OzAsia – TECHNO CIRCUS – SIRO-A – 4K

By Ben Watson

This show is an audio-visual extravaganza. The Japanese dance group lacks no entertainment value despite their limited use of speech. The show is divided into a selection of uniquely designed audio-visual interactions, most of which have the group matching their movements to the music and/or visuals, a routine requiring expert timing and positioning.

With their monochromatic outfits and white-face mime-like makeup, the performance employs an exceptional projection-oriented display, vibrantly lighting the group as they align their movements to the visual display. Although consisting of only four performers, the group utilises visual effects to project silhouettes – creating a greater perceived stage presence at times.

With the loud sounds of techno music beating throughout the act, the performers are synchronised seamlessly with their trademark SIRO-A choreography and alluring video effects. Full credit to the video and audio technician, providing the backbone for this performance.

After receiving global praise through their appearance on America’s Got Talent in 2015, it is no surprise the group continues to impress crowds of all ages some years later. Light-hearted family friendly comedy is sprinkled amongst an array of cartwheels and somersaults.

A show perfect for the whole family; funny, fast-paced, visually amazing and full of flare. Squeals of toddlers were competing with the bellowing chuckles of their fathers.

Kryztoff Rating 4K

BEYOND SKIN REVISITED Nitin Sawhney

BEYOND SKIN REVISITED – Nitin Sawhney
OzAsia Festival – Festival Theatre Oct 17th 2019 7:30pm
4.5K XXXXx

A version of this concert, “Beyond Skin Revisited”, premiered at Royal Albert Hall only 3 weeks ago. I was eagerly looking forward to this shows Australian Premiere coming to the brilliant OzAsia Festival here in Adelaide.

After slurping down a few complimentary wines and chatting at the launch of OzAsia Festival 2019 we headed off to our seats in The Festival Theatre with several hundred others to become immersed in the ambience of Nitin Sawhney’s craft.

If you dont know much about Nitin Sawhney and in particular the Beyond Skin album its all been said. Accompanied by five immensely talented performers Nitin delivered an eclectic masterpiece for his very appreciative Adelaide audience (even if he was a bit confused about which city he was in! ..Perhaps due to jet lag from flying in from Europe).

Nitin’s music defies easy classification and this rendition of “Beyond Skin”, revisited on the 20th anniversary of the iconic albums release, has all his trademark sounds. His beautiful lyrical guitar, keyboard mastery and mesmerising vocals superbly accompanied by Anna Phoebe Mcgellicat on violin, the brilliant tabla playing and vocal range of Aref Durvesh, and lead vocals shared between the ethereal Nikki Wells and the funky, dynamic Eva Stone wove a tantalising tapestry of sonic beauty transporting the audience into Nitins bold musical vision.

The opening set included ‘Sunset’ and ‘Moonrise’ to warm us up and then it was onto the main course. For the next 70 odd minutes we were treated to a 2019 rendition of the original Beyond Skin album, in its entirety, including the pre-recorded voices of Nitins Father and Mother and other contributors from 1999

1999 was a year that heralded a new century carrying with it both fears and hopes for a saner world that would pull back from the brink of Nuclear madness and embrace a vision that went beyond our differences, beyond race, …..Beyond Skin.

The concepts and ideas expressed in the original album are sadly unchanged and speak eloquently to the state of a world two decades hence that may even have regressed. The evocative musical interplay and haunting melodic structures however have remained lucid and elegant. As the closing strains of the final track “Beyond Skin” were to bid us farewell the audience rose easily to deliver this performance a well deserved standing ovation.

Nitin Sawhney and this ensemble will be performing “Beyond Skin Revisited” elsewhere in Australia including Melbourne and Surfers Paradise.
Highly Recommended:
4.5K XXXXx

THEATRE – Jasper Jones – Playhouse – 4.5K

 

 

 

 

 

 

 

Alexander Ewers

Set in the small country backwater of Corrigan, the rich fabric of this eponymous fiction, Jasper Jones, is fashioned anew by the SA State Theatre Company. Following in the footsteps of much acclaimed text and screen forebears, this stage iteration does not disappoint.

