Mar 08

FRINGE 2017: THEATRE – A Regular Little Houdini – Bakehouse Theatre – 4.5K

One of the quintessential Adelaide Fringe theatre experiences has got to be an engaging story, told by an engaging solo writer-performer, on an almost bare black stage. It’s a genre that allows the performer’s craft to shine through; their words to create the settings, and their portrayal to form multiple believable characters through small nuances in their voice and physique.

A Regular Little Houdini is just such an offering. It is presented at the Bakehouse Theatre this Fringe by Guy Masterson, and anyone who has attended other similar shows produced by him in previous years, will know to expect a high quality performance from writer/performer Daniel Llewelyn-Williams. Under the direction of Joshua Richards, he does not disappoint.

Lighting is well utilised to delineate between shifts in time and space, and to add atmosphere to the various scenes, however it is primarily Llewelyn-Williams’ performance that captivates. He deftly switches from a wide-eyed 10 year old boy, to his often absent dock-working father, his genial and indulgent grandfather, various members of the Newport community, and even Harry Houdini himself. His Welsh accent is a delight to listen to, as you’re taken on this unusual coming-of-age tale.

The interweaving aspects of the story of a young child obsessed with Houdini, the everyday life of a working class kid in early 20th century Wales, his relationship with his family and his dedication to fulfilling his dream of becoming a magician, complement each other nicely. The inclusion of a variety of magical “amazements” throughout the show adds an extra little flair to the performance, creating a very satisfying theatrical experience.

Kryztoff rating: 4.5K

Mar 07

FRINGE 2017: THEATRE – The Baby Farmer – Bakehouse Theatre – 5K

For the poor and downtrodden lowest classes of Victorian London, life was appallingly bleak, and often short. Yet, over a century later, it’s possible to find a peculiar, fanciful, beauty connected to the horror that was the daily life of these people; which lends itself so well to tales of the macabre. It is within this partly factual, partly fictional idea of East End Whitechapel at the end of the 19th century, that writer/performer Nick Ravenswood has set The Laudanum Project’s tale of The Baby Farmer.

As an eerie soundscape is created by composer/musician Gareth Skinner, the audience is introduced to the story of Agatha May, an innocent and neglected six year old, whose life is changed by the appearance of a sinister and elusive white faced man. The whole darkly compelling aesthetic surrounding this production (there is an accompanying visual art exhibition in the foyer showcasing beautiful charcoal illustrations, by Chloe Neath, from a specially commissioned adult picture book) should give audiences an idea of what is to follow; it is discomforting, gripping, ominous – and fantastic.

While Ravenswood’s vocal performance, coupled with the superb mix of accompanying keyboard and cello music, could easily be produced as an audio recording, much would be lost from not experiencing his corresponding physicality. From the moment he staggers on stage he holds the audience’s attention for the full 80 minutes, with his intensely unsettling and powerful characterisation. The whites of darkly encircled eyes shine out at the audience, with a fevered malevolence, while his twisted body brings to mind other creepy characters of folklore from the same era, like Spring-heeled Jack. His voice, movement and gestures are perfectly proportioned to the confined space in which he works. His storytelling is measured and well-paced, his voice rising and falling to create an uneasy feeling of calming menace, always projected at just the right level to compliment the background music.

The intensity of the piece was best illustrated by the hushed, shocked silence of the audience once the final words were spoken, which preceding rapturous applause, and relieved laughter once the lights came back on. This show won’t be to everyone’s taste but if you like your stories melancholic, and enjoy the feeling of tense foreboding that really good tales of suspense can create, this is a truly spine-chilling experience, which may just make you jump in your seat.

Kryztoff rating: 5K

Mar 07

FRINGE CABARET – Anya Anastasia – Rogue Romantic – 4K

static1.squarespace.comBy Peter Maddern

I well recall the first time I saw Anya perform; at Nexus but was it as many as seven years ago? I was immediately captivated by her antics, it was so quintessentially the Fringe (as it then was anyways) that I gave her 5Ks. And so it was as somewhat of a rusted on fan I witnessed her latest indulgence, Rogue Romantic, in a tent at the RCC that seemed taller than its base was wide.

As her style and persona have matured so Anya has now made herself the front and centre and only object of the show – gone are Bones and various other freaks that graced us previously. But with us still are her atonal vocals, her at times delirious lyrics, her self-loathing, loved starved grief and, of course, her beauty. With that maturation has also come a more confident humour that now resembles the wit and timing of the Barry Humphries tutored Meow Meow (but to be sure, Ms Anastasia is no mimic.)

