One Last Flutter: The F.A. Final. (Norwich Theatre Royal)

Member Name: monalipschitz

Product:	Norwich Theatre Royal
Date:	01/08/03 (459 review reads)
Rating:

Advantages: Music, Humour, Glamour

Disadvantages: Aching ribs from too much laughter, Possible need for extra oxygen due to above.

It has been a while, dear old friends and hopefully new ones, since I have felt compelled to write an opinion. In fact I thought I had sheathed my pen, oh ok my keyboard, for the last time; but a visit to the Norwich Theatre Royal a few weeks ago has changed all that and I find that I simply must write about it. Not out of any desire to vent my spleen on the state of regional theatre but to share my sheer delight at a performance that may well be near you very soon.

Have you ever wondered what happens to all those "slivers/left over from Joan Rivers"? Or to one of those houses after Changing Rooms have left? Asked 'Is It Me, Or Is It Hot In Here?' Or been kept awake at night by a love thousands of miles away? If you've thought 'yes' to any of those questions then an evening in the delectable company of 'Fascinating Aida' may well be for you.

'Fascinating Aida' are Britains' foremost cabaret trio, and as such have toured the world many times. Formed exactly 20 years ago, the trio has had many a change in line-up but the current girls are 'The Originals', back together for just one last tour before finally hanging up their sequins. They combine savage satire with complex harmonies and bawdy lyrics with glamourous sophistication to engage and entertain their audience. But perhaps, before I go on, I should give a word of warning: this is not 'mainstream' music (although I firmly believe it ought to be), you'll find no homogenised pop or even show tunes here and certainly no gimmicky 'novelty' songs; just three extraordinarily talented women who are capable of both writing and performing haunting music and clever lyrics with wit ~ a versatility very rarely seen. Although they've written about practically every conceivable subject they are possibly most famous for the very adult content of their shows, and 'One Last Flutter! Fascinating Aida: The FA Final' is


no exception.

For those of you who've never heard of Fascinating Aida maybe I should begin with the members themselves. Ms Dillie Keane has a deep, emotionally charged voice who creates memorable comic characters and plays the piano so magnificently that the keys talk. Ms Adele Anderson has an enormous vocal range and power and a great rapport with the audience. Ms Marilyn Cutts is the groups' soprano who has a rich, textured voice unlike any I have ever heard. This tour also sees that arrival of Mr Russell Churney as the new pianist and unofficial "fourth member" of Fascinating Aida. He plays a mean piano, introduces songs and even gets to trip the light fantastic in 'Yes, But Is It Art?'; one of F.A.s most biting cultural satires answering, in typically explicit style, the questions many people would love to ask the Art Establishment. When I first heard that their new pianist would be male, I have to admit I was a little concerned; 'Fascinating Aida' are an all-female group and the addition of a bloke could very easily have tipped the delicate balance, but, as with everything else the FA girls do, it works wonderfully and 'Yes, But Is It Art?' is a real highlight of the evening for me, I've been singing it on and off for weeks.

'One Last Flutter' opens with Dillie Keane sidling alone onto the stage and taking her customary position at the piano, which apart from a gigantic copy of the music to 'Sew On A Sequin' and some black drapes forms the entire set, before gently easing us into the evenings' entertainment with a comical explanation for Fascinating Aidas' farewell: quite simply they are the 'Colleagues From Hell'! Marilyn Cutts enters to take the second verse and as soon as I heard her marvellous tones I felt my spine shiver. Finally Adele Anderson slinks on to offer her thoughts on the others and ask "where's the noose?". We are firmly
in FA
terr
itory.

Those of you who are familiar with 'Fascinating Aida' will be pleased to hear that two of their most popular signature songs flank the new show. After the groups comical account of the reasons behind their imminent split we are treated to Adele's dulcet tones belting out 'Sew on a Sequin'; a sort of self-help mantra extolling the therapeutic virtues of adding a little glitz to life. After all "a bit of heaven on your frock" is sure to "cheer your heart", a claim not quite as frivolous as it seems at first. On the other hand 'Lieder', another song resolutely embedded in every F.A. fans heart and which is this show's encore, is a glorious and affectionate parody of German Cabaret. Anyone who's ever heard Marlene Dietrich or Lotte Lenya sing will instantly recognise "Doesn't matter if you sing out of tune, so long as you're German"; Weill and Brecht fans will also have a field day with this song but it isn't necessary to know any of these in order to enjoy 'Lieder'. It's amusing staging; Adele's Off-Key voice; Marilyn's bored expression; Dillie's piano gymnastics and now Russell's new visual gag to end it will have you chuckling for days at the memory.

