Jun 26

Rock The Ballet’s Rasta Thomas – Interview – Win Tix to Adelaide Shows

Like many Americans, dancer and impresario, Rasta Thomas, talks a big game but his Rock The Ballet show that comes to Adelaide next week shows he has the moves to match the mouth.

Trained in classical ballet, Thomas saw that both traditional and contemporary repertoires, although challenging to the dancer, often did not connect with audiences, especially younger members who perhaps did not understand the language of dance. ‘Contemporary dance can be hard to define for people. Rock The Ballet is all about just having a good time’ says Thomas in Sydney as part of his show’s latest national tour.

His vision was to sustain the challenge but to fuse it with 21st century sensibilities, focusing on fun and enjoyment, athleticism and versatility.

‘My passion is to provide a more accessible and popular version of an art form’ muses Thomas. ‘It is the music that is the glue to the kind of people we seek to come along. People of all ages will follow the music.’

That music includes everything from Michael Jackson to Coldplay and Lenny Kravitz to U2. The dancers include three female principals and then thirteen ‘Bad Boys of Dance’ including Thomas himself. The choreography, says Thomas, reflects the freedom of movement that this music allows, so much different to the demands of the classics.

The career of a dancer is like that of many sportspeople, relatively brief and subject to potential catastrophe with any turn or landing. But unlike elite sports stars, the opportunities to enjoy success in this passion are relatively few. Thomas recommends young dancers, fresh out of high school and in the colleges, train in as many styles as possible, ‘aim to be a student of movement’ he implores, ‘but ensure there is a strong classical foundation to it all.’

‘Challenge yourself always, live your dream and prepare yourself for a remarkable career.’

There can be few better ambassadors of the self belief school that Rasta Thomas (soon to be 31) and his show, Rock The Ballet, is living proof of what self challenge can produce. Adelaide has been blessed in the past couple of months with much and varied exhilarating dance and the injection of popular music to the moves should make for great entertainment when the ‘ballet with attitude’ season kicks off on 3rd July at Her Majesty’s.

WIN TICKETS – Kryztoff has five double passes to give away to the opening night of Rock The Ballet in Adelaide next Tuesday evening (3rd July) at Her Majesty’s. To go into the draw to win just tell us how old Rasta Thomas is and send the answer to win@kryztoff.com by 5pm this Thursday 28th June. Winners will be advised by email.

Jun 23

CABARET: Tripod – Men of Substance – Banquet Room – 4K

Adult is not usually one of the words you’d choose to use to describe Tripod. However, that’s what their latest show, Men of Substance, centres on – what awaits when you leave your youth behind and become “an adult”. Of course, getting older doesn’t necessarily mean that you get more mature, as illustrated perfectly by this trio of boys.

From the opening modern interpretive dance piece, you know this is going to be a fun ride and Yon, Gatesy and Scod keep the energy and the laughs coming for the full hour. While they may have aged a little, their style hasn’t and the all new set list once again showcases their prowess as both comedians and musicians. In an appropriately early time-slot, the three play-out the dysfunctional band relationship that has served them well for 16 years. The thing that makes this show work is the fine balance of self-awareness and self-deprecation and, despite the long history, the jibes still feel fresh and good humoured.

The subject matter of their tunes encompasses the important parts of “growing up”, with observations about exciting topics such as Business Activity Statements. Laughter was very forthcoming throughout, and the crowd was particularly responsive to a song looking at the impact of city-dwelling yuppies on the live music scene – a topic quite dear to the hearts of many in Adelaide. The closing number, which summarised “the desires of all women” and coined the new acronym “DILF” (you’ll have to either guess what that stands for, Google madly, or see the show) was an hilarious way to wrap up the set (prior to a quick, well deserved, encore).

No matter how much you think you won’t change, won’t become one of those annoying older people, for most of us, it inevitably happens. When that day comes, all you can really do is accept it and learn to laugh at yourself. Or at Tripod, because they clearly understand it so well and have created a corker of a show out of the experience.

