By: Bek Grealy

Last night, we encountered Emilie Autumn and her Bloody Crumpets at The Metro theatre, Sydney.

Emilie Autumn’s performance was a two-hour theatrical extravaganza, a conceptual wing-ding that has only a tangential relationship to the normal procedures of rock ‘n’ roll. I recall Emilie’s My Space page a couple of years ago, which included portions of a predictable rock line of attack, and depicting evidence of this in the future events, with the maintenance of two support bands. It was, basically dubbed, a gig.

But now, it’s a show, and the difference is distinct. Emilie Autumn has taken a decisive step towards theatre. No support bands tonight – just an elaborately dressed stage, some equally elaborately dressed Bloody Crumpets, and Emilie Autumn the queen of the performance.

The Crumpets emerge from the deep darkness of the back stage, followed by Emilie Autumn herself, exuding confidence and control, the fulcrum around which this surreal song and dance spectacular revolves. It’s interesting that she arrives on stage and spends much of the song on the harpsichord riser at the back, allowing the Crumpets to fill the stage. Emilie might be the star, but this is definitely an ensemble show, and it is evident that she is not a stage dominate, and consequently revels in the success as an entire assemblage.

The non-stop gyrations of the Crumpets are choreographed to the hilt however engagingly chaotic or disorderly, a constantly shifting backdrop of flounces and frills and set-pieces and stunts, through which Emilie prowls, grasping the microphone as if it was a bomb and to let go it would explode!

Down the front, the plague rats and muffins (in the world of Emilie Autumn, you’re either a rodent or a bread product) danced about as bawdy kisses where exchanged with lots of lesbian overtones. Unfortunately the backing track (there was actually no band to be seen) didn’t sound sharp, it was like a blanket was draped over the speakers muting the sound.

Here, perhaps, we come up against the slightly awkward transition between this theatrical performance – choreographed, structured, scripted – with the wing-it-and-to-hell-with-it approach of rock ‘n’ roll. Maybe the next stage of development should be to take the Asylum out of rock venues altogether, and put it into more exotic theatres. Such theatres as Capitol Theatre, Star City, The Enmore Theatre, Sydney Theatre or perhaps eve the Opera House would be sure to fill up to the top and have the viewers erupting from all surrounds.

Although this performance was intense, dazzling and fearless, it needs more music. For an artist who has played violin since the age of 4, the violin was only introduced 3 times throughout the 2 hour performance. I gauged a very disappointing response from the viewers who left 1 hour into the show and commented on the absence of superior music. Those who paid $50 a ticket were hopeful to see an untouchable violinist and music to couple with this extravagant performance, instead they departed with bright costumes and lesbian acts clouding their vision.

Emilie Autumn has a lot of potential, and in order to become the dream of being “A performer and a world class one” the collective performers have a challenge on their hands. With more top class music, that of which is definitely available amongst these musician beauties, this dream could blast through to reality.

Photo Gallery: Emilie Autumn @ The Metro, Sydney – 18 March 2010