What more is there to say about Fascinating Aida? They are an international institution, who have performed for royalty and are themselves cabaret royalty. But in fact there is always more to say, even at a late stage in their elongated 40th anniversary tour, thanks to their admirable determination to revise, update and add to their repertory. Their laurels are far too pointy and pert to rest upon.
It is a rare achievement these days to pack out the whole Festival Hall, and with an audience that covered all ages. There was a great frothy atmosphere from the start, and the whole evening zipped through effortlessly with nary a hitch. That is a tribute not only the spry agility and focused brio of the performers, but also to a big support team positioned to enable all the changes of costume, props, choreography, and lighting designs. It was also a tribute to the alertness of an audience very ready to respond as much to the intricacy of the verbal wit as to the slapstick visual antics on stage.
Many of the old classics are still here, but with extra ad libs and curlicues to appeal to a London audience. ‘Cheap Flights’ still has bite even though its scenario seems charmingly dated in a post-Covid travel era; and Keene’s performance of ‘Dogging’ remains a uniquely imagined nocturnal peregrination, even if residents of Croydon may not agree. What surprises, perhaps, is that many of the songs that are most topical in their satire actually belong to an early place in their back catalogue. ‘Lieder’ is still a priceless send-up of musical pretensions, as is ‘Bestseller’ of authors and publishers. Also, a few songs step back from satire and strike a different, wistful, melancholy note that provides variations of mood amongst the edgier items – ‘Old Home’ and ‘The Blues got a Skeleton Key’ are two such examples.
If you are trying to identify the secret of this group’s longevity you’d have to write an essay rather than a review; but some points shine through self-evidently – all three core singers are strong individual personalities who never lose their identities in the group but offer different facets to the jewel. They are all dynamically different individuals and voices, yet integrated performers both on stage and in their vocal timbres. The music is often memorable in its own right but also provides an easy, flexible framework within which the expertly crafted lyrics can sit up and shine. When language is as witty and precise as this it earns the right to be outrageous, filithy and boundary-bending in a way that slacker language would not. Above all there is a rueful kindness towards the trials of ordinary people that sits naturally alongside the merciless and richly deserved satire of the rich, powerful and pretentious. We feel somehow that they speak to and for our daily frustrations.
The contribution of pianist Michael Roulston should not be overlooked. He has an invaluable chameleonic capacity to adapt his style to the singers he works with – and they cover a huge range of styles. This skill-set works particularly well with Fascinating Aida where the mood can shift sharply from song to song, requiring a rapid switch in arrangements from lush to limpid. He is also mainly responsible for the music to two new songs that tap into contemporary electronic and hip-hop vibes: ‘AI’ and ‘Down with the Kids’. These are important contributions in sharpening the group’s satirical bite for younger audiences.
Everyone who follows this unique combo has their personal favourites they would not wish to be without. In this programme I was particularly delighted by ‘Widows’, which in lyric and music is worthy of Sondheim at his most cocktail-party arch; and ‘Old Bloke’ in which Dillie Keane found both poignancy and laughter down in the world of the Apps.
I would offer only one slight reservation – on the evening I attended, which was the first night of the run, the piano sound was overmiked and sometimes drowned out the details of the lyrics. Perhaps there was insufficient rehearsal time, and this was addressed on later nights; but it was a tiny bit frustrating at points that the precise detail of these wry wordsmiths was out of reach.
All in all, this was a rare life-affirming treat and tonic when we are all in need of one. Roll on the next celebratory tour!
Royal Festival Hall
Performers: Adele Anderson, Dillie Keane, Liza Pulman, Michael Roulston
Director: Paul Foster
2, 3 & 5 January 2025
2 hrs with interval
Photo Credit: Geraint Lewis