Jun 14

Cabaret Festival – Mark Nadler – 5K

Mark Nadler has become somewhat of a staple of the Adelaide Cabaret Festival – this his 5th season – but it is doubtful that any of his previous shows would match this, his ‘I’m A Stranger Here Myself’ offering, for its emotional power.

The Weimar Republic of the ‘tween wars period was no great place to be for outsiders and misfits, especially for Jews and gays but also for those whose creed was (as Nadler kept reciting) ‘I don’t know where I belong. I belong to myself, all alone.’

From that environment, in a world generally trying hard but ultimately unsuccessfully to carve out a new order after the horrors and shocks of WWI, song writers formed unique but often only fleeting relationships and took on remarkable risks with their craft and lives.

After seeming somewhat flustered initially by his flamboyant arrival, Nadler soon settled into stride mixing not only his research of the period but also threads of his own personal experience as a young performer in the songs he chose for us. The works of Bertolt Brecht, Charles Aznavour and Mischa Spoliansky’s gay-rights anthem Lavender Nights featured along with a rollicking Bill’s Bar in Bilbao.

But while there were moments of outrageous showmanship for which Nadler is much enjoyed, as the hour went on an emotional intensity grew and grew, climaxing in his extraordinary and chilling finale.

We should never judge a book by its cover and if any show may come to define the 2012 Cabaret Festival, with its darker themes, then Nadler has delivered it. LIke those who stuck their necks out in the period under the spotlight, Nadler delivers a masterful and brave performance.

Kryztoff Rating  5K

Jun 14

Cabaret Festival – Lady Nerd – 4K

By Fiona Gardner

As the Festival Centre is alive with the 2012 Cabaret Festival, you will enter the Dunstan Playhouse building with the carnival atmosphere, hot wine and entertainment all round. LadyNerd is tucked up in the Artspace, entrance via the Space Theatre.

There, LadyNerd has a large space to fill, but Keira Daley as somewhat of an extraverted performer will definitely be able to keep you engaged with her tales of some extraordinary women of the past. As Daley expands upon the entrepreneur skills that women have achieved, there is a touch of the feminist revolution interwoven in her story. Along with clever witty comments and even a bit of crowd participation, this LadyNerd is not only a geek, she is slightly OCD in anything that could be of interest.

Keira Daley’s acting skills shine through to compliment her strong feminist voice, topping off a few songs with some love, laptop and physics. In a slinky black dress, with dancing eyebrows, you will be sitting on the edge of your seat with her wit ensuring the entertainment never lets up.

Kryztoff Rating    4K

Jun 14

Cabaret Festival – Nadeah – Fest Theatre Stage – 3.5K

By Peter Maddern

There is no doubt that Nadeah presents an eye catching persona on stage, in a black outfit that is reminiscent of a Heffner Bunny Girl (without the ears) and sporting a fulsome head of blonde hair that seems to meld Goldie Hawn (without the innocence) with Stevie Nicks (at least for older members of her audience.)

Her repertoire, mostly self written, is similarly determined to stand out with lyrics that speak of the hard yards (both on and off the stage) of getting to the top of her industry as an Australian abroad. Having a cello amongst the elements of her backing band just adds to the idiosyncratic nature of the whole performance.

Nadeah is witty, relaxed and keen to involve her audience in her show (the 6.30pm timeslot perhaps being not the best for that but tonight’s 9.30pm one should be ideal.) Through standouts like Asylum on New Year’s Eve, Humdrum and Pinot Noir and Poetry for Breakfast (which included a visit onto patrons’ tables) the show sparkles with the element of the unhinged keeping one guessing what may happen next.

Jun 13

South Australia Illustrated – Colonial Painting in the Land of Promise – AGSA – Til 5 August

S.T. Gill - Rundle Street, Adelaide 1845 - Art Gallery of SA

By Peter Maddern

Nearly 12 months on, and South Australia Illustrated – Colonial Painting in the Land of Promise could not be more different to that of last year’s Saatchi exhibition – visual art solely as painting in traditional European styles up against modern day global art freedoms such as the use of soiled condoms and wax models.

