I arrived for this performance through peak hour traffic three minutes late. A firm usher chided there was a strict five minute lockout, and we could watch the show on television. There were 20 people watching the pre performance with house lights. Then at 6.40 a song began and house lights dimmed, and we were allowed in. The song like much of the show was sung peripatetically to the audience, and started a conversational style that continued through the show. The next ten minutes were light banter about the experiences of Kate Bush, then Sarah-Louise joked that this was not the show, that the PR for the show really should have been stopped.

This comedic banter typified the style of AN EVENING WITHOUT KATE BUSH. It would resonate with the fan club and any follower of Bush – just put up a music video, clear the cabaret floor, and let everyone dance – people would be happy with any memorabilia gesture to this unique late twentieth century singer. 

At 7pm Sarah-Louise Young launched in to a fully lit, costumed theatrical number, and one sensed the evening really had begun. The problem was that every time the show came near the quality of Bush’s Celtic mystique style, the Wharf show undercut it with throwaway lines and chatter. This might suit fans of Bush, but equally can make some in the audience feel excluded.There were only a few clear songs – so often lyrics were interspersed with asides and jokes. Sarah- Louise has the ability and strength to do a full Bush show – with a variety of costumes and sets. This show probably features the cabaret style in which it was born.

Bush might have been melodramatically gothic in her presentation, but she was sincere and serious in seeking spiritual values through song. Her meaning is elusive — compared with Abba, or Presley, or any other number of homage subjects. People might laugh with joy seeing Bush but Bush herself is very sincere, a rhapsodic siren seeking hope, prayer, redemption and passion through her songs.

Then there was Bush’s voice. The audio person said last night that they were advised by the producer to engineer a rock concert sound. Kate might have been admitted into the hall of rock and roll fame but she is anything but a rock or even a pop singer. 

When she goes high it is a lot more than lifting the volume – as modern audio amplification encourages. Kate is as thin as she is high. Precise in pitch, full of little experiments in runs and slides of notes, in vibrato, and harmonies. She breathes emotion. Her voice finds a light bewitching emotional intensity that surprises modern audiences.

To what extent does Young capture Kate’s voice quality? To a large extent, she has a good go. But finally there is a difference. I will leave it to vocal coaches and singers to delineate that difference.

This was a celebratory tribute evening, that is true. It has many good things – energy, enthusiasm and freshness. Many there enjoyed it a lot. But strictly speaking it was not a homage. The distinct quality, ideas and voice of Kate were not consistently there. In the words of the title, Kate Bush was not there.

The show was advertised as 65 minutes in length. It ended at 7.50. I had a quick word to an acquaintance in the auditorium while queuing to leave. The same usher curtly asked us to leave quickly, and just as firmly. As if we were the problem. Another show was coming in. A real first for me in the theatre. The Festival must make sure first of all, that audiences are served, and not just that programming needs are met. 

Sarah -Louise Young in AN EVENING WITHOUT KATE BUSH is playing Wharf 1, Sydney Theatre Company until 21 January 2024.