Mar 07

FESTIVAL – Murder – Erth – 3.5K

By Peter Maddern

Life asked Death: “Why do people love me but hate you?” Death replied, “Because you are a beautiful lie, and I am the painful truth”. A suitable follow up question for the program may well have then been – why do we relish images of both in at least equal proportion?

Erth’s puppets, guided by a middle aged human narrator, directed by Scott Wright and accompanied by songs from Murder Ballads by Nick Cave and The Bad Seeds examines these issues in a dark, often violently confronting production at the Queens Theatre.

Our narrator is a somewhat sad loner who craves human interaction but seems only able to solve his lusts in violent spasms. The puppets that variously inhabit his life are sized from small (some as children) to adult and life size, some with erased, blank faces, others with smiles that become grotesque as the drama plays out.

Wright’s direction of Murder is sublime with the interaction of the ballads and the action spot on (the opening song with a cowboy figure on a bed both highly funny and troubling) and his use of the various backdrops – seemingly very tall hospital screens – most effective.

At the core, audiences need to go to appreciate the message and the artistry. On the latter, the puppetry is of a very high order, with the gyrations of the prostitute (that emerges from an old battered fridge early on) all too life like. The message about the prevalence and tolerance for violence in human societies – both present and past – is hammered home in often chilling scenes, though at times it was a challenge to work out exactly what was going on.

What was also a challenge was the stifling heat of this venue. It is a sad reflection on the priorities of our civic leaders that on the day they fork over another million or two to sporting codes for their profligate largesse to their advisers, PR people and the like for the $650m Adelaide Oval, events such as this, that can put Adelaide on the map, are held in hot boxes where only a series of domestic fans are available to break up the humidity. (Then there is the unfathomable brilliance of starting construction works on the Rundle Mall, footbridge and Victoria Square on the 10 or so biggest days of the year for our town (in terms of visitors at least) but don’t get me started on that!)

To be sure, audiences need to be ready for Murder (and not just well hydrated) with its complexities, strobe lighting and the like but Erth has produced a memorable production that will reward your indulgence. But if, when you get home after you strap yourself in for some latest police drama on the box without a second thought, then you may have missed the point.

Kryztoff Rating  3.5K

Mar 07

FRINGE 2013 – Helpmann Academy Grad Exhibition – Drill Hall – 3.5K

100 rocks by Tom Borgas

100 rocks by Tom Borgas

By Peter Maddern

The annual Helpmann Academy Graduate exhibition, on again at the Drill Hall at the Parade Grounds, show cases the very best of Adelaide’s student artists. Also as per usual, there is an eclectic collection on display with everything from photographs and moving pictures to large installations, ceramics and glass.

Rightfully, much attention has been focused on Kate Kurucz’s luscious and traditional portrait, mischievously entitled Casual Friday. The colours are absorbing and the work stands somewhat in contrast to many of the modern and grungy styles adopted elsewhere in the show.

Also of interest with the brush are Ellie Noir’s works, especially her Myself As Alice where a cowering frightened Alice is seen squeezed into a very confined space. Her mastery of the human form is very evident and her work is accomplished. Kurucz’s other work Pleasuredome Palindrome, (partial below) (again a delicious name) is homage to self-indulgence and its therapeutic effects on our psyche.

csA favourite from last year, Carly Snoswell, is back with her plastic loop ties, this time (in Untitled – left) as intensely spun balls in all manner of colours that seem to be exploding apart as you view them. The magic in her work is the shock one gets from seeing what constitutes her seemingly simple figures.

There is also something alluring to Tom Borgas’ 100 Rocks (above) that are presented, precisely, as cross-sections in graduating sizes and shades of purples to reds. A no doubt unintended impact it may have is to conjure up finely cooked pieces of prime beef or lamb.

Sure to amuse is Victor Waclawik’s Footstool (with accompanying Armchair), both done in black rubber and imitation leather – the former with the soles of feet protruding, the latter with arms doing similarly.

There are also a number of objects whose creators have obviously revelled in the creative process as much as the outcomes. The useful exhibition catalogue confirms that for us and the works of Russell O’Brien, Lucy Palmer and Kel Chester are well worth pausing at to study on this count.