Indeed, walking into the exhibition halls for this and the related Bounty exhibition is, after the contemporary art extravaganzas of the new Mitzevich era, like experiencing a shock of the old.

For many also, these exhibitions will awaken new sensibilities about this State’s past, particularly the first sixty odd years of settlement til Federation, the period covered by the works and also the excellent companion book of the same name written by Jane Hylton, Curator Emeritus of Australian Art at the AGSA.

For the primary sensation one is hit with is a State bounding with adventure, social cohesion and entrepreneurial spirit. In so many works, but especially those of S.T Gill, Charles Hill and James Shaw, there is a palpable sense of pride and triumph through achievement in a new land that also inspired awe. And while it is acknowledged that many of their works were designed as promotional pieces for prospective immigrants back in England, nonetheless given the challenges involved of settlement in this new country the spirit imbued in the paintings goes beyond the search for propaganda.

While most of the paintings displayed are from the AGSA (kind of its greatest hits collection of the period), many notables also come from such diverse sources as the SA Museum, the National Gallery and even the Markisches Museum, Berlin. They cover a great variety of street and urban scenes, landscapes (with the Onkaparinga Valley and mouth never looking so grand), all many of portraits and botantical studies.

Alexander Schramm - Adelaide, a tribe of natives on the banks on the River Torrens - 1850 - National Gallery of Australia

In this modern era, it is staggering to reflect on the fact that simply nothing existed here before the first, non convict settlers came and for quite some time thereafter new arrivals were greeted for their first nights 12,000 miles from their former home with a tent and a few blankets. Just what made them leave their lives in England for this can only be imagined and not much empathised with these days – it is a remarkable story this exhibition makes plain that the new white stocks kept coming in sufficient numbers that progress could be sustained until, with some luck (mining finds and the like), the survival and maybe even the success of the new colony had been secured.

What follows are a few observations of note about some of the works for this reviewer, though no doubt visitors to the exhibition will develop their own themes. First, the issues of the indigenous people are worthy of comment. Many major works, such as those of J.M. Skipper (Corroboree c1864), Alexander Schramm (An Aboriginal encampment, near the Adelaide foothills 1854) and by G.F. Angas (Portraits of the Aboriginal inhabitants 1844 etc) are dedicated solely to the Kaurna people. Further, just about every work with more than a few souls figuring includes aborigines in them as joint members of the developing community.

This is interesting given it seems there were only about 700 indigenous people here when settlement commenced and despite many of these paintings going back to England for sale, it is clear (at least from this exhibition and the works collected by the AGSA over time) there was no attempt made to airbrush the indigenous population from the record or the promotional material.

Martha Berkeley - Georgina, Emily and Augusta Rose c1848 - Art Gallery of South Australia

(In case one jumps to a conclusion that such observations are an assault on the so-called black armband theory about this nation’s history, one hastens to also point out that the concept of benign goodwill is not universal in the exhibition or the book, the former depicting some unhappy and violent scenes between settlers and aboriginals and the latter noting frequently the dislocation of the Kaurna people as a result of white man’s settlement.)

It is also fairly clear that there was no uniquely South Australian artistic style that emerged during these first 60 years. Despite much being made of the effort put into art from the outset of the colony (especailly in comparison to the other States) newer immigrants don’t seem to have brought with them more than their own homeland training, whether from England or Germany, and then adapting it to local conditions and commercial opportunities. The State’s isolation from even the eastern states meant that cross pollination of styles from say either Europe’s impressionist movement or closer to home the Heidelberg school did not occur until HP Gill fostered interest in works from elsewhere in the country and the world around them at the time of Federation. It was only then that the State’s first unique stylist, in the form of Hans Heysen, emerged.

