A show for anyone who grew up watching Wizard of Oz and Sound of Music till the VHS tapes wore out, Impostar: Who does he think he is? is a funny, heart-warming showcase for the extremely talented singer-impressionist Jason Chasland.

A mix of cabaret and autobiographical monologue, Impostar is a blast from start to finish. Charting our hero’s life from child to man through the discovery of his musical inspirations, Impostar is far more than just another tribute act.

The first thing to note is just how fast it moves. The pace never lets up — the show is a whirlwind of costume changes and songs. We get Judy Garland, Cher, Elvis, John Rowles, Macy Gray, Elmo and a cast of other familiar voices. It is never boring, and the autobiographical moments are never maudlin — there’s just no time. [More] 

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Jason Chasland has a story or twenty to tell, and a song or sixty to sing, for our entertainment and his own self-acknowledgement and vindication.  He does so from the comfort of an intriguingly busy, bohemian set based on the upstairs room in the Carterton farmhouse where he grew up. 

Co-written and directed by Lyndee-Jane Rutherford, her and Chasland’s efforts are roundly appreciated by all and sundry both for his consummate vocal prowess and the forthright candour of his personal anecdotes, all shared with natural comic flair and a cheeky twinkle in his eye.

The abundant and eclectic performance setlist comprises numerous Broadway showstoppers from Julie Andrews to Barbra Streisand, with tributary sections of Kiwi classics from John Rowles to Goldenhorse, and pop diva sensations from Cher to Des’ree.  Unsurprisingly it all began at an early age with his discovery of the godmother of them all, Judy Garland.  So whenever Jason finds himself at an impasse, he finds his way forward by answering the crucial question, “What would Judy do?”

Himself a proud and confirmed ‘Friend of Dorothy’, Chasland’s personal journey, while inevitably peppered with defining moments of adversity and self-doubt, is not the all-too-common desperate battle against the persecution of his family and/or society.  Rather he is a shining example of how a gifted gay performance artist can flourish in a loving, supportive family environment.

As much as anything else, Impostar is a heartfelt tribute to his favourite Nana ‘Missy’, who shared his obsessive passion for certain pop idols and Broadway icons.  The title is a reference to his personal struggle with ‘impostor syndrome’, the underlying false belief that one is not worthy of success, and the misguided guilt felt when one achieves it. 

The impressions are largely more caricature than impersonation; exaggerated and audacious lampoons, at the same time clearly conveying deep admiration and respect for his subjects.  Despite the hammy burlesque conceit of his musical numbers, Jason’s openhearted sharing of his personal journey through life, through these idolised mentors, is remarkably unpretentious and ultimately quite affecting. Meanwhile the proficiency, strength and versatility of Chasland’s vocal skills cannot be denied or understated.  

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