FRINGE THEATRE – Our Solar System – Holden Street Theatres – 4.5K

Alexander Ewers

Our Solar System is an intimate and wholehearted one-man performance that muses on the choices – things done and not done – that define a life trajectory. Painted in broad brush-sweeps of lyrical descriptive prose with bursts of detailed colour, the show is a sensitive melange of past and present. The present: a disillusioned office worker returning to a nondescript beach of boyhood memories to farewell a fisherman he once knew. The past: a boy haunted and hounded by fears and dreams of the ocean, a fear sharpened and dreams given form by a summer spent with the ocean and its ‘guardian’. The two, past and present, tumble against and over each other in rolling surging tides of words and images, merging until it is difficult to discern which is more real and alive and valuable.

Our Solar System is about time. It is about the ocean, that great unchanged but always changing entity. It is about memory, about those sentinel moments in life aroufnd which our existence seems to forever revolve, moments that so shape our being that we are never able to escape their gravitational pull. The ocean plays both metaphor and literal substrate carrying this performance. Fickle, personal, powerful, inescapable, it is the fabric of memory rippling (or rather vibrating) with stories and identities and pasts that are inextricable, inextirpable, ineluctable. Actor Spencer Scholz succeeds in conveying a sense of transfixed horror and fascination, fear and desire, such that by the conclusion of the show the ocean seems verily invested with identity and personality – Old Man Stingray.

Staged outdoors in the Garden at Holden Street Theatre, Our Solar System is refreshingly honest and unpretentious. There is something enormously appropriate with respect to an Australian ocean themed performance, in being surrounded by Australian natives, a gentle breeze and the gathering dusk. Somehow it captures a note of vitality, an oceanic sense of abandonment that lingers just beyond the conscious in the fabric of our Australian identity. Scholz draws on deeper Australian influences, taking inspiration from the writing styles of Thiele and Winton. And just like Thiele or Winton, his prose is effective, utterly transporting. For 60 minutes, the concrete world melts away before the rawness of descriptive imagery that calls to each of our own pasts and stories rooted in ocean and memory. For 60 minutes, the past is the present and the present ripples and vibrates to the tides of the past. It is nostalgia. It is regret. It is the gravitational tug of our individual solar systems.

Kryztoff Rating 4.5K

Fringe 2020 – Daniel Connell – Cheers Big Ears – 3.5k

By Riccardo Barone

“When you go shopping, what’s in others baskets? In one of them there was chicken breast, mars bars and a lub.” I am not going to write here the rest… (wink).
Daniel Connell works hard on his comedy show with inspirational improvisations and solid ideas at the base.
Hilarious is the reading of his will, with unexpected surprises.
Facts, observations and dissertations from everyday life reach the summit in this sarcastic, pungent show.
The interaction with the audience works really well, but in a very politely way. We’ve seen lots of comedians really going out of their way when they interact with it, and often becoming “too invasive with their jokes” (not my opinion).
The Piglet is a nice place to be spending an hour between good company and good humor.

Kryztoff  rating : 3.5K

FRINGE 2020: Passengers – RCC – 4K

What happens when a mind tries to protect itself from the horrors it’s seen and endured? The answer – sometimes – is the subject of Passengers, an experimental physical theatre piece from UK-based company Vacuum Theatre.

Max wants to tell you his story. And so we hear it – through three of his personalities, each with their own nuances, dreams, and goals. Max has multiple personality disorder, stemmed from a childhood trauma, and each of his personalities seeks to tell his story as they see it – or, in some cases, wish it to be. We have his angry, destructive side that aims to distract and numb Max; his critical, pragmatic side that seeks to keep him safe; and his imaginative dreamer side, that’s optimistic for a life of something more.

Vacuum Theatre have put together a unique, engaging theatre experience. Our three protagonists duck and weave their way through their prison-like structure, aiming to tell Max’s story in as cohesive a way as possible. The way the personalities ultimately work together, despite friction, to protect Max is a clever way of demonstrating the core of the development of multiple selves. Excerpts of interviews provide extra weight to the story, providing real-life confirmation of what we’ve just witnessed on stage. Each actor provides realism to their respective personality, and each actor is faultless, drawing the audience in with every line.

There are moments where the story could have been snappier, but overall this was an excellent piece of theatre on a topic that deserves attention and consideration far greater than it’s often given.

