Beneath the political instability of Germany's Weimar Republic (1919-1933) simmered a sexual revolution. The ideal of motherhood and domesticity promoted by German Chancellor Adolf Hitler (1889-1945) provided a stark contrast to this liberating German feminism. The eight women who characterised the movement are here brought to life in a solo cabaret show.

Micaela Leon begins to sing in German. Her body language, which should communicate what her words cannot, is the immediate focus. Yet Micaela Leon's 'Kabarett' is oddly devoid of sensuality. Neither her voice nor her demeanour is arousing. The glamour expected of a diva is lacking. Her high-street white satin jacket and black satin trousers convey none of the sexual chic associated with the clubs of Weimar Berlin.

But as this opening number subsides into a history lesson, it becomes clear that this show has little to do with the sexual power of the female body today. It eulogises the captivating force of eight women from the past, at a physically-safe distance. Unfortunately Micaela Leon has neither the sass nor the voice to reawaken the 'Weimar Girls'' spirits through her portrayal. This is a cabaret-cum-lecture.

The first of the eight women presented is Marlene Dietrich (1901-1992). Friedrich Hollander's Sex Appeal hits a sadly ironic note. The line 'I'm pure sex appeal' - never an easy one to give credence to - resounds awkwardly. This number is closely followed by Take It Off Bertorella. It's up-beat and more entertaining, but still the lustful shiver of 'the cabaret' is absent. The performance is accomplished but uninspiring. The line 'If you want, you can sleep with me', begs only indifference.

A notable transition occurs as the lights fade to red. Micaela Leon drifts between a bright spotlight and an alluring, dangerous glow. Ute Lemper's I Am A Vamp provides Micaela Leon with an opportunity to act. She ceases her scholarly talk and sexless enticement and allows the song and the character to possess her. With a cheeky hiccup she wins the audience. The poignancy of lines such as 'du verstehst mich nicht' (you don't understand me) and 'our lives are political' touch a contemporary note.

As the production reaches a climax with the tragic story of Rosa Luxemburg (1871-1919), Micaela Leon comes into her own, commanding attention. 'God only knows what a man is, I only know his price', she sings, her arms raised, her profile in striking shadow. Her acting is practically classical; she is expressive and elegant. Her beauty and her striking bone-structure heighten this melodrama. A bright light cuts the stage as Micaela Leon begins to sing Liar with intense anger and pain. But as the show comes towards an end, the forced and unnatural cabaret style returns.

On tonight's showing, Micaela Leon is a sensitive actress, but she is not a cabaret kitten. Her attempt to recreate the voluptuous freedom of these female revolutionaries feels hollow. Both literally and metaphorically, it is not fleshed-out.

Cast Credits: (alpha order): Cast Credits: Micaela Leon - The Weimar Girls. Paul Trueblood – Piano/ Additional Narration.

Company Credits: Writer - Micaela Leon. Director - Lina Koutrakos. Musical Director - Paul Trueblood. Lighting Designer - uncredited. Sound Designer - uncredited. Technical Operator - David Stone. Producer - uncredited. Company - Micaela Leon & Green Room Presents. Website - www.micaelaleon.com. Website - www.greenroompresents.com.

END

(c) Rebecca Gibson 2009

reviewed Sunday 9 August 2009 / C, Venue 34, Edinburgh UK

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com