May 17

THE Reverend Horton Heat – Adelaide – Win Tix

ReverendHortonHeat-e1357260790558Principal Entertainment presents the return of Texas psychobilly legends The Reverend Horton Heat, live in Australia in 2013.

The Reverend returns with his white hot band to deliver the good word from the bible of high-octane rock ‘n’ roll for his Australian disciples this May. Long held as the last true masters of country punk laden rockabilly, The Reverend Horton Heat have built a reputation as one of the most inspiring live bands of their generation, a fact not lost on Australian music lovers who’ve witnessed The Reverend tear up venues across the country making the man and his band a must see on each and every visit.

Breaking outta Dallas Texas in 1985 Jim Heath aka The Reverend Horton Heat distilled a potent brand of musical moonshine blending the finest elements of punk, country, blues and good time hillbilly rock ‘n’ roll to come up with a brew that across the span of 9 studio albums remains as fresh and intoxicating as they day it was bottled.  Building a strong cult following during the ’90s through constant touring, manic showmanship, and a wicked sense of black humour, The Reverend Horton Heat shared with his contemporaries The Cramps, the role of championing this conglomeration of arcane music styles re-imagined to a point where they once again became vital and fresh.

In Adelaide The Reverend Horton Heat will be joined by heavy hitters DOUBLEBLACK, who will bring their white hot, fat backbeat proto-rockabilly to proceedings, gettin’ the rock ‘n’ roll party into high gear. Recently rounded out by former Living End drummer Travis Demsey on the kit and featuring Fireballs founding member Matt Black on guitar and Jason Skewes on the upright, DOUBLEBLACK have a proven pedigree making them one of the most powerful forces on the Australian rockabilly scene.

A born hell-raiser of the non-manufactured kind The Reverend returns with his white hot band and a stellar cast of local acts to deliver the good word from the bible of high-octane rock ‘n’ roll for his Australian disciples this May.

Kryztoff has a double pass to giveaway to the Adelaide show at the Gov on May 30. To win, just let us know at win@kryztoff.com who will be supporting The Reverend by midnight Friday, 17 May to go into the draw.

May 16

SOUNDSTREAM Collective – Great Music in Great Spaces – 3.5K

By Peter Maddern

Last night, the Sounstream Collective, under artistic director, Gabriella Smart, delivered a little gem of a program in its latest Great Music in Great Spaces series. Focused around Victoria Square (Tarntanyangga), audience members were first dished up Stavinsky by clarinettist Peter Handsworth from the 14th floor office of Woods Bagot, presenting below a bold view of Victoria Square, now completely cleared but for the core of the Three Rivers Fountain.

From there, we buried ourselves in the Tunnels beneath the Aldina Hotel (the old Treasury building) to hear Bach by German, Eric Soucy, on his viola. Finally the two together played in the ante room of the new Collins Bar at the Hilton Hotel.

Dashes of the old and the new, the staid and the shocking presented in a neat walking tour that explored in just two hours a number of aspects of Adelaide, music and architecture, in theory and in practice.

Do treat yourself to the next in the series (check the website – www.soundstream.org.au – but before then join both Handsworth and Soucy at another great space, the Samstag Art Museum, this Saturday from 4-6pm as they play to help usher in Crowd Theory Adelaide’- Victoria Square by Simon Terrill to that institutions collection.

See our review of that work by clicking HERE

Kryztoff Rating   3.5K

May 16

CROWD Theory Adelaide – Victoria Square / Tarntanyangga – Samstag Art Museum – 4K

Simon Terrill - Crowd Theory Adelaide: Victoria Square / Tarndanyangga (detail), 2013

Simon Terrill – Crowd Theory Adelaide: Victoria Square / Tarndanyangga (detail), 2013

By Peter Maddern

Simon Terrill’s Crowd Theory series started as a solution to a problem about how to capture a group of people’s reactions and connections to a particular place with which they have an attachment. His early works in Melbourne focused around apartment buildings, sports fields and the like, each bringing a combination of people often dwarfed by the physical structures behind, notable for their bright lights emanating.

