An engaging comic caper
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’’