Pleasuredome Palindrome by Kate Kurucz (partial)

Pleasuredome Palindrome by Kate Kurucz (partial)

On that reference source, the catalogue provides most valuable guidance for viewers as it includes the individual artists’ statements that do no end of good to explain what has been attempted and thus what it is we should look at in their work and how well they have achieved their aims. The arrogance of ‘art is what is what I have called it and it is for you to interpret it’ is thankfully put on hold in this environment.

I am uncertain whether this year’s exhibition matches that of last year’s which was somewhat of a stand out with more than a few of those artists already making a name for themselves out in the real world. And perhaps that is best how we regard this exhibition. It is that final moment for the student artists between the constraints and support of the educational institution and its teaching methods and requirements and that first day beyond when full freedom of expression is allowed in a dog eat dog world.

But as always, there is much to admire and be fascinated by with Samela Harris’ Art For The Looking essay in the catalogue a most useful starting point for appreciating the works within.

Mar 07

ADELAIDE FRINGE 2013 – Lady Sings It Better – 4.5K

By Anthony Nguyen
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Donning their pink tutus, snazzy bowties and sassy feminist attitudes, the all-female all-singing all-harmonizing cast of Lady Sings It Better graces the stage in their sold-out opening show of the 2013 Adelaide Fringe.

With a performing cast consisting of five talented ladies: Maeve Marsden, Libby Wood, Belinda Crawford, Monique Potter, and Anna Martin (originally six members, however Chandra Franken was unfortunately absent), they performed songs traditionally and originally sung by men in new arrangements accompanied by a band, which display their amazing harmonisation and singing abilities.

In a comedic twist of adult themes with over 10 songs from artists including Shaggy, Peter Andre, Queen and even a brilliant 7-minute Michael Jackson medley, the show will be sure to provide many laughs as well as be an amazing explosion of sound.

Their simple choreography, which does not demonstrate the best of dancing abilities, really adds to the hilarity and comedic aspect of the show and places more focus on the songs. It is obviously shown that these ladies are very comfortable with each other on the stage as the camaraderie between them all is fun to see and allows them to build on each other’s talents and vocals to produce an amazing performance.

If you a fan of cabaret, a supporter of feminism, or just love to hear talents in singing, this show is definitely a worthwhile one to see with remaining shows every night at Gluttony until the last day of the Adelaide Fringe (March 17th). Lady Sings It Better proves that sometimes the women do it better as this is a performance you will not walk out disappointed.

Kryztoff Rating: 4.5K

Mar 06

FRINGE 2013 – Foreign Objects – Austral Hotel – Red Room – 3K

Foreign Objects is a group of 3 female comedians, a Greek, an Asian and a Kiwi, who joined together to bring their own comedy show to the Adelaide Fringe.

With home bases in New Zealand, Australia and New York, TM Bishop has appeared on some of the most prominent stages internationally and televised in NZ and the U.S., spreading her kiwi humour worldwide.

Hailing from Singapore, Ting Lim represented Queensland as a state finalist in both the RAW finals and the Green Faces competition in 2010, becoming a recognisable face on Australian television.

Soulla Pants takes her Greek comedy to a variety of clubs and venues throughout Australia, as a performer and MC that charms audiences of all diversities.

Having a good sized audience in the small Red Room, this year with an oversized fan to keep everyone cool during the warmer days, created a good atmosphere for the three. A bit of a mixed bag with some material much better than others, as well as a noticeable gap in the quality of the tree. Ranging from some ignorable crudeness to some clever deliveries. Overall the crowd present seemed to be quite entertained and the Greek, Asian and Kiwi  seemed quite ok at working in a very intimate venue.

Foreign Objects will be performed until March 10.

www.comedysangels.com

Kryztoff Rating   3K

Mar 06

Fringe 2013: Bar Studies 101 Botanic Bar 2.5K

You enter a cramped bar in the back of The Botanic, you sit upon a barstool and then science. Owen Collins is the captain of this vessel which explores six creative ways to combine alcohol and science.

Previously a demonstrator at the Questacon Collins walks the fine line between humour and science. These two things, like grapes and age, work exceptionally well together. Over the course of the hour Collins demonstrates several tricks incorporating science at each step of the way. These tricks were interesting but there was a feeling that more could have been done. The tricks were simple in nature and while impressive left a nagging feeling of wanting. Perhaps I had an over achieving high school science teacher, but I recognised the majority of the stunts as things I had personally performed years ago. There was probably a reason for this, possibly not wanting to alienate the audience with demonstrations and jokes that sail over the heads of the viewers or perhaps simply not wanting to set the bar alight. However this would have been a larger draw factor (more science, not an on fire bar), I think more in depth demonstrations and an increase in the total number of demonstrations would yield a more distilled show.

