Jan 14

Michelle Nicolle Quartet Does Mancini – Sessions – 11 January – 3.5K

By Peter Maddern

There is a disarming demeanour about Michelle Nicolle – she does not strut herself as some kind of diva – that can mask, at least for the uninitiated, her exceptional talent. The same could also be said about her subject for her quartet’s show at Sessions on Friday, Henry Mancini, who has sometimes been dismissed as a master only of pre 1960’s schmaltz.

Mancini was a great composer particularly of television and film scores (Pink Panther, Charlie’s Angels, Victor Victoria etc) and his record of awards and melodies are testament to the diverse variety of styles he commanded and which sets him apart from most others. For the lyrics to his music he engaged the best of his generation (eg Johnny Mercer) to often achieve things greater than the sum of their parts and his relationship with director, Blake Edwards, extended to over thirty films.

Nicolle’s challenge on Friday (and in her latest CD) was to interpret the great man’s works for her profoundly captivating voice without bastardising the pleasures of his musical gems. In this Michelle and her quartet did well with innovative arrangements that brought the music and lyrics new life within the constraints of her talented ensemble of Geoff Hughes (guitar), Tom Lee (bass) and former Adelaide boy, Ronny Ferella (drums) who wrapped in beard and shrouded in haunting stage lights made him appear a most formidable character.

Highlights were Days of Wine and Roses, Peter Gun and Moon River and while these (and the other songs played) were no pop renditions of the familiar, the new interpretations most successfully brought to the fore her and her band’s jazz roots.

Kryztoff Rating  3.5K

Jan 09

FESTIVALS ADELAIDE FICTION

FESTIVALS ADELAIDE FICTION

By Peter Maddern

It was with some surprise that one read this morning’s report in The Advertiser of the new Festivals Adelaide report on the figures of benefit to the State from our ten festivals. One might have thought these sorts of work of fiction had got themselves a bad name after the Centre for Economic Studies report into the supposed benefits we could all expect from the Adelaide Oval redevelopment. There, after the big splash release, we learned that none of the attendance figures used in that report were developed from research by the CES but rather supplied at the whim of the proponents of the development.

The surprise this morning was somewhat magnified when it was The Tiser’s respected Arts reporter, Patrick McDonald, who broke the story given he has been on the record in his own columns in his paper castigating the BS involved in such reports.

So how did this report go?

Well, last year the Fringe (one of the ten of Adelaide’s festivals) produced its own data and the comparison of its data with that of Festivals Adelaide leads one to again suspect the credibility of any of these ‘we are bigger, better, world class’ announcements much loved by the festivals’ organisers and the current government.

Using Festival Adelaide numbers and deducting out the Fringe equivalents we find that the Fringe produced the following:

  • 62% of total tickets sold
  • 77% of overall economic impact, and,
  • 56% of total attendances.

There is nothing extraordinary about those disparities but then consider these:

The report suggests The Fringe produced just 24% of all visitor nights attributed to our Festivals and 14% of visitor spending. Given the above portions and the fact it is our longest festival (bar SALA), these numbers simply don’t add up and by a lot.

Further, McDonald quotes the report (which does not seem, as usual, to be available to the public – indeed a Google search does not even uncover Festivals Adelaide as an organisation) as saying that the average stay of visitors to Adelaide during and for all our Festivals is six nights per person which is nothing other than beyond belief. The report also claims that 63,850 visitors spent $58.1m. Average that out over the average stay of six nights and spending (other than on tickets) equates to $151 per day per person which is not a lot (if any) if accommodation is included. Yet, the report says there is a 5:1 ratio of return to dollars committed to generate the returns.

Needless to say no account is given on the total cost of putting these festivals on, particularly use of tax and rate payer money to attract these returns, let alone the police, security and maintenance squads necessary to keep order and return the venues to a normal state after.

To be clear, in the present environment, festivals in Adelaide are about all we have and given our unique city layout they are an enormous feature of our town. This writer loves them. But when figures produced make no sense and are breathlessly promoted when even a basic review like this shows how porous their credibility is, it might be time to tone it all down.

Further, if the 5:1 ratio is truly accurate, the State Government would be well served to pour as much cash as organisers could ever hope for to keep the gravy train coming and growing (cf the Adelaide Oval development where the returns are negative). Instead, the arts, like most things in this State, are being increasingly screwed by a government desperate for cash.

