Adelaide is about to be treated to a beautiful and atmospheric cabaret show for 3 shows only during the Adelaide Fringe. Visit the bars, brothels and cafes of Edith Piaf’s Paris, through the eyes and music of New York-based performer/writer, John Gabriel Koladziej. With such a tight schedule, Sam About Town was lucky to catch a little time with John to find out more about this captivating production.
SAT: John, thanks for your time. This show has really captured my imagination. Edith Piaf’s music is so alluring and exquisite. What inspired you to create this cabaret show?
JGK: First off, thank you for reaching out. Actually, this show came together quite organically. I was looking to put together a solo cabaret piece and remembered that I had an envelope overstuffed with sheet music (literally titled “Songs for the Show”) which I had been stashing away for years. I had taken part in many friends’ shows and done numerous musicals, but never a solo cabaret show. The time had come. I noticed that many of the songs were Edith Piaf songs, which I first encountered when I was primary-school-age. As I began reminiscing about when I first heard these songs and my initial connections to the material, I realized that the basis of the piece could and would be largely personal (with some anecdotes from Edith Piaf’s story, of course).
SAT: Your show follows a young boy’s coming-of-age and is told through Edith Piaf’s famous songs (or chansons). Is there a parallel between the famed chanteuse and yourself?
JGK: Actually, no. My suburban upbringing outside of Los Angeles was certainly nothing like growing up on the rougher streets of Paris in Piaf’s time. However, it seems that Edith Piaf and I both have an affinity for the romantic and a good story song. That’s something we certainly have in common.
SAT: What do you love about her music and do you have a favourite Edith Piaf song?
JGK: I love that her songs are so open, honest, and very much heart-on-sleeve. “Hymne à l’Amour” is perhaps my favourite (you’ll find out why in the show). It’s simple and the lyric is by Piaf herself. The final line is actually etched on her grave at Père Lachaise.
SAT: The German occupation of Paris did not stop Piaf’s career and in fact her fame gained momentum during that uncertain and fearful time, although not without controversy as well as bravery. Is this a time of her life that has inspired you and will you be representing some of the atmosphere, energy and intensity of that era?
JGK: I’ve always been intrigued by Piaf’s ability to move past so many of the struggles and tragedies in her life, whether it be during the German occupation, her youth, her love affairs. These all inform my experience of her music and, for me, they are very much a part of the performing the songs themselves.
SAT: Edith Piaf’s stage name was “La Môme Piaf” or “The Little Sparrow”. It is also the title of your show. Could you enlighten us a little about how she earned this nickname and what it means to you?
JGK: Yes, she was known as the “Little Sparrow” or “Waif Sparrow” – “Piaf” in Parisian slang. I suppose the comparison came from Piaf’s size and appearance. Sparrows aren’t very colorful or ornate creatures; Piaf mostly performed in a simple black dress. There’s something beautiful about the the simplicity that enable you to be completely taken in by the voice and what she’s singing about.
SAT: You’ve been quoted as saying that the relationship with the audience is somewhat different in cabaret than a play or musical. What are the main differences and challenges?
JGK: Well, in a play or musical, there’s usually 4th wall or character that you’re embodying that puts some distance – or a filter – between you and the audience. I’ve played ‘Frank ‘N’ Furter’ in the stage version of “The Rocky Horror Show” a few times – even though you get to play with the audience directly in that show, it’s different as you’re a character. That’s not necessarily the case in a cabaret setting. It’s a whole other layer of vulnerable, which is what I feel makes cabaret so special.
SAT: In the film, ‘Midnight in Paris’, the main character travels back in time and mingles with musicians, artists and writers of the time. If you could do that, what would you like to ask Edith Piaf and what you would you like to learn about her by meeting her?
JGK: Something like, “How? How do you it?!” I once read something where Charles Aznavour stated that Piaf made you feel something, empathize with the tortured soul she portrayed on stage, but apparently it was almost effortless for her – something she’d turn on and off. Perhaps she was simply playing a character as well?
SAT: Have you ever been to France? Or what do you love most about France?
JGK: Yes, I have been a couple of times. I love the grandeur of Paris, and, for lack of a better phrase, the “joie de vivre” that seems to very much be a part of the culture there- the music, the art, the food, the wine, the philosophy.
SAT: You live in New York, a very exciting city. What do you love about living there?
JGK: There is never a dull moment in New York. It is always moving, always evolving. There’s a driving pulse to the city and the energy can be very electrifying.
SAT: Is New York a city conducive to developing creative ideas?
JGK: It certainly can be. It is also nice to find inspiration there and then get out for a bit to let that creative inspiration germinate. Usually somewhere quieter. New Orleans has been a great place where I’ve done this for the past 5 or 6 years. I actually drafted out this show from one of my favorite bar spots on Bourbon St. near St. Ann. I believe Tennessee Williams once frequented there. Certainly something very conducive to creativity about that city as well!
SAT: You have had sell out performances in New York and Los Angeles. Is this the same show or do you adapt for local audiences?
JGK: This is largely the same show, though I’ve rearranged some of the material just to keep it fresh.
SAT: New York is having extremely cold weather at the moment and Adelaide is having some of its hottest weather on record. Are there any precautions you have to take for your voice with such extreme change in temperature?
JGK: Keeping hydrated with plenty of fluids and a steamy shower should do the trick. Growing up in the valleys near Los Angeles, the heat never seems to bother me (the cold is a different story!), it’s the moisture (or lack thereof) that can be a bit tricky – especially on the plane.
SAT: How do you manage on a practical level to organise a show from the other side of the world? How important is the support of your venue and the manager in this situation?
JGK: Well, Kerry at The A Club Adelaide has been incredibly supportive and helpful with everything. Something as simple as printing off a few posters requires some logistics when you’re 10,000 miles away. It’s something that’s been extremely important – a lifeline of sorts!
SAT: I understand that you have engaged a local accordian player to accompany you. How did you go about arranging that?
JGK: A call-to-arms on Facebook actually. I found some Adelaide-based musician group pages and plugged away until a connection was made. Everyone was quite helpful.
SAT: Having an accordion sounds like a very authentic choice but possibly quite a challenging one compared to a keyboard. Are there difficulties like consistency of pitch and tone? What is the main reason for the choice?
JGK: I thought it would be difficult, being different than straightforward piano accompaniment. I’ve performed this material with solo piano, solo accordion, as well as a full band. There is something that is very beautiful and intimate about performing with the accordion alone.
SAT: What would you like most to give your audiences? What would you like to have them walk away feeling and remembering?
JGK: A connection – whether it be something I’ve shared or a moment in a Piaf song. I think that’s why we go to the theatre or cabaret – or even put on an album – to relate, isn’t it?
SAT: You have come a very long way for just 3 shows. Why are you so passionate about Adelaide Fringe?
JGK: I caught Adelaide Fringe a couple years back and just absolutely loved it. So many great performances. Such a variety. I had to be a part of it. Hoping I can catch one or two while I’m there!
SAT: What else do you have planned for this year?
JGK: I’ll be putting together shows for New York in June during World Pride. It’ll be the 50th anniversary of the Stonewall riots. Something special is definitely in order.
Jonny en Rose – Songs of the Little Sparrow is playing at
A Club Adelaide, Waymouth St, Adelaide,
15 Feb at 7.40pm, 16 Feb at 3pm, 16 Feb at 7.40pm
Tickets and more information here
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