FRINGE 2013 – Simply The Henbest – La Boheme – 3K

By Ben Nielsen

Having recently performed in the acclaimed Gady Lala, this year’s Fringe Festival marks Sidonie Henbest’s return to the stage as a soloist. Henbest can be found behind the scenes of the Cabaret Fringe Festival or hosting Cabaret Live! In this indulgent new solo show, she’s front and centre- and it’s really all about her.

It is a retrospective bildungsroman of sorts, traversing the years between childhood and present day. With a collection of songs that help portray the tale, the audience learns of Henbest’s schooling, family and sexual awakening.

Patter and audience interaction was casual, light hearted and engaging; but the underlying plot was perhaps a little incoherent. While interesting, narrative direction did not become clear until late in the performance, and the link between anecdotes was sometimes vague. More consistent use of the “first ladies club” motif (a group of strong female figures who shaped Henbest’s life) would definitely have joined the piece a little better.

Henbest exudes sass. She moves about the stage comfortably and, with the assistance of subtle choreography, certainly has the air of a diva. While pitch and intonation was sometimes an issue, her powerful, soulful voice shone during numbers like “Down with Love” and “What Is It About Her?”.
As always, Matthew Carey is incomparable at the piano.

While La Boheme is the perfect venue for such performances, its small confines did no justice to the sound design. At times, it was just painfully loud.

Henbest returned with a hearty encore and a shameless Cabaret Fringe Festival plug-a reminder that her own slick opening night performance also heralds the beginning of Mad March.

Kryztoff Rating     3K

FRINGE TICKET BINGE – Victoria Healy’s Anatomy & Joanne’s Real World – WIN TIX

With the Fringe kicking off today, Kryztoff is very pleased to offer free tickets to the following two great female performer shows:

TWO DOUBLE PASSES TO EACH OF:

VICTORIA HEALY’S ANATOMY – TUES 19TH FEB 8.15PM – GLUTTONY – PIG PEN

Melbourne comedian VICTORIA HEALY makes her ADELAIDE FRINGE debut with a brand new show about the human anatomy. From blood and guts to skin and bones, Victoria Healy’s Anatomy dissects the body and serves it up with belly laughs.

Some unusual anatomy facts are:

– Ears secrete more earwax when you are afraid.

– The tongue is the only muscle attached at one end.

– Three things pregnant women dream most of during their first trimester are frogs, worms and potted plants.

Get cold, hard anatomy facts but prepare to discover the darker side of the human body too – unthinkable medieval torture, gory medical experiments and organ harvesting.

Victoria Healy’s Anatomy also marks Healy’s third collaboration with comedy legend Jason Geary. Geary has spent over a decade within the comedy profession with credits including The Micallef Program, SkitHouse and Thank God You’re Here.

                “Healy’s got the goods.” – Herald Sun

For more information please visit http://victoriahealy.com

LISTING INFORMATION:

Venue: Gluttony – Pig Pen – Rymill Park, Cnr Rundall Rd& East Terrace, Adelaide

Dates:   15th – 24th February (no Monday 18th)

Time:                     8:15pm

Tickets: Full $17, Fringe Benefit $10, Cheap Tuesday $10 (excluding fees), Opening

                                Night $5 (including fees)

Bookings:            www.adelaidefringe.com.au

 

JOANNE’S REAL WORLD – FRIDAY 22ND FEB – 8PM – LA BOHEME

 

Welcome to the Real World where Joanne champions Centrelink’s fight against dole-bludgers.

Performer Taylor Klas (Joanne) spent years in the Centrelink queue in Melbourne.  Having lived below the poverty line like so many other Newstart recipients, she decided to use her musical talents to exploit the Welfare Organisation so she could actually afford to pay the rent!

Klas tours to the Adelaide Fringe direct from a sell-out season at The Butterfly Club in South Melbourne.  Joanne’s Real World won Taylor Klas Best Actress and Script awards at the Sydney Short & Sweet Festival.

Klas brought down the house with a great comic performance in Joanne’s Real World.”  David Kary, Sydney Arts Guide.

Now Joanne wants to help the SA Government get their economy back on track.  Seating has been reserved for both Jay Weatherill and Isobel Redmond.

All original music composed by Taylor Klas and Hanna Silver.  Book by Petra Glieson and Taylor Klas.

Joannes Real World plays at the politically neutral La Boheme, 36 Grote Street, City. (Friday 22nd, Saturday 23rd February at 8pm, Tuesday 26th Wednesday 27th February at 6:30pm. Prices: $20, Unemployed, Seniors, Students and other Centrelink Concessions $18, Day before pension day Tuesday  $17).

