Feb 27

FRINGE 2015: James McLean – Big Enough and Ugly Enough – 4K

By Anthony Nguyen

iconsquareAD5After debuting in 2012 with his musical comedy hit, A Kick in the Head and Other Seduction Techniques, James McLean is back for the 2015 Adelaide Fringe with his new comedy show Big Enough and Ugly Enough.

Big Enough and Ugly Enough tells McLean’s story when he received a letter and an unopened box from his grandma that she left for him after her passing in order to help him in his struggles moving out of home and living alone. The unique storytelling experience is portrayed as a series of amusing flashbacks and memories which included his attempts in meeting new people at an accidental ‘swinging’ club, giving back to the community through dodgy charities, and pains and struggles of working in hospitality. Although the narrative was somewhat slow at times, the combination of self-deprecating humour and hilarious punchlines affirm McLean’s comedic talent and style.

Through several piano-assisted songs, McLean naturally utilizes his vocals skills in assisting the story with cleverly and hilariously written lyrics whilst encouraging audience participation. Though some songs can be slightly long and some mistakes were made on piano, McLean doesn’t fail to work them to a comedic sense and create further amusement through music.

Big Enough and Ugly Enough is an entertaining and humorous one-man show which is highlighted by McLean’s theatrics and vocal talent. With a more comedic drama-centered show this year, McLean delivers endearing performance that shows that sometimes all you need is a spoon.

James McLean continues his sold-out Adelaide Fringe shows at the Bakehouse Theatre until Saturday March 28th. Thus if it’s too late to score a seat, you can be sure that you will hear his name in the Australian comedy circuit in the future.

Kryztoff Rating: 4K

Feb 27

Fringe 2015 – VIRADA – TAP. ACROBATICS. PERCUSSION – The Garden of Unearthly Delights – The Factory – 4K

By Tom Eckert

Virada first and foremost is a feel good show. The gently wafting smoke struck through with lights in moody blues and reds combine to create an atmosphere of anticipation primed by the gentle folk blues playing in the background.

From the first drum beat there is a rhythmic pulse that runs through the show; pushed and pulled, but never dropped creating a sort of hanging tension that keeps you from looking away. A strong vaudevillian aesthetic is complimented by contemporary elements shown up under black light and with the insertion of roots elements creates a delightful atmosphere of magic realism.

The show is constructed of a series of wordless vignettes strung together by a loose narrative of recurring military motif and the characters’ discovery of music with a looser relationship to rhythm. This effectively sets the scene for the displays of virtuosity on many fronts showing off a riot of instruments and instrumentality.

The show is paced delightfully and the sheer energy and stage presence of everyone involved keeping the audience rapt. It climaxes spectacularly in a display of rhythmic control and percussive agility. Already a great show in its own right, I can only consider further improvement in stronger characterisation and narrative to make it an element of equal import as the performers abilities as opposed to a mere means to establish the premise of the scene.

 

Kryztoff Rating: 4K

Feb 27

FRINGE 2015 – Illuminate – Gluttony – 2.5K

11024655_283642115093347_8218390405517831148_nBy Peter Maddern

Last Fringe I had the pleasure of seeing the Madhouse Circus team when they were on at the Croquet Club. So, it was with some anticipation that I went along last night to their latest incantation at Gluttony. Sadly, I was somewhat underwhelmed.

The essence of the Madhouse spin on physical theatre is the use of light – hence the show’s title. But this year’s lacked much of the magic of last year’s and certainly there was nothing new to get excited about.

The two acts on the front of stage by Jon – one balancing, the other a sexual tease on the rope (see image) – were the highlights of the show with the former the best lit by just three incandescent light bulbs.

However, whether it was the presence of just a dedicated Madhouse fan club crowd, the early start or the insatiable noise from the vroom vrooms behind the tent, most of the performers were off their game with pins falling everywhere and the bottle walking trick a complete washout.

Illuminate’s other major problem is that this year they compete against some major physical theatre /circus shows and this schtick (however well it may be performed) is simply swamped by the panache and pyrotechnics of many of these others – eg Soap, Limbo, Papillon etc. The six person troupe – four guys (girls (and guys) note – three perform shirtless) and two girls are all good looking and fun performers but this doesn’t compensate for the power of their competition, especially when little of their highest risk moments came off.

Here’s to hoping for some inspiration and investment for next year’s show.

Kryztoff Rating 2.5K

Feb 27

FRINGE 2015: COUNTING BARS – Tale of the Singing Inmates – 4K

By Anthony Nguyen

8385_Fringe-Program-image_EFUL_GUIDE__EFUL_WEBThe Tale of the Singing Inmates is a unique storytelling experience that combines comedic theatre with acapella-style singing. Performed by a South Australian theatre group, the story follows Lyle who is a new inmate to a high-security all-male prison where he discovers that a talent contest is being held where the winner(s) will be allowed to transfer to a facility with lower security. Subsequently, a quartet of inmates is quickly formed consisting of hilarious characters with a talent of singing and learn to combine their unlikely friendship against the struggles of prison life and other convicted thugs.

