From the moment Meow Meow struts (or in this case, is dragged) into the spotlight, you know you’re not in for a conventional night at the theatre. This cabaret spectacle brings the story of Hans Christian Andersen’s 1845 fairytale The Red Shoes to Belvoir St Theatre under the direction of Kate Champion, with comedic interrogation and unwavering musical talent.
At first glance, the set (designed by Dann Barber) feels oddly bleak—a mound of junk in one corner, a sheer plastic curtain across the back. But Meow Meow’s magnetic presence, astonishing vocals, and never-ending gags transforms the debris into a dazzling playground of cabaret magic.
There’s a constant tension between theatricality and tenderness. She’s hilarious one moment, hobbling around on one shoe stealing bags and jackets from the audience, and gentle the next, delivering a stunning rendition of Fiona Apple’s Not About Love.
The band— Mark Jones, Dan Witton, and Jethro Woodward—are more than backup; they add fabulous quirks to the beautifully crafted soundscape, while Kanen Breen’s impressive operatic moments transcend the theatre.
Between musical numbers, Meow Meow weaves in tales of showgirl life, layered with sharp satirical commentary, and even a direct challenge to the author of The Red Shoes who punishes a girl for simply wanting to dance. She begs the questions; what if the little girl could never start dancing? Can she be saved?
One of the show’s cleverest gags involves an old fridge buried in the junk mound which becomes a kind of magical portal of surprises, revealing new costumes (also wonderfully designed by Barber), props and even characters each time it opens.
While the show didn’t particularly resonate with me on a deeper level, I can certainly admire the performances and creative flair with which they were crafted. Belvoir’s stage was well used and Meow Meow wasn’t afraid to venture into the audience, however I couldn’t shake the feeling that the show seemed slightly out of place and the formality of this theatre somewhat diluted the thrill of a cabaret’s raw immediacy. Having said that, Meow Meow has performed at Carnegie Hall with great success, and perhaps I should see this unconventional experience as a refreshing change of pace from Belvoir’s usual offerings.
Above all, there is no denying Meow Meow’s virtuosity and the audience’s appreciation of this glorious theatrical ride. If you’re after a traditional narrative or a neatly packaged theme, look elsewhere. But if you’re ready to surrender to a wild, reinvention of genre, Meow Meow won’t disappoint.
