Mar 05

FESTIVAL – Gardenia – 5K

By Fiona Gardner

This transvestite cabaret shares the intimate tales of the past and the present personal stories of the performers. This nine male cast produce a comical, rude, engaging and intelligent performance. The characters take you into their personal stories from the pains to the pleasures, along side the sexual desires that they had explored.

This snap shot choreography is genius as you are able to scan over the cast taking in their symbolic gestures of their aged bodies. They question the tales of their own gender identity though the change of clothes, and I can assure you I was still left questioning if some of them were women or men by the end.

The show goes for 90 minutes with queer sounds, and a fashion parade not to be missed. The one young dancer, in sexy tight red underwear is provocative and a beautiful dancer. For those who don’t speak French, the song sings about him going for a walk and then out on the town in the evening, some of the words are easy to pick up, so listen carefully.

There is everything in this show – reality, love, emotions, fun to laughter, which will leave you laughing at the start and entangled with emotions at the end. Not to be missed and exclusive to Adelaide.

Kryztoff Rating   5K

Mar 04

FRINGE: The Half – Theatre – Higher Ground – 4K

Anyone who’s been involved in theatre can tell you stories about the crazy process that many actors go through in the hours and minutes before curtain up. There are pre-show routines developed that have to be stuck to, “lucky” items of clothing that have to be warn, warm-ups that need to be carried out, lines that have to be run and incessant self-doubt that has to be overcome.

Guy Masterson is The Actor, a man who, despite his classical training and promising appearances in several plays many years ago, has been absent from the stage for well over a decade. He has chosen to make his return in a rather ambitious project – an unabridged, self-conceived and directed, one man production of the bard’s classic four-and-a-half hour masterpiece, Hamlet.

Writer Richard Dormer has filled the script with amusing snippets, highlighting the ridiculous traditions and superstitions that actors buy into, while also injecting a certain amount of pathos. The sections of Hamlet that are included are used well in both comic and dramatic ways, varying the pace and tone of the play nicely. The set is designed to represent a dressing room, with The Actor speaking to himself in the ever-present over-bench mirrors. Under the direction of David Calvitto, Masterson makes good use of it, moving about with great energy, while also conveying the claustrophobic feeling of the backstage space.

This is the type of role that Masterson excels at playing. The Actor is a sympathetic anti-hero, a man who is at once both exasperating and endearing. It is a fine balance to create a character that is necessarily a little over the top, but realistic enough to be hilarious, however Masterson manages to do so.

Thespians and theatre novices alike will find a lot to enjoy in The Half, yet another quality offering from Guy Masterson and the Centre for International Theatre.

Kryztoff rating: 4K

Mar 03

FRINGE – Back of the Bus – Java Dance – 5K

By Caroline Melia

This has to be one of the best shows on offer at this year’s fringe. The young dances are lively, engaging and keen to impress, with plenty of surprises that keep the audience on their toes.

The confined setting might, at first, seem a little unpromising, but it soon become clear that this is no obstiacale to the performers.

As the bus moves of and the music begins, you are thrown into a world that enacts everything you are told never to do on a bus; running in the isles, swinging on the rails, singing and more. The characters become distinct as the evening progresses and every time you are bid to get off the bus and follow the performers a new and exciting piece of the show awaits. It’s part dance show part follow the leader with never a dull moment.

One of the most unexpected and comic parts of the show came from watching the other motorists along side the bus, in traffic and pedestrians on the street staring at the bus in wonder and disbelief, as the dancers hang upside-down from the rails. I would recommend seeing one of the earlier shows when there are more moments like this, just remember to keep an eye on the dancers as well.

As the bus pulls back in to the pick up point its tempting to think the show’s over, but stay until the very end and you get to try a cocktail named after the show and are finally allowed to join the dancing.

Kryztoff Rating  5K

Mar 03

FRINGE – A Kick in the Head and other Seduction Techniques – 4.5K

By Anthony Nguyen

Through the titular song Ain’t That a Kick in the Head by Dean Martin, James McLean belts his way with a powerful opening to his show A Kick in the Head and Other Seduction Techniques which premiered at the Adelaide Fringe this year.

A Kick in the Head and Other Seduction Techniques is a show mixed between comedy and cabaret, which follows the story about the struggles of finding love, and the bad choices sometimes made when pursuing attraction.

Interwoven into the comedic tale are classic songs such as Something Stupid by Frank Sinatra and Haven’t Met You Yet by Michael Buble, which are performed by McLean himself. Supporting and accompanying the act the ever-so-talented David McEvoy on the tune whose tunes set the mood throughout the show.

Although improvements can always be made, McLean’s displays an impressive baritone voice which highlights the broadway-spin put into many of his songs. Through the second half of the performance, McLean did seem to tire through the amounts of perspiration being emitted, but he always seemed to give in 100% into the show regardless.

Through the acts of being bad, adventures in nightclubbing, a strange relationship with a horse and an Italian accent, James McLean is certain to leave you with laughing as well as enjoy his fantastic interpretations of over 10 songs.

A Kick in the head and Other Seduction Techniques unfortunately has completely sold out for his two remaining shows on March 8th and 17th at the Crown & Sceptre Hotel. However, if you are one of the lucky ones with a ticket, be sure to walk in and expect an enjoyable experience.

Kryztoff rating  4.5K

Mar 03

FRINGE: Drowning in Veronica Lake – Theatre – Holden Street Theatres – 4K

Pre-set on stage as the audience enters, Veronica Lake (Alex Ellis) oozes mystery and sex appeal, her long cream gown accentuating her gorgeous figure and her golden locks cascading down her back. With the dimming of the lights, she turns to address you, her signature bangs falling over her right eye and her sultry voice taking you on a journey into her life. From her start as little Connie Ockelman, through her rise to fame and eventual downward spiral, we get to hear about the highlights and lowlights in a concise, one hour biography.

Under the direction of Simon Coleman, Ellis makes a wonderful Lake and also switches seamlessly between this role and the other important characters in her story. The use of various accents helps to differentiate these, as do very slight changes in posture and expression. The script, from Phil Ormsby, includes many of Lake’s most famous quotes and has some lovely, poetic phrasing in it. He creates a well-rounded picture of this troubled starlet.

Due to the very restrictive costume, a lot of the variation in the show is provided by changes in lighting and use of sound effects. For the most part this is done very effectively, with the atmosphere becoming increasingly darker as Lake’s story unfolds and unravels. While there is always a danger that drunken characters will be overplayed, the gradual inebriation of Lake is measured, realistic and affecting.

This is a very interesting look at the life of Veronica Lake and gives insight into the woman behind the Hollywood pin-up. It will have definite appeal for any fans of the late actress but is also an engaging and quality piece of theatre in its own right.

Kryztoff rating: 4K

Mar 02

(ADELAIDE FRINGE 2012) Dave Callan “The Psychology Of Laughter” Interview (comedy)

By Calen Vanstone

(interview link) http://www.youtube.com/watch?v=xQWQF3Jen2Q

http://www.adelaidefringe.com.au/fringetix/dave-callan-the-psychology-of-laughter/2b6163bf-6630-4f57-b06b-7b50c557c54a

During the last Edinburgh Fringe Dave found a book called ‘The Psychology of Laughter’. written 100 years ago. He read it. Then he wrote this show. Now you are reading this. To complete the process, come see the show.

Dave Callan is an Irish born comic based in Australia. He has performed on Spicks and Specks, The Comedy Festival Gala on Channel 10 and was an original Rove Live cast member. He is also the host of the legendary Graveyard Shift, Saturday nights on Triple J.

@davcecallanwit

Mar 02

Mike Wilmot-Hunting Lodge-4k

Thursday night at 7.30 is probably not the most sought-after spot amongst stand-up comedians in the Garden however Mike Wilmot turned this potential handicap to his advantage last night.  Despite the crowd’s seeming unwillingness to have any fun whatsoever the Canadian Comedy Legend teased out more than a handful of big laughs with his middle-aged misanthropic shtick.

Wilmot decided against providing a title for his Fringe show, a choice which seems to have paid dividends as it gives the Canadian the freedom to delve into his wealth of stories, characters and theories he has collected over the years.  It was obvious from the start that the audience were in the hands of an old hand and master of the craft as the reticence of many to join in any joviality was met by the stalwart with care-free defiance as he continued to deliver witty observations and off-the-cuff banter.

Wilmot may have trudged the depths of base humour with tales of incontinence, celebrations of the ‘c’ word and the hilarity of mammary glands but the material was delivered in such a masterful way, as the audience warmed up and the sky grew darker not many people cared about the crudity.  The story of being stuck in a log cabin with only Canadian radio for company was a highlight as were his spot on observations of Adelaide being a city of insecurity bordering on self-loathing (“yeah, it’s fine during the fringe but beyond March…”).

For stand-up comedy done professionally without gimmicks and a bar open throughout I would recommend the Hunting Lodge at 7.30.

Mar 02

FESTIVAL OF ARTS – Raoul – Fest Theatre – 4K

By Julia Loipersberger

Absurdism and surrealism are fairly difficult concepts for me to follow at the best of times. Remove from this equation the clarifying element of dialogue, and you end up with one very confused reviewer.

I cannot really describe what Raoul, directed by and starring the incredibly talented magician of physical movement James Thiérrée, is actually about. Set in what appears to be a post-apocalyptic world, Raoul searches for and finally finds… himself, Raoul, living in a tent constructed out of alarmingly high poles. Cue an interplay where the lines of individuality are blurred and both Raouls must live out – at times together, at times apart – a night filled with nightmarish and hilarious happenings interweaving mundane household items such as pots, carpets and an armchair, with creatures from dark dreams, including an enormous and skeletal bird, a naughty gramophone and a combative cockroach. All of the above may, or may not, have actually happened during Raoul – I’m not entirely sure.

What I am certain of is that Thiérrée is an absolute wizard of physical movement. With the twitch of his little finger or the –bizarre – angling of his head, he is able to demonstrate the most subtle of emotions and characterisations. Although his acrobatic feats are nothing short of breathtaking – the image of a clownish Phantom of the Opera comes to mind when Thiérrée turns the stage lights into his own personal trapeze – Thiérrée really shines with his almost imperceptible moues such as the turning of an ankle or the twitch of an ear. Whilst there are numerous supporting characters-  including the ‘other’ Raoul and the amazing performers embodying various mythical creatures – it is clearly Thiérrée’s show in every aspect.

Raoul is a show made up of many individual elements. A stunning visual dance contribution, an invitation to a surreal fantasyland, a circus performance with clowns, a soliloquy on the nature of man… all of these things, and much, much more are brought to you in this unique performance. The only real downside is that one feels that all of this has been specifically put together to slap you in the face with an enormous helping of ‘CULTURE’ – which makes one feel quite the pretentious urban sophisticate, but does not do much more.

Raoul is not a show for everybody. It can best be described as a one-man Cirque du Soleil which meets a silent Samuel Beckett play. But for those who are impressed by absolute mastery of the human body and want to see a performance by somebody who is clearly an absolute master of their craft (whatever that craft may be) this show is not to be missed.

Kryztoff Rating    4K

Mar 02

FESTIVAL OF ARTS – The Ham Funeral – Odeon – 4.5K

There are many fitting reasons why undertaking Patrick White’s The Ham Funeral is an appropriate venture at this year’s Festival by the State Theatre Company. White himself was born 100 years ago this year and 50 years ago, the Festival Governors declined to stage it at the second Adelaide festival for fear of want of appeal. (Consequently, the challenge was taken up by the Adelaide University Theatre Guild to great renown.)

A young poet occupies an upstairs room in the grim, black home of two fat old timers, Alma and Will Lusty. When the old boy falls off the perch suddenly, relatives are called in to attend his Ham funeral and after which the young man finds himself the centre of Mrs L’s amorous attention.

Academics have struggled to provide definitive versions of exactly what this play is all about. (Of course, none dare criticise the work of a Nobel Laureate). For the young poet, upstairs in his failed thoughts and romantic imagination, confronting the real world of survival, boredom and death is an, at times, shocking one.

For Alma Lusty, reflections on aging, philandering, loneliness and togetherness in a world that predates all the modern adventures of technology when Will’s sudden befalls him produces a well of emotions. Together, though separte by 50 years of age, their dilemmas are similar.

As for the production, this is one of the STC’s best shows. Ailsa Paterson and her design team perfectly create that sense of the dark and the bleak in the Lusty household that is overwhelming, even the lighting seemed to carry a coal grey filter with everything – the sink, the walls, and even the bread – black. Against this backdrop, the modernity of the young poet stands out as does the subject of his imagination, not to mention the bizarre nature of the relatives who come to the funeral. Adam Cook’s assured direction ensures this is so.

But as for performances, this is really a two person show. Luke Clayson as the Young Man does okay but given White’s own directions for the role were ‘a mixture of the intent and the absent, aggressiveness and diffidence’ may be nothing much more could be expected – that is hardly a straight forward brief. But, no matter, the show is totally dominated by Amanda Muggleton as Mrs L. Muggleton commands the stage tearing between trauma, humour, farce and unbridled lust with perfect measure and timing. Her angst never lets up, hardly a moment of the real self doubts of the persona are allowed to be seen, though we can safely assume they are there.

Staging The Ham Funeral can be rightly regarded as a risk production, hence totally suited for the Adelaide Festival but despite the mysteries of the meaning of it all, no theatre goer should be deterred by that potemtial from attending for The Ham Funeral is great entertainment, superbly presented and dominated by Muggleton in a stand out performance.

Mar 01

FRINGE – Die Roten Punkte – Kunst Rock (Art Rock) – Garden of Unearthly Delights – 4.5K

The utterly dysfunctional siblings Otto and Astrid Rot from Berlin, Germany are Die Roten Punkte (The Red Dots). Their most recent and third album, Kunst Rock (Art Rock) is an unbelievable well put together, timed and side splittingly hilarious caberet rock concert and only for a very short season at the Adelaide Fringe after sell out performances in New York, Edinburgh, Montreal and Dublin.

Uniquely entertaining rock, with songs like ‘Dinosaur flipping Burgers’, ‘ Banana has a home’, ‘2nd Best Friend’, a rock opera and ‘Untitled’ which they say is their most arty song yet. This experienced duo knows how to entertain the crowds and does it so well.

This amazing cabaret rock concert is a must see.

http://www.dierotenpunkte.com/

Kryztoff Rating   4.5K