In short, Rogue Romantic, like her previous shows, is a delight of humour and song, verve and velvet. It warms as it rumbles you inside. As the Fringe loses its character and we have to ship in whats their names as Fringe ambassadors, Anya more than ever shines as what the Fringe was and should be. More than that, her longevity really makes her our Fringe Queen; a celebration of everything an hour of home grown cabaret ought to be, one who deserves more recognition than she gets.

Enjoy your indulgence in hers.

Kryztoff Rating  4K

Mar 07

FRINGE COMEDY – Andrew Silverwood – Self Absorbed Tw*t – Tuxedo Cat – 2.5K

By Peter Maddern

As the Fringe circus evolves, there seems to be less and less of a market and maybe appetite for the likes of Englishman Andrew Silverwood, the critic defined self-absorbed twat. Not that there was much to complain about; his routine was enjoyable, suitably wired, his material diverse (if not overly imaginative) and for someone prone to get restless the hour went without feeling an uncontrollable urge to check my phone.

But just why anyone would choose to go see him with a spare wad of cash in the wallet and a Friday evening at hand is not clear and the paltry audience count of seven on a sublime Mad March night perhaps makes the point. (It should be pointed out with some haste, this is a function of how the Fringe has come to me, not necessarily about Mr Silverwood.)

Maybe Jamie Mykaela’s opening ballad on the ukulele and his rap song at the end would make it all worthwhile.

Kryztoff Rating  2.5K

Mar 06

FRINGE VISUAL ARTS AND DESIGN / PERFORMANCE – FIRMAMENT – FULL DOME MULTIMEDIA PERFORMANCE – 5K

by Riccardo Barone 

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As the astronomy room has been entered it is evident that something unique is going to happen. The comfortable seats are reclinable, because the entire performance requires the spectator to watch the rounded ceiling and specifically the projection of moving picture on it.

After a delicious introduction on constellations’ structure and position in the sky held by the Uni SA Astronomy Lecturer the performance is up to start.

The electroacoustic music composed by Darren Curtis and played with little percussion instruments by the artist Bradley Pitt is perfectly married with the moving pictures displayed on the ceiling. The Composer uses a frequencies relevator during the performance to capture what is necessary to be translated into sounds through a sequencer on his computer (Ableton). Plus other sounds like space frequencies and NASA recordings complete the soundtrack of the show.

Firmament is a performance where are also shown historical ancient civilizations, our remote past united to our consideration of what we think, we wish and we hope about the presence of life in outer space.

Kryztoff Rating  5K

 

 

Mar 05

FRINGE 2017 – Grossed Out Gameshow – The Speakeasy – 5K

It does not need rocket science to guess what this show is about… It’s quite straightforward, yet what’s in store can be very unexpected. Privileged enough to be the Team Captain in leading half of the house to a series of gameshows that allows the audience to be part of the games rather than just mere spectators.

The games are not too complicated to comprehend but challenging enough for the team captains and even the children who dare to take on the challenges. Truly a wonderful experience, even for the parents as it simply just brings out the child in you. It is essentially entertainment taking focus on the playfulness of being young. The interactions are part of the show itself and chuckles are very common throughout.

The Game Master communicates compellingly and engages effectively to the audience with the humour just on the right level. His natural knack and wits tickle the funny bone. Assistants are well-organised and provide a sense of safety in the outrageous challenges. Most of all, the Team Captains can go all out and bring to the show the sense of competition which seems to be prevalent from the youngsters; they also have to work hard to win. Even though I was able to represent Kryztoff with a victory I still didn’t escape the slimy shower.

A highly entertaining and interactive program for the family. Brings out the excitement from the kids and a very good way for them to burn off all that sugar!

Slimed Up with Comedian Matthew Giffen and Gameshow Assistants

Kryztoff Rating: 5K

Mar 05

FRINGE 2017 – Zach Zucker: Human Person – 4.5K

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Zach Zucker, the ‘Zach’ half of 2017 Fringe comedy hit – and winner of the coveted weekly Fringe award for Best Comedy – “Zach and Viggo: Thunderflop” also brings his excellent solo show Human Person to this year’s Fringe Festival.

