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tim mcarthur Life Is a Cabaret
by Rich Cline page 3 of 3

...back After the buzz of Mardi Gras, Tim will launch a cabaret season at Stef's restaurant in Soho and produce 'When Harry Met Barry', which he calls "a romantic musical comedy about a mischievous matchmaking angel." And his schedule goes on like that until the autumn, when his Friday and Saturday cabaret nights start up again at Jermyn Street Theatre.

Is there anything he wants to do in his spare time? "I'd really like to do TV presenting. You know, quirky comedy stuff! I have lots of irons, but I'm still open to offers. Just visit www.timmcarthur.com," he blurts out in a shameless flash of self-promotion, before adding that he's single and looking for love.

IN THE PALM OF HIS HAND
tim mcarthur His voice is remarkably powerful. His Ewok-like physique is thoroughly endearing. But the secret to Tim's performance is his ability to lock onto you with those soulful eyes. This takes the form of a gleefully depraved twinkle in comedy bits such as his song about his relentless obsession with Prince William, a brutally hilarious rendition of 'Boom Bang-a-bang' that he calls a "tribute" to Eurovision, and a show-stoppingly manic number about a holiday in Rio. Then in the more serious ballads, he has the ability to live right in the moment, making us feel the pain of loneliness or the joy of striving toward a dream. All of this is connected with witty banter that keeps us relaxed and open to whatever might come next: a sudden appearance in nun's garb or a truly frightening tin whistle routine. Some of the numbers are an inside job, probably more meaningful to fans of musical theatre. But he knows how to pace things and keep us laughing ... or sighing. And he has that rare ability to be thoroughly gay without being over-the-top camp. Keep an eye out for him.
Ahem! So what pearls of wisdom does he have for aspiring performers? "You have to be really committed," he says. "There are so many talented people out there and you've got to work really hard. I think you've got to do most of the work yourself and not be pushy but work really hard. Because cabaret in London is small now but it's growing. It's nice to be able to give artists work and also of course to encourage up and coming artists.

"I've always learned something from every job, whatever hat I'm wearing. And since I've started producing a play and programming the cabaret seasons I find it really interesting being on the other side; what artists are like to deal with. Some of them are great and some of them are ... you know, no names. But I'm like, 'Oh my God, I hope I'm not like that when I'm working for people!' And my friends say to me, 'No Tim that's why we're your friends!'"

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Text 2002 Firststar Ltd Site 2002 by Rich Cline, Shadows on the Wall

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