Jul 16

Music: Firm’s 2012 Concert opens Elder Hall’s recital mode – July 30 – Preview

The Firm will present their most ambitious concert program for 2012 entitled The Emperor of Atlantis on Monday 30 July at 8.00pm becoming the first group to perform in the new 215 seat ‘recital hall mode’ at Elder Hall, North Terrace Adelaide.

The concert will feature Czech composer Leoš Janáček’s complete song cycle The Diary of One Who Disappeared (1920) and selections from the anti-fascist operatic masterpiece written in the Theresienstadt concentration camp by Viktor Ullmann: The Emperor of Atlantis.

Featured performers for this Firm special event are  tenor Robert Macfarlane, pianist Leigh Harrold and a quartet of fine female voices; Sally-Anne Russell, Emma Horwood, Kate Macfarlane, and Ali Stubberfield.

Firm spokesman Raymond Chapman-Smith said, ‘We expect that Elder Hall’s new recital mode will really enhance the performance and add to the audience’s appreciation of our 2012 centrepiece concert, which commemorates the music of composers interned in the Theresienstadt camp under the Nazi regime.

The Emperor of Atlantis or Death’s Refusal is a one-act opera by Viktor Ullmann with a libretto by Peter Kien. Both Ullmann and Kien were inmates at the Nazi concentration camp of Theresienstadt (Terezín), where they collaborated on the opera, around 1943. While the opera received a rehearsal at Theresienstadt in March 1944, it was never performed there, as the Nazi authorities saw in the depiction of Kaiser Overall a satire on Adolf Hitler and banned the opera. Both the composer and the librettist died in the Auschwitz concentration camp.

Leoš Janáček’s The Diary of One Who Disappeared is a song cycle for tenor, alto, three female voices and piano.

On May 14th, 1916, Janacek’s local newspaper published an anonymous cycle of poems entitled ‘From the Pen of a Self-taught Writer’. This ‘diary in poems’ depicts the story of a village boy who had fallen in love with the young gipsy girl Zefka, and who had decided to leave his family and village with her. The verses made a deep impression on Leoš Janáček, and he decided to rework the poems into the song cycle. He created a work in twenty-two parts, accompanied also with scenic demands. The cycle was composed during August 1917 and June 1919, the last modifications Janáček finished in December 1920.

Regarded as one of Australia’s finest concert halls Elder Hall has created greater flexibility for performances by introducing specially designed and built wooden screens. Funded by an anonymous donor, these  7’ screens will create extraordinary versatility for the Hall by, in effect, creating another hall.

Single tickets for The Emperor of Atlantis are $15 ($8 concession) and may be purchased at www.trybooking.com/24185 or at the door

All secondary and tertiary music students receive complimentary season tickets, available at the door. Concert patrons receive complimentary programs and post concerts drinks and may sample authentic European tortes by Gabriele.

The Firm is an Adelaide-based organisation that promotes the performance of new solo and chamber works, particularly those of South Australian composers. It also provides a performance platform for some of Australia’s finest young musicians. The Firm also presents special events and tours internationally.

Check out the The Firm’s website Here

Jul 15

FIRST BIG DAY OUT CONFIRMATION…

http://www.youtube.com/watch?v=GaxDl8HN6u4

Jul 13

I See Your Beating Heart – Various People – Space – 3.5K

Cheryl Pickering - credit Photografeo

The Velvet People team have followed up their Arts and Cabaret festival successes (Instructions for an Imaginary Man and The Velvet Gentlemen respectively) with a very female offering of I See Your Beating Heart – A Mother’s Cantata.

Last night’s once only show was broken into two halves. The first was a take on 18th century composer Robert Schumann’s song cycle about love, birth and death (quite some wedding present to his new bride, Clara) and the second I See Your Beating Heart – A Mother’s Cantata with music by pianist Richard Chew and lyrics by Sheila Hill.

VP’s Creative Producer, Cheryl Pickering was the vocalist for the first part which was promoted as a ’contemporary and irreverent’ take on Schumann’s work. Pickering’s beautiful voice delivered and worked seamlessly with Chew’s leading work on the piano. Just what either the content or the purpose of the ‘contemporary and irreverent’ aspects were all about eluded this reviewer, with more mystery being attached to exactly when the translations relative to the music would appear on the projection screen behind.