Human Person sees Zach experimenting with a range of ridiculous and hilarious characters, including the recurring “Theatre Man” and the brand new “Fan Man”. He demonstrates skills in mime, expression, and physical comedy, and isn’t afraid to go off track – in fact, much of the show is completely improvised. Zach knows how to expertly handle audience reaction, changes of pace, and a lack of audience participation, and never skips a beat.

Over the hour long show, Zach’s energy, enthusiasm, and character never lets up. He throws himself wholeheartedly into his performance, both physically and mentally, and that’s something to be admired in a performer. He also has the ability to laugh at himself, and to admit when his improvisations don’t quite end up like he anticipated – but this just makes him more endearing and hilarious.

The show does rely on participation from the audience, but until the end of the show, this is done on very micro level – asking audience members to take the ‘bowl of funny’ from his hands, making a mention to someone who is laughing extra hard – and he manages to read exactly how much certain people want to interact. Some comedians enjoy making people squirm, but Zach has an intuition for keeping the audience involved, but not alienating them or making them feel uncomfortable.

If you head to Human Person (which, believe me, you should), be sure to throw yourself wholeheartedly into the performance, just like Zach does. Human Person is ridiculous, hilarious, and genius, and is a must-see this Fringe.

Kryztoff Rating: 4.5K

Note: Zach Zucker: Human Person is on break until Sunday, 12th March, and will then continue until Sunday, 19th March.

 

Mar 05

FRINGE MUSIC / WORLD MUSIC – LONDON KLEZMER QUARTET – 5K

by Riccardo Barone 

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The sparkling elegance of the London Klezmer Quartet appeared on the stage of the Prospect Town Hall as an ancient vision of folk european village dances mixed up with a raffinato urban American jazz.

How evident is the terrific compact sound of the Quartet, from the best possible attention to the global dynamics till the personal satisfaction of little solos.

Four amazing musicians that introduce each song speaking one per time giving to the audience the opportunity to know them better. Once the connection has been established everyone is ready to enjoy this gorgeous travel with an eye kept on Jewish eastern Europe music.

From instrumental to vocal music, the Quartet even shows choral abilities tuning some precious Jewish songs as well as some songs by the energetic voice of the contrabass player sliding from virtuoso pieces focused on the brilliant clarinet performance to the classy elegant one reserved to the accordion.

Kryztoff Rating  5K

 

Mar 05

Tinder Surprise – Goodwood Institute – 4.5K

Local productions can be hit-and-miss during the fringe season; especially when comedy is thrown into the mix. Luckily, the cast of Tinder Surprise hit all the right notes with excellent chemistry and comedic timing. The show is an interesting combination of theatre and sketch comedy, and follows Mike and Fiona as they wade through the muddy waters of online dating. The characters are quirky and the audience laughed knowingly at the caricatures of disastrous dates presented onstage.

 

While the plot surrounds the use of the popular dating app, surprisingly, the audience did not just consist of twenty-somethings. The show presents relatable situations that transcend generation – provided you’re old enough for sexual references, of course.

 

Tinder Surprise has evolved over the past few years from a slow-starting yet enjoyable production to a sold-out stage performance. There’s only one show left on March 5 at the Goodwood Institute. Book your tickets early or risk being turned away at the door!

 

Mar 04

FRINGE 2017 – The Paris Underground Cabaret – 3K

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The Paris Underground Cabaret sticks to its theme – parisian music, an emcee with a thick french accent, and costumes that consist of striped tops, red berets, and monochrome everything. There are acts in the catacombs of the City of Light, and war-time lovers dance forlornly.

The problem with being a cabaret act at the Adelaide Fringe is that to stand out from the crowd you have to really be extraordinary. Whilst the Paris Underground Cabaret has moments of great entertainment – an incredibly talented trapeze artist, a very technical and beautiful dance number – but some numbers lack the spark necessary to really captivate.

The magic acts were intriguing, but some had bizarre lead-ups and themes that didn’t make a lot of sense. One of the magician’s acts ends with her pulling out flags from her bag, which are attached to a noose. It left the audience a bit quiet and didn’t quite land.

Having said that, Richard the emcee gives it his all and manages to keep the show together. Circus artist Hannah Trott’s numbers are fantastic, and comedy comes to the forefront in the second half of the show. If you are a francophile and enjoy dance, burlesque, and magic, then grab tickets to The Paris Underground Cabaret.

Kryztoff Rating: 3K