At the end of February, citizens of Adelaide were encouraged to congregate near the Three Rivers Fountain in Victoria Square just at the moment it was about to undergo a transformation and Terrill, perched up on scaffolding at the southern end, would capture that gatherings interaction’s with the space in a form of performance art.

The result, Crowd Theory Adelaide – Victoria Square / Tarntanyangga, is now hanging in the Samstag Art Museum, the entity that commissioned the work.

Done for the first time by Terrill in three panels, Crowd Theory Adelaide is, if nothing else, a terrific, stunning capture of Adelaide in 2013, one that will stand the test of time. As a participant, seeing the whole carries very much more an impact than the involvement itself did. Careful inspection reveals audience members undertaking all kinds of behaviour, responding to Terrill’s urgings that the thoughts we held could be captured by the camera.

However, it is the lights that span out behind the fountain that really pack the image’s punch. The symmetry that Light bestowed upon our town is for all to see in its glory 175 years on – the Town Hall and Post Office towers straddling lines of traffic, one approaching, the other distancing itself from the core of the image, the fountain. The office buildings then seem to climb up from the valley of traffic.

Being able to also balance the red bunting in place (in the foreground) for the works then soon to commence with the lights of cars moving on at the rear was quite inspired (it otherwise being an eyesore.)

Like many contemporary images of their time, many may not give this work much thought. This would be an error as there is something, as I say, quite stunning and enchanting about Adelaide done up like this But in time, the significance of this (like other contemporary) images will grow – nostalgia and fascination will take root and Terrill’s image will be sure to become an iconic for one Adelaide.

We may also then be able to better answer whether a better image would have been before the Council work set in, to have seen Victoria in her pomp at the end of 50 years, especially if the renovations now underway finish up as the same sort of debacle as the Council’s work on Victoria Park.

Kryztoff Rating   4K

See our interview with Simon Terrill about this and his other work by CLICKING HERE

May 14

MUFF– Bakehouse Theatre – Til May 25 – 3K

44415_578074988884081_1871859481_nBy Peter Maddern

30 something Tom (Brad Williams) sits between two women who covet him but whose positions about sex are almost polar opposites. Eve (Claire Glenn) is a former girlfriend who saw her relationship and sexual appetite for ever changed after being raped in a pub by an unknown attacker. She is back from two years in China and keen to show Tom she has regained her touch. Manpreet (Serena Moorghen) similarly aged to Eve in her mid / late twenties is into anything that may be categorised by the word fetish. Inhibitions are not part of her DNA and everything seems inevitably aimed at sexual satisfaction. How lucky is Tom to be caught between these options!

This play written by Australian Van Badham after her return from a decade in England heavily reflects the theatrical scent of that country of the past 20 years. It revels in the notion that merit is a function of the shock created and her audience is spared no shortage of sex acts, nudity and violence to hammer home her points.

dsc_6827Claire Glenn takes on the most formidable challenge of the three players and does an admirable job, swinging and swaying between the hurt and challenges of her rape and the need to get back into the scene, to present herself as eligible for guys like Tom before it may be considered too late. Bitter and sweet, demoralised and energised, Glenn takes us on a convincing emotional ride juxtaposed not only against the instincts of Tom but the rapaciousness of Manpreet.

Myf Cadwallader’s staging makes good use of moving screens mounted on wheels though the precision with which the makeshift shower is placed and adjusted (or indeed used at all) all seemed somewhat unnecessary. But a real highlight was Chris Petridis’ lighting, giving great effect to the metaphor of the opening bathroom scene through to keeping the electricity of the relationships pumping along with strobing fluoro lights. His skills picked up through gigs with the likes of ADT are on full show.

Violent, shock theatre will appeal to many and for others it is a style that hopefully will disappear from view more quickly than it lasted. But it is fair to say the challenges taken on by the fivepointone team have been well-handled and this, clearly, is a company SA theatre goers will wish to keep close with.

