Hans Christian Andersen's moralistic fairy tales have endured for nearly two centuries, but few artists have approached them with the irreverent intelligence of Meow Meow. Following her acclaimed reworkings of The Little Match Girl and The Little Mermaid at Carnegie Hall, Australia's "post-post-modern diva" returns home to tackle The Red Shoes at Belvoir from October 4 to November 9.
Andersen's original tale punished its protagonist with eternal dancing as divine retribution for vanity and covetousness (a brutal moral lesson wrapped in seemingly innocent children's literature). Meow Meow's intervention asks pointed questions: what if the cursed woman could never dance at all? Can theatrical intervention save both character and world?
This subversive approach has become Meow Meow's signature, earning recognition from Berliner Zeitung as "The Queen of Chanson" and Evening Standard's praise for her "devilish funny bones and heavenly vocal chords." Her ability to find contemporary relevance in historical material while maintaining sophisticated entertainment values has distinguished her work in venues from Spiegeltents to major concert halls.
The collaboration with Kate Champion as director brings significant creative weight to the production. Champion's role as artistic director of Black Swan Theatre Company and her work on Prima Facie demonstrates her capacity for handling complex theatrical material that balances intellectual rigour with visceral impact. Her promise of "sparkles and feathers and mirrors" alongside an "intellectual approach" suggests a production that won't sacrifice substance for spectacle.
Champion's observation that the work targets the"hearts and minds of the audience, and possibly a few more body parts" hints at the kind of holistic theatrical experience that cabaret, at its best, can provide. This full-body engagement distinguishes live performance from other entertainment forms and indicates why Meow Meow's work continues to find international audiences.
The supporting cast brings impressive credentials to what could easily become a one-person showcase. Kanen Breen's Opera Australia experience and Broadway work with Baz Luhrmann brings vocal sophistication, while Mark Jones's Bell Shakespeare background suggests a classic perspective. Dan Witton's previous collaboration with Meow Meow at Carnegie Hall provides continuity with her established artistic vision.
In terms of programming, Meow Meow's residency at Belvoir represents exactly the kind of season that separates institutional theatre from commercial entertainment. Her work requires the kind of audience willing to engage with challenging material presented through accessible entertainment forms, precisely Belvoir's demographic strength.
The Upstairs Theatre provides an ideal venue for this kind of intimate spectacular. Cabaret-style performance demands proximity between performer and audience that larger venues cannot provide, while the theatrical context elevates the material beyond mere nightclub entertainment. This positioning allows serious artistic exploration within a framework that remains fundamentally entertaining.
Belvoir Artistic Director Eamon Flack's enthusiasm:"sophisticated silliness and seductive allure, combined with astonishing renderings of some great songs," captures the essential appeal of Meow Meow's approach. This combination of intellectual content with populist presentation represents cabaret's unique theatrical contribution.
The production's promised elements, including "hairy fauns," "singing swans," and "showgirl stars," suggest visual imagination that matches the conceptual ambition. Such theatrical abundance, properly executed, can create the kind of sensory overload that makes live performance irreplaceable in an increasingly digital entertainment landscape.
Meow Meow's homecoming represents an opportunity to experience an artist who has achieved significant international recognition while maintaining distinctly local sensibilities. Her success in venues like Carnegie Hall provides validation for Australian theatrical innovation, while her return demonstrates ongoing commitment to local audiences.
The Red Shoes promises a theatrical experience that challenges while entertaining, being exactly what adventurous audiences seek.
Meow Meow’s The Red Shows
Upstairs Theatre, Belvoir St Theatre
Dates: 4 October – 9 November 2025
Prices: $41- $97
Tickets: https://belvoir.com.au/productions/meow-meows-the-red-shoes/ or (02) 9699 3444
(images: supplied)
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