Meow guests in Olivier Award Winning West End Sensation La Clique!
Meow back in the Dysfunctional Family
MAy 7 - 25
 www.lacliquelondon.com

oh yes! MEOW!!!

Lest we forget to mention, MEOW (HERSELF) wins three GREEN ROOM AWARDS for BEYOND BEYOND GLAMOUR: THE REMIX, Melbourne International Arts Festival 2007: Best Cabaret, Best Cabaret Artiste, Best Musical Direction (Meow Meow in collaboration with Paul Grabowsky). For this last award, super thanks and congratulations must go to the erstwhile pianist collaborators who have been part of the Beyond Glamour journey : Lance Horne, Iain Grandage, Thomas M Lauderdale, John Thorn, Justin Holland. thankyou!
xxx

stay tuned for lovely press from the last weeks!

Meow in the ten best of cabaret of 2007, TIME OUT NY, alongside Eartha Kitt, Judy Collins, Taylor Mac...

MEOW MEOW: "Leaving audiences dangling helplessly at her feet, the postmodern international diva proved that the world is her litter box."

http://www.timeout.com/newyork/articles/music/25135/the-best-cabaret-of-2007

Hoorah. Ecstatic to receive Adelaide Fringe Festival award for best cabaret 2008 for "Beyond Glamour" at the Bosco Theatre, Feb 27 - March 5 2008!! Its purple! Thanks to John Thorn on piano, The Fringe Festival and Strut n Fret Producers, The Garden of Unearthly Delights.

The mischief continues with the DRESDEN DOLLS and MEOW US TOUR culminating in NY EVE 2007 with traditional MEOW crowd surfing of the Grand Ballroom of NYC.

youtube has been nearly broken with the footage, amanda palmer and the brigade detail the tour ie: at www.myspace.com/whokilledamandapalmer

sensational photos all over the web!

see also fab interview in BOSTON GLOBE:
www.boston.com/ae/music/articles/2007/12/28/here_kitty_kitty/

EXTRA LATE show added! Meow with Lance Horne, Berlin Cabaret Series at Cafe Sabarsky, Neue Galerie NY, 1048 5th Ave, NY NY
www.carnegiehall.org

From The Times
August 16, 2007
Meow Meow
Robert Dawson Scott at The Spiegel Garden, Edinburgh Fringe


In the midst of all the agonisingly serious drama and the overambitious comedians at the Fringe, you need to kick back and relax at the end of a long festival day. There are cabaret offerings aplenty designed to help you to do just that, lots of them surfing the variety/burlesque revival, many of them toe-curlingly dreadful. Your best chance of something decent is at one of the two tents in the Spiegel Garden.

There, nightly at 11, you may witness the birth of a new star – new to this country at any rate. You are not supposed to know the true identity of the gorgeous exotic bloom that is Meow Meow. Her management is in Australia, her publicist in America. She would like you to imagine that she has her origins in the deepest cellars of Berlin and Shanghai, and in the furthest reaches of the Manhattan avant-garde. She does what she does with such exquisite mastery that it would be a shame to anchor her in anything as dull as reality.

The full title of her show is Beyond Glamour; The Absinthe Tour, a combination that immediately suggests the heady, decadent, careless, no-limits atmosphere she creates. Cabaret was always supposed to be transgressive and subversive, though you would never know it from the ghetto of sequins and camp into which it has retreated. Meow Meow puts the beauty and the beastliness of it back where it belongs, out on the edge and in your face.

Somewhere along the line, she has had some serious training on a voice that makes the rest of the festival's cabaret chanteuses sound like foghorns hooting in the Firth of Forth. The rest of her show – and it is so much more than a series of numbers – comes from her divinely twisted mind, which manages both to send up every cabaret holy cow and celebrate it at the same time.

