By 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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By 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.

Claire 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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2 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.

Many 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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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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By 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.

But 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.)

The 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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Nick Cody

Two hilarious Australian comics come to Adelaide for a week of stand-up gigs.

Shooting star Nick Cody and Adam Hill’s favourite ‘…living breathing joke machine’ David Smiedt are ready to take on the Adelaide stages over four nights from May 7.

For each riotous show, Nick Cody will host while David Smiedt sits firmly in the headlining position. Each evening of entertainment will be completed with the support of Adelaide’s finest local comedians. 

David Smiedt’s brand of warm, inclusive comedy has seen him open for such international comedy icons such as Joan Rivers and Martin Short during their Australian tours. Smiedt is a regular guest on television shows such as Mornings With Kerri-Anne and Sunrise. He is also the author of six humorous books and writes for a wide range of magazines. In fact, he is the only journalist in Australian publishing history to be in concurrent issues of Ralph and Your Garden. Topical, charming and equally comfortable in a bar or a boardroom, Smiedt’s comedy entertains and uplifts.

Nick Cody is quickly becoming one of the funniest young comedians in the country. At only 25 years of age, he’s already toured with some of the biggest names in stand-up, such as Jim Jefferies and Anthony Jeselnik. He was most recently overseas as an invited performer at the 2012 New York Comedy Festival.​ Nick’s brand of stand-up offers a unique combination of edgy, thought-provoking material ranging from brutally honest and uninhibited storytelling to rapid-fire and hilarious social comedy. Cody ​produces a weekly podcast named Something For The Drive Home with fellow comic Bart Freebairn that is available on iTunes.

“Both uncontrollably laugh-out-loud funny and hang-your-head-in-shame funny…” 4 STARS - Herald Sun (on Cody)

 “He’s charismatic, self-deprecating and warm, and the crowd absolutely love him, at one point even chanting his name in their enthusiasm. Cody is there to make you laugh with as much dispatch and efficiency as possible and at that task he excels.” – Chortle

“Some of the sharpest and funniest writing you will find.” – The Sydney Morning Herald

“Sharp and insightful.” – The Launceston Examiner

 Show Info:

 AdelaideComedy.com presents:
Double bill: Nick Cody & David Smiedt
Supported by Adelaide’s finest local comedians

May 2013:
Tue 7^th | Doors 8pm | The Arkaba Hotel, Glen Osmond Rd. Parkside

Wed 8^th | Doors 8pm | The Marion Hotel, Marion Rd. Mitchell Park

Thu 9^th | Doors 8pm | The Rhino Room, Frome St. Adelaide

Fri 10^th | Doors 8pm | The Rhino Room, Frome St. Adelaide

Box Office:
For all tickets, please visit AdelaideComedy.com

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By Peter Maddern

Hedda Gabler is a piece of work. A woman, named not as her husband’s wife but as her father’s daughter, exists in a world where her overarching desire for power over others pollutes the well of accepted behaviour expected by those around her. When Ibsen wrote the play, the character of Hedda was somewhat of a sensation given the straight laced preferences of the theatre of that time. Today, with Joanna Murray-Smith’s modern adaptation, she is probably a far more recognisable or familiar figure. But while strong, she is no pin-up girl for the feminist movement – there being no yang to her evil yin.

State Theatre’s modern adaptation via Murray-Smith is slick. Alison Bell successfully takes on one of the most demanding roles in theatre, seemingly preferring to paint her Hedda as a manipulating villain rather than say a victim of circumstance or an idealist fighting against society.

Hedda achieves her power and status not through beauty but a charisma that men find compelling, mostly to their detriment. Cameron Goodall, as her husband Jorgan, does nicely as the somewhat weak man who has fallen under her spell but who nonetheless also balances his career needs with respect for the struggles of a colleague rather better than his wife does. However, his seeming ambivalence to the potential joys of his honeymoon seems to not have made him rather more sceptical of his wife’s personality.

Terence Crawford as Judge Brack, their confidant and business manager, is the only one who seems to be able to match Hedda, with Crawford convincingly placing himself as Hedda’s equal in the game of free wills and manipulation.

Whether the modern adaptation works is questionable. While DJ Trip’s haunting electronic vibes instantly atune our minds to the present day, the combination of i-pods and mobile phones with hand written manuscripts seems somewhat awkward.  Perhaps pitching this in the 1980s would have been sufficient.

Kryztoff Rating   3.5K

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Internationally renowned Sydney Dance Company is set to return to Adelaide in May, presenting five performances of their critically acclaimed work, 2 One Another, at Her Majesty’s Theatre, 8 – 11 May.

Sydney Dance Company last appeared in Adelaide in 2009 with a successful season of 360º, the work of newly appointed Artistic Director, Rafael Bonachela.  Four years on, Bonachela is now recognised as a revolutionary force in Australian contemporary dance, currently combining his role at Sydney Dance Company and also as Sydney Opera House’s Spring Dance Festival Curator.

The exciting new offering 2 One Another is an exultant and sensual study of human interaction and relationships, exploring the couple (2), the individual (One), and the group (Another).