Jan 08

Shaolin Afronauts to play Sessions – 26 Jan at The Space

Shaolin Afronauts to play Sessions

One of the country’s most dynamic afro-beat/ethio jazz outfits the Shaolin Afronauts are set to play the Adelaide Festival Centre’s live music hub ‘Sessions’ on Saturday 26 January, 2013.

Shaolin Afronauts, led by composer/bassist Ross McHenry, have a gained a well deserved reputation as a truly exciting live act. With a colourful and vibrant visual element to their shows, including flowing robes and a tribe of 13 phenomenal musicians, their performances are both spirited and original.

The group gained international recognition in 2011 with the release of their ARIA nominated debut album Flight of the Ancients. The record was lauded as a truly original blend of the sounds of 1970’s West Africa, Ethiopia and the pioneering avant-garde jazz artists of the same period.

In 2012, the Shaolin Afronauts continued their musical journey with their follow up album ‘Quest Under Capricorn’ . The sophomore record marked a development and progression of the Shaolin Afronauts sound, evoking the spirit of the mighty Sun Ra, Mulatu Astatke, Fela Kuti, John Coltrane and a host of other free thinking musical pioneers and explorers.

This January, Adelaide audiences will have the opportunity to experience the exciting and dynamic sound of the Shaolin Afronauts in action.

Saturday 26 January, 9.30pm

Sessions Live in the Space Theatre

Adelaide Festival Centre

Tickets through BASS // http://www.adelaidefestivalcentre.com.au/whats-on/shaolin-afronauts-sessions.aspx

Jan 08

A Laughing Matter – From This Wednesday on Ch 44

A Laughing Matter is a brand new South Australian sketch comedy series written by and starring local comedians and actors! Modelled on such greats of sketch comedy as Monty Python’s Flying Circus, A Bit of Fry & Laurie and The Micallef Program with a modern South Australian twist, this community TV show is guaranteed to have fresh, exciting and original material every week to put a smile on your face!

Our show has developed from humble beginnings to become an enormous undertaking, featuring the work of around 100 Adelaide artists including comedians, actors, writers, musicians and filmmakers. The regular cast features such popular local comedians as Angus Hodge, Kel Balnaves, James McCann, Leigh Qurban and Pires Eddy, as well as talented actresses including Toni Charlton, Gemma Neall, Nadia Talotta and Megan Doherty! As well as this, look out for appearances from several other local actors/comedians such as Paul Stalenhoef, Steve Weyland, Jess Mooney, Golden Phung member Roy Phung and even a special guest appearance from legendary Aussie comedian Greg Fleet!

Each episode of this comedy is packed full of creative characters, absurd situations and hilarious observations on all aspects of everyday life. Each sketch is entirely fresh with no recurring characters, meaning there’s always a humorous new surprise just around the corner. The fact that our cast are all young performers breaking into the industry means that we have an unnaturally high amount of enthusiasm and energy that ensures people will find the series inventive, thrilling and consistently entertaining!

One of the benefits of sketch comedy is that it allows many different styles of humour to feature throughout the series – in each episode you will see scenes of slapstick, wordplay, parody, quick-witted dialogue, improvisation, musical comedy and much more. This means that while our target age group is 15-35 year olds, there truly is something for everyone amidst our amusing mix of preposterous premises and witty social observations.

Our primary aim with A Laughing Matter is to prove that absolutely everything in life has the potential for hilarity, and I’m confident you’ll feel that we’ve nailed this goal. Check out the show this Wednesday on Channel 44 at 9:30PM, and find out more about the show by visiting our Facebook page – www.facebook.com/alaughingmatter

See the promo at A Laughing Matter on Youtube

Jan 01

Photography and Portraits – National Photographic Portrait Prize and Ghoti 15

By Peter Maddern

The annual National Portrait Gallery’s Photographic Prize’s finalists are on display at the Flinders Uni Art Museum in the State Library til 17th February. Not sure how often this exhibition comes to Adelaide, this is the first I can remember, but the exhibition should be considered a must for all those keen on the genre.

