Lizzie Mitchell is like countless undiscovered performers, except she enjoys her day job. Bra Girl: A Cabaret celebrates Mitchell’s job in a lingerie shop, while telling of her dreams for that big break which will propel her into the glamour and excitement of Broadway, where she believes she was born to be.Until that break comes, her customers and their breasts supply her with endless material for her shows, since “Underwear brings out the crazy in everyone.”
Her songs are anecdotal, tied together by segments of describing her work and the characters in it. The music is cleverly written and enjoyable to listen to, however when the focus shifts from her characters back to her desire to become a Broadway star, the show becomes repetitive. Though she insists her day job is better than those of actors selling American express or nasal sprays, there is a strong undercurrent of dissatisfaction with her life. This theme strikes a little too strongly and while there is much humour to be found in her characters, we feel that they and her performance of them are a poor substitute for her dreams.
Mitchell finds her greatest strength when in character. A highlight of the night was her embodiment of the tell-all old dear, Bettsy Taylor, who relishes sharing more than we might want to hear – similar to her husband’s relish for expensive French lingerie. And we are reassured that though her 12Cs don’t sit where they used to, lord knows, they still do the trick.
Delightful bra trivia is woven into the show. We learn the story of the very first bra, a tale of tragedy and betrayal. We are wowed by Mitchell’s ability to tell a cup size with just a tape-measure and a brave audience member. Mitchell herself is a glamorous sight to behold and her lacy gloves, sparkling shoes and shimmering jewellery would complete her image if it wasn’t for the problem of her facial expressions revealing her uncertainty.
A problem pervading the show is the contrast between the characters Mitchell creates and her own on-stage persona, for whom she can’t seem to find a constant pitch. Her script is clever and tight, her music fantastic, but she lacks the confidence to pull off the boldness of cabaret. This lack of confidence shows in awkward pauses, and in moments when her eyes glance around to gauge individual audience members’ responses. She is shaken by a lack of audience reaction at times, and this seems to further influence her performance. She struggles with high-notes, following the audible shift into her higher register, and the shriller tones in her voice jar at times. It is in the jazzier songs, which showcase her smoother, lower tones, that her voice really shines.
Mitchell has all the elements of an amazing show, but until she can maintain the confidence with which she struts up on stage, her performance will have a flatness that no amount of padding can hide.
Stella Green Productions
Bra Girl: A Cabaret by Lizzie Mitchell
Venue: The Paris Cat Jazz Club* | 6 Goldie Place, Melbourne
Dates: 28 - 30 March, 2010
Times: Sun - Tue 8.30pm
Duration: 50 minutes
Tickets: Full $20, Conc $18
Bookings: moshtix.com.au | at the door
Visit: www.stellagreenproductions.com.au
* Licensed venue. Under 18s must be accompanied by a Parent or Legal Guardian.