Oct 26

RAW: Holding the Man – State Theatre Company – Dunstan Playhouse until Nov 13 – 5K

State Theatre Company’s final production of the year, Holding the Man, manages to achieve that highly sort after balance between uproarious comedy and intense drama. Under the direction of Rosalba Clemente, it has you laughing uncontrollably at one point and fighting back tears at another.

Based on the autobiography of the same name, the protagonist, Tim Conigrave (Luke Clayson), guides us through key scenes from his life, particularly those surrounding his relationship with long-time partner John Caleo (Nic English). Clayson and English have a strong chemistry, bouncing off one another in their comic scenes and working within the dramatic aspects of the script to create a relationship which is both believable and engaging.

In multiple supporting roles, ranging from young lads to 1970s hippies, disapproving parents to doctors and NIDA students, Catherine Fitzgerald, Geoff Revell, Ellen Steele and Nick Pelomis all provide effective, quality performances. Before the audience’s eyes they slip from one character to another and manage to make each distinct, recognisable and have impact. As an ensemble they inject humour into the roles while also creating characters which are genuine.

From a design perspective, the show is all quality. The set (Morag Cook) is sparse but interesting, with its simplicity enabling quick transitions between the many scenes, ensuring that the pace of the play is not hindered. The puppetry utilised (designed by Stephanie Fisher) adds a quirky, yet moving element to the show. The overall effect is completed with atmospheric music and lighting (Stuart Day and Mark Shelton respectively).

This play gives an insight into one man’s life. It shows the fun he had, the struggles he went through and the love he felt. It also gives an intensely moving picture of the broader impact of a terminal illness on life and relationships. It is what theatre is meant to be – charming, entertaining and emotive.

Kryztoff Rating: 5K

Oct 26

RAW: Bill Henson – early work from the MGA Collection – Samstag to 16th December

After so much controversy in recent years, it is a treat to be able to view original Bill Henson images at the Samstag and make judgments for one self about their quality and morality. It is also pleasing that the existence of this exhibition has not attracted the prudish in outrage – those middle aged preachers perhaps relocating from Rundle Mall and spruiking their views in the west end, led by Rob Brokenshire or some other Family First advocate. It may be of course that the number of other movements presently going around means something like ‘Occupy Samstag’ is just one too many.

Not that these works are likely to get those get agitated about nude adolescences panting – apart from two series of bare male chests there is not a pubescent’s boob to be seen (alright, there is one set).

What you have are extracted images from six major Henson exhibitions that in their numerous forms take you very clearly into Henson’s world of semi darkness, the dream state, the period of transition from one form to another.

Given Henson’s complete exhibitions total many images, from 30 to 300, it is perhaps a weakness of this touring exhibition that we don’t have the benefit of seeing any of the complete collections and how the images we do see fit within each corpus. (Still, it is now quickly acknowledged that what we get instead to our benefit are titbits of many to satiate an appetite for Henson’s work not much otherwise catered for in Adelaide.)

The six images from his untitled series of 154 in 1985-86 (rear eastern wall), a homily to Henson’s suburban upbringing, are a case in point. Temples, burger spots and alone teenage girls, all taken at dusk, give us a flavour but perhaps not the substance of the entire exhibition which must have been quite something given the printed size of each of these images.

Nonetheless, across them all there is more than sufficient to give the viewer that sense of dark, isolated transition that so permeates all his images – from day to night via dusk, child to adult via adolescent, awake to sleep via dreams. The paucity of images in each set perhaps also forces a closer inspection of what is presented, highlighting their twin merits as individual images as well as their possibilities within a set. The image of the girl in the water at night (one of the aforementioned series) is quite beautiful (not only because it is about the only image on show from his older work that has a sharpness to it.)

Of particular interest is Henson’s 1980-82 series of people and faces photographed on a variety of city streets around the world that take you into an adult world where even in the masses, those portrayed seem so adrift, haunted, bleak and isolated, highlighting how fleeting a sense of belonging can be.

Also included are six or so recent landscapes, large images of great luminosity that again manage to depict a sense of transition. #29 reminds one of some scene in a James Bond film, a perhaps previously hidden lagoon that is guarded by two massive and sheer rock outcrops that seem to be closing in on the space between them. Largo or Spectre would feel very at home here hatching their plans for world domination.

