On the first of two sold out nights at the Dunstan Playhouse as part of the Adelaide Cabaret Festival program, Monsieur Camembert performed Cohen Noir The beauty, mystery and romance of Leonard Cohen. For two hours, the audience sat in awed silence at not just the beauty of the music, but the incredible talent of the musicians on stage. And there are lots of musicians. At times, over 60 of them when the Born on Monday 50 piece choir joined everyone on stage later in the show.
Cohen Noir is made even richer by the inclusion of rare audio of Leonard Cohen speaking. In between songs, we’d hear Cohen speaking, or Yaron Hallis, the frontman of Monsieur Camembert reciting Cohen’s quotes. Hearing Cohen’s own words allows the audience to have insight into Cohen’s way of thinking, whether it be existential or leaning into Buddhism. They also provide a fitting introduction to the songs that follow.
Guest singers Lyn Bowtell, Timothy James Bowen, and Diana Rouvas bring their own unique voices to Cohen’s songs, each lending their voice to different genres. Lyn Bowtell opens the guest performances with a beautiful rendition of Like a Bird (Bird on the Wire). Timothy James Bowen brings a country music feel to his performances, and his soft voice offers a comforting hug. He sings Who by Fire early in the show and So Long Marianne later. Diana Rouvas brings a dramatic, Celine Dion-like quality to her performances, heightened by her expansive stage presence.
We were particularly blown away by the talent of Susie Bishop, initially on guitar and then when singing. She is equally impressive as a violinist and vocalist, making her a true double talent. Her vocal dynamics moving from soft to loud seemingly effortlessly, with soaring notes reached and sustained with ease, were especially impressive.
The show shifts constantly in tempo and subject matter, moving from Middle Eastern sounds to jazz and back again, from serious themes to the cheeky humour of Memories, with its playful line, “won’t you let me see your naked body.” Jazz Police adds another lively twist, with double bass player Matthew Ottignon and violinist Ben Adler joining in on vocals.
Photo: Claudio Raschella
Lyn Bowtell, opens If It Be Your Will with her beautiful, slow, soaring singing. Bukhu, who until now had been playing the morin khuur (horsehead fiddle) joins in with his throat singing, a very unique sound which adds an Eastern influence to the performance. The song is further enhanced by the addition of the voices of the 50 strong Port Adelaide based choir joining in the singing from the back of the stage.
Hallelujah, likely Cohen’s most well-known song, brought the whole Dunstan Playhouse to life with not just the guests singers and choir singing but most of the audience too. It was a beautiful, emotion filled experience with a tear brought to many eyes. Other renowned Leonard Cohen songs such as Dance me to the end of love and Everybody knows also received great reception and had many singing along.
In Cohen Noir, Monsieur Camembert has created a richly layered tribute that will resonate with both lifelong Leonard Cohen devotees and those discovering his work for the first time. With its blend of extraordinary musicianship, memorable guest vocalists, and moments of genuine emotional power, the show captures the beauty, mystery and romance at the heart of Cohen’s songbook. For novices especially, the quotes threaded throughout the performance offer an illuminating entry point into Cohen’s worldview, and will likely inspire many to take a deep dive into the man and his music. More than a celebration of a singular artist, it is a reminder that a decade after his passing, Leonard Cohen’s music and legacy remain profoundly alive.
5 CROISSANTS
Matilda Marseillaise was a guest of Adelaide Cabaret Festival