Bookings at www.adelaidefringe.com.au

TO WIN, JUST WATCH THE FIRST EPISODE OF ADELAIDE’S NEWEST COMEDY WEB SERIES – SECRET MEN’S BUSINESS – CLICK HERE TO WATCH SECRET MEN’S BUSINESS

– AND ANSWER THIS QUESTION:

What does Boxhead suggest he and Jase watch near the end of the episode?

Then email us at editor@kryztoff.com.

Entries go into a draw tonight at midnight.

Winners advised by email tomorrow.

 

Angry Young Man – Holden Street – 4.5K

By Peter Maddern

Yuri is a young Eastern European surgeon who arrives in London to find work and a new life but is waylaid by Patrick, a debonair gent, who, in an act of friendship and goodwill, takes him back to the countryside and the family home. From there all manner of twists and turns play out.

This multi-award winning UK comedy was last at the Fringe seven years ago (when it won the Best Theatre accolade) and this new English cast will not disappoint any who saw it back then. Dressed in the same combination of grey suit, brown shoes and public school tie and armed only with chairs of different dimensions, the four strong male acting force assume an extraordinary number of roles from besotted female friends and park resident birds to hunting trophies and skin head punks.

Iddon Jones is Welsh but seems ideally (albeit not solely) cast as Yuri and the girl friend, always dashing around mischievously chirpy. While Paul Shelford’s Patrick amply conveys being one of those superficially pleasant but nonetheless toffee nosed twats of the English upper classes whose exploits beyond the walls of the manner and Eton are always destined for disaster.

At its roots, Angry Young Man is about two polar opposite types of English resident whose arrival into the great morass of the British middle world produces a rude and unhappy shock requiring infinitely more adjustment than either ever expected. Delivered in this manner, making masterful use of a fixed space and little else one is warmly entertained by the exquisite comedic timing of the guys and a rattling pace.

Great fun envelops a meeting of social misfits, all delivered with an eye but not an indulgence in farce. Highly recommended.

Kryztoff Rating   4.5K

FRINGE 2013 – Glory Dazed – Holden Street – 5K

By Peter Maddern

The tales of the problems of brave diggers fighting political wars in far-away countries which are then ignored when they come home is a fairly common one. Glory Dazed takes us further through writer Cat Jones’ additional research into the over representation of ex-servicemen in the UK prison population.

Ray (Samuel Edward-Cook) is screwed up on his return from Afghanistan but tonight, in a typical suburban English pub, he arrives to win back his ex-wife, Carla (Chloe Massey). There, he is also greeted by publican, Simon (Adam Foster) and waitress, Leanne (Kristin Atherton.)

Glory Dazed is a powerfully and precisely written drama executed brilliantly by the cast, with Edward-Cook’s Ray a stand out. For underlying menace on the edge of an explosion by a seriously unhinged bully, Edward-Cook makes you very pleased you are sitting as far back in the theatre as you can be. The most difficult role is carried by Foster as Simon, the physically less impressive publican who has not exactly behaved impeccably in Ray’s absence but who convincingly delivers one of the two scything monologues near the end that rips apart Ray’s posturing as the victim. In the end, if being a man is getting it right morally, Simon carries the bigger Y chromosome.

I appreciate it’s a big call even before the Fringe has started, but this is as good a piece of theatre as one is likely to see at this year’s festival – quality English actors relishing their opportunity to exhibit their talents on a familiar topic with a riveting and polished script that has the courage to counter-balance the usual demonization of ‘Bush and Blair’s war.’

Theatre lovers, do not miss this.

Kryztoff Rating   5K

FRINGE TICKET BINGE – God of Carnage – Stirling Players – WIN TIX

Today in Kryztoff’s Fringe Ticket Binge, we have a double pass to God of Carnage presented by the Stirling Players at 8pm on Saturday 23rd February at the Stirling Community Theatre, Avenue Rd, Stirling.

This international hit comedy has won three Tony awards and involves the parents of two 11 year old boys after they have had an altercation in the school yard – a kind of precursor to The Slap.

Want to win? then let us know at editor@kryztoff.com. First in gets the tickets.

