Get To Know Naomi Price

In the lead up to her Adelaide premier at the Adelaide Cabaret Festival next week, we chat to Naomi Price who plays Adele in her show ‘Rumour Has It‘.

You may remember Naomi after her successful stint in The Voice Australia in 2015, but now she has turned to cabaret with the A Little Red Company.

We’ve been told by Naomi herself to expect “an incredible live music experience, with me swilling gin, swearing and singing my face off.”

After chatting to Naomi, we think her take on Adele may even be more entertaining than the real deal!

Why did you choose to tell the story of Adele through cabaret?
Adam and I initially came up with a concept for a show called ‘Cheer the F*$k Up Adele’ as we’d laughed for a long time about how sad all her songs were. Then when we actually started writing the show, we fell in love with Adele, her music and the very private celebrity she is. We were fascinated by the difference between her speaking and singing voice, and thought that was a brilliant starting point for an original cabaret. The way Adele talks lends itself brilliantly to cabaret as a genre: it’s candid and honest, and is littered with bad language and great jokes!

For someone coming to see you perform for the first time, what should they expect?
They should expect brilliant musicians onstage creating an incredible live music experience, with me swilling gin, swearing and singing my face off. This show has a heart of gold and will take you by surprise time and time again. We like to include biting commentary on the stupid things celebrities do – Rumour Has It is our outlet for calling things as we see them.

As your show during the Adelaide Cabaret Festival is your Adelaide premiere, what are you anticipating from the Adelaide crowd?
I have only ever been to Adelaide Cabaret Festival as a guest before, and I know just how rowdy things can get! There is an amazing vibe during the festival, so I know our show will fit that party atmosphere perfectly! I am expecting audiences with open hearts and open minds. There is nothing else that comes close to Adelaide Cabaret Festival in the country, so I know we are going to have a very special time.

Do you have any touristy plans while visiting Adelaide?
I wish I did, but this show is very vocally demanding so I will probably rest during the days. I would love to head out to a great winery – I have previously visited Tomich Wines – and pick up a terrific box of wine to take home. I am open to any suggestions from locals who are in the know! And I will definitely head to Central Markets to stock up on the essentials.

How long does it take to transition into Adele – hair, makeup, costume & character?
I usually start preparing about 2.5 hours before show time. The physical transformation takes about an hour, which includes wig, padding, costume and extremely heavy makeup. I also need a full vocal warm-up before every show, as pretty much every song is a massive sing. I like to smash out one song with my incredible band ahead of the show, just to get us all on the same page, and then pour me a gin and I’m ready!

‘Rumour Has It’ started back in 2012, has your show adapted and grown with Adele’s life since then?
It’s a totally different show from when we first wrote it. The best part about growing and developing the work is that we get to make relevant, current jokes and comment on nonsense that is very prevalent in people’s minds. This keeps it fresh for us all. There is also a large section of the show that is improvised, totally based on audience response, so that always gives us some absolute pearls. We have obviously added some of her new music, as she has released a new album since we first created the show. I love playing a real life person, as they never stop giving you new material.

You’ve been Miley and now Adele, any plans on who could be next?
Of course! But I can’t tell…. It’s a secret! Watch this space…

You can still get tickets to Naomi’s show that premieres next Thursday night, June 23, and runs over three nights. Buy your tickets here.

Photography by Dylan Evans




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