Published: 28 May 2020
Last updated: 4 March 2024
THREE MONTHS AGO, Alexis Fishman was cast as Tsaytl, in Opera Australia’s Yiddish-language production of Fiddler on the Roof. Half a year immersed in Yiddishkeit, rehearsing and then performing to thousands in Sydney and Melbourne, were all ahead of her.
Then the pandemic hit. And the Sydney season – scheduled for the Sydney Opera House – was called off. Like many performers across the world, Fishman is waiting to see what happens next.
“It’s pretty shit, to be honest. Especially for someone like me; my bread and butter are musicals. I can imagine a world in which smaller venues are up and running. But I can’t imagine when the Sydney Opera House is back to full programming.
“The margins are razor thin. You can’t get away with doing a show in which the venue is only 50 percent full.”
Born and raised in Sydney’s Jewish community, Fishman graduated from Moriah College and studied musical theatre at the prestigious Western Australian Academy of Performing Arts.
Her dream – since the age of 16 – was a career performing in New York City. She arrived in 2008, and now divides her time between the harbour city and her home of the past 11 years.
Fishman has watched from afar as the pandemic exploded across her adopted country (Fishman became a US citizen last year).
“Here in Australia, you’ll be lucky if you know one person who has contracted [COVID–19]. But in New York, basically everyone I know has had it. I’ve had friends who have been very sick – including some who went to hospital.”
A decade after arriving in New York, the gears have shifted. “It’s an incredible city. It’s also incredibly difficult. Being a performer, you need a hell of a lot of luck.
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“You’d think that it would’ve gotten easier over time. But in a way it didn’t. I had a lot of drive back then. It’s such a hustle and that gets exhausting.
By most measures, it’s been a stellar career that’s seen cabaret and off-Broadway theatre performances in New York and around the world. In 2012, Fishman was awarded the New York Music Theatre Festival’s mantle of “Next Broadway Sensation.”
But in recent years, her visits to Australia have extended. “It’s not as much of a hustle here in Sydney. I have a network and community. it’s just easier – I’m incredibly grateful for all the opportunities I have there (in New York) too – but it’s hard.”
New York is an incredible city. It’s also incredibly difficult. Being a performer, you need a hell of a lot of luck. “You’d think that it would’ve gotten easier over time. But in a way it didn’t. It’s such a hustle and that gets exhausting.
During her return to Sydney in 2018, Fishman was invited to play the songs of the late Amy Winehouse at Shir Madness, the Jewish music festival. Encouraged by her husband, a writer and producer, she embarked on a more ambitious project: a cabaret show playing Amy.
Fishman spent months writing and developing the show; drawing from pages of interview transcripts, newspaper articles and hours of YouTube clips. A voice coach helped her emulate Winehouse’s vocal range and a dialect coach offered guidance on the intricacies of her distinctive North London accent.
Winehouse died in 2011. But when speaking about her, Fishman switches between present and past tense.
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“Her vocal range is unsurpassed. Her song writing is brilliant. Brilliant lyrically and melodically. Her musical knowledge and skill mean she never does anything the same way – a true jazz sensibility.”
The Winehouse story – particularly her vulnerability – resonates too. “It’s tragic. Aside from the obvious reason – died at 27 –we lost someone who could have given us 50 more years of incredible music. It’s sad; it really is. The way that people exploited her pain and struggle; it’s sad to me that people blame her father.
“She was hilarious, smart, and generous. Despite the onslaught of the paparazzi, waiting outside her home, she would still head outside to offer them cups of tea. An amazing personality. I want people to know some of that – to get the full picture.”
In keeping with Winehouse’s trademark beehive hair and extensive body art, Fishman donned a wig and fake tattoos. “I worked hard to emulate, and sound like her. But I don’t sing the way she does. And I didn’t claim to be a mimic.”
“But people go along with you – that’s power of theatre.”
Her vocal range is unsurpassed. Her song writing is brilliant. Brilliant lyrically and melodically. Her musical knowledge and skill mean she never does anything the same way – a true jazz sensibility.
Last year she took the show to New York. And for one night at The Loft at City Winery, she was joined on the bill by a classic old crooner, a North London Jew named Mitch – Amy’s father.
“I think he was quite moved by it. He signed the poster ‘great show, lots of love Mitch and Amy’.
“I think Mitch is glad this is keeping her music alive.”
This week the British music publication, NME, reported that a biopic about Winehouse was at “script stage” and could be realised in a year or two.
Is that a role for Fishman? Her face gently smiles. “If they will see me for an audition, then I’ll be there; with my wig and tattoo.”
For now, several other projects are in the works: cabarets, TV pilots and play scripts. This Sunday she returns to Amy Winehouse for an exclusive one-off online gig for The Jewish Independent.
Though she won’t be reprising the Amy role (the wig, tattoos and accent), she will sing the songs and tell the stories of a brilliant but short career.
“I look up at the sky sometimes and go – ‘I hope this is alright’.”
ALEXIS SINGS AMY WINEHOUSE THIS SUNDAY NIGHT in a FREE ONLINE EVENT
The show starts at 7.30pm
CLICK HERE TO REGISTER