FRINGE TICKET BINGE – Golden Phung & Three High Acrobatics – WIN TIX

knockoffadelaideWith Mad March kicking off with the Fringe and Garden opening this Friday, Kryztoff is very pleased to offer free tickets to select shows across the next two weeks. Today,

WIN TWO DOUBLE PASSES TO EACH OF:

A              Golden Phung Sell Out – 2 Doubles on Feb 21st 

The Golden Phung is a live sketch comedy team from right here in Adelaide, and they’ve  got a show coming up you need to know about called; Golden Phung Sell Out. It’s a live sketch comedy show in a similar style to Monty Python’s Flying Circus as well as The Micallef P(r)ogram(me), and it has all the cast on a mission to find their artistic integrity once again. The 60 minute Show will be upstairs on the Balcony Bar at Harry’s Bar, 12 Grenfell St, Adelaide.

The Golden Phung are:

Andrew Crupi, Lucy Markiewicz, Graham Self, Eddie Morrison, Peter Cortissos, Emma Manthorpe and Roy Phung, with filming done by Calen Vanstone with direction from Stephen Sheehan.

Not sure? Well we gave the Golden Phung  *****  previously, as have the Fringe Review UK. Even The Advertiser gave it **** – so you can certain of a great night.

Where: Harry’s Bar, 12 Grenfell St, Adelaide 5000

When: (Wed, Thurs, Fri, Sat)

Feb – 20th, 21st, 22nd, 23rd @ 9:30pm
Feb – 27th, 28th, 1st, 2nd @ 8:30pm
March – 6th, 7th, 8th, 9th @ 8:30pm
March – 13th, 14th, 15th, 16th @ 8:30pm

The Show runs for 60mins

Tickets: $15 at the door

Or Book online at www.adelaidefringe.com.au

Three High Acrobatics – Knock Off – 2 Doubles on 21st Feb  

Combining nail-biting acrobatics, death defying stunt work and a healthy dose of mischievous Aussie humour,  Three High Acrobatics proudly bring you KNOCK OFF – running for NINE SHOWS ONLY from 15 to 24 February during the 2013 Adelaide Fringe Festival!

“A fast paced performance that will have you in stitches, and in awe!” -Triple RRR

Accentuated by an all important soundtrack of classic pub rock anthems, KNOCK OFF entertains audiences with fast-paced, humorous and highly skilled circus acts using teeterboard, ladder, manipulation, aerial rope, partner acrobatics and more.

In 2011 Three High Acrobatics was awarded the Circus Oz Award for the spirit of collaboration required behind KNOCK OFF and winning the Circus Showdown Competition at Gasworks Arts Park in 2012. With SOLD OUT shows at Adelaide Fringe Festival, Sydney Hoopla Festival and The Spiegletent at the Docklands, come see yourself why audiences are loving Three High Acrobatics!

“The blokey energy screams potential Tap Dogs-style global success” – The Age

AT THE BIRDCAGE – All shows 7.45pm

Tickets: $15 Full, $10 Concession and Groups 6+, $45 Family, Opening night $5 and Cheap Tuesday $8 – www.threehighacrobatics.com

TO WIN, JUST WATCH THE FIRST EPISODE OF ADELAIDE’S NEWEST COMEDY WEB SERIES – SECRET MEN’S BUSINESS – CLICK HERE TO SEE THE VIDEO

AND THEN ANSWER THIS QUESTION:

What does Boxhead suggest he and Jase watch near the end of the episode?

Then email us at editor@kryztoff.com, telling us also which show you want to see.

Entries go into a draw tonight at midnight.

Winners advised by email tomorrow.

FRINGE 2013 – Cultural Isolation – Fiona Gardner et al – North Tce – 4.5K

IMG_0110By Peter Maddern

Cultural Isolation is choreographer and dancer Fiona Gardner’s latest progressive work on the subject of mental mind games. Compared to her last, What’s Your Crutch, Cultural Isolation is a substantial leap forward for her audiences in terms of composition, comprehension and polish, no doubt aided by the resources of the Adelaide City Council’s Splash Initiative.

The premise is: do we ever wonder what goes on in the minds’ of others and do we ever assess the impact our own thoughts, secrets and fears have on our behaviour and beliefs, especially when they don’t conform with others’ realities?

IMG_0111Rather than deliver dance in some cramped locale, Gardner takes us, somewhat ironically perhaps, on a walk down own wonderful cultural promenade of North Terrace, past the University, Museum etc to the lawns beside the Parade Ground before ending in the courtyard of the Immigration Museum.

Of course, one needs some grace given by the meteorological gods to pull all this off but for opening night the five strong cast was blessed with a clear evening and a delightful sunset. The seamless use of technology and the spot on assistance of the show’s volunteers made it all a joy.

Gardner has also chosen her dancers well, incorporating the beautiful, the quaint and even some that may ordinarily, through our biases, be the subject of rejection, forcing upon them that cultural isolation.

