May 19

DRIVING Miss Daisy – Her Majesty’s – 3.5K – Til 2 June

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Theatre

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driving miss daisy760x380 300x150 DRIVING Miss Daisy – Her Majesty’s – 3.5K Til 2 JuneBy Peter Maddern

Race relations are a fraught subject at the best of times. In post war USA, they reached another crescendo of hostility and conflict, though this time rather less violently than through the civil war of 70 years previous. Miss Daisy (Angela Lansbury) is an aging Jewish widow who’s driving record means she can no longer be trusted alone on the roads. Her diligent and caring son, Boolie (Boyd Gaines) hires her a driver, the African-American, Hoke (James Earl Jones).

Driving Miss Daisy then is the play of how these two start the long process of bonding, then inter-dependence and finally a sincere and deep friendship that sees their days out, with all of this played out before a back drop of the search for equality for African-Americans in the United States, particularly the South. The prejudice also displayed against Jews and the pressures placed upon those who get it by business and social conformity add spice to the tale.

For those who see Driving Miss Daisy as an opportunity to see two icons of TV, theatre and film strutting their stuff, you will not be disappointed. Recently I marveled at the stamina of 70 something Barry Humphries doing his ‘last’ show but he is but a spring chicken compared to Lansbury and Jones, both of whom are well into their 80s – Lansbury a remarkable 87.

Not that age was wearying them. Though neither was required to dance like Nureyev, both sustained their energy and composure throughout leaving us with the most touching and poignant moment of the whole show.

This play, written by Alfred Uhry, is a substantially pared down version of his Best Picture winning film of 1989 (directed by Bruce Beresford). Remarkably, this production is the first to be on Broadway and features that production’s cast other than for Lansbury who replaces Vanessa Redgrave. As well as its strong racial message, Driving Miss Daisy will also move baby boomers who will see their own lives flash before their eyes as the 60s pass and their relationships with their elders come into focus through Daisy, Hoke and Boolie.

A thoroughly enjoyable show that utilises minimal staging but clever use of projections to take us between the various locales and moments of time.

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May 17

THE Reverend Horton Heat – Adelaide – Win Tix

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Music, News, Uncategorized

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ReverendHortonHeat e1357260790558 300x168 THE Reverend Horton Heat Adelaide Win TixPrincipal Entertainment presents the return of Texas psychobilly legends The Reverend Horton Heat, live in Australia in 2013.

The Reverend returns with his white hot band to deliver the good word from the bible of high-octane rock ‘n’ roll for his Australian disciples this May. Long held as the last true masters of country punk laden rockabilly, The Reverend Horton Heat have built a reputation as one of the most inspiring live bands of their generation, a fact not lost on Australian music lovers who’ve witnessed The Reverend tear up venues across the country making the man and his band a must see on each and every visit.

Breaking outta Dallas Texas in 1985 Jim Heath aka The Reverend Horton Heat distilled a potent brand of musical moonshine blending the finest elements of punk, country, blues and good time hillbilly rock ‘n’ roll to come up with a brew that across the span of 9 studio albums remains as fresh and intoxicating as they day it was bottled.  Building a strong cult following during the ’90s through constant touring, manic showmanship, and a wicked sense of black humour, The Reverend Horton Heat shared with his contemporaries The Cramps, the role of championing this conglomeration of arcane music styles re-imagined to a point where they once again became vital and fresh.

In Adelaide The Reverend Horton Heat will be joined by heavy hitters DOUBLEBLACK, who will bring their white hot, fat backbeat proto-rockabilly to proceedings, gettin’ the rock ‘n’ roll party into high gear. Recently rounded out by former Living End drummer Travis Demsey on the kit and featuring Fireballs founding member Matt Black on guitar and Jason Skewes on the upright, DOUBLEBLACK have a proven pedigree making them one of the most powerful forces on the Australian rockabilly scene.