The second half was probably the more successful part. Three vocalists (including Pickering again) and a piano trio took us through the very mixed maternal emotions of child birth and rearing, accompanied by Nic Mollison’s monotone images of his own son, Jiri. From the excitement of hearing the first heart beats to flailing around with a first born, uncertain about what works and what doesn’t, to the dawning twin sensations of both triumph (and miracle) and loss of freedom, the various songs took us there effectively – new and old mothers would have relived every word,causing some no doubt to shed a tear

In the hope this production gets a subsequent life, there were some improvements that could be incorporated. The attempt of the players in the second part to sport some dash of (foetal blood) red fell short for consistency of effort and varying hues. At the risk of the vision distracting from the singing, Mollison’s images would nonetheless also benefit from the Ken Burns treatment.

I See Your Beating Heart – A Mother’s Cantata, like their previous two recent works, certainly confirms Various People’s appetite for the different, the excellent and the innovative. Here’s to hoping this show gets more runs and that yet greater potential of the work is realised.

Jul 12

THEATRE: Pinocchio – Windmill & STCSA – Dunstan Playhouse – 3.5K

Pinocchio is the well-known and beloved tale, of a magical wooden marionette that must learn the importance of truth before he can become a real boy. The original story, written by Carlo Collodi over a hundred years ago, has been adapted for the stage and screen many times and continues to engage audiences. Windmill Theatre and State Theatre Company of South Australia have teamed up to bring Adelaide audiences a new, modern take on the story, penned by Julianne O’Brien.

Pinocchio (Nathan OKeefe) is bored with normal life and runs away from the home of his creator and father, Geppetto (Alirio Zavarce), to find fun elsewhere. He has various adventures with a cat, Kitty Poo (Jude Henshall), and Fox (Derik Lynch) but in the end must decide what is important in life. Along the way villain Strombolli (Geoff Revell), tries to distract and entrap Pinocchio, having always desired the puppet for his own, the Blue Girl (Danielle Catanzariti) offers Pinocchio love and support, and the ever present Cricket steers him down the right path. It’s a haphazard plotline and those unfamiliar with the story may find segments of it, particularly those involving the Blue Girl, confusing.

This is a musical and this side of the production adds movement and vitality to the show. There were highs and lows but for the most part the songs were catchy, modern and entertaining. Under the guidance of composer and musical director Jethro Woodward, the three piece band (including also Shireen Khemlani and Paul White), with occasional help from various members of the cast on extra instruments, managed to create a full and pleasing sound.

In the title role, O’Keefe was his usual fountain of energy, springing from one section of the set to another. He used his gangly frame to wonderful comedic effect and injected a lovely blend of childish irreverence and enthusiasm into the wooden boy. His singing was also top-notch. He was everything you could want in a Pinocchio. Revell was equally strong as Stromboli, the baddy of the piece, who will no doubt instil fear in many young audience members. However, there is also pathos to the character and, although he may be scary at times, we saw the sadness behind his actions; Revell managed to convey this motivation well.

It is pleasing that in a play about a puppet, there is actual puppetry used, with the Cricket flying in and out on the hand of Sam Routledge. He is a talented puppeteer and let the role inhabit his whole body. He created a delightful character that was both wise and very cheeky. The rest of the cast gave variable performances; at times strong, at others lacking. While the big group numbers were generally aurally pleasing, some of the vocals were not quite on-par in the solos. At times energy felt lacking, characters were unengaging, and Henshall’s accent was distractingly inconsistent.

It is the technical aspects of the show that really shine. The set (Jonathon Oxlade) is a large, interesting, multi-levelled wooden structure, which adapts to become various parts of a city, a funfair, a beach and even a giant shark. This is accomplished through the use of video projection (Chris More) onto its surface, to create and change settings in the blink of an eye. The double revolve on which this structure sits also aids in the smooth transition of the characters from scene to scene; they seem to magically enter and exit as the stage moves.  Lighting, by Geoff Cobham, contributed well to the atmosphere of the various settings, particularly the creepy fairground. Director and creator Rosemary Myers has used the space well to convey the journey of Pinocchio and provide enough action to keep young minds engaged.