The Fascinating Aida girls have always included old favourites to satisfy their fans; but this show, by dint of the fact that it is their 'farewell', contains far more than in the past. Substantial chunks of both Act I and II are Medleys. Beginning, if my memory serves me correctly, with one of their earliest songs which was taken up by BBC Records, who had some absurd idea about turning the trio into pop pap, and which took a meteoric meander through the charts. Characteristically it was about relationships, in this case gettting over an ex-lover, called 'Get Knotted!' This was followed by one of their more eccentric numbers. It's name: 'My Fav
ourite Tool'; it's subject: tights! An hilarious romp through a day in the life of Britains most useful and, in FAs' world, versatile undergarment. You'll never look at your hose in the same fashion again. Unfortunately, due no doubt to the constraints of time, we are not treated to all of these selected songs in their entirety. We hear snatches of 'Boring', a remarkably funny number where the girls sing of how boring their song is ~ an unusual premise, I'm sure you'll agree; 'The Magazine Song' excerpt, sung by Ms Cutts, is a marvellous evocation of "Middle England" ~ beware all you jeep drivers; we hear only tantalising snippets on such subjects as being 'Politically Correct' and 'Saturday Night''s spent in alone as well as 'Taboo' subjects (wickedly filthy is all I can say) and the late Princess Diana!

We are treated to slightly more than the odd reference of two other FA standards. The marvellously tragic Country and Western style 'Sid' in which Ms Cutts tells us all of her dismay at watching her luv Sid fall under the wheels of lorry. In any other hands a topic such as this would be dealt with in an obviously serious manner; 'Fascinating Aida', however, are not known for adopting the most obvious path and thus we hear a song that leaves us all chuckling, not least at the tragedy to be found in C&W music. The other famous number retold in almost all, well ok part of, it's glory is the 'Herpes Tango'. A Spanish Tango about, yes you've guessed it, STDs complete with flamenco moves. What more can I say?

One of 'Fascinating Aidas'' most enduring sources of inspiration has always been their own lives, something which is greatly in evidence in 'One Last Flutter'. Songs bemoaning the problems of relationships litter (in the best possible sense) the evening and each one gives the impression of having been deeply felt. Ms
Cutts sings wistfully of falling "in love with a man in love with 'Another Man'"; Ms Anderson laments the effects of irrational 'Jealousy' and Ms Keane d
eclares 'I Fancy The Pope'! Nothing stays serious for too long. Meanwhile, elsewhere in FA-Land the passing of the years is marked by the inclusion of 'Is It Me, Or Is It Hot In Here?' in which number we discover the real reason behind the popularity of Cardigans. If you've never heard anyone sing: "Felt the perspiration trickle down my leg", you haven't lived! 'Goodbye Old Friends' is also clearly a heartfelt piece. Ostensibly the story of the ups and downs of their friendship it is, like the majority of their work, applicable to anyone. If you've ever lost a once dear friendship then the sentiments expressed here, of "careless words that wound and bruise" and binding "the true and trusted to our hearts/ with hoops of steel" may very well bring a lump to your throat.

As you may have gathered it is not just the amusing in which this trio excel. Like all top Comediennes, 'Fascinating Aida' can switch from the achingly funny to the searingly painful in the time it takes to change key. In fact their poignant life snapshots are just as much a highlight as signature songs like 'Lieder' or 'Sew on a Sequin'. In 'Modest Dreams' Adele Anderson sings of "...a heart that has learned to survive all alone" to a gentle, mournful piano accompaniment quietly supporting the tone of enforced resignation as this songs' character battles to accept "the pittance one is worth". By the time she reached "Why does a heart that asks for so little get less" I found myself surreptitiously wiping away a tear. The opening chords of the next song immediately transported me to the Orient in the form of 'Little Shadows' performed by Dillie Keane, a song in which we pee
k through net curtains into the lives of a childless couple. In a deep and emotional voice she sings of the "little shadows, hidden grief ... one has to resist" as the pair struggle to fill the void with friends, exhibitions and holidays ~ the photos of which are "All captured by strangers, who wouldn't have seen". Theirs is a music of understated emotion: small topics relevant to many.

