Apr 15

Gina Yashere’s world tour stops in Adelaide

img_6798Gina Yashere’s sellout live appearances are legendary. Her bombastic delivery, infectious personality and cheeky observations have wowed audiences not just in the UK and the US but also in Japan, Dubai, Hong Kong, Singapore, Australia, Canada, South Africa, and all over Europe. And now she’s coming to Adelaide for four hilarious shows.

Gina’s feature spots coming up for Adelaide Comedy’s popular comedy evenings at The Rhino Room, The Arkaba and The Marion Hotel are set to be unmissable for any stand-up comedy fan.

As a well-known gay performer, Gina broke onto the American comedy scene with her appearances on Last Comic Standing (NBC), where she made it to the final 10.

She is also known in the US for her regular, hilarious appearances on The Tonight Show with Jay Leno (NBC), as Madame Yashere, The Surly Psychic.

Her TV appearances have included her own 1 hour Comedy Special Skinny B*tch, The Jay Leno Show, The Tonight Show with Conan O’Brien, Last Comic Standing, Mock The Week, The Lenny Henry Show, and The Celebrity Fame Academy and Married, Single, Other. Radio shows have ranged from her own BBC Radio London Show to critically acclaimed radio Sketch show The Powder Room (BBC Radio UK).

Yashere is currently editing for her follow up DVD, ’Laughing To America’ which was shot earlier this year in San Francisco.

Gina currently resides in Los Angeles and tours non-stop around the world.

“One of the best comics in the world” – The Guardian (London)

“One of 10 best female comedians” – The Observer (London)

“Gina Yashere follows no one” – The Gazette (Montreal)

“Quite simply … brilliant” – The Australian Stage

Show Info:

AdelaideComedy.com presents:
Gina Yashere
Supported by Adelaide’s finest local comedians

April 2013:
Tue 16th | Doors 8pm | The Arkaba Hotel, Glen Osmond Rd. Parkside

Wed 17th | Doors 8pm | The Marion Hotel, Marion Rd. Mitchell Park

Thu 18th | Doors 8pm | The Rhino Room, Frome St. Adelaide

Fri 19th | Doors 8pm | The Rhino Room, Frome St. Adelaide

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

See Gina in her appearances on Leno and Conan O’Brien by Clicking Here

Apr 15

SA’s Demi Lardner wins RAW Comedy Title for 2013

MICF_259_jimleepixLast night, 12 of Australia’s best new comedians took to the main stage at the Melbourne Town Hall for the 2013 RAW Comedy Grand Final. The top prize was awarded to Demi Lardner from South Australia. Demi has won a trip to the Edinburgh Fringe Festival to compete in the prestigious ‘So You Think You’re Funny’ comedy competition as well as the coveted RAW Comedy chicken trophy.

Cameron Duggan from Queensland came runner up in the competition and Andy Mathews from Victoria was third.

RAW Comedy had its biggest year so far in the history of the competition with over one thousand entrants across Australia in 2013. It is the nation’s biggest, most prestigious open-mic comedy competition. Over 60 heats were held in capital cities and regional centres around Australia in the lead up to last night’s National Grand Final.

“Every Australian state and territory was represented in the truly national RAW Comedy final this year. The standard was high but Demi Lardner was a standout with a surprising, adventurous and very funny set,” said Festival Director Susan Provan.

The night was hosted by (professional comedian and past RAW finalist) Matt Okine and also included special guest appearances by Celia Pacquola and the winner of the inaugural RAW Comedy India competition held late last year, Neeti Palta.

The judges for the 2013 competition were Festival Director Susan Provan, Edinburgh’s Karen Koren, Chortle UK’s Steve Bennett, Soho Theatre UK Comedy Director Steve Lock and ABC TV’s Jennifer Collins.

Apr 06

CABARET FESTIVAL 2013 – Details Announced

See what hides within at this year’s

2013 Adelaide Cabaret Festival

Adelaide Cabaret Festival Artistic Director Kate Ceberano has upped the ante at this year’s Festival with not one, not two, not even three leading ladies making their Adelaide Cabaret Festival debut but four divas will reign supreme, including both the good and bad witches of Broadway smash hit Wicked, Kristin Chenoweth and Idina Menzel as well as Cassandra Wilson and Molly Ringwald.

The 2013 program features 411 artists in 161 performances over 18 days and nights. 52 international artists from across the USA and the UK and the best from Australia with 369 Australian artists, 250 of those South Australian performers. Showcasing 17 world premieres, seven Australian premieres and 17 Adelaide premieres, the vibrant program also features 12 international shows.

