Amanda Harrison: Up Close and Reasonably Personal

Music theatre star Amanda Harrison’s cabaret begins with a very appropriate song choice; ‘Ding Dong The Witch Is Dead.’ For the uninitiated, Harrison starred as the original Australian Elphaba in Wicked in 2008 before mysteriously leaving the show a year later. Her cabaret show, Up Close and Reasonably Personal, which made its Melbourne debut at the Cabaret Festival, has this major event in her professional life hovering over the proceedings like the proverbial elephant in the room. Harrison eventually addresses the drama surrounding her leaving the aforementioned production and she even ends the evening with a signature number from Wicked, but I won’t spoil the fun by telling you which one.

The title of the show refers to Harrison’s promise to the audience to reveal particular aspects of both her professional and personal lives; the pressures placed on music theatre performers, the frankly unglamorous life of an actor and the craziness of raising two small children. She also invites the audience to write down their own confessions and secrets, which are read out towards the end of the show. Harrison is natural and relaxed in the banter between songs, written with the assistance of James Millar, and comes across as refreshingly down-to-earth and even with a slight (self-proclaimed) bogan edge. One particularly amusing anecdote features Harrison revealing her deep-seated love of going to ‘Target in (her) trackies.’ But, let’s get to the real reason we’re here; that voice.

Harrison is blessed with one of the most powerful female voices in music theatre. She could, rather redundantly, be described as Australia’s own Idina Menzel; both women have a reputation for their earth-shaking belt and extensive vocal range. Harrison doesn’t shy away from this comparison. Indeed one of the highlights of her cabaret comes when she sings ‘Let It Go’ from Disney’s Frozen, Menzel’s latest signature tune. I’m happy to say that Harrison nails the difficult song with breathtaking accuracy. Harrison has a crystal clear voice that can effortlessly jump from a place of quiet reflection to the booming stratosphere in a matter of seconds. The wonderful sound design in the space ensures that we never miss a note. The raucously entertaining Bev Kennedy, who also stands as musical director, accompanies Harrison on the piano and delivers one of the funniest moments in the show when, after having failed several times to get Harrison to ‘sing something from Wicked,’ sings a painful interpretation of ‘Defying Gravity.’

Those audience members looking for an evening of show tunes may be disappointed by the song selections. We get a jazz standard (Irving Berlin’s ‘Blue Skies’), a more contemporary pop ballad (Bette Midler’s ‘The Rose’) and even a bit of classic Aussie rock (INXS’ ‘Never Tear Us Apart’). It’s a rather surprising and eclectic compilation of songs and some work better than others; ‘Sunshine, Lollipops and Rainbows’ and ‘Show Me Heaven’ were two somewhat schmaltzy missteps.

Once we get to the truth behind Harrison’s departure from Wicked it doesn’t really have the sting in its tail that one might expect. After witnessing this fine cabaret from Harrison I hope another meaty role comes her way soon. It’s very much our loss not to have this incredible performer on the national stage.