A born hell-raiser of the non-manufactured kind The Reverend returns with his white hot band and a stellar cast of local acts to deliver the good word from the bible of high-octane rock ‘n’ roll for his Australian disciples this May.

Kryztoff has a double pass to giveaway to the Adelaide show at the Gov on May 30. To win, just let us know at win@kryztoff.com who will be supporting The Reverend by midnight Friday, 17 May to go into the draw.

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May 16

LAUNCH of Drive for New City Arts Hub

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News

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An online TV & radio station, a recording studio, an art gallery, a photography studio, co-working space and pop-up stores will all come together at a prime Rundle Street location under plans by local social entrepreneurs Adam Daze and Todd Skipper.

While the State Government has begun work on it’s $1 million investment to develop the former site of Fletcher Jones on the corner of Hindley Street and Peel Street, Daze and Skipper have plans to create a thriving creative hub in the heart of the CBD’s main cultural precinct for a fraction of the cost.

The co-founders of online radio and television broadcaster Soundpond.net have rallied the support of their sizeable online community, all 11,000 online social media followers, and are hoping to crowd-fund to cover their start up costs. “Soundpond.net has always been funded by the community it serves, so using crowd-funding to take the next step just feels right,” says Skipper. “The hub will be completely self-sufficient once it is up-and-running and $15,000 is all we need to cover the outlay of moving into the building.”

After unsuccessfully approaching the State Government for support, Daze and Skipper feel that more incentives should be developed for locally based creative organisations to respond to meet needs of their communities. While Hub Adelaide will operate with support from national body Hub Australia and business partners Microsoft and BankSA, private enterprises such as the Majoran Distillery and The Mill already operate co-working spaces in the CBD without sizeable investment.

“It is a little disappointing the State Government has invested so much money into its own hub project, despite being fully aware of similar private projects in the works,” says Daze. “It would be great to see them show more confidence in independent, locally grown initiatives.”

“Everyone has recognised the migration of young artists and entrepreneurs interstate as an issue, but we feel not enough is being done. We’ve watched many incredibly talented people leave for the East Coast, but we love this city and want to keep doing our bit to nurture young creativity here.”

For further information:

www.soundpond.net

contact@soundpond.net

Adam Daze: 0477176823

Todd Skipper: 0406269453

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May 16

SOUNDSTREAM Collective – Great Music in Great Spaces – 3.5K

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Music

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By Peter Maddern

Last night, the Sounstream Collective, under artistic director, Gabriella Smart, delivered a little gem of a program in its latest Great Music in Great Spaces series. Focused around Victoria Square (Tarntanyangga), audience members were first dished up Stavinsky by clarinettist Peter Handsworth from the 14th floor office of Woods Bagot, presenting below a bold view of Victoria Square, now completely cleared but for the core of the Three Rivers Fountain.

From there, we buried ourselves in the Tunnels beneath the Aldina Hotel (the old Treasury building) to hear Bach by German, Eric Soucy, on his viola. Finally the two together played in the ante room of the new Collins Bar at the Hilton Hotel.

Dashes of the old and the new, the staid and the shocking presented in a neat walking tour that explored in just two hours a number of aspects of Adelaide, music and architecture, in theory and in practice.

Do treat yourself to the next in the series (check the website - www.soundstream.org.au – but before then join both Handsworth and Soucy at another great space, the Samstag Art Museum, this Saturday from 4-6pm as they play to help usher in Crowd Theory Adelaide’- Victoria Square by Simon Terrill to that institutions collection.

See our review of that work by clicking HERE

Kryztoff Rating   3.5K

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May 16

CROWD Theory Adelaide – Victoria Square / Tarntanyangga – Samstag Art Museum – 4K

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Visual Art

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Simon Terrill CENTRE 2 300x237 CROWD Theory Adelaide – Victoria Square / Tarntanyangga – Samstag Art Museum 4K

Simon Terrill – Crowd Theory Adelaide: Victoria Square / Tarndanyangga (detail), 2013

By Peter Maddern

Simon Terrill’s Crowd Theory series started as a solution to a problem about how to capture a group of people’s reactions and connections to a particular place with which they have an attachment. His early works in Melbourne focused around apartment buildings, sports fields and the like, each bringing a combination of people often dwarfed by the physical structures behind, notable for their bright lights emanating.