Opening on the Queen’s Birthday long weekend 7 June and running until 22 June, this year’s Festival program is bigger than ever before. Festival Artistic Director Kate Ceberano set the bar high in her first year. The 2012 Cabaret Festival broke all previous box office records, claiming the highest box office ever in the event’s 12 year history, including the 2011 Festival’s record by 12 per cent. This year’s Festival line-up looks destined for the same success.

Headlining the opening weekend is Tony and Emmy Award winning performer Kristin Chenoweth. A true cabaret artist who has won hearts on stage and screen, best known as the original Glinda in Wicked, she won a Tony Award for her role in You’re A Good Man, Charlie Brown.  Kristin has appeared on television in Glee, Pushing Daisies, GCB & The West Wing. In her Australian Premiere performance, Chenoweth will perform with the Adelaide Art Orchestra before embarking on a national tour with the Adelaide Cabaret Festival as Associate Presenter for her Australian tour.

Molly Ringwald star of 80s hit films, Sixteen Candles, Pretty in Pink and The Breakfast Club makes her Australian stage debut in An Evening with Molly Ringwald, and it’s an opportunity to see this iconic performer as you’ve never seen her before – an accomplished jazz vocalist who cut her first LP at the age of 6.

Two-time Grammy Award winning jazz singer and composer Cassandra Wilson, renowned for her ability to cover everything from British pop to American country, will appear with her incredible sextet made up of some of the best musicians in the USA.

Headlining the closing weekend of the Festival is Tony Award Winning performer, Idina Menzel, star of Broadway’s Wicked and the original stage production of Rent. Menzel will be joined on stage by her performer/actor husband Taye Diggs, and backed by the 55 piece Adelaide Art Orchestra. Menzel will enchant audiences and demonstrate why she is one of the great vocal performers of our time.

Festival Artistic Director Kate Ceberano says, “I am borderline hysterical over the program. Who could have believed the juggernaut this festival has become? What an honour it is to be presenting some of the most talented and diverse artists from all over the world! Cabaret becomes a bigger and more recognised art form every year, taking it beyond its humble beginnings and yet maintaining its up close and personal branding”.

This year’s Festival explores the theme of ‘See What Hides Within’ and that’s exactly what the program does, going beyond the realm of performers on stage. It provides audiences with a unique look at the artist and the ever evolving art form. From the satirical, nostalgic, contemporary, to the traditional, magical and vagabond, fresh-faced Cabaret artists and industry stalwarts all go to extreme lengths to share their inspiring journeys showcasing their incredible talent on very different platforms.

Ceberano’s program continues to build on the Festival’s reputation for excellence, presenting a star studded line-up of international artists.  They include the UK’s Barb Jungr, the spellbinding songstress returns in Stockport to Memphis. New York Cabaret icon Joey Arias is pure cabaret gold, Arias on Holiday will showcase his channeling of legendary jazz and blues singer Billie Holiday. Also hailing from the US is Lady Rizo a Grammy award-winning diva known for being the Mistress of Ceremonies at New York’s current hotspot The Darby.

Experience the bright lights of Broadway when the grandson of the great Richard Rodgers, USA’s Tony Award winning theatre composer/lyricist Adam Guettell takes to the stage with Haley Bond. In addition to seeing him on stage audiences can get up close and personal in a Masterclass.

It’s no secret Kate made plenty of friends during South Pacific, therefore it’s not surprising that some of those fellow performers are in this year’s program. Michael Lindner performs Mark Campbell’s off-Broadway hit musical for one actor Songs from an Unmade Bed. Lieutenant Cable aka acclaimed tenor Daniel Koek returns home with his eight-piece band from London to present A Decade Down the Road. And in what is destined to be a Festival show-stopper, Kate herself will take to the stage with Teddy Tahu Rhodes in Meet Me in the Middle, a collaboration that merges opera, musical theatre and rock’n’roll. The two will be joined on stage by the Adelaide Art Orchestra and conductor Vanessa Scammell.

All-time Festival favourite Eddie Perfect will hit a six as acclaimed Australian Director Simon Phillips guides an exciting new production of Shane Warne the Musical in concert with the 24 piece Adelaide Art Orchestra conducted by the award winning Iain Grandage. Perfect heads up an exceptional cast including Lisa McCune as Simone Warne, Shane Jacobson as Terry Jenner, Verity Hunt-Ballard as Bridgette Warne (Shane’s mum!) and Christie Whelan Browne as Liz Hurley.

