“This is one for the Katie fandom.“
Kate Stratford
3.5 Stars
Venue: Wharf 1
Sydney Festival
Dates: 21st – 25th January 2025
In 2023, Katie Noonan covered Joni Mitchell’s Blue album at the Sydney Festival. This year she is back to pay tribute to Grace; the only studio album released by the American singer-songwriter Jeff Buckley. Initially not well-received, Grace has gone on to be named by Rolling Stone in three of its lists of the 500 greatest albums and Buckley’s electric guitar composition of Hallelujah one of the 500 greatest songs. Noonan herself has been named as one of the greatest singers of all time and her prolific output covers opera, jazz, blues, pop and folk. Her voice has the range, depth, and textural intricacy to make it possible to listen and not compare. It is like warm caramel – smooth, sweet and delicious and leaves you feeling satiated.
Of course, the big test was always going to be Halleujah. Buckley’s cover of Cohen’s song has been known to reduce listeners to tears. It is a song which is architecturally perfect with a melody which marries lyrics to perfectly create the human experience of yearning for and reaching towards that which is transcendent. Noonan’s tribute, accompanied by a solo electric guitar brought the requisite tears to the eyes.
Backed by 3 guitars, drums and an occasional violin, the remaining tracks of Grace were swamped by a sound desk which seemed to have no concept of how to balance or mix audio. Noonan’s angelic voice was often submerged in what appeared to be a rock band going for it. To be clear, the virtuosity of all the musos here was never in question; but drowning out Noonan’s vocals by poor audio mixing is a rookie error. Clarity and volume were lost, as was emotion.
Likewise, lighting design seemed to be from the school of beginners-lighting-for-community-theatre-basics. Often unsuitable and sometimes predictable (Noonan bathed in lilac light whilst singing Lilac Wine) it was never creative or subtle, nor did it add to the experience.
Delivered in a cabaret setting, with the next show nipping at their heels, there was no time to set mood and Noonan’s trademark self-deprecating humorous patter was cut short.
There were disappointed mutterings around me at the end and as we exited. Nothing to do with the quality of performance and all to do with the experience.
This is one for the Katie fandom.
3.5 tributes
Author, Theatre Now
