Last week at the Lobero, the Meow Meow show was a delightful enigma, a performance so uniquely captivating and entertaining that it left the audience purring with surprise and joy. Meow Meow’s entrance was nothing short of spectacular – a glamorous, sequined gown shimmering under the lights, an entrance so grand she graced the stage twice, showering the audience with red roses on her second appearance. This theatrical gesture perfectly set the tone for a musically and theatrically eccentric evening, commencing with Laurie Anderson’s thought-provoking “The Dream Before.” The lyrics, painting vivid pictures of Hansel and Gretel in modern Berlin, were just the first hint at the show’s wonderfully bizarre nature. This was seamlessly followed by a series of exquisitely rendered torch songs from the Weimar Republic era, many delivered in their original, resonant German.
This wasn’t just a cabaret show; it was a postmodern spectacle, brilliantly described by UCSB Arts & Lectures as Sequins and Satire, Divas and Disruptors: The Wild Women of the Weimar Republic. It was a masterful blend of highbrow and lowbrow culture, each element as enjoyable as the last. Meow Meow effortlessly transitioned between chanteuse and comedienne, injecting broad comedy into every corner of the performance. This included inviting an audience member – the reviewer’s husband – onto the stage for an impromptu kick line with a chorus of middle-aged men. Homemade smoke effects, seemingly conjured with a child’s toy, and a crew member physically rotating Meow Meow Lazy Susan-style across the stage while she impeccably embodied Marlene Dietrich and Lotte Lenya, further showcased her unique brand of Weimar-infused performance art. These moments, infused with what could only be described as the spirit of a “Meow Meow Meow Song”—playful, unexpected, and utterly memorable—ensured a constant stream of delighted gasps and laughter from the captivated audience.
Meow Meow performing at the Lobero Theatre, captivating the audience with her Weimar Republic cabaret show.
“It’s distressing to be singing these songs that are 100 years old and find them more relevant every time I sing them,” Meow Meow remarked, revealing her Australian origins as Melissa Madden Gray, despite her flawless German pronunciation. Accompanied by the talented Isaac Hayward on piano, David Berger on percussion, and Dan Witton on bass, she skillfully presented songs from iconic composers like Kurt Weill, Bertolt Brecht, and Mischa Spoliansky. These musical masterpieces were interwoven with her signature bawdy and absurd humor, alongside poignant reflections on today’s world and its unsettling echoes of the past. The performance was more than just a musical revue; it was a commentary, delivered with a wink and a “meow meow meow song” sensibility – lighthearted on the surface, yet deeply resonant beneath.
Preparing the audience for a daring stage dive, she quipped, “If a nipple pops out, just pop it back in,” to the stunned yet amused murmurs. What followed was a deliberately slow stage dive into the front rows, evolving into crowd-surfing gymnastics. Meow Meow eventually returned to the stage unscathed, both physically and in terms of wardrobe malfunctions, to conclude with a beautiful rendition of Patty Griffin’s “Be Careful.” Not content to remain on stage, she ventured back into the audience, Pied Piper-style, leading them to the front of the theater for a post-show CD signing and meet and greet. This final act of audience engagement perfectly encapsulated the interactive and whimsical nature of her entire performance, a true embodiment of the “meow meow meow song” experience – engaging, playful, and leaving a lasting impression.
Meow Meow’s rare combination of vocal prowess, comedic timing, and intellectual depth firmly establishes her as an artist unlike any other. Her show is not just a performance; it’s an experience, a “meow meow meow song” brought to life on stage, leaving audiences utterly charmed and eagerly anticipating her next unpredictable act.