Finally, the role of William Light in the most formative years of the colony is brought strongly into context in South Australia Illustrated. Given he died just three years after arriving here, his work to both assess and basically get 100% right the correct place for the new city, then to survey it and finally to record so much of it as a painter does point to the brilliance and daring of the man, attributes this exhibition underscores and which then more than justify the reverence with which we treat his city designs today.

Those excited by the possibilities of contemporary art may ponder whether South Australian Illustrated – Colonial Painting in the Land of Promise is an exhibition for them. Well, the short answer for them is ‘yes, it is.’ As old as these images are, they depict a freshness and enthusiasm for life and its challenges that seem mostly forgotten in the modern milieu. They are also a textbook (albeit unfashionable) lesson in the ways of getting a message across in figures and symbols everyone can understand.

For lovers of this style of art, especially those with a deep passion for the history of this State, South Australia Illustrated is, in the bowels of the Art Gallery of South Australia, a couple of hundred square metres of paradise.

Jun 12

Cabaret Festival – Kim Smith – Misfit – 4K

By Peter Maddern

Those who were looking for the stronger, darker cabaret themes of Kate Caberano’s festival (relative to the hoopla of David Campbell’s last one) need look no further than Australian (now US resident) Kim Smith.

Appearing from within the audience (and leaving the same way), Smith creates a likeable yet simultaneously obnoxious persona with coy yet camp gestures and a fixed Luna Park smile that emits delightfully condescending patter to his audience (as well as his piano accompanist Amanda Hodder.)

Claiming to be a ‘professional misfit’ and ‘magpie – one who collects shiny objects’, Smith’s voice is superb (even if the vertical dimension of his mouth is constrained by that smile) as he interprets a number of songs well known to audience members but in other guises – Nancy Sinatra’s Bang Bang, ONJ’s Let’s Get Physical, portions of Porgy and Bess by the Gershwin siblings amongst them, as well as numbers in German and French.

Truly a master of his craft, Smith’s Misfit is a show not to be missed – wonderfully crafted and executed. An hour was not enough.

Kryztoff Rating    4K

Jun 12

Cabaret Festival – Lea Salonga – 5K

By Anthony Nguyen

How often can one say that they have met a Disney princess? Well, theoretically, as a part the Adelaide Cabaret Festival last night, Lea Salonga, an internationally acclaimed Broadway star, Disney Legend and winner of Olivier and Tony awards, marks her Australian debut with a concert highlighting the milestones in her illustrious career.

Accompanied by the 54-piece Adelaide Art Orchestra, conducted by Vanessa Scammell, Lea Salonga opens her concert with a bone-chilling rendition of West Side Story’s Something’s Coming. Salonga takes us through her life journey, displaying a 17-song performance showcasing songs from shows she has been involved in, including Miss Saigon and Les Miserables, as well as songs reflecting her relationships with the family in her life.

A memorable and highly enjoyable moment of the night would be when Salonga expressed her time as a part of Disney taking on the singing roles of Jasmine and Mulan, performing Reflection from Mulan and Colors of the Wind from Pocahontas. Unexpectedly, Salonga interacted with the audience and invited a guest from the audience onstage to join her in performing a duet of Aladdin’s A Whole New World. Nostalgic childhood memories flowed back upon hearing Salonga once again take on Jasmine’s voice through the musical piece which received a overwhelmingly positive response from the audience.

In the most unforgettable way, Salonga closed the show with her ‘all-time favourite’ songs For Good and Defying Gravity from the musical Wicked. Being was nothing less of a spectacular performance, it earned a standing ovation from everyone in the auditorium. It wasn’t then long after until Salonga returned to thank the audience through a final mesmerizing rendition of Moon River.

The Adelaide Festival Theatre, housing approximately 2000 people, provided a simple backdrop and minimal staging decorations in order to allow a more intimate performance between Salonga and the audience. The powerful vocal performance displayed emphasized Salonga’s professionalism in being a renown musical theatre actress.

