Mar 01

FRINGE Again Amazed – The Cavern Club – 4K

Nicholas Tweedy is back for the Adelaide Fringe presenting some of his amazing acts using his clever skills some of which he says took him over 12 years to learn. Combining slight of hands magic with clever, outright remarkable mentalism ,  and a dash of humour he thoroughly astonishes the audience into amazement again and again.

A very engaging show, consisting of levitating cards, igniting cards, refilling cans, and lots of unbelievable mind reading including cards, names and drawings, performed by an understated, very clever,  entertainer.

Again Amazed will be performed at The Cavern Club until March 7.

www.nicholastweedy.com

Kryztoff Rating   4K

Mar 01

DOC WEEK 2013 – AN EVENING WITH: DA PENNEBAKER AND CHRIS HEGEDUS – TIL 3rd MARCH – 5K

AnEveningwithDAPennebaker760x380

By Ali Soulio

This week Adelaide hosts Doc Week as part of the Australian International Documentary Conference. In 2013, the festival showcases the outstanding lifetime works of renowned filmmakers DA “Penny” Pennebaker and his wife Chris Hegedus. On Thursday, the University of Adelaide played host to the An Evening With event, where loyal followers, film buffs, music fans and film students alike were given the opportunity to eavesdrop on a truly entertaining and informing evening long conversation with the two directors, moderated by Australian writer and journalist Elisabeth Wynhausen.

Recently becoming the first honorary Oscar winner for documentary filmmaking, Penny recollected his early life before film, and how he came to develop an interest in filming the truth. Focusing on the subjects of music and politics, Penny’s films embody the style of cinema verite unlike any other. Perhaps most apparent in his earlier work with Robert Drew in Primary (1960), which covered the Kennedy-Humphrey primary campaign in Wisconsin, and in his own Don’t Look Back, which followed acclaimed musician Bob Dylan during his tour of the UK, his style of minimal narrative and ultra-personal camera work creates an atmosphere in a documentary never before seen. His films appear to peel the inherent impersonal veil of the cinema screen back and almost transports the viewers to the exact position he was in when filming each scene.

On the night, the audience was also privy to some insight into the artistic style and motivation behind the works of Penny’s wife and creative partner Chris Hegedus, who he had collaborated with since they first met when, according to Penny, she knocked on his door because, “she needed equipment”. Since then, Chris and Penny had worked together on many projects, most notably a film on 1980’s band Depeche Mode called 101, infamous coverage of Bill Clinton’s campaign team in The War Room, and more recently Al Franken: God Spoke (2006). All of which amounted to Penny accrediting his Oscar to Chris’s artistry as much as his own efforts.

In awe at the purity of their artistic integrity and achievements in an industry driven by capital, the audience was greatly appreciative of the inspiring words of encouragement from DA Pennebaker and Chris Hegedus.

As Doc Week draws to a close this Sunday, some of the pair’s most recognised films will be on show over the weekend at the Palace Nova and Mercury cinemas. So if motor sport is not your cup of tea, heading down to see one of the docos screening this weekend will definitely getting your artistic thoughts flowing, and reintroduce you to the somewhat starved aspect of truth in modern filmmaking.

Kryztoff Rating: 5K.

Mar 01

FESTIVAL – Thursday – Norwood Concert Hall – Til 16 March – 4.5K

Image By Chris Herzfeld

Image By Chris Herzfeld

By Peter Maddern

In times of horror, such as the London bombings of 2005, the tendency of the media is to paint those caught up in it all somewhat homogenously – ‘victims going about their daily lives when …’ And while individual cases are sometimes examined, especially as time goes on, but usually then only in somewhat of a rose coloured manner, rarely are we allowed to visit upon the real float of those ‘victims’ all together. Thursday proves us with that opportunity.

Being based around the very confronting words of Adelaide-born Gillian Hicks, Thursday lays bare this homogeneity idea for we see people who are shallow, loving, not educated, rude, gay, coloured, fresh from domestic fights, missed breakfasts and the like all brought together, cramped and without respite from the vagaries of the beast or beauty next to them on a tube train, not out of choice, but as a part of their efforts to get from sun up to sun down and then to the next sun up as best they can. Then everything changes.

Thursday also takes us beyond to ask the very real questions about what separates life from death, why these people receive so much attention when great suffering is going on daily in homes and hospitals everywhere and how much luck is involved in whether you survive or not, are maimed or not and so forth. (Curiously, the role of a God is hardly mentioned.)