It's not just a question of draping herself at improbable angles across the audience as she sings; it's not just her apparently casual attitude to costume (though you may be sure that anything casual has been meticulously rehearsed); it's not just the mad gimmicks (such as projecting video footage of her performances on to her bare stomach). It's the glorious, throwaway effortlessness of it all. No wonder that David Bowie picked her for his New York High Line Festival earlier this year. She is sensational.

http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/specials/edinburgh/article2267718.ece

NY TIMES, 7 MAY 2007

Chosen by David Bowie, Shows That He'd Attend

David Bowie has been a rock god, a philosopher of the pop avant-garde, an actor, a fashion plate and a talent scout. But he has a little trouble taking seriously the job description for his newest gig: curator of the first High Line Festival. ''I love that word 'curate,' ...

To put together the High Line, an 11-day series of music, film, comedy and art that begins on Wednesday with a performance by Arcade Fire at Radio City Music Hall, Mr. Bowie said he followed his own tastes, booking old and new friends like Laurie Anderson, TV on the Radio and the British comedian Ricky Gervais. He also included curiosities like Ken Nordine, the octogenarian "word jazz" artist, and the Australian "kamikaze cabaret" performer Meow Meow.
"The point of the festival," Mr. Bowie said during a phone interview last week, "is not to dig out as many obscure and unknown acts as possible. It's to put on what I would go and see. There are certain artists you just never miss; when they come into town you go and see them. That's how I treat virtually all of the people that are on this."
..more...(http://www.nytimes.com/2007/05/07/arts/07high.html?ref=nyregion)

High Line Festival, TIME OUT NY Issue 605 MAY 3-9
http://www.timeoutny.com/newyork/Details.do?page=1&xyurl=xyl://TONYWebArticles1/605/features/pussy_galore.xml

PUSSY GALORE
The bizarre chanteuse Meow Meow gets ready to pounce.

By Adam Feldman
Photo: Karl Giant....

To witness the postmodern cabaret diva Meow Meow in concert is to risk emerging just a little bit scratched. No one is safe at her show, least of all the deliciously deranged performer herself. From the moment she enters—a vision of frazzled glamour, faintly annoyed—she is on the offensive: badgering the audience into applause, forcing men to carry her around as she awkwardly contorts above them, vamping the crowd with her magnetic jadedness.


"The point is not for people to have a harrowing time," Meow insists by telephone from Australia, where she recently completed a run at the Sydney Opera House. "It should just be funny and joyous and sexy." Meow's parody of glitz is part of a package that also includes physical comedy, social commentary and a brilliantly eclectic repertoire, with a special affection for the songs of Bertolt Brecht and Kurt Weill. Meow also has—when she gets around to using it—a bona fide voice. (She performs modern opera music under her real name, which she asked us not to reveal.)

"You just use everything you possibly can," Meow says. "And hopefully you throw some visual splendor and political mayhem into people's lives." Offstage, the subversive chanteuse is strikingly intelligent, and cagey about her national origins. "It's so much more interesting when people aren't sure where you come from," she says. "People never know which bit's real and which bit isn't, so anything should be able to happen."


Her shows usually incorporate many languages, and her appetite for international song is voracious. (Her current musical interests include "Shanghai jazz tunes from the '20s and '30s" and "songs from Serbia and Bosnia from the 16th century.") While the world may be Meow Meow's litter, her polyglot approach is about more than just showing off. "This is the beauty of globalization," she says. "You can collect things and hurl them at an audience. I think it's important that these pieces keep making their way into the groovy downtown scene."

But if Meow's intentions are serious, her performances are anything but—and that's part of her strategy. "I know that what I do is very out-there for a lot of people, but it really is very loving about the history," she maintains. "The things that I rip up are things that I treasure." There's a fine line, Meow says, between sexy-hilarious and grotesque, but it's one she's happy to straddle. "Some people get very disgruntled at the trail of sequins and feathers that I leave behind me," she admits. "But it's kind of my duty to shake things up a bit."

Meow Meow "incited" by John Cameron Mitchell plays May 18 at Hiro Ballroom.