal stories that you don’t find in a lot of other venues.  A pub band will engage the audience personally but won’t have a story and a musical will have a great story but sometimes won’t engage the audience personally. Cabaret is a great middle ground where people can appreciate the music, story and singer all at once.


Who has had the most influence in shaping your performance style?

I’ve had some amazing vocal teachers who have guided me in great directions. I try to make my performance styles original to me but there are performers who I look up to so much and try to reflect their abilities in my own, such as Robert Westenberg, Nathan Lane, Kristin Chenoweth, Aaron Tveit, Hugh Jackman, Ethel Merman and so on. There are many people that I look up to and love to learn from.


This is your debut performance. What is your goal as a cabaret artist in the next three years?

I’m hoping to come up with a few more shows experimenting on other concepts and even do some shows with some of the fantastic performers I know in Sydney. The show will be a great start to showing people what kind of performer I can be and I’m looking forward to sharing that with as many people as possible and learn on the way.


Nathan Budd will be performing at Sydney’s premiere cabaret venue Slide for one night only on March 21, 2012.  For more information and bookings, click here or call 02 8915 1899.


*If you are interested in having your show featured on Cabaret Confessional, click here for more information.

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Interview: A modern day dark pop fairytale comes to life



Brisbane based performers Emma Dean and Jake Diefenbach have been leading the contemporary cabaret scene. With their respective successes of their solo shows in 2011 behind them, the long-time musical collaborators teamed up again to pen a dark pop cabaret fairytale filled with 10 of their original songs. As Emma and Jake get ready for a tour in Adelaide, Melbourne, Sydney and Brisbane to showcase An End to Dreaming, they had a chat to Cabaret Confessional about this brand new creation, their collaboration styles, cabaret, Mozart’s wig and spooning.


How did this collaboration to create An End to Dreaming happen?

Emma Dean: Jake and I wrote the song An End To Dreaming in 2006 as part of an 8-minute epic performance with Zen Zen Zo Physical Theatre for The Dresden Dolls tour. Jake actually ended up performing the song at The Round House Theatre in London because Amanda and Brian (from The Dresden Dolls) loved the show so much. Six years later, it still remains one of the most exciting pieces of music I’ve ever been part of writing. So, Jake and I decided to touch base and write a gothic fairytale cabaret around it…as you do.

Jake Diefenbach: Emma and I have worked together in the past, but for me, An End To Dreaming is our most personal collaboration to date.  For Downside Up (2009) and My Sublime Shadow (2010), we both stepped into clearly defined, theatrical roles.  An End To Dreaming is our own story.  It’s a fantastical piece of pop theatre that reflects our personal journeys.   


In what ways do you think your individual styles fit together for this show?

ED: I feel like Jake and I have always been musically joined at the hip, but naturally I feel like we’ve figured out our separate roles when working as a duo. It’s not as black and white as this, but in basic terms I think Jake tends to add all musical finishing touches and I add the final theatrical and visual elements. Jake is brilliant with musical ornaments and arranging and I love directing the larger theatrical vision. Having said that, these roles do cross over all the time and that’s what makes it so exciting to work with Jake.

JD: We’re both bat-shit crazy, which is a good starting point.  It’s difficult to tease out the separate strands that go into our songwriting.  At the end of the day, there’s a strange alchemy that happens when Emma and I combine our writing style and vocal sound.  It’s very special.    


How did you come up with the concept?

JD: Em and I wanted to create a show that was uniquely us, our own music and own journey, but present it in a way that wasn’t just honest, but also fresh and exciting.  We talked it over and felt really inspired by the idea of “fables”, which have been used to convey shared experience for millennia.


There’ll be 10 music short stories in the An End to Dreaming. What was the process of writing them like? Where there many stories to choose from, or did you decide on 10 and worked from there?

ED: The 10 musical short stories tell our own fairytales. The show follows Jake and I on a five-step journey from darkness and despair into the light. The stages are:  the darkness, the awakening, the reckoning, the healing and finally, the light. The songs were chosen from both our own solo back catalogues, but mostly we play new songs we’ve worked on together specifically for An End To Dreaming.


If you could have any guest star on the show, dead or alive, who would you choose, and why?

