Feb 20

FRINGE 2013: Theatre – Choir Girl – Tuxedo Cat – 4.5K

Susan has a lovely alto voice and a life consisting almost entirely of the obsession of finding a choir to which she can contribute both her talent and her experience. She does after all, come from a long line of choristers and knows the ins and outs of choir etiquette backwards. Unfortunately, Susan’s latest choir isn’t entirely meeting her exacting standards; but their choice of songs is interesting and their accompanist, Greg, is both talented and friendly, so Susan is sticking with it.

This new play from writer/performer Sarah Collins is charming and hilarious. Under the direction of Celeste Cody, Collins injects just the right combination of sweetness, intense obsession, vulnerability and full-blown derangement to create a character that you want to both hug and stay as far away from as possible. Adding to the joy and mania of the piece is the physical appearance of the choir of Susan’s mind; manifesting itself on stage to provide a beautiful, yet disturbing, soundtrack to her thoughts.

The script is polished and the small details about Susan’s life and her clearly unbalanced interpretation of the world are what really bring the piece to life. The choir (Chrissy Robinson, Zoe Dove, Tamuz Ellazam, Jessica Graham, Elizabeth Miller, Aislin Murray, Steph Speirs, Sarah Walker), singing arrangements by musical director Tom Pitts, perform well on both musical and physical levels, providing the perfect backdrop for Susan’s monologue.

Choir Girl is the type of show you hope you’ll find during the Fringe – simple, funny, endearing and of the highest quality.

Feb 20

FRINGE 2013: Theatre – I Am My Own Wife – Bakehouse Theatre – 4K

With the prejudiced and homophobic views of both the Nazi and Communist regimes in Germany in the 20th century, the fact that transvestite Charlotte von Mahlsdorf (born Lothar Berfelde in 1928) not only survived but apparently managed to flourish, seems remarkable. I Am My Own Wife follows American playwright Doug Wright as he travels to Mahlsdorf shortly after the fall of the Berlin Wall, to interview Charlotte, who now runs a private museum, about her amazing life. He discovers a character that has many tales to tell – though the accuracy of the stories is not always certain and it’s down to Wright to root out the truth.

With over thirty characters making appearances at some point, and often having rapid-fire conversations with one another, this show is a big ask for a single performer. Charles Mayer steps up to the task admirably, though he does seem a little hesitant with his lines at times, which means that the action doesn’t flow quite as smoothly as it should. Mayer does well, under the direction of Craig Behenna, to differentiate between all of these characters through adjustments in accents and clearly defined body language. The scene in which he jumps from the character of one international journalist to another and another and another, all in a series of grabs lasting no more than a few seconds, shows off his skill particularly effectively.

With plays like this, which tell the story of the play itself being written, it’s difficult to know exactly how much is fact and how much poetic license. Regardless, it’s all very interesting. Combining the historical impact of life during World War II and the Cold War, with the beauty of antiques, and the story of one person’s struggle to be accepted for who they are, this is an engaging piece of theatre that hits home on both intellectual and emotional levels.

Kryztoff Rating: 4K

Feb 20

FRINGE 2013: Theatre – Miss Brontë – Ayers House Museum – 3K

Returning to the Fringe after last year’s successful run of Jane Austen is Dead, Mel Dodge brings Adelaide audiences a window into the life of Charlotte Brontë.

Brontë (Dodge) sits, struggling to find the inspiration to write her next novel. We learn that her beloved sister Emily has died and the ensuing grief has given Charlotte writer’s block. The play intertwines scenes in which Charlotte searches for a possible unpublished manuscript written by Emily, regales us with stories of key moments in her life, reads segments from letters she has sent to her ex-professor (on whom she had an unrequited crush) and draws connections between her own life and selected passages from her most famous work, Jane Eyre.

Dodge has done a good job in combining these various elements into an interesting hour long journey, providing variation to keep the audience engaged, and a clear narrative. Her performance is passionate, though sometimes a little overly dramatic, and she shows the different sides of Brontë well – the independent young woman living in a man’s world, the loving and later grief stricken sister, the inspired authoress.

