Feb 19

FRINGE 2017 – ARRR is for Adventure by Atmospheric Artistries – La Petite Grande, Gluttony – 4K

To riff further on a subject of constant consternation for me, it must be beyond challenging to design and perform a children’s show. Who can pinpoint with any accuracy what the little ones will find funny or boring, entertaining or tiresome? Regardless of the source of the entertainment, it is immediately obvious when a kid’s show is popular with its audience, and “ARRR is for Adventure” is one of those shows.

Featuring minimal dialogue, solo performer Pirateman immediately enthralled his audience by wordlessly narrating the standard circumstances of a pirate ship ending up wrecked on a desert island, before finding the ubiquitous map and searching for treasure. Apart from very effectively hyping up the audience by encouraging rousing pirate cries (hint – this was not popular with very small kids, so perhaps leave young babies at home), the majority of the show comprised mild slapstick humour and minor but impressive acrobatic feats such as juggling and very cleverly manipulating a crystal sphere.

Although some of the gags were a bit too long and relied very heavily on audience volunteers (making me wonder if the show would have been any good if the volunteer had not been as enthusiastic or open to laughing at herself as happened to be the case), overall “ARRR” is indeed a rollicking adventure for young and old Fringe-goers. Essentially, it is light entertainment, performed well and tailored to the target audience.

If you’re looking for a fun way to entertain the kids, and yourself, bring along the family to join in the adventure. You won’t regret it.

4K

Feb 19

FRINGE 2017 – Zach and Viggo: Thunderflop – The Garden of Unearthly Delights – 4.5K

Zach and Viggo

By Amy Nancarrow.

The best part about Fringe time is stumbling upon an act that you never expected would knock your socks off. Zach and Viggo: Thunderflop is an inventive, hilarious, and irreverent performance that received a standing ovation at the end of the funniest shows this reviewer has seen in a long time.

Zach Zucker and Viggo Venn manage to draw their audience in using interesting ways: the beginning of the show sees them introduce their “guests of honour”, turning one audience member into a mouse in a seemingly fleeting skit that comes into play later in the evening, and their half-time “Kiss Cam”, that made one audience member laugh so much and so loudly that the entire show had to stop and wait for her to finish.

Incorporating physical comedy into their skits proves to be hilarious both when it does and doesn’t work. “A Day at the Beach” drew hoots and cheers from the audience when Viggo needed four takes to finish the skit, and Zach’s “Claw Machine” was yet another inventive and side-splitting way to get an unwitting audience member on stage and in Viggo’s arms. Their physical comedy is also creative, with one memorable skit seeing them control items of clothing to map out a love story.

The best skit of the night had to be their “Stereotypical Stand-Up” skit. Each comic takes a turn at the mic, with every ‘joke’ punctured with a quick snippet of “Bugatti” by Ace Hood and some hilarious twerking and club dance moves from the boys, and by the end the audience was double over in their seats.

Do yourself a favour and go and see Zach and Viggo in their quirky, slapstick, tongue-in-cheek glory. Their charm, wit, and no-holds-barred attitude will win you over.

Kryztoff Rating: 4.5K

Feb 19

FRINGE 2017: Stories in the Dark – Holden Street Theatres – 4K

Performed in the Manse at Holden Street, this is an intimate experience, with audience members filling seating around the walls of a room no bigger than an average bedroom, and clustered on pouffes on the floor. Absolute darkness is essential, so do yourself and your fellow audience members a favour and switch off all phones and remove flashing fitness bands or the like.

The gradual immersion into darkness allows the audience time to settle into the space and let their hearing tune into the voices of the performers. Once the transition is complete, those voices, spread around the close space, take you on journeys of old world charm, philosophical musing, tumblr rabbit holes, and aural tidal waves.

The cadence of the poetic pieces lull you into a comfortable reverie, only to be pulled out of this by a turn in direction and a change of pace. Throughout, the haunting tones of a lone cello (expertly played by Rachel Bruerville) set the tone and blend into the tales as another voice. The performances of Nathan O’Keefe, Rebecca Mayo and Elizabeth Hay are commanding and powerful, though the increased focus on the dialogue is unforgiving on the occasional stumble over timing or loss of words. When it flows, it is magical.

The ability of darkness to heighten the experience of sound is most apparent in the comparison of the folk songs that bookend the show. While both are similar in tone and execution (the a Capella singing of the performers blending beautifully to create an enveloping blanket of harmony) the power of the later piece penetrates the dark with a particularly moving intensity, closing off what is a well structured and interesting theatrical experience.