ED: Tim Burton, so he could do some narration and then hopefully make our show in to a movie. Move over Danny Elfman.

JD: Mozart. His wig was hot. 


What was the most challenging part of writing this show?

ED: Trying to focus while Jake attempts to distract me with his Butoh faces and Sufi spins.

JD:  It’s been a busy year, so time has been a factor. That being said, Emma and I are (ridiculously) compulsive organisers and we’ve gotten there. 


What aspects of the pop-cabaret style appeal to you the most?

ED:  Pushing musical, stylistic and societal boundaries whilst hopefully still making the audience walk away humming your tune.

JD: Dry humping the piano seat.


What is cabaret to you?

ED: A form of theatrical performance that umbrellas music, satire, comedy and burlesque as well as other styles that cannot and perhaps WILL NOT be boxed.

JD:  Above all else, honesty.   


The best cabaret performance you’ve ever seen and why?

ED: The Beast Of Taylor Mac. I saw this a few years ago at The Brisbane Powerhouse.  It opened my eyes to the fact that one person on a stage, without barely any props or lighting, can hold my attention for over an hour, make me laugh, make me cry and leave me feeling completely empowered about being who I am, imperfections galore. It reinforced the fact that I don’t need thousands of dollars to put on a great show; I just need to be really good. So this is now what I try to focus on.

JD: I’d have to say Britney Spears, when she last came to Australia for her Circus tour.  She delivered a (suspiciously) flawless vocal performance.   Upside down. On a swing.  


You’ll be taking this show to Adelaide, Melbourne, Sydney and Brisbane. What are you looking forward to the most about this tour?

ED: Jake and I have never toured together, so I’m just looking forward to spending this special time with him. We have to share a bed in a couple of cities and I kind of hope he spoons me.

JD: Hopefully becoming a real boy …    


Adelaide Tour Dates 

An End to Dreaming will open for the CABfringe program as part of the Adelaide Fringe Festival 2012 and will be performed at La Boheme on March 15-18.

For more information and bookings, click here

Melbourne, Sydney and Brisbane Tour Dates

Melbourne March 23 @ Bella Union - for bookings and more info, click here.

Sydney March 25 @ The El Rocco Room with special guests Babushka 

Tickets from the door (less than 50 available so arrive early; no presales)

Brisbane April 28 @ The Judith Wright Centre - for bookings and more info, click here.




*If you are interested in having your show featured on Cabaret Confessional, click here for more information.

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Michael Griffiths' Cabaret Tour Diary Part 11 - The homecoming


Marilyn Maye came to my last gig in NYC.
It was a treat having her in the crowd after seeing her sing at Birdland! 

Friday February 24  2012


Ok, so I’m safely back in sunny Sydney and it’s been a pretty tough week or so. After my final NYC performance last Wednesday, my body finally succumbed to the cold I’d been fighting for a few days.
I pretty much collapsed on the Friday, spent two days in bed then flew the long flight home feeling pretty worse for wear. I’d kept  the last Friday and Saturday free in NY to squeeze in any last minute shows and shopping but didn’t have the energy to brave the cold so kept rugged up at home.
I’ve had a quiet few days back in Sydney resting up for my final gig tonight at Slide. My fingers have been crossed that I’d wake up today feeling a lot better but alas I’m still recovering and the jet lag doesn’t help one bit.
On a more positive note, as of yesterday my Slide gig is virtually sold out. ‘Show only’ tickets are all gone and there’s a small amount of ‘Dinner and show’ tickets left. I’d been a little worried about ticket sales for this gig, because of being away and doing very little in Sydney to promote it. I’ve hardly even hassled my friends on Facebook about it! I think being part of a festival really helps and with this year marking the first annual Slide Cabaret Festival, I have that entirely to thank for a full house tonight. It also means I end this little cabaret tour on a high note.
My last show in NYC was a smaller house than the previous two and with the cold beginning to take hold it wasn’t my best performance. However, I have faith that nerves will kick in later in the day and give me the energy I need to smash tonight out of the park. It feels like a ‘home crowd’ will be in tonight, I have a lot of old mates and some Madonna fanatics coming and I reckon it’ll be a treat.
Today will be spent in the usual way; piano practice, a swim and some yoga to scare away the cobwebs. Hooray for being back in Oz with swimming pools and good coffee!
I’ll post a wrap up after my gig tonight and bid my farewell. 
“He creates a sense of togetherness in the room, reminding audiences that pop songs aren’t popular because they’re ordinary or vacuous, but because of the joy and connectedness that they inspire in the people who hear them. To miss this show would be even more of a crime than Madonna’s cover of ‘American Pie’.”
Click here to read the Four and a half-star review by ArtsHub reviewer Aleksia Barron.