Kryztoff Rating    3K

May 09

2 One Another – Her Majesty’s Til 11 May – 4.5K

SDC_2oneAnother photo Ken Butti 022 One Another is about the experience of connecting and disconnecting and for Adelaide audiences this is our first time at making such a connection with the Sydney Dance Company since 2009. If for no other reason than for seeing how top notch contemporary dance production is done, one can only hope it happens rather more regularly than every four years.

Rafael Bonachela’s artistic direction takes us through isolation as a curse and a strength, the joys and lows of interacting with another and the buzz and desolation that can come from crowd involvements. But throughout the beauty of the human form is the supreme connection he makes with the audience.

In four sections, the dancers perform the first three in a grey/blue costumes before the last, Planescapes, takes us into a new dawn of post box reds, led rhythmically and compellingly by Andrew Crawford and Juliette Barton.

283480-2-one-anotherMany contemporary dance companies seek to create an edge through a high emphasis around the music or lighting, often overreaching and shadowing the focus of dance. Bonachela’s work is as near perfect in its combination of all stage elements as can be seen. Nick Wales’ music score spans classical, baroque and techno but never over- imposes itself. The stage lighting of Ben Cisterne is subtle, almost understated but highly effective and Tony Assness’ digital backdrop screen nicely complements the movements ahead of it, especially in those times when it morphs from a creased and crumpled sheet to an expanding vision of colour.

While the last section brought warmth and comfort to the senses, the highlight for this reviewer were the last movements of the third section, the Dark Half, that through the combination of climaxing music and dance that pushed the limits, the joy of company and this Company was heartily communicated.

Kryztoff Rating   4.5K

May 06

The Illusionist – Seraphim Trio – Elder Hall – 5 May

By Ben Nielsen

What better way to spend an overcast Sunday afternoon than with the Seraphim Trio. In their second concert series of 2013, the ensemble paid homage to the ‘magician of sounds’, Maurice Ravel.

Ravel was one of the most prominent Impressionist composers, but is perhaps best known for his arrangement of Pictures at an Exhibition and the orchestral work Bolero. Described by Stravinsky as “the most perfect of Swiss watchmakers”, Ravel’s sense of detail and perfectionism is well exhibited by Seraphim’s program selection.

trioIt is curious that Ravel’s three pieces, penned within a relatively short twenty year bracket, possess such stylistic contrast.

The mellifluousness of Jeux D’eau resolved an uncomfortable sparseness of Sonata for Violin and Cello, and then both were conquered by the virtuosic Trio in A Minor.

To a program dominated by a single composer, Benjamin Martin’s Cartoon was an unusual addition.

For the first time, Seraphim was seen in a variety of different configurations, performing first as string duo, then solo piano and finally piano trio. This provided a fascinating opportunity to observe the different capacities of each instrument and player.

Most enchanting was Anna Goldsworthy’s solo performance of Jeux D’eau. Ravel’s melody was as graceful and fluid as Goldsworthy was at the piano. A joy to watch.

4 K

May 03

THE INTERVIEWS 2013 – By Kryztoff

2013 Cab LogoTHE KRYZTOFF INTERVIEWS – 2013

Throughout the year, Kryztoff interviews various performers, artists and commentators. This blog page now brings them all together, with the most recent posted first. Enjoy.

Leigh Warren – The Leigh Warren and Dancers company are performing a new work at this year’s OzAsia Festival entitled ‘Not According To Plan’. It promises to be one of the treasures of the Festival and in this interview Leigh Warren talks about the work came about – CLICK HERE

Catherine Alcorn – Australian singer Catherine Alcorn comes to Adelaide to perform her new show ‘Go Your Own Way’, covering the life of Fleetwood Mac singer Christine McVie. The star and producer of ‘The Divine Miss Bette’ talks to Kryztoff about both shows – CLICK HERE.