The greatest problem facing this production is the venue. While Ayers House is certainly the perfect setting for such a story, it is not particularly well designed to cater for a theatre production. With no raked seating or raised stage, the majority of the audience spent the duration of the show craning their necks, trying to catch a glimpse of Dodge. For most of the show we had to be satisfied with a disembodied head peeking out over the top of those in front. Facial expressions and body language were often not able to be seen and consequently it was difficult to engage with the character. This was not helped by the direction of the piece (Lyndee-Jane Rutherford) calling for Brontë to be seated for several portions of the show. For the most part, the sections that were delivered standing used the available space well, but continual circling of the set when Brontë read from Jane Eyre seemed highly unnatural and distracted from the prose.

Despite these drawbacks, this was an interesting show which provides an appealing means by which to learn a bit more about the Brontë sisters. Even though the sight-lines are poor, the content is worthwhile.

Kryztoff Rating: 3K

Feb 20

FRINGE 2013 – The Candy Butchers – Garden – 4.5K

Candy Butchers

By Ali Soulio

 

It’s not your usual circus! There are no flamboyant costumes, no fancy lighting and definitely no animals. But make no mistake this is a must see in 2013. With just four performers and set under the Garden’s Big Top, the audience is treated to an intimate, all-enthralling act that builds into an emotional, disconnected story of life, death, love and lust. Starting off much like a Chaplin sketch full of physical comedy and dark humour, the show rapidly grows into a frantic, industrial circus act using little more than some crates, a couple of barrels, buckets, suitcases, a bunch of hula hoops and a tonne of fairy floss.

With their quirky circus tricks and comic satire, hilarious puns and double entendres as well as the odd profanity, the Butchers remind us it is okay to laugh at the misfortunes of life, pain, loss and even death. Entangled amongst the dark humour, slapstick relief and mini burlesque show, the performers manage to find new appreciation for the physical side of circus entertainment by stripping back the effects and amazing the audience with the pure ability and artistry of their athleticism made all the more remarkable by the fact that the entire audience is within metres of the stage. There is no wonder that it won Most Outstanding Production at this year’s Melbourne Fringe.

With a strong finale of theatrical acrobatics, eerie sounds and dark emotions that creates a mood akin to a piece of H.P. Lovecraft pulp fiction, The Candy Butchers is an act that definitely speaks for itself and will bring you to your feet, whilst simultaneously leaving you to beg the question: What the hell did I just see?

Complete entertainment that runs through the entire Fringe season.

 

Kryztoff Rating: 4.5K

Feb 20

FRINGE TICKET BINGE – The Kreutzer Sonata & The Magnets – WIN TIX

041886-barry-otto-in-the-kreutzer-sonataWith the Fringe now in full swing, Kryztoff is very pleased to offer free tickets to the following two great shows:

TWO DOUBLE PASSES TO EACH OF:

THE KREUTZER SONATA – PREVIEW – SAT 23RD FEB AT 6.30PM

Beyond the Fringe is the Festival and the State Theatre Company’s landmark show for its new artistic director, Geordie Brookman, is The Kreutzer Sonata, starring the ever popular Barry Otto. A tale of paranoia, jealousy and revenge, Tolstoy’s novella provides rich pickings for a bravura one man show.

THE MAGNETS – SUN 24TH FEB AT 8.20PM

This British group is now taking Australia by storm. Just read our review at CLICK HERE FOR MAGNETS REVIEW to know this is the show you want to go to.

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

CLICK HERE FOR SECRET MEN’S BUSINESS EP 2

What is the nickname of Spaz’s mother?

 

Then email us at editor@kryztoff.com.

Entries go into a draw tonight at midnight.

Winners advised by email tomorrow.

Feb 20

FRINGE 2013 – Amos Gill – Rhino Room – 3.5K

5728_rsz_20121031_045_EFUL_GUIDE__EFUL_WEBBy Peter Maddern

It is always a challenge for a reviewer at this time of year to come from a master of his craft to witness another just starting out without descending into disdain. Mine started last evening with American maestro Arj Barker and finished with Amos Gill but there was little risk of being anything other than pleasantly entertained by the local boy.