Next to it is #17, a crashing waterfall of folding water and spray that enters into a seeming abyss below that swallows whatever will come its way. Again, a stunning but troubling vista all in one.

Any interested in photography or particularly Henson’s work should be sure to visit. The gamut of images displayed ensure a greater appreciation of Henson’s work will be obtained relative to the often contrasted up images that make it into photo books and the media focus on his under dressed teenagers. The depth of work and themes as well as the trademarks are all at the Samstag to be enjoyed.

Also, Bill Henson will be ‘in conversation’ with’ Adelaide Festival director, Paul Grabowsky at the Samstag at 5.30pm, Monday 21 November 2011. Tickets and details on the Samstag website – Samstag Website

Oct 25

RAW: Randy Larcombe – Beneath the Square Mile – AP Bond Til 29th October

Beneath the Square Mile is a fascinating set of photographs of the grimy, damp, complex and ancient utility infrastructure that operates under our feet, the existence of which we never much think about and the results of which are always taken for granted.

Pipes and wires and switches, from substations under East Tce to Hindley St (including some streets I have never even heard of – eg Devonshire Place and Fisher Place) affixed to grubby walls are emotively and expertly captured in these 15 large, 119cm x 84cm images.

Larcombe’s work is perhaps a homage to the engineers and workers to who put the infrastructure together in the first place – so much seems to date back to the 1950s and 1960s – and those who maintain it today. Certainly he revels in structuring his images around the engineers’ demands for order and system. It seems impossible to believe these places are lit so conveniently for these images as well but his control of the introduced light creates fine shadows and atmosphere without ever intruding into the reality. These are ‘no climb down the ladder, snap and get the hell out of there before the rats arrive’ efforts.

Larcombe’s use of rotting chairs, specific to each sub station, is also great (see attached image).

The placing of these images in the studio basement also adds significantly to the enjoyment of them all.

It is perhaps easy to see why some may blanch at these images for the walls at home but this is much the pity in many ways as Low Voltage (415V) Feeder Fuse Panel, Fisher Place Substation and the adjoining HV Cables and Manhole #1, East Tce Substation (at the very least) are terrific photographs.

However, the engineers out there and indeed the current utility operators ought to make a bee line to Mr Bond’s Magill Rd studios before this exhibition closes to snap up these statements of not only our city’s history but also the craftsmanship of old school geeks which normally gets only presented through images of superstructures such as roads, buildings and bridges.

Oct 23

RAW: Beauty and the Beast – Northern Light Theatre Company – Until Oct 29

Belle is a beautiful girl who doesn’t quite fit in due to her love of books and ability to dream of life beyond the boundaries of her small French village. Taking her father’s place as prisoner to a beast in a castle, she is surprised to find that it is enchanted, with the inhabitants doomed to transform into various household objects. The only way this spell can be reversed is for the beast to find the humanity within himself, to learn to love and to be loved in return.

Beauty and the Beast is still one of the most beloved of the Disney classics. It was released in the early nineties, was incredibly popular, won numerous awards and now holds a special place in the hearts of many a twenty-something who grew up re-watching a VHS copy until they could quote the movie word for word. Yours truly falls into this category, as do, it is safe to assume, many members of the cast of Northern Light’s production.

It is therefore a very fine line that is walked, in bringing this show to the stage – there is the need to capture the magic of the original film, while also injecting something new and fresh into it so that it is not just a direct copy. While there are subtle differences in the script, and several new songs, the majority of this task relies on the actors’ characterisations, and the stylising of the production. Under the direction of Fran Edwards, this is achieved in the majority of cases.

As the title characters, Kate Dempsey and Andrew Crispe are charming. Dempsey gives Belle a nice blend of spirit and sweetness, and does an admirable job with the musical numbers. Crispe gives a powerful performance, both physically and vocally, and also brings great emotion and vulnerability to the role.

The household objects are delightfully brought to life by Omkar Nagesh (Lumiere), James Reed (Cogsworth), Lisa Simonetti (Mrs Potts), Haydee Watkin (Babette) and Karen Muller (Madam de la Grande Bouche). Nagesh and Reed are particularly engaging – full of energy and humour, carrying off the jolly quarrelling banter between the two characters with excellent comic timing – and Watkin makes an amusingly flouncy and petulant feather duster.