Tributes are a-plenty in this year’s Festival: Tommy Bradson pays homage to Australian stage legend Reg Livermore in Reg as he performs a retrospective on his illustrious career; and soul sensation and star of last year’s hit TV series The Voice Darren Percival, brings his phenomenal celebration of a musical legend A Tribute to Ray Charles.

USA’s Award-winning composer/performer, David Pomeranz’s one-man musical tour de force Chaplin A Life in Concert is based on the life story of the brilliant cinematic genius. Australian star of stage and screen Tom Burlinson performs his sensational salute to the masters of swing in Now We’re Swingin’.

Catherine Alcorn presents Go Your Own Way, the story of Christine McVie – the other woman’ in Fleetwood Mac. The intriguing tale of international fame, songwriting, privacy and the decision to Go Your Own Way. From Fleetwood Mac to Annie Lennox and Bruce Springsteen, Adelaide own star of Jersey Boys Michael Griffiths returns with Sweet Dreams: Songs by Annie Lennox whilst another Adelaidean Michelle Nightingale demonstrates her Springsteen-inspired journey in Born To Run.

Adelaide Cabaret Festival will be alive with the sound of Julie as award-winning West End singer and actress Sarah-Louise Young lovingly recreates the sound of Julie Andrews in Julie Madly Deeply. Marika Aubrey celebrates Sophie Tucker’s brilliant life and career in Last of the Red Hot Mamas, a personal salute to the original red hot mama.

If you like your cabaret contemporary there’s plenty to keep you satisfied;  Mojo Juju’s Pony Takes A Powder will be the perfect introduction; Also fitting the bill is RRamp created by Christine Johnston who is renowned for her creation of the Kransky Sisters. RRamp is an eclectic mix of original music, dance, story-telling, humour and animation. Purr-fect post-post-modern diva Meow Meow returns with her unique brand of kamikaze cabaret and performance art exotica.

Paul Capsis Australia’s charismatic Cabaret King is back, the multi-award winning star of stage and screen including two coveted 2012 Helpmann Awards will present the Paul Capsis Revue, Performance Partner Lexus of Adelaide. Cult musical UK duo Bourgeois and Maurice make their Australian premiere with their critically acclaimed Edinburgh Fringe hit Sugartits! Unlike her persona in popular television series Winners and Losers Virginia Gay is a little bit naughty in  Songs to Self-Destruct To which explores the motto “Take your tragedy and make it marvellous!”.

Paul McDermott’s highly acclaimed 2013 Fringe exhibition The Dark Garden is now a stage show, TV’s favourite funny man has created a world premiere especially for the Adelaide Cabaret Festival. If you like your cabaret spicy don’t miss the world’s biggest one man band Puta Madre Brothers, the wanna-be Mexicans pay homage to their heroes of outlaw rock and roll, soul and Mexican folk music. Cabaret Survivor is pianist, singer, writer and satirist Phi Scott’s personal, idiosyncratic and at times hilarious take on his mid-life cabaret career.

Magician and philosopher Sunny Leunig presents the Adelaide premiere of his 2012 Melbourne Fringe Festival hit A Guide to Unhappiness, his unique take on magosophy – magic and philosophy combined.

Cabaret traditionalists won’t be disappointed. A selection of Irving Berlin’s songs will be delivered with style by Lucy Maunder in Irving Berlin: Songs in the Key of Black.  She will also embrace Jacques Brel along with John O’May and Helen Morse in Love. War. Death. BREL.  Robyn Archer the Doyenne of Cabaret is back; Que Rest-T’il? explores the classic cabaret traditions of Paris and Vienna.

In a nod to Cabaret’s French roots Abby Dobson songstress extraordinaire and front person for Leonardo’s Bride, with Lara Goodridge, violinist/singer from the celebrated string quartet Four Play present a passionate tour de force of French songs in Baby et Lulu. Hear the voice of a musical dynasty as Martha Wainright presents a richly diverse repertoire from several of her albums including her most recent acclaimed release and the title of her show Come Home to Mama.

Those who missed the sold-out critically acclaimed Australian tour of Songs for Nobodies will be able to see Bernadette Robinson as she returns to the Adelaide Cabaret Festival with a concert of songs by her favourite performers and songwriters.

An evening of sumptuous songs, stunning strings and tantalizing tango My Latin Heart will be presented by internationally-acclaimed baritone José Carbó who will be joined by Adelaide International Guitar Festival Artistic Director and celebrated classical guitarist Slava Grigoryan and his equally renowned guitarist brother Leonard.

Compositions: A Musical Close Up is a theatrical and visual masterpiece concert that brings together the celebrated musical theatre talents of Tyran Parke, with the astounding images by his brother, one of Australia’s most acclaimed photographers, Trent Parke.

