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Kim Smith, Live at Joe's Pub at the Public Theatre, NYC

Kim Smith, Live at Joe’s Pub at the Public Theatre, NYC

“Completely stellar…slyly subversive.”

Will Friedwald, The Wall Street Journal, New York City

“He happily considers himself as a misfit, as the title of his show suggests, and goes about proving his point in several languages. There’s no one else around these days offering the kind of cabaret that he does so compellingly. Well, maybe Ute Lemper, but that’s it. Smith needs to be seen, and now.”

David Finkle, The Village Voice, New York City

“I’d bet that Kim Smith could sing the dictionary and turn it into a dramatic musical theatre piece, keeping the audience spellbound from aardvark straight through to zymurgy. To every song he brings a commitment and focus that are intense and hypnotic. His delivery, in a voice with no fuzzy edges, is enviably precise. Add to this his striking good looks that are almost improbably pretty and you’ve got a unique artist, unlike anyone else I know of in this country. Indeed, he’s an import from Australia—I guess we don’t grow ‘em like that here.”

Roy Sanders, BistroAwards.com, New York City

“Coordinated and polished, he makes cabaret seem so easy, sensual and natural.  A powerful, self possessed and incredibly enchanting force of massive appeal, Smith demonstrates how cabaret should be performed. He is a master of his craft.”

Liz Belilovskaya, TimesSquare.com, New York City

“Why try to describe Kim Smith and his show? It has to be experienced. It is perhaps enough to say that if it ran for two hours instead of one, it still wouldn’t be enough.  One (song) that has to be spoken of is Pirate Jenny. Pairing it briefly with What Shall We Do with the Drunken Sailors, Kim delivers what may be its most powerful rendition.  The two songs wrap up a theme I have tried to describe; out there is the dark sea, beckoning dreamers to its depths, home to sailors who travel the world and escape from the tedium of everyday life, as Jenny dreams she will.  But it is that same sea that is quite ready to fling the dreamer mercilessly back on the shore.”

Barbara Leavy, Cabaret Scenes Magzine, New York City

“From the moment Kim walked towards the stage, I felt as though I was transported back in time to what it must have been like to be in a real cabaret in 1920′s Berlin.  It’s inspiring and amazing that someone so young is out there performing this style of cabaret. When Kim sang his first note, I knew I was in for a delightful evening. When Kim spoke his first line of patter, I knew that delightful evening was turning into a hilarious evening. When he combined the two, I didn’t want the night to end!”

Adam Rothenberg, Adaumbellesquest.com, New York City

“★ ★ ★ ★ ★ Kim Smith’s Morphium is addictive cabaret, fronted by a genius with a mighty future. Smith is the real thing…at last an artist working the room and probing the audience. Smith is a cabaret practitioner who understands his craft and uses every nuance, gesture and lascivious lyric to keep the crowd involved and on the edge of their comfort zones. Smith’s camp acid drops on topics from the personal to the improbable, his musical choices are often rare and always arresting.”

Matt Byrne, Adelaide Sunday Mail, Australia

“This 26-year-old embodies all that is unique about this art form — it would be a challenge to look away from him. There isn’t an extraneous gesture, expression, word or note. He has chiseled away everything that is unimportant to get down to a precise core. This is cabaret at its best and most interesting!”

Arthur Frank, Cabaret Scenes Magazine, New York City

“Smith performs as if he’s a porcelain doll turning mechanically on a delicate music box. He’s got a wide Mack the Knife smile…occasionally, he draws his supple hands across his chest as if wiping off illicit thoughts. Women probably find themselves wanting to mother him; gay men probably think he’d be ooh such fun to take home. He’s all decadence and sly appeal.”

David Finkle, Back Stage Magazine,New York City

“Its a triumphant homecoming for Kim Smith. Polished to perfection but still wickedly dirty when the moment calls for it, Morphium is one truly engaging hour of cabaret.  Smith is utterly engaging as a sole performer whose vocal talent is arguably among the best in this years Adelaide Cabaret Festival.”

Jessica Leo, The Adelaide Advertiser, Australia

“Mesmerizing both to watch and to listen to, Smith is beautiful, his voice is beautiful, and both make a gorgeous contrast to the often eerie nature of many of his songs. The result is a deliciously unsettling performance you cannot stop watching.  Smith’s cabaret is a blend of classic songs and contemporary pieces imbued with fresh irony and wit, rendering them darker, sometimes funnier, and completely captivating; he holds his own darker version of well-known contemporary songs up against the familiar standard, rendering them unfamiliar, to uncanny effect.”

Bisanne Masoud, Cabaret Exchange Magazine,New York City

“Smith gives each song his own stamp, giving lyrics a meaning far removed from the innocent intentions of the composers. This is definitely cabaret that embraces the dark side. Smith has the audience in the palm of his hand from the moment that he steps on stage to his final exit, whether on the stage or while working his way around the room, resting his hand lightly on the shoulders of men in the crowded venue. His is an exceptional performance with a wicked edge and a high degree of professionalism and polish.”

