If you want to create and perform your own amazing cabaret show, you’ve found the right place. Watch the video and I’ll tell you in person what it’s all about. No time for that? Just sign up to the newsletter and I’ll send you a code to save you 50% when you buy the book.
Just want free stuff? That’s fine. I recorded a bunch of interviews with brilliant people covering how to structure a show, choose songs, talk to an audience, deal with lights and sound, what cruise lines want and more. You can listen to them for free right here or subscribe to the Cabaret Secrets Podcast here.
If you need help with your show and it’s not covered in the book, you can ask me here.
30 Day Money Back Guarantee. I’m so confident you’re going to love Cabaret Secrets, I’m giving you a whole month to decide. If you not completely satisfied after 30 days, just let me know and I’ll refund your money in full. Easy.
It’s your personal director in your pocket. Every artiste needs to know where they can improve and what they should be working on. Having Cabaret Secrets on your ebook reader is the next best thing to taking your director with you, wherever you go.
Professional writing. Cabaret Secrets is almost 60,000 words of help and advice. Every word’s been checked by professional proof readers so you can read in confidence. It’s informative, funny and free of grammatical screw ups.
Instant access. Download and there’s no delivery fee, no waiting for the post to arrive. Just make your payment with Amazon and in seconds you’ll be learning everything Cabaret Secrets has to offer in the comfort of your home.
Amazing advice from the best in the business. Learn from cabaret stars like Michael Feinstein, Steve Ross, Marta Sanders and Marlena Shaw. I asked them insider questions about how they decide which songs to sing, how they script their shows and the best lessons they’ve learned. Dozens of great pros were happy to share their secrets with me, so I could share them with you.
Practical advice you can use. Cabaret Secrets is packed with sensible, practical advice. As someone who’s been doing it for a long time, I know the hurdles and challenges a newcomer will face. I tell you what you need to know about writing a lighting cue sheet, making a PA specification and how to choose a recording studio. I even tell you what to pack for a gig on a cruise ship!
Get the applause you deserve. Cabaret Secrets takes you through every step of creating a show that people will want to see. Don’t waste hours going around in circles. Just follow this guide and learn everything you need to know. It’s like your own cabaret toolbox.
It’s your direct line to the decision makers. I know how hard it can be just to get a booker for a major venue on the phone so I’ve asked them the questions you want answers to. Things like, “Exactly what does an artiste need to do to get work with you?”, “How can I make sure you’ll watch my showreel”, “What kind of acts are cruise lines lining up to book?”
Make a special connection. The key to cabaret is making a special personal connection with every member of your audience.
Save years of effort. We never stop learning but there are shortcuts. When I was starting out there was no one to help me with my show. No cabaret school, no mentor. I had to learn from years of expensive mistakes. Cabaret Secrets gives you a fast track to success. I share everything I know so you don’t have to make the same mistakes I did.
Save money. In Cabaret Secrets you’re getting advice worth £1000s for pennies. That’s a fact. If I only knew these secrets when I first started out 20 years ago I would have saved £1000s on bad musical arrangements, £1000s on wasted publicity and £1000s recording CDs that sounded terrible. It is truly amazing value for money.