Naturally as a musical comedy, the show featured over 10 songs which typically tied into the storytelling. The acapella renditions harmonised the perfect mixture of soprano and baritone vocals as well as beat boxing in covers including All By Myself by Celine Dion, The Longest Time by Billy Joel and You Make My Dreams Come True by Hall & Oates. A definite highlight of the show was a hilarious Eye of the Tiger montage that was brilliantly and cleverly executed onstage which left the audience erupting in laughter. Most performances included basic choreography which although was not too complicated, assisted in elevating the theatricality of the numbers.

Counting Bars: Tale of the Singing Inmates is a fun musical comedy show that is filled with an array of hilarious characters. Located in Star Theatre Two, the show continues until February 28th with most shows already sold out, so if you want to enjoy an entertaining performance filled with song and laughter, don’t hesitate to book tickets fast.

Note: Be careful not to drop the soap.

Kryztoff Rating: 4K

Feb 26

FRINGE 2015: Fin – A Feast of Fools – Royal Croquet Club: The Black Box – 3K

A strange group of characters come together on the high seas: haunting shanties are sung by a three legged girl; the crew are agile acrobats; a mermaid appears and turns out to be quite adept with a hula-hoop; and a bewildering creature, who seems to be some sort of sentient buoy and is obsessed with fish, provides some amusingly silly clowning. On a decaying ship, the surrounding objects – ropes, water (or rum) flagons, drums, logs, sacks and knives – become the props for this performance.

The opening sequence, involving carnival clown machines, is a strange way to start the show. How exactly this fits in with the maritime theme is not clear and it doesn’t do a particularly good job of engaging the audience. For the most part though, each act works well in the overarching plot and transitions smoothly into the next. There are however, sections where the action lulls for too long, allowing attention to drift and making the show drag a little.

The high points are the impressive acrobatic segments which, while not necessarily breaking any new ground in the area, are physically demanding and well executed. A few minor mishaps highlighted the potential for things to go wrong and made them all the more satisfying when they did work.

The show incorporates a good variety of performance types, all performed to a high standard, but could do with a little tightening up, and possibly the removal of one of two less relevant scenes. Overall it’s inoffensive family fun that, while not likely to blow the mind, has appeal for both adults and children.

Kryztoff Rating: 3K

Feb 25

FRINGE 2015: Late Night Story – Ayers House Museum: State Dining Room – 4K

There’s something peculiarly appealing about a horror story that takes place in your own city. Writer Van Badham has crafted an intriguing and creepy tale, delivered in a classical gothic mystery style but set in Adelaide in the mid-19th century. There are the archetypal elements of such a story: a young seemingly innocent protagonist, an old mansion, characters who are reticent with information, supernatural occurrences and insanity. Badham weaves these into a gripping tale.

The atmosphere is thrillingly unsettled, thanks largely to the haunting live musical accompaniment, composed and performed by Richard Wise. Low lighting used throughout adds to the ominous feeling. Claire Glenn, as the sweet and enthusiastic Miss Xaviera Grace, is a strong centre point around which the action plays out. She imbues her character with charm, sadness and a touch of desperation. As the two mysterious inhabitants of the house, Tamara Lee and John Maurice are powerful and disconcerting. The three drift in and out of the action, blending the scenes into one-another to create a satisfyingly nightmarish dreamscape.

The only aspect of the production that really detracts from the experience is the venue. It is difficult to get completely immersed in the story when you are unable to see half of the action. Facial expressions can’t be viewed, important props remain unseen and at times it is more like listening to an audio-recording than attending a play. Insufficient concessions to these issues seem to have been made in the direction of the piece, with much of the action taking place far upstage, on a bed, or at floor level – the views of which are likely to be obstructed for 80% of the audience. While the surrounds of Ayers House certainly creates the perfect setting for this story to unfold, it is not an ideal arrangement to allow the play to fulfill its potential in terms of audience impact and thus, disappointingly, it does not reach the heights it might.

Kryztoff Rating: 4K

Feb 25

FRINGE 2015 – White Rabbit Red Rabbit – Royal Croquet Club: The Rastelli – 3.5K

White Rabbit Red Rabbit is a fascinating concept. Written in 2010 by Iranian author Nassim Soleimanpour, the script is given to an actor on stage and they are then expected to cold read it to the audience.  The actor has as little idea of what to expect as the audience and it is up to them to interpret the script on the spot, aided only by the few props provided by the producers. It is similar to improvisational theatre in that no-one knows what will happen, but then also almost the complete opposite as there is a script which must be obeyed.

The script itself is very introspective and self-aware. It is a play about itself and is the author’s means of travelling the world, while he remains in Iran due to travel restrictions. It looks at concepts of time and how the past and the future can affect one another. It uses the white and red rabbits of the title in several ways to explore different ideas relating to beliefs and behaviours. It’s also just a lot of fun.