The star performance of the show, however, comes from Jason Ferguson, as narcissistic baddie Gaston. He creates a man who is more than just self-obsessed, rather bordering on truly evil – but also amusingly so. His vocal style is perfect for the songs he is allotted and he injects great spark into his characterisation. As his offsider Lafou, Jethro Pidd’s fool is a wonderfully silly counterbalance.

The chorus give good support in the larger cast numbers, with Be Our Guest a particular highlight. After a few initial issues, the orchestra, under the musical direction of Peter Johns, do well to bring the Academy Award winning score to life.

This is a family friendly show and a great opportunity for the next generation of theatre lovers to get inducted. However, parents may want to think hard beforehand about whether their children will be old enough to handle the darker parts of the story (wolves, the beast, a fight to the death) and have the attention span to sustain them through two 75 minute halves. If so, they are sure to love it.

Overall this is a pleasing, quality production of a musical that will be very dear to many. It was a fun way to spend three hours, revisiting a childhood love.

Oct 22

RAW: Sexual Perversity in Chicago – Accidental Productions – Bakehouse Til 5th November

Mandahla Rose Renee Gentle Hjalmar Svenna Nic Krieg

Free from teenage years and constant parental observation, one of the joys of turning twenty is getting to better know one’s own biological urges.

Sexual Perversity in Chicago visits upon two sets of mates doing just that – Danny (Nic Krieg), the geeky tax accountant and his roustabout, well built flatmate, Bernie (Hjalmar Svenna), together trawl bars and beaches looking for that ‘only thing that men want’. Or so it is the belief of Joan (Mandahla Rose), the primary school teacher with rather more cynicism for the whole nonsense than her flat mate, the attractive artist Joan (Renee Gentle), who is quite some enthusiast for it all who together round out the players.

By David Mamet, Sexual Perversity is an hour long romps of a myriad of all remarkably common sexual exploits between young people and their own responses to them, not than any, for one with any familiarity with the night club world, would be regarded as exactly perverse.

All the players in this do a great job. Svenna gets the play going with a strong opening scene that leaves his audience in no doubt about what this is all about. Krieg’s prowess develops as the production advances with fine comic touches amidst the angst and the amorous. Gentle is a joy to observe and Rose, given the least prominent role, is by no means just making up the team.

The convincing use of somewhat over the top American accents by all (not to mention Bernie’s big fair haired wig – see photo) adds to the silliness, though one wonders how the Americans create that additional farcical element that makes this production such a joy.

Jesse Butler’s direction, creating four sub stages in the one main space, is as assured as it is uncomplicated, especially when aided by excellent light management by Stephen Dean.

Well done to all involved. This is fine Adelaide theatre that can be enjoyed by all without having to camp out the night in Angas Street to do so.

Kryztoff Rating   4K

Oct 21

RAW: The Mikado – G & S Society – Scott Theatre until Oct 29

The Mikado is one of the most beloved Gilbert and Sullivan shows, with many well-known songs and characters, a love triangle (or, more accurately, square), and plenty of opportunity for modern updates – who will end up being “on the list”? However, Gilbert and Sullivan is a very particular taste and non-fans may find it a hard slog, despite the quality of this particular version.

In their latest production, the G & S Society has created a Mikado that is a delightful and slightly bemusing mix of traditional Japanese styling, modern Anime and exaggerated Westernisation. This works well with the overall atmosphere of the libretto, which seems to be based on a much skewed 19th century view of what Japan was like rather than any factual knowledge. The set (David Lampard, Matthew Miller et al) captures the beautiful simplicity of Japanese styling, with attractive lighting incorporated to add detail. It does seem a little restrictive to the large cast at times, but this can be forgiven fairly easily thanks to its other virtues. The costumes (David Lampard, Bronwen Major et al) are plentiful and opulent, with bright colours abounding and an attractive combination of traditional and modern styles.

Ian Andrew and Liana Nagy are well cast as the two young lovers, Nanki-Poo and Yum-Yum. They meet the vocal demands of the roles while also injecting enough warmth and humour into their characterisations to be enjoyable as actors. Joining Nagy to complete the “three little maids” are Sarah Nagy and Natalie Tate, who provide good support in group numbers while holding their own in solos.