Given the range of portraits on display, the contest itself, as well as the exhibition, raises issues about what constitutes a good or great portrait. At one end are those images that may be seen to be notable for the access afforded the photographer of their well-known subject. At the other, are pictures of somewhat anonymous folk, often children, just going about their lives. Is it the composition of the image, the moment captured or just the photo’s arresting impact on the viewer?

There is, of course, no real reason why it can’t be all of these things but despite the claims of the organisers that there are no fixed criteria about short list selection each year seems to produce a very similar dispersal of images across the various types. However, what cannot be assessed in such an exhibition is the uniqueness of an image of a subject in the context of the whole of the images taken then (for example the moment the guard is let down and a real insight is captured) or of a more extended subject matter. It is perhaps for this reason that most if not all of this year’s finalists have a very clear sense of composed structure to them rather than spontaneity.

This year’s winner is Rod McNicol’s image of Jack Charles, a man possessed of a ‘colourful life’. It is certainly a wonderful composition with an almost grey tone about it, with Jack’s ensign white vest highlighting his explosion of white hair against a dark grey background. He is also wearing a thinly hooped blue and white skivvy that also picks up the faint horizontal lines of the rear wall.

Also of note in the composition end of the scale are Dr Hassan Rahim in Andrew Campbell’s The Chess Player; a study of study as he contemplates a chess board with reminders of those dark days fleeing Idi Amin’s Uganda behind him, and Peter West’s Tami, a brilliant surge of reds, the subject’s Tami Jakobson’s favourite colour we are told, with lots of diagonals playing themselves across the image.

On the access front, Jeffrey Smart in his Tuscany sun room (by David Tacon) and Margaret Olley in her Paddington Studio by John McRae are important historical images. The former had just put away the paints and easels for the last time and the latter shortly after her image was taken entered the great studio in the sky. Both present expressions of pride while acknowledging their frail states. Both also sit forward in the composition with the photographer ensuring there are pronounced depths beyond alluding to their creative lives well lived behind them.

George Mifsud’s Emmanuel at bedtime (see image above – portion) is the best of the kids’ images with the composition reminding strongly of a Rembrandt painting while Dale Neill’s Farewell my son appears to be the strongest in the decisive moment category.

Adelaide photographer Alex Frayne also delivers an excellent black and white capture of a 70 year old diver on the Glenelg jetty, surrounded by those of the generation who normally indulge in such antics.

Elsewhere, at the Light Gallery, is Ghoti 15 (pronounced Fish 15), the bi-annual exhibition of students of the Centre of Creative Photography. This exhibition includes much more than just portraits and it is perhaps, if nothing else, interesting to see what captures the imagination of the current students of the CCP. One thing of note is the trend to attempt to produce images as if they were made from lesser technology of days long gone by.

Lauren Brauer’s Cassette Photo-gram (pictured nearby) is the best of the exhibition with nine old music cassettes captured as if by an x-ray light. Elysha Glaser does a nice capture of the Mortlock Wing at the Library – old school library walls now making a comeback in our photographic consciousness as their utility in the modern world declines. Tim Allan’s Tate Modern is a tribute to patience, capturing brilliant light and shadows on two patrons as they walk away in the great hall that greets patrons at London’s Tate Modern. Just how he was so fortunate to get an image with just two people in it there is a mystery given usual attendances but well done to Tim for it and his working of it.

On the portrait side and in somewhat of a contrast to the razzamatazz of the National Portrait Prize are two images by Heidi Johns. One, Look me in the eye is of a shirtless teenage boy, cross legged looking at us in a very symmetrical composition. The other is Riley, a younger girl with freckles set off to the right of centre of the photo. Both, in their simple style, black and white without much other post production, draw your gaze in and the subjects give you an insight into their mix of innocence and worldliness even at their young age.

Do try to visit before the exhibition closes on 25th January. The Light Gallery is located on Richmond Rd.

Jan 01

The Illusionists – Festival Theatre – 4K

By Peter Maddern

Perhaps like pole dancing, performing magic tricks too has elevated itself beyond its trashy origins – travelling circus shows and hucksters – to legitimate theatre. The Illusionists, which opened last night at the Festival Theatre brings together seven of the world’s best in a daunting, haunting, big bang extravaganza of magic (now referred to, in polite circles as ‘illusion’.)