One of the more remarkable things about Fascinating Aida's past topical songs is their prescience to events which have occurred, in some cases nearly 20 years, after they were written. The song with which F.A. themselves point out this curiosity is 'Socialist Britain'; a wistful number written during the Tory's long tenure in which the girls' sing longingly of a country where "the water is clean", "prescriptions are free", "privatised trains run on time", and "Margaret Thatcher was just a bad dream". And yet somehow it's still so fresh! But there are two other songs from the girls' past repertoire included in the Medleys which are also highly relevant. 'The Song of Genetic Mutation' tells of a "dear little two-headed baby" born to a woman of 108! and echoes the fears behind current headlines of designer babies and IVF morality. While 'Radiating Love' deals with the possible consequences of Nuclear fallout and it's effect on romance by asking the question: "Would you still hold my hand if my skin wasn't there?".

The theme is carried on into more modern territory with two brand new songs reflecting the same concerns, albeit from a different angle. 'Stick Your Head Between Your Legs' is Fascinating Aida's inimitable answer to the question of what to do in your last moments before "confronting Armageddon". Set to a rousing World War II style anthem more usually associated with rallying troops, we are informed
that the best way deal with the situation is to "stick your head between your legs and kiss your a*** goodbye" Erm ... I'm not sure what else to say to that, it
speaks for itself! On the other hand, 'Suddenly New Zealand' is a beautiful, if somewhat rude, number extolling the virtues of "attractively remote" and "dreary" New Zealand in a catchy chorus while juxtaposing the dangers of Bush's Western society in brilliantly fast, gloom filled verses. Of course, if anything ambles too close to actually depressing F.A. know how to lighten the mood and it is at this juncture that audience participation enters the evenings proceedings. Chorus lyrics descend from the heavens and the generally embarrassed, mostly willing, occasionally impassive audience are divided, pantomime style, into groups to compete against each other in more than just lyrics. A word of warning: anyone shy intending to see the show may wish to consider avoiding the central sections as this portion was asked to take on the role of the "springs and geysers" with accompanying actions. I leave that your imagination. ;)

There are, of course, many other highlights far too numerous to detail here but without which no opinion (even one that is in danger of turning into a novel) would be complete. Not least of these being Ms Cutts haunting solo 'You Keep Me Awake At Night', written by Adele Anderson, a song chronicling the difficulties of long-distance love which showcases the mellow beauty and effortless power of her voice. Then there's 'Poor Lizzie' for whom "the 21st Century makes her dizzy"; a 'Stately Semi-D' involving Grannies in formaldehyde alongside a Denim Blenheim; and a lampooning of the current obsession with remaining youthful where we are informed that "mobility's the 'Enemy of Beauty'". With wide-ranging musical influences stretching from Gilbert and Sullivan throu
gh Noel Coward to Tom Lehrer and from Spain to Switzerland taking in many other people and places along the way then you're more than likely to find something to your tast
e in this show.

If, however, you are unable to make it to one of these final dates then there is always the CD to tickle your fancy (priced £15.00, in the Theatre Foyer). Unlike most of their previous offerings this album has not been recorded at a live performance with the result that the unique atmosphere of shows such as 'Live At The Lyric' is not present, although it is much easier to hear all of the words. You may not be able to feel as though you're with them in an auditorium but you can hear the music uninterrupted by anything except your own laughter. Unfortunately the brilliant Medleys are not included but it does have the advantage of three bonus tracks of previously unrecorded popular songs: 'Viennese', 'My Dearest Wish' and 'Ealing Broadway Baby'. Even though it may be no substitute for seeing the show live the CD would make a great introduction to F.A. and at the moment is the only other way to catch a fleeting glimpse the show. Of course this may not remain the case; the past two shows have been filmed live on stage and released on vhs and although there are no concrete plans as yet to film 'One Last Flutter', it may still be a possibility. Keep an eye on their web site for more details.