Larrikans of Aussie rock Brian Cadd and Russell Morris swap tall stories and sing classics from the Aussie rock industry from the 1960s to today, whilst folk and country genres are honored as Miles O’Neil and Simone Page Jones create a divine musical collaboration in Home in Your Heart. Adelaide creative talents Cameron Goodall, Quincy Grant and Andy Packer have come together to create a boisterous new cabaret adventure You, Me & The Bloody Sea featuring original music and invoking traditional sea shanties and siren songs.

No stranger to the Cabaret Festival is Australia’s stunning soprano siren Ali McGregor in her new hit show Alchemy, Performance Partner Investec Specialist Bank. She transforms into a 1940s siren creating some unique mash-ups. Australian brother and sister duo Emma and Thomas Hamilton perform La Musique, an intoxicating blend of jazz-pop standards sung in both French and English.

It was only a matter of time before local media identity Matt Gilbertson’s alter ego Hans took to the Cabaret Festival Stage, along with his band The Ungrateful Bastards and dancers The Lucky Bitches. The boy wonder of Berlin is back for the world premiere performance of Like A German.  Matt can also be seen hosting the final night of the Backstage Club.

David Bromley is back as design consultant having designed the Backstage Club, is where you’ll find the artists kicking up their heels after their show and possibly even onstage.  This year’s club will be hosted by an array of stars from the Festival including Joey Arias, American comedian and impressionist Jim Meskimen and Festival Artistic Director Kate Ceberano. Tickets for the club are $10 and it’s the perfect place to kick on after seeing a show or two.

When the club reaches capacity patrons can still party in the Piano Bar where a host of FREE entertainment and Cabaret Festival guests can be seen throughout the Festival. A diverse range of catering options is available before, between and after each performance.  Experience the Winter Garden on the Festival Terrace featuring pop-up style eateries and A Little Italy, a Trattoria style casual dining experience in the Piano Bar. Patrons can also purchase platters from the bars to enjoy during the performances.

Patrons in the Winter Garden can enjoy an intimate 20 minute performance with roving artist Tawdry Heartburn (James Berlyn) in Tawdry Heartburn’s Manic Cures, a FREE one on one manicure or palm reading under the proviso that you divulge a secret of your own.

In a first ever the Variety Gala Performance will be held over two nights. The performance on 6 June will toast the 40th Anniversary of Adelaide Festival Centre whilst 7 June performance will celebrate the opening of 2013 Adelaide Cabaret Festival. Always a star studded line-up, the stunning showcase is an appetizer to the performances on offer throughout the Festival.

Adelaide Festival Centre CEO and Artistic Director Douglas Gautier says “Cabaret Festival’s Variety Gala performances will salute the traditions of cabaret and variety so central to the rich history of this great arts centre, the first ever purpose built arts centre of its kind in the country”.

The next generation of cabaret continues with Class of Cabaret 2013 as some of the most talented music and drama students from secondary schools across South Australia study the practical art of cabaret with Musical Director Matthew Carey and vocal coach Kim Spargo, culminating with a masterclass with Ceberano. This program features 30 students from 17 schools and is supported by CentreEd and The Department for Education and Child Development. Class of Cabaret 2013 is proudly supported by Performance Partner Telstra.

Class of Cabaret Graduates is a new initiative. Three of last year’s most talented Class of Cabaret students take to the stage in their own show as part of the inaugural Adelaide Cabaret Festival Mentorship Program. Don’t miss star graduates Claudia Sigalla, Ashley Bronca and Jack Degenhart, they are bursting with talent.

2012 Australian Cabaret Showcase winner Bradley McCaw and runner-up Amelia Ryan make their Cabaret Festival debuts and will prove just why they are Australia’s newest emerging cabaret artists; they are a force to be reckoned with in Australia’s cabaret landscape.

Adelaide Festival Centre’s Performing Arts Collection in conjunction with the Melbourne Arts Centre’s Performing Arts Collection and Reg Livermore presents Reg Livermore: Souvenirs from the Stage; Reg shares souvenirs from a celebrated life in the theatre as performer, writer, director and designer.

Media partner 891 ABC Adelaide embrace the Festival spirit on Saturdays during the Festival. 891 ABC Adelaide Afternoons Presenter Sonya Feldhoff will join a variety of Cabaret Festival artists on stage between 4 – 5pm, this Cabaret Catch Up will coax the artists to reveal their creative impulses.  The inimitable 891 ABC Adelaide Evenings Presenter Peter Goers will broadcast live from the Festival on Thursday 13 June, audiences can experience Peter’s unique audio vaudeville – Cabaret style!