Beautiful, dynamic and highly physical, 2 One Another is performed by 16 of the best contemporary dancers in Australia, including 2012 Helpmann Award winner, Charmene Yap, Best Female Dancer in a Dance/Theatre Production.

2 One Another is the result of an exciting collaboration between Sydney Dance Company Artistic Director and choreographer Rafael Bonachela, set and costume designer Tony Assness, lighting designer Benjamin Cisterne, and composer/music director Nick Wales, featuring poetry by Samuel Webster.

The performance is set against a stunning digital backdrop of motion design and animation, and features an exceptional soundtrack – seamlessly embracing Baroque to electronica – shot through with poetry fragments created and utilised during the development of the work.

2 One Another premiered in Sydney in March 2012 and toured to Melbourne in November. The show has just received four Green Room Award nominations.

In addition to the five public performances, Sydney Dance Company will also present a school matinee performance, and Adelaide Festival Centre’s Green Room program for 16-30 year olds will present a Masterclass with Sydney Dance Company’s Dance Director Amy Hollingsworth. For more information visit www.adelaidefestivalcentre.com.au/greenroom

“Sydney Dance Company at the peak of their power… A thrillingly fluent piece that maintains its vibrancy over its hour-long journey.” Sydney Morning Herald 

What:	2 One Another
When:	8 – 11 May
Venue:	Her Majesty’s Theatre
Hours:	Wed – Fri 7pm, Sat 2pm & 7pm
Cost:	Premium from $65, Adult from $55, Conc/Student from $50, Groups 6+ $50, Family (2+2) $152, GreenRoom $27.50, Season Subscription Adult from $50, Concession from $45
Bookings:	BASS 131 246 or online at www.bass.net.au
	For further information visit: www.adelaidefestivalcentre.com.au Get social with us on Twitter @AdelaideFesCent Facebook facebook.com/FestivalCentre

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By Fiona Gardner

Dressed in a long Scottish kilt, Mark Wilson presents the story of a fictional replication of a daughter who is a theatre legend. This award-winning prima ballerina actress then takes you through the trauma or wild fantasy of an abusive parent. The crossing-dressing performance reflects on the grandeur of Mark Wilson’s inflated sense of being an artist and although this piece has been rated PG, it is definitely looking towards the M if not MA classifications, taking into consideration the impact that live theatre can create.

As the piece is narrated throughout, the role-play is enhanced with a psychologically deepening of the questions relating to the development of homosexuality. This performance states that it will whisper a confession (which plays on the question of reality) that turns into an unbelievable revealing final scene. Wilson delves deeply into the love that he has for his father, exploring not only Freudian sexuality but also relationship development generally towards our parents as well as the development of a specific gender.

Each scene is performed with great conviction and a spontaneity that will have you wondering what hit you. But be warned Unsex Me is extremely confronting and conservative minded folk may well walk out wiping their brow. This questioning autobiography leaves you guessing at the end between the rights of different genders and sexual equality with the whole effect maximised by the disturbing fact that its contents are indeed true.

Kryztoff Rating   3.5K

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Carclew Youth Arts is once again offering four opportunities totalling $50,000 to help young South Australian artists excel in their chosen artform.

“Our annual scholarships can be truly life-changing for artists who have already demonstrated commitment and success early in their career,” said Chief Executive, Tricia Walton.

“The money allows them to experience things, meet people and go places they would not have been able to otherwise. Their eyes are often opened to a whole new array of possibilities,” she said.

The four scholarships – each worth $12,500 – can be used for any professional development activity either in Australia or abroad.

·         Colin Thiele Scholarship for Creative Writing

·         BHP Billiton Scholarship for Film and New Media

·         Dame Ruby Litchfield Scholarship for Performing Arts

·         Ruth Tuck Scholarship for Visual Arts

Jazz guitarist Quentin Angus received the 2013 Dame Ruby Litchfield Scholarship.

“It’s been a catalyst in providing me the opportunity to pursue my dreams,” he said.

“It’s helping me get on my feet here in New York and helped fund a mentorship with John Abercorombie and Gilad Hekselman, two world-renowned jazz guitarists who live here. It really did mean a lot.”

For Michael Richards, the BHP Billiton Scholarship for Film and New Media opened doors that would not have otherwise been available.

“It has allowed me to pave my own creative path. I was given a rare opportunity to undergo niche training in 3D and motion control camera systems and bring this back to be used in my own creative work.

“It’s helped propel me on a fast track.”

Nominated by Carclew, both Quentin and Michael went on to receive the Coffee Club Arts Award as part of the Channel 9 Young Achiever Awards.

The scholarships are open to early career artists (aged 26 and under) who have demonstrated excellence and dedication, and who are ready to pursue unique and coveted artistic development opportunities.

Applications close at 5pm, Monday 15 July 2013.

A free information session is being held on Tuesday 30 April, 5.30-6.30pm at Carclew Youth Arts, 11 Jeffcott Street, North Adelaide.

For more information, visit carclew.com.au.

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