Griffiths’ charming and impish performance sheds new light on Madonna’s songs and career…” - Kate Herbert

Click here to read the four-star review by Sun Herald reviewer Kate Herbert.

“With some impressive arrangements for piano, Griffiths gives the music and lyrics a considerable lift, and together with some clever monologues, injects a lot of humour” - Australian Stage

Click here to read the full review by Vito Mattarelli. 


Michael Griffiths in In Vogue: Songs by Madonna

Sydney season as part of the Slide Cabaret Festival: For tickets and show info, click here.

Read his interview with Cabaret Confessional here.


Cabaret Confessional is excited to announce our new guest blogger Michael Griffiths, a critically acclaimed cabaret and musical theatre performer. He made a spectacular cabaret debut at the Adelaide Cabaret Festival last year with In Vogue: Songs by Madonna. Following his success, he is now touring the show to Melbourne, New York City and Sydney. He will document his time on the road on his tour diary for the next two months.


Michael Griffiths Bio:

Performing Arts (WAAPA) with a Bachelor in Music Theatre in 1999 and has a Diploma in Music Composition. Michael is currently performing in Sydney in Jersey Boys. Before this Michael toured Australia and New Zealand in Priscilla Queen of the Desert. Michael performed in the Australian and Japanese tour of We Will Rock You!, appeared in the original Australian cast of Shout! and was in the original workshop for the new Australian musical Prodigal. Michael has performed cabaret at Sydney’s legendary Showqueen at the Supper Club and for Koookaburra’s Up Close and Musical series. He enjoyed a sold-out season with his cabaret debut In Vogue: Songs by Madonna at the 2011 Adelaide Cabaret Festival. 


Michael Griffiths’ Cabaret Tour Diary series

Michael Griffiths’ Cabaret Tour Diary Part 1 - Melbourne debut

Michael Griffiths’ Cabaret Tour Diary Part 2 - Preparations

Michael Griffiths’ Cabaret Tour Diary Part 3 - Mirror Ball

Michael Griffiths’ Cabaret Tour Diary Part 4 - The Audience

Michael Griffiths’ Cabaret Tour Diary Part 5 - A Collaboration

Michael Griffiths’ Cabaret Tour Diary Part 6 - NYC Bound

Michael Griffiths’ Cabaret Tour Diary Part 7 -  The Takeoff

Michael Griffiths’ Cabaret Tour Diary Part 8 - New York Debut

Michael Griffiths’ Cabaret Tour Diary Part 9 - Priscilla

Michael Griffiths’ Cabaret Tour Diary Part 10 - Shows and more shows

Michael Griffiths’ Cabaret Tour Diary Part 11 - The homecoming

Michael Griffiths’ Cabaret Tour Diary Part 12 - Farewell


Related post:

Interview: Michael Griffiths salutes Madonna


*If you are interested in having your show featured on Cabaret Confessional, click here for more information.

Find out how YOU can become an exclusive Founding Patron of Cabaret Confessional.

Subscribe to Cabaret Confessional via email.

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Interview: Lance Horne’s life comes full circle  

Double Emmy winning New York based Composer, lyricist and performer Lance Horne has enjoyed quite an illustrious career, having collaborated with crème de la crème of the performing arts industry and worked on projects across a wide range of genres, including Michael Feinstein, Dwight Yoakam, Kristin Chenoweth and Macy’s Thanksgiving Parade.

He also has formed a very strong bond with Australia over the years, collaborating with the Sydney Opera House and Sydney Mardi Gras, Hats Off!, not to mention his decade-long partnership with Meow Meow as her musical director. During his stay in Sydney, Lance joined forces with Virginia Hyam and James Rongen-Hall to put together a fundraising cabaret event, LOVE ME, featuring a bevy of local and overseas artists. He spoke to Cabaret Confessional about the show, his thoughts on cabaret and how his life has come full circle.