This is a different offering to the usual STC fare and on one level it’s nice to see them branching out and connecting with other segments of the community while also providing their audiences with a taste of something new. It’s a show that will engage younger audiences, particularly families, and is a great opportunity to get children seeing theatre (especially in the school holidays). Whether it will be a hit with the older crowds though is questionable. While still enjoyable from an adult perspective, it doesn’t quite tick all the boxes you might hope.

Kryztoff Rating: 3.5K

Jul 11

Revealed – Samstag – 3.5K – Til 22 July

Shi Xinning Lei (Mao, Marilyn Monroe, Joe DiMaggio)2010

Revealed: inside the private collections of South Australia – Samstag Art Museum – Til 22 July

Twelve months ago, Samstag director, Erica Green, convened a dinner for some of Adelaide’s most discerning and enthusiastic contemporary art collectors with the purpose of spruiking her idea for an exhibition of items from their own collections. Three weeks back and the first of what is hoped to be three exhibitions over three years was launched by Sydney based artist Mike Parr, who also has a work featured in the display.

Erica Green has formulated an admirable idea as it provides a window for the more casual or less well financially endowed art lover of Adelaide to see what is turning local patrons on and hanging on their walls. The concept of an exhibition curated only by the tastes of current private owners also means the result is quite eclectic and, to be sure, there is something there for everyone.

Jake & Dinos Chapman, One Day You Will No Longer Be Loved IV, 2008

As the exhibition catalogue notes, private patrons are somewhat of the hidden face of the art world but it is through their varied tastes and interests that not only established artists’ great works find homes but also up and coming exponents get the chance to be ‘found’ and followed. This takes us beyond what the major art galleries can do, let alone present, and beyond also the private galleries whose primary motive is to move stock on.

However, the influence of the latter in broadly sponsoring or promoting single artists can perhaps be seen in the extraordinary fascination for the works of Noel McKenna that adorn, from all manner of sources, effectively an entire wall in this exhibition.

While the support of local art owners for this exhibition is terrific, it has to be noted that perhaps they have reserved their very best (hopefully for a subsequent event in the Samstag’s series). For it seems hard to believe that within Adelaide there is not a Jeffrey Smart container canvas or a Bill Henson nostalgia image (or any one of a dozen other of the better known contemporary artists) hanging somewhere.

The catalogue, although containing a useful essay on private collections, has no great depth and certainly investigations of the motives of the donors, as to both their own collections as a whole as well as for particular artists, would be most illuminating.

Still, one has to start somewhere and director, Erica Green, and the Samstag need to be congratulated on the initiative.

Jul 11

Green Room Film Comp for OzAsia – Details

INTRODUCTION

Adelaide Festival Centre’s GreenRoom and Media Resource Centre invite emerging film makers aged 16 – 30 to enter a new short film competition.

As part of  Adelaide Festival Centre’s OzAsia Festival, the GreenRoom Short Film Competition is inspired to present you with a theme of ‘Guru’ for this year, which ties in with the festival’s Indian focus.

This short film competition is about celebrating young emerging filmmakers and recognising the talent of local artists. Cash and prizes will be awarded to the three best films along with a People’s Choice Award.

Up to 12 finalists will be screened as part of the GreenRoom Short Film Competition at Mercury Cinema on Tuesday 18 September 2012

THE BRIEF

What do you think of when you hear ‘guru’? Your favourite teacher? Indian takeaway? Aging Australian entertainment reporters with an akubra fetish? Take it and make it yours.

Your ‘guru’ themed film should be no longer than 5 minutes and will need to delivered on DVD (in 16:9 format) and as a MPEG2 file for screening.

