Mar 06

FRINGE: Theatre – My One and Only – Bakehouse – 4K

Just what is the difference between true love and stalking? When you think about it, it’s really just a question of whether the other person returns your feelings. Layla (Tamara Bennetts) is 29 and newly single. Despite some clearly unresolved feelings for her ex, Ben (William Jarman), she has decided to get back into the dating scene and thus meets Noah (Alan Fitzpatrick). Realising that she’s not ready to let go of Ben yet, Layla decides not to continue the relationship, only to find that Noah isn’t going to take the hint.

Adapted by Dominic Allen, from a radio play by Dawn King which consisted of a series of phone calls, this stage version still has a lot of the action occurring on the phone. Indeed, the majority of characters are never seen on stage and it is left to Bennetts to carry the visual side of the piece through its entirety. For the majority of this time, she is located in her apartment and, while the staging is simple, director Alison Kershaw has created just the right amount of movement for Layla to seem comfortable and at home without letting the action stagnate. Scenes in Layla’s office help to add a bit of variety, though the delay while these are set up does stall the momentum of the piece a bit, when a small, pre-set, desk space would not have been overly intrusive.

Much of the kudos for the success of this show need to go to Bennetts for creating a character that is full of personality, energy and strength but also shows the vulnerability of the victim and the obsessive thinking of the perpetrator. With only their voices to work with, Fitzpatrick, Jarman and Jenny Scarce-Tolley (who plays a range of extra female characters) have a tough job on their hands. They generally meet the challenge, though one or two of the minor roles are a tad overdone, creating caricatures that clash with the realism of the rest of the piece. Fitzpatrick’s natural Irish lilt has a particularly interesting effect, providing Noah with a mixture of charm and menace.

Allen and Kershaw have succeeded in bringing what could have been a visually dull story to the stage in a manner that is instead unique and engaging. While there are a few aspects that could be tweaked, and some of the plot twists are less than surprising, for the most part this is a well-executed and stimulating show.

Kryztoff Rating: 4K

Mar 06

FRINGE 2013 – Desperately Seeking The Exit – Austral – 3.5K

By Peter Maddern

Enjoying the tales of how a major production went horribly wrong is not just about some latent tall poppy syndrome, nor entirely about learning the intricacies about what can happen. Peter Michael Marino conceived a West End musical based around the film Desperately Seeking Susan and the songs of Blondie and having done the hard part of getting producer support only then could witness the whole thing close after a month as the ‘experts’ took control.

His yarn, in Desperately Seeking the Exit, also interweaves in the narrative the cultural shock of being an American and an ‘Anglo-holic’ at the same time but finding you can hardly understand a word that is being spoken to you in London and the gay / straight dynamic of the theatre world.

His presentation is slick, bordering on manic and it is nice that all ends somewhat happily for him. While this show has been well received by British audiences, where the cultural divide is more obvious, here, where we have adopted an at times uncomfortable hybrid lingo the edge that comes with those differences gets a bit lost. Also, there isn’t likely to be the ingrained love of musical theatre here that his UK audiences may have before he starts. As a result, at times, Mr Marino seemed expectant of rather more audience reaction to his tales than he received back.

But, bravery takes all forms, and stepping up and proclaiming loudly ‘I was a failure’ requires some balls. We can all dream of what we could do if only we had the time and hear of how so easy it seemed for the Cameron Mackintoshs of the world, but this tell all is a compelling and thoroughly enjoyable story.

Mar 05

FRINGE 2013 – East, Woman Shifting on the Time Axis – Garage – 3K

By Fiona Gardner

East, Woman Shifting on the Time Axis starts with an in depth exploration of Japanese traditions, particularly of women’s  submissiveness to men.

The women carefully carve their way into space wearing shoes that reflect foot binding, where the dancers are quite impressive as they walk across the stage treading delicately. As the piece projects, there are proverbs that are translated in to somewhat poor grammar.  The costumes by Yu-Fen Tsai are brilliantly put together; along side the traditional sleeve dresses used in Taiwan.

The Taiwanese performing arts group have spectacular technique delivering a professional performance. This work is very inline with a neo classical style of contemporary dance. The last half of the work didn’t come across as strongly in the first half and I must say bravo to all the dancers for not hitting each other when they were all on the tiny stage.

The venue of choice was the largest pitfall, as the costumes and special alignment of the work would have been more effective on a traditional black stage.

Kryztoff Rating  3K

Mar 05

FRINGE 2013 – Le Foulard – Tuxedo Cat – 5K

By Fiona Gardner

Le Floulard stands for a silk, which combines theatre, dance and comedy. Coming from a movement background I highly appreciated the precision within this work along side the dramatic urge and cleverness of this one-person show.

