Mar 14

Adelaide Fringe 2013 – Symphony of Strange – Tuxedo Cat

Gareth Hart’s latest offering, Symphony of Strange, is just that – bizarre, eccentric, and plain weird.

Set on the top floor of Tuxedo Cat, this show was alien and incredibly outlandish. Endearing themselves immediately to the audience members by providing chilli chocolate and damp washcloths to combat the 39degree night, the performers led us into a vast empty space illuminated by so many candles that I recalled the funereal scene from Baz Luhrmann’s Romeo+Juliet.

It’s incredibly difficult to describe this show, which is presumably what Gareth Hart intended. As promised, the ‘symphony’ is performed entirely on random items, including shopping trolleys, dried leaves, and plastic cups. Artfully composed by Edward Willoughby, this original opus is mesmerising and spellbinding.

At times, the show dragged on – in particular the fact that there was no seating as we all followed Gareth around through the immense performance space made it easy to lose focus. Moreover, the hypnotic sounds of the symphony were such that at times it was tempting to block out Gareth completely, and therefore detracted from the experience.

This show is definitely one for fans of the experimental dance genre, but is worth it if you are looking for something completely unique.

3K

Mar 14

Adelaide Fringe 2013 – Alice in the Madhouse – The Birdcage

It is upsetting that my favourite show of the 2013 Adelaide Fringe, in my favourite venue of this year’s festival, was discovered so close to the end of the season.

First to the venue – The Birdcage is one of the seemingly dozens of pop-up theatres around the state at the moment. Located in the fairly charmless Arcade Lane, this eclectic venue truly does appear to have literally sprung up from the ground, and given how it is tucked away inside the lane and up an endless flight of stairs makes you feel as though you are entering a secret, exclusive and whimsical club.

A perfect venue, then, for Alice in the Madhouse, the bizarre and nightmarish imagining of the ubiquitous children’s story. Presented almost impeccably by Madhouse Circus, a Victorian ensemble of young performers, this show approaches the quality of Cirque de Soleil, on the budget of the Adelaide Fringe.

Terrifying and emotive, hilarious and sexy (yes, ladies, there are some very attractive young men wearing very little in this show – I would almost recommend it on this basis alone), inventive and highly impressive, this show flawlessly combines physical comedy, dance, aerobatics and acrobatics with pathos and storytelling. Although there were a few – minor – opening night jitters apparent in the performance, these were swept up into the rhythm of things without a hitch, and the seamless storytelling was never interrupted.

Frankly, for me this show was near perfection, a true cirque macabre. And I’ve already bought my tickets to see it again. And again.

5K

Mar 14

FRINGE 2013 – Uta Uber Kool Ja – Richmond Hotel – 3.5K

By Peter Maddern

Poor Uta, for when her audience joins her for a party in her room at the Hotel Richmond she is somewhat dishevelled  as a result of no one turning up to the relaunch of her career at some dive on Hindley Street a few hours before.

From there, with the constant urgings of her stressed manager, George, Uta takes on various indulgences as the audience tries to gets comfortable and settled whether on the bed, couch or various plastic stools.

Her tales degenerate from her high times with celebrities to finally some home truths that peel away at her delusional persona, heavily based around her one ‘hit’ song that has been tragically remixed in a 21st century electro style.

This is all great fun as her party goers, one and all, get caught up in her story as they mingle and dash for a comfortable place to witness what at times is madness.

Uta is a very different kind of show and ideally presented for the Fringe – it is zany, self-indulgent and often very funny with some Dame Edna touches and moments that make you think of how silly stardom is and Mick Jagger looks trying to be a 20 year old at 65.

Come with a few under the belt, a taste for further champagne and a throat ready to yell ‘yes’ at any whim she or George may propel your way.

Mar 14

FRINGE: Circus – A Simple Space – The Birdcage – 5K

Gravity & Other Myths are a local group of alumni from Cirkidz who show audiences just what the human body is capable of. Accompanied by Elliot Zoerner on drums, the five featured performers (Lachlan Binns, Jascha Boyce, Jacob Randell, Martin Schreiber and Triton Tunis-Mitchell) throw themselves into each segment of the show with monumental energy and enthusiasm. What’s more, they look like they’re having a ball the whole time.