Kryztoff Rating: 4K

FRINGE 2020 – Renfield : In the Shadow of the Vampire – 4K

Is it madness to want to live forever? What lengths would you go to in order to postpone death? To maintain your youth, strength, vitality? This darkly funny production poses these questions and more. Nominally set in a lunatic asylum of the late 1800s the ideas it contains are pertinent to today’s world where we are constantly facing new moral dilemmas as the range of opportunities presented to us widen.
Playwright and performer Ross Ericson keeps his character close to the one described by Bram Stoker in his novel ‘Dracula’. This Renfield has an imposing physical presence and displays manic behaviours which oscillate between high excitement and depths of gloom and self doubt. Ericson delivers through poetic language a monologue told from the perspective of Renfield which informs us of his backstory, of the traumas and disappointments that have led him to this place. From the outset the audience learn that they are there to judge Renfield’s actions, motives and sanity. Taking place in the intimate setting of the Bakehouse Theatre’s Studio, the stark set with its black painted walls makes us feel that we could be viewing him in his cell. We become like members of the public of 19th century England who toured asylums to gawk at the inmates as if they were animals in a zoo.
Renfield wants his food fresh. He comes to believe that by eating live creatures he will obtain their life force for himself. He starts with flies that he believes have been sent to him by his master, Dracula, whom he eagerly but nervously awaits. The tension is added to by the skilful use of sound and lighting effects.
Renfield has a conscience and this fact causes him distress. As his appetites increase he ponders the moral questions posed by his behaviour. How far will he go?
Renfield : In the Shadow of the Vampire is presented by Grist To The Mill (UK). There is only one more show during this year’s Adelaide Fringe – this Saturday 14th March at 6pm.


By Peter Maddern

Written and performed by Nicholas Collett, this is a superb show about 80 year old former WWII spitfire pilot, Peter Walker. Walker is getting old but his memories are razor sharp and his desire to control his world undiminished. When his grand-daughter unexpectedly arrives, he is given the opportunity to bring together some last unknitted threads in his life.

This is the sort of Fringe theatre that, in days of yore, packed them in and its merit is not diminished this year by the fact that it has been here before. Under Gavin Robertson’s direction, Collett does a great job leaping from the then to now, from male to female, from pilot to PI. It’s a wonderful exhibition of acting craftsmanship and of fine writing for a solo performer.

Kryztoff Rating 4.5K

An Evening of Tom Waits Songs -Stewart D’Arrietta and Band 4.5K

‘THE GOV’ Governor Hindmarsh Hotel – 8pm March 8th 2020

Review by Gary Clarke
4.5K⭐️ ⭐️ ⭐️ ⭐️ 💫

This show was for one night only. It featured Stewart D’Arrietta (vocals, keyboards) supported by the band consisting of Rob Pippin (guitars) Mark Meyer (percussion) and Shaun Duncan (double bass and electric bass).

D’Arrietta is a master of the tribute/homage having performed Tom Wait’s material for more than a decade. He is also the man behind (and in front of) the ‘My Leonard Cohen’ show and he co-developed/performs with John Waters in ‘Lennon Through the Looking Glass’. Add to that the high calibre SA Music Hall of Fame’s Pippin and Meyer, augmented by the sublime bass of Shaun Duncan, and tonight’s performance had some serious pedigree! The stage was set for a great night out at The GOV.

The husky ‘Tom’ entered the stage followed by the band and they launched into Wait’s enigmatic spoken word “What’s He Building In There”. They then continued to rattle off a host of Wait’s best tunes including ‘Red Shoes’, ‘Step Right Up’ ‘Franks Wild Years’ and a heartfelt and moving rendition of ‘Kentucky Ave’ that had this audience utterly enthralled.

The band were sublime and despite not having worked together previously they didn’t miss a beat, providing expert musicianship to an extraordinary performance. We also heard Stewart’s soulful tribute to one of Tom Wait’s significant influences, poet/writer Charles Bukowski. A song written by D’Arrietta entitled “Bluebird”.

Things started to really hit the straps when they launched into a rocking ‘Heart Attack and Vine’. Then it cranked up another notch with ‘Get Behind The Mule’ featuring solid bass, driving percussion and wrenching guitar work, pushing Stewart’s gravelly vocals to their limit. The Audience were enraptured and with a little encouragement from Stewart, we sang along to ‘Table Top Joe’. We continued the singalong with a gorgeous version of ‘Martha’. Fifteen songs, and that was only the first half of the show!

Returning from the break D’Arrietta soloed ‘The Piano Has Been Drinking’ and I suspect it wasn’t alone.😉. We were treated to brilliant performances of some of my all time faves including ‘Hold On’ and a ripping version of ‘Going Out West’. Pippin’s lacerating guitar solos took it to another level. They toned it down for a truly beautiful ‘All The World is Green’ and the melancholic ‘Heart of Saturday Night’ demonstrating their warmth and versatility.

It was a great night and a lot of fun. D’Arrietta continued to regale us throughout the evening with good natured and informative banter. Finally, to raise the tempo yet again we were treated to what must be one of the best performances ever of Wait’s hard driving hit ‘Big In Japan’!

Two and a half hours of solid Tom Waits for under fifty bucks. What a bargain! And they still came back for an encore of ‘Tom Traubert’s Blues’. A fitting end to a wonderful night of music.
4.5K ⭐️ ⭐️ ⭐️ ⭐️ 💫

Fringe 2020 – Sorcharess – The Piano Mistress – 3.5k

By Riccardo Barone

Just entering The Warehouse Theatre’s premises has been a transitional moment where you could feel to be somewhere else, not Adelaide, not Australia, maybe in a lost in time Italian or French place.
Sorcharess will take you on a journey, her journey, through her places, her scents, aromas, drinks and feelings, impressed in a glass of apricot wine.
Her show is well balanced with original songs composed by herself and a rich repertoire of numbers from Amanda Palmer, Kate Bush, Nina Simone and Diamanda Gala.
Sorcharess perfectly fits the genre, wearing different voice styles with an evident talent for soul music.
Really noticeable are her original songs, overall where the electric piano and the voice are supported by some delay effect, as well as her intense poems.
We love to remember one of her old original songs “The Kiss of the spider woman”.
The show was over after two brilliant encores, highly and warmly requested by the audience.