At the end of February, citizens of Adelaide were encouraged to congregate near the Three Rivers Fountain in Victoria Square just at the moment it was about to undergo a transformation and Terrill, perched up on scaffolding at the southern end, would capture that gatherings interaction’s with the space in a form of performance art.

The result, Crowd Theory Adelaide – Victoria Square / Tarntanyangga, is now hanging in the Samstag Art Museum, the entity that commissioned the work.

Done for the first time by Terrill in three panels, Crowd Theory Adelaide is, if nothing else, a terrific, stunning capture of Adelaide in 2013, one that will stand the test of time. As a participant, seeing the whole carries very much more an impact than the involvement itself did. Careful inspection reveals audience members undertaking all kinds of behaviour, responding to Terrill’s urgings that the thoughts we held could be captured by the camera.

However, it is the lights that span out behind the fountain that really pack the image’s punch. The symmetry that Light bestowed upon our town is for all to see in its glory 175 years on – the Town Hall and Post Office towers straddling lines of traffic, one approaching, the other distancing itself from the core of the image, the fountain. The office buildings then seem to climb up from the valley of traffic.

Being able to also balance the red bunting in place (in the foreground) for the works then soon to commence with the lights of cars moving on at the rear was quite inspired (it otherwise being an eyesore.)

Like many contemporary images of their time, many may not give this work much thought. This would be an error as there is something, as I say, quite stunning and enchanting about Adelaide done up like this But in time, the significance of this (like other contemporary) images will grow – nostalgia and fascination will take root and Terrill’s image will be sure to become an iconic for one Adelaide.

We may also then be able to better answer whether a better image would have been before the Council work set in, to have seen Victoria in her pomp at the end of 50 years, especially if the renovations now underway finish up as the same sort of debacle as the Council’s work on Victoria Park.

Kryztoff Rating   4K

See our interview with Simon Terrill about this and his other work by CLICKING HERE

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May 14

MUFF– Bakehouse Theatre – Til May 25 – 3K

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Theatre

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44415 578074988884081 1871859481 n 300x111 MUFF– Bakehouse Theatre – Til May 25 3KBy Peter Maddern

30 something Tom (Brad Williams) sits between two women who covet him but whose positions about sex are almost polar opposites. Eve (Claire Glenn) is a former girlfriend who saw her relationship and sexual appetite for ever changed after being raped in a pub by an unknown attacker. She is back from two years in China and keen to show Tom she has regained her touch. Manpreet (Serena Moorghen) similarly aged to Eve in her mid / late twenties is into anything that may be categorised by the word fetish. Inhibitions are not part of her DNA and everything seems inevitably aimed at sexual satisfaction. How lucky is Tom to be caught between these options!

This play written by Australian Van Badham after her return from a decade in England heavily reflects the theatrical scent of that country of the past 20 years. It revels in the notion that merit is a function of the shock created and her audience is spared no shortage of sex acts, nudity and violence to hammer home her points.

dsc 6827 300x198 MUFF– Bakehouse Theatre – Til May 25 3KClaire Glenn takes on the most formidable challenge of the three players and does an admirable job, swinging and swaying between the hurt and challenges of her rape and the need to get back into the scene, to present herself as eligible for guys like Tom before it may be considered too late. Bitter and sweet, demoralised and energised, Glenn takes us on a convincing emotional ride juxtaposed not only against the instincts of Tom but the rapaciousness of Manpreet.