Judging criteria for all films will be based on

–  Creativity of cinematic expression
–  Effective communication on this year’s theme ‘GURU’
–  Originality of story line or interpretation
– Potential for audience engagement
– Quality of production values

THE PRIZES

1st Prize                         $1000 courtesy of ANZ + Canon 5D Mark II DSLR (no lenses supplied)

2nd Prize                        $1500 free equipment hire courtesy of Media Resource Centre

3rd Prize                         $1000 free equipment hire courtesy of Media Resource Centre  and  2 x 2013 Cinematheque Passes courtesy of Mercury Cinema

People’s Choice             $500 Cash Prize

WORKSHOPS AND FILM GEAR AVAILABLE

We will be running 2 half-day workshops in the lead up to the short film competition supported by the Adelaide Festival Centre and the Media Resource Centre. These workshops will guide potential applicants through the creative and practical skills of making a short film for entry.

This year, the workshops will cover:-
–       Dramatic Story Telling
–       Honing your DSLR camera skills

You will also be able to take advantage of free film equipment hire from the Media Resource Centre for the designated period of production. This will help you come up with the best idea to make the best film you possibly can with the best gear.

By registering yourself for this film competition you will be entitled to enrol in these free workshops and access DSLR camera & lens hire (subject to dates and availability) in the lead up to submitting your film by 31 August.

Please note: All applicants who wish to access  DSLR equipment must be a MRC member by visiting here

KEY DATES

1 June                      Registrations open
27 June                  Free workshop on dramatic stortytelling for short films
4 July                      Free workshop on honing your DSLR camera skills
31 August              Final date to submit films
18 September      Guru: GreenRoom Short Film Competition Screening  at Mercury Cinema

HOW DO I REGISTER?

Registering yourself to make a short film as part of GreenRoom Short Film Competition is simple. You just need to follow the steps below
1. Become a GreenRoom Member here or a Media Resource Centre Member here
2. Enter your name, email and phone number into the blank fields below
3. We will then be in contact with you to discuss all further details

CONTACT

If you require more information about the GreenRoom Short Film Competition please call Sam Wright, GreenRoom Assistant on

P: 8216 8513 or E: sam.wright@adelaidefestivalcentre.com.au

Jul 11

Rock The Ballet – Review – 3K

Rock The Ballet’s promised fusion of rock music and dance, particularly traditional ballet, no doubted excited young (teenage) dancers sufficiently to nag parents and grandparents to take them along, as well as appeasing their desires for their own class experiences to lighten up a bit.

Rock The Ballet clearly delivered on the promise but whether it did much more than satisfy audiences for two hours and the car trip home is rather more problematical.

The first half (Act 1 – Beautiful Day) was somewhat ho-hum. After an energising start to music from the Black Eyed Peas, the next 45 mins flat lined in group displays with the dancers dressed rather like the Wiggles toned down to the extent they didn’t stir some innate desire to lick them. The exception was a delightful parody of classic opera in the form of dancing with blow up dolls to Maria Callas blasting out a ditty from Carmen on volume notch 11.

The second half (Act 2 – Rock You) was fortunately a much better affair as more solo efforts to shorter song excerpts morphed into the sexy showmanship promised by the billboards. Most successful were the dancing to Queen (We Will Rock You particularly) and Michael Jackson numbers. The impact of the lighting also went up a notch or two as well as the interest generated in the back drops (Bicycle Race, again from Queen, of note.)

James Boyd was the night’s principal dancer and he excelled with a prowess and physique to capture the attention of all ages attending. Amongst the Bad Boys, Alexei Geronimo and Doug Baum shone through.

There is no doubt Rock The Ballet is a very slick commercial production, laced with mostly fine dancers that can appeal to audiences of all ages, which it needs to at $100 a ticket. But one with even a passing interest in dance in all its forms will judge it somewhat shy for lasting impact of other productions that have come through town in recent weeks – Circa and the Leigh Warren Dancers to name just two.

Read the write up of our interview with Rock The Ballet’s founder, Rasta Thomas by clicking Here

Jul 11

Spin-Off – July 21st – Showgrounds

This year Adelaide is getting its very own slice of Splendour In The Grass action in the form of a brand new music festival, aptly titled SPIN OFF.

The inaugural SPIN OFF festival will feature exclusive Adelaide appearances by international acts LANA DEL REY (in her debut Australian show!), UK rockers BAND OF SKULLS and Brooklyn-based buzz band FRIENDS.

