Rufus Wainwright Sparkles On The Danforth

The Music Hall

Toronto, ON

on Jun 11 2007

Shannon Whibbs (CHARTattack)

06/13/2007 11:30am

Built in 1919 and bearing a history of musical theatre and vaudeville, the newly refurbished Danforth Music Hall was the perfect setting for consummate showman Rufus Wainwright.

The show opened with a short but packed performance by Andrew Rodriguez (ex-Bodega) and his band playing tunes from his new album, Here Comes The Light. The sound was tight and the well-crafted songs moved seamlessly from Beach Boys-esque pop ("Astonished Heart") to soul to country with a touch of angst ("Breakfast"). Rodriguez had something up his sleeve for everyone.

Rufus Wainwright is the kind of performer who attracts large numbers of fans of the hopelessly devoted variety. Gay, straight, man, woman, young, old... you name it and they were all chomping at the bit for a glimpse of the glittery troubadour.

And there was glitter! The stage backdrop was a pseudo American flag with black-and-white stripes and little sparkly doodads in the place of stars. Wainwright would later explain that they were supposed to be brooches (oh, Rufus!) and the image represented the best and worst of the U.S.

But it was the players who glittered the most. Wainwright's seven-piece backing band filed out first, dressed in garish mismatched striped suits and speckled with jewelled brooches and twinkling lights. Wainwright soon followed with an equally tacky suit and even more fake jewels. A smirk, an "I'm owning this, bitches" pose, and the show was on.

He opened with the title track of his latest album, Release The Stars, a big, showy number that prominently featured his three-piece horn section, who also served as back-up singers. It was unusual to see an all-male band, as many of Wainwright's songs have traditionally featured female backing vocals. These fellas had fairly girly voices, so it worked, but it wasn't quite the same. The classical sounds were balanced out by an electric guitar outfitted with a series of pedals to provide sonic texture.

Wainwright worked his way through a beautifully balanced set list, belting out the demanding songs "Slideshow" and "Beautiful Child" with the band, and then moving to the piano for mellower tunes "Leaving For Paris No. 2" and "I'm Not Ready To Love." Clever segues and stage banter abounded. He made the occasional stumble, but his well-honed sense of self-deprecation has long trained fans to applaud his foibles as heartily as his triumphs.

However, some were no doubt disappointed that he steadfastly avoided playing anything from his first two albums. Release The Stars was performed in its entirety (including "Sanssouci," which Wainwright described as "the gay 'Margaritaville'"), along with a handful of tracks from Want One and Want Two.

Wainwright played old songs — just not his own. He continued to channel his inner Judy Garland with "A Foggy Day (In London Town)" and "If Love Were All Lyrics." An extraordinary highlight was hearing him croon an Irish dirge ("Macushla") without the aid of a microphone. His voice soared up into the rafters, evoking vaudeville days of yore.

But the best was yet to come. After playing a stirring encore — including "La Complainte De La Butte" and "Pretty Things" — while wrapped in a bulky bathrobe, the band reappeared dressed in tuxedos and Wainwright flung off the robe, revealing nylon stockings and a perfect replica of Judy Garland's famous "tuxedo-dress."

The choreography was charmingly clumsy as the band danced and twirled around Wainwright while he sang the signature Garland tune, "Get Happy!" Indescribable. Go watch it on YouTube. The show closed, aptly, with "Gay Messiah."

Perhaps Wainwright wasn't playing his hit parade on this particular tour, but no one could accuse him of not putting on one hell of a brilliant and entertaining show.