Kryztoff Rating: 4K

Jun 22

David Williamson’s Let The Sunshine in Regional SA this July – Preview

Ally Fowler - Star

David Williamson’s hit, Let the Sunshine tours SA this July on its 2012 national tour, visiting 5 regional venues along with Noarlunga’s Hopgood Theatre as part of Country Arts SA’s Season 2012 Program.
The cast boasts well known Aussie names including Peter Phelps (Stingers) and Alexander Fowler (All Saints) in its line up.
Set in the year of Kevin 07 Let the Sunshine is described as part Romeo and Juliet, part Meet the Parents. Williamson sets the stage as documentary maker Toby and his wife Ros flee to Noosa escaping scandal in Sydney, where the couple meet their polar opposites, Natasha and Ron. It’s not long before their children find romance together and the patter of tiny feet brings on a clash of egos.

Williamson presents a plot filled with family conflicts, social, political and economic differences, private frustrations and the redeeming qualities of love set against the backdrop of Noosa. The 2012 tour revives the success of the original 2009 Ensemble Theatre Show and one which has earned rave reviews from critics so far for its lighting, set design, sound and direction.
CAST
RON Peter Phelps (Rescue Special Ops, Stingers)
NATASHA Alexandra Fowler (Sons & Daughters, All Saints)
TOBY Dennis Coard (Home & Away)
ROS Toni Scanlan (Water Rats)
RICK Ryan Hayward (Casualty)
EMMA Hannah Norris (My name is Rachael Corrie)
Tour Dates
Nautilus Theatre, Port Lincoln, 21 July 8pm
Middleback Theatre, Whyalla, 24 July 8pm
Northern Festival Centre, Port Pirie, 25 July 8pm
Hopgood Theatre, Noarlunga, 27 July 8pm
Sir Robert Helpmann Theatre, Mount Gambier, 31 July 8pm
Chaffey Theatre, Renmark, 2 August 8pm
“… a closely observed social-satirical-topical drama… a finely crafted plot from a master. …an affirmation of
human values that runs through all of Williamson’s works.” – The Australian
“… Williamson’s ability to sketch vivid caricatures from life shouldn’t be underestimated. This is a play
guaranteed to remind you of someone you know. Achieving that kind of recognition is a rare talent. Add in a
gift for witty one-liners, and you’ve got a play that will keep the punters happy.” Cameron Woodhead – The Age

Jun 22

Justice – New Lands – Out 25th June

Justice, the world acclaimed electronic duo of Xavier de Rosnay & Gaspard Augé, have announced a new five-song EP New Lands due digitally on June 25th. The EP’s title track is taken from 2011’s prog-dance masterwork Audio, Video, Disco and also features remixes of the song by A-Trak, Sebastian, and Falcon, as well as a live version captured on the band’s ever-extending world. The EP will be accompanied by a stunningly cinematic video directed by Canada which will premiere on July 11, with a teaser available from Red Bull on July 4.

The band’s manager and Ed Banger Records head honcho Busy P offered these thoughts on the EP: Justice New Lands EP includes some very familiar names. My oldest friend DJ Falcon was surfing away, it wasn’t easy to get him out of the water and go back in the studio. He did it for us, his Roulé touch, like the perfect soundtrack for a little ride on the Pacific Coast Highway. A-Trak is for me the North American side of Ed Banger records, here again, it was natural to ask him to remix his Justice friends. Sebastian went downtempo, hypnotic, if you’re fed with “Ni**as in Paris” (you heard it 11 times in a row…) you might like this joint! The Live version offers you a little taste of how Justice can sound in a big room with people bleeding, sweating and crying. This is New Lands Justice new single extract from “Audio, Video, Disco.”