These guys aren’t just acrobats or gymnasts; they have a great stage presence and inject their show with a cheeky humour. In between impressive tumbles and unbelievable shows of strength, they have group challenges, reminiscent of school-yard games, at the end of which one member reigns triumphant as “best in show” or acknowledges their loss with a fun penalty. The majority of feats are carried off without a hitch, while the occasional slip up reminds you of the potential dangers of what you’re viewing and adds to the adrenaline rush.

It’s awe-inspiringly impressive to watch people who are so in control of their body. While other shows may rely on costumes, sets and tricks to create an atmosphere, the simplicity of the stage space on which this troupe works allows the talent of the performers to shine.  I don’t know how many expletives escaped my mouth during the show but it would have easily been in double figures and might have gone higher had I not been rendered literally speechless the rest of the time.

Kryztoff rating: 5K

Mar 13

FRINGE: Cabaret – Geraldine Quinn: You’re the Voice – La Boheme – 5K

As an audience member, it’s not often that you begin a show by standing to attention and singing the National Anthem. Perhaps it should be done more frequently; it certainly seemed to get everyone into the mood for You’re the Voice.Geraldine Quinn is not afraid to show her love of the anthem in all its shapes and forms and with a voice like hers, she can do them justice.

There’s something about pop/rock anthems that gets to you; even if you generally try to steer clear of that genre of music, you just can’t seem to help singing along to a classic by Queen or Bowie. Quinn, with musical arrangements by Casey Bennetto, has put together a set list of original tracks that, while paying homage to the great anthems of pop-history, are something extra special. They are anthems for everyone, written about normal day to day experiences (at times, I was disturbed by how accurately the songs were reflecting the conversation topics my friend and I had covered over the preceding half an hour), which are seen through new eyes as their true importance is revealed by the addition of a couple of power chords and some amazing vocals.

The lyrics take you on a journey – and by journey, I mean a joy-ride that has a sudden hook-turn which lands you somewhere you were not expecting, somewhere sidesplittingly hilarious. Festival Rhapsodical is sure to be a favourite with audiences coming to the end of another packed Fringe, while Three Train Lines is a classic in waiting. Of course, Quinn isn’t just a singer, she’s a performer and between songs there’s just the right amount of self-deprecating banter to link the tunes together. Several costumes are featured throughout, with both the outfits themselves and the quick changes between being of Eurovision quality. This is a woman who understands the impact of sartorial splendour and commits to it one hundred percent.

You’re the Voice is a fantastic package of music, fun, and nostalgia, performed by one of the most talented and lamentably underappreciated comedians in Australia.

Kryztoff rating: 5K

Mar 12

FUTURE MUSIC 2013 – IMAGES

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Yesterday’s Future Music was again the biggest music fest of the year a hot but otherwise wonderful afternoon and evening in Bonython Park.

Now, Kryztoff maintains its reputation for posting the most people images of any on-line media in the State – this year with over 1000 people featured.

So check the albums out by clicking on your favourite below:

Future Music 2013 – Foam Pit

Future Music 2013 – People Pt 1

Future Music 2013 – People Pt 2

Future Music 2013 – People Pt 3

Future Music 2013 – Artists

Images by Peter Maddern

 

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Mar 12

FRINGE: Theatre – Confessions of a Grindr Addict – Bakehouse Theatre – 4K

Felix (Gavin Roach) has met a romantic love interest the old fashioned way (in actual real life!) for the first time in a long time, and he is counting down the hours until their first date.  He’s a little unsure of exactly how to play out this situation, given that all of his hook-ups for the last year or more have been via the mobile phone application, Grindr. To fill in the time and try to work out how to proceed, he cracks open a bottle of bubbly and muses about his history with online hook-ups, both the good and the bad, and the way such technology has changed the face of dating.

This is an entertaining hour. Roach is likeable and natural in the role; it’s like having a great catch-up with a really good friend who you haven’t seen in ages. Each of the stories is animated and funny, and Felix’s encounter with a foot fetishist in particular, shows off Roach’s comic talent. There’s a good overall flow to the show and some of the most hilarious metaphors you’ll come across are sprinkled throughout. At the same time, there’s a sweet sadness to some of the tales and Roach also works well with these emotions.

Although the content is focused on Grindr in particular, the topic of casual relationships without any real attachment, which are easily facilitated by online connections, is relevant to a much wider audience than just gay men. On the other hand, if it’s not a scene you’re familiar with, prepare to have your eyes opened as to the antics of the users of these sites.

