Review: California Crooners Club
Saturday 28 February 2026
Gluttony - The Flamingo
The California Crooners Club 2026. Think style, substance, coolness, charm and swing. Well… some of those things were there — and others were not.
This brilliant concept and brainchild of the uber-talented Hugh Sheridan has proved so successful it sells out at every Fringe, and this year will be no exception. The appetite for this show is undeniable. But there were some ifs.

The ‘Rat Pack’ cheeky, stylish, slightly irreverent tone is still very much present. The show opened with the verse of “I Get a Kick Out of You” sung offstage, and we all instinctively looked left and right waiting for that trademark swagger. One by one they entered: Sheridan — incredibly handsome, commanding, that astonishing voice wrapped in a classic tuxedo. Then Emile Welman from the original cast, smooth and assured. Finally Isaiah Firebrace — stepping in late following the cancellation of Gabe Roland — equally handsome, immaculate in tux and shiny patent shoes. Visually, it was perfection. The formula looked properly stirred and cooked to absolute success.

The band — David Goodwin on piano, Milush Piochaud on bass and Chris Neale on drums — were superb. Tight, responsive, stylish musicians of the highest calibre. No notes there.

I understand what they were thinking: let’s flip the Crooners concept on its head and broaden the musical scope. Give the audience something unexpected. But here’s the thing — when you build a brand on swing and classic cool, you can’t stray too far from it without losing some of the magic.
We heard hits from Billy Joel, Olivia Dean, The Supremes and numbers from Dreamgirls — but only a couple of true Crooner-style staples. “I get a kick out of you” and “Mack the Knife” were welcome.

The stunning Send in the Clowns was a true highlight. That song showcased Sheridan’s emotional depth and vocal power, beautifully supported by Welman’s velvet tone. Firebrace added a lovely contrast with his higher lines layered over the richer textures beneath.
Isaiah has a genuinely beautiful voice. You can hear the quality instantly. But stepping into an already established trio dynamic at the last minute is no small task. It will take a little time for him to fully settle into the Crooners rhythm and banter.

There was much to like. The swagger. The audience roaming. Singing Happy Birthday to Lillie and Uncle Tony. The crowd adores this show — and so they should. But at times it felt loose in a way that wasn’t quite “cool and effortless” but rather under-rehearsed. Sheridan mentioned we were essentially at a dress rehearsal, and occasionally that’s exactly how it felt.

The image slipped slightly too. It was a warm afternoon, yes — but when Sheridan and Welman removed their suits and shirts to sing in black T-shirts, the Rat Pack illusion dropped. Firebrace remained in shirt and tie, staying true to the genre aesthetic.

Songs like “Stop! In the Name of Love” and selections from Dreamgirls simply don’t belong in a Crooner show unless they are reimagined in that idiom. There was little attempt to jazz them up or swing them out. The Olivia Dean cover “So Easy” suited Firebrace’s contemporary tone beautifully — but again, stylistically it drifted from the show’s core identity.

That said, this production will absolutely be a hit. The audience energy alone guarantees that. And the mash-up of New York, New York (Kander & Ebb) with Empire State of Mind was a masterful pre-finale choice — clever, energised and vocally thrilling. Sheridan and Welman particularly shone here.
In essence, California Crooners is still enormous fun. It’s charming, vocally impressive and undeniably crowd-pleasing. But it could do with reclaiming more of that tight swing and polished cool that previously earned it five-star status. With a few more shows under its belt, I suspect it will rise back to that level.
The bones are there. The talent is unquestionable. It just needs a little more stir — and a little more swing.

⭐️⭐️⭐️⭐️
4 Stars
Stephen Foenander
For Adelaide Review Team