The one-of-a-kind, one-man production Chameleon, starring the vibrant and charismatic Stewart Reeve, was truly a feast for the ears. Playfully toeing the intertwining line between standup comedy and musical, Reeve showcases his talent for vocal mimicry; calling to the helm a myriad of unmistakable voices and sounds identical to their originators, a performance at which an audience can do nothing but marvel; and of course, laugh.
The one-of-a-kind, one-man production Chameleon, starring the vibrant and charismatic Stewart Reeve, was truly a feast for the ears. Playfully toeing the intertwining line between standup comedy and musical, Reeve showcases his talent for vocal mimicry; calling to the helm a myriad of unmistakable voices and sounds identical to their originators, a performance at which an audience can do nothing but marvel; and of course, laugh.
The Highwire Entertainment production was shown for two nights at Gasworks Arts Park in Melbourne after touring regional Australia. Throughout the one-hour performance, Reeve seamlessly crosses a range of impressions that includes Trump’s booming garbles, the annoyingly familiar bleep of supermarket self-serve checkouts, and Tina Turner’s iconic, raspy contralto; among many other sounds known to the ears of all of us.
Playing to such a level of sensory familiarity, Reeve spans generations, imitating the voices of instantly recognisable celebrities; crafting a performance that feels inviting and cosy. Reeve’s showman talent is likewise illuminated by his ability to remain in perfect conversation with the modest but nimble integration of recorded sounds. He possesses the kind of stage presence that needs little support from the background screen or props to hold the attention of the audience, who are unavoidably drawn into a vocal lesson to test their own aptness for mimicry. Audience involvement proves unavoidable in the face of Reeve’s spirited charm and his mastery of intimate theatre.
At the heart of his show is a wholesome tribute to the centrality of one’s voice to identity, but also to the ability to imitate the voices of others–to be a chameleon–which, for Reeve, is a way of mobilising his own voice. Thanks to the insight into the journey that Reeve took to arrive at Chameleon, craftily weaved throughout the show, I was left with no doubt about the authentic and distinctive personality that graced the stage.
Whilst I viewed the penultimate show of Chameleon at Gasworks in Albert Park, here’s to hoping that this warm and original performance returns to the Melbourne stage soon. I, for one, will recommend it.