Each of the six pieces speaks to their own dominant theme with beautiful Nicole Griffiths’ retreat in act 2 and Theo Cassady and Hannah Timbrell’s bold and brave unfreezing of the frigid in act 3 around the theme of ‘minds that cannot embrace change are not minds at all’ highlights.

But that may short change it all with Matt Shilcock’s belly slithering back tracking in the finale something one will remember for a while.

Since her return to Adelaide 18 months ago, Fiona Gardner has been chipping away at ideas that can both challenge and entertain Adelaide audiences sometimes locked into fearing the new. Now, with Cultural Isolation, she has hit a sweet spot. Join her tour.

Kryztoff Rating  4.5K

The Secret Garden – G and S Society – 3.5K

By Ben Nielsen

After a recent string of relatively traditional productions, the Gilbert and Sullivan Society emerge from the mothballs with a more contemporary family favourite, The Secret Garden.

Eleven year old Mary Lennox is orphaned after a cholera outbreak, and is sent from India to England to live with unknown relatives. She finds a secret garden and sets about restoring it to its former glory, mistakenly unearthing the ghosts of the past.

Director Richard Trevaskis does not ride complacently atop his star studded cast. Despite boasting the acclaimed Carolyn Ferrie and Mark Oates in lead roles, the production maintains substance amongst the spectacle. It is a sympathetic and captivating portrayal of Frances Hodgson Burnett’s tale.

Ferrie reprises the role of Lily Craven, having already performed opposite Anthony Warlow in the original Australian production. The role is mesmerising and exhibits Ferrie’s hauntingly beautiful vocals. As always, Mark Oates (Archibald Craven) is outstanding. ‘Lily’s Eyes’, sung with onstage brother Andrew Crispe (Dr Neville Craven) is truly uplifting.

Holding the production together is thirteen year old Nadia Barrow, giving a hearty performance as Mary Lennox. Harry Fiedler is wonderfully comedic as sickly Colin Craven. Much future success surely awaits these youngsters.
Sarah Nagy and Ian Andrew are notable, but there are really too many great performances to mention. Frankly, it would be difficult to name a recent community theatre cast of greater aptitude.

Making his debut as musical director, Daniel Brunner’s orchestra is slick. A pit orchestra with a capable oboist and a triumphant horn section is certainly worthy of praise. However, it is hard not to lament the absence of real strings (replaced by their synthesised counterpart), and the slightly less than impressive overture.

The minimal set did not greatly hinder the story’s portrayal, although an elaborate design may have been more aesthetically pleasing. The lighting design was quite a highlight, with an unexpected surprise atop the auditorium ceiling. Despite several missed sound cues, and a hastily lowered scrim curtain, the show was technically well handled.

Kryztoff Rating   3.5K

Myths and Mysteries In The State Mid Year Budget Update – Part 2

[For Part 1 of this series, visit – Myths and Mysteries Part 1

By Peter Maddern

One of the mysteries of this State Labor government is working out where all the money has gone and what we got for it. When Labor came to power in 2002, we were headed for a AAA rating, debts were being reduced (thanks to the inevitable asset sales after Labor’s State Bank fiasco of a decade earlier) and the State was about to enjoy massive windfalls from the GST and the housing boom. Now we are in a worse position than even the last time we had the duties of a Premier and Treasurer managed by the same man.

But where has the money gone?

Since the GFC, the Government has already incurred or now projects to rack up $6.9 billion in extra debt to the end of the 2014 financial year. Premier and Treasurer Jay Weatherill likes to talk about the need to continually invest in the state’s infrastructure and economists agree this is a good idea but only where that investment is going to produce economic returns – that is, it makes us more productive and delivers better services to the community. (Please note: None of the costs of the new RAH are included in the $6.9b.)

But as respected economists like Darryl Gobbett have noted the reality is, all of that $6.9b (and more) has either been or will be pissed up against a wall on things that advance us, economically, nowhere. Here’s how:

Excess Public Servants

As noted in Part 1, this State employs around 10,000 excess public servants relative to where we were when Labor came to power after adjusting for the growth of the population. Each full time equivalent costs around $82,000pa so that means we are paying out over $800m per year on public servants we don’t need. If they were delivering us better services, may be that would be okay but as we shall see in Part 3 of this series, they aren’t.

