The Fat Man Of Love Tips His Hat To Tom Waits
Fat Man Productions
Main Theatre, Higher Ground
Wed 14 March
Until Sun 18 March


I am a late convert to Tom Waits, but my fanaticism is entrenched. Waits has toured Australia twice, but his fear of flying means that another tour is problematic. Hence, I jumped at the chance to see if the Fat Man Of Love could sate my appetite.

Resplendent in road kill coat and with the trademark gravelly tonsils, Harry the Fat Man proved himself an incisive interpreter of the Waits canon. The emphasis was on the early material (Late Night Evening Prostitute, Romeo Is Bleeding, Shiver Me Timbers) that lent itself particularly to the Fat Man's worldly (dare I say lecherous) persona.

The show was well constructed and the numbers were linked tightly to give an hour of cooked meat and no fat. Moreover, despite sharing a small stage with up to six musicians, the Fat Man utilized resourcefully the few available props to create a noticeable cabaret feel, particularly on Small Change. That feel was enhanced by the intimate and smoky arrangements of the ballads, Ralph Franki's sweet saxophone a standout.

Waits is lauded justifiably in many quarters as a poet comparable to Dylan, Cohen and Mitchell - and his connection to society's losers and dreamers is far greater than any member of that trio. As good as he was, the Fat Man only had time to scratch the surface and there is plenty of scope for other Waits' nuts to follow. Finishing with a no holds barred Big In Japan, the Fat Man strode off stage to warm appreciation, and I think Waits would have tipped his hat if he had had the pleasure.

Mal Byrne