I had previously seen him two years ago in concert with Moataz and I was keen to see how the young buck was progressing, now on his own. By all measures most assuredly.

Like Arj, Gill eschews the usual stand up material of old girlfriends and crappy house mates and humiliating some punter in the front row for the shirt he is wearing because it seems he has a life beyond sitting around coffee shops with others who know little better. Still, at 21 it is hardly to be expected that he has enjoyed the full gamut of life’s experiences but his tales of the misery of 21st birthday parties, the dismay at encountering old school mates, pranks that went bad and the joys of being a salesman for Foxtel were all good fun.

His show had a nice structure to it with his self deprecating humour endearing and when the Amos jaw gets pointed at you, there is no stopping it.

For those who want to brag about ‘being there before he got famous’, your venture this Fringe may well end with Amos Gill – young, bright, engaging with a worldly view that will only increasingly delight as time goes on.

Feb 20

FRINGE 2013 – Arj Barker – Arts Theatre – 4K

arj-barkerBy Peter Maddern

When the Fringe was every two years, Arj’s season would prove to be one of the highlights – a biennial treat. But when the Fringe went annual, having him (like many other performers) every year was proving to be once too often mainly because there is nothing easy about coming up with new material annually.

So have we been enriched for his 2012 absence? Yes, indeed we have.

As much as we like to condemn Americans for having no view of the planet beyond the shorelines at New York and Los Angeles, Arj brings something quite rare to the Fringesphere of stand-up comics – a worldly view. It may be at times a warped and bizarre perspective but it is global. And where other ‘comics’ seem determined to get their way to 60 mins by ditching into the most crude material, Arj can be relied upon to keep it cerebral – last night, where others, 40 minutes in, would be going for the groin, Arj regaled us with fun facts about the universe from Astronomers’ Monthly magazine.

I mean what other show does that along with jokes about laser eye surgery, noises of the Amazon being hacked up, sure fire tips on how to get sex with a girl on the first date, tears from the i-phone factory, eclipse apps and standard issue diarrhoea. But is it all from somewhere else? No, his carving up of those silly MAC Night Walker ads was magical.

Arj is also a master of microphone management (beyond where he holds it) and while his time away seems to have somewhat mellowed the man – his peaks of maniacal excess were not as prevalent last night as in years gone by – his experience at the caper means he can enjoy his performances while delivering nearly as much as we do witnessing them.

Good having you back Arj.

Feb 20

FRINGE 2013 – Remnants found in you – Nexus – 3.5K

By Julia Loipersberger

Remnants found in you – presented by Remnant Dance – Nexus Cabaret– 19-21 February 2013

A collective of professional dancers, Remnant Dance has created a showcase of three vignettes displaying the talents of choreographers Katie Chown, Juanita Jelleyman and Lucinda Coleman in the performance of Remnants found in you, which is sponsored by the Western Australian Department of Culture and the Arts.

Highlighting the fluidity of life and the interplay of personalities and individuals, Katie Chown’s ‘O’Sea’ kicks off the performance superbly and emotively, and it is very easy to get sucked into the maelstrom of the ocean. However, the exuberant smiles of a number of the performers seemed distinctly at odds with the general atmosphere created on stage. Similarly, the confines of the Nexus Cabaret meant that the breathing of the dancers was somewhat jarring and distracted slightly from the atmosphere.

Juanita Jelleyman’s ‘Shade:less’ is similarly mesmerising and extremely evocative, with very impressive performances from Ellen Avery, Katie Chown and Esther van Baren. The only slight negative is that there is a fair amount of floorwork, meaning that audience members who are seated towards the back of the theatre are somewhat disadvantaged if they cannot see. Otherwise this is a breath-taking and glorious segment.