The relationship that develops between Rose (Kate Mulvany) and her nurse, Bonita (Emma Handy), when in hospital, is especially poignant. When we are taken a year on, the changes in their lives and of their persons and the hurt of these two players as a result is made plain, especially as the media looked to make the most of the anniversary of the events using images that suggested all the players had stood still in time.

Thursday is a joint production between Adelaide’s Brink and the English Touring Theatre. Given the unhappy results of last year’s production, a lot rests on Thursday for Brink, especially given the roll call of leading Adelaide medicos (et al) who have financially supported this production. The audiences’ reaction last night should give all involved great hope.

As suggested above, both Kate Mulvany and Emma Hardy give fine performances, with both maintaining as heroic a balance of stoicism, commitment to the task and to each other as their circumstances could allow. Tom Mothersdale as Adrian, the slobbish arts student / graffitist who finishes up with a host of mixed blessings from the ordeal, is also excellent. Though to separate out these three is perhaps unfair on what is a top flight cast that delivers an exacting and at times exhausting script with perfect timing and emotion.

The unique connections of this work and production with this town, especially in the light of the Kreutzer Sonata’s casting issues, makes this now the most important piece of theatre in this year’s Festival. To say that is not to suggest this is an easy play to witness, with every imaginable theatrical flourish used to deliver a telling inspection of what it is to be alive. But, for top flight theatre, there will be few other productions that will come close to Thursday – anytime, anywhere – in Adelaide this year.

Kryztoff Rating   4.5K

Mar 01

FRINGE TICKET BINGE – Piano Boys & Saints of British Rock – WIN TIX

With the Fringe now at almost the half way stage, Kryztoff is very pleased to offer free tickets to the following two great shows:

TWO DOUBLE PASSES TO EACH OF:

PIANO BOYS – The Prom – 2nd March (tomorrow) – 5pm

Following the sell out success of her 2012 Fringe show, Piano Chicks, this year Becky Blake (ex Chunky Custard) comes back with a brand new show featuring the music of Elton John, Billy Joel, Stevie Wonder and Peter Allen and lots of goss.

SAINTS OF BRITISH ROCK – Big Slapple – 4th March – 8pm

The Saints of British Rock sees Übermensch ‘60s megastars Rocco Hercules Somershire and Jib Frombroffitts sharing details of their multi-dimensional, 21st century hooligan-rock revival with acclaimed biographer and television presenter, Sir James Douglas in a 75 minute multimedia musical theatre mock-rockumentary.

Lampooning British entitlement, British history and the wastrel life of rock & roll icons and at the same time saying some pretty interesting things about the nature of reality The Saints not only celebrate the British Rock scene of the 1960s and 1970s, they also revel in the mysteries of ancient culture that surround several significant stone structures throughout the British Isles – all via the use of some brilliant rock & roll music.

TO WIN, JUST WATCH THE THIRD EPISODE OF ADELAIDE’S NEWEST COMEDY WEB SERIES – SECRET MEN’S BUSINESS – AND ANSWER THIS QUESTION:

CLICK HERE FOR SECRET MEN’S BUSINESS EP 3

What was the answer to the Pope’s crossword?

Then email us at editor@kryztoff.com.

Entries go into a draw tonight at 6pm.

Winners advised by email tonight or tomorrow.

Feb 28

ADELAIDE FRINGE 2013 – UniSA Gear Up 2013 – 3K

By Anthony Nguyen

 gear_up_small_banner

The University of South Australia kicked of the new academic year with its first annual UniSA Gear Up music and arts festival as part of its O’Week festivities on the 27th of February this year.

Two stages, located on George Street and the Lion’s Courtyard, housed the performances of over 20 bands and artists who played periodically throughout the day with a massive lineup including many local Adelaide groups as well as some international bands, including Ball Park Music, Hungry Kids of Hungary, The Salvadors, Asta, Quaint Attraction and Busby Marou.

The live bands created a lively atmosphere throughout the afternoon attracting a large crowd to enjoy the music. Since there were two stages, two bands would usually playing simultaneously on opposite sides of the campus leaving endless musical entertainment throughout the day.

Spread across the City West campus of the university are also other fun activities for other people to occupy themselves whilst waiting for their favourite bands or just to explore the campus. Additional entertainment and attractions include various food stalls, a silent disco, a crazy photobooth and buskers of all kinds.

Unfortunately the weather was not the most ideal with the heavy overcast and drizzling rain, but that did not stop the huge amount of people who turned up with many show-goers participating and enjoying the live bands outdoors in the rain.

The University of South Australia hopes to make this event an annual festivity. Entrance is free for all UniSA students and staff, for anyone else entrance tickets are $30 through the FringeTix Office.