David Lampard presents an energetic Ko-Ko, making the most of the comedic role, while Timothy Ide (Pooh-Bah) and Patrick Witcombe (Pish-Tush) both excel vocally, with attractive sonorous voices to compliment their wonderful comic timing. Danii Zappia fulfils the part of Kitisha, the problematic fiancé of Naki-Poo, with just the right combination of authority and self-deprecation, and in the title role, David Rapkin is suitably dignified while also channelling the cheeky irreverence needed.

The lead performers were ably supported by a large chorus, the male component of which was particularly impressive. Their combined voices soared in such numbers as ‘If you want to know who we are’, ‘Behold the Lord High Executioner’, and the finales of each act.

Despite the strong performances from the cast and the overall impressive production values, there were some aspects of the show which did not quite meet expectations. The use of synthesised rather than live string parts and some issues with the musicians overpowering the singers in some small group numbers are key examples. That being said, this is another impressive offering from the G&S Society, who continue to produce high quality shows, featuring the work of very talented local artists. Fans of G&S will no doubt lap this production up.

Oct 21

RAW: Adelaide Oval Update – Costs Blow Out

Keen followers of this debate will recall that at the time of the 2010 State election, voters went to the polls believing the total cost of the project would be $450m, the works themselves $365m after taking out the retirement of the SACA’s debt. These included the footbridge across the Torrens.

Well, Kryztoff understands from well placed government sources that the quantity surveyors have reported to the Government that in their view the works will now cost between $700m and $800m and this doesn’t include the footbridge. So one can now confidently predict the costs of the announcement the Labor Party had to have are double the original estimates.

Incoming Premier, Jay Weatherill, should bear this is mind when he contemplates his announcements on the project this weekend along with the fact that at the end of November, two years will have passed since SACA and SANFL leaders strode across Adelaide Oval smiling like teenagers after their first big night out together to announce an agreement in principle had been reached about how the joint arrangements for the oval would operate and things are no closer it seems now than then for the real agreement in detail. Followers of this debate may also recall that then Premier Mike Rann delivered two ultimatums to the parties to get their acts together, the latter of which expired over 13 months ago.

Does all that much matter? Well, yes. As previously reported, the continuing negotiating impasse is costing SACA members $600,000 a month in interest on the debt the Government will take over upon the agreement being reached (and then agreed to by the Government.) Fears must now be rising that the SACA will run out of cash if this matter is not resolved soon.

And, yes, the blow out in costs does matter, notwithstanding ‘the game changer’ the project is meant to represent. Beyond the fact that legislation that passed the parliament capped spending on the project at $535m (including the SACA debt) Jay Weatherill now confronts a $3.8b gap between current State debts and that required to continue to satisfy the ratings agencies that this State warrants AAA status. This is after around $8b has been lost these past three years of Premier Rann’s tenure.

While media talk that a few millions lost on car parking fees in hospitals and some GST revenue shortfalls from the Federal Government ‘may threaten’ the AAA rating, the reality is that only by reining in big ticket items such as Adelaide Oval can Weatherill resist having the economic credentials of the government he leads to the next election trashed by downgrades.

Given Kryztoff understood only three members of the Labor cabinet liked the Adelaide Oval project anyway and two of those are now gone, (Pat Conlon being the sole survivor), Weatherill now faces an acid test – what’s good for the State or what he thinks may be good for votes in two years time.

Given the parties themselves remain in squabble mode, this may well be a good time for the new premier to make his mark and tell us all that ‘we simply can’t afford this now, especially as the parties involved have had more than enough time to tell us how this will operate and can’t. Let’s defer for a few years until Roxby Downs kicks in. Here’s some money for Port to play their games at Adelaide Oval as it is.’

We will know soon enough but followers of this debate will also recognise that cost blowouts and age long fighting between football and crciket interests were always flagged as likely problems and certainly ones that should have been resolved before the SACA members were made to vote on the issue in May.

Oct 20

RAW: Ranning On The Parade – The Glenside Film Studios Open

Pretty much as predicted by the Weather Bureau 24 hours or more before, light rain set in as the invited glitterati of Adelaide arrived at the new film studios at Glenside this evening to both open them and farewell the Premier, Mike Rann, as part of this, his final public duty in that role.

