Feb 27

Fringe – Twisted Lollipop – 3K

Twisted Lollipop is solid acrobatic comedy. It is a two woman show embracing unorthodox acrobatics, wild dancing and candy. Within moments the duo have the audience watching intently as they jump, dance and run across the stage.

The show is produced by Twisted Hitch and stars Marianna Joslin from ‘The Ice Cream Factory’ and Abbey Church from ‘Wilde Applause’ and ‘Vulcana’. Twisted Lollipop is being performed for the first time in Adelaide this Fringe.

Overall the performances of both Joslin and Church were fantastic. The acrobatics were spectacular, leaving the audience nonplussed and unsure as to whether they want to stop clapping. While it is unconventional acrobatically, the stunts are entertaining and well performed.

While the performers embraced spontaneity, it was clear at times that something had gone awry. However the duo recovered well and their lighting and music coordinator was ready to move quickly to the next performance.

The two performers had a strong stage presence and portrayed themselves well. The dancing was well choreographed and the music well themed and selected. Church’s strength was phenomenal while Joslin commanded the stage and microphone with her presence.

Twisted Lollipop will have you singing, laughing and applauding without pause. Church and Joslin have created a fantastic show which is guaranteed to delight.

3K

Feb 27

FRINGE- At the Last Gasp- 4K

A feast for the eyes, At the Last Gasp showcases some of the best circus and physical theatre that the Adelaide Fringe has to offer. Brimming with youth and vigour, the one-hour show is a medley of highwire tricks and impossible feats of accuracy blended with the emotional distress of life.

Through a series of vignettes, At the Last Gasp presents everything from candid storytelling to dance routines to extraordinary physical theatre in a unique and riveting manner.

The quirky and at times confronting presentation by the young troop was compelling and absorbing, using the medium of circus to explore complex issues regarding death, identity and relationships. The show was sophisticated beyond the troop’s obviously tender years, and the graphic and at times violent portrayal of the darker side of a wandering mind is to be applauded.

At the Last Gasp fills the room and the mind with real questions about life. Given the age of the performers, they are ones to watch both at the Fringe this year and into the future.

4K

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Feb 27

FRINGE – Happy Gas – Channel 9 Kevin Crease Studios – 3K

 

Two people, an old Ford Laser, and the expansive area of a sound stage at the Chanel 9 Studios combine to provide what is really a staple of any Fringe Festival – some abstract theatre. The blurb for the show describes the characters as clowns and, while they are certainly very funny at times, it’s best to think along the creepy homicidal line rather than someone you might expect to meet at the circus or a children’s birthday party. Developed by director Paulo Castro and performers Hannah Moore and Nick Bennett, multiple disjointed scenes pile on top of one another; filled with energy, aggression and an unsettling intensity.

The space of the studio allows the action of the piece to develop in a way that wouldn’t be possible in a traditional theatre. The use of lamps, heaters and fluorescent tubes to light the actors is fun and effective, combining with the sound coming from an old CD player to create a disconcerting ambiance. The characters vacillate been fighting with one another and telling stories directly to the audience. There’s talk of crucifixion, sushi, and decapitation amongst other things. As each scene plays out you are left to isolate the connecting threads, to piece together the overarching story.

The latter half of the show follows a more traditional narrative as the two characters, now clearly defined, named and consistent, discuss the details of, and their feelings surrounding, the event that is at the core of the piece. This segment does bring several of the elements from earlier in the performance together but there are still multiple aspects of the earlier scenes that appear to remain tangential, or completely separate, to this. In the end you have some answers, some sense of a journey taken, however a hell of a lot of questions remain.

That’s not to say that it isn’t enjoyable, because it is. Moore and Bennett both give strong, engaging performances. Sometimes it’s the things that make no sense, that come completely out of nowhere and seem to disappear in a similarly elusive manner that are strangely delightful. Theatre doesn’t always have to make complete sense. It can also serve a purpose by engaging your brain, inciting unexpected feelings, or making you think about things in an alternative way as you explore what you’ve just witnessed. This show does all three.

