Sequins and Satire, Divas and Disruptors: The Wild Women of the Weimar Republic
She’s bawdy and brash, tender and vulnerable; she’s graceful and klutzy, commanding and helpless. She’s a singer who hits every vocal nuance, whether serious or satiric; a high-energy dancer who could probably double as a contortionist; a comic who draws roars from pratfalls, subtle glances, punchlines and sensuality. She calls herself Meow Meow and—need I say this after that lead-in—she’s wonderful.
Huffington Post
Meow Meow is a postmodern cabaret sensation, a “phenomenon … an international siren, a comedienne extraordinaire, and a creator of beautiful mayhem” (Broadway World). Her new show is a thought-provoking and wildly entertaining tip-of-the-top-hat to the Republic’s notable “wild women,” both fictional and real. Vamps and “New Women”, Sirens and “Poor Girls”, Anita Berber, Lotte Lenya, Valeska Gert, Blandine Ebinger, Margo Lion, Claire Waldoff, Dietrich and more. Like Meow Meow, these were women of many talents—composers, singers, dancers, poets, actors, sociopolitical influencers, revolutionaries, and ciphers of desire. In this brand-new show, Meow Meow channels the era’s urgent blend of art, entertainment, and winking social commentary.
The voice alone is glorious in its range and texture. But combine it with carefully chosen songs, superb comic timing, improvisational wit, and some engaging audience participation, so cannily conducted that you suspect a degree in psychology, and you have an evening that demonstrates that Meow Meow really is the cat's whiskers.
The Guardian
