Feb 21

Fringe 2018: Socially [un]acceptable – 4.5K


By Amy.

There are some Fringe shows that stick with you long after you leave. They make you contemplate your own experiences, opinions, and beliefs.

Socially [un]acceptable, a no-holds-barred piece by Laura Desmond, is definitely one of those shows. An honest, unflinching look at both the sexual assaults experienced by Desmond throughout her life, and the warped attitudes towards harassment, sexual assault, sexuality, and misconceptions about what does and does not constitute assault in Western society.

Clad in her underwear, Desmond dresses and undresses throughout the show, which was an inspired choice; it is a one-two punch in accompanying her brutal stories, and also seems like something more personal.The admiration that you will have for Desmond’s bravery, who bears both her body and soul to her audience, is immeasurable.

An important performance for both women and men alike, Socially [un]acceptable needs to be seen, heard, discussed, and praised for its bravery and honesty. Thank you, Laura Desmond, for sharing your experiences with us.

Kryztoff rating: 4.5K

Please note: This show has a trigger warning for survivors of sexual assault.

Feb 20


Two people, brought together by chance, search for ways to keep hope alive.

Through their nightly shadow-puppet play they are able to create stories and worlds over which they have control.  They can make plans, express their fears, laugh, and make it through another night.

Nameless throughout and with their pasts virtually erased by the calamity and alone in a post-apocalyptic world, they are travelling toward the Golden Gate Bridge. The man believes that a community of survivors exists on the other side and that they will find there all they need to start a new life.  The bridge comes to symbolise hope and also the end of hope.

They cling to one another as the last tangible traces of their past lives fade away.

Actor-writers Nick Rinke and Caitlin Docking bring this story wonderfully to life.  With minimal props, clever dialogue, song and excellent shadow work they take the audience with them on their journey.


Presented by Green Eggs and Ham, Canada.

Bakehouse Theatre

Feb 20


by Riccardo Barone 


Anya strikes again! A character with a tormented floozy life, eternal wanderer, researcher of that perfect Hollywoodian love with the consciousness and the related consequences of solitude and illusion to find stability in it.

The interaction with the audience is brilliant, sassy, sexy, provocative, clever. This unsatisfied girl is starving for her perfect-ideal love which, due her picky taste and neverending demands, is going to lead her to a lonely daily life. The reality is glamorously and inevitably faced in the song “It takes two to tango”, a cirquey four hands duet with the pianist.

The all female band consists in drums, bass and keyboard players. The flowy music perfectly represents the sparkling dynamic of the story following the character’s timing with audacity and loyalty.

The “star of the party” brilliantly entertains the audience with her multi-skilled abilities: singing, acting, playing the piano and the ukelele.

Can you ask for more?

Rogue Romantic perfectly faces the contemporary lifestyle and mentality regarding our expectations so much bigger than reality.

Kryztoff Rating  4K


Feb 20


It was a full house on a balmy Adelaide evening in the Tin Shed at the Wheatsheaf Hotel, but one could have heard a pin drop when Cal Williams unassumingly took to the stage and began playing some lovely slide guitar.  After a few minutes he was joined by Kory Horwood plucking and bowing his double bass, and a little later by the amazing Will Kallinderis on harmonica.

They proceeded to hold the full attention of the audience for the duration of the show with their easy flowing style, expert musicianship and snippets of storytelling and humour.  The early blues music included a touch of soul and gospel, some Appalachian blues played on a ukulele made out of an old copper wood heater, and a beautiful rendition of Parchman Farm featuring brilliant solos by all three musicians.  Will Kallinderis treated us to a demonstration on how to play the ‘tin sandwich’ and a brief history of the instrument.  All three performers sang, and their voices worked beautifully together.

At the end of the night the audience were invited to participate in a version of ‘Turn Your Money Green’ which they did, with gusto.

The setting was ideal, the weather was cooperative, and the audience were very appreciative.  This was a very classy and engaging show.


Feb 20

We Live By The Sea – Adelaide Fringe – Feb 2018

We Live By the Sea is a wonderfully atmospheric, imaginative and tender theatre piece which draws the viewer into the world of an autistic person and the lives of those who care about them.

Katy is a friendless autistic teenager with an imaginary dog named Paul Williams.  She lives by the sea with her sister Hannah, who has been thrust into the role of carer as a consequence of their father’s death.

Living with virtually no outside support they meet Ryan, a young man new to the area who is dealing with problems of his own.  This meeting and the bonds that they form are transformative for all of them.

As audience members arrive they are intimately welcomed into these stories within stories and invited to participate in a “different kind of thinking”.

The simple set makes great use of live music, lighting and projection to take us to the sea, and also to experience what sensory overload may feel like to an autistic person.