Kryztoff Rating: 3K

Feb 26

FRINGE – Hallelujah – Soul Box – 4K

cohen2By Peter Maddern

Tribute bands can be a hit or miss affair with many seeing the need to re-interpret their maestros’ work – oh it could have been me if only … – making the whole thing somewhat of a bore.

With the man, Leonard Cohen himself, a relatively frequent visitor in recent times to this town, the risks were magnified.

But, this delightful performance by Touche is simply spot on with its pitch, complete with its information, direction and song and game sheets and much enhanced by a slide show (and video at the interval) that seems to never repeat and keeps pace with the material being sung as well. Michael leads the way in fedora and guitar while Tess chimes in with voice, flute and strings. It’s comely and compelling entertainment.

As a Cohen fan, you remain unsure if this will be for you? Then consider that for a middle aged crowd I have never seen such a focus on two performers, to the exclusion also of random visits to the bathroom by partners looking to kill the time. There is a power to this show that is not easily described.

This show has two more performances (9th and 15th March) and they may well also sell out. So, even if you have been to see the real thing, never had the $350 to have the chance before or just fear you never will get another chance, then Hallelujah – 80 Years of Leonard Cohen is a heavenly solution to your condition.

Kryztoff Rating  4K

Feb 26

FESTIVAL – The Seagull – STC Scenic Workshop – 4.5K

241712-308x312By Peter Maddern

If one can’t live with the vagaries of life and the basic assumption about how ordinary we all really are, then unrequited love and thwarted ambition can be a decent old drag. Chekhov’s The Seagull is full of such maligned people; lovers for whom the stars will not align and talent that will never match that of others. When both come together one has a bunch of very unhappy campers.

As much as The Seagull is described as a tragi-comedy, it makes extraordinary demands on many of its players and the Brookmans have called up old (and some new) favourites to pull this excellent production off.

Perhaps first amongst equals is Rosalba Clemente’s Arkadina, mother of the much troubled Konstantin and in love with the self-centred Trigorin. As she endeavours to sustain the credibility of her fading acting career, so Arkadina’s attempts to keep her own world together, never seeing where the seismic cracks in it are appearing elsewhere. Falkland’s socialite portrayal is simply a delight that dominates the play from the outset.

Renato Musolino, last Festival’s STCSA pin-up boy, as Trigorin cruises around in tight, neat attire that nicely captures this lecherous snake’s real being. Musolino smarms and smiles in equal measure as he torpedoes the lives of those around him. Xavier Samuel as Konstantin shows he’s more than a stud muffin that can be heated up for the silver screen. Samuel digs deep to successfully portray a troubled and unfulfilled your man desperately in search of a father to guide him through his various dismays.

No review of the players would be complete without mentioning the younger ladies’ work. Lucy Fry’s Nina presents beautifully as a catch worthy of any man, but sadly while we relish her youth, we wince at her pain as her innocence gets betrayed by those who should have known better. While Matilda Bailey continues her rapid rise up the local ranks with an often at times joyful Marsha.

The Scenic Workshop has its challenges as a venue but again Geordie Brookman has drawn on old friends to maximise its potential with Geoff Cobham’s lighting and set design spot on – it all seemed so natural – and the ability of audience members to see how their counterparts are reacting across the stage makes for an added nuance.

Hilary Bell’s adaptation works well, especially the use of Matthew Gregan’s music and songs.

All in all this is a creative and superbly produced and performed play. One can’t but be moved by the last scene (and pity those who bailed at the interval) with many of the extended exchanges throughout the whole between various characters enough to make one sit up very straight and take notice.

To be sure this Seagull soars.