Kryztoff rating: 4K

Feb 19

FRINGE 2017:Paradise Lost – Henrietta’s– 4K

By Tom Eckert

Paradise Lost

Whilst perhaps seeming a little avant garde for less artistically inclined audiences, Christopher Samuel Carroll’s performance of Milton’s classic text is engaging and rewards those who attend with an earnest interest.

Dramatic monologue mixed with the severe spartan aesthetic of the Japanese dance form of Butoh, Carrol presents himself as a blank slate onto which he projects the various characters of the epic through movement, posturing and unaffected voice.

This characterisation is exceptional, marked by the fact an audience will never have a doubt as to whom is speaking despite complex dialogues.

His recitation of the poem is dynamic and engaging, however he deprives the narrative of some of the gravity by sacrificing pregnant pauses in the interest of maintaining rhythm which at times drains some of the peaks of their impact.

A earnest, professional and proficient practitioner and performer, Carrol pairs the great text with his own impressive abilities to create a singular experience that would be a delight for those seeking to expand their horizons.

Kryztoff Rating: 4K

Feb 18

FRINGE 2017 – A Frayed Knot by DADO – La Petite Grande, Gluttony – 3K

It must be incredibly difficult designing a show for children which is simple enough to keep the little ones amused but also contains enough comedy to keep mum and dad chuckling in the audience. Certainly DADO’s “A Frayed Knot” does its best to transcend these boundaries – the one-man show contains plenty of winks, double entendres and mutterings designed to sail directly above the heads of our little darlings, and with plenty of physical theatre and clowning intended to make you – and them –  laugh out loud.

Yet despite this, “A Frayed Knot” somehow falls flat. The show seemed somewhat confused – is it circus? Is it mime? Is it musical comedy? Is it all of the above? – and this caused a disjointed feel which was perhaps best summed up by the young audience member behind me, who asked “Mum, is this part of the show?” Many of DADO’s gags are very clever and well executed. Others, however, failed completely, even on second and subsequent attempts, which detracted from other hilarious tricks which were performed outstandingly. Similarly, some went on for so long that short attention spans began to wander, with one young audience member choosing to spend her time picking confetti off the floor and another one (admittedly, mine) beginning an embarrassing push for revolution in favour of ice cream. So it would be inaccurate to say that the young audience was enthralled or mesmerised throughout the show.

Nonetheless, the one-man hunchback show feels warm and intimate, no doubt aided by the tiny size of La Petite Grande, possibly the world’s smallest circus tent. Despite its many failings, watching “A Frayed Knot” feels like watching a favourite uncle performing magic tricks after Christmas lunch. Is it breathtaking or spellbinding? Well, no. But could you find a worse way to spend an afternoon with and a few dollars on the kidlets? Absolutely.

If you are only planning on watching one family-focussed show this Fringe, I wouldn’t recommend this one. But if you are planning on soaking up atmosphere and keeping the little people reasonably entertained for just over  half an hour, “A Frayed Knot” could be right up your alley.

3K

Feb 18

FRINGE 2017: Angel by Henry Naylor – Holden Street Theatres – 4.5K

There is a war happening right now. People are fleeing, people are fighting, people are dying. On the other side of the world, we often only see the “after” images – the destruction and rubble, the streets deserted but for a handful of men with guns, and the nameless dead bodies. This can accentuate the divide we feel from them – increase the denial that their dreams, their lives, their families are just like ours. Angel reminds us of this in a way that images in a newspaper or TV report never could.

Angel is the third play in what writer Henry Naylor describes as his “Arabian Nightmares” trilogy. This production has been brought to Adelaide as the winner of the Holden Street Theatre’s Edinburgh Fringe Award, and HST and Martha Lott should once again be praised for providing local audiences with the opportunity to see such a fantastically written and performed piece of theatre.

Rehana (Avital Lvova) lives on her family farm near the Syrian/Turkish boarder. Her hopes of becoming a lawyer are at odds with those of her father, who believes she should focus more on learning practical skills useful to farm life, like shooting a gun, than on her text books. When Daesh forces (ISIS) invade her town, Rehana’s desperate attempts to be reunited with her father lead this intellectual pacifist into a new unimaginable life, where Beyoncé and schoolwork are replaced with desperation and death.

And the deaths come. Though not unexpected, there’s always an element of shock to them, of horror, but also of inevitability. You feel the loss, but just as quickly the story moves on. Just as it is for Rehana, the audience is given no time to catch their breath, no time to mourn. The poetic prose of Naylor, and the physicality of Lvova, fill the blank stage with impactful images, and accentuate that the small details of life are just as important as the major incidents.