Which brings me, rather neatly, to the compulsory more info paragraph. The Official Web site, located at www.fascinating-aida.co.uk contains a wealth of information about the Tour (including telephone numbers of venues and performance times) and group members as well as such enjoyable titbits as tour diaries (often almost as hilarious as the songs) and a Photo History (wonderful frocks!). It is also a great place to go if you'd like to sample a few songs before embarking on a full-scale show, CD or video. It's possibl
y the best place to obtain FA merchandise, also usually available at the theatres. www.planetaida.com is another excellent site with facts and lyrics galore, as well as more songs to download and enjoy.

Elsewhere www.onelastflutter.co.uk is the Tours' official site and contains details of dates and venues as well as a Mailing List and Dillie Keane answers 20 Questions for Whatsonstage.com at http://www.whatsonstage.com/dl/page.php?page=green room&chan=wos&story=E88210579473 47

In a world full of manufactured pop bands and instant stardom it is refreshing to discover a group that utilises intelligent, witty lyrics mixed with complex harmonies demanding more of it's audience than inertia. The pace, particularly of the medleys, may at times baffle the Fascinating Aida virgin but there is never a dull moment in this excellently performed and brilliantly structured show. The group are never less than dazzling; the highs and lows engaging and well measured. These are three women who know their craft. In short, it's a treat. A night I will remember for many years to come and I hope that you'll experience that pleasure too. And if the current plans for a West End run come to fruition there may be many opportunities yet.

Thanks for reading.

This opinion has not been sponsored Ms's Keane, Cutts or Anderson.

© monalipschitz 2003


Tour Dates:

August

3rd London Open Air Theatre, Regents Park 8.00pm
5th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
6th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
7th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
8th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
9th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
10th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
11th Edinburgh The Assembly Rooms <
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Edinburgh Festival 9.00pm
12th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
13th Edinburgh The Assembly Rooms

Edinburgh
Festival 9.00pm
14th Edinburgh The
Assembly Rooms

Edinburgh Festival 9.00pm
15th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
16th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
17th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
18th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
19th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
20th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
21st Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
22nd Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
23rd Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
24th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm
25th Edinburgh The Assembly Rooms

Edinburgh Festival 9.00pm

September

4th Colchester Mercury 7.30pm
5th Colchester Mercury 7.30pm
6th Cardiff St. David's Hall 7.30pm
9th London Queen Elizabeth Hall
10th London Queen Elizabeth Hall
11th London Queen Elizabeth Hall
12th London Queen Elizabeth Hall
13th London Queen Elizabeth Hall
14th Exeter Northcott 8.00pm
15th Street Strode Theatre 7.30pm
16th Northampton Derngate 8.00pm
17th Leicester De Montfort Hall 7.30pm
18th Antibes Private Event
19th Antibes Private Event
20th Antibes Private Event
21st Antibes Private Event
23rd Nottingham Royal Centre 7.30pm
24th High Wycombe Swan 8.00pm
29th Bury St Edmonds Theatre Royal 7.30pm
30th Bury St Edmonds Theatre Royal 7.30pm

October

3rd Dublin Dublin Theatre Festival 8.00pm
4th Dublin Dublin Theatre Fe
stival 8.00pm
5th Dublin Dublin Theatre Festival 8.00pm
6th Dublin Dublin Theatre Festival 8.00pm
7th Dublin Dublin Theatre Festival 8.00pm
8th Dublin Dublin Theatre Festival 8.00pm
10th Eastleigh The Point 7.45pm
13th York Theatre Royal 7.30pm
14th Dartford Orchard Theatre 7.45pm
15th Barnstaple Queen's Theatre 7.45pm
16th Tonbridge E.M. Forster Theatre 7.30pm
17th Basingstoke Anvil 7.45pm
20th Epson Playhouse 8.00pm
21st Reading Concert Hall 8.00pm
22nd Billingham Forum 8.00pm
23rd Tewksbury Roses Theatre 7.30pm
24th Tewksbury Roses Theatre 7.30pm
25th Shrewsbury Music Hall 8.00pm
26th Birmingham Hippodrome 7.30pm
27th Taunton Brewhouse 7.45pm
28th Taunton Brewhouse 7.45pm
29th St Albans The Alban Centre 8.00pm
31st Huddersfield Lawrence Batley Theatre 7.30pm

November

2nd Lincoln Theatre Royal
4th Jersey Opera House
5th Jersey Opera House
16th Hornchurch Queens Theatre

Summary: