Mar 11

FRINGE – An Audience with Nik Coppin – 3K

By Anthony Nguyen

Nik Coppin, a worldwide-known comedian from the UK, brings his show to the Adelaide Fringe this year with his show An Audience with Nik Coppin.

Although some recent local events left Coppin’s reputation in a bad state, and his confidence somewhat shaken by it, it did not stop him from delivering laughs in a witty and comedic manner.

Different from what the show originally intended, the content of the show has changed and is now featuring Nik Coppin and several other guest comedians.
First of his guests was Georgie Carroll, who through her strong English accent, hilariously commented on various aspects of Adelaide, namely the dangers of St. Kilda’s playground. Coppin’s second guest being Sameena Zehra, probably the most humorous of the guests, recounted on stories of her grandmother and applying for a VISA. The third and final guest, Gareth Berliner, left the audience laughing with stories about his encounters with Adelaide’s ‘bogan’ community.

One feature of the show that really stood out was how Coppin interacted with the crowd. Engaging the audience, he cleverly improvised off the crowd’s reactions and responses, whilst weaving in his own jokes. The guest comedians also, without a doubt, made the show more enjoyable.

Though not one of the best comedy shows the Fringe has to offer, Coppin was able to provide a few chuckles and laughs here and there. Nik Coppin still has shows every day for the next week. So hop on down any day of the week at the Austral to see An Audience with Nik Coppin, or by the mature content and amount of language used, An ‘Adult’ Audience with Nik Coppin would be a more suitable title.

Kryztoff Rating: 3K

Mar 11

FRINGE – Cabaret de la Burlesque – Nexus – 4K

By Ben Nielsen

Premiering at the 2012 Fringe, Cabaret de la Burlesque is a decadent and eclectic affair, featuring an array of entertaining cabaret performances.

Opening the show with conviction was sultry songstress Tilly Browne and the Corsettes. Tilly wooed the audience with her rich velvety tones, performing the Cole Porter classic ‘Anything Goes’. The Corsettes provided a polite but stylistically appropriate accompanying choreography. The first act prepared the audience for an array of similarly vaudevillian performances; including Georgie the dancing cockatoo and an entertainingly crude performance by the tragic opera diva Dame ‘Peaches’ Melba.

The Amazing Christina, Adelaide’s very own 67 year old contortionist, astounded the audience with seemingly unhuman feats of physical elasticity. Christina also worked the crowd throughout the show, providing many laughs and actively encouraging audience participation in her primary role as the evening’s host.

Miss BB le Buff entertained the audience with a variety of acts throughout the show, displaying her versatility and varied skills. It was Miss le Buff’s ability to recover from her two major mistakes (accidentally dropping a hula hoop into the audience, and a less than flattering wardrobe malfunction), and swift retrieval of composure that really exercised her professionalism. Similarly, Pretty Boy B showed a smooth recovery from a near disaster, in an otherwise astounding and surreal roller skate routine.

While the crowd was continually enthusiastic throughout the performance, audibly exhibiting their enjoyment, it was Jolie Mistique’s sensual ‘boylesque’ routine that was a clear crowd favourite.

Cabaret de la Burlesque is an entertaining romp not to be missed.

Kryztoff Rating  4K

Mar 11

FRINGE: Huggers – Comedy – The Bunka @ The Austral – 3K

Let’s face it, a lot of comedy shows at the Fringe rely pretty heavily on jokes about sex and drinking, and you’d be hard pressed to find one that isn’t also littered with expletives. It’s interesting to see that in the last few years, a new breed of comedy has started to emerge, in which artists offer up something more orientated towards kids, generally as an addition to their night time adults-only shows. Huggers is the latest of these, having its inaugural Adelaide Fringe performance on Saturday. It is a variety show and over the hour the audience got to see a mix of music, magic and comedy, all designed to be “family friendly”.

MC, and organiser, Nik Coppin warmed up the crowd with a bit of light banter and the audience seemed to be generally receptive. The opening act, Mike ‘Dr Blue’ McKeon, usually offers a night of acoustic blues and did very well to adjust his act for the younger audience. The kids had a great time making up rhymes for a song and clapping along to the beat, while the adults got the humour in the double meaning to the song which sailed safely over the kids’ heads.

Next up were a string of comedians, David Burke, Massimo (from the three Canadians) and Michael Connell. It appears that when comedians are told to tell a clean joke, their material invariably involves their mothers somehow. Maybe this was a tactic – kids don’t have a lot of life experience, but mothers are one thing they’re going to know about, so it’s a way to connect with them. The stories were all genial and amusing, though more so for the adults in the audience, and by the end of the third comedian, the kids were getting a little restless.

Happily, the final act for the day was cheeky Irish comedian/magician Patrick McCullach, who hit all the right notes. Crammed into his ten minutes were several very fine sleight of hand tricks involving ropes, cards, and cups and balls. He had a very natural rapport with the young audience, sending some into fits of giggles, while also charming the adults with his joviality.

While not every act was a hit with every audience member, there was something for everyone and this is a great way to introduce kids to the Fringe. The biggest downfall was probably that much of the comedy didn’t quite work for the younger members of the audience and so it might have been an idea to have another variety act in the middle of the show to keep the momentum flowing a bit better.  Overall though, the kids seemed to have a good time and, as a parent in the audience commented to me, it was a more entertaining day out for adults than a Wiggles concert (and about a quarter of the price).

Kryztoff Rating: 3K

Mar 11

FRINGE – Ghost Town – Dazzleland, Myer Centre Theatre – 4K

By Julia Loipersberger

There is something that has always terrified me about the concept of an abandoned amusement park. I think it’s something about the desolation of echoing laughter and the pathetic nature of abandoned icecream wrappers, and something miserable and frankly horrifying about the painted on smiles of clowns.  I had always thought I was alone in holding this view– until I realised that the Fringe show  ‘Ghost Town: Inhabitants of the Abandoned City’ was being held in the former amusement park Dazzleland, at the top of the Myer Centre in Rundle Mall, and centred on the tale of those who are left behind in the former sites of joy and amusement.

Talented choreographer and director Cera Byer, based in San Francisco and only in Adelaide for the duration of the Fringe, excitedly introduced her brainchild and announced to the eager audience that the choreography for the show had been organised via YouTube and electronic media, and the entire ensemble had only been in the room together for the first time five days previously. Frankly, I was a little bit dubious about whether the performance would be very polished as a consequence.

I needn’t have been concerned. It was obvious that the entire cast of the specially formed ‘8068 Project’, a 2012 Fringe collective group of dancers, had a very diverse background  of dance experiences, ranging from ballet, world music, jazz and numerous other  styles, and yet managed to pull together an incredibly cohesive performance. Despite a few very minor teething issues which were clearly related to opening night unfamiliarity with an unusual  space and some tiny memory slips in lines, this was a very polished show which evoked the despair, confusion and desolation of an abandoned place of hopes and dreams through voice, dance and very appropriately selected songs, which interweaved stories of major disaster and personal tragedy.

To me, ‘Ghost Town’ exactly characterises the spirit of the Fringe. Raw, emotive and extremely original, this show is a must see for aficionados of dance and for those who just want to see something unique.

Kryztoff Rating   4K

Mar 10

FRINGE – At the Movies with Peaches ‘n’ Gin Burlesque – Nexus – 4K

At the Movies with Peaches ‘n’ Gin takes us on a journey with outtakes of some classic movies, Burlesque style. Starring Luna Eclipse and Sapphire Snow, with special guest Miss Strawberry Siren who bring all the right ingredients an entertaining Burlesque show needs, including the tassels and feather fans, as we see parts of Burlesque (the movie), Aladdin, Who framed Roger Rabbit, a before unseen scene of Harry Potter and the love that must not be named, Hairspray and True Lies, plus more.

The performers bring an elegant energy in a very risqué performance to the crowds delight, encouragement and amusement with an assortment of well known scenes from Titanic as the finale.

Burlesque entertainment at it’s best.

Note this is an 18+ performance.

http://www.peachesngin.com

Kryztoff Rating   4K

Mar 10

FRINGE – The Best of the Fest Late Show at The GOV – 4K

By Heather-Jean Moyes

The Gov, not quite as glam as L.A.s House of the Blues and yet not as grungy as Sydney’s Three Weeds, provided a perfect venue showcasing talent as a taster.

The MCs Elbow Skin sang us through a great line up. Elbow Skin, two Melbourne Guys, Ernie and Dave, parody and satirize sex drugs and rock ‘n’ roll in clever send-ups and with witty lyrics. They run a fearless line of original takes on the everyday and manage a fair bit of audience chitchat too.

John Fothergill reprised his material with a healthy degree of variation. He got a little raunchier in this his second set for the night. Perhaps he figured the prudes had gone to bed. Funny as. A must see. As reported above: John Fothergill provided the most traditional and well-rehearsed material. The self effacing “Jordy” was instantly likable with his comic appearance featuring long ginger hair, a beard, and lily white legs beneath his baggy shorts and T. He opened with a tingling line about Hagrid and Ron Weasely and had us all in the palm of his hands from then on. He worked easily with the audience saving us from being too close to the gut wrenchingly funny but raw material by segueing from sporadic themed audience participation moments into his delivery of solid if extreme observational comedy. Ripping into male female relations with honest appraisals he kept up the pace. The gags were funny because they were honest, funny because he exposed the God ugly and very funny truth about us all. Refreshing stuff.

The final act for the night Craig Hill exploded on stage in a pink mini, sporran and shaved head, dancing a perfectly choreographed and lascivious rendition of a Kylie Minogue-eske routine. In a bravado exposition of comedy and dance he entertained mimicked and sent up a style with which we are familiar and made comment on the art form, the culture in which it exists and on us the audience, all at the same time. And he stays funny. Timing in movement and timing in comedy has something to do with it I’m sure. His routine settles into a more regular stand up routine with incisive observation and the occasional touch of song. He pulls the audience to him in that intimate way of a singer. He is extremely likable. Like visiting the hairdressers everything is up for grabs and he goes there girl! Hilariously.

Kryztoff Rating   4K

Mar 10

FRINGE – Bulmer’s Best of the Fringe – Gov – 4K

By Heather-Jean Moyes

Bulmers Best of the Edinburgh Fest “Best of” shows are good value because they provide an opportunity for us the punters to take a risk and usually guarantee that we return home having seen at least one good act. The bad news is that this “Best of” only showcases three comedians including the MC. The good news is that this line up is gold. MC Jimmy McGee leads us into the night with his an easy banter. Those blessed with a Londoner accent seem able to put one at ease, unless the ubiquity of Jamie Oliver has turned one against the dulcet tones of the East End. Never the less, McGee’s manner is endearing, he’s easy on the eye and genuinely friendly. He has such casual grace that its easy to forget a lot of what he is doing is impro. To and fro-ing with the audience he is smart without being threatening. The not quite capacity, middle of the road audience, relaxed early and engaged with his personal variety of funny and accessible stand-up.

Tom Allen rocks up dressed to kill with immaculate suit, diamante broach and shaven head. Tom’s foray into his personal life brings laughs and nervous tremors in equal measure. The wit is sharp. Very sharp. This is useful because the discomfort for some in the audience SO adds to the tension, its just delicious and then of course that sharp wit pierces the bubble and uproar follows. Good stuff most of the time. The occasional awkward moment was handled well by an actor used to pushing a few buttons and getting a range of responses. Yes, he’s gay. This informs the delivery and the perspective rather than subject material. Tom’s intelligence, a significant element in most gay performance, shines. The audience sensed that engaging here was a little riskier but you don’t sit in the first row to go to sleep. The laughs were worth it.

John Fothergill provided the most traditional and well-rehearsed material. The self effacing “Jordy” was instantly likable with his comic appearance featuring long ginger hair, a beard, and lily white legs beneath his baggy shorts and T. He opened with a tingling line about Hagrid and Ron Weasely and had us all in the palm of his hands from then on. He worked easily with the audience saving us from being too close to the gut wrenchingly funny but raw material by segueing from sporadic themed audience participation moments into his delivery of solid if extreme observational comedy. Ripping into male female relations with honest appraisals he kept up the pace. The gags were funny because they were honest, funny because he exposed the God ugly and very funny truth about us all. Refreshing stuff.