There was brilliant acting from all four cast members, great dialogue and storytelling, humour and sadness.

There will be a soft performance with minimal lighting and sound effects on Feb 25th.



Presented by Joanna Hartstone, Patch of Blue & Hartshorn-Hook productions.

Empire Theatre,  Royal Croquet Club


Feb 19

FRINGE 2018 – MAGIC – Matt Tarrant : Unsolved – Gluttony – 4.5K

By Julia Cudsi


Matt Tarrant can hardly be considered a new addition to the Adelaide Fringe – with sold out shows in each successive Adelaide Fringe since 2012, and a star turn on Australian Survivor,  he has become something of a fixture in South Australia.

Having said that, I have never had the opportunity to see one of his shows before, so I attended with high hopes for a magician and mentalist who wins award after award. And I was not disappointed.

With a tongue in cheek nod to the fact that most audience members spend the entirety of a magic show trying to figure out exactly how the magic tricks work, Matt takes us through a variety of sophisticated card tricks, mind reading and humorous stories, all relying on a hefty dose of audience participation. Each trick, of course, goes off without a hitch – and we would expect no less from a reputable musician.

Overall, this is an extremely entertaining show, with a lot of bang for your buck. Perhaps a little heavy on the patter and a little light on the number of tricks, it is nonetheless indisputable that, at least for this reviewer, every element of Matt Tarrant’s show remains Unsolved – and extremely entertaining.

Buy your ticket before, inevitably, this show sells out.



Feb 19

FRINGE 2018 – Music, Jazz KIND OF BLUE : The Miles Davis Show – GC Club – 4.5K

At The GC — The German Club — Showroom 1
Saturday 17th Feb 2018 7:30pm – 90 Minutes

Miles Davis - Kind of Blue (1997) Retail CD

The ‘Kind of Blue’ band features SA’s leading jazz session musicians Chris Weber (trumpet), Jason McMahon (sax), Tom Pulford (alto), Shaun Duncan (bass/MD), John McDermott (drums) and Dave McEvoy (piano).

review by GARY C

I was a few minutes late and the music had already begun. It sounded good from out in the foyer of the uber busy German Club with 4 separate shows all running at the same time, at the same venue, in separate rooms !  I negotiated my ticket with the very friendly staff and sidled up to the bar while scanning the room. This was a huge space that looked more like a Footy Club with its blue and white streamers draped across the ceiling and its table arrangements reminiscent of a refectory.

With hard surfaces everywhere and little evidence of acoustic damping other than a full house of people propped on plastic chairs I wasn’t expecting great things. But I was wrong! ….
The sound mixer and the equipment were top notch doing justice to what was an impeccable performance. This very accomplished sextet reflecting Miles Davis late 50s early sixties period consisted of Drums, Double Bass, Piano, Tenor Sax, Alto Sax and of course Trumpet.

They were tight knit, weaving their magic through a repertoire including pieces from Porgy and Bess, Milestones and naturally the whole of the truly seminal Davis album, Kind of Blue. The timing of the interchanges and the nuances of the performances had me closing my eyes and imagining I was in a smoke filled basement in New York with Charlie Parker, Thelonious Monk and Dizzy Gillespie listening to this hot trumpet player breaking new ground. I opened my eyes to a sea of white faces and not a puff of smoke in sight.

Highly recommended for jazz buffs and music lovers of all kinds. However this was a one off performance at this Fringe and we can only hope they come back next year or even better, decide to tour this show around so more of us get a chance to hear it. —— 4.5 K stars


Reviewed by GARY CLARKE

Feb 19

Fringe 2018: Tessa Waters – Volcano, GOUD – 4K


By Amy.

In her latest show Volcano, at about forty minutes in, Tessa Waters promises a damn good story – and on that she delivers. What she also manages to deliver on is an hour filled with improv, physical comedy, and making sure that the audience is having a great time.

Waters spends the hour trying to convince us not to eat her during an apocalypse. With a lack of woodworking skills, and a self-professed inability to run from zombies, she asserts that we would chow down on her “strong Waters thighs” before the apocalypse has truly begun.

Instead, she says that what she does bring to the table is great impromptu skits (this part is true), fun games (the only part of the show that lost a bit of momentum) and great stories – that last one won’t disappoint.

But what sets Waters apart from the others is her attitude and demeanour. She seems to exert positivity, kindness, and a self-confidence that is infectious. She speaks about loving yourself, your body, and owning it as your own (what she terms as being a “badass babe”). It spread over the crowd like a warm and fuzzy hug, and left everyone on a high as they exited the Cupola at the Garden.

Worth a watch this Fringe for a hilariously entertaining night out with a talented comedian.

