FRINGE: Danny McGinlay Food Dude – Gelatissimo – 4K

By Lucy Campbell

Upstairs at Gelatissimo, a near full room await Melbourne comic Danny McGinley (mother Irish, dad Glaswegian, didn’t you know, he told us at least five times). McGinlay arrives via video screen, with his Mythbusters inspired exploding food experiments which are actually relatively funny, and thankfully McGinlay‘s humour is never overdone.

When he emerges, it’s to enthusiastic applause. Either the audience already know McGinlay, or rather like the five loud women in front, they’ve been hitting the East End pubs earlier, but the night proves, rather oddly, to be the audience’s rather than McGinlay’s. But McGinlay’s talent really lays in his ability to bring the best out of his audience, to coax the jokes from them, rather than simply ply us with his spiel as so many comics often do.

The show roughly revolves around McGinlay’s love of food, and every now and then we’re treated to more video, which actually works pretty well within the context of the show. His talent really hit us when McGinlay goes into full Bear Grylls impressions, and not only does he show great flair at mimicking Grylls, he’s also latched onto the absurdity of Grylls’ persona. It’s not particularly offensive, it’s not very controversial, but it is unexpectedly enjoyable.

All in all, Food Dude, proved to be a fun and fast paced sixty minutes, loose and with that unscripted feeling that all decent Fringe comedy should have.

Kryztoff Rating 4K

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RAW: Soundwave Reviewed

By Socratos

Soundwave delivered! The festival more than proved that it deserves the stellar place they have hammered out for themselves as the providers of one of  Australia’s premiere summer rock touring festival experiences. What I love about Soundwave is their continued showcasing and support of alternative and up and coming underdog talents as opposed to formulaic commercial acts favored at other festivals and for that I will be forever impressed with them.

Despite nearly fatal time table clashes and sound quality issues during some of the major bands I managed to navigate a fairly steady course through the ocean of chaos and for four and a half solid hours there was barely a minute when I was not standing infront of an amazing band rocking out at ridiculously high intensity levels.

The Gods of metal were smiling. A festival is a moment in time when we join to celebrate our collective unity and I thought we did a damn fine job getting together and reflecting the secret  gravity of our black sun.

Dimmu Borgir created black magic vortexes in the sky to petition the Chtonic gods out of their slumber. Its strange seeing metal acts at a festival in the day light when they are out of their natural element of darkness. The Norwegians certainly looked like they would not be strangers to the odd ritualistic gathering in the woods.

I am conviced that during Slayer there were giant lizards running around all over the soundboard and if you walked in the tent  you would have seen the sound guy locked in gruesome battle with these monsterous beings for control  of the mixing desk. This is the only explanation that could solve the puzzle of why the sound kept dropping in and out during their set. It was interesting to see that Slayer played without a pentagram on display which is unusual for them, perhaps testament to the fact that they were one member short of their core team? Their complete lack of any stage production theatrical shenanigans payed homage to their all out ‘present and deliver’ form of sonic brutality. Their performance was a testmant to how their sheer force and presence as a band is enough to carry them through as major players in the arena of festival power. Tom Araya rose to the occasion after surgery to maintain his position on the golden pedestal of Slayer’s majesty.

Foxy Shazam, Man! So much soul!! I was blown away and I knew I would be. Even though they experienced massive crowd drain thanks to a huge blackhole created by a timetable clash with Slayer, they were still feeling it and in the zone and it looked like they were channeling their gypsy powers right out of the sun. Old school style.. They are from a part of town where people smash car windows with their elbows.. Eric my bro there will always be secret watchers somewhere reflecting it back at you man, even if they are hidden and you never get to see them…

Queens of the stone age brought it all home with style and climax, proving why they have been ontop of the rock circuit of energy for years. If Elvis was around and lived through the 80’s I imagine he would be a lot like Josh Homme. Perhaps a little less awesome though, but probably in practice much the same, sporting an alcohol habit on stage and callously touting ridiculously romantic chemical extravagances right in the face of the authorities.. I wondered who was in that black helicopter that kept flying over the moshpit. Probably Slash doing yogic breathing practices with his guru and 12 snakes…

I approached Zack De la Rocha from Rage against the machine’s new band One day as a lion wondering if they would have a guitarist to back them up live. I left in reverent awe of the keyboard player wondering what the hell a guitarist would do in that band! (unless it was Tom Morello..: ) It’s good to see the Z to D shining through as a prophet of conscience with crystal clear insight that cuts right through to the bone of what’s going on in modern times with political and governmental injustices. His message is just as relevant today as it was 20 years ago.