Paul Capsis – The at time bizarre Paul Capsis is in Adelaide for the Cabaret Festival and in this interview with Kryztoff he talks about the motivations behind his stage persona. CLICK HERE

Simon Terrill - Crowd Theory Adelaide: Victoria Square / Tarndanyangga (detail), 2013

Simon Terrill – Crowd Theory Adelaide: Victoria Square / Tarndanyangga (detail), 2013

Simon Terrill – photographer of Crowd Theory Adelaide – Victoria Square. In late February as Victoria Square was in its first days of transformation, Melbourne photographer, Simon Terrill came to Adelaide to capture the square in the latest of his Crowd Theory works commissioned by the Samstag Art Museum. See the interview by clicking HERE. (Recorded March and released May 2013.)

Renato Musolino – Stand in actor for Barry Otto in the State Theatre’s production of The Kreuzter Sonata for the Adelaide Festival of Arts. After Otto fell ill, Musolino took up the massive challenge of performing the role with just days notice and in the end making it his own. See the interview by clicking HERE. (Recorded and released March 2012.)

May 03

Chitty Chitty Bang Bang – Festival Theatre – Til May 26 – 4.5K

Chitty flying Photo Credit Kurt SneddonBy Peter Maddern

One can’t help marvel at how with only a few tweaks, Ian Fleming transformed all of his James Bond trademarks into a delightful show for children and their parents through Chitty Chitty Bang Bang. Consider Truly Scrumptious for Pussy Galore, villains from Vulgaria and Spectre and a car with features that would have made ‘Q’ beam as broadly as he did with his Aston Martin.

But all of that is by the by as this story is transformed not only by a sparkling, wondrous and often heart-rending stage show but also by a string of wonderful songs from the Sherman siblings, Richard and Robert. These were the folk who endeared themselves to two generations through their work on Mary Poppins and they certainly took no risks with a new style here, with many of the songs sounding somewhat similar, especially if one closed one’s eyes for a while.

David Hobson and Rachael Beck Photo Jeff Busby CCBB_2441But whatever reservations parents might have about the 1968 film from their childhood, they can all be assured this production will only thrill and delight their children and them.

Much of the fun is dominated by the Vulgarian spies (image below) Goran (George ‘RAA’ Kapiniaris) and Boris (Todd Goddard) and their bosses, Baron Bomburst (Alan Brough) and his Baroness (Jennifer Vuletic) who, in particular, leaves nothing in the way of over the top antics in her stage room .

David Hobson (image left, laying down some lines) dances and sings his way into our affections as Caractacus Potts (his Hushabye Mountain the highlight) and Rachel Beck is simply delightful as Truly Scrumptious (delivering on her most demanding moment in the show during the Doll On A Music Box number.)

George Kapiniaris and Todd Goddard Photo Credit Jeff BusbyThe local children, playing Jeremy and Jemima are as strong in their performances as they also endearing and Tyler Coppin’s Child Catcher is a dark and gangly nasty whose limited stage time nonetheless carries a punch.

But, of course, the truly wow factor is Chitty herself, bought and rescued from the junk heap, restored by Caractacus and then lifted high, up and about against a star lit sky in a manner that brings the first half to a rollicking good conclusion and ensures kids will be waiting anxiously for the second stanza to kick off.

This is a massive, highly professional production with a large stage cast and a 15 piece orchestra led Peter Casey and well done to the Adelaide Festival Centre for taking this risk on bringing this production here. Don’t miss it Adelaide!

Kryztoff Rating  4.5K

May 02

PLASTIC FANTASTIC – Annabelle Collett – Prospect Gallery – From 5th May

OLYMPUS DIGITAL CAMERAPlastic Fantastic –  Prospect Gallery 5th May – 23 June 2013

‘Plastic Fantastic’ is a major solo exhibition of recent work by prominent South Australian artist and designer, Annabelle Collett.  

 
Plastic in all its forms produces enormous amounts of waste from use in our everyday lives. Annabelle Collett uses recycled ‘trash’ to fashion a vast array of artworks from all types of plastics.  She utilises discarded materials from domestic items such as plastic lids, old children’s toys, broken jewellery pieces and dumped containers and implements to make bold and vibrant statements highlighting the aesthetics of waste.

