5-31 August (ex. 24) 20:15Lady Carol looks like a gothic Lana Turner with a penchant for Arabian Nights. She sings cover versions and originals tinged with darkness, accompanied by herself on ukulele, interspersing these with unexpected comedy.
Indeed, the show’s attraction is this splendidly pitched juxtaposition of the beautiful, sinister and mysterious first impression with witty, kooky self-psychoanalysis. I have no doubt that the men in the audience are enthralled by Lady Carol’s sensual weirdness, but this characteristic has depth due to Carol’s ability to cut through the tension of her mystique with wacky yet candid chatter.
Blessed with an incredibly astute sense of comic timing, Carol plays with this in a variety of inventive ways, such as making it impossible for the audience to sing along with her darkly chirpy “sing-along” finale. Her Irish accent complements this whimsical film-noir stage persona perfectly, being simultaneously down-to-earth and charming.
Songs are Johnny Cash-esque, with sparse strumming, sinister lyrics and charismatic delivery. However, Carol’s voice, which has a yodel-like step, is much more wavering and off the wall. She takes a while to settle into her stride, initially seeming nervous and her vocals at times slipping flat and unpleasant. Her voice, however, while retaining the wacky element, gradually becomes self-assured and sultry.
She also has an unnerving habit of rolling her eyes around at the top of the sockets, which I find creepy, and which may simply be due to nerves, but if deliberate is a highly evocative sensual/weird mannerism.
Although unlikely to be to everyone’s taste, this beautiful weirdo is thrillingly, sexily quirky and has sparkling comic timing, but chinks are visible in her armour of confidence.