Adelaide Festival Centre’s youth arts membership program GreenRoom have a range of special offers to Adelaide Cabaret Festival for 16 and 30 year olds, including heavily discounted tickets to a variety of shows. For more information on the GreenRoom program visit www.adelaidefestivalcentre.com.au/greenroom

Thanks to Great Southern Rail who have been supporters of the Adelaide Cabaret Festival since 2008, patrons who subscribe to four or more shows go in the draw to WIN an extraordinary travel package valued at $9,000. Patrons who purchase tickets before 1 May will go in the draw to:

WIN a deluxe Ghan package for two people which comprises:

  • Platinum Service travel on The Ghan (Two nights and three days from Adelaide to Darwin)
  • All on-board meals
  • All standard wines, beers, spirits and soft drinks
  • Exclusive Off Train Excursions at Alice Springs and the beautiful Katherine Gorge
  • Chauffeured transfers to the terminal
  • Flights from Darwin back to Adelaide or your nearest Australian capital city

Full program and tickets are on sale now through BASS 131 246 or online www.bass.net.au . Program details are available in the Adelaide Cabaret Festival brochure.  Get one free by calling the Adelaide Cabaret Hotline on (08) 8216 8901 or go to www.adelaidecabaretfestival.com.au

Apr 05

Girl In The Goldfish Bowl – Bakehouse Theatre – Preview

girl goldfish bowl image500The Bakehouse Theatre Company

is pleased to present a show to open its 2013 Season,  that is both hilarious and heart breaking:-

 “GIRL IN THE GOLDFISH BOWL”

 by Morris Panych.

Winner of the Governor General’s Award for Drama

 It’s funny, heartbreaking and just a little bit odd

 “My mother says you know when you’ve grown up. It’s the moment you stop being happy and start remembering when you used to be.”

It’s 1962 and the Cold War is at its peak. For ten-year-old Iris, not only is the world on the brink of extinction, so is her childhood. When the eccentric young girl discovers an amnesiac drifter on the shores of a remote Tasmanian fishing town, she’s sure he’s the reincarnation of her goldfish, sent to rescue her family and her youth.

Written by one of Canada’s most acclaimed playwrights, Girl in the Goldfish Bowl is hilarious, yet heart breaking. The award-winning play brings back the absurdity, pain and beauty of growing up.

Directed by: Peter Green (who brought you shows like “Educating Rita”, “Misery” and “The Drawer Boy”)

Featuring: Miranda Pike, Patrick Clements, Bronwen James, Scott Perry and Romina Verdiglione
Set/Costume design: Manda Webber
Lighting/sound design: Stephen Dean
Stage Manager: Manda Webber

WHEN:

Previews: Thursday April 18 and Friday April 19 (All tickets $20)
Opening Night: Saturday April 20.
Season Continues: April 24, 25, 26, 27.  May 1, 2, 3, 4.

All shows at  8pm

WHERE: Bakehouse Theatre, 255 Angas Street, Adelaide

TICKETS:  Adults $28; Concession $24; Fringe Benefits $20; Groups (6+) $20; Students (Secondary, Tertiary and Drama) $15; Previews $20

DURATION: 90 minutes plus interval

BOOKINGS:  www.bakehousetheatre.com

Apr 05

TeTRATOLOGISTS inc. – Curated by Kat Coppock – Ladybeads from 9 April

TetratologistsIncFlierWEBTeTRATOLOGISTS inc.

A NEW visual art show featuring;

Alphamanta, Ali Harmony Brown, Alyshia Emming, Amy Isabel-Doherty, Agota Sjostrom, Caitlin Millard, Casey Farrell, Gemma Killen, Genevieve Brandenburg, Haneen Martin, Imee Luz, Jess King, Joshua Smith, Kat Coppock, Lindsey Bryant, NicNic, Nickas Serpantius, Sam Althuizen, Sarah Kellett, Shane Haddy, Shaylee Leach, Tiff Hampton, Wes Todd. CURATED BY KAT COPPOCK

“Like a letter on the page the Monster signifies something other than itself; it is always a displacement, always inhabits the gap between the time of upheaval that created it and the moment into which it is received, to be born again…”
–J.J. Cohen

Monsters. Manifestations of the unknown. Fears, secrets, threats.

The second exhibition this year held by emerging artist and curator Kat Coppock, Tetratologists Inc. asks 22 artists to flex their artistic muscles and inquire into new media in their exploration into what it means to be monstrous.