Lucy Hopkins seems to seamlessly change her personality from God, to a tree, to sad women within the flick of a scarf. Her use of stagecraft was immaculate and engagement with the audience left you sitting on your seat wanting more. The way that Hopkins gave you the slightness shift of her head changed your whole perception of her face and what seemed to be a well-rehearsed act had moments of spontaneity and interaction with the audience.

The depth of emotion that was delivered was well appreciated and received from the spectators. This was a wonderful show which left you laughing and engaged! This is ‘a not to miss show’ running until 17th March at Tuxedo Cat – Red Room

Kryztoff Rating  5K

Mar 05

FRINGE 2013 – Eddie Ifft – 2K

Eddie Ifft’s show is titled “Too Soon” but perhaps it would be better being renamed to “Too Far”. He takes the audience through a series of sex related jokes that go way beyond the “normal” comedic boundaries.

It is clear this show is targeted at young adult males and it was clear during the show, that was who it appealed to. Poking fun at some of the most serious news issues and turning them into sexual banter is something Eddie does well throughout the show, if you can laugh at it.

Admittedly there were a few parts of the show where he didn’t overstep the boundary and these were the best parts of the show, but they were few & far between.

If you’re into a highly rude, crude show (that probably should be classified as R rated comedy) then this is definitely the show for you. But if not, don’t go – don’t say we didn’t warn you!

Kryztoff Rating    2K

Mar 04

FRINGE 2013 – KnickKnack – AC Arts – 2.5K

By Fiona Gardner

Consisting of five performers at the AC Arts XSpace, this piece tried to find Tony, a comical banana that isn’t even really Tony. If you like electronic music and only electronic music this could be the show for you. The two main dancers who lead you through the show look for Tony explore a range of various scenes from traveling out of space, to drinking tea to exploring Adelaide as Barbie dolls.

Although there were some quirky moments and this piece entertained the audiences, this show didn’t really say much at all. Lissi and Jemima frequently stumbled with there footing and only skimmed the real depth of connecting with their small audience. The venue layout just goes to show that some times traditional settings with light projection can be a bit minimal.

The Fringe Guide suggests the show runs for 55 minutes although in fact it only goes for 45 minutes.

Kryztoff Rating  2.5K

Mar 04

FRINGE 2013 – Homage to Uncertainty – Emma Beech – Tuxedo Cat – 3.5K

By Fiona Gardner

Emma’s work displays a real depth of research as well as finding those simple things that just want to make you laugh. Within Homage to Uncertainty, she takes you on an informative journey into real life observant situations that she has witnessed or experienced. She sets the scene with descriptive texts as well as portraying a variety of characters; some close relations and others distant.

In this one person show she sets up the scene then carries you through the perception that leads you into the next scene with a variety of transitions that include, tea and costume changes, leaving you with the question of what could possible happen next.

This show strongly exhibits Emma’s fine taste in tackling the very large topic of uncertainty. Her comical theatrical monologue engages her audience with a variety of questions about the judgment that we play on the person that perceives the work. Although her stories about her father did make me feel as though that she was a little bit crazy, I found Emma to be a true observant artist, who was able to deliver and display a perception of change with her audience.

Kryztoff Rating  3.5K

Mar 04

FRINGE 2013 – The Big Band Burlesque Show – Nexus Cabaret – 4K

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by Alana Massalsky

If you’re a woman you’ll lust after the costumes, if you’re a man you’ll just lust.  This is burlesque.

Everything you’d expect of the art form was present and correct:  curvaceous confident women, booty and booby shimmying, a good deal of corsets and sequins, tassels and feathers, and choreography designed to tease and titillate.  But more than that, the show was excellent all round entertainment.

Special mention goes to the host Lady Cara, who turned a role that could’ve been merely functional into her own.  She kept the proceedings proceeding, was funny and showed she had a great set of lungs too, contributing her vocals to a couple of the acts.  Live big band Capitol Swing really elevated the show, the musical glue required to bring a cohesive quality to the distinctively different styles of the burlesque beauties.  Led by the very busy Mike Stewart (of the Adelaide Sax Pack), a rewarding synergy was realised between the band and the performers:  everyone was having a ball.

As for the real stars of the show, they all impressed and offered up memorable performances.  Peaches ‘n’ Gin Burlesque co-directors Luna Eclipse and Sapphire Snow proved the eastern states don’t have a monopoly on burlesque talent, whilst the visitors really delivered in terms of stage craft and quality.  These included the classy 2012 Miss Burlesque Australia Briana Bluebell, big-eyed Becky Lou, and Burlesque Entertainer of the Year Miss Strawberry Siren, displaying superior feather fan skills and the importance of a perfectly placed posy.  Vesper White brought a different energy, sliding onto stage in a tuxedo and top hat, playing up the strange attraction of androgyny.  A personal favourite was the saucy narrative-driven routine by Sapphire Snow involving a chair and a metaphor or two.  And watch out for Becky Lou’s second routine involving a fish tank:  sounds bizarre, but it’s a riot.

