A Quote by Tim Minchin

I played piano for cabaret stars and stuff and then eventually moved from my hometown of Perth in Western Australia to Melbourne, and somewhere in there, I decided to book myself a room and do a cabaret show of my own material.
I've always been a cabaret-vaudeville artist - an hourlong cabaret and a floor show in a hotel - somebody like that. That's my main forte.
What good is sitting alone in your room? Come hear the music play; Life is a cabaret, old chum, Come to the cabaret.
I did some stage when I was a kid, around 16 or so. I was living in Melbourne and had a band. I was quite young. We weren't very good. Then I found a band in Perth. We played around for three years. We're in the 'History of Rock'N'Roll,' a book about Perth music.
Life is a cabaret, old chum! Come to the Cabaret.
A cabaret song has got to be written - for the middle voice, ideally - because you've got to hear the wit of the words. And a cabaret song gives the singer room to act, more even than an opera singer.
At first I moved from Sydney to Melbourne, because most of the comedy was shot in Melbourne, and then from Melbourne to Los Angeles - and you have to sacrifice stuff.
I think that's the graveyard of musicians, playing cabaret. I think I'd rather be dead than work in cabaret. It's just so depressing.
I have visited Australia several times, and I always try to make a point of going to Melbourne because it's almost my favorite city there, Melbourne and Sydney. But I shouldn't say that because I haven't been everywhere-and I'm very fond of Perth too!
I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing."
I sing songs from the theater and pop songs. When I say 'pop songs,' I mean from the 90's. And I tell jokes. So it's sort of a stand up show meets a concert - not your traditional lounging across a piano cabaret show. It's much looser.
It just seemed fitting to have our own lounge with our own dance review that paid homage to where The Pussycat Dolls originated, ... So it wasn't just another nightclub. It was somewhere where people can go and see an old school show with real dancing and real performing and real singing. It's perfect for Vegas. It's got that whole cabaret, burlesque-inspired review of dancing, and the whole fishnets, and boas.
I am inspired by show girls and Vegas. I was a cabaret performer, so that's where all that influence comes from.
Getting to do 'December Songs' in a cabaret-style format was so interesting because it's like a one-woman song cycle that actually tells a story. It feels like a theatrical experience more than a cabaret because I didn't talk in between. We went from one song to the next, nine songs in a row - bam - I told the story in half an hour.
I loved going to our winter training camps in Perth, Western Australia, when I was competing as a cyclist.
I went to national piano competitions and did that whole circuit. Then I played professionally to support myself when I moved out to LA.
Cabaret is a much more up close and personal experience, which I enjoy very much. This is a tremendous difference to being in a large theatre, doing a book show, where there is more separation. But both have equal importance.
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