Judging by the cross-section of the general populace there, The Illusionists will appeal to just about everyone. Kids will revel in wonderment, parents will relive their own childhood joys of seeing magic and even the cynical will leave impressed – the showmanship just kept coming and coming. Birds, eggs, women, razor blades, glitter appear, disappear and then reappear, often after being sliced and diced. Audience members become active participants and once one’s focus shifts from trying to work out how it all happens, sheer pleasure settles in.

Acting as well as MC, the Trickster (Jeff Hobson) delighted with his camp wit and self deprecation, never ceasing to amaze with the extra twists to his acts. The Anti-Conjurer (Dan Sperry) combined all manner of props, some with very sharp edges, with a certain gothic menace, producing perhaps the highlight comedy piece of the evening with his Russian Roulette trick with audience member, Jennifer.

And while much on show could allow one to sit back and say ‘yeah, keep it going mate’, the Escapologist’s water barrel routine, in a homage to the great Harry Houdini, just before the interval will bring you anxiously forward on your seat. Struggling upside down in water for what seemed increasingly like an eternity (indeed it went well over three minutes) gets you going and I was relieved that in the shadows there was a fireman ready with an axe (though I have no idea just quite why he needed to wear the gear for dealing with an inferno.)

Perhaps the disappointing act of the night was the Grand Illusionist, who after strutting centre stage in the promos sustains a relatively low key role in the show. Not that his tricks weren’t spellbinding – featuring levitating women and big motor cycles – and leftie types no doubt were ready to hold him up as their hero when he mangled and ripped an edition of The Australian before their eyes, only to let them down massively but having it reappear moments later in tack.

As mentioned, The Illusionists is much more than cheap magic trickery even if some of the audience dressed for opening night like they were going to a late night Fringe show in a tent in the Garden of Unearthly Delights. The ‘how did they do that?’ sensation will follow you home and be with you for days. It’s a winner for the summer.

Dec 24

Les Miserables – The Film – 4K

Les Miserables – Directed by Tom Hooper

By Ben Nielsen

After nearly thirty years on the stage, Claude-Michel Schonberg and Alain Boublil’s Les Miserables finally makes it to the silver screen. The highly anticipated adaptation is directed by Tom Hooper, and features a stellar cast including Hugh Jackman, Anne Hathaway and Russell Crowe.

Hooper really does provide a handsome offering, handling Victor Hugo’s multi-faceted plot exceptionally well. The filmic style is definitely reminiscent of his previous work, but is this time combined with epic musical sequences.

Most scenes are treated exquisitely, like the grandiose shipyard and the simplicity of Fantine’s workhouse. The use of extreme close ups is effective but does become increasingly tiresome. Because of this angle, the transition to other characters and points of interest is abrupt and disconcerting (especially noticeable during the ‘Prologue’).

Hooper’s adaptation famously utilises live singing; with generally spectacular results. While it allows the actors to truly invest themselves in each scene (for example, ‘Empty Chairs at Empty Tables’ sung by Eddie Redmayne as Marius), it did cause occasional intonation and timing issues. The propensity for actors to speak-sing also became hackneyed.

The cast is exceptionally strong, but it is Anne Hathaway who excels as Fantine. Her delivery and commitment to the role is absolutely superb. In the title character of Jean Valjean, Hugh Jackman oozes the necessary panache; however some of his musical decisions are questionable. Similarly, Russell Crowe provides a solid performance as Inspector Javert, but his singing lacks conviction, resonance and tone quality.

Elements of the original stage show have been advantageously altered, such as moments of dialogue and subtle plot points. The film-specific orchestration and additional music generally worked well.

There is very little actual dialogue, but it seems that much of the singing is treated as such, with the accompanying orchestral score becoming standard background music. This is a disappointment considering the orchestra and singers are collaboratively the most integral aspect of the film. Without the sense of homogeneity, the music is neither as desirably immense nor gratifying.
Despite this, the more complex ensemble numbers that often traverse a vast setting, such as ‘One Day More’, are handled very well.

Nothing can ever compare to witnessing a live performance in a theatre, but Tom Hooper’s Les Miserables really does come close. It is a truly outstanding venture and an example of first-class film making.

