Greeted warmly at the door by one of the dancers and ushered to our seats we were soon transported from the Spiegelzelt at Gluttony to a Café Cantante of 19th century Spain.

The music started slowly and gently with stunning singing and beautifully fluid solo flamenco guitar work. The three dancers, who were initially seated, gradually unfurled themselves utilising their embroidered shawls to great effect as they did so. This was followed by solo performances by each of the dancers, each having her own unique style and amazing stamina. The costumes were simple and stylish and enhanced the movement. One dancer coped amazingly well when the neckline of her gown came undone, hardly missing a beat. The hand clapping with its weaving together of the different rhythms was an artform in its own right. The amazing footwork resembling tap dance, percussion and skilful guitar playing were accompanied by calls of encouragement from members of the cast and from the many Spanish speaking people in the audience. This felt like an authentic flamenco experience in its juxtaposition of passion and control.

Flamenqueando’s latest production brings together Spanish singer Cristina Soler, Aria nominated flamenco guitarist Damien Wright, dancers Jessica Statham, Chachy Penalver and Madrid-trained Adelaide-based Rosalie Cocchiaro, with jazz drummer/percussionist James Hauptmann.
Time is running out to see this wonderful show at this year’s Fringe; final dates are 15/16/17 & 18th of March.

FRINGE 2018: Elixir – 4.5K

By Anthony Nguyen

scaled_canva-photo-editorWith many successful Fringe seasons since 2015, the Melbourne-based boys of Head First Acrobats are back at the 2018 Adelaide Fringe with their internationally-acclaimed show, Elixir. Recreated and reimagined for a spiegeltent audience, Elixir presents a different style of circus entertainment, interweaving elements of storytelling and physical comedy.

Elixir follows the story of three acrobatic scientists who attempt to create the elixir of life, and in turn inadvertently create the zombie apocalypse. The playful and animated personality of each performer adds a sense of fun and enthusiasm that is not often seen in typical circus shows.

The three acrobats performed several impressive feats incorporating many elements and props including the trapeze, a ladder, and most notably a large Cyr wheel. The overall performance displays a good blend of extraordinary acrobatics and comedic storytelling which allows for an entertaining night out. By engaging with the audience and sometimes breaking character, it is clear that the performers are just three passionate boys who truly enjoy what they do.

Elixir is an award-winning circus show which has proven to be a crowd favourite throughout the years and there is no question why it has been successful all over Australia. Located in The Octagon at Gluttony, the hilarious antics and comedic acrobatic performances are not to be missed and the boys continue their 2018 Adelaide Fringe shows until 18th March 2018.

Kryztoff Rating: 4.5K

Fringe 2018: James Donald Forbes McCann: McCann-dle in the Wind – 4.5K, Raj House


James McCann tackles everything from Catholicism, to sex clowns, to call centres (or, as he terms them, ‘hope graveyards’) in his new show, “James Donald Forbes McCann: McCann-dle in the Wind”.

A favourite in Adelaide’s comedy scene, McCann doesn’t hold back as he dissects his upcoming marriage, his previous (depressing) work history, and the newly-found religion in his life that has led him to meet some interesting folk that have figured out that cocaine is fine during lent (the priest said so).

That’s part of McCann’s charm – nothing in his life is off limits, and he’s not afraid to poke fun at himself. He’s also not afraid to pick on comedy generally, and other comedians – something that in this ever-growing Fringe comedy section, flooded with big names and big egos, is fantastic to keep everyone else in check.

McCann is also a master at working the audience – both with them, and to make fun of them and keep hecklers in line. There’s just the right amount of improvisation, particularly at the beginning of the show, which injects an extra element of fun and shock value.

Grab a ticket to James Donald Forbes McCann before the Fringe is done – you won’t be disappointed.

Kryztoff Rating: 4.5K

FRINGE 2018 – COMEDY – Jason Pestell: Kmart is Life – Rhino Room – 4K

Kmart is Life, a comedy skit on bargains and the life of being a cheap stake. A local comedian, Jason Pestell has quick-wits and has given Australia a taste of it. In the show, Pestell described his life mission of finding the greatest discounts and bargains for homewares at Kmart; divulged the audience of his visits and research on most of the stores he has visited across South Australia.