Justice will travel to Australia to play DJ sets at all the upcoming Parklife tour dates including:

Parklife Adelaide | Sunday 7th October at Botanic Park, Botanic Gardens of Adelaide

Hear the New Lands A-Trak Remix Here

Jun 21

CABARET: Tex Perkins & the Dark Horses – Space Theatre – 4K

After a five year hiatus, a slightly altered line-up of Tex Perkins & the Dark Horses reformed last year, much to the joy of fans around the country. Greeted by a rather lacklustre reception on the part of the audience gathered in the Space Theatre, Tex and the boys never-the-less kicked off the gig with much energy and irreverence and were soon receiving enthusiastic rounds of applause.

Joining original members Charlie Owen and Joel Silbersher were new band-mates Steve Hadley and Gus Agars, plus Cruel Sea alumni James Cruickshank. While Agars stayed on drums for the whole set the other five criss-crossed the stage throughout, interchanging instruments and showing off their wide ranging musical talents. At times this led to mad dashes from guitar to keyboards or vice-versa, as individuals seemed confused about what song was coming up and where they were meant to be for it. This all added to the humorous and laidback feeling of the show.

The set list consisted of a range of songs from the back catalogue plus several from their self-titled 2011 release. Some enthusiastic audience members could be heard singing along but for the most part people were happy to revel in the powerful charisma and soul-gripping voice of Perkins and the cheeky interactions between the six performers.

As a band, the group offered everything you could want from a set: great songs, played well and with pizzazz. However, the place of this show in the Cabaret Festival is somewhat confusing. There was no overarching theme to the song choices and no between song anecdotes; just a few references to the show not fitting into the genre, and this became the recurring joke. Perkins announced that he would do everything in an overly dramatic style, criticized the “writer” of the show and made the most of the unexpected dramas of a broken guitar string and the presence of water on stage.

This was not a cabaret show, this was a music gig. Having said that, where else in Adelaide would there be the possibility of a couple of hundred music fans being able to relax in a cabaret setting, nursing a drink and snacking on a cheese platter, while a band of the style and calibre of Tex Perkins & the Dark Horses played a blistering set? The lack of such a space elsewhere therefore leads to the question: if such a show is not appropriate for the Cabaret Festival, then should we miss out on it entirely? That would be a shame. So for now, let’s ignore the lack of “cabaret” in this “show” and appreciate the opportunity to see it.

Kryztoff Rating: 4K

Jun 21

Cabaret Festival – Kane Alexander – All I Know – 3K

Last night, former northern Victorian country boy, Kane Alexander, now of New York, regaled his audience with a delight for connoisseurs of the New York cabaret style. With his excellent voice, good looks, likeable patter and smile, Alexander also displayed his knowledge of the genre with songs ranging from Steven Schwartz, Jerry Herman, Alan J.Lerner through to Roy Orbison and Il Divo.

For those who reminisce about the old style, old Blue Eyes and all that, close your eyes and Kane will certainly take you back. Even for those just eager ‘to catch a show’, All I Know would nicely suffice. But, in the context of this year’s cabaret festival, Alexander’s show just simply lacked the edge that so many others this year have delivered. There was, as examples, none of the confronting humour of Eddie Perfect, the emotional thunderbolts of a Mark Nadler, the novelty of the Brian Cadd and David Bromley romps or the strongly thematic and acrobatic show of Katie Noonan and Circa.

Fine voice, great backing band, pleasant hour but not memorable.

Jun 21

CABARET: Tim Freedman – Dunstan Playhouse – 4.5K

Tim Freedman has fronted Aussie band The Whitlams for 20 years now, and has cemented his place in Australian musical history as a damn fine singer/songwriter. His appearance at the Cabaret Festival is as part of a national tour to promote his debut solo album Australian Idle, and sees him take to the stage with just a Steinway grand, an electric piano, some dubious lighting and a heck of a lot of talent.

Playing a lot of crowd favourites from his Whitlams days, as well as several songs off the new release, Freedman kept the crowd wanting more. Ever the engaging front man, in between he provided some background to several of the songs, as well as the process behind trying to get them played on radio. His attitude regarding the change in the music played on Triple J over the last five or so years was obviously shared by many in the audience, who remembered the heydays of the 90s and early 2000s fondly.