Welcome back to Australia! You’re currently in Sydney and served as musical director for the sold-out season of Meow Meow’s Little Match Girl at the Sydney Festival. How has your time in the city been this time so far?

It has been wonderful. I think this is my eighth season in Sydney and I’ve come to connect with Australia as my adoptive home.


Tell us about LOVE ME, a special cabaret show for your last night in Sydney on Valentine’s Day?

Virginia Hyam, James Rongen-Hall and I have joined forces and set out to create what we would want to see in a night out on Valentine’s Day - something inclusive, exciting, sexy and original.  Everything from cabaret, spoken word, wandering minstrels, visual art, indie bands, musical theater, burlesque, and opera will be present, all examining the different sides of love.

LOVE ME features a solid line up of Australian and overseas artists at The Standard.

What inspired you all to put together this show?

The three of us worked so closely for years that The Studio at the Opera House grew into a creative family and safe-haven for artists and audiences seeking innovative, quality programming. The Late Night Lounge was born from that collective and had quite a successful run, which often included me on keys and nights that juxtaposed Paul Capsis with Tex Perkins, Amanda Palmer with Dallas Delaforce.  I think in the case of LOVE ME, we are all inspiring each other to new heights. We will also be donating part of the proceeds to ACON.


How did you all come up with a great line-up for LOVE ME?

We sounded the call to artists we loved and it all came together elegantly. We consider all the acts as friends as well as consummate artists, and want to create a forum for the New York-Australia connection we have been cultivating less officially for years.  Paul Capsis, Le Gateau Chocolat, Emma Dean, the Wau Wau Sisters, Jan van de Stool (Queenie) and Tyran Parke all in one evening? And that’s not even half of the artists.  The night will exist like a sand castle to be seen only once before the tide takes everyone back to their respective homes. I’ll be premiering two of my own works that night as well, including a setting of a poem Neil Gaiman gave me, with three of the artists.  Come see which ones!


How do you feel about Australian Cabaret scene/performers from what you’ve seen?

I adore it and them. Courtney Act and Mark Trevorrow/Bob Downe were remarking on the rising amount of cabaret venues at hand in Sydney.  I’ve talked with David Campbell, Trevor Ashley, Shaun Rennie (we are performing together at Hats Off), DJ Sveta, and producers Richard Carroll and Sarah Neal from the Powerhouse about the growing interest from audiences in Oz wanting to experience live music in an intimate setting. I think that Australian cabaret talent and places to foster them are approaching a golden intersection, and it is a very exciting time to be a writer and performer in the form.


What other collaborations have you got in the pipeline with Australian cabaret artists?

I’m curating a cabaret festival at the Coterie in Los Angeles. I’m hoping to put together a program with Australian cabaret artists and bring them over to America, because there’s such wealth of talent in this country.


You’ve worked on many cabaret shows as musical director for many artists, including Meow Meow, Alan Cumming and Justin Bond to name a few. When you are playing for cabaret shows, what are the things are you most mindful of?

Breath. I breathe with the singer and find all the emotions and connective material spin from that synergy.  There are certain jokes or turns that simply won’t land when not finessed with space, and I get to be the open gears of the wrist-watch maintaining the momentum behind the face of the event.  Music directors act as both a receiver and transmitter, so I minimize the turn-around as much as possible, trying to think as the artist, especially in the case of my three main collaborators you mention above.


How do you approach work?

Alan (Cumming) taught me how to have fun. I was teaching at Julliard and the substitute teacher didn’t turn up. Alan was there with me and he saw me panic. He asked if there’s anything I can do, and I said, “No.” He said, “Just cancel and continue.” That changed everything. It’s something so simple, yet I couldn’t see it. I sleep a lot better now and what I do is more an artistic collaboration rather than work


What is cabaret to you? 

Cabaret is a playground, a history book, and a yoga mat all in one.  Years back, Meow and I were touring with The Dresden Dolls, and Brian Viglione, the drummer, turned to me as we were heading onto the stage and said, “This is the one place where life makes sense to me.”  Cabaret sits in the middle of all the different genres that I cover  – it’s a nexus to everything I do.