The Melvins were true Seattle grunge wizards, sporting two drummers (one of whom use to play with Nirvana) locked in sync with each other onto one kit with superhuman levels of unison and inter-connectivity, perhaps the way of the future and truly a wonder to behold. Some musicians just look like they have traveled universes to get to where they are today to be standing right in front of you.

Primus were incredible. with Les Claypool chiming that “I don’t really have anything profound or meaningful to say to you so I’m just gonna continue noodling away on this four string piece of furniture here.” And noodle they did! They played a greatest hits set and chucked in a song off their new, yet to be released album called the last salmon man.

Just before making a pilgrimage to see Maiden I checked in to see US Math rock outfit Protest the hero who had some of the funniest stage banter of the day including this; “thank you guys for coming to see us but, do you realise that Iron Maiden is on the other stage right now? Bad choice guys, you suck!”… Aahh sweet failure! However I did think that the band provided some of the most refined and shred-a-licious riffs of the day which came blistering out of the speakers at full of force.

Iron Maiden. Timeless. Bruce Dickinson reminded us that they had traveled 12,000 miles to share this nice day out with us, on ‘his bicycle’. (Which is actually a fully fledged Iron Maiden 757 that he personally pilots;!/note.php?note_id=467394635772)  It struck me that these guys are like modern day composers in the same vein as the masters of way back when olden times and that through the evolution of music to where it is today it has embodied a voice and a message and a conscience . If you look at a lot of the symbology in metal you’ll notice that it is all about destroying the old world to make way for the new, kinda like a metaphor for the gateways of consciousness. Basically these guys predicted the end of the world back in the 80’s… And they are still rocking it through to the end today.

To cap off the day I went to see Burn Collect @ the Squatters arms across the road and for a while as part of their festival celebrations. While I was there I forgot where I was because the quality of the music and the intensity of the vibration tricked my shattered brain into thinking that it was still at Soundwave! All said It was a solid effort from the local boys and I reckon they are a band to keep an eye and an ear out for in the future.

And to you secret hidden king of Soundwave thank you for this opportunity you have given me and so many others! Your actions speak louder than words, and how loud they sing your glory! Hopefully you are smiling in your hidden palace of opulent splendor. Perhaps next year it shall be LOUDER! ROCK.

See Our Crowd and People albums at: Soundwave People and Crowds – Afternoon; Soundwave People and Crowds – Evening

See Our Bands Album at: Soundwave Bands, Soundwave Bands Pt 2

FRINGE – Theatre – The Interminable Suicide of Gregory Church – Adelaide Town Hall – 4.5K

Daniel Kitson presents the story of Gregory Church, a lonely man with nothing to live for, who has decided to end his life. However, Gregory is an organised and structured man and so, before he can carry out his final task, he must write letters to those with whom he feels he may have unfinished business. Setting out to accomplish this, Gregory discovers that letters actually take longer to write than he first thought and only after three days of toil, has he accomplished his task. By this time however, people have started to respond to his initial letters and so Gregory finds that in tying up his loose ends, he has in fact created more – and created a reason to continue living.

What follows is an entertaining summary of the content of over 30,000 letters, either sent or received by Gregory over the following 24 years. Through these letters we meet a variety of characters, many of whom continue their correspondence with Gregory for years to come. Kitson delivers the story in a frenetic and excitable manner, taking us on Gregory’s journey from an individual devoid of human connection to one who has regular and genuinely affectionate relationships with many.

There are no props in this show; it is all reliant on Kitson’s ability to deliver it in a compelling and engaging manner. He more than accomplishes this. Even within the less than intimate venue of the Adelaide Town Hall and following an initial incident with the amplification – which saw him restricted to a standing microphone for the majority of the show – Kitson’s energy draws the audience in. 

This is a compelling show. It is a drama with no more plotline than one man’s ordinary life and another’s effort to learn from, and understand, it. It is also a very funny and uplifting experience, with Kitson’s wonderful comic ability shining throughout his telling of the story.

Kryztoff Rating: 4.5K

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FRINGE – Theatre – The Disturbed Couples Hour – Citysoul – 3K

The Disturbed Couples Hour (somewhat incorrectly named given its running time of approximately 45 minutes) is made up of two short interchanges between a pair of very odd couples. The script, from Alan Ball (Six Feet Under, American Beauty, True Blood) includes some amusing ideas, conveyed in a clever, subversive manner – as is his way. 

