Forget Herbert Grönemeyer. Forget Marlene Dietrich. Adelaide's favourite German is in the house! Fresh from his run on America's Got Talent, Hans (Matt Gilbertson) returns to dazzle his adopted home-town audience with a joyously queer show that will warm even the most conservative of hearts. A word of warning to first timers in the audience though: you will be expected to clap in time, and clap often.
Throughout this deliciously salacious hour of musical entertainment, I wondered just how much multitasking can one queen can do? From performing his opening number from The Sound of Music whilst zooming around on an electric scooter on stage, to taking jesting jabs at celebrities with the deft flick of a wrist – “You know, the passive aggressive Japanese woman on Netlix?” – Hans proves once again that he is a born entertainer, made of magic and sequins. Lots of sequins.
Hans' ad-lib moments and interaction with the audience is simply unparalleled. He preys on the weak and the elderly, most frequently poking fun at hapless white males in the audience. In this case it was, “Damien, honey, touch whatever you want – that's called consent, darling!”
Gilbertson's topical political references burn with the fire of a thousand suns. While the likes of Clive Palmer and Christopher Pyne got a gentle roasting, he saved the gas for the biggest fish in the pan – Cardinal Pell – before launching straight into a rollicking rendition of Madonna's "Like a Prayer".
Backed by the superb seven-piece band The Ungrateful Bastards, Gilbertson demonstrates prowess on piano, vocals and accordion. In this superbly well-rounded show we are also privy to a tap solo, scathing political commentary and hilarious ad lib to boot, making Hans a shoo in for one of the best shows at Fringe once more.