What appeals to you the most about the art form?

I love cabaret when it can be theatre in sheep’s clothing. As Meow says in some of her shows, don’t worry, it’s just theatre, it doesn’t mean anything. Sondheim talks about Hammerstein teaching him that the difference between art forms is the venue in which they’re experienced. Cabaret exists in hybrid venues and because of that, I think its creative flexibility is unmatched in the arts.


How did you discover cabaret?

I was eight years old, heading into my piano lesson, when I spotted a recording of the musical Cabaret on my teacher’s stereo.  I asked her if I could listen to it, and my mother said, “Sorry, you can’t, that’s too risqué.” I didn’t know what risqué was, but I knew whatever it was, I wanted it.


Who discovered your musical talent when you were a child and how was it nurtured?

My grandmother, who was a backup singer, recognized my potential and bought me a little player piano. My parents were supportive. They kept me grounded and balanced. I was in the Scouts and was encouraged to go outside and play when I wanted to keep on practicing.

When I was about five or six years old, I played a Steinway piano and asked my parents if I could have one. They said to me that if I went to Julliard, they’ll buy one for me. When I graduated Julliard, my parents blindfolded me and drove me to the Steinway factory. I’d forgotten all about it, but they had been saving money to buy me a Steinway piano, which was signed by Steinway’s grandson – it was such an incredible thing they did for me.


What are some of the most memorable cabaret performances to date?

I have a few:

I went with the great Australia-New York writer Kate Rigg (who first introduced me to Meow and Justin) to see Ute Lemper at Joe’s Pub. During “I am a Vamp”, she leaned over, scooped her finger through my dessert, fed it to me, then bit my neck.   

Last year, Jeff Whitty (Avenue Q) and I took Justin for V’s birthday to see Judy Collins at the Carlysle. We wept for hours.

Going with Sondheim to see Barbara Cook in “Mostly Sondheim” at Lincoln Center, and discussing the show with them both afterwards. 

And working behind the scenes these past years on Liza Minnelli’s re-creation of her Godmother Kay Thompson’s revolutionary cabaret at Ciro’s with the Williams brothers (including Andy) has been an absolute highlight, not to mention a full circle back to my eight-year-old self reaching for that tattered recording of Cabaret. At the opening night on Broadway, Alan introduced me to John Kander and time stopped.


You’ve received an Emmy each for your original song and arrangement. What is your approach to songwriting and song arrangements? 

I studied composition with Milton Babbitt at Juilliard, and he kept asking me, “What does this piece want to BE?”  I treat original songs and arrangements equally, just honing the raw materials into their most inevitable state.  I studied sculpture in high school at Interlochen, and I think music creation follows the same process.


Photo by Alexandra Silber, Design by Asaf Shakham

What was working on your debut album First Thing Last like?

It was, to quote John Adams, a short ride in a fast machine.  The album features 15 original songs sung by myself and 14 guest artists, recorded in NYC, Boston, LA, and Abbey Road in London. We raised the funds and awareness via Kickstarter, and had a record four weeks to produce the entire album so that it could be released on 1/1/11 with concerts at Lincoln Center American Songbook and at the Garrick on the West End.  We flew London stars over to New York and vice versa, with Graham Norton filling Ricki Lake’s shoes in the UK.  Again, the singers on the album are some of my closest friends, and many of them took the photos that make up the artwork.  Lea DeLaria, Daphne Rubin-Vega, Alan, and West End powerhouses Hannah Waddingham, Julie Atherton, and the brilliant Amanda Palmer, (who starred as the Emcee in a production of Cabaret I co-music directed at ART in Boston!). It was all love, no labour.

As I write this, I am actually sitting below the garret on Pitt Street, overlooking the MacDonalds, where I wrote “January” for Meow, which she sings on the album. Another full circle. Speaking of full circle, there’s a hidden track on the CD – it is the first song I’ve ever written when I was about six years old titled “Horses in the Meadow” – the first song I wrote is the last song on the album - first thing last.


To book tickets and for more information on LOVE ME, click here.


*If you are interested in having your show featured on Cabaret Confessional, click here for more information.

Find out how YOU can become an exclusive Founding Patron of Cabaret Confessional.

Subscribe to Cabaret Confessional via email.

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