Collins owns the audience, he is a master of controlling the pace and nature of the show. Appropriate timing, a good sense of humour and an excellent scientific base knowledge make this a show definitely worth seeing. For science advocates and masters, you won’t learn much, but the showmanship involved and the manner of performance will still make it worth viewing.

2.5K

Mar 06

FRINGE 2013 – Altar Boyz – Star Theatres – 3K

By Ben Nielsen

Capitalising on the resurgent popularity of boy bands, the musical comedy Altar Boyz is a ‘real time’ performance by a Christian band from Ohio. On the last leg of the ‘Raise the Praise’ tour, the five boys land in Adelaide, using music to spread the word of God.

Besides being formed specifically to stage this show, director David Gauci’s production company Davine Interventionz has admirable intentions to foster emerging South Australian talent. While most are already firmly established amongst the local industry, Gauci has gathered a fine cast and crew for his first rendezvous.

Neither a love of boy bands nor studies of theology are a prerequisite to enjoyment; the irreverence of the show soon had the crowd cheering and snorting with laughter. The plot wasn’t overly strong but the cast perfectly encapsulated a range of stereotypical traits and nuances that provided many easy gags.

Brady Lloyd is well cast as Altar Boyz front man. His song and dance routines (Shenayde Wilinson-Sarti, choreographer) were energetic and slick, and he oozed charisma and sex appeal. The latter paid off when he received an unexpected kiss from an audience member.

While they had somewhat less capacity to shine, Gareth Wilkes, Brody Thomas-Green, Dominic Hodges and Lindsay Prodea proved themselves as worthy members of the boy band. Prodea and Thomas-Green’s vocals were of particular note.

Framed by impressive lead light windows, Emma Knights’ band was heavenly.

It is such a shame that a community theatre production of otherwise high standard was let down by its poor sound production. When the Altar Boyz weren’t overpowered by the accompanying band, distortion and muddiness made singers and lyrics indistinguishable. The show was also riddled with ear-piercing feedback issues.

It’s certainly good fun, and coins the hilarious phrase ‘Mary Magdalicious’; but Altar Boyz is not a production to be seen more than once.

3K

Mar 06

FRINGE 2013 – The Saints of British Rock – 3.5K

By Peter Maddern

It is doubtful that any production will rival the film, Spinal Tap, as the greatest rock’n’roll spoof of all time but the Saints of British Rock provide great fun in having a go on the theatre stage.

When we join them, the band has split from its hey days of the 1960s but the memories and flash backs run thick and fast due not only to their longings of the past but more than copious quantities of drugs, comprised in part by their ‘rock’n’roll crystals’.

The two main band members are Rocco Hercules Somershire, a red haired, shirtless, delusional mad man and Jib Frombroffits, a Mr Bendy legs singer who possesses a permanent cockney sneer.

Done as a mockumentary, thanks to a ‘live’ broadcast by BB7 on their ‘What is they thinking?’ show, these two space cadets and three other accompanying musos relive the glory days complete with numerous transcendings of time and space that include meeting up with Merlin at Stone Henge before Rocco knocks off King Arthur’s wife. The original songs, which include the occasional riff you will recognise, hardly flatter the humble rock lyricist in real life but the various videos of drug fuelled fantasies will fully recall the days of the Beatles and Rolling Stones and induce a strong yearning of wishing you had been there with them too.

Thanks to their intense love of the Queen and dislike of the French, the Saints of British Rock somehow get it all back together again by the end before collapsing into various stupors.

All great fun and older Fringe goers will find plenty to enjoy.

Mar 06

Echolalia 3.5K Adelaide College of the Arts – Stables

Echolalia is A Kallo Collective production created and performed by Jen McArthur. The show has taken home several awards for its use of silly, physical theatre and dance. There is a deeper tone, which explores social etiquettes and graces. After working with autistic children on a holiday camp, Jen McArthur created the character ‘Echo’ who does not register social graces.