Based around mythological figures, manifestations of pop-culture into the world of the real, or secrets buried deep within the self, the works presented here will be varied and completely unique.

Things we have a limited conception of scare us. To associate with this fear, we coagulate it. Shape it from a metaphysical concept into a physical object we can see, influence, or battle. We demonize our insecurities in the hopes of driving them back into the cupboard, or bury them in the earth. We give them shape, form, and colour. We give them a name, a sense of power, so that by fighting them we may retain our own power.

From glass work and projection art to watercolour and glow-in-the-dark hand carved figurines, here are both the cute and the challenging, and ultimately bound to disturb you in the fuzziest of ways.

This exhibition features multidimensional works by 22 local emerging artists as they bring their deepest fears and secrets to life.

Teratologists Inc. opens on 9th April at 6pm, and concludes on 9th May, 2013.

LADYBEADS GALLERY

62 UNLEY ROAD, UNLEY

Apr 03

HEDDA GABLER By Henrik Ibsen – State Theatre Company from 26 April

Hedda_Gabler_Publicity_050State Theatre Company of South Australia presents

HEDDA GABLER  

By Henrik Ibsen

In a new adaptation by Joanna Murray-Smith

26 April – 18 May 2013

Opening Night: 30 April 8pm

DUNSTAN PLAYHOUSE

 

Ibsen’s enigmatic heroine is brought to life by one of Australia’s most exciting young actors, Alison Bell, in a new adaptation of Hedda Gabler by leading Australian playwright Joanna Murray-Smith.

If Hedda Gabler were a real-life figure today, she would be a staple of the gossip magazines and tabloids – the “It Girl” of her generation. Raised as a blue-blood, renowned for her beauty and intelligence but trapped in the mediocrity of her boring academic husband’s world, Hedda is desperate for excitement, both romantic and intellectual. When her husband’s former academic rival arrives back on the scene, a spark ignites and Hedda initiates a manipulative and deadly game.

Regarded as one of theatre’s greatest female roles since it was first published in 1890, Ibsen’s celebrated anti-heroine has been brought to life by many of the world’s greatest actresses, including Ingrid Bergman, Maggie Smith, Judy Davis and Cate Blanchett.

“I’ve been waiting to have another go at Ibsen since directing Ghosts in 2008, and to approach one of his greatest plays, in a wonderful new version by Joanna, is a real honour,” says Director Geordie Brookman.

Most recently delighting audiences in ABC TV’s Laid, and lighting up stages for Sydney Theatre Company, Belvoir and Melbourne Theatre Company, Alison Bell makes her State Theatre Company debut in this role. She is joined by Company regulars Kate Cheel (The Glass Menagerie, Three Sisters), Terence Crawford (Speaking in Tongues), Cameron Goodall (In the Next Room (or the vibrator play), Hamlet), Carmel Johnson (Pornography, Three Sisters) and Nathan O’Keefe (Pinocchio, The Complete Works of William Shakespeare (Abridged)).

Joanna Murray-Smith has achieved international success as a playwright, renowned for her thought-provoking plays which deftly mix comedy and drama, elegant language, wit and savage observations. Her work has been nominated for many awards including the Olivier Award for Best Comedy for Female of the Species, which State Theatre Company presented in 2008. Her other plays include The Gift, Rockabye, Ninety, Bombshells, Honour, Redemption, Lovechild, Honour and Songs for Nobodies which recently toured Australia. Murray-Smith has been awarded two Victorian Premier’s Literary Awards for Drama, Edinburgh Fringe First Award 2004 and the London Theatregoers Choice Award. She was also a finalist for the 2006 Miles Franklin Award and was nominated for the 2004 International IMPAC Dublin Literary Award.

“Bell is a terrific actor. Her Una is alternately vulnerable and defiant, but as her armour cracks, we get a piercing portrayal of the suffering Ray’s betrayal has wrought.” The Age, on Alison Bell in MTC’s production of Blackbird.

DIRECTOR: Geordie Brookman

SET AND LIGHTING DESIGNER: Geoff Cobham

COSTUME AND ASSOCIATE SET DESIGNER: Ailsa Paterson

ASSOCIATE LIGHTING DESIGNER: Ben Flett

COMPOSER: DJ TR!P

CAST INCLUDES: Alison Bell, Kate Cheel, Terence Crawford, Cameron Goodall, Carmel Johnson and Nathan O’Keefe

 

For further media information, images and interviews, please contact Sophie Gardner on (08) 8415 5312 or 0431 210 131 or email sophie@statetheatrecompany.com.au

Apr 03

Turner From The Tate – AGSA – 5K

A Rare Bear

A Rare Bear

By Peter Maddern

It is perhaps easy to be somewhat underwhelmed by the Turner from the Tate exhibition on at the Art Gallery of South Australia as part of the 2013 Adelaide Festival of Arts. Indeed, local media identity, Peter Goers, described it as ‘boring’.