Myf Cadwallader’s staging makes good use of moving screens mounted on wheels though the precision with which the makeshift shower is placed and adjusted (or indeed used at all) all seemed somewhat unnecessary. But a real highlight was Chris Petridis’ lighting, giving great effect to the metaphor of the opening bathroom scene through to keeping the electricity of the relationships pumping along with strobing fluoro lights. His skills picked up through gigs with the likes of ADT are on full show.

Violent, shock theatre will appeal to many and for others it is a style that hopefully will disappear from view more quickly than it lasted. But it is fair to say the challenges taken on by the fivepointone team have been well-handled and this, clearly, is a company SA theatre goers will wish to keep close with.

Kryztoff Rating    3K

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May 09

2 One Another – Her Majesty’s Til 11 May – 4.5K

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Dance

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SDC 2oneAnother photo Ken Butti 02 300x185 2 One Another – Her Majesty’s Til 11 May – 4.5K2 One Another is about the experience of connecting and disconnecting and for Adelaide audiences this is our first time at making such a connection with the Sydney Dance Company since 2009. If for no other reason than for seeing how top notch contemporary dance production is done, one can only hope it happens rather more regularly than every four years.

Rafael Bonachela’s artistic direction takes us through isolation as a curse and a strength, the joys and lows of interacting with another and the buzz and desolation that can come from crowd involvements. But throughout the beauty of the human form is the supreme connection he makes with the audience.

In four sections, the dancers perform the first three in a grey/blue costumes before the last, Planescapes, takes us into a new dawn of post box reds, led rhythmically and compellingly by Andrew Crawford and Juliette Barton.

283480 2 one another 300x168 2 One Another – Her Majesty’s Til 11 May – 4.5KMany contemporary dance companies seek to create an edge through a high emphasis around the music or lighting, often overreaching and shadowing the focus of dance. Bonachela’s work is as near perfect in its combination of all stage elements as can be seen. Nick Wales’ music score spans classical, baroque and techno but never over- imposes itself. The stage lighting of Ben Cisterne is subtle, almost understated but highly effective and Tony Assness’ digital backdrop screen nicely complements the movements ahead of it, especially in those times when it morphs from a creased and crumpled sheet to an expanding vision of colour.

While the last section brought warmth and comfort to the senses, the highlight for this reviewer were the last movements of the third section, the Dark Half, that through the combination of climaxing music and dance that pushed the limits, the joy of company and this Company was heartily communicated.

Kryztoff Rating   4.5K

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May 06

The Illusionist – Seraphim Trio – Elder Hall – 5 May

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Music

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By Ben Nielsen

What better way to spend an overcast Sunday afternoon than with the Seraphim Trio. In their second concert series of 2013, the ensemble paid homage to the ‘magician of sounds’, Maurice Ravel.

Ravel was one of the most prominent Impressionist composers, but is perhaps best known for his arrangement of Pictures at an Exhibition and the orchestral work Bolero. Described by Stravinsky as “the most perfect of Swiss watchmakers”, Ravel’s sense of detail and perfectionism is well exhibited by Seraphim’s program selection.

trio The Illusionist Seraphim Trio Elder Hall 5 MayIt is curious that Ravel’s three pieces, penned within a relatively short twenty year bracket, possess such stylistic contrast.

The mellifluousness of Jeux D’eau resolved an uncomfortable sparseness of Sonata for Violin and Cello, and then both were conquered by the virtuosic Trio in A Minor.

To a program dominated by a single composer, Benjamin Martin’s Cartoon was an unusual addition.

For the first time, Seraphim was seen in a variety of different configurations, performing first as string duo, then solo piano and finally piano trio. This provided a fascinating opportunity to observe the different capacities of each instrument and player.

Most enchanting was Anna Goldsworthy’s solo performance of Jeux D’eau. Ravel’s melody was as graceful and fluid as Goldsworthy was at the piano. A joy to watch.

