Cabaret: Status 2014

Back in October 2012, the UK cabaret scene reacted strongly to X Factor judge Gary Barlow’s use of the term ‘cabaret’ in a derogatory fashion. There are many articles – both in print and online – about the ‘too cabaret’ incident, but it seems that since the cabaret revival, artists appear to be moving out of the cabaret scene. This revival appeared to be in full force during 2012 and last year‘s Fringe festival, yet seems to be hitting a low point this year.  

On the other hand, February 2014 brought the opening of Wild Cabaret, Wicked Lounge in Glasgow. Injecting the decadence of the 1920s into the Merchant City, and bringing some London performers up to mix with the Glaswegian talent, the venue promises delicious food, drinks, and a good time. While this is the first purpose-built venue for cabaret in Glasgow, with in-built aerial equipment, it’s not the first venue to host cabaret nights in Scotland. In Glasgow alone, several venues have hosted regular cabaret nights over the past few years: Spangled Cabaret at the Art School, the Creative Martyrs’ Sinister Wink in the basement of the bungo bar and kitchen, and the Gatsby Club, run by Miss Hell's Belle.

Edinburgh’s cabaret scene demonstrates that it is equally community driven, with a few good ‘cabarati’* having rallied together to form a weekly cabaret slot at Henry’s Cellar Bar every Wednesday night at 7pm. Hosted by Miss Annabel Sings and Cherryfox, this cabaret night promises a taste of everything: comedy, some puppetry, spoken word, music and the occasional burlesque act. It features both emerging and established artists trying something new.

Does cabaret as a genre suffer from bad press?  Possibly. From the outside, it’s obvious that quite a few people don’t approve of its links to burlesque, although the latter is only a part of the bigger genre called cabaret. Even so, theatre companies seem to have taken a few tips from the artform – after all, cabaret has a reputation for its grassroots, DIY approach to performance. This doesn’t mean the shows are amateurish in performance, but rather, that the artists produce, direct, and perform the show themselves, as well as making most – if not all – of the props and costumes they need.

The cabaret aesthetic, however, can be as broad as you like it, although it often falls under vintage fashion in some way. Fortunately, Glasgow has no shortage of that – the Glasgow Vintage festival is on its way at the end of this month, as part of Glasgow XX Commonwealth Games celebrations. Events range from a Charleston Brunch to the vintage dance-class called From Peabody to Jitterbug, both at Wild Cabaret. To help suit up for this festival, the organisers have arranged for a marketplace as well as an array of art and fashion design workshops.

Most recently, London-based Time Out has dispensed with its cabaret section, which appears slightly counterintuitive. Admittedly, this could be due to a financial issue, but the section’s absence can raise questions about ‘the right place’ for cabaret. Not on the performers’ part, but rather as part of marketing; getting exposure involves correct product placement, which could mean cabaret performers are ‘forced’ to move into other sections of magazines, simply to get their shows seen. This is reflected in the Edinburgh Fringe 2014 brochure, with a few cabaret artists – think of Frisky and Mannish, EastEnd Cabaret – listed under comedy or theatre. Nonetheless, the cabaret section seems to be bursting with new names, and a few theatre companies that seem prepared to tackle the norms.