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Loud, sweaty and gloriously self-aware, Skank Sinatra: The Name on Everybody’s Lips is beyond a cabaret, a controlled act of theatrical mischief. Equal parts powerhouse vocalist, seasoned raconteur and chaos merchant, the award-winning Jens Radda turns an hour of musical theatre favourites into a playful celebration of camp, queerness and the fine art of working a room.

Backed by a live pianist and armed with enough costume changes to gag an audience, Sinatra’s latest show traces her journey from South Africa to Europe and eventually Australia. Along the way, Broadway standards, personal anecdotes and audience interaction collide in a performance that feels meticulously crafted while appearing delightfully off the rails.

The show’s greatest strength isn’t necessarily the singing, impressive though it is. It’s Sinatra herself. A natural cabaret performer, she possesses an instinctive understanding of how to build anticipation, recover from the unexpected and make every audience member feel like they’re in on the joke. Whether responding to an over-enthused audience, a technical hiccup or her own carefully orchestrated chaos, she’s lightning-fast, disarmingly warm and impossible not to lean into.

That charisma carries the evening. The audience spends most of the show firmly in the palm of her hand, eagerly following her through stories, punchlines and increasingly fabulous wardrobe reveals.

Vocally, Sinatra brings plenty of colour. Her voice shifts easily between smoky jazz husks, playful scatting and rich musical theatre belts, putting her on spin on hits from Luck Be A Lady to Alexander Hamilton.

Yet it’s during the crooning, particularly the storytelling and running gags involving offstage tete-a-tetes with Liza Minnelli, where the show feels most alive.

Visually, the production punches above its weight. The lighting design is particularly impressive, lending shape, glamour and atmosphere to a relatively intimate cabaret setting. Combined with the costumes and Sinatra’s larger-than-life presence, it creates a show that consistently feels polished without losing its sense of spontaneity.

The pacing mostly holds together, ebbing and flowing naturally between songs and stories. However, the final stretch loses some momentum as the energy that drives the earlier sections begins to soften. It’s a minor stumble in an otherwise tightly structured hour.

Still, for a performer mounting only her second cabaret show, Sinatra demonstrates remarkable confidence and command of the form. More importantly, she understands what the deeply unselfish art of cabaret is supposed to do: connect, entertain and leave audiences feeling like they’ve shared something uniquely alive.

Whether you’re a musical theatre obsessive, a cabaret regular or simply someone who appreciates a performer operating at full tilt, Skank Sinatra delivers an hour of sharp laughs, big vocals and unapologetic camp. And, as Sinatra repeatedly reminds us, she’s doing it all for the gays.

Skank Sinatra: The Name on Everybody’s Lips ran till 14 June at Qtopia as part of PrideFest.