We’re all for unlikely crossovers – there’s often a good deal of humour to be found in an ‘odd couple’ pairing – but we’re not sure we’ve encountered anything like Only An Octave Apart before. Here, the worlds of opera and cabaret collide, as distinguished countertenor Anthony Roth Costanzo – who has performed at renowned opera houses across the world – joins forces with legendary cabaret icon Justin Vivian Bond. The unlikely duo have put together an intimate 90-minute show, which debuted in New York last autumn, and has now landed in London at the gorgeous Wilton’s Music Hall.
Some of the mashups are truly inspired. Walk Like An Egyptian and Akhnaten? Sure, ok. Dido and Aeneas with a sprinkling of Dido’s White Flag? Why not. A duet of Queen and David Bowie classic Under Pressure is another highlight, and suits their differing voices and performance styles perfectly. It’s a strong show, musically – it really is a rare treat to hear a voice as impressive as Anthony Roth Constanzo’s in such a small venue, and the pair are backed by a talented band – but it’s equally enjoyable for its sense of humour.
This duo exude a real warmth and have a genuine on-stage chemistry – they create an enjoyable little world and invite us in for the evening. Scripted routines about how they met blend pleasingly with more off-the-cuff remarks about the show’s new locale. It’s enjoyable to see them go slightly off-piste from the original script: they’ve clearly tailored a handful of references for their London crowd, ranging from recent political mishaps to what you can and can’t say to an audience at the theatre in the UK. Unsurprisingly, much of the humour is extremely camp and queer – we are of course very here for an evening for that.
Only An Octave Apart gets a lot right. It doesn’t quite fire on all cylinders throughout – a disco section it set up to be something exciting, but ends up falling a little flat – but for the most part it’s terrific fun, with some accomplished musical moments to boot. It’s also a rare treat to see performers of this calibre in a setting so intimate – this unexpected cabaret-opera pairing is the crossover we didn’t know we needed.
GAY TIMES gives Only An Octave Apart – 4/5
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