OLYMPUS DIGITAL CAMERAAnnabelle’s studio has become a repository for found plastic, which she sources on trips around regional South Australia and Victoria. This domestic detritus is stored by colour and provides both the material and inspiration for Annabelle’s fantastical creations. Her sculptures, installations, wall pieces, lighting and clothing use many methods and processes that link art, craft and design, evoking a range of cultural associations with fashion, interior decorating and the crafted object. 

Annabelle Collett has worked full time for over 30 years as a professional artist/designer/craftsperson. The main concepts that inform her art are contained within the historic/symbolic significance of motif, the social/political meaning of pattern on textiles and the abstract overlaying relationships between fashion, visual art and design.

Annabelle Collett has exhibited extensively since 1979 and is represented in the collections of Ararat Regional Art Gallery, Art Gallery of South Australia, Mildura Arts Centre, Northern Territory Museum and Art Gallery and the Victorian State Craft Collection.

Plastic Fantastic will be opened by Jenny Ramos, Lecturer, Diploma for Costume for Performance, TAFE SA, Adelaide College of the Arts.

May 02

DAVID SMIEDT AND NICK CODY – Australian jokesters play SA shows – 7-10 May

Nick Cody

Nick Cody

Two hilarious Australian comics come to Adelaide for a week of stand-up gigs.

Shooting star Nick Cody and Adam Hill’s favourite ‘…living breathing joke machine’ David Smiedt are ready to take on the Adelaide stages over four nights from May 7.

For each riotous show, Nick Cody will host while David Smiedt sits firmly in the headlining position. Each evening of entertainment will be completed with the support of Adelaide’s finest local comedians. 

David Smiedt’s brand of warm, inclusive comedy has seen him open for such international comedy icons such as Joan Rivers and Martin Short during their Australian tours. Smiedt is a regular guest on television shows such as Mornings With Kerri-Anne and Sunrise. He is also the author of six humorous books and writes for a wide range of magazines. In fact, he is the only journalist in Australian publishing history to be in concurrent issues of Ralph and Your Garden. Topical, charming and equally comfortable in a bar or a boardroom, Smiedt’s comedy entertains and uplifts.

Nick Cody is quickly becoming one of the funniest young comedians in the country. At only 25 years of age, he’s already toured with some of the biggest names in stand-up, such as Jim Jefferies and Anthony Jeselnik. He was most recently overseas as an invited performer at the 2012 New York Comedy Festival.​ Nick’s brand of stand-up offers a unique combination of edgy, thought-provoking material ranging from brutally honest and uninhibited storytelling to rapid-fire and hilarious social comedy. Cody ​produces a weekly podcast named Something For The Drive Home with fellow comic Bart Freebairn that is available on iTunes.

“Both uncontrollably laugh-out-loud funny and hang-your-head-in-shame funny…” 4 STARS – Herald Sun (on Cody)

 “He’s charismatic, self-deprecating and warm, and the crowd absolutely love him, at one point even chanting his name in their enthusiasm. Cody is there to make you laugh with as much dispatch and efficiency as possible and at that task he excels.” – Chortle

“Some of the sharpest and funniest writing you will find.” – The Sydney Morning Herald

“Sharp and insightful.” – The Launceston Examiner

 Show Info:

 AdelaideComedy.com presents:
Double bill: Nick Cody & David Smiedt
Supported by Adelaide’s finest local comedians

May 2013:
Tue 7th | Doors 8pm | The Arkaba Hotel, Glen Osmond Rd. Parkside

Wed 8th | Doors 8pm | The Marion Hotel, Marion Rd. Mitchell Park

Thu 9th | Doors 8pm | The Rhino Room, Frome St. Adelaide

Fri 10th | Doors 8pm | The Rhino Room, Frome St. Adelaide

Box Office:
For all tickets, please visit AdelaideComedy.com