The festival is rounded out by the hottest acts in Australia right now, including world beating sensation KIMBRA, Bloc Party’s new favourite band LAST DINOSAURS, young punks and all around trouble makers BLEEDING KNEES CLUB, internationally hyped trash-pop duo DZ DEATHRAYS, eternal party starters YACHT CLUB DJ’S and next big things THE RUBENS.

And with tickets priced at only $99, Adelaide music lovers need no longer travel across the country to catch the best Splendour In The Grass has to offer. They can watch it from their very own backyard!

To buy tickets, click Here

Set times have also now been released – check them out Here

Jul 10

SALA – Plastic Fantastic – 28 July – 2 Sept – Goolwa

A SALA exhibition at Signal Point Gallery, Goolwa. 28th July – 2nd Sept 2012.

“Plastic Fantastic” – Annabelle Collett

Plastic in all its forms produces enormous amounts of waste from use in our every day lives. Annabelle Collett uses recycled ‘trash’ to fashion a vast array of artworks from all types of plastics for this exhibition.

She utilises colourful discarded materials from domestic items such as plastic lids, old children’s toys, broken jewellery pieces and dumped containers and implements to make bold and vibrant statements highlighting the aesthetics of waste.

In the style of found object assemblage, she creates sculptures, installations and wall pieces using many methods and processes that link art, craft and design.

This is a major solo exhibition being a huge body of work of over 80 pieces from a prominent South Australian artist. It will be opened on Saturday 28th at 2pm by Tony Kearney, designer & plastics’ collector (as seen on The Collectors, ABC TV).

About Goolwa Year of Culture 2012

The SA Regional Centre of Culture Program is a major biennial arts initiative aimed at encouraging  new investment in cultural infrastructure and increasing access to the arts. Goolwa is the 2012 recipient. The year’s program is titled ‘Just Add Water’. For further details see www.artsalexandrina.org.au

Contact Leah Grace t: 08 85557289 e: leah.grace@alexandrina.sa.gov.au

Jul 09

The Golden Phung host Adelaide Comedy’s 1st “Sketch Comedy Night” Tues 17th at The Arkaba

Award–winning sketch comedy troupe; The Golden Phung…are back!

This time they host Adelaide Comedy’s Sketch Night alongside other local sketch comedy troupes; Gravity Boots and The Ridiculous Files.

The Golden Phung will be performing a selection of their favourite sketches, some new, some old, some very old.. As well as unleashing several new sketches into the comedy mix extravaganza!

After closing the book on this year’s 5 star Adelaide Fringe success; Golden Phung’s Encyclopedia of Everything, the team have combined their comedy powers again once more to save sketch comedy in Adelaide!

During the 2010 Adelaide Fringe Festival our self-titled debut show had a sell-out season, receiving wide critical praise: most notably a 4 and half star review from The Advertiser. 2011 saw another sell-out season at the Adelaide Fringe Festival and our Melbourne International Comedy Festival debut (4 stars – Herald Sun). The Golden Phung has gained the support of a growing number of fans as well as a handful of accolades.

Winner – City of Adelaide Performing Arts Award at the Helpmann Academy/Foundation Front 2010 event ‘Delusions of Grandeur’.

Nominated – Best Emerging Comedian at the 2010 Adelaide Fringe Awards

Nominated – Best Newcomer at the 2010 Adelaide Comedy Awards

Unfortunately, it seems home-grown live sketch comedy has become a something of a rarity, and in a city so ripe in culture, stand-up and creativity; the seemingly forgotten art of sketch comedy deserves a much more fruitful life.

Adelaide Comedy’s Sketch Night on July 17th hopes to change all that. The Golden Phung, with help from fellow local sketch comedy troupes; Gravity Boots and The Ridiculous Files will be doing their part to make sure sketch comedy thrives in Adelaide.

Remember, you’re no one unless you’ve been Phung’d!!!

– – – – – – – – – – – – –

‘…genuinely funny… There are more laughs here than an entire season of Little Britain… Take it from me, this team has a lot of potential… ****1/2’ – The Advertiser

‘innovative, well-thought out and perfectly delivered… extremely clever comedy… ****’ – The Herald Sun

‘…short, sharp and very, very funny… do yourself a favour and go and see. The Golden Phung… the next big thing in sketch comedy.’  – Buzzcuts