On opening night, the actor was Amber McMahon. A brave decision on her part, to be first cab off the rank; though ideally all of the actors involved over the season will keep themselves naïve to the intricacies of the show and not know what to expect. This is the key to the show working, as it’s really about the shared experience of the actor and the audience.

While the actor guides the performance, the audience is involved in a myriad of ways, and the actor relies on their input and good humour to carry off the show. McMahon succeeded in meeting the majority of tasks set for her, exhibiting wonderful improvisational abilities. The final sequence however, did not seem to play out how it was intended, leaving the show feeling less than complete. This appeared to be a result of a mixture of the assumptions of the script and McMahon’s interpretation of it. This was just one version of it though, and it is possible that on another night it will play out superbly. It is another unknown, and that is its charm.

Live performance possesses a sort of magic because there is always an element of uncertainty, a chance that things may not go as planned. This show accentuates this concept and creates an entertaining and interesting experience.

Kryztoff Rating: 3.5K

Feb 24

FRINGE 2015: Thin, White and Erudite – Producer’s Cranny – 3.5K

In this show, being thin, white and erudite are really the only things comedians Nick O’Connell and Patrick McCaffrie have in common. Despite performing back to back in this one hour set, the two performers differ significantly in style and content.

O’Connell kicks off the show with the quintessential combination of accessible observations and self depreciating personal material which varies from mildly amusing to downright hilarious. Particularly as the show progresses, O’Connell hits his stride and delivers some highly entertaining anecdotes. His slightly awkward, eager manner makes him genuinely likeable performer to watch, quickly endearing himself to the audience. This means that even when some of his jokes don’t quite work, the crowd is ultimately forgiving because they really want them to.

Contrastingly, the second half by Patrick McCaffrie is incredibly fast paced and slick, largely focussed on the arguably more bizarre side of current events. In a style reminiscent of the Daily Show, McCaffrie delivers shrewd social and political commentary heavily laced with cynicism and very quick wit. While some of the content might not be as relevant for those not dutiful devotees of the 24 hour news cycle, the material is sufficiently interesting and outrageous to keep the crowd hooked. Game enough to not only take on the usual suspects like Abbott and Putin, but a variety of other politicians, world institutions and even some marine life, McCaffrie proves his ability to insightfully mock has very few bounds.

No matter your preference, both upcoming comedians are worth watching, not only now, but for the hilarious material they’re set to produce in the future.

Kryztoff Rating: 3.5K

Feb 24

FRINGE 2015: Scotch and Soda – Garden of Unearthly Delights, Aurora Spiegeltent – 5K

Held in the Garden of Unearthly Delight’s Aurora Spiegeltent, this spectacular show suits the venue perfectly as the audience is able to ogle in wonder at the performance from a variety of angles.  A heady blend of circus theatre and vibrant live music, Scotch and Soda is a delightfully intoxicating show, serving up an evening of brazen vaudevillian revery.

Quite simply, the talent of the performers is incredible. From trapeze work to rollerskating on tables and flipping each other through the air, the exhibition of extraordinary strength and acrobatic ability makes the show exhilarating from the outset. However, the performers not only have exquisite balance in a literal sense, but also in that they are able to demonstrate their impressive level of skill without being mechanical, maintaining a sense of passion and an element of cheeky physical humor that adds a convivial dimension to the show. The score and acts in the show vary their tempo from raucously chaotic to dramatic and heart stopping, creating an unpredictability that keeps the crowd enthralled throughout. The music further augments the performance with precise timing, heightening the drama of the amazing spectacle occurring onstage. Spirited and breathtaking, Scotch and Soda is definitely a show not to miss.

Kryztoff Rating: 5K

Feb 23

FRINGE 2015: Amos Gill is Gillty – The Howling Owl – 3.5K

Having quickly ascended from Winner of SA Raw Comedy in 2012 to the dizzying heights of FM radio talk show host, Amos Gill still has a new performer’s unbridled enthusiasm, but coupled with the confidence and presence of a more experienced comedian.

His familiar style is instantly likeable, reminiscent of that one bizarre-storytelling mate everyone has, meaning he easily connects with the crowd. This amicability is augmented by the cosy atmosphere of the Howling Owl venue. While the content of his material spans the spectrum from lighthearted to cripplingly awkward and more than mildly disturbing, Gill’s anecdotes are all well timed and cleverly executed, delivering a lot of laughs and occasionally some intense cringes. This forms a show that is a eclectic mixture of self depreciation, astute social commentary and odd personal experiences that somehow all pulls itself together to be a really entertaining evening.

At some points the show could be tightened up, crossing the line from unscripted banter to slightly unfocussed. However Gill’s joviality and clear comfort in performing prevents this from being onerous, as he is able to keep the audience engaged and chuckling throughout.

Strangely relatable, Amos Gill is Gillty has widespread appeal and a genuinely enjoyable to watch.

Kryztoff Rating: 3.5K