The first of the two pieces, ‘The M Word’ is the more fun of the two and sees a young man (Rowan Hopkins) negotiating with his potential life partner (Carissa Lee) over their “merger”. It is a witty observation, presenting the logical reasoning behind one of life’s most illogical processes: love and marriage. The two actors do well to provide the right amount of disinterest to their characters.

In ‘Made for a Woman’, the two characters are in a relationship completely devoid of any actual connection. Between pre-occupation with their appearance and obsession with acquiring possessions, they have no time to actually engage in conversation with one another. This play was less entertaining than the first. Though some of that was no doubt due to the characters themselves being more vile, and the overall concept less intellectually pleasing, some of the humour was also lost in the delivery.

This was a production with some good features but the execution still left something to be desired.

Kryztoff Rating: 3K

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Armageddon Expo Adelaide

Kryztyoff caught up with some of the stars and characters at the Armageddon Expo Adelaide at the Showgrounds on Saturday 5th March.

Click here for the photos.

FRINGE – Dance – Dancescapes – The Garage International @ NACC – 3K

Dancescapes is a series of dance compositions in various styles, choreographed by the faculty of the University of Nevada, Las Vegas and performed by their students. The fact that this is a student performance shouldn’t deter people from seeing it; the dancers are talented and show good technical skill.

On a relatively small stage space, the five dancers work in various combinations. The show opened with ‘Exurgency’, which was an impressive piece, exhibiting the dancers’ physicality well – though it was sometimes difficult to see the floor work because of the stage set-up. Following this there was an odd two person piece, which seemed to revolve around a couple falling in and out of love. This was the only piece of the show that had not been choreographed in the preceding year and its inclusion seemed out of place. The fact that it was choreographed by the chair of the school may go some way to explaining its presence.

‘The V Files Medley’ had a very tribal feel to it and featured notable solos from several of the dancers. ‘Prelude, Fugue, Postlude’ incorporated more classical dance moves, while still being decidedly contemporary. The only solo piece of the show was ‘Swan Homage’ which was a short and interesting dance, incorporating various pieces of music from very different genres. The final piece of the show ‘Baeke’s Land’ was an exploration of the impact of plastic on humans. While this was a powerful piece and suited the theme well, the music was incredibly grating and several people were forced to cover their ears from discomfort. This sound design may have contributed to the point being made, but it seemed an odd way to close a show.

This show included several quality contemporary dance pieces and the performers did a good job, however, overall the pieces seemed a little disjointed and the transition from one to the other, awkward.

Kryztoff Rating: 3K

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FRINGE: Beer Drinking Woman – Spiegeltent – 4.5K

By Julia Loipersberger

I have a confession that will make those of you who have heard Christa Hughes live before very jealous: she has played Adelaide twice in the last six months (heading over from the East Coast for the Adelaide International Guitar Festival) and I have been in the audience both times.

With her divine voice, the woman who appears to have done it all – art house cinema star, band member of the brilliantly original band Machine Gun Fellatio in the role of KK Juggy, burlesque performer, member of Circus Oz  -turned up for a sold out show at the Spiegeltent wearing her trademark false eyelashes – and very little else.

A phenomenal blues and jazz singer, Hughes’ voice is amazing, and as somehow who has previously reviewed her work it is difficult to come up with original adjectives which I have not already rhapsodically used to describe her, such as  ‘truly remarkable’, ‘sublime’, and ‘perfect’. ‘Beer Drinking Woman’ confirmed that above all else Hughes is a consummate entertainer, taking the audience – as promised – on a tour through the ecstatic pleasure and the despairing pain that frequently accompanies excessive alcohol consumption.

Ably accompanied on piano by Leonie Cohen, who kept the music simple so that it did not interfere with Hughes’ powerhouse voice, the show was exactly what you want in a cabaret – bawdy, hilarious, groan-inducing, and masterful entertainment . Long-time fans of Christa will be delighted to hear a number of her own compositions, such as ‘Beer Drinking Woman’ and ‘Pig Flu Blues’ as well as many pieces – including a Cold Chisel rendition – which Hughes has appropriated and made her own.

The only negative was that at times aspects of the show distracted from the performance. A section in the middle of the show where Hughes acted out various scenes from classic films in an homage to alcohol went for an overly long time, wasting precious minutes in which that voice could reverb through the theatre again. Similarly, for a show which really required the audience to lounge around in comfortable booths with a bottle – or four – of wine per table, the squished confines of the Spiegeltent were not really appropriate. But these are minor details when Hughes is on stage and there are drinks to be had.

Those who are prudish about alcohol – and other mind-altering pursuits – and are easily offended should probably not go to this show. But then again – it’s not like Hughes pretends to be anything other than a beer (and whiskey. And gin. And wine) drinking woman. And if you do go – you will have a bloody brilliant time. But then everyone who has heard her before already knows that.