Kryztoff Rating  4K

Dec 13

Festival Centre’s Christmas Proms – Her Majesty’s – 3K

By Peter Maddern

For the 2012 Proms, the Adelaide Art Orchestra under Tim Sexton’s direction has chosen a Glenn Miller, 1942 war time themed show, combing all the classics of that time with a healthy sprinkling of Christmas carols of all times. Dressed in various armed services gear, the AAT was somewhat squeezed onto the Her Majesty’s stage and accompanied by soloists Andy Seymour and local girl Johanna Allen and five ‘Chattanooga Crooners’. Two clowns and dancers rounded out the ensemble in a show that mimicked a live ABC radio broadcast of the time.

There was somewhat of a cobbled together feel about the performance (for example Sexton needed to refer constantly to his notes including when looking for the names of his own band soloists) but the playing was tight and the singing sound with Johanna Allen a delight.

Those who revel in music of Glenn Miller and that war time era will have 120 minutes in heaven. Those who recall those times will also see The Christmas Proms as an ideal occasion to get out of the home and enjoy a sing-a-long but the whole performance will not enthrall you beyond the sensation you get watching a show at a Leagues Club.

Kryztoff Rating  3K

Dec 11

Chitty Chitty Bang Bang Coming To Adelaide – From 30 April

CHITTY CHITTY BANG BANG

FEATURING A CELEBRATED CAST INCLUDING

DAVID HOBSON, RACHAEL BECK, ALAN BROUGH,

JENNIFER VULETIC, PETER CARROLL,

GEORGE KAPINIARIS and TYLER COPPIN

LEADING A COMPANY OF 80 AND A FLYING CAR!

Adelaide audiences are in for a truly magical family treat and the ultimate in theatrical entertainment as the most fantasmagorical stage musical in the history of everything CHITTY CHITTY BANG BANG soars into Adelaide for a strictly limited season from 30 April in the Festival Theatre.

Tickets go on sale to the general public at 9am Wednesday 12 December BASS 131 246 www.bass.net.au

After nearly four magical years enchanting audiences at the London Palladium, one year on Broadway and a record breaking UK tour, CHITTY CHITTY BANG BANG is finally on Australian stages.  Having been nominated for three Olivier Awards in London’s West End including ‘Best Musical’, and winning ‘Best Musical’ in the 2003 Variety Awards, CHITTY CHITTY BANG BANG then went on to break every record at the London Palladium, achieving over £70million in box office revenue. The show boasts the longest running show in the history of the theatre, beating Cameron Mackintosh’s production of Oliver! and Andrew Lloyd Webber’s Joseph and The Amazing Technicolor Dreamcoat. On Broadway, the show was nominated for five Tony Awards and ran for over a year.

CHITTY CHITTY BANG BANG features sensational sets, action packed adventure mixed in with stunning special effects. This story of the magical flying car has at its heart two fundamental desires…the desire to protect one’s children and the desire to fly, all told through a magical journey. It is a story of love and adventure, of good and evil and above all, family. The show boasts one of the biggest casts ever assembled for an Australian musical.

Playing the role of Caractacus Potts is one of Australia’s best-known singers and recording artists, tenor DAVID HOBSON; he superbly brings to life the character of the eccentric, brilliant English inventor. The role of the famous candy maker’s daughter Truly Scrumptious is played by one of Australia’s most in-demand performers in musical theatre and television, award-winning RACHAEL BECK.

The role of the tyrannical ruler of Vulgaria and lover of toys Baron Bomburst is played by ALAN BROUGH – best known for his role on the much-loved ABC music game show Spicks & Specks. Veteran of the Australian stage, actress and singer JENNIFER VULETIC plays the head of the Vulgarian parliament and hater of children Baroness Bomburst. Charismatic stalwart of Australia’s theatre scene PETER CARROLL plays Grandpa Potts. One of Australia’s best-loved comedy stars, GEORGE KAPINIARIS plays one of the Vulgarian spies opposite TODD GODDARD and versatile and accomplished performer TYLER COPPIN is the evil Child Catcher.

