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Behind The Curtain: Meow Meow and Wesley Enoch

Behind The Curtain: Meow Meow and Wesley Enoch


Meow Meow: Hi darling! Oh look at our little furry bits! Wesley: -laughs- I know! Meow Meow: We’ve done a number of versions of the show in London Wesley: Yeah
Meow Meow: An out-of-town tryout Wesley: Of course. Meow Meow: As it were, the- Wesley: Well, Sydney’s it. Meow Meow: London Philharmonic, well, they were
magnificent and so that was a, you know, it was a good out-of-town tryout and now
we’re ready to hit the big time with Sydney Symphony. Wesley: I keep trying to describe the show to people and saying it’s like Meow Meow is kind of dreamlike, waking up from a dream. Meow Meow: I never wake up from the dream. Wesley: The dream is alive. Meow Meow: Sometimes it’s a nightmare.
But, um, I prefer to stay in the dream world Wesley: Oh right, yes, yes. Meow Meow: On and off stage, not much separation. Its, I think, ‘totally orchestrated chaos’ is a great way of describing it because you have to, with an orchestra, be organized, to a degree. So it is all scored Wesley: Yeah.
Meow Meow: but there’s room in there to play and when you’ve got brilliant musicians, they can
cope with that flexibility. Wesley: So you’re playing with, like, you, you, you throw them curveballs at times? Meow Meow: Yeah! Wesley: Oh, that’d be fantastic. Meow Meow: I think it’s good. The magic of live theatre. Wesley: Hey I’ve always loved that you, I mean your voice, I mean sometimes, Meow Meow, you’re considered to be a cabaret but in fact your voice is
extraordinary, there’s a real craft in the voice, in a big room, that people will appreciate that as much as the, as Meow Meow’s presence, I think as well. Meow Meow: Well, it just feels like my natural habitat, really, me and an orchestra. Especially a lot of the music is original that I’ve written with, um, Iain Grandage, songs I’ve written with Iain, or songs that have been written for me, Meg Washington, you know, they’re really kind of precious pieces to me or, a number that I’ve written with
Thomas Lauderdale, from Pink Martini. So, hearing those things go from, you know, small ideas into, you know, huge orchestral works, is kind of thrilling. Because the show is funny, Wesley: Yeah. Meow Meow: You know, it’s pleasurable to perform but there’s some really meaty music in there as well so that’s- Wesley: Well, it’s a big, it’s a big room to
play I mean, I find that quite, quite daunting this whole idea, this massive room. Meow Meow: No, I like, look, Wesley: Are you getting in amongst them? Meow Meow: I’ll always get in
amongst them. Meow Meow: I’m that little bit of ‘can’t get it out of her’, yeah, I’ll be in amongst the people Wesley: Yeah Meow Meow: and the musicians ah, and, no I like that, I mean that’s the thing, is creating intimacy in a large space, a
stadium, as it were. Wesley: This is, yeah, this is Sydney Festival this long-term collaboration Meow Meow: Absolutely. Wesley: and with the audiences of Sydney and things there’s Meow Meow: Totally, and I feel that’s a very strong Wesley: number of shows. Meow Meow: That’s I think why I just
feel very, not relaxed, I’m never relaxed, but I do feel fantastic about being here
because it is, yeah, there’s an openness and there’s a joy about those
collaborations to broaden and then take them around the world as well. Wesley: Thank you so much, lovely.

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