 

Kryztoff Rating: 3K

Feb 28

FRINGE 2013 The Angry Cabbie – The Maid – 3K

4-mark1-pc1

by Alana Massalsky

When you’ve been working in a job for 16 years there’s likely to be a few things that piss you off about it, regardless of what you do.  If you’ve spent those years working as a cabbie it’s probably a miracle you don’t have occupationally induced anger management issues.  Mark Martin, the titular Angry Cabbie has survived for that long in an industry most of us couldn’t last a day in, and brings to the mic stories stockpiled over the years.

Mark comes across as a pretty laid back and gregarious sort, not at all angry – at least not in any obvious way.  No blood vessels bulging at the temple, clenched jaw or facial twitch, no metaphorical venom was spat.  So if you’re looking for an unhinged melodramatic portrayal of a cabbie on the edge this isn’t the show for you.  Also, don’t expect the kind of yarns detailing interactions the likes of those seen on reality TV show Taxicab Confessions.  Most of his stories are amusing, but not shocking or provocative.  That’s not necessarily a problem, but Mark’s weren’t all that well developed comically.  True stories weren’t given space, rather forced into a more conventional joke format, complete with dad joke style punch lines.

By the end of the show I found myself longing for a bit of Q&A time, where the audience could ask all those pressing questions about the life of a taxi driver.  Like “has anyone ever gotten a bit too frisky in the back of the cab, and if yes, how did you handle it?”, or “have you ever actually fined someone $60 for cleaning, and if yes, how bad was it?” or even “what’s the worst driving you’ve ever seen on Adelaide roads?”  All very juicy topics I’d love to delve into.  This guy would be great chat to over a beer, after work.  When he’s relaxed and off-script.

Don’t go in expecting an agile and innovative performance the likes of those presented by headlining comedians.  But that’s because Mark Martin isn’t a professional comedian, he’s a professional cabbie, and a pretty likeable one at that.

Kryztoff Rating  3K

Feb 27

Freefall Town Hall 4.5K

Lineup

Freefall is an acrobatic based show which, using sarcastic and awkward comic undertones, explores the subject of fear. From the instant the lights go up, the stage is a flurry of movement. The six performers move so quickly and so constantly that watching the show is similar to peering through a kaleidoscope, so beautiful but you simply don’t know where to look.

Winner of the Adelaide Fringe Best Circus (2010), the Tour Ready Award (2011), Melbourne Fringe Best Circus and Best Emerging Circus/Physical Theatre Performer Award (2011), Freefall is not a show to be missed.  The show is put on by Gravity and Other Myths and abrogates all expectations of comic acrobatics. The show is witty but not pompous, talented but not boastful, it’s a cute, astonishing look at fear and embarrassment.

The show begins dimly lit with quiet stirring music and a recording of people discussing their greatest fear and what it truly means to be afraid. From there the performers are bestirred into a cheerful acrobatic piece which makes the first few minutes seem obfuscated. The show orbits back into the serious aspects but overall there is a powerful milieu of light heartedness. Freefall can be bifurcated into an earnest perspective of fear and embarrassment and a spectacular gymnastic show.

All of the performers mix comedy into their pieces, but the limelight is stolen by the hilarious Tilly Cobham-Hervey who hosts the evening. However she does not engage in some of the performances the others enter into so voraciously. The show ends with an apotropaic feel, after having left you are filled with nothing but cheer and excitement.

Freefall is a truly astonishing performance from some of the most talented South Australians in the business. This is a show to skip dinner with a soul mate over, one of the greatest acts at this year’s fringe.

4.5K

Feb 27

FRINGE 2013 – HEART OF A WOMAN: A TRIBUTE TO ETTA JAMES – THE SOUL BOX – 2.5K

Etta-JamesBy Ali Soulio


After the death of 1960’s blues and soul great Etta James early last year, a group of dedicated musicians from around Australia came together to produce a tribute show in her honour called Heart of A Woman. Part of this year’s Fringe Festival, the event is held at The Soul Box, a small rhythm and blues venue located very much at the wrong end of town, Hindley Street’s west end.

Despite the surroundings, the venue offers a tight, intimate setup that would promote the atmosphere of a blues or jazz venue. However, to my heartache, the performance didn’t really manage to add to this. Whilst there was much to appreciate about the effort of the performers and indeed the essence of Etta James, it is by all means an embryonic project.

With only the assistance of a keyboardist, the three singers do manage to get the slightly aged crowd into the groove, but throughout the night it seemed there was a lack of depth that would usually be filled by some soft jazz drumming and perhaps a blues trumpet. Of more value were the fragments of knowledge into Etta’s life that each of these faithful performers had to offer.

First on stage, young Chelsea Wilson managed a neat rendition of Etta’s most popular song At Last with great vocal control and a pleasant tone, however her stage performance was a little stiff and didn’t quite scream the blues. Local talent Henry Manetta returned to Adelaide and to my delight (and hopefully the rest of the crowd’s) he brought with him some soul. Although his vocals were a little over performed, he brought some much-appreciated life to the room and the stage.

Finally, Ruth Rogers-Wright closed out the evening with a burst of soul. She reintroduced meaning to Etta’s songs that were being performed. Although there was a notable lack of preparation from a professional view, Rogers-Wright sang with emotion; something the audience had been starved of until that point.

All in all, Heart of A Woman: A Tribute to Etta James offers those who remember her an evening to reflect on the troubled but beautiful life of a great artist who’s voice we will never have the honour of hearing again. For a younger crowd, it’s a much more interesting and entertaining way to discover the essence of Miss Peaches rather than passively Googling her from an armchair.

Kryztoff Rating: 2.5K

Feb 27

FRINGE 2013 Victoria Healy’s Anatomy – Gluttony – 2.5K

show_page_displayBy Vincent Coleman

Victoria Healy is a female comedian. There is an awful stereotype around female comedians, that being that they are either a) not funny, or b) they are funny, at the expense of their own dignity. Personally, I disagree with both of these sentiments. Women can be, and often are, funny as fuck. Anyone can be funny with or without the use of self-deprecation, or with it for that matter, so long as they own it.

Victoria Healy can be pretty funny, just not all of the time. Being a comedian is a hard job, and to an extent, a comedy show is only as good as it’s audience. Victoria Healy’s audience were lovely, which is what I think was the very problem she faced – they were too nice. Elderly people, seeing a reasonably priced show while the sun was still up, they were very polite, which is not what a comedian needs. A comedian needs a crowd they can get theirs claws into, wise-cracking smart-arses to be taken down a peg, people that you can feel comfortable having a go at and getting involved in the show.

With a lukewarm crowd that risked offence, Healy kept pulling her punchlines, apologising for jokes about giving hand jobs in takeaway restrooms and the ins and outs of her own rather personal anatomy. It felt like she was almost begging for a heckler in the room, something to spice up an otherwise bland performance on a bare stage without the glitz and glamour of the larger and more colourful stages in the Garden.

My only real note of disappointment is the misleading show title and description – “Victoria Healy’s Anatomy – Blood and guts. Skin and bones. The space between your ears.” While the show did focus on Healy and her squeamishness regarding the human body, there was less blood and guts than I was hoping for, and the campness of topics like medieval torture felt out of sync with the rest of the show. It’s a shame, you could see that she was a genuinely funny person drowning in a crowd of polite indifference. Put her in any of the pubs just a few hundred metres down Rundle Street and it would have been a very different performance.

 

Is Victoria Healy funny? Probably. Is Victoria Healy’s Anatomy funny? Not really. It could be, provided the room actually has people who are alive in it.

 

Krystoff Rating : 2.5 K

 

Feb 27

ADELAIDE FRINGE 2013 – A Circus Affair – 3K

By Anthony Nguyen

5908_Circosis-fringeguide-acircusaffair_EFUL_GUIDE

Weaving in a mix of circus, comedy and romance, comes the whimsical story of A Circus Affair, produced by the Australian-based circus company, Circosis. A duo performance from lovable characters Mr Kiko (Andrew Cook) and Sarita (Sarah Mason), it tells the story of two aspiring performers who take on the world whilst finding that circus romance with each other.

 

The show is an example of silent circus with the storyline told through physical theatre. Additionally, the performers are accompanied by a projection screen providing additional videos and animations which also assisted in the storytelling process.

 

The video segments, which would serve as short breaks and times for costume changes for the performers, would somewhat seem less entertaining to watch on screen and would be much better received from the audience if performed live. Some slip-ups were made mid-performance (e.g. ball dropping), however both performers reacted well, incorporating it into the comedic aspects of the show which made the audience wonder whether the mistakes were done purposely as part of the routine.

 

Complete with highly-impressive circus acts including juggling, hoops, ball-balancing and acrobatics, the show provides great entertainment and fun for both kids and adults. The delightful pair will be sure to amaze you yet leave you laughing with a definite feel-good ending at the finale of the show.

A Circus Affair continues on for several more shows as part of the Adelaide Fringe at the Bakehouse Theatre on the 28th of Feb, and the 1st and 2nd of March.

 

Kryztoff Rating: 3K