Pestell’s show was relatable and engaging, strung along by asking the audience questions and appealing to them using real-life shopping issues. He also shared tips on how to get the best bargain. It’s a shame that it wasn’t targeted to everyone but mainly to women of certain ages. There were moments when he was a bit hesitant with his jokes so sometimes you are left uncertain whether to laugh or not. It was a great show that apparently had a target audience in mind. However, they laughed the most and seemed to have been able to relate.

Overall, it was a fun experience and a must-see if you’re a bargain lover, especially if you’re also in for a little bit of karaoke and singing along, which is included towards the end.

Definitely would recommend watching this show. It has 3 more days to go and it’s a sweet treat for all you bargain hunters out there!

Kryztoff Rating: 4K

FRINGE COMEDY – Mark Twain Tonight – Buckingham Arms – 2K

By Peter Maddern

The 19th century produced a wide array of writers – poets, philosophers, playwrights and the like – on both sides of the Atlantic who not only captured the mood in their societies but who’s observations have withstood the test of time. One can think of Ralph Waldo Emerson, Walt Whitman, Oscar Wilde and George Bernard Shaw and, of course, the subject of this show, Mark Twain.

Whether his thoughts and writings can constitute comedy is open for debate but unfortunately this relaying of the great man’s thoughts didn’t work or do him justice.

One of the things that separated out these big mouths was their brashness and their views of the world which were mostly formed and promulgated by the end of their 30s or 40s. By presenting Twain as an old withered man, this reviewer thought the brilliance of the younger man was lost.

Whatever one’s view of that, when one reflects that the four most famous quips of Twain as rated by Mr Wikipedia didn’t make it to this show, truncated to just 25 minutes, it is hard to conclude this show nailed his subject or his target audience.

Kryztoff Rating  2K

FRINGE COMEDY – The Gong Show – Producers – 3.5K

By Peter Maddern

For those of us who grew up in the 70s, The Gong Show was a view of another world, of weird stuff we had never seen on television with stars like the Gene Gene the Dancing Machine, JP Morgan, and the extraordinary host Chuck Baris. Luka Muller doesn’t have quite that talent and room to work with in the upstairs room of The Producers but he has done his best to capture that show’s vibe.

For his hour, he has assembled a collection of comedians in town for the Fringe who get around three minutes to strut their stuff and if they fail to engage they can get gonged. For Tuesday night’s show Luka had assembled performers from Singapore, Serbia and onto the USA. It’s all good fun, certainly the comedians enjoy laughing at each other’s jokes but there is much to amuse the casual observer and it is great way to finish one of these last nights at the 2018 Fringe. For a different take on the Best of format, the Gong Show is fun.

Kryztoff Rating   3.5K


by Riccardo Barone


Terry North is back for you with his irreverent, provocative selection of world wide comedians.

The Griffin’s balcony is packed and the audience can’t wait for the next comedian.
Kyle Legacy from UK opens the night with his post-punk provocative attitude. The interaction with the audience is prominent and with successful results.

From US a loud scream breaks on the stage. It’s the energetic LJ Da Funk, with all his charismatic gutty jokes “to be best enjoyed retrospectively”, just in case the “Balrog” doesn’t remind you anything.

After fifteen minutes of delirious humor Goerge Demaris from Melbourne is ready to calm down the scene; he can’t wait to fashinate everyone with his elegance.

The last one, the award winner Jinx Yeo, really particularly appreciated, from Singapore, conquered the spectators with his stories about his childhood and a strong dosage of self irony.

No brochures or programs have been provided.













Kryzstoff rating 4K

FRINGE MUSIC – Louise & Sally on Tin Pan Alley – Queen’s Theatre – Kryztoff 5K


scaled_low-res-LouiseSally-800x800Alexander Ewers

Louise Page has a voice that almost defies description. The moment she utters her first words of introduction, any uncertainty about “Louise & Sally on Tin Pan Alley” is definitively laid to rest. There is a timbre about the spoken word that promises magic in song, and Louise does not disappoint. In every aspect Page’s peer as artist and musician, Sally Greenaway delivers a piano performance worthy of the jazz halls of bygone eras. The term accompanist would be insulting – compositional and musical virtuoso is perhaps a more appropriate title.

