Kim David Smith: Mostly Marlene explores the songs of Marlene Dietrich, from the world of Berlin Kabarett, during the Weimar Republic, through to Hollywood. Smith is a very popular performer in Adelaide, and so a full house of enthusiastic people was no surprise whatsoever.
Resplendent in top hat, white tie, and impeccably tailored tails, he clearly relished every moment of the opportunity to perform, once again, in front of a live audience. He pointed out that the first time that he had performed this show, was also the last time, COVID-19 shutting down New York, including Club Cumming where he had been performing. Eighteen months later, he had the chance to present it once again, and weren't we glad of that?
The much in demand, Amanda Hodder, accompanied him superbly on piano Perhaps aided and abetted might be a better description. She began the performance with an overture, based on Friedrich Hollaender and Robert Liebmann's Falling in Love Again, with Smith then entering down the side of the audience singing Friedrich Hollaender's Black Market. After a brief introduction to the show, and himself, he gave a rousing rendition of Friedrich Hollaender's Ich Bin Die Fesche Lola (They Call Me Naughty Lola). Smith, of course, sings in German, as well as English.
He not only has a unique style, he also has that rare ability to convey a great deal with only a slight tilt of the head, a facial expression, or a movement of his gloved hand. His performances are visual, as well as aural treats.
Throughout the performance, his introductions and asides were enlightening, entertaining, and humorous. They were also occasionally risqué, as one would expect. He had the audience in the palm of his hand, and they lapped it up. He is a consummate performer, with several layers of polish.
Reminding us that it is 'mostly' Marlene, Kylie Minogue's In Your Eyes led into Hollaender's Jonny, wenn du Geburtstag hast? This had an inserted section from Madonna's Erotic. Staying with Hollaender, Look Me Over Closely states that "I'm not the marrying kind". Smith is, in fact, engaged, and will soon marry for the second time. A mention of Dietrich's sexual exploits, and another outing for Hollaender, with The Man's in the Navy, led to Mischa Spoliansky's Ich bin ein Vamp (I am a Vamp).
Paul Greedus and Barry Blue's Dracula's Tango, written for their short-lived 1980s group, Toto Coelo, was another interesting deviation from the main theme. Then it was back to the mainstream again, for Frank Loesser and Hollaender's The Boys in the Back Room, and it couldn't be a show about Dietrich without a splendid rendition of Norbert Schultze's Lilli Marleen. Hollaender's poignant Illusions included more of Kylie, with a touch of I Should be so Lucky. More Minogue, with James Eliot and Jemima Stilwell's All the Lovers.
Back to the start and, this time, a vocal version of Falling in Love Again, in German and English, and a final song, The Singer, by Walter Marks, the title tune of her album, and another hit for Liza Minnelli. The evening had been a remarkably eclectic, yet coherent, collection of music, with some excellent musical arrangements.
It was over all too soon, the hour or so having flown past, and the applause and cheering was a clear indication that this had been a show to remember and, arguably, one of the best things in this year's Festival.
At the time of writing, there were still just a few tickets left for the Friday night performance, but be very quick to book.
Many of the numbers from this show are on his CD, Live at Joe's Pub, which you can find here.
Reviewed by Barry Lenny, Thursday 24th June 2021.