As Christopher Pearson in this week’s Weekend Australian notes, Labor Governments love employing public servants in order that their union dues can help fund election campaigns and the mass of them, spurred by self interest, establish a wall of resistance in the community to cuts to their flock. But $800m a year is a massive price for the rest of us to pay for the Labor Party’s electoral gain. TOTAL UNECONOMIC BURDEN OVER SIX YEARS – $4.9 BILLION

Desalination Plant

We now have a huge desalination plant that is not needed. TOTAL INDULGENCE – $2.25 BILLION

Adelaide Oval

There are no new economic benefits arising from the Adelaide Oval development. As we know a good portion is going to bail out mismanagement at two sporting codes run by good mates of the Labor Government. Most of the heralded benefits that the media, especially The Advertiser and The Sunday Mail, liked to talk up came from switching expenditures at West Lakes to the city itself. They are not gains to the State. Even then there was piffle presented about increased crowds from all manner of events. If there are benefits, they will be consumed by the annual interest expense. TOTAL INDULGENCE – $530 MILLION

Southern Expressway Duplication

While the original of this project has been widely castigated as a failure, the fact was it delivered, with 80% of all traffic being catered for by its alternating one way configuration. The duplication, supported by both Labor and Liberal (as of course were the Adelaide Oval and desalination debacles during the disastrous Invisobel ‘let’s do nothing and coast to power’ days) as electoral carrots will produce nothing relative to its cost and what benefits there are may be considered consumed by its on-going interest cost to finance each year. TOTAL INDULGENCE – $400 MILLION

Throw in things like the proposed footbridge ($40m) and Rann’s ‘Paramount Studios’ at Glenside ($50m) as just two more examples of uneconomic waste and you can see how all the debt accrued over the six year period from the GFC to the end of next financial year has and will have been totally avoidable. Indeed, all these together add up to $8.18 billion against the debt increases of $6.9 billion. That’s right, this State could have been beautifully placed even with the GFC and no mining boom.

To be clear, this article does not suggest no infrastructure spending occur. Rather, what is invested needs to be better justified on economic development grounds not electoral ones. For example, the Desalination plant and Southern Expressway money could have gone a long way to deal with a myriad of other issues in this state which would have returned far more than these two projects have or will.

For example, how does a government supposedly guided by Labor values, spend $530m on a sports stadium for those who can afford SACA and AFL club memberships while there are catastrophic levels of youth unemployment in its heartland of the northern suburbs?

But under the successive regimes of Rann and Foley and now Weatherill and Snelling, that simply did not happen and now we have a fiscal problem that is out of control and debt build up without solution.

PART 3  – The Myth of Weatherill Not ‘Withdrawing’ From The Economy

Sarah Blasko and the Adelaide Symphony Orchestra – Festival Theatre – Feb 1st – 5K

SarahBlasko ShowMePerthBy Ben Nielsen

Sarah Blasko was once told that not a single musical bone existed in her body. With numerous multi-award winning albums under her belt, her old high school teacher has certainly been shown otherwise. Blasko returns to Australia, kicking off the national tour for her latest album ‘I Awake’. In one of her most ambitious projects, she is joined on stage by a three piece band and an entire symphony orchestra.

Supporting artist Wintercoats (Melbourne based James Wallace) ambled on stage, addressed the audience with an incoherent mumble, and began to play. While his arrival was apprehensive, Wallace soon wowed the audience with his one-man chamber pop orchestra.

With only his voice and a violin, Wallace created the musical depth of a symphony orchestra, every sound and motif recorded live with a loop device. The violin was ingeniously exploited – the strings, the resonance of the sound hole, and the percussiveness of the body. Floating above this were Wallace’s soothing, somewhat androgynous vocals. It was a fascinating journey of musical creation.

To whistles and cheers, Sarah Blasko soon took to the stage, performing tracks from her most recent and undoubtedly best album, ‘I Awake’. Where in earlier albums instrumentation was sparse and music simple, she now offers a rich, multi-layered, almost cinematic experience. Blasko belted out each chart with a gusto that made it easy to forget each song’s fundamental musical similarity.

The art and popular music worlds collided; a distinct contrast formed onstage between the refined Adelaide Symphony Orchestra and Blasko’s unreserved nature. Besides this aesthetic difference, the orchestra offered Blasko’s work an otherwise unachievable smorgasbord of texture and sound.

Blasko was perpetually appreciative of her audience, eventually thanking them with a generous encore. This allowed an opportunity for her to perform solo at the piano, and then once more with her extraordinary band and orchestra.

With a new sound and a lovely onstage demeanor, it’s all too easy to like Sarah Blasko and her new album ‘I Awake’.

Kryztoff Rating    5K