Jasper Jones is a murder story. It is a coming of age story. It is a story of injustices familiar to the Australian psyche and yet which feel freshly painted in this telling. It is a story of a country town: the people are uninspiring, the town is unlovely. And yet it is all acutely identifiable, uncomfortably familiar in its Australianness [sic]. Set among stringy-barks and hot idle summers, Jasper Jones is a tale woven to the tune of the distant drone of an attritive Vietnam stalemate, and the droning attrition of a distant Ashes test match. Against this backdrop, a dispiriting paralysis of community apathy weighs heavily: jaded routines, the meaningless repetitions of daily tedium, and generational cycles of the unimaginative and the intransigent. In some ways the plot feels predictable, or rather inevitable, a story destined to unfold according to a pre-determined template against which none can prevail. The atmosphere of dulling torpor harnessed in this production is a worthy achievement. Herein Nescha Jelk (Director) and co have excelled, capturing that latent national spirit, a force neither in and of itself good or evil, and yet determinative for both – that uniquely Australian lethargy.

For a two hour show, Jasper Jones spotlights an impressive array of the faces of jaundice and prejudice to which the narrow-minded resort. The tropes are familiar territory – racism (both overt and subliminal), female disenfranchisement, xenophobia, domestic violence. And yet an attempt to define or categorize Jasper Jones by any one of these topics is to diminish the weight of the grander narrative. Rather, like the towering stringy-barks that dot the stage space and dwarf the elegant simplicity of the locative scene props, these loudly declarative, and in some ways fashionable motifs threaten to obscure the forest for the trees. It is useful for perspective, to consider that to all intents and purposes, Corrigan is still Corrigan at curtain fall. Jasper Jones remains the target of racism; the molestive father remains unchallenged; the town remains parochial; and the immigrants remain marginalized. Yet Corrigan has birthed a groundswell of unlikely, often subtle, and always intensely individual revolt against the societal inertia that lies beneath each of the injustices rife in the Corrigan (and Australian?) community. This insurgence takes form in the open revolt of Jasper and his allies, the escapism of Charlie’s mother and the bitter disengagement of Mad Jack, the despair of Laura’s suicide, the impervious optimism of a Jeffrey, and in the stoicism of Jeffrey’s father. The trees may have barely moved, and yet the forest and its denizens are much-changed.

This is no easy idea to convey. Indeed, the performance as a medium grapples with the complexity inherent to the original written plot. The necessarily reductive nature of a stage adaptation struggles at times to balance individual character trajectories against the wider plot superstructure, lacking the author’s or cinematographer’s privilege of temporal and descriptive luxury to support multiple narratives. Consequently, peripheral characters suffer oxygen-deprivation, and absent the sufficient support infrastructure, transitions between the grim and the whimsical feel sometimes dissonant. Similarly, the resorting to explanatory narrations of internal dialogues is at times faintly disruptive rather than facilitating. It is no doubt an unenviable task conveying the inertia that defines Corrigan whilst convincingly advancing the action, a balancing act only complicated by the imperative for faithfulness to the original text. The stage medium is perhaps simply unable to completely satisfy on that front. To the tribute of those on stage though, such captious technicalities do not dim a whole-hearted and convincing performance by all the cast. The thespian commitment runs deep, with even the supporting characters invested with impressive authenticity. As the play progresses, any moments of disconnect are ironed out, so much so that post-interlude, the coherence of the performance commands the total absorption of its audience.

Jasper Jones is compelling, in person and in play. It strikes close to home, perhaps closer than is comfortable. It is relatable across multiple layers of the individual, communal and national experience. In closing, one notes that much mention is made throughout the performance of the idea of “The Great Australian Story”. It is not difficult to muse that perhaps in this adaption of Jasper Jones, one can find a convincing retelling of a story that is candidate for just such a title.