Kryztoff rating 4k

Mar 03

FESTIVAL – 6000 MILES AWAY – Sylvie Guillem – 5K

By Julia George

Australian Premiere – Season closes 4 march

Dance lover’s rejoice! Wondrous, leading ballerina Sylvie has finally hit our shores in this incredible Australian premiere.

At 48 years old, it is no wonder why Sylvie is still regarded as one of the greatest ballerinas of our time. She performs this profoundly beautiful, refined work with grace &elegance, and the physically-intense choreography appears effortless & weightless as if she is floating.

This work is a triple-billl, and Sylvie does not dance in the opening work 27’52” by Jiří Kylián, which is danced by three other dancers- Vaclav Kunes & Natasa Novotna, with the participation (in the closing of the piece) of Benjamin Stuart-Carberry (of the Australian Ballet). This work opened as quite a physical duet and softened part way through. The agility of the dancers was incredible to watch as they seamlessly weaved around each other, working together effortlessly. The set design was simple and modern, with a ‘warehouse’ feel.

In the second work, a duet titled Rearray by Forsythe, Sylvie is joined on stage with Massimo Murru. This work is highly-contemporary with a strong classical edge. The lighting design (also by Forsythe) was interesting, with the lights constantly fading in & out (to blackout) throughout the piece. The lighting was also quite dim on stage, which made it hard to focus at times (especially in the big theatre the Festival Theatre is).Sylvie shone in this work, outdancing her talented male counterpart.

After a short interval the audience was treated to Mats Ek’s Bye, performed as a solo work by Sylvie Guillem. This piece integrated digital media on stage in the form of a 2x1m screen, projecting at times comical video (of other people & a dog), which Sylvie interacts with throughout the work. A much lighter choreography & performance than the previous – also more engaging, with some giggles & claps during the performance from the audience. Bye did not fail to show off the incredible physical prowess of Sylvie, leaving the audience in awe.

This show is a true masterpiece highlighting Sylvie’s unique technical perfection. The trilogy of work is diverse, interesting and mesmerising. It’s not everyday you have the opportunity experience an international master perform their craft, and this is one opportunity that shouldn’t be missed!

Mar 03

FESTIVAL – One Man, Two Guvnors – 4.5K

By Peter Maddern

For One Man, Two Guvnors, Carlo Goldini’s The Servant of Two Masters has been lifted out of the 18th century and transplanted to Brighton, England, in the early days of The Beatles and given a wonderful new life.

This National Theatre of Great Britain production has won many accolades since it opened 12 months ago and certainly writer Richard Bean has felt no constraints about him in his comedy with just about all forms of the genre incorporated from farce and slapstick, messy alliterations, groan inspiring puns to discomforting audience participation. On top there is a string of 60s style songs (written by Grant Olding) played by a young band, The Craze, the members of which brought back more than a few memories of Jersey Boys as well as the fab four.

Fired from his skiffle band, Francis Henshall (Owain Arthur) becomes minder to Roscoe Crabbe. But Roscoe is really Rachel (Rosie Wyatt), posing as her own dead brother who’s been killed by her boyfriend Stanley Stubbers (Edward Bennett). Francis spots the chance of an extra meal ticket and takes a job with the one and same Stanley Stubbers but to prevent discovery Francis must keep his two guvnors apart.

All pretty mundane stuff really and the comic potential of it all is let loose, guns blazing, for a riotous two and half hours. The restaurant scene, where Francis must keep both guvnors fed without the other knowing of their presence is brilliantly handled with Mark Jackson’s shaking 80 year old waiter a highlight.

But at the end of it, One Man, Two Guvnors stands or falls on the efforts of Francis and for this Owain Arthur is simply spell bounding. With a physique not obviously athletic, Arthur flits around the stage with grace and great comic purpose, relishing every opportunity to make fun of it all – there are times when the story seems almost secondary to his antics such are the desires to pack in the laughs.

If there is one criticism to be made, it is the events that conclude the first half involving ‘audience’ participation which for this reviewer all ended somewhat sadly, fraying the fabric that had formed between the cast, the band and the audience to that point. Just why what happened did I shall leave to others to explain but for this country, brought up on the ‘rules’ of Barry Humphries various shows, at the least, I think it was a mistake.