|
|
Reviews | | Jen has been named as one of the
"20 Next Generation Performers"
by Aussietheatre.com
Read the full article at:
www.aussietheatre.com/generation.htm | | Poison Soprano
www.sydneystage.com - Brad Syke- October 2006
"If you didn't know, you'd never know Jennifer Peers is a fresh-faced newbie. Her cabaret debut is as self-assured as a honed veteran. Of course, she has a lot of support: the writing talents of James Millar; the pianistic panache of the redoubtable Robyn Womersley; Clare Kahn's warm-as-a-winter-coat cello and the voluminous vocal va-voom of Noni McCallum.
It's a long way from the Queensland Conservatorium and Western Australian Academy of Performing Arts, from which she graduated. Yet, a surprisingly short jaunt to well-deserved musical theatre celebrity, with Ms Peers soon to be seen in Stephen Sondheim's Sunday In The Park With George, for Q Theatre. There's a bit of Bernstein and she slips in some serious Sondheim, in the form of the always affecting (and all the moreso in her care) Children Will Listen, but otherwise runs a reckless, refreshing gauntlet, from Alice (Cooper) to Britney, with comic and melodic surefootedness; indeed, she's a regular rock wallaby, when it comes to scaling the heights of performance in her genre.
She's done her time, so all the classical gifts, abilities, skills and techniques are secured; and there's plenty to show off! What she's dispensed with, however, are the appertaining affectations and stereotypes of your garden-variety, world heavyweight champion soprano, a la Stupenda.
It's a brave young woman, too, that'd risk upstaging herself with a belter as boisterous as McCallum, a mighty, compelling presence in her own right. Kahn floated in and out like an instrumental angel, while Womersley, in addition to her keyboard duties, as with the astonishing Amanda Harrison earlier in the year, played a kind of Kath, to the poison one's Kim. It was noice; different; unusual: not stock-standard, safe cabaret shtick; sassier than some. At this rate, Peers might well end-up having few." | | Poison Soprano
www.aussietheatre.com - Maz Dixon - October 2006
"I was expecting Poison Soprano to be like a The Sopranos version of your typical biographical cabaret story: Young girl is suburban Australia has dreams of hitting the big time, goes to New York/London/Paris, gets a bit part on a chorus line thanks to her singing talent and ability to ruthlessly whack any rivals. Instead the only thing that gets whacked in Jennifer Peers' solo cabaret debut is the pristine image of the soprano.
Peers tells her audience that the traditional image of the soprano is pure, virginal and pretty much desexualized. She is at great pains to dispel this mythology and is very good at doing so. She gives attitude, mocks opera, isn’t afraid to use a bit of earthy language or toilet paper to good comic effect. Writer James Millar has helped Peers put together a show that is sharp and witty, but also allows Peers and her co-stars to show off their considerable musical talents.
Peers puts her classical training to work on a fairly wide range of material. There’s the standard Sondheim and Bernstein numbers, and much of the show is a bit like Gilbert and Sullivan on acid. Other renowned performers like Alice Cooper and Britney Spears are given a thorough working over. It’s an extremely funny show, but at the same time it’s hard to ignore the fact that Peers has a beautiful voice. Even as she’s giving Nella Fantasia a hilarious, Bob Dylanesque subtitles translation.
Peers is supported throughout by talented co-stars. Robyn Womersley provides a run of dry, slightly bitchy interactions from behind her piano, and proves to be extremely adept at giving the devil’s salute. Clare Kahn does some beautiful work on the cello, and Noni McCallum steps in for a couple of memorable numbers. These women give fabulous performances, providing strong musical backup while hamming up their subservience to Peers’ dominating and slightly neurotic character.
Poison Soprano has all the elements necessary for good cabaret; an interesting blend of standards, a humourous take on her profession, and some industrial strength vocal chords. She’s not afraid to have a laugh at her own expense, but at the same time it’s obvious she takes her job very seriously. The result is a highly entertaining show." | | Poison Soprano
www.stagenoise.com - Gabby Bermingham - October 2006
"From the amusing opening to the very delightful encore Jennifer Peers thoroughly entertained her audience at the Statement Cabaret Lounge on Friday night. It's obvious that she can laugh at herself - an unusual trait for sopranos if you believe Peers.
In this very intimate setting Peers demonstrated great vocal agility while allowing her dynamic range to weave through the well-chosen material. The witty writing of James Millar provided engaging filler, and for this reviewer, was the highlight of the performance. Throughout the song ‘Children Will Listen’, a beautiful Sondheim melody, Millar wove clever, biting commentary on the negative experience of bad singing teachers. Peers was quite comical, using her guest, Noni McCallum as the ‘student’, adding another entertaining element to the show.
The sensitive and consistent accompaniment of Robyn Womersley on piano (not to mention dry wit) and the softer timbre provided by cellist Clare Kahn contributed significantly to the humour and often beautiful performance.
If I could criticise anything, it would be the length of the show. I wanted to hear more!
The audience really appreciated this funny, well-constructed cabaret and I look forward to seeing and hearing future endeavours from Jennifer Peers."
| |
The Witches of Eastwick
Alan True - Opera Opera - June 2004
"...Felicia Gabriel is a local businesswoman used to getting her own way. Jennifer Peers made the most of this unpleasant character, bullying her way through the town, forcing her will on everyone, especially her meek husband, played equally well by James Stevenson. She was Katisha in modern form, but more believable and less malignant. It was the fleshing out of characters such as Felicia which made the production such a success..."
| | Jonah
Alan True - Opera Opera - May 2004
"...Jennifer Peers as Clara Grimes, the upper crust Englishwoman experiencing hard times, drifted throught the melange of coarse slum dwellers. She drew the character with impeccable detail, exhibiting the right degree of supercilliousness and ruthlessness in pursuing her aims..."
| |
| |
 |
|