Kryztoff Rating 4.5K

BABY REINDEER – Summerhall – 4.5K

By Peter Maddern

Richard Gadd has made his name as a comedian; his last show at the Edinburgh Fringe (Monkey See Monkey Do) saw him win that year’s Edinburgh Comedy Award. Baby Reindeer is this year most certainly rightly placed as theatre; an intense, tightly woven affair about stray relationships that can turn from fun to sour to frightening as the pleasures of random sex morph into stalking warfare.

Whether the story is true or a concoction is not obvious, maybe it is, as the program notes, a mix of the two but there is a certain conviction and lack of the droll to suggest this is more autobiographical than a work of pure fiction.

Beyond the mysteries of the works is the marvel of the production, successfully taking on the performance complexities of the Roundabout and making everyone there feel very much a part of it all. From sitting amongst us in the available aisles, to the rapid fire emails and texts that flicker onto the ceiling flaps above to the use of a rotating stage, Gadd proves this is no ‘one man’s confession – take it or leave it’ but a work of a skilled actor and performer.

Gripping story and brilliant delivery make for a riveting hour or high quality theatre.

Kryztoff Rating. 4.5K   

WENGERBALL – Assembly – 4K

By Peter Maddern

This is Raphael Wakefield’s first show and who knows if he’ll manage another; not because this is a dud (hardly, as this is very good) but because it has been no less than 22 years in the making.

As the name suggests, Wengerball is about Arsene Wenger’s time as manager of Arsenal but not so much about him personally but the profound changes in the top flight of English football across his time, from being a radical to the game to one swept up in the corporatisation of English football, through the arrival of Russian oil oligarchs to the dash for new stadia and the like. 

The show is a series of voice and character impersonations of various luminaries of the club (mostly owners) and others well known in the game; his moments as Jose Mourinho are more than worth the price of admission. About the only time we actually hear from Wenger are his poignant comments about what matters at the time of his retirement.

Obviously Gunner groupies will lap this up but the show is more than a love-in for the fans of N1 but for all footballer followers. Wakefield’s voices are excellent, his patter amusing and his commentary about football spot on.

Kryztoff Rating 4K

CATCHING COMETS – Pleasance Courtyard – 3.5K

By Peter Maddern

Manchester’s Ransack Theatre has brought an engaging new work to the Edinburgh Fringe. Dressed in a pick-up volleyballer’s kit, Toby, aged 27, lives unfulfilled fantasies involving making it with girls, action heroes and making sense of the universe around him. Into his orb comes challenges on all fronts but whether he can be as strong in the real world as he believes he would be in a Rambo movie; well that’s the question.

This is a stylish and sophisticated production where ‘Toby’, (one can’t find the name of the actual actor – with apologies to him), working three sides of the stage, transitions, perhaps more appropriately described as snaps, between his worlds with great dexterity and confidence, aided by strong work in the lighting and sound departments. He is a fresh and talented performer.

The work, in this reviewer’s eyes, could do with some thinning out in the last 15 minutes and one questions whether any audience can build much sympathy for a 27 year old male, who tend, as a breed, to be absorbed with their own knowledge and rights to property of all kinds. Perhaps, a character pitched five or more years younger may better present the challenges of a young man still making his way.

Notwithstanding, if you’re looking to catch a good show, Catching Comets should not to be underestimated as a satisfying way to spend an hour at the Pleasance one afternoon.

Kryztoff Rating. 3.5K  

THE SHARK IS BROKEN – Assembly – 4.5K

By Peter Maddern

The new visions of the new film directors that came to our silver screens in the 1970s still remain fresh in many instances. None more so than Stephen Spielberg’s Jaws, with its haunting trademark notes opening this easy to like work.

