2015 Adelaide Cabaret Festival – Michael Griffiths in Cole

Michael Griffiths in the stage performance of Cole at the 2015 Adelaide Cabaret Festival. Image: Nicholas Purcell.

Definitely De-Lovely by Linh

Cole is a creative collaboration between Adelaideans, singer-musician Michael Griffiths and pianist-composer-writer Anna Goldworthy, which has resulted in a brilliant show full of heart and soul set to the songs by American composer and lyricist Cole Porter. The use of Porter’s first name in the show’s title demonstrates a more personable account of the talented composer and a very intimate delivery of his songs. The show is just as much about Porter’s private life as it is about his popular songs and Broadway musical successes.

Cole is a beautifully crafted show with Griffiths embodying the persona of Cole Porter throughout the show, as though the real Porter was on stage. There is only Griffiths on stage with a piano and his walking stick, for the entire show.

Griffiths speaks in a manner as witty as Porter’s lyrics and in a tone as marvellous as Porter’s melodies. Porter’s stage musical successes and most intimate yet publicised aspects of his private life are used as a narrative structure for the show. Porter recounts these moments and speaks briefly of his thoughts and feelings before breaking into song. Porter’s songs are interwoven into the show to connect audiences with his public-self, and give a glimpse of his private-self. The songs are the heart of the show as they not only display Porter’s dazzling gift of musicality but also reveal elements of himself in the songs.

Griffiths is excellent and believable as Porter in voice, song and mannerisms. His slight hobbling on the walking stick as he moves onto the stage towards the piano is referenced later in the show. Griffith’s powerful delivery of more than a dozen songs including ‘Anything Goes’, ‘It’s De-Lovely’, ‘I Love Paris’, ‘What Is This Thing Called Love?’, ‘I’ve Got You Under My Skin’ had the audience in raptures. His humour and playfulness while singing ‘Let’s Do It, Let’s Fall In Love’, ‘Let’s Misbehave’, ‘Always True To You In My Fashion’ were a joy to behold. He encouraged and led audience participation for a sing-along of the chorus in the song ‘Another Op’nin’, Another Show’ which was a fun and engaging experience. Audiences were nodding and smiling at the Adelaide cultural references in the song ‘You’re The Top’ with frog cakes, Fruchocs, the quaint rotunda in Elder Park and pie floater mentioned.

Goldworthy deserves much praise for writing the script and arranging the music. Her use of the biographic information to nuance the    songs and musical arrangement are masterfully accomplished.

Cole works well as an introduction to Porter’s songs for the uninitiated and as a pleasurable treat for Porter fans who have loved his work for many years. Porter’s wife Linda and his alleged lover Boris are mentioned throughout as they had a major role in shaping his 
career and the ambiguity of his personal life. Cole reminds us of how exhilarating and timeless Porter’s songs remain and the sophistication of the lyrics and music has eclipsed and surpassed many of those that came afterwards.