Review - Dancing on the Volcano

‘Dancing on the Volcano’ 

A biting satirical journey through Berlin cabaret of the 20s and 30s

By Robyn Archer

With 

Michael Morley – Piano

George Butrumlis – Accordion 

 July 9-11 2018 at the Fairfax Studio – Arts Centre Melbourne

This show is a true delight moving its audience from laughter to tears.  Robyn Archer’s extraordinary capacity to engage with some of the darkest aspects of human nature, and then rise above it, whilst ushering her audience on a deeply entertaining expedition to source rare gems of perception, is nothing short of an exceptional gift.  

Musicians Michael Morley (piano) and George Butrumlis (accordion) work in wonderful well-oiled synchronicity with Ms. Archer on this intense and very moving, yet seemingly, brief and fleeting journey.  The 90 minutes, (twenty two musical numbers and two poems), of this show pass swiftly and leave one elevated.

Part disarmingly imparted History lesson the evening is presented with, clearly elucidating, explanations between each musical number. Many of these songs are not only pertinent but also acutely disturbing in relation to their place in history and relative to our escalating appetites and growing insensitivity to those around us who find themselves in desperate and precarious situations.

Ms. Archer is able to sing as though a bloated misogynist lecher transcending gender – presented as a kind of statement of fact, with reference to the ‘Me Too movement’.  By contrast she croons ‘Falling In Love Again’ with all the sensuality of Marlene Dietrich.  And yes an excellent rendition of ‘Mack the Knife’ from The Threepenny Operais included.

Then we also have the opportunity to listen to Frederick Hollaender’s satirical song set to Bizet’s music ‘The Jews’, a sharp reminder of how easy it is to slip into the inhumane behavior of ‘othering’ and blaming minority groups.  Ms. Archer also takes the opportunity of reminding us that it was the 1929 Wall Street Stock Market Crash that brought about the devastating world-wide Great Depression.  

And there is much to delight in in the awe-inspiring sagacious propensity of cabaret writers of Berlin in the 1920s and 30s. All men of exceptional talent and sadly impeded longevity.

I expected a marvelous night and couldn’t have asked for more.  Educated, entertained and deeply moved, my guest and, I left the Fairfax Theatre feeling satiated and uplifted.

Suzanne Sandow