500 guests – Labor Party luvvies, filmanistas and assorted arts luminaries – got a little wet and feasted on bland wine and the usual assortment of canapés that cost taxpayers around $120 a head. Cate wasn’t there. Graham Cornes arrived seemingly desperate to be buttonholed by the camera-armed TV media but wasn’t. The man they wanted wouldn’t have a bar of them. Bob Ellis wandered around dressed somewhere between David Tomlinson and Dick van Dyke in Mary Poppins, Kevin Foley was present and accompanied by someone of the expected age and poor Nicole Cornes, adorned with a plunging neckline that left little to the imagination, looked lost and craving for attention. The new premier was nowhere to be seen.

Amidst abysmally lack security and seemingly organisation in the face of adverse weather, speeches were made on a walkway high above the attendees in sound studio 2 sans microphone.

The spunky Cheryl Bart as Chair of the SA Film Corporation, was quick to dismiss the pesky criticism of the largesse given out to the ABC for its scheduling of filming for its kids series at Glenside by references to a multitude of SA Film Commission sponsored films of recent times, some of which we knew of, many others we suspected never made it to DVD distribution. She praised Mike Rann as a great man, one ‘who would put his money where his mouth was’ seemingly oblivious to the fact that it was taxpayers’ all along the way.

Rann stepped forward to remarkably restrained applause and then had to contend with a cuttlefish protester who, through the near nonexistent security, had managed to climb the walk way and now waved his fishing net full of dead molluscs at us.

These studios, Rann said, would be our ‘Paramount Studios’, of course ‘world class’, at least to anyone who knows anything about the film industry. (Many suspect the new ‘Paramount of Parkside’ cannot even mount the claim to be being sound proof.) His last announcement in office of the replacement for Bart was by no means an electrifying moment – the luvvies had moved on. The King is dead, but where in Hell was the next one?

There may be something prophetic about the way this night went. The cuttlefish man was previously joined by anti-uranium protesters who dashed into the courtyard and made a scene. Was the magic of spin and control already eluding the next gen?

The dark bland background of Sound Studio 2, lack of euphoria and the rain falling on the parade may be metaphors for the problems now besetting this State and the new premier when he takes command in a few hours. When you are $3.8b of debt shy of your AAA criteria and you have blown $8b in just three years (more on these numbers another time), only the most difficult of times await you.

Were the studios and its audience, diligently faithful in their support of their paymaster, suspecting they were about to join the rest of us into ramming into a massive fiscal iceberg?

Both Rann and Bart’s speeches will make for interesting reading in even a year’s time, period pieces to the era when we believed our emperors still wore bright new shiny clothes. May be they do and still will.

Cynics abate!  The glass is forever only half full. Let the cameras roll. Another game changer in our midst.

Goodbye Mike, things will not be the same without you.

Oct 19

RAW: Our Mob 2011 – Celebration of SA Indigenous Artists – Preview

Our Mob 2011: A Statewide Celebration Of South Australian Indigenous Artists showcases the diversity of Australian Indigenous art from around South Australia.

Now in its sixth year, Our Mob continues to showcase the best of contemporary Indigenous art from all around the state, including the Anangu/Pitjantjatjara/Yankunytjatjara Lands in the state’s remote North, as well as Ceduna, Port Pirie, Port Augusta, the Riverland, Mount Gambier, Oodnadatta, and more. Combining exhibitions, an artist-in-residence program, and a forum, Our Mob raises the profile, respect and understanding for South Australian Aboriginal artists.

Three smaller exhibitions will be included as part of the Our Mob 2011 Artist in Residence program: Tjungu Palya, Indulkana – Oodnadatta Coming Together Workshops, and The Spirit of Lake Eyre – Arrabanna Country, which will be on display in the Festival Theatre Foyer from October 26.

Colleen Raven Strangways's Arrcia-ya (magic law man) - 2011 Photograph

Tjungu Palya, meaning Good Together, will feature a selection of works from the Arts Centre of the same name. Tjungu Palya is located 100kms south of Uluru, and is owned, managed, and governed by Aboriginal artists and community elders.

Indulkana – Oodnadatta Coming Together Workshops will feature prints from a series of screen printing workshops held in Indulkana and Oodnadatta (some 300kms apart) earlier this year. These workshops, led by Melbourne-based artist Sue Anderson, produced prints that reflect the coming together of a people with a shared family and cultural heritage.

Spirit of Lake Eyre – Arrabanna Country is a photographic exhibition by Arrabanna photographer, Colleen Raven Strangways, which sets out to capture the essence of Lake Eyre. The Arrabanna people have strong beliefs and many stories about the lake, and Colleen aims to express the importance of these stories about her people today.

Colleen Raven Strangways's Arrabunna woman - 2011 Photograph

Another component in this year’s program is the Our Mob 2011 Forum: ‘South Australian Indigenous artists: past works and future exhibitions’, held on Wednesday 26 October. Join artists, art workers and curators from across South Australia for a morning of talks and presentations about South Australian Indigenous art, including discussions on past and future exhibitions. This will be followed by afternoon viewings of the Ernabella Arts Exhibition and the newly reopened Australian Aboriginal Cultures Gallery at the South Australian Museum, and the official opening of Our Mob 2011 at 6:00pm at Artspace Gallery.

Our Mob is supported by Arts SA through a project grant from the Community Arts Development program. The success of the exhibition is dependent on the partnerships between project initiator, Adelaide Festival Centre, and Ananguku Arts and Cultural Aboriginal Corporation, as well as Country Arts SA Arts Officers, Tandanya, and regional and remote community art centre managers.

All works on display in Our Mob 2011 are available for purchase with the majority of money being returned to the artists and communities.

Venue: Artspace Gallery and Festival Theatre foyer, Adelaide Festival Centre

(Access via Festival Drive, or Dunstan Playhouse Foyer)

Disability access via Festival Bridge from North Terrace, or Adelaide Festival Centre Amphitheatre ramp

Hours: Wed, Fri, Sat, Sun 12 – 4pm, Thurs 12 – 8pm.

When: 26 October – 11 December 2011

Cost: FREE entry (all works for sale)

For further information visit: www.adelaidefestivalcentre.com.au

Oct 13

RAW: Soundwave 2012 Announced

Slipknot

WE CAME WE SAW WE ROCKED!

Friends, Rockers, Countrymen! Lend us your ears and we’ll subject them to loud rock music.

Tighten your togas, strap on the dancing sandals and join us in this Roman edition of Soundwave; featuring our biggest line-up yet!

SYSTEM OF A DOWN

SLIPKNOT

LIMP BIZKIT / MARILYN MANSON / HOLE / A DAY TO REMEMBER / MACHINE HEAD / LAMB OF GOD / TRIVIUM / ALTER BRIDGE / LOSTPROPHETS / ANGELS & AIRWAVES / COBRA STARSHIP / THE USED / YOU ME AT SIX / DEVIN TOWNSEND PROJECT / UNWRITTEN LAW / COAL CHAMBER / DASHBOARD CONFESSIONAL / THURSDAY / FOREVER THE SICKEST KIDS / RAISED FIST / DILLINGER ESCAPE PLAN

System Of A Down

ZAKK WYLDE’S BLACK LABEL SOCIETY / MASTODON / UNDEROATH / SAVES THE DAY / CIRCA SURVIVE / STEEL PANTHER / JACK’S MANNEQUIN / MESHUGGAH / THE SISTERS OF MERCY / ENTER SHIKARI / FOUR YEAR STRONG / BLACK VEIL BRIDES / MADINA LAKE / ZEBRAHEAD / HATEBREED / BIOHAZARD / TIMES OF GRACE / CKY / STREET DOGS / DRAGONFORCE / GOJIRA / KVELERTAK / LETLIVE / HELLYEAH / CRO-MAGS / THE CAB / RELIENT K / VERSA EMERGE / HEROES FOR HIRE / KILL HANNAH / THE DANGEROUS SUMMER / CHIMAIRA / FRAMING HANLEY / WATAIN / ROYAL REPUBLIC / I AM THE AVALANCHE / TURISAS / RIVER CITY EXTENSION

SOUNDWAVE FESTIVAL VENUES AND DATES

SATURDAY 3                       ADELAIDE, BONYTHON PARK


General Public tickets on sale Thursday 20 October through www.soundwavefestival.com www.oztix.com.au & Oztix outlets & www.ticketek.com.au 132 849

*All shows are licensed and all ages
*Venue and lineup subject to change

For more information head to www.soundwavefestival.com