An en­gag­ing comic caper

The Tribune (NZ) - - WHAT’S ON - RICHARD MAYS

A charm­ing lit­tle show, Kane Par­son’s All The Right Notes is rightly de­scribed as an homage. And not just to mu­si­cians and mu­sic, but to com­edy, as well as to friends and fam­ily.

Mu­sic, mirth, fam­ily and friends make great in­gre­di­ents, es­pe­cially as Christ­mas and hol­i­days loom.

Par­sons may not be a con­cert qual­ity pi­anist or a pro­fes­sional co­me­dian, but he can be funny, has mu­si­cal tal­ent, and is a per­son­able pre­sen­ter.

With this per­for­mance though,


All The Right Notes - just not nec­es­sar­ily in the right or­der Pre­sented by Kane Par­sons Di­rec­tor Craig Geenty Globe The­atre De­cem­ber 15 - 18

he has taken on a for­mi­da­ble chal­lenge. Apart from play­ing the clas­si­cal piano pieces, there is the added com­pli­ca­tion of com­edy.

The show’s con­tent owes in­spi­ra­tion to the mu­si­cal hi­jinks of Dan­ish co­me­dian and clas­si­cal pi­anist Vic­tor Borge.

The in­gre­di­ents for Par­sons’ musi-com­edy ca­pers are all there, and if they don’t al­ways com­bine flu­ently, the per­former ac­quits him­self well in the at­tempt.

While Par­sons went for dead­pan de­liv­ery dur­ing Borge’s The His­tory of the Piano, and the Trump-era ver­sion of the fa­mous Pho­netic Punc­tu­a­tion, his tim­ing and as­sumed droll­ness needed work on open­ing night.

An ex­tra soup­con of twinklyeyed mis­chievous­ness also wouldn’t go amiss.

Par­sons’ per­for­mance of Beethoven’s Pa­the­tique, which ended the show, was ac­com­pa­nied by stun­ning back-screened drone footage of the Manawatu River, along with shots of his fam­ily.

It paid to sit up high though, as lower down the open ‘bon­net’ of the grand ob­scured the videos, which in­cluded fa­mous skits from great silent-era co­me­di­ans.


Kane Par­sons in his grand piano show ‘‘All The Right Notes’’

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