And for those seeking a wall to wall, ‘greatest hits collection’, it may also be that way but two means of appreciating the 100+ works now on show til mid May may assist in gaining greater appreciation and pleasure from the exhibition, one of the only almost generational visits that Turner’s works on this scale make to Australia.

The first comes from the designs of the Tate itself which specify that any exhibition of JMW Turner must speak foremost to presenting his progression as an artist. That chronological approach is certainly useful as one witnesses the development of his early craft based around a strong to desire to match then exceed the reputations of masters that had gone before. It is, for example, a most extraordinary display of immodesty to demand, as Turner’s will did, that his emulations of Claude Lorrain’s masterpieces should hang alongside the originals at London’s National Gallery. But remarkably, he got away with it.

Battle of Trafalgar

Battle of Trafalgar

A second approach to appreciating the exhibition is not to view it chronologically but rather to attempt to weave one’s way through it according to the various passions, views and eccentricities of a man, who, even for an artist, was decidedly odd.

In this regard, the manner in which he led his life is instructive. His best friend and house servant for many years was his father with whom he bonded strongly after the death of their sister / daughter and the subsequent madness, incarceration and death of their mother / wife. Yet, Turner also sustained a long tern relationship with a widow (Sarah Danby) whom he got settled nearby and sired two children but incredibly this was never known until after his death.

Indeed, as unhappy his relationship with his mother must have been some have speculated it was this horror that sub-consciously speaks to his tumultuous skies and seas. Turner once stated that his ‘first duty in life was to his mother.’

The Fighting Temereire

The Fighting Temereire

The young Joseph was also no looker; short, with jockey legs, a beak nose and not one to focus obsessively on personal hygiene.  It seems also he did not try to make up for this with generosity of spirit to others, especially towards his various lovers, who despite their devotion to him were (along with his issue through them) treated in an at best stingy manner. He was raised in gritty, grimy parts of London, which though very close geographically to the wealthy and royalty were for its residents otherwise a world away. While courting royal patronage, he also secured backers (such as Walter Fawkes) who were deeply loathing of the English status quo. He travelled alone, kept no diaries and eschewed working with assistants in his studio.

So, Turner though recognised by the Royal Academy at the age of just 26 spent a life in secret and mostly alone, balancing artistic expression between the need for an income and his desire to make statements, not just about his skill but about his times as well.

While JMW Turner may be regarded as a master landscape painter, it is on the sea that the history of Britain at this time is best recounted and where arguably his greatest works are focused. For this was the era of on-going Napoleonic wars, Nelson’s England and the arrival of the industrial revolution. While the idylls of the Lake District and Venice may have sold well, it was the tumult of his seascapes where his bravery as a painter and social commentator shine through.

The ruling elites of any society like to wash over quickly the reality and consequences of their decisions, good and bad, focusing on the heroic outcomes when they occur. Turner would have little of this and so his depictions of the defeat of the French (eg The Battle of Trafalgar – 1823-4 – see above) were not marked by triumph but devastating and apocalyptic imagery of those who died horribly in the battles. In A Disaster At Sea – 1835 we see not England’s boast of how, unlike its European neighbours and of course the Americans, it had risen above slavery across the empire but the human cost of its repatriation policies for criminals to colonies – here a vessel full of women bound for New South Wales was lost in sight of land by a captain more worried about his insurance that his cargo.

Then there is The Fighting Temeraire – 1838 (see above) where Turner neatly both ushers in the industrial revolution and predicts the mess it would cause to those in the cities through air pollution. Here The Temeraire is being tugged away for the last time. The yacht is beautifully presented in pristine condition, sails neatly folded, its masts standing on high while an ugly, black, sooting tug boat does the honours. The setting is not as may be expected, at sunset for the departing war veteran, but rather at sunrise – the glory days of Nelson and that England were now being taken away in a new dawn.

As for his eccentricities, it is not hard to see how Turner may have been respected but he was not loved. His works too often, while not political rallying calls to arms, tore away at the veneer of respectability and no doubt this cost him much of the royal patronage he craved. His famous efforts on ‘varnishing days’ at the annual Royal Academy exhibitions, which he saw as invitations to better, show up or even mock the efforts of rivals, must have infuriated his peers. But throughout his career, as much as he was revered many sustained a lifelong criticism of his work for its coarse techniques and those yellows and that when used to depict sunsets even now make you want to squint.