Kryztoff rating  4K

Mar 10

FRINGE: An AUC Out of Hell-Cabaret-3k

Only two people seemed to claim their ticket money back when the demure announcement was made that An AUC Out of Hell, a concert of pop and rock music by Adelaide University Choral Society, would not in fact feature any songs by Rock Opera legend Meatloaf.  Instead, the setlist put together by guest conductor Tim Marks was rather safe with such musical staples as Elton John’s Your Song, Isn’t She Wonder by Stevie Wonder and a selection of ABBA numbers.

As AUCS is a non-profit organisation of non-auditioned choral enthusiasts it would be unfair to criticise this concert too heavily.  However, along with song selection there were a few aspects of the event which could have been changed to enhance the enjoyment for the average Fringe-goer.  In the two hours the audience were in North Adelaide’s Christ Church Hall (not the actual Church as was advertised) the choir only performed for roughly half the time.  The rest was taken up by three 20 minute intervals.  This was not a problem for the majority of the audience as it was clear most people were there to see a friend or relative perform and could spend this time catching up with each other.  However, as an average concert-goer, and this concert has been advertised to the general public, this did get tedious.

The whole evening had a much more serious tone to it than one would expect from the promotional material.  With programmes such as Glee and the Pop Choir becoming a phenomenon all over the world there is an expectation of tongue-in-cheek fun along with a certain musical verve.  AUC show was an altogether more serious affair with little in the way of musical inventiveness.

As a community event this was a lovely evening, the singing was adequate and the arrangements passable, there was even a raffle, but for the punter who wanted to have a fun evening of seeing popular classics transformed into something interesting and different it was a little staid.  If I had known this at the beginning I may have joined the two Meatloaf fans and sat in the back of their van reciting I Would Do Anything For Love (But I Won’t Do That) with a box of Goon.

Mar 09

(ADELAIDE FRINGE 2012) Marcel Blanch-de Wilt “Fät Wânk” Interview (comedy)

By Calen Vanstone

(interview link) http://www.youtube.com/watch?v=0_Wh9iuc8Ts

http://www.adelaidefringe.com.au/fringetix/fat-wank/1b437880-8a71-4cb7-8c2b-4d6156236bad

Some people think art is a load of wank. Other people think a load of wank is art. Our protagonist believes art could be the answer as he heads on an absurd exploration of life through religion, drugs, love and office work to discover if it’s just a Fät Wânk.

Mar 09

FRINGE EDITORIAL – In 2012, The Great Fear About Annual Fringes Has Became A Reality

When the Fringe went annual, the great concern was that at some point it would all lose its sparkle and freshness and the excitement that biennial festivals bring. Despite the hero talk of the Fringe Office about every increasing ticket sales and the like, that process has been indeed occurring but it has not been as obvious as this year.

Certainly, annual Fringes have seen an explosion of events staged, this year over 900 registered, up around 50% on two years ago (when it last coincided with the Festival of Arts.) But this year, the data are starting to show that we are losing interest in it all and rapidly. (In any case, how can a town like Adelaide (people, hotels, infrastructure) support 50% more acts?)

Kryztoff review data indicate not only greatly reduced interest in reviews posted (one measure of the city’s engagement) but today came a stunning statistic. Last year, even with gloom in many venues about ticket sales, internet interest peaked in the first week of the Fringe and sustained itself through the long weekend and to the Tuesday or Wednesday after – four to five days out from the end of the season – when, not surprisingly, the air went out of the sails.

This year, it took much longer to gain any momentum and then the drop off has come on the Wednesday before the long weekend, just over half way through Mad March. So five to seven days out of 28 have been pruned off the public’s appetite relative to 2011. Readers, this is a massive event.

So what can explain this?

Well many things. First, we are in tight fiscal times and it is amazing how few public organisations in this town have tumbled to this and the impact on us all of the GFC. To cite two other examples, the SANFL totally put their head in the sand and denied forever football was starting to struggle after 2008. Now they are deep trouble. The Zoo is another which planned for boom times when nothing existed to support such hubris and still they make pathetic excuses up to cover-up their and the Government’s maladministration.

