Review: Michael Griffiths Channels Cole Porter In His Latest Biographical Cabaret, COLE

Sunday 10th July 2016, 2pm, Hayes Theatre, Potts Point

In the year that celebrates 125 years since Cole Porter's birth, cabaret favourite Michael Griffiths channels the famous composer with his one man show COLE. This Helpman Nominated, incredibly well researched, biographical show, written by award winning writer and pianist Anna Goldsworthy, gives audiences a glimpse into the life of the legendary American composer and songwriter.

Looking distinguished in charcoal suit with flamboyant boutonnière, the carefully coiff Ed Griffiths, as Cole Porter, slowly makes his way to the piano with the aid of a silver topped cane before breaking the silence with Anything Goes. With a rounded, very proper English accent, Cole introduces himself, and his legs, before taking the audience on a journey of his life from the hedonistic days of excess, hosting parties in Paris, finding love, marriage, and 'friendships', to the terrible accident that changed his life.

In addition to the wonderful selection of songs, Goldsworthy has woven references to Porter's famous lyrics into the narration providing gleeful moments of recognition for the audience and teasers of 'will he sing that number?'. With the aid of lighting, stories like the impetus for writing songs like Miss Otis Regrets is given a playful drama whilst a spotlight casting shadows conveys the gravity of the situation in which he found himself when he wrote At Long Last Love.

Accompanying himself on piano, Griffiths has a wonderfully clear vocal that ensures that every one of Porter's well-chosen words is heard regardless of how well known the song may be. Griffiths handles the range of Porter's work that is included in the history with a warmth and "matter of fact" storytelling, sensitivity, texture and an intriguingly lovely top range. Whilst many choose to interpret Porter's work with an American accent, Griffiths, as Porter, assumes the more refinEd English accent that would have been more typical of the upper set in early 20th century America, only bringing in a slight American accent once Porter's story returns Stateside. Whilst maintaining Porter's "stiff upper lip" persona, Griffiths still manages to infuse the role with his own trademark cheeky, endearing charm. His humility and candour once he breaks character at the end of the show also displays his adoration of both Cole and writer Goldsworthy in a way few performers recognise their creative teams, at least not on stage.

COLE is a beautifully presented work, well worthy of its Helpmann Award Nomination, that lets audiences learn a bit more about the flamboyant, extravagant composer lyricist whilst getting to enjoy some wonderful interpretations of his work.

Whilst his season at Hayes Theatre has finished, keep an eye out for future works Griffiths may bring out.

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