Kryztoff Rating  4.5K

Feb 26

FRINGE – Wake – Arcade Lane – 3.5K

Wake is a re-staging of an original one act musical (formally called Problems of Definition – the reason for the title change is unclear) from new Melbourne company, Cryptophasia. The creation of sisters Felicia and Natasha King, it is set in the waiting room of a hospital where Laura (Brittany Lewis) has been waiting for days. It is obviously her own decision to stay there, with doctors encouraging her to leave and her husband desperately trying to get hold of her on the phone (both played by Zachary Alaimo), though the reasons for this are not clear.  As she waits, she meets a range of patients (Andrew Coates) and a young doctor (Charlotte Fox), who are each working through their own problems.

Lewis is superb as Laura. From the get-go she creates a character that is confused, exhausted and deflated, yet still enchanting and powerful. Her voice is pleasant and evocative, easily meeting the demands of the role. Alaimo seemed to lack character or direction as the doctor but redeemed himself more than adequately in his return as Laura’s husband, Dan. In this role he was controlled and grounded, creating a moving portrayal of a man lost but still ready to fight for life.

As the three patients whom Laura encounters, Coates did a good job in creating distinctive and interesting characters, though his vocals, perhaps hampered by the less melodic nature of his songs, did not come off as well. In contrast, Fox appeared to manage the vocal demands of her role the majority of the time but her characterisation didn’t provide anything for the audience to connect with. While some of the solo pieces were enjoyable, particularly those from Lewis, the aural highlight was undoubtedly when all four voices came together to create a wonderful quartet piece at the end.

The disused Arcade Cinema has once again been well utilised to create an atmospheric space. The presence of a live band adds to this and the vocals of the actors echo beautifully in the cavernous room. The purity of the natural voices, without amplification, is pleasing, though at times the band does overshadow them slightly. The writing is sound; however some of the conversations between songs get a little overly-poetic at times, even for the exaggerated boundaries of a musical.  

The minimalist set is interesting. More use could have been made of the peripheral parts of the stage, rather than just having the actors stare out at the audience from front and centre so much of the time. The biggest frustration of the production would have to be the staging of the final scenes between Laura and Dan. As the music and emotions swell, the action shifts to the floor at the very front of the stage; a space which is out of eyesight for a large chunk of the audience. It was bitterly disappointing to miss seeing the actors’ faces as they made their way through this scene. Perhaps those with a better view found themselves more moved.

As a whole, though rather depressing, this is a very rewarding evening’s entertainment.  Because depressing isn’t necessarily a bad thing and there’s a good deal to like about this show.

Kryztoff Rating: 3.5K

Feb 25

FRINGE – Summer of Blood – Bakehouse – 3.5K

SOB AF introductions Chris, Mindy, Brennan @ 24.02.14 webBy Peter Maddern

Dreamers from the world of theatre are down on their luck, mainly due to the shortage of their own talent. But, Salvation! Fame! and Recognition! may come their way if they can work together and make a hit out of that old chestnut, the shock horror movie – you know the sort where young people get carved up and there is an enduring enforcer of death that will take us into a sequel.

But the planning starts to go astray as personal ambitions, manipulative agents and girls with big knockers start getting the better of those involved.

For the middle part of this play, I was somewhat underwhelmed, but the last 15 minutes are all good fun and its twist cleverly makes sense of it all. I smiled all day about it today.

The Summer of Blood is schlock unplugged, a gory visit to the entrails of a genre that otherwise needs no introduction.

If you enjoy Saw, see this.

Kryztoff Rating  3.5K

Feb 24

FRINGE- Reverb Theatre Presents Peter Pan- 3.5K

As a beloved children’s classic, Peter Pan is almost always a delight to behold, no matter what format it comes in. In the past ten years, Hollywood has produced four film versions of the story, emphasising the versatility of one of the most truly enduring stories to come out of the decadence of Victorian England.

Reverb Theatre’s production of Peter Pan, performed in Brighton High Schools purpose-built Performing Arts Centre, comes therefore on the back of a long history of retelling and reinventing the tale of the boy who would ‘t grow up for new generations.