Kryztoff Rating: 4K

Mar 11

FRINGE: Theatre – Of Dysentery and Madness: A Trapper’s Tale – Tuxedo Cat – 4K

The Trapper (Luke Lennox) is lonely. Something has happened to the rest of his party, Vic (Wil Greenway) and Jemima (Kellie Tori), and the cold nights by himself in Antarctica are getting to him. In between bouts of unconsciousness, he is visited by a range of interesting friends, including Caryn the sardonic penguin (Kathryn Langshaw), as he tries to come to grips with the situation in which he finds himself.

Building on the writing of Greenway, this small ensemble company from Melbourne has created a delightfully absurd but sorrowfully moving piece. There is a lot of silliness in it and a certain degree of puerility, but at the same time, the dialogue is delivered very naturally, the characters resonate with truth and the story itself has a beautifully melancholic quality. This feeling is added to by the inclusion of haunting, yet funny, folk songs throughout. The actors each give excellent performances, under the direction of Tori, and work off one another with great skill and timing.   

The unusual mix of intense drama and ridiculous folly works, and works wonderfully, because of the precariousness of the Trapper’s sanity and the talent of the four actors in bringing the tale to life.

Kryztoff rating: 4K

Mar 11

FRINGE: Cabaret – Marry Me a Little – La Boheme – 3K

Rita (Merrilyn Greer), Edie (Leah Potter) and Betty (Tahlia Ries) are The Bailey Dolls, a musical trio who perform in the club of Frank Hartley (Buddy Dawson). With the news that a friend has received a marriage proposal, Betty, who has been waiting on her beau to pop the question for years, has reached the end of her patience. Meanwhile, Rita has different priorities in the world of love, having just broken off her latest fling, and Edie is becoming unsure of how her relationship with Hartley is to proceed. Can the girls sort out their love lives in the time it takes to do a cabaret show?

The action switches between scenes where the Dolls are performing in the club and those occurring backstage, in their dressing room, as they discuss (sing about) their problems between sets. These switches, while creating an entertaining juxtaposition between the two worlds, did lead to significant pauses between scenes as the girls left and then returned to the stage to illustrate the change of scenery. Perhaps there is a better way to do this which would not break the flow so much? Accents seemed to vary wildly – both between actors and between scenes – and some focus on making this consistent would also help to bring the show together.

While the characters, attitudes and story seemed to set the show not long after World War II (maybe the early 60s at a stretch), this would mean that there were bemusing anachronisms in some of the song choices. It’s one thing to slip songs from a modern composer into the mix but to then have the characters specifically say that they’re going to perform a piece by Sondheim, which is quite well known and wasn’t written until the 70s, seemed a little strange. Making it clear to the audience in which decade the story is set, would help to give the experience a grounding point from which to better understand the overall concept.  Musically, the voices of the three singers come together nicely to create sweet harmonies. The solo songs gave each performer the opportunity to show off their range and Dawson got to prove that he has musical talent of his own in a couple of quick numbers. Accompanying the songs, house band The Duckies helped to create the right atmosphere.

This is an afternoon of light entertainment, designed to delight and, while the story based sections of the performance could do with some tightening up, overall it does.

Kryztoff rating: 3K

Mar 10

FRINGE 2013 – The Lords of Strut – 4K

By Peter Maddern

Two Irish brothers, ‘Famous’ Seamus and Sean-‘tastic’, are acrobats looking to become world famous through agility and their range of men’s personal care products. In the Bally tent at Gluttony they produce a somewhat bizarre show where buffoonery and brilliance are mixed and matched in equal portions with inspiration and incompetence.

The gap between the extremes are nearly as great as the two personalities themselves with Seamus not possessing an ounce of self-doubt and Sean constantly thrown off his game by just about everything, including some harsh words from his mother.

This is all the greatest of fun and the cramped confines of the Bally, with many past disciples in attendance, just add to the atmosphere. If not for the pretence of the brothers thing, the Lords of Strut would likely be regarded as camp as you can get. Not that it was in any way vulgar, with the cavorting gymnastics in just jocks more funny than confronting (beyond those in the front row at least) and the amusements with the Lords of Strut KY Jelly Lip Gel sailing happily over the heads of children.

If you have witnessed the slick Limbo and bizarre Candy Butchers, then for balance about circus at this year’s Fringe, these Irish siblings provide just the ointment. But when you go, be ready to groan and shout and laugh out loud for a healthy level of audience participation just makes it all seem so much better than it probably is.

Kryztoff Rating   4K