‘We Get Requests’ Cabaret show


https://www.youtube.com/watch?v=lR1kyknaIWo 'A Nightingale sang in Berkely square'

Must be performed as two separate sets of 45 minutes with 20 minute interval

Performed at the Adelaide Cabaret Festival, Edinburgh, Ireland, Sydney’s Woodfire Cabaret, Port Fairy Arts Festival, Glenn Street Theatre Sydney

The first half features Janet reminiscing and singing songs with the trio about all the requests from famous and infamous people who’ve sat around the piano bar and also features the famous ‘piano bar medley’
The 2nd half is over to the audience who write their requests on slips of paper and sometimes include their name (or dedication) and we sort the set out in the break. It works very well on a number of levels and also gives the audience a chance for input.

We Get Requests
We Get Requests is based on Janet Seidel's experiences as a piano bar pianist, and begins with a very funny, insightful segment during which her musicians, David Seidel and Chuck Morgan, portray two piano bar patrons from Hell!

'In the second half the trio eases through a pile of audience requests (written on paper slips) from ‘Crazy’ to Sondheim's ‘Send In The Clowns’ and Jobim's ‘One Note Samba’. It was fun to watch them improvising arrangements as they went, even decorating ‘Crazy’ with backing vocals.'
John Shand, Sydney Morning Herald

Song List first half:

  • They can’t take that away from me
  • Your Feet’s too big
  • I’m an Old Cowhand
  • My Attorney Bernie
  • A Nightingale sang in Berkeley Square
  • Paper Moon
  • Fly Me to the Moon
  • The First Time Ever I saw your face
  • Cheek to Cheek
  • Piano Bar Routine
  • Song List second half:

The songs are sorted into an order based on the audience requests (which are written on slips of paper)

‘We get Requests’ translated by Tad Watanabe.
From "Jazz Life" 2007.08 Page 99.


Live Performance recorded in Adelaide, Australia in 2003
By Kiyoshi Sugano

Attending their live performances is the best way to appreciate a genuine charm of genuine singers. This holds exactly true to Janet Seidel, Australia's first lady of Jazz. Last year, when Janet appeared in "Fujitsu Special: Jazz Elite 2006," she firmly gripped the audience with her stunning presence on the stage. The same is true here. You can enjoy the art of Janet on stage as much as you want when you listen to this new album. I've been told that this new CD, the recording of her gig held in Adelaide, Australia in 2003, is an answer from Janet to urgent requests from her devoted fans. I am convinced again that with her agelessness and tender singing with rhythm, Janet Seidel does not need special occasions to be a singer of great distinction.

Swing Journal August, 2007 Page 156


by Janet Seidel Trio

A review by Youzou Iwasaki
3/5 Three stars out of five.

I always have a deep sense of empathy for songs by Janet Seidel because Janet sings sweetly with a straightforward dictation. This fully brings out the charm of original scores of songs she sings. Her singing style can be considered to be the ideal of what a vocalist can be.

As indicated by the title, this is a recording of the live performance in 2003. All eighteen songs on this album are a jazz standard and popular songs all her devoted fans certainly hope to hear Janet singing. This brought me a thrill and excitement.

In this album, Janet accompanies herself on piano with guitar and double bass. This simplicity gives a pure and clear taste to her performance. To add to that, heartwarming moments will be yours while you are listening to this album. This certainly brings back to some listeners the memories of her live performances in Japan in the past.

"But Not For Me", "A Foggy Day", "Look of Love", and "Them Their Eyes". They are all great. But popular songs like "Diamonds are a Girl's Best Friend", which made famous by Marilyn Monroe, "Cry Me A River", "Johnny Guitar" and "All the Way" are greater because the charm of Janet can be stronger there. "They Can't Take That Away From Me" and "You Do Something to Me" tell me Janet has been steadily advancing in singing. In addition the dialogue of Janet in the track 8 seems to be appealing to her fans.

In conclusion, this new album is a must for anyone who loves the music of Janet Seidel.

High Life

Sun Herald

Sunday May 11, 2003



Cabaret on request, Bach brainteasers and a big splash of Irish culture.


All you have to do is ask . . .


CABARET singer Janet Seidel knows a thing or two about taking requests. She's done it in piano bars from Stockholm to Hiroshima, although her new show takes the practice to scary heights. The entire second half of We Take Requests will be gleaned from directives from the audience, the new repertoire researched and furiously rehearsed during a tiny interval. So what's the weirdest request she has ever heard? ``I have sometimes been asked for a classical piece," said Seidel, who is also a classically trained pianist. ``I think, really, the most difficult requests are from people who have songs fixed in their mind and they sing you a few bars," she said, with a little groan. ``They really expect you to know what's in their mind." Audiences should note that remembering the title of the song helps and not just the first line. (It's They Can't Take That Away From Me and not ``The way you wear your hat", for example.) The show opens this Wednesday at Belrose. Do you know the way to the Glen Street Theatre? No, but hum a few bars and we'll fake it.