It goes to say that the name Lea Salonga has been passed around countless times in the theatre world throughout the years. Unfortunately, although it was the last show in her Australia debut journey, through the amazing magnitude of her performance as well as the never-ending support from thousands of fans across the world, it is apparent that Lea Salonga’s journey is yet far from over.

Kryztoff Rating: 5K.

Jun 10

Cabaret Festival – Brushes with Keys – Banquet Room – 4.5K

This year’s Cabaret festival has indulged in a little cultural cross pollination with the arrival of acclaimed and popular (former Adelaide) artist David Bromley into the program. This show, Brushes with Keys, had the two friends, Bromley and music legend of the 60s and 70s, Brian Cadd, teamed together – Cadd singing and carrying on while Bromley attempted to complete a large work full of some of his most iconic motifs – children playing.

Anyone who has seen Cadd at the Norwood Hotel will have enjoyed much of his repertoire and schtick before (Cadd himself noted this audience was like that at the Norwood ‘only with jewellery’) with the great song writer looking like an amiable man on the moon with his black gear, beaming smile and explosions of white hair.

Bromley’s endeavours near the easel seemed always to be a task too far for the time slot, despite every attempt to pad the time out by Cadd, but the artist, dressed in trademark stockman’s kit remained tranquil and unfazed throughout by those dynamics.

Nearly all the big hits by Cadd were there – Don’t You Know It’s Magic, A Little Ray of Sunshine, Ginger Man and so on – with one also off a new album recently recorded here.

The show hit peak form in the last twenty minutes when friends, singer Ursula White and guitarist Peter Grimwood, joined pianist and painter on stage with the finale also including Cabaret director, Kate Ceberano, complete with Salvador Dali moustache, belting out I Get By With A Little Help From My Friends, Joe Cocker style.

To be sure, Bromley should not give up his day job to be a stage performer, though his story about the derivation of his children images was delightful and moving and Cadd’s self deprecating humour and seeming sustained enjoyment in continuing to play all his great songs will always endear himself to those would like to remember the 1960s.

With the duelling Svens on the roaming cameras beaming up on stage images to compliment old footage of Cadd and home videos of Bromely’s, a great and truly unique show was there for those who came.

Jun 09

CABARET: Clare Bowditch – Space Theatre, Festival Centre – 4K

Clare Bowditch has been a favourite of the independent music scene for almost a decade, releasing four albums to date, winning an ARIA for best female artist and recently venturing into acting, with a role on the Channel 10 drama Offspring.

Devoid of her usual band, Bowditch played several numbers solo. For others she was accompanied by friend Monique di Mattina on grand piano, with a lucky – and conveniently talented – audience member also providing a drum beat for a couple of songs. This stripped back version of her music was delightful. Her vocals have a clear and soulful quality, which resonated hauntingly in the Space Theatre. Several of the numbers performed were “world premieres”; songs so new that Bowditch even had to ad-lib a verse in one when the actual lyrics escaped her. These new songs will be on her forthcoming album and showed that she continues to write strong, emotionally engaging and endearing material.  

She also charmed the audience with renditions of songs originally by Eva Cassidy and Leonard Cohen. Having toured with the latter in 2010, she had some quirky stories to tell about her personal experience with one of her musical idols. The song in question, Hallelujah, is possibly his most beloved piece and Bowditch replicated the cover she did of it for Triple J’s Like a Version segment, live for the first time.

Bowditch gave a performance which was engaging, cheeky, a bit sultry and very natural. She seemed genuinely excited to be performing at the Cabaret Festival even if, by her own admission, the show may not be considered by some to fit into that particular genre.  She provided humorous and charming stories throughout and drew the audience in with both her friendliness and her beautiful voice. The closing song You Make Me Happy, pretty much summed up the pshow, with audience members leaving with massive smiles on their faces and a positive buzz to take them into the rest of the evening.