Continuing the tradition of doubling the adult characters (Mr Darling/Hook), the production captured beautiful delicacy of childhood. The simple, whimsical set was utilised excellently, transforming as the characters did, between nursery and Never Never Land. The soundtrack, composed and performed by Reverbs own band, was haunting and playful, complementing the tale and the character of the adaption.

The youth troop did well in their presentation of characters, bringing integrity and freshness to the roles. Overall Reverb did a solid job at bringing the play to life, with inventiveness and passion.

3.5K

 

Feb 24

FRINGE- Death Comes at the End- 3.5K

As far as board games go, Cluedo must rank among the highest used for other entertainment forms. Movies, books and plays that set a murder in a closed environment are a dime a dozen, without having to be orchestrated well.

That is why Death Comes at the End has done something truly wonderful to make the notion of murder-in-a-box seems fresh and exciting. Upon arrival, you are presented with a handout that includes your own checkbox grid similar to those in the board game (and a necessary pencil).

Set at Ayers House, the location immediately gives an austerity and sense of occasion- and like all good boardgames, takes place with wine within arms reach. But this is no ordinary play. It is rather a cheeky and flexible live enactment of the game. The character cards, weapons and rooms are shuffled and allocated at random to the actors, whose ability to take on multiple roles lead to both admirable and hilarious results.

Their improvisational skills are excellent, encouraging the audience to make suggestions as to details about each character, the time period, the location, the reason for meeting. Without knowing ahead of time who the murderer is, the Scriptease team weave a storyline through the performance, and tie the resolution neatly with a murder-laced death knot.

Mystery, cross dressing, deep South accents, feather boas and, of course, impromptu murder. If any of these take your fancy, bring your observational skills and get thee to a performance of Death Comes at the End.

3.5K

Feb 23

FRINGE – A Jazzy Afternoon – 3.5K

Olivia Henry

 

A Jazzy Afternoon, performed by the City of Adelaide Band, is located at the Hoyts Cinema in Salisbury. This unorthodox venue provides a very comfortable listening experience for this 40-piece community concert band.

Lead by Ukranian-born conductor Sergey Grynchuk, the afternoon begins with a medley of songs from the Phantom of the Opera. While not ‘jazzy,’ it is a beautiful arrangement with a warm, rich melody. A pleasant start to the afternoon. This unexpected beginning is followed by the Lion King, a fun medley of songs from the popular Disney movie. A number of Jazz standards follow, including “Autumn Leaves”, and “As Time Goes By.” The band then plays a number of concert pieces and more modern songs, such as “Trumpet Tango – Trumpet Duet,” “Rock Around the Clock” and “Friend Like Me (from Aladdin).”

Supporting the band were vocalists Nina V and Doug Pearce (also the afternoon’s compere). Nina V’s voice carries the melody through the Jazz standards of the performance. Her smooth overtones suit the song choices well, especially in pieces such as “Autumn Leaves” and the spicy “Minnie the Moocher.” Doug Pearce has a soft, classic quality to his voice. It is rare to find such a style in modern music and the change is very welcome as he croons “Beyond the Sea” and “As Time Goes By” (A duet with Nina). Additionally, Pearce’s casual approach and cute jokes between performances make him a very charming compere for the afternoon. It is unfortunate however that Pearce’s vocals tend to get lost among the instruments and Nina’s strong vocals.

It should be noted that the players are not all professional musicians. This is not completely obvious, however there are a few instances where the pieces lack a certain attitude and spark that is required for more of the upbeat and modern numbers. There are moments when the melody may be unpolished or the pauses may not be as sudden as they should be, but fortunately the band never plays out of tune. Nonetheless the players do show talent, especially during the trumpet and clarinet solos. These soloists provide a jazzy kick to songs like “Putting on the Ritz” and “Autumn Leaves.” Overall the City Of Adelaide Band provides an enjoyable afternoon for music lovers of all ages.

3.5K

 

Click here for tickets to the next Jazzy Afternoon.

Click here to learn more about the City of Adelaide Band Inc.