Alan Cumming sings sappy songs. That’s how the man himself refers to his show, and that’s exactly what he does.
Alan Cumming is an elfin wisp of a man in tight leather trousers. It is impossible to believe that he is 52. In fact, he takes great delight in mentioning his age just to bask in the audience’s gasp of incredulity.
His show is just him on stage with a bare minimum of musical support. He carries the limelight beautifully. His song choices range from Miley Cyrus, to an old French love song to a prostitute, to a Scottish ode to Glasgow. Each strikes a personal chord for Cumming, and has an accompanying story. In between singing his sappy tunes – as a Scot he claims his right to be emotionally overwrought – Cumming entertains the audience with showbiz gossip and snapshots of living the highlife in Hollywood. From meeting Liza Minnelli, to wrangling a free booze sponsorship deal to host Club Cumming in his Broadway dressing room for fellow cast members and friends.
He is totally at ease and charming on stage – as well he should be with his impressive CV. Cumming said that the main goal of his performance was to connect with the audience, and so interspersed between glitzy stories, he recounted the more gritty details of his violent childhood, and loss of a grandfather he never knew.
He certainly connected with some performance-goers. Cumming dealt easily with a couple of star struck hecklers, and let another audience member from Glasgow shine by doubling over with laughter at a joke she called out from the floor. The banter back and forth highlighted the intimacy of the show, even though it was in the Powerhouse’s largest space.
While Alan strives for an imperfect connection, his show remains very polished. His accompanying musicians are excellent, and the choice of a cello to join the piano and drum kit added depth. His Broadway training shines through in the tone of the performance, it is very pat and appropriate to musical theatre.
This was a wonderfully enjoyable show, as evidenced by the audience’s desperate clapping for an encore. Cumming had already joked about the hypocrisy of the encore, and the fact that we’re all in on the pretence, but it didn’t stop the audience from demanding one more sappy song anyway.
He is totally at ease and charming on stage – as well he should be with his impressive CV. Cumming said that the main goal of his performance was to connect with the audience, and so interspersed between glitzy stories, he recounted the more gritty details of his violent childhood, and loss of a grandfather he never knew.
He certainly connected with some performance-goers. Cumming dealt easily with a couple of star struck hecklers, and let another audience member from Glasgow shine by doubling over with laughter at a joke she called out from the floor. The banter back and forth highlighted the intimacy of the show, even though it was in the Powerhouse’s largest space.
While Alan strives for an imperfect connection, his show remains very polished. His accompanying musicians are excellent, and the choice of a cello to join the piano and drum kit added depth. His Broadway training shines through in the tone of the performance, it is very pat and appropriate to musical theatre.
This was a wonderfully enjoyable show, as evidenced by the audience’s desperate clapping for an encore. Cumming had already joked about the hypocrisy of the encore, and the fact that we’re all in on the pretence, but it didn’t stop the audience from demanding one more sappy song anyway.
