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Hit his mark from the opening scene

Indeed if this had been a one man play without music, I would have been more than willing to stay with it, such was the quality of the acting and the character Freedman created

4.5 out of 5 stars

Victor Kline, ArtsHub



Freedman appears natural and at ease in his performance. His accent doesn’t falter as, quietly, conversationally, with humour and a little self-deprecation, he depicts the highs (and some lows) of the man who gave the world such hits as Cuddly Toy, One (is the loneliest number), Me and My Arrow (from the movie ‘The Point’), Without You  … and the hit recording of Fred Neil’s song Everybody’s Talkin’

As Freedman sings these songs (and many more) the ghost of Harry Nilsson, and his characteristic timing and improvisation, sound through practised and carefully judged notes

Gently telling Nilsson’s story, or sitting at the piano, looking into or beyond the audience as he sings, Freedman recreates the essence of an artist whose work he obviously reveres

It is a warm, honest performance that really works in this intimate venue

Carol Wimmer, Stage Whispers



One of the best bio-cabarets I’ve seen in a long time

Freedman takes us into the mind and musical world of the man he considers “a mercurial songwriter and a sublime singer”

Full of fascinating reminiscences, reflections and anecdotes out of which the songs emerge organically without feeling shoe-horned, while the segues also flow with natural ease

Freedman – an acclaimed singer-songwriter with a lovely voice himself, best known as the  frontman of The Whitlams – inhabits the character, capturing his weathered demeanour and manner

Deploying his own quiet, effortless charisma, he gives a laconic, gently wry performance that has you leaning in to hear Nilsson’s story

All in all, it’s a fascinating, gentle, beautifully sung look at an intriguing character. Recommended

Jo Litson, Scene and Heard