Freedman’s songs range from incredibly silly through to heartbreakingly emotional, with many stops in between. He rides that seesaw well, managing to progress from one extreme to the other without it seeming disjointed. The simplicity of piano and vocals was powerful and showed the quality of the compositions. While providing performances that were equal in quality to the album tracks, he also varied the style of several of the songs which gave them a fresh feeling – who knew that You Sound Like Louis Burdett could be so jazzy?

The Dunstan Playhouse provided a very different atmosphere to his usual venue of choice, The Governor Hindmarsh. Despite the size of the venue, the performance felt intimate. Freedman’s affable yet slightly cantankerous presence filled not only the stage but flowed out to envelop the entire playhouse. Having played venues of widely varying dimensions, from back rooms of pubs through to the Sydney Opera House, he knows how to enchant a room full of people, regardless of the size.

Freedman’s songs may not get played on Triple J anymore but he obviously still has a very strong fan base – one which crosses several generations and is happy to see him play in a variety of show styles. This was a chance to hear his music in a more refined setting and he provided a great evening of entertainment.

Kryztoff Rating: 4.5K

Jun 20

Nutcracker on Ice – Fest Theatre – 18-22 July – Preview

The international ice dance sensation The Imperial Ice Stars make a triumphant return to Australia in July with a dazzling new production of The Nutcracker on Ice. The show comes to the Festival Theatre Adelaide (as part of a national tour) from 18 to 22 July and tickets are on sale though BASS.

Over the last seven years, The Imperial Ice Stars have performed to more than three million people across five continents, at some of the world’s most prestigious venues – London’s Royal Albert Hall and Sadler’s Wells, Singapore’s Esplanade Theatre, Montreal’s Place des Arts and Moscow’s Red Square.

This award-winning troupe has built up a worldwide following and established an unrivalled reputation for their sophisticated portrayals of classic works, and for executing the most complex and daring manoeuvres on the ice.  Their previous world tours (Sleeping Beauty on Ice, Swan Lake on Ice and Cinderella on Ice) have been greeted with nightly standing ovations and five-star reviews.

For their latest production, The Nutcracker on Ice, acclaimed Artistic Director Tony Mercer – the world’s leading creator of contemporary theatre-on-ice – has once again teamed with four-time figure skating World Champion and dual Olympic gold medallist Evgeny Platov, and dual World Champion Maxim Staviski to create choreography that further raises the bar, with ever more breathtaking high-speed leaps and throws, and awe-inspiring acrobatics, coupled with the most graceful and sublime ice dancing.

“The Imperial Ice Stars give skating a stamp of class – the cast is simply superb.” The Daily Telegraph, Sydney (Swan Lake on Ice)

To Tchaikovsky’s memorable score, the 25-strong cast of World, European and National Championship skaters will astound and mesmerise audiences with their adrenaline-rich, dramatic performance, in the intimate setting of a frozen theatre stage.

Set in early 1900s St Petersburg, The Nutcracker on Ice boasts sumptuous sets by leading Australian scenic designer Eamon D’Arcy in this his fourth Imperial Ice Stars show, opulent and stylish costumes, and magical special effects.

This brand new production follows the classic Russian tale of Maria, the little girl whose love brings to life her cherished Nutcracker doll – a magical Christmas gift from her mysterious godfather – leading to adventures with the Mouse King, the enchanted Prince, and the Sugar Plum Fairy.

The story was originally penned nearly two centuries ago, in 1816, by the German author E T A Hoffman, and was later adapted by the French writer Alexandre Dumas in 1847.  From this adaptation, the Russian composer PyotrIlyich Tchaikovsky and choreographer Lev Ivanov created their ballet, The Nutcracker, which was first performed in St Petersburg in 1892 and has since become a perennial Christmas favourite the world over.