Last weekend we saw the continued decline of interest in the Clipsal 500, with attendances continuing their three year slide.

Secondly, the Fringe is now full of a cavalcade of stand-up comedians who come through not only every year but sometimes two or three times a year. When was the last time you heard of new talent that people said ‘you must see’?

And guess what? People are tiring of the same old faces with the same schtick. Kryztoff reviewers have been to a number of shows this year that drew just half the crowds of those last year for the same act on the same night of their season. On top of that the prices just keep going up, with many now drawing near to those of tickets for the Festival – a journeyman stand up vs a (truly) world class show, one on benches in an old tent and the other in the Festival theatre

Then there is the free or public stuff. The Fringe Parade this year was simply cringeworthy with not a single visual treat in it. For the first time I can recall, the City Council is not adorning its light poles with posters about the Festival. Further still, unlike the past two festivals with the Northern Lights on North Terrace (and many before that with similar displays), there is no public light show to excite people and say to Adelaide this is a special time of the year, get out and savour it. The problem of ‘oh well, it will all be back again next year, I’ll get interested then’ is becoming pervasive. Or worse, people are starting to whinge about it. It may well be that having the Fringe Guide posted on the internet a month earlier (rather than the usual all at once hard and soft programs coming out in January) greatly reduced the event nature of it all.

Even in Fringe Central, the Garden of Unearthly Delights, all the fun of the weird side-show acts and buskers has been wiped away in favour of channelling everyone, without distraction, to the expensive fatty food stands and even more expensive fizzy drink stalls. It may make business sense but there is nothing unearthily delightful about an open air food and booze venue – the Test cricket does that for me.

An additional problem with the Garden is that all profits from it accrue to people from out of town – Melbourne in particular. As a result, local venues, promoters and artists suffer (it is the Adelaide Fringe remember) and who knows what the Fringe Office itself does with the money it creams off the top – funny how we never get told about that.

Symbolically, the great humiliation of Ennio Morricone competing for ear time with fast cars, is at the core of the problem. The philistines who run this town believe everything has to be the biggest so they can claim ‘world class’, especially through its adoring organ, The Advertiser and think people will love them for it, make us all feel proud and of course, please not the patrons nor the artists and the promoters who take the risks but the sponsors.

Problem is, we are killing off what great things we have and it is time a great rethink was had to work out how to ensure we don’t kill off completely the golden goose. The fact Premier Weatherill took 40 minutes to allegedly shut down the cars is indicative of what a muddle and aimless course we are in.

Yes Mad March needs to be sustained but it is way past time for many events to simply be rescheduled. Create an Adelaide Comedy Festival after Melbourne’s and hold it in April. Move the Clipsal to September (and preferably to Mallala). Move the Adelaide Cup back to May (but leave the holiday where it is.) Start to find ways to limit the size of the Fringe so this town can support the decent acts that do come in and ensure the big money from it stays in town. Otherwise, they will simply pack up shop and not come back and all we will be left with is wall to wall stand up which we can see at least once or twice again in the year.

If nothing else, far greater physical separation is needed – the Garden in say Victoria Square with the Clipsal and the Festival where they are.

And find some funds to spruce the place up a bit and make it buzz (we just found $400,000 to underwrite a dopey surf carnival that lost money because too few went – when everyone knew not many would go), make us all feel a bit special about it rather than it being a self indulgence around how much money can be extracted from local wallets for fly by night performers and their tents.

Of course, the massive challenge, now that the Fringe has hit the wall, is for the Festival to keep it fresh and spectacular an on annual basis when that madness kicks in next year. If the Fringe experience is any guide, 2015 will be the litmus test year.

We should not be surprised that politicians looking to paper over the massive cracks in the economic facade of this state should choose to promote circuses and then bugger them up in the process. But it is time for people to stand up to these idiots before what is left of this place goes the same way as Adelaide Oval, to be destroyed by an act of cultural vandalism so we can sustain our failed sporting, political and media elites.