Through it all, the odd little loner held his nerve and did art his way creating a new view of the world at that time and ushering in the approaches of the impressionists of thirty or so years later and even, some say, the expressionists of a century beyond.

Accordingly Turner from the Tate delivers on showing the vagaries and genius of the man. None to that time had attempted to show the elements in such stunning states of suspended animation, especially the ‘sublime’ ones where nature towers so omnipotently over the flailing and egos of mere mortals. His ability to capture light and its emotional impact have stood the test of time and his extraordinary life’s work accordingly will always fascinate.

Mar 19

ADELAIDE FRINGE 2013 – All Washed Up! – 4K

By Anthony Nguyen

 

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In a fantastic opening musical number displaying the evident musically trained voices, the self-proclaimed ‘bad boys of musical theatre’ make a splash into the Adelaide Fringe with an uplifting musical comedy show titled All Washed Up!

The comedy duo consists of: Andrew, a tall, happy-go-lucky and often narcissistic man, and his companion (or ‘sidekick’) John who is a more logical, straightforward and relatively shorter character. The two embark on a musically adventurous journey after being shipwrecked on a deserted island with the arguments and shenanigans that ensue between the pair.

The show has everything including the Survivor-style video segments, crabs with Jamaican accents, and the strange talking (and singing) beach ball and coconut radio.

An overuse of pun jokes was done to the brink that it becomes hilarious and adds to the shows unique charming comedy.

Assisted with only a piano player, it is no doubt that both of these men stem from a life of musical theatre training as proven through their obvious singing prowess in their fun and hilarious musical numbers which encourage audience participation.

As equally fun, entertaining and ‘puntastically’ humorous, the theatrical pair go all out in their fairly underrated musical comedy show, which definitely would have deserved a somewhat bigger audience than of those who where were there on the night.

All Washed Up finishes the Adelaide Fringe this year at the La Boheme Club. Yet it is known that it will not be the end for the bad boys of musical theatre, one can hope there will be another show in the not-so-far future.

 

Kryztoff Rating: 4K

Mar 19

ADELAIDE FRINGE 2013 – Smart Casual: The Older Brother (aka The Curse of Doug) – 3.5K

By Anthony Nguyen

 

Donned in their adult-sized school uniforms, droll Roger David and his more musically talented half-brother Fletcher Jones opened in an awkward yet weirdly entertaining entrance to their new Adelaide Fringe show Smart Casual: The Older Brother (a.k.a. The Curse of Doug).

The comedy duo reminisce with a hilarious recount on the stories of their childhood. The theme in particular focused on their older brother Doug who acted like somewhat of a bully and tormented Roger and Fletcher growing up.

Complete with musical performances that are equally head-boppingly catchy as they are lyrically hilarious, the half-brothers will be sure to leave a mild enjoyment of a night.

The show however ended with a rather somber and heartwarming note than one of a somewhat typical closing musical showstopper or equivalent, which left audiences in a state of emotional content but not so much comically satisfied.

Smart Casual: The Older Brother (a.k.a. The Curse of Doug) finishes its Adelaide Fringe run in the Rhino Room this year with shows on til the end of the season.

 

Kryztoff Rating: 3.5K

Mar 15

Nosferatu, Dunstan Playhouse, 2K

The classic tale of Nosferatu was reimagined for modern audiences by Polish writer/director Grzegorz Jarzyna. This minimalist reworking brings Bram Stoker’s classic gothic novel into the 21st century.

The set at the Dunstan Playhouse was marvellously designed, a large, malleable performing space allowed for a series of environments to come to life. The lighting worked with this to marvellously create a dark and mysterious milieu.

Unfortunately the placement and speed of the English subtitles was lacking. This prevented true engagement into scenes as the audience would be forced to look away from the stage or await the arrival of the next segment of text.

Unlike Stoker’s original tale, the characters are not easily classed into ‘good’ and ‘evil’. There is a large middle ground. The resulting ‘grey’ characters fail to fully engage the audience by remaining frustratingly ambivalent towards one another. Many of the characters are under developed and the plot never fully explained. A deep analysis of Stokers original novel seems to be the prerequisite for viewing.

The deliberate slow pace of the play did little to add to the suspense or horror of the performance, the lumbering steps of Nosferatu seemed more foolish than fear inflicting. Meanwhile many characters simply stood on stage or wandered aimlessly throughout the performance. While there were humorous portions, the overarching feeling was neither one of comedy nor horror but instead of confusion.

2K