Kryztoff Rating  4.5K

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FRINGE: Scared Weird Little Guys – Enough Already – The Royalty Theatre – 5K

The Scared Weird Little Guys last ever farewell tour, Enough Already, Adelaide leg, scheduled with the Adelaide Fringe 2011 opened with a full house at The Royalty Theatre. The show is truly refreshing, witty and sprinkled with plenty of Australiana, delivered by the talented and clever Rusty and John.

They explain their departure because their scientology marriage contract has expired. Yet it seems the truth comes out as Rusty let’s drop that he is going to form his own group called Hi 1 and John tells us about his plans to form a Powder Finger style band named Talcum Digit.

The entertainment continues with the phone book song, the best 80’s songs all in 1 through to getting the audience to call out two songs of one they sing the lyrics to the other songs tune. Rusty gives us a taste of country talk and we find out how ‘Waltzing Matilda’ sounds if sung by Eminem .

The audience has been so well entertained that the hour is up before anyone has had enough already and the crowd receives a well earned encore.

This witty show is not to be missed. Catch it at The Royalty Theatre until Sunday 13 March.

Kryztoff Rating   5K

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FRINGE – Theatre – Over My Dead Body – Sandford House – 3.5K


A back room at the attractive Sandford House is fittingly transformed into the sitting room of the Murder League; a club for the premier crime writers of England. With the death of another colleague, the three remaining founding members – Trevor Foyle, Dora Winslow and Barty Cruikshank – are reminded that their heyday is far behind them and that the future of crime fiction is gruesome and inelegant. So, in true British style, they decide that something must be done to remind the world of just how well-designed and intriguing murder can be.

Fans of any of the well known British crime writers, or indeed the more modern BBC TV series that run along the same vein, will find a lot to like in this play. Though there are some lapses of logic and necessarily far fetched ideas in the script, it does well to combine the mystery of the stories it is based on with a dry self-deprecating humour. This is a technically difficult piece, requiring some ingenuity from the designers and stage crew to carry off the manoeuvres required and, for the most part, this is accomplished though the close proximity of the stage area and audience does render some effects less impressive.

Director Matthew Taylor has elicited good performances from the majority of his cast. As the intrepid trio, intent on committing the perfect crime but coming up against the setbacks of old age, Aaron Braegen, Elizabeth Graham and Sam Tutty do well to inhabit roles that are written for people a half century older than they. Kudos must also go to hair and make-up artist Kahlia Tutty for managing to make the young actors look well worn and aged; her attention to detail is to be commended. The most convincing transformation is that of Alastair Collins as the bumbling club butler Charters. Collins plays this small role with perfect timing, injecting humour into every appearance. Paul Briske, in the role of modern crime writer Simon Vale, has just the right amount of pomposity and arrogance to counteract the docile and graceful nature of the older writers without appearing over the top.

This is not the usual Fringe fare, being a play more suited to the annual programme of one of the well-established local amateur theatre companies. However, for what it is, it is done well and will appeal to those people who are looking for something a little more traditional in their festival experience.

Kryztoff Rating: 3.5K 

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FRINGE: Flamenco Puro – Nexus – 5K

By Julia George

This show is electrifying, it’ll take your breath away and send you on an exotic vacation to the heart of Spain, where the intoxicating rhythm of the feet, hands and gentle serenade of a trio of Spanish guitarists will take you on journey. For those who love dance, this will be right up your alley, and for those that don’t there is plenty to love about this show. The synchronicity of the guitars and the stomp of the feet is incredible – it’s seamless and effortless. The show is set in Nexus Cabaret, which has a unique Spanish feel, which set the scene for the show. Round tables, a long bar across the back and an intimate stage area. All that’s missing is Spanish tapas!

With three guitarists and a traditional sounding Spanish female singer the mood is set as the show begins with a group of four highly skilled dancers from the Flamenco Dance Areti academy. The star of the show is Fernando Mira, his talent is impeccable as his moves create a hypnotizing beat. Kieren Ray & Alain Valodze, two special guests on guitar, certainly deliver and add value to the show.

Overall this show is culture-rich, you will feel like you’re actually in Spain however all these talented artists are actually from Adelaide. It’s a feel good show, you’ll leave feeling inspired and amazed, plus the juxtaposition of the sharpness of the foot stomps and the softness of the hand movements resonates. Flamenco Puro is just that, pure flamenco created by artists with pure talent.

Kryztoff Rating  5K

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