Kryztoff Rating: 4K

Feb 18

FRINGE 2018 – CIRCUS – The Displaced – Tandanya – 4K

By Julia Cudsi

In the interests of full disclosure, I was extremely confused at the beginning of this show – I had intended, and prepared to attend, an improv show and was mightily confused when (what I had assumed to be a brief warm-up act of gymnastics) went on for more than 15 minutes. This was around the time where I concluded that I had sat in the wrong theatre (whoops) and decided to settle in for the ride.

And boy, am I glad that I did. “The Displaced” is that most modern type of circus, featuring no animals or even any dialogue, but instead displaying feats of mesmerising physicality.

Including breath-taking displays of aerial gymnastics, thoroughly entrancing dance routines, incredibly skilled tumbling and floor work and even the entrance of some bumbling clowns, “The Displaced” is a fantastic show.

Put on by a young group of circus performers, the show is dystopian in style but not frightening (as demonstrated by the large number of young kids who seemed as mesmerised and engaged as I was). Although there seemed to be a few minor technical difficulties at the beginning of the performance, these were swiftly swept up in the flawless acrobatics and gymnastics on display throughout the performance.

This is a show I would happily watch over and over again, and I feel like I would be newly impressed each time I saw it. To me, this is what the Fringe is really about.

And for what it’s worth, Juliet’s sangria at the front of house is divine. Leave the car at home if you plan to have more than one, though!

“The Displaced” runs until 4 March.


Feb 18

FRINGE COMEDY, THEATRE – Grand Final Day – Tarndanya Theatre – 4K

scaled_DRAFT3By Alexander Ewers

“Life is a game; football is serious”. Nowhere is that sentiment more unapologetically embodied than in the homespun and home-bred clubs of this nation’s Amateur League. And performed for the first time this season, Peter Maddern’s third Fringe comedy simultaneously evokes and parodies that very spirit, skilfully weaving together the traditions and practices, both arcane and banal, that constitute this Australian game. Landing his audience directly into the living, breathing heart of one such football team in their season-defining moment – Grand Final Day – there follows a glorious melange of the random, the improbable, and the incompatible, as can only find sense in the crucible of the game day change-room.

Welcome to the Dingbats! The Dingbats are a uniquely average, quintessentially passionate, and (remarkably) undefeated local football team, stumbling together on the morn of their Grand Final. From their sanctuary in the bowels of the football clubrooms, and led by a battle weary veteran with requisite hamstring injuries, the Dingbats venture forth to partake in the oft-rehearsed rituals of game day. Ranging from the irreverent pre-match banter, somatisation of nerves and obligatory physio, to the questionably misplaced fervour of the coach’s rousing battle-speeches, a progression of scenes unfold, each as familiar, as the last. The obligatorily eccentric group of misfits, their unquestionable devotion variably matched by physical prowess, face seemingly insurmountable challenges to have their shot at claiming the ultimate trophy.

Down to the “Footy Budgets” on sale at the door, the Grand Final Day experience is curated to transport one directly into the idiosyncratic and endearing world of amateur league football. The unclad and minimalist décor of Tandanya Theatre fittingly stands in for the crude but oddly intimate environs of a football clubhouse, complete with the ubiquitous massage table centrepiece. This is augmented by sound effects that capture the strangely amplified and yet somehow distant echoes of game day as heard through the filter of a basement change-room. Maddern alternates between parodying and paying homage to the hodgepodge of traditions and “perversions” that constitute the crude, unembellished game as enjoyed at its roots. Think “snags”, a rousing rendition of “Sweet Caroline”, visceral props courtesy of the coach, and a physio armed with the dual weapons of a well-spoken word and a well-timed tonic.

While occasionally a little predictable and experiencing a few early lapses in momentum, Grand Final Day on the whole maintains an energy and fresh humour belying the familiarity of a story replayed annually across the country. In fact, often little overt comedic effort is necessary, the sheer improbability and absurdity of the competition’s quirks at amateur level, speaking for itself and largely carrying the performance through any slow points. A couple noteworthy observations – the deliberate nod to female participants in the game is a refreshing touch in an era marked by the recent advent of the AFLW. Similarly, the physio’s monologue as she dispenses her ultimate weapon to a weary skipper, has to be one of the more eloquent expressions of the spirit of this sport that attracts and binds so many Australians together.

In a time when Australian values seem impossibly difficult to define, Grand Final Day captures that simple but glorious unorthodoxy that is the fair-dinkum Australian approach to a fair dinkum Australian game, stripped of all and any pretention. While undeniably produced with the insight of one having firsthand experience, even the most casual of football fans can hope to be both delighted and enthused by this irreverently comical performance.


Kryztoff Rating 4K