Kryzstoff rating: 3.5k

Fringe Comedy – George Glass Proves the Existence of God – LVL 5 @ RCC – 3K

By Belle Dunning

George Glass return to the Adelaide Fringe in 2020 with their latest musical exploration — ‘George Glass Proves the Existence of God’. Never one to shy away from the big questions, the local boys bring their unique brand of comedy with cleverly crafted lyrics, rock solid instrumental performances and high energy storytelling to the stage. 

The show centres on one night, one party, and a mysterious phone call from God. Will he appear? What will he look like?

Through the events that ensue (and just as many songs) we get a glimpse into the inner world of each of the characters. Perhaps most disturbingly, what would they ask for if God could grant them one wish?

Having seen ‘Scientology the Musical’ in 2018, this performance didn’t quite live up to my expectations — I felt as though it was missing some of the coherence and finesse of the last show. The venue this year (the old UniBar) also lacked some of the atmosphere and intimacy that you get from a crowded Fringe tent, and didn’t lend itself to the best acoustics for those sitting further back. Despite that, it was still a fun performance and I had a smile on my face the whole time, even if I didn’t quite know why!

George Glass Proves the Existence of God has finished showing for this year’s Fringe, but no doubt they’ll be back next year with an equally energetic and out-of-this-world show. Definitely keep an eye out, as this comedy rock band is something you won’t see anywhere else!

Kryztoff Rating 3K

FRINGE 2020: Shit-Faced Shakespeare: Hamlet – Gluttony – 4.5K

Every Fringe experience should include a session of Shit-Faced Shakespeare.

The concept is simple: bring together a group of classically-trained actors, give them a Shakespeare play, get one of them drunk, and see what happens. This time, it’s Hamlet, and whilst we get to the end of the famous work, it’s definitely not the most traditional of interpretations.

That’s not a concern, though, as this is pure fun. The May Wirth in Gluttony was packed and the crowd were going wild as our drunk for the night teetered around the stage, revealed details about the actors’ sex lives (a big no-no apparently), and turned Hamlet into a feminist rant of epic proportions. Watching the other actors in the company work around her was hilarious, too – they had to improvise according to whatever she said, which led to Hamlet in drag, a Michael Caine impersonation contest, and the reversal of one of the play’s most climactic moments. And all of it worked.

The only reason this didn’t get five stars is that it appeared as though the other actors were getting drunk off stage, or would at times fight for the limelight. Let the drunk be free! The show worked best when the majority of the cast were serious, and the drunk was outlandish – it’s what had the audience in stitches.

Overall though Shit-Faced Shakespeare is a professional show of the highest standards, and a Fringe favourite for a reason – get there if you can.

Kryztoff Rating: 4.5K

FRINGE 2020: Gobby – Gluttony – 4K

In Britain, a ‘gobby’ is a loudmouth, someone who talks – a lot. Bri has been a gobby her whole life, and never found standing up for herself an issue. Next thing she knows, she’s in an emotionally abusive relationship with someone who isolates her from her friends and makes her feel at her lowest. When they break up, Bri finds it difficult to reintegrate with the people she used to hang out with, and finds that it’s easier said than done.

A play in five parties, Bri tells the story of her reinvention through five separate parties – some she’s hosted, some she’s attended, and some she’s been the core focus of (and not in ways she wants). We see the long-term effects of the abuse, and how the way she perceives herself isn’t they way everyone else does. And, ultimately, we see how she comes out the other side, with greater clarity and self-awareness.

Jodie Irvine has written an engaging, poignant piece of theatre. Irvine also stars and Bri, and is magnetic on stage. She captures Bri’s gobby-ness, her kindness, and most importantly, her fragility. Gobby wouldn’t have worked with an actor who couldn’t portray the shift between confidence and self-consciousness, positivity and negativity; thankfully, we have Irvine, who never struggles here. Another positive about Gobby is that Irvine and SA production company Hey Boss do their best to provide a safe space for this conversation to happen, which is incredibly important given the subject matter.

The play itself would have benefitted with a bit more backstory about the relationship – traumas are alluded to, and would certainly be familiar to people who have experienced similar scenarios, but it would have been worthwhile expanding on Bri’s ex-partner and their relationship together. Viewers who haven’t experienced emotional abuse themselves may not be able to fully comprehend the brevity of the situation – although, really, can anyone?

Gobby is a beautiful piece of theatre, helmed by a charming and engaging star, which is vital viewing in our current time.

Kryztoff Rating: 4K