West 28th Street between Fifth and Sixth Avenues in Manhattan, New York – aka Tin Pan Alley. “Louise & Sally on Tin Pan Alley” pays tribute to the golden era of early 20th Century jazz, blues and swing, but also transports one directly to the creative heart of this movement. With renditions of Cole Porter, Scott Joplin, George Gershwin and referencing innumerable other icons of both genre and era, Louise and Sally retell the birth and evolution of the music that defined a generation and still resonates today. Both of these artists deliver a tour de force in their own right. Each could (and at times does) command and enchant as solo performer. Together, a conversation unfolds on stage, with spine-tingling vocals answered and matched, complemented and even rivalled by an exultant, dancing instrumentation that marries Bach with Greenaway originals, and Gershwin with Judy Garland’s “Song of the Century”. The resultant jazz-classical fusion is a paradisiacal ecstasy of experience – “got rhythm; got music …. who could ask for anything more?”

Allow the reviewer the indulgence of mentioning a couple of lasting personal impressions. Sally Greenaway caressing improbable variety of depth and tone from the ivory keys of the grand piano, effortlessly transitioning between nonchalant improv and classical motifs. Louise Page – statuesque, every movement and expression weighted, poised. Transcendent vocals, evoking the nostalgic and the sultry, an incredible power finessed from both extremes of register but perfectly balanced by commensurate control.

Page and Greenaway are artists of such sublime and superlative calibre, that this reviewer feels it irreverent to attempt a full dissection of either’s virtuosity. Their litany of individual achievements and awards speaks for itself. The performance provides a smorgasbord of heartfelt moments – frissons of tingling delight, moments adrift in poignant solitude, surging compulsions to dance, ripples of collective and communal pleasure. It is a rhapsody, painted not just in blue, but in all the colours and the language of the soul.

One leaves the embrace of Queen’s Theatre, Playhouse Lane feeling satiated. Sated on happiness and emotion and music, and yet at the same time hungering with newfound appetite for more of Louise and Sally, and for more of Tin Pan Alley. Not just for jazz aficionados, anyone with an appreciation for music should come, drink, and drink deeply!

Kryztoff 5K

FRINGE 2018 – MUSIC – Stravinsky & Chanel – National Wine Centre – 4.5K

Emma Knights Productions presents this hour-long journey of a preview to the rumoured love affair of two undeniable icons that revolutionised their respective fields. Igor Stravinsky and Coco Chanel’s influence on each other lives and the world truly echo to this day. With those echoes, this performance has portrayed it very well with the intertwining of the Chanel No 5’s signature scent lurked in the midst of the melodies of Rite of Spring.

An enchanting serenade that has truly encapsulated the essence of the era. The singing was very alluring and stupefying at the same time. The performers were on point with their musical abilities whether it was on the clarinet or the keys. Definitely mastered very well and no note that was played incorrectly.

Truly a captivating affair, with or without the pun intended. Absolutely delightful. Kudos!


Kryztoff Rating 4.5K

FRINGE 2018 – COMEDY – Amos Gill – Where Have I Been All Your Life? – RHINO ROOM – 4K

By Olivia Henry.

You might recognise Adelaide’s Amos Gill from hit107, ABCTV’s All Star Comedy Gala or even Just For Laughs. However, if you’ve never seen him live, his new show is Amos as you’ve never seen him before.


The radio star’s gift of the gab translates well to the stage. He takes the audience on a wild ride through his past few relationships that will leave you laughing, cringing and letting out sympathetic sighs left, right and centre. This one-hour stand up show at the Adelaide Fringe is raw, unfiltered and unapologetic; you’re not going to hear these stories on breakfast radio.


Perfect for the 20-something year old, Amos’ material says what we’re all thinking… and some things we’re definitely not thinking. With this in mind, Where Have I Been All Your Life is not for the faint-hearted. Amos covers his love life in very intimate detail, his wild travels and life as an Adelaide boy.


You’ll leave with mixed emotions. Being single is fun! But also, it sucks. And who is this ‘X’ he keeps talking about? We do NOT like her and we need answers!


You can catch Amos at the Rhino Room and Gluttony until March 18. Tickets are selling out fast, so get yours here.