Hello, Dillie!

dk quays

Was I sitting close enough, do you think?

There’s not a great deal to say about Dillie Keane’s act, which I saw last night at the Lowry, other than that as a comedienne/cabaret singer/songwriter she’s more or less without peer. Here, she offers a joyride through her back catalogue, most of it written in partnership with Adèle Anderson, who Keane generously acknowledges several times through the course of the evening, giving us a collection of songs about love that range from the riotously rude (‘This Ain’t The Hokey Cokey Any More‘, about the perils of attempting athletic sex when your body will no longer cooperate) to deeply moving (‘Little Shadows‘, in which a childless woman counts her blessings and tries to convince herself she has no regrets). There are no false notes, no weak spots, no filler numbers – just a succession of wonderful songs, linked by funny/disarming stories. Keane has been performing this kind of material for more than thirty years; plenty of people have prettier voices, but nobody can deliver a song the way she can, and she has the audience – me too – eating out of the palm of her hand. With piano accompaniment by the brilliant Michael Roulston, who duets with Keane on the hilarious ‘Song of Sexual Re-Orientation’, the evening is a reminder that Keane and Anderson are as good a songwriting team as we’ve got. It’s pretty much a perfect night at the theatre – and it’s educational too: in the first-act closer, a spurned wife’s through-gritted-teeth takedown of her husband’s mistress, you’ll discover more rhymes for ‘Pam‘ than you ever thought possible.

In case you hadn’t guessed, I laughed until it hurt and then laughed some more. I even bought the DVD, because performances this good should be worshipped on a regular basis. How good was it? I walked into the Lowry with the kind of headache that starts wars, and ten minutes into the show I’d forgotten it. Dillie Keane: Better than Panadol. They should put that on the posters.

 

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