The Shark Is Broken takes us onto the Jaws set, the boat indeed, with its three players sitting around waiting days, weeks even for the mechanical beast of prey to work properly in order to film the last scenes. Co-writer Ian Shaw plays his father, the heavy drinking Irishman, Robert Shaw (who plays Quint), Liam Murray Scott plays a dopey, self obsessed Richard Dreyfuss (who plays Hooper) while Duncan Henderson is Roy Schneider (who plays Chief Brody). It should be noted that all three bare great resemblances to their actual characters, though obviously in the case of Shaw this may not have been hard.

It may also be appropriate to suggest the play is, in a Seinfeld tradition, not about very much. However, under Guy Masterson’s pin-point direction, insult and observation, both of their present and ours, are delivered deliciously; wit as razor sharp as the shark’s, put downs as cold as the sea that supposedly surrounds them, all done nonetheless with a warmth to match a swig of Shaw’s whiskey.

Great fun and a sure hit at this year’s Fringe.

Kryztoff Rating 4.5K

FISH BY SHINEHOUSE THEATRE – Summerhall – 4K

By Peter Maddern

Taiwan’s Shinehouse Theatre takes on the admirable aim of producing work for minorities, in this case, the hearing impaired. Based on a novel by Taiwanese author Huang Chunming, Fish combines puppetry and sign language in a touching story about a fish that doesn’t make it home one night, setting off a conflict between a boy and his grandfather.

Po-Yuan Chung’s direction is precise as his young puppeteer crafts the boy’s movements and emotions with the roles of speakers and narrator shared around the other cast members on a, at times, crowded stage.

For the hearing impaired this work makes for a break from those shows that can provide so many challenges and delivers much more than a token production. For those fuller of faculties, the craft exhibited makes for an enjoyable hour too. 

Kryztoff Rating. 4K

MANUAL CINEMA’S FRANKENSTEIN – Underbelly – 4K

By Peter Maddern

While the viewing screen up front at the impressive McEwan Hall is relatively quite small, all the stage is required to produce and present this terrific work.

Combining the classic story of Frankenstein with Mary Shelley’s own biography, this internationally acclaimed multi-media company lets its audience in on the creation of the creation. The all female cast work their silhouettes, their screens, their poses for the camera while their musicians biff and bangle their way through the accompanying score, a mobile camera makes big the small work at the front while lighting and thunder cracks keep their audience well wedded in the Gothic theme.

The finished product on the screen is only half the thrill of seeing this production; how it is done is the other. 

Something different and worthwhile with both aspects of the show riveting entertainment.

Kryztoff Rating.  4K

COMFORT FOOD CABARET – Imagination Workshop – 4K

By Peter Maddern

It’s an unfortunate side effect of Festival season in Edinburgh that one’s eating experiences, even at the best restaurants, are pretty much defined by meals being delivered within moments of giving up one’s menus. 

No such problem exists when Michelle Pearson takes up the challenge with her delightful Comfort Food Cabaret delivered in the Kings Hall at the George St Intercontinental Hotel. For not only does one get a delicious three course meal cooked before you, Michelle adds to the delight by describing not only the influences on the ingredients chosen but also the influences on her course selections – a first date, a lost loved one and so on – and I need to mention Michelle can sing.

For this girl from Adelaide, Australia, this is a gift to the world and what a gift; for this Fringe season, arancini balls, pasta ragu and choccy mousse. While you eat, her band, brought with her, plays, giving the event a feel that mixes a wedding reception with a private concert, and oh, did I mention Michelle can sing. 

Food warriors may squeal at the menu choices but the name of the show gives you forewarning – this is no place for vegan and vegetarian vultures (though nor is it exactly a recasting of Two Fat Ladies dishing up the bowls of whipped cream as they whirled their way across the English country side.) 

So, give yourself a break from hurried curries, bashed up burgers or limp lentils and sit back and savour a show that will embrace all your senses, not forgetting to mention that Michelle can really sing.

Kryztoff Rating.  4K