PERTH FESTIVAL: "Meow Meow's The Red Shoes" is a beautifully chaotic and deep stream-of-consciousness cabaret show
Renowned cabaret star Meow Meow has triumphantly returned to Perth with her new show The Red Shoes, loosely based on the Hans Christian Andersen fairytale. Famous for her unique cabaret stylings; scripted blunders and mishaps accompanied by beautiful vocals and costuming, The Red Shoes elevates to deliver deeper meaning, while also questioning the point of fairytales, art and performance in today’s chaotic world.
The stage and show are set with a pile of discarded technology and trash, and a backdrop bearing the Danish phrase "Ei blot til lyst". Taken from an inscription at the Royal Danish Theatre, meaning "Not just for pleasure", Meow Meow refers to it often throughout as a reminder of art’s deeper meaning than pure entertainment.
Beginning with her three live on-stage musicians dragging her out from side stage, the opening numbers are quickly disrupted by Meow Meow’s stream of consciousness, both from her character and her as the writer/performer. Her narration serves as both the loose storyline for the show and the personal commentary on why we continue to make art even when it seems all hope is lost. Not afraid to break the fourth wall and talk about her difficulty throughout the COVID-19 pandemic, her juxtaposition between the bleak and the hopeful reminded me of Bo Burnham’s Inside, the claustrophobic special filmed in his garage during 2020.
Comparing the show and storytelling of cabaret to classic fairytales such as The Red Shoes helps illuminate the absurdity of both. In the Hans Christian Andersen story, a girl with a tragic background is given hope in the form of red shoes that enable her to dance, before she is punished for her hubris and vanity by mystical characters, leading to an extremely tragic end. Meow Meow’s version is much more abstracted and meandering, with a brand new character introduced, a beige morph-suit clad version of her own destiny who becomes the other lead character in a play-within-a-play The Faun and the Showgirl.
A retooled mix of modern rock and classic cabaret tunes propel the show’s music, with Meow Meow’s delectable and powerful vocals (think a less pop and more showgirl Lady Gaga) commanding the stage, backed by three supremely talented musicians, Jethro Woodward, Mark Jones and Dan Witton. The trio lend vocals, piano, drums, electric guitar, double bass, tuba and more in swirling movements across the stage while also playing stagehands and backup dancers. Kanen Breen as the Faun is also an impressive tenor in a truly bizarre role, which he brings an incredibly lanky physicality to.
The references and metaphor are deep throughout, with remixes of Macbeth and Danish opera culture, ballet and showgirl combined, all with classic Meow Meow faux-lethargy towards the whole endeavour. The stream of consciousness narration throughout takes the audience on a wild ride towards meaning while also never sitting still long enough to become too depressed. A show to savour, and one I wish I could see again soon, as it was clear there was plenty of improvisation and a little crowd participation to boot.
4/5 stars
Meow Meow’s The Red Shoes is presented by Black Swan State Theatre Company, Malthouse Theatre and Belvoir St Theatre. It runs to 1 March at His Majesty’s Theatre as part of the 2026 Perth Festival.
Tickets: https://www.perthfestival.com.au/program/season-2026/meow-meows-the-red-shoes