As the show continues Echo continues to highlight our unspoken social rules. Working through the fears of social interaction and Echo’s encounters with at times farcical, hilarious situations secure a light hearted mood. However the show overall explores more serious issues, they are handled in a touching, funny manner.

3.5K

Mar 06

FRINGE 2013 – Piano Chicks – The Promethean – 4K

High Res PIano Chicks

By Alana Massalsky

Becky Blake is a piano chick.  A seasoned performer well versed in the ups and downs of making a living in the entertainment industry, but evidently still very much in love with the life.  In Piano Chicks Becky candidly shares personal and professional stories, mingled with songs by famous piano chicks influential throughout her career.

Joining Blake on stage were a very able group of musicians amongst whom cellist Sandy Hosking was most memorable, adding textural and emotional depth to Becky’s skilful piano and lead vocals.  The other musicians were somewhat underutilised, but one doesn’t get too distracted by that – Becky is much too engaging.

Hits by Carol King, Carly Simon, Lady Gaga, Jewel, Tori Amos, Delta Goodrem, Missy Higgins, Alicia Keys and Sarah McLachlan were all covered admirably well, astute and amusing details of the artists’ lives serving as introduction to the songs.  Part of the way in Becky invited current students of Brighton Secondary School onstage to provide backing vocals – a nice gesture to the formative importance of her high school years.

The audience definitely enjoyed themselves, and I suspect its numbers were bolstered by friends and family as well as dedicated long time fans (perhaps of her former Chunky Custard days).  For those less familiar with this style of pop cabaret, the delivery could come across as disconcertingly well-polished.  For the most part this just served to highlight Becky’s proficiency as a performer, but occasionally it jarred with the artistic intention of the original song:  most notably with Birdy’s Skinny Love, which in its original incarnation is a gorgeously raw and low tech recording.

An assured performance, a funny anecdote or two, a generous and captivating performer and a deliciously intimate, climate controlled venue.  A refined Fringe night out indeed!

Kryztoff rating 4K

Mar 06

FRINGE 2013 – Tumble Circus: This is what we do for a living – The Birdcage – 4K

tumble_circus_108_photo_by_steve_ullathorne

Up a flight of inconspicuous stairs lit with electric candles, down a seemingly endless prison-beige hallway resides The Birdcage, the most beautiful condemned cinema you will ever see.

Radiohead’s Creep fills the cavernous space. Pastel coloured metal folding chairs line the shallow stepped stairs, the shrieking scrapes as they are pulled out and shuffled around echo through the chamber, empty but for an enormous piece of spartan scaffolding, a bright red date-night dress dangling on a coat-hanger high high high up on the very top girder. A day bed covered in pillows sits in the middle of the otherwise empty stage and it seems far too small for something with a name like Tumble Circus for any kind of acrobatic tomfoolery…

The lights go out with a clunk and the dark is so encompassing that it seems solid and you instantly feel lost. Voices, once thick and Gaelic, the second acute and chirping; the stories of a boy from Belfast and a girl from Sweden who meet as teenagers and begin a life together as performers. The swirling mass of ghost voices snaps to the trans-continental couple screaming at each other, yelling at each other and yelling at us. They each tell half a story, two-halves that don’t so much line up like pieces of a jigsaw puzzle as they are crammed together, like odd pieces from the same puzzle, made to fit in that way that love so often does.

Thick dusty rope is scaled, and bodies dangle and twist in the air. People gasp, I gasp; the acrobatics seem so wild and dangerous, their faux-incompetence masking the thousands of hours working together, two bodies as one in perfect harmony. But we see that what cannot always work in harmony is two hearts, so passionate and emotional that they smash into each other in moments of rapture and anger, separate and all at once.

More pop music, The Breeders exploding through the space, the air electric. The pace is jarring, as sadness makes way for comedy, and the audience is literally romanced with roses and stunts. Pillows are thrown at the audience in good-humoured response to colourful audience participation and everyone wants it to just go on and on as is has been. But it must end, like all things.

An emotionally turbulent mess of hearts and bodies, Tumble Circus: This is what we do for a living is fantastic, terrifying, maddening, saddening, joyful, soulful and fucking funny. Go there, up the stairs, down the prison-beige corridor into the condemned cinema and see it, see it and then see it again, and again, and again.

Kryztoff Rating  4K