Secret 1: Be Prepared
The ‘X’ Factor and how to get more of it • Building confidence • The importance of good preparation • How to be awful and get away with it
Secret 2: It’s All About You
Theming your show • Knowing your audience • Choosing the right material • Music and emotional triggers • Pushing boundaries • Dealing with risqué material
Secret 3: Be Sincere
Sincerity is the cornerstone of everything you do on stage. I discuss: the Golden Rule • how to tell your story • the ‘shape’ of your show • and how to break the fourth wall
Secret 4: Use A Template
Probably the most useful chapter in the book. I explain the four steps to creating your first set list • I break down one of my shows an explain the what, why, where and when of every choice • I analyse how the stars structure their performances and give you templates to help you structure your first show
Secret 5: How To Chat To An Audience (and not sound like a fake)
The most important element of any cabaret and the hardest to master. I demystify the process and make it easy to write your own script • I explain the four types of chat or patter • the rule of threes • eliminating clichés • keeping it personal • be a gossip • how to be funny • how to ad-lib • maintaining focus • and the importance of respecting your colleagues
Secret 6: Live Performance Can Seriously Damage Your Health (and Ego)
The pleasures and pitfalls of audience participation • What to avoid and how to get it right
Secret 7: Love Your Musicians
First impressions • What musicians want • Instrumental breaks • Different band compositions • How to commission great musical arrangements that last forever • How to rehearse a band
Secret 8: Make It Look Good and It Will Sound Twice As Good
What to wear on stage • Make-up • How to talk to lighting and sound techs in a language they understand • How to write a lighting cue sheet • Introducing more production
Secret 9: Record a CD
How to make a CD you’ll be proud of for years • Choosing a studio • Preparing for the recording • Good cover design • Practical advice on packaging
Secret 10: Listen to Advice, But Be Careful How You Give It
How to give notes without giving offence • Seeking professional advice • Listening to feedback
Secret 11: Talent Is Only The Starting Point
Getting your show together is only part of the story. I’ll show you how to use foreign languages in your show • research your audience • working with a director • finding an audience • getting reviewed • exploiting social media • how to get 1.5 million hits on YouTube • build a great website
Secret 12: Rock Stars Live Like Nuns
Advice from top vocal coaches on how to take care of your voice • Jeannie Deva’s warm up and cool down • Tips for singers with a sore throat
Secret 13: How To Get An Agent
Standing out from the crowd • Making a showreel that gets you work • How bookers find the acts they want • What agent’s want • Get a gimmick
Secret 14: The Best Piece of Travel Advice Ever
How to save time, travel light and always be ready for work
Secret 15: Simon Cowell Is Not Your Friend
Are you a good fit for cruise ships? • What cruise lines want and how to give it to them
Be the first to know! Click here to subscribe to the Cabaret Secrets Podcast on itunes.February 28th 2014
If you want to work at some of the most prestigious music festivals in the UK, this Podcast is a must listen.
After singing his way around the world as part of the group Cantable, Stewart Collins spotted an advert inviting applications for a new Artistic Director of the Henley Festival. He applied, got the job and has since directed over fifty festivals and hired thousands of artistes.
Stuart explains his role – part of which is finding the right acts for each festival – and what he looks for in his artistes. He explains why he really must see an act perform himself before booking them and why he rarely trusts recommendations, even from colleagues in the business. Importantly he tells us exactly how he chooses them. According to Stuart, the act should be:
> especially talented, or “bloody good,” as he says, at their job,
> unique in some way – he doesn’t just want more of the same,
> be a great communicator with the audience.
Stuart says, “what happens between the songs is almost more important than the songs themselves because you create the mood and the ambience. To me, the dream artiste is one who sits at the piano and plays beautifully, sings beautifully or whatever, and then stands up and really charms the audience. Every minute you’re on stage is a vital minute. You can loose an audience at any time.”
He tells us about one act he knows who has one of the greatest voices in our business: “She does really interesting material and then ruins it by simply not knowing what to say about the songs. It’s about finding herself as well as herself within the music.”
Probably the best part of the interview for we artistes is when Stuart explains in exact detail (he couldn’t be more specific) how we can get booked for one of his festivals. We talk at length about what he wants to see in the introductory email, how long a YouTube clip should be and what should be in it, and what kind of pictures he wants to see. We discuss artistes using agents or going direct, the ideal size of band the artiste should bring along and the future for cabaret artistes in general.
You can read more about Stewart here.
In part 2 of my interview with sound engineer Kay Richardson, we cover microphone technique and the kind of language to use when we’re communicating with the sound engineer. It can be daunting for anyone from a non-technical background to try and communicate with the sound engineer so I was keen for this Podcast to include clear advice on how to tell the engineer what you need. (Read more…)February 7th 2014
Kay Richardson is a freelance sound engineer and sound designer. As well mixing sound for cruise lines, where I met her, she’s mixed and recorded live events for The Gwinnett Center Arena, 14th Street Playhouse, Alpine Theatre Project and Springer Opera House. In addition to her engineering work she’s designed sound for The Colored Museum, A Song For Coretta, Black Nativity, and Fences. Kay was nominated for a 2011 Suzi Bass Award for her sound design for Gut Bucket Blues. (Read more…)
There are two ways an audience can really show their appreciation: give you a standing ovation and buy a CD. One’s good for your ego, the other pays your bar bill.
When I first started working on cruise ships I almost always got a full standing ovation. I came to expect it. If it didn’t happen I’d be cross with myself – I must have messed something up, not given them enough, or whatever.
With more experience my act improved and a strange thing happened. People stopped standing up. I’d do a great show but no matter what I tried, no standing ovation. I drove myself crazy trying to remember what I used to do that had worked so well. (Read more…)