Kryztoff Rating: 4K

Jun 09

Cabaret Festival – Eddie Perfect’s Misanthropology – 5K

By Peter Maddern

After a weird intro that ended with Eddie arriving in a crisp grey suit and a space helmet, his full house at the Playhouse were well rewarded with a wonderfully funny hour of Perfect’s observations on current Australian life.

And you have to admire a performer with such broad interests in the world around him that he can cover such diverse fields with such bite as Kerri-Anne Kennerley, eco-lodges, tri-athletes, breast implants and contemporary theatre.

But patrons be warned – you need to leave your political correctness and the planks of your middle class life at the door because otherwise you may, as quite some did last night, find this brash 30 something year old rather confronting and unsettling. Where Barry Humphries made us laugh about ourselves, our possessions and personas, Eddie takes on our beliefs about what is right and wrong and slices them up delightfully.

Put simply, Eddie delivers perfectly a great hour of music and humour and any shows he puts on in this town ought to be keenly attended.

Kryztoff Rating    5K

See our interview with Eddie at Click Here

Jun 09

Cabaret Festival – Kurt – Justin Burford – 4.5K

By Melissah Picca

The Adelaide Festival Centre is buzzing for the opening night of the Adelaide Cabaret Festival and I’m fortunate enough to be amongst it, attending my personal must-see of the season. I’m a self-professed fanatic of 90s music, so a performance based on Kurt Cobain, one of the most influential musicians of the past 20 years, is something I had to be a part of.

As we walk in we’re greeted with the warning “This show is going to be VERY loud”, which is good. Anything less and I would’ve been disappointed.

Modern blue-grass tunes are bouncing off the walls that have been decorated with psychedelic art work and I’m not sure what to expect. The intimate cabaret style setting is not one I would’ve particularly picked for a grunge revival show but it works.

At first glance, you know the performance is going to be an extraordinary hit or a failure.  Justin Burford is perhaps best known for fronting ‘End of Fashion’, a band which has a completely different vocal approach to the stiff-jawed Seattle sound that Nirvana are famous for. To take on the role of personifying Kurt Cobain is a great challenge to set your sights on but Burford transforms with such precision, it’s spooky. The mannerisms, stage presence and voice resemble Cobain through and through. He wears the classic 90s combination; torn jeans, stripe t-shirt layered with a long sleeve underneath, later adopting the grungy specs Kurt would sport in his later years. We commence with an eery, merry-go-round adaptation of ‘Come As You Are’ on keys before the band break into Nirvana’s ‘Drain You’ (a personal favourite) and I’m in awe. Somehow we’ve transcended time and I’m seeing music history’s 90s game changer in Adelaide.

Snippets of insights into Kurt’s childhood, love life, sickness and drug use are woven into a timeline with the Nirvana classics that we all wanted to hear. The band captures the essence of the 1993 MTV Unplugged performance flawlessly. The haunting sounds of the cello on ‘Dumb’ are played on keys and the dual vocal outro in ‘All Apologies’ were spot on. There’s a unique dynamic to the show in that being seated at a cabaret table you are able to witness audience members across all generations banging their heads to the music of the influential artist.

As the performance get’s closer and closer to the inevitability of Cobain’s death, the songs are played in full and you realise that the act has not broken at any stage throughout the show.  Burford and the band hit ‘Aneurysm’ in the heart; exhilarating the audience and ending the performance on a high energy note.

The show was not what I expected but everything I had wanted, which leaves me curious as to what other transcendent acts have manifested themselves throughout this year’s Caberet Festival.

As for the show being loud, personally I think it could’ve been louder because it was so perfect, I didn’t want it to end.

There are two more ‘Kurt’ shows; tonight and Sunday night at 7pm. It’s in your best interests to don your favourite flannelette shirt and head down.

Kryztoff’s Rating   4.5K

See our interview with Justin Burford at Click Here