Chitty Chitty Bang Bang recently opened in Sydney to rave reviews and audiences:

“9/10…bursting with colour, optimism and humour, and it boasts some of the finest stage talents in town…

the car is the star and it doesn’t disappoint.  Its flying sequences are a marvel of stage magic.”  Sun Herald

“David Hobson and Rachael Beck, as the inventor Caractacus Potts and feisty maiden Truly Scrumptious, are the heart and soul of the musical.  Both sing beautifully while the craziness of Ian Fleming’s story unfolds around them. Huge fun” Sun Herald

“Chitty Chitty really goes off with a Bang Bang…a fantasmagorical machine that draws gasps of delight when it flies, in a genuinely magical moment.”  The Sunday Telegraph

“Jennifer Vuletic’s baroness is superb….George Kapiniaris and Todd Goddard pair up winningly…Rachael Beck is crisply melodious…The glittering reveal elicits delighted gasps…” Sydney Morning Herald

“Chitty…is a beautifully rendered centrepiece….is definitely the star of this delightful staging of this classic old story and film” The Australian

“This magical musical allows adults to slip back into their childhood fantasies…David Hobson and Rachael Beck share a lovely warmth…” The Daily Telegraph

“It’s escapism at its best.”  Geoff Field 2DAYFM

“…spreading the joy for kids and families, and a nostalgic glow for the inner child in audience members of most ages.” Stage Whispers

CHITTY CHITTY BANG BANG is directed by ROGER HODGMAN and features sets and costumes by renowned English designer ANTHONY WARD.

Music and Lyrics by RICHARD M. SHERMAN and ROBERT B. SHERMAN Adapted for the stage by JEREMY SAMS and RAY BRODERICK Based on the MGM Motion Picture.

CHITTY FUN FACTS:

  • CHITTY CHITTY BANG BANG holds the Guiness World Record for the most expensive stage prop – the car at £750,000
  • There are over 500 remarkable costumes and hats in the production
  • The film screenplay was written by prolific children’s author Roald Dahl and the film’s director Ken Hughes.
  • The Sherman brothers also wrote the songs for Disney’s Mary Poppins and The Jungle Book as well as countless other films including The Slipper and the Rose.

What: CHITTY CHITTY BANG BANG

Venue: Festival Theatre

When: Season runs from  30 April, 2013 (Preview 30 April, Opening Night 1 May)

Cost: Premium from $115.90, A Res from $105.90, B Res from $85.90, C Res from $65.90, Conc  from $95.90,  Family (4 tickets 2a+2c or 1a+3c) $350 conditions apply/  Groups 6 or more save 8205 2220

Suitable: All ages

Bookings: BASS 131 246 or www.bass.net.au

Dec 10

THE STILLSONS ‘Xmas Duo’ shows – From 20 Dec

THE STILLSONS ‘Xmas Duo’ shows

‘The Stillsons show you don’t have to settle for merely average’

“Best Of The Week” – Sydney Morning Herald Jan 2012

‘Hyperactive genre-jumping that shows an impressive ability to translate plentiful ideas into compelling music…

Euphoric and sublime…’

Four Stars –Andrew Watt – The Age

Thur 20th Dec, The Grace Emily, 9pm, Free

232-238 Waymouth Street, Adelaide 5000

Sat 22nd Dec, The Wheatsheaf, 9pm, Free

39 George Street, Thebarton 5031

Sun 23rd Dec, La Mar’s Sundays, Glenelg Surf Club, Free

The Foreshore, Glenelg 5045

The Stillsons ‘acoustic duo’ return to SA to play a series of free Xmas shows in Adelaide. Performing many songs from both Stillsons’ albums, ‘Circus’ and ‘Earnest’, the duo will also be performing some new songs, and a special blend of blues, bluegrass and folk.

The Stillsons band have been touring nationwide for the past eighteen months, winning over new audiences, and picking up many accolades along the way.

Their sophomore Earnest was released last year, and has not only established a solid national reputation, but also a international one, being widely played on BBC Radio 2, BBC Ulster; BBC Scotland, and Radio NZ.

Earnest was named ‘Album Of The Week’ by six different radio stations — ABC Radio Australia, ABC DIG, ABC Gold Coast; ABC Bendigo, and Radio Adelaide, and has been critically praised in the national press, earning “Best Of The Week” by The Sydney Morning Herald.

The Stillsons full band comprises of two singers- Justin Bernasconi (Guitarist To Watch – Australian Guitar Mag) and Cat Canteri (drums), pedal steel guitarist Ben Franz; and Edmondo Ammendola (Augie March) on bass.

Earnest was released on the 9th of September 2011 through the bands own label Mountain King Music, and is distributed through FUSE Group.