4 K

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May 03

THE INTERVIEWS 2013 – By Kryztoff

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News, Performing Art, Uncategorized, Visual Art

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Simon Terrill CENTRE 2 300x237 THE INTERVIEWS 2013 By Kryztoff

Simon Terrill – Crowd Theory Adelaide: Victoria Square / Tarndanyangga (detail), 2013

THE KRYZTOFF INTERVIEWS – 2013

Throughout the year, Kryztoff interviews various performers, artists and commentators. This blog page now brings them all together, with the most recent posted first. Enjoy.

Simon Terrill – photographer of Crowd Theory Adelaide – Victoria Square. In late February as Victoria Square was in its first days of transformation, Melbourne photographer, Simon Terrill came to Adelaide to capture the square in the latest of his Crowd Theory works commissioned by the Samstag Art Museum. See the interview by clicking HERE. (Recorded March and released May 2013.)

Renato Musolino – Stand in actor for Barry Otto in the State Theatre’s production of The Kreuzter Sonata for the Adelaide Festival of Arts. After Otto fell ill, Musolino took up the massive challenge of performing the role with just days notice and in the end making it his own. See the interview by clicking HERE. (Recorded and released March 2012.)

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May 03

Chitty Chitty Bang Bang – Festival Theatre – Til May 26 – 4.5K

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Performing Art

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Chitty flying Photo Credit Kurt Sneddon 300x240 Chitty Chitty Bang Bang – Festival Theatre – Til May 26 – 4.5KBy Peter Maddern

One can’t help marvel at how with only a few tweaks, Ian Fleming transformed all of his James Bond trademarks into a delightful show for children and their parents through Chitty Chitty Bang Bang. Consider Truly Scrumptious for Pussy Galore, villains from Vulgaria and Spectre and a car with features that would have made ‘Q’ beam as broadly as he did with his Aston Martin.

But all of that is by the by as this story is transformed not only by a sparkling, wondrous and often heart-rending stage show but also by a string of wonderful songs from the Sherman siblings, Richard and Robert. These were the folk who endeared themselves to two generations through their work on Mary Poppins and they certainly took no risks with a new style here, with many of the songs sounding somewhat similar, especially if one closed one’s eyes for a while.

David Hobson and Rachael Beck Photo Jeff Busby CCBB 2441 300x200 Chitty Chitty Bang Bang – Festival Theatre – Til May 26 – 4.5KBut whatever reservations parents might have about the 1968 film from their childhood, they can all be assured this production will only thrill and delight their children and them.

Much of the fun is dominated by the Vulgarian spies (image below) Goran (George ‘RAA’ Kapiniaris) and Boris (Todd Goddard) and their bosses, Baron Bomburst (Alan Brough) and his Baroness (Jennifer Vuletic) who, in particular, leaves nothing in the way of over the top antics in her stage room .

David Hobson (image left, laying down some lines) dances and sings his way into our affections as Caractacus Potts (his Hushabye Mountain the highlight) and Rachel Beck is simply delightful as Truly Scrumptious (delivering on her most demanding moment in the show during the Doll On A Music Box number.)

George Kapiniaris and Todd Goddard Photo Credit Jeff Busby 300x200 Chitty Chitty Bang Bang – Festival Theatre – Til May 26 – 4.5KThe local children, playing Jeremy and Jemima are as strong in their performances as they also endearing and Tyler Coppin’s Child Catcher is a dark and gangly nasty whose limited stage time nonetheless carries a punch.

But, of course, the truly wow factor is Chitty herself, bought and rescued from the junk heap, restored by Caractacus and then lifted high, up and about against a star lit sky in a manner that brings the first half to a rollicking good conclusion and ensures kids will be waiting anxiously for the second stanza to kick off.

This is a massive, highly professional production with a large stage cast and a 15 piece orchestra led Peter Casey and well done to the Adelaide Festival Centre for taking this risk on bringing this production here. Don’t miss it Adelaide!

Kryztoff Rating  4.5K

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