Finally, Lucinda Coleman’s ‘Spring’ suggests a conversation between four dancers from different generations. I must admit that this performance was a little disjointed for me, and the original music – although beautiful – seemed at odds with the dance and movement. Overall, this was a slightly lower point on which to end the performance, although still marvellously executed by the dancers.

The dancers who collaborate with Remnant Dance are clearly highly skilled in their art, and present a riveting and beautifully conceived show. However, as with most modern dance, this is a fairly abstract performance and requires concentration and intentional engagement. Nonetheless, for me a slightly experimental and certainly unusual collaboration between artists of this calibre sums up exactly what the Fringe is about. I recommend getting along to see this show.

Kryztoff Rating    3.5K

Feb 19

FRINGE 2013 – Burlesque Beauties in Next To Nothing – Rhino Room – 4K

By Peter Maddern

Unless one is obsessed with seeing near naked ladies gyrating around a stage, the traditional burlesque dance routines of swirling pasties, bouncing buttocks and thrusting pelvises can quickly tire. But burlesque has always meant to be more than that – a night of tease and torment where dancing and ribald humour intermix in a good hearted assault on the visual and audio sensors.

Burlesque Beauties delivers such a night with Marcel Lucont as the ideal compere and the dancers aided by a string of Fringe comedians. Lucont survives on much more than an endearing French accent and his dancers similarly than their figures. All were enthusiasts for the tasks at hand with the dance routines tight with the mandatory array of glitter and feathers and none of the boring routines that can dog similar events – the I Dream of Jeannie schtick quickly and enjoyably redefined a childhood memory and thankfully that was it.

The show had a few guest artists including the uncompromising Svetlanka and perhaps not enough of the birthday girl, ‘Stage Kitty’ and only one ‘wardrobe malfunction’ that the dancer blasted her way through wonderfully.

On the comic front, Iman (perhaps the shortest man you will ever see) and local beanstalk, Moataz entertained but with due respect, Lucont’s removing of clothing to deal with the Adelaide heat was the laughter highlight.

If you are into burlesque, then I doubt whether there will be anything more entertaining and enjoyable as this in Fringe 2013. These burlesque beauties are much more than next to nothing and Lucont a light amongst the stand-ups.

Feb 19

FRINGE 2013 – Stephen K Amos – The Gov – 4.5K

By Rupert Hogan-Turner

Stephen K Amos is intoxicating. The man has unrivaled stage presence, from the moment he announces himself on stage the audience is transfixed, unable to look away. Even the Gen Y’s stayed off their smart phones.

His comedy theory is advanced, he uses a combination of political savvy, local knowledge and an incredibly fast wit to tell a series of tales which flow through each other with finesse. I was incredulous at some points, his wit seemed too quick, inhumanely fast. However the alternative was that the vast majority of the crowd were plants, which is highly illogical. Instead of shying away from his audience Amos captivated it and used the momentum to progress his show. Amos learns from his audience and recites anything mentioned to him later in the show as a running gag. The audience then feels invited into the show, there is a feeling of ownership, control which relaxes the performance.

Despite being from ‘the mother country’ Stephen has sound knowledge of the past twelve months of Australian history. He threw in jokes aimed at our politicians, recent weather conditions, Adelaide related jokes and eating habits. He may not have known what an echidna was until someone yelled it at him last night but he certainly knows enough about Australia.

Stephen works to tell a tale, his jokes have a point and an underlying theory which he explores with the audience. It brings a higher level of humour, one which makes the audience question the tale themselves, wonder why the actions Amos discusses take place. This is the apex of stand up, where an audience goes not simply to laugh but to learn, to question activities which are considered ordinary yet never questioned. For example, Amos asks why we eat cows and not horses, why is eating one animal acceptable but another, largely similar animal detestable?

I thoroughly believe Amos could simply walk onto the stage and stand there mute for an hour and still receive positive reviews, the atmosphere of the performance was buzzing before he even took to the stage. He has the audience entertained before they even walk in, all I could hear were people questioning what he would talk about and reciting his old material.

Definitely a show to see this Fringe, outstanding, hilarious comedy.

 

Kryztoff Rating    4.5 K