“One of the most exhilarating entertainment spectacles you will ever witness.” The New Zealand Herald (Cinderella on Ice)

The Imperial Ice Stars’ Artistic Director, Tony Mercer, explains “The art form of ice dance lends itself beautifully to this well-loved tale. Not only does the story entail some beautiful romantic ‘adagios’ with lifts and jumps, but the exotic ‘divertissements’ from Spain, China, Arabia, Russia and Egypt allow us to introduce some gymnastics, flying, acrobatics and special effects.”  The Nutcracker on Ice will thrill and enchant all ages.

“Takes ice ballet to another level… the stuff dreams are made of.” Adelaide Sunday Mail (Cinderella on Ice)

Adelaide –Festival Theatre

Wednesday 18 to Sunday 22 July, 2012

BOOKINGS BASS on 131 246

Groups 12+ SAVE!  Call Group Bookings 08 8205 2220

Jun 16

CABARET – The Suitcase Royale: The Ballad of Backbone Joe – Space Theatre – 4K

It’s been too long since Adelaide was graced by the presence of The Suitcase Royale. Performers Jof, Miles and Glen have a style which is unique and delightful; combining theatre with various forms of puppetry, slapstick humour and live music, and all presented on sets, and with props, constructed from salvaged objects. Early comers were treated to a few tunes from the boys until the rest of the audience were settled and the show began proper.

It’s 1938 (sort of. Not really) and in a small Australian town, private investigator Von Trapp has taken on the identity of boxer Elijah Upjump, in order to infiltrate the world of local fighting identity Backbone Joe and his bastard manager, Messy Dimes Dan. Something’s up with Dan and Joe, and Von Trapp has become caught up in it when all he really wants to do is deliver a letter to Joe. It’s not the most complicated of plots, but the plot isn’t really the point of a Suitcase Royale show.

The magic of the show comes from the dynamic of the three performers – the energy with which they bounce off one another, the combination of mediums utilised, the improvisational style of delivery – and their creation of a scungy, absurd, but beautiful setting for their show to be presented in. Musical interludes progress the story while also adding a charming mood which sets the quirky scene. The songs are of an enjoyable American rockabilly style, with the vocals containing a wonderful mix of gravel and guttural twang.

This is guaranteed to be different to anything else on offer during the Cabaret Festival – and kudos should go to the programmers for having the vision to include it in the line-up. The Suitcase Royale once again present an enchanting evening of eccentric entertainment.

Kryztoff Rating: 4K

Jun 15

Cabaret Festival – Circa and Katie Noonan – 4K

Songs about Australia’s convict women does not much sound like a riveting hour of cabaret entertainment and the prospect of having them combined with circus gymnasts hardly sounds a likely fusion of forces. But enterprising Australian singer Katie Noonan and three dancers from the fabulous Circa make it happen.

Two years in the making by Noonan, Love-Song-Circus is a tribute to determined dedication. Drawing from field trips to places like the National Library and Port Arthur, books on the topic and the actual letters of the women caught up in the times and circumstances, Noonan has penned lyrics from their perspective. Laments of easier lives lost, the hurt arising in the separation from children and family, the brutality of doing the time and the abuses suffered and desperate measures taken as a result of poverty and isolation are all brought to the fore. It is an emotionally fraught experience.

The dancers, Kathryn O’Keeffe, Kimberley Rossi and Billie Wilson-Coffey, speak to the strengths of the women the subject of it all in often extraordinary feats of grace, agility and force on the back stage, especially in the ‘interludes’ where the audience’s eyes are for them alone.

Backed by the Tulip String Quartet, Zoe Hauptman on double bass and Benjamin Hauptman on all manner of guitars, Noonan’s shock of red hair at the piano quickly sets the tone (applause was deferred to the end) and patrons are drawn in to the stories and the atmosphere. Just how this show can get to travel from these world premiere performances remains to be seen but they speak to the extraordinary and challenging variety of acts that Festival director Kate Cebrerano has marshalled so well in this year’s Cabaret Festival.