Barry Lenny, Arts Editor Glam Adelaide, Australia

“Kim Smith is cool, lithe and consummate with all the confidence and presence needed to allow you sit back, no effort required, and be entertained. With just his voice and delivery Smith recreates the seductive decadence of the kabarett performances of Weimar Berlin. Smith just knows he will soon have the audience eating out of his palm, probably even sucking his fingers. He is most definitely mesmerising and compelling.”

Liza Dezfouli, Australian Stage, Australia

“Mr Smith is the consummate showman from his entrance through the audience to his lingering, understated exit. Delivering cabaret in the Weimar style Smith displays his language skills as well as his musicianship. Unusual numbers revamped prove very entertaining, including a version of The Supremes’ “Keep Me Hangin’ On,” which was moody and sensual, and “Somewhere over the Rainbow” (in German) which was just beautiful. Smith’s every gesture and expression conveyed his understanding of the material and the emotions involved. It’s what cabaret is all about!”

Fran Edwards, Adelaide Theatre Guide, Australia

“Not to mince words, Kim Smith is mesmerizing.”

Barbara Leavy, Cabaret Scenes Magazine, New York City

“A new breed of cabaret star.”

Troy Gurr, MCV Magazine, Australia

“Consummate artistry, strikingly expressive interpretations…As thrilling a debut as I can recall seeing,”

Roy Sander, Theatre Critic/Columnist, New York City

“★ ★ ★ ★ ★ Wit and cleverness aplenty. Smith has strong sense of irony, wit and avante garde – always entertaining, great voice with impressive range –gratifying to see new edgy shows like this.”

Tim Hunter, The Age, Australia

“A highlight of the show was the Australian guest star Kim Smith, whose outstanding singing brought goose bumps to the audience. Stylish, wearing his bowler hat, the artist sang not only in English but entertained the German American audience in both languages. Thus the evening turned out to be a delight for German and English speaking guests as well as for true connoisseurs of the art of cabaret and  those who aspire to rise to this level.”

Jessica Narioch, AmerikaWoche Magazine, New York City/Berlin 

“After an hour of his mesmerising performance, I was in a haze of awe. His rendition of ‘Missed me’ and ‘Pirate Jenny’ are still playing in my head. Brooding and sophisticated neo-Weimar cabaret at its very best.”

Lena Nobuhara, Cabaret Confessional, Australia

“Kim Smith is master of his own domain in cabaret, totally secure and in charge of every twist and turn and trick or treat, tremble and taunt. His version of “Over the Rainbow” is sung wistfully, yes— beautifully, yes — with aching loneliness, yes — but in German. Whether dripping with melancholy or bouncing back with bright eyes washed by the tears and alight with the possibilities of joy and/or romance to be found, this multi-lingual, multi-faceted fellow is a consummate performer”

Rob Lester, NiteLife Exchange Magazine, New York City

“Kim Smith’s Morphium (is) a brilliantly constructed variation on the Weimar-style cabaret that combines standards, Brecht, Weill, with Friedrich Hollænder, and esteemed visitors, among which Poulenc’s “Hôtel” may be especially mentioned. Extra points for an eyebrow raising transformation of “You Keep Me Hanging On” but that was nothing compared to his own arrangement of “Confide in Me.” A must-see!”

Peter Burdon, Blaze Magazine, Australia

“Smith weaves an enchanting web of seldom heard, yet seminal cabaret music. It’s impossible not to be drawn into his mystique, his charming lasciviousness, and the haunting voice. Smith is a must-see, one-of-a-kind entertainer. His show, while inspired by the past, is thoroughly modern, always inventive and stunningly performed.”

Steve Murray, Cabaret Scenes Magazine, San Francisco

“Kim Smith is an epic risk-taker. He roguishly discards conventional boundaries with abandon in his dark, multi-layered new act Misfit…at times, it almost borders on a sado-masochistic excursion into pathos, seduction and nonchalance. Always daring himself and his audience, Smith might be classified as a fascinating performance artist who also sings.”

John Hoglund, TheatreScene.net, New York City

“There are what seems like hundreds of flaming queens playing piano bars in New York and most of them are the cookie-cutter variety. Kim Smith is more the boxcutter type. Last night, his icy slink and velvet delivery matched to a stiletto wit, he played the diva role to a hilt…and he’s a dynamite singer. “Bang Bang” and “You Keep Me Hanging On” were reinvented as completely over-the-top noir cabaret, while a mashup of Marlene Dietrich and Kylie Minogue seemed like a perfectly natural segue, supported by his steady stream of snarky one-liners.”

Lucid Culture, New York City