Phelan Groovy presented by Kurt Phelan (pictured) in partnership with Brisbane Powerhouse. Photograph via Brisbane Powerhouse.
Kurt Phelan is a dancer, singer and actor and most recently shot to fame as the leading man, Johnny Castle, in the national tour of Dirty Dancing. This followed seasons in Singing in the Rain, Saturday Night Fever, The Witches of Eastwick, Priscilla Queen of the Desert, Rent and Oklahoma to name but a few, as well as major acting credits in theatre and indie film and as a recognised choreographer.
In his first one-man cabaret show, Phelan Groovy, Kurt Phelan additionally demonstrates talents and skills as both a comic, mimic and all-round seasoned performer with a gift for impeccable timing and an ability to enthuse and capture an audience – and make them laugh. From the moment he first entered the intimate cabaret space of Studio 53½ at the Brisbane Powerhouse (from the back of the auditorium rather than on the stage) we knew we were in for a roller-coaster-ride of a show and settled back to be entertained. And the next 60 minutes or so did not disappoint.
The show is part-biographical, with many references to his mum, dad and siblings, and part dishing the dirt on celebrities but within an overall tongue-in-cheek approach. We learn about Kurt’s sudden birth – on the laundry steps of his house – sung and acted in song (in this case ‘Dream a Little Dream of Me’ which was interspersed with narration, a feature of the style of his cabaret). The song was light-hearted, but probably all too true, and one denoted a sense of pride and love for his home and the family who were clearly enormously supportive of young Kurt’s desire to be a performer. A sequence in which he described in lurid detail the 25-hour road journey from Townsville to Sydney in the family’s Holden Torana, so that Kurt could audition for the stage, was lovingly and humorously recounted.
Many of the songs were well-known standards, the words often rewritten to illustrate either moments in his life or anecdotes about other artists and performers. Phelan made every song his own; relishing the personal touch with his polished and professional delivery.
His calling card from Dirty Dancing, ‘I Had the Time of My Life’ was dedicated to the many ladies who tried to grope him either at the stage door or in the theatre itself, and was hilarious and was one of the funniest sections of the evening. His adaptation of ‘I Dreamed a Dream’ from Les Misérables explained why the film did not match up to the onstage musical, in part due to what he considered to be really bad singing. His mimicking of the major stars was first-rate as was the razor-sharp wit of the rewritten libretto.
Actress and musical theatre star, Debra Byrne, one of his idols, nevertheless came in for dissection in a glorious interpretation of Grizabella’s aria from Cats ‘Memory’, complete with props and costume. Phelan inhabited the space of an ageing performer, no longer able to deliver, with gusto and aplomb. This was sharply observed and realised, and a highlight of the evening.
Some of Phelan’s philosophy seeped into his narrative such as ‘there’s a story for every song and a song for every story’ and ‘never let the truth get in the way of a good story’. The latter comment was well made, as it was often unclear where myth and truth collided, though to be honest it really didn’t matter as we knew this was pure entertainment and it was acceptable for there to be embellishment. Phelan also took liberties with some areas we might hold to be sacrosanct such as sexual taboos and disparaging anecdotes about colleagues and show business in general. There is a fine line, requiring a certain level of sensitivity, between criticising ‘stars’ without appearing bitchy and at times this cabaret came perilously close to that line. Moreover, many comments required a knowledge of the context or the entertainment industry and were probably beyond the comprehension of many of the general public. Some judicious pruning or reworking would probably be helpful here in reaching a wider market.
Alongside bright and breezy numbers, such as a jaunty ‘Easy on a Sunday Morning’ and ‘I Say a Little Prayer For You’, were a few serious songs. These included Jason Robert-Browne’s ‘I Can be Someone to Fall Back On’ which was thoughtfully interpreted, with its sad narrative crystal clear. Additionally Phelan touched on the death of four friends with a beautiful and heart-felt rendition of ‘If I Could Just See You’ which clearly moved him. Delivery of these songs demonstrated both excellent technical control and emotional intelligence, telling a story where every nuance resonates.
Phelan Groovy was a joyous, hilarious and fun night of entertainment in which Kurt Phelan showed what a talented guy he is, beyond what we may know of him from the musical theatre world. Here he demonstrated an ability to turn his hand to almost any form of entertainment, totally at home in any space he inhabits both as a creative artist and a consummate performer.
Rating: 4 stars out of 5
Phelan Groovy
Starring Kurt Phelan
Presented by Kurt Phelan in partnership with Brisbane Powerhouse
Brisbane Powerhouse Studio 53½
Showing until Saturday 3 December as part of Wonderland Festival​
