Hans – Like A German!
The boy wonder of Berlin is back and don’t we just love him! From the moment Hans appeared, a dazzling blur of blue eye-shadow and sequins, he had the Banquet Room audience lapping up his every word.
He opened “the most anticipated event of the year” with an enthusiastic rendition of Elton John’s “The Bitch is Back”, a number that could have been written for Hans. And bitchy he was, taking a swipe at everyone from the Dalai Lama – “needs more sequins” – to the ailing Nelson Mandela – “get over it, it’s comedy”.
Cabaret virgin Leo, haplessly sitting in the front row, enjoyed the full force of Hans’ sequinned hot-pants and well-polished banter.
Banging out an impressive number at the piano (alter-ego Matt Gilbertson did study music at Adelaide Uni), Hans confessed to feeling like “Libera-f’ing-ace”.
There was more slap and glamour on stage than a warm night at the Mars Bar and some spectacular costume changes. The glittery silver jumpsuit left nothing to the imagination as Hans showed off his tap routine with two of the Lucky Bitches dancing girls. Throughout the show, Hans was ably supported by the dancers and the four-piece Ungrateful Bastards band.
He is not afraid to get among his audience, even dancing on the tables for a few numbers – “I’d move those glasses if I was you!”
With a repertoire that went from Geri to Madonna to Marlene, there was something for everyone. Kylie’s “I Should Be So Lucky” was one of the highlights.
We can all thank Matt’s mum for the supernova that is Hans – she first sent her son to dance class and now slaves over a hot sewing machine making all his costumes. Is that sweet or seriously dysfunctional?
It wouldn’t be a boy-wonder show without an accordion – he is a world record holder – and even the unscripted slip off the stage was handled with style.
Hans began life in 2003 at the much-missed Weimar Room, so it’s no surprise this show oozes confidence.
Matt Gilbertson is a shining star in the Cabaret Festival constellation.
More Adelaide Cabaret Festival reviews
Review: Sunny Leunig – A Guide to Unhappiness
Review: Compositions – A Musical Close-Up
Review: Sugartits – so wrong yet so right
Review: Meow Meow paces and purrs
Review: The cabaret charisma of Capsis
Review: Surrender to the Strangeness of Rramp
Review: Chaplin: A Life in Concert
Review: Tom Burlinson’s salute to swing
Review: Shane Warne the Musical
