Reservoir Dogs and Pulp Fiction soundtrack albums are as revered as the ground-breaking source movies, and they are brought to the stage by a magnificent ensemble of New Zealand musicians.
They swing through different styles, from rock to country, soul to funk, and all shades of pop. They are as slick and practised as a classic James Brown stage show. The smooth delivery heightens the emotional impact.
Everything went into these two movies, and they sprung forth in different directions like a box of fireworks. Pyrotechnics in the sharp, scathing and terribly profane language. As well as the action, packed with shocking violence usually filmed at mid-range.
He was aiming high and low. The movies are homages to the direct influence of Hitchcock, Akira Kurosawa, Scorsese and Peckinpah.
The real triumph was in the dialogue. Long and expository, and written for a live stage. Full of profanity, cruelty, wicked humour and diving deep into the psyche of men. To confront what Ernest Hemingway realised when he said, in this time the most dangerous occupation is to be a real man. Few will survive this.
This show is brave in combining all these elements and presenting it from alternate perspectives. It echoes the original movies in their non-linear narratives.
It is a Shakespearean attitude, heightened by the high level of musicianship. The songs are close to the original recorded versions, tastefully polished. All in 45 rpm disc timeframe.
A large screen behind the band plays key scenes. Band members are mostly dressed in black and white. Prop guns and briefcases are carried.
Vocals are shared between Laughton Kora (Kora), Milan Borich (Pluto), Booga Beazley (Head Like a Hole) and Julia Deans (Fur Patrol).
Reservoir Dogs
That’s sung by Kora, who follows immediately with a soul to disco belter. I Gotcha from Joe Tex.
At the heart of the movie and soundtrack was Stuck in the Middle with You by Stealers Wheel. The radio DJ in the movie is correct when he calls this a curious pastiche of Dylan and bubble-gum pop.
Clowns to the left of me/ Jokers to the right. Borich takes the lead. There is a great warm slide guitar tone added by Brett Adams (Bads), which is pure Duane Allman.
Magic Carpet Ride is a favourite. Originally by Steppenwolf, the version on the soundtrack is from Bedlam. Psychedelic rock merging to proto metal.
A short intermission before we go the second on the bill.
Pulp Fiction
His iconic Miserlou begins the second set. Adams is on fire as he plays it note perfect. Double-picked at rapid speed.
The engine room of Michael Barker drums and Mareea Paterson bass are one secret to the way this ensemble can move seamlessly through different genres. On the surf instrumentals they are authoritative.
Surf Rider. Comanche. Bustin’ Surfboards. Bullwinkle Part 2. Worth the ticket alone.
They add Link Wray’s Rumble for good measure.
Julia Deans is a delight with her spotlights. She acts the part of a sassy femme fatale. Sexy close-fitting red dress, and then she slaps you around with a coarse tongue and a wicked laugh. I think they just told her just to be herself.
The do the Jack Rabbit Slim Dance Off with six couples brought on stage, to the sound of Chuck Berry’s You Never Can Tell.
There are an over-abundance of riches.
Kora and Beazley nailing Jungle Boogie (Kool and the Gang). Kora then channels Al Green to sing Let’s Stay Together.
Borich is an older Ricky Nelson as he lays out a spooky Lonesome Town.
Reservoir Dogs and Pulp Fiction live on stage was totally indulgent and magnificent.
Rev Orange Peel
Photographs by Leonie Moreland
Great review.