In Rehana’s dual vulnerability and strength we witness the truly human face of the conflict. Amongst the horror and destruction, there is also love and humour, and a feeling of empowerment. Angel doesn’t try to sugar coat anything but it reminds us that though the evil in the world can seem overpowering at times, that doesn’t mean you don’t fight it.

Kryztoff rating: 4.5K

Feb 18

FRINGE EVENTS – Kapunda ghost crime tour – 4K

by Riccardo Barone

imagesEmily, the little child who doesn’t like men entering in her room. A murderer killed and then buried by another mysterious one on the same night he committed a terrible homicide. A man, depressed and drunk because his wife cheated on him, came back home and with a knife rip his guts out and almost de-headed himself. Many other delicious real stories spin around the North Kapunda Hotel, stories absorbed by the walls of the hotel’s rooms.

After a brief introductive clip visitors are ready to go downstairs in the old cellar where the well prepared guide introduces the tour in the city. The infested  old chapel, which nowadays is the Kapunda music society, is up to release permission to be visited inside the premises. At the moment is possible to have a look from the outside, as well as the haunted police station. In all these places murders has been committed and ghosts are keen to manifest their presence. There are many other apparitions in some streets of the city, such as the ghost car accident happened just round the hotel’s corner.

After a short coffee break everyone is ready to explore the hotel rooms. Every room has a particular story; flashes of visitors camera aim to capture some paranormal phenomenon as well as audio recordings done in absolute silence.

It is an exciting night spent between reality and mystery, tension and history, pleasure of the unexpected, inspiration for creatives and artists.

Kryztoff Rating  4K

 

 

Feb 18

Paradise Lost – Henrietta’s – 4.5K

One of the most celebrated and critically acclaimed pieces of English theatre told through the medium of Japanese Butoh. Butoh, of course known for it’s ‘crude’ and ‘uncouth’ movements, allowed the many faced star – Christopher Samuel Carroll – to portray a trove of emotions throughout the 55 minute performance. And what a performance! Carroll draws you through the war for Man’s soul without a misstep.

The bare stage and performance style was a joy for the imagination. As the classic was recited the stage shifted and blurred into the depths of hell and rose back to the idyllic garden which was the set for the original sin. With simple lighting, the stage was contorted and reshaped to allow Carroll to portray a host of characters.

Carroll as the star was masterful. With contortions of face and the power of inflection he drew us deep into the garden. A phenomenal one man show, Carroll had the audience in hushed silence for the length of the performance. A feat a number of solo artists are unable to do.

The irony of this performance, of course, is that while it covered hell and its inhabitants, the performance was delightful and heavenly. A simple but effective performance, retelling one of the most well known stories in Western history. A performance rich in emotion and an absolute credit to the Bare Witness Theatre Company.

 

Feb 18

FRINGE 2017:SOAP – The Peacock – Gluttony – 4K

By Tom Eckert

SOAP-Adelaide-Fringe-2015-The-Clothesline-960x500

Previous festival winner SOAP returns to Gluttony’s The Peacock and had no trouble selling tickets managing to sell out their very first show of the season. Whether this is because their reputation precedes them or the ubiquitous appeal of the promise of acrobatics, and the promise of a watery novelty remains to be seen.

With the unique skills demonstrated by a diverse ensemble in individual spots as well as some punchy group pieces SOAP is eminently entertaining as good a way to achieve an evenings diversion as anything.

The acrobatics, strength and contortions of the performers are wonders to be seen.

The thing is that, super-human as they are, during this month acrobatics are $20 a seat. And so whilst exceptionally entertaining there is something missing in the soul of this show.

Here we find acrobatics presented for the sake of acrobatics, taking our breath away and leaving us on the edge of our seat only to leave us unfulfilled as they move into the next act. With phenomenally talented acrobats everywhere it is no longer enough to present acrobatics as an end in and of itself. Instead to create good effect and really engage an audience acrobatics must be used as a means to a higher purpose, to present narrative or hint at the more sublime elements of human nature. The ironic thing is that the set is primed for greater effect having the capacity for pathetic fallacy that was only used briefly for a pair of acts as well as a group of clearly very capable performers.

Kudos must go to the clown figure who really made an earnest effort to engage the audience and present a character, creating a personal narrative which managed to engage the audience with wit and comic timing.

More fixated on performing the acts that performing for the audience and seemingly troubled with lackluster chemistry and vanilla sensuality. Lacking a bit of heart, SOAP is nevertheless a good evenings entertainment for marveling at what those of us stronger and more flexible than ourselves can do.

4K

Feb 17

FRINGE CABARET – Triskster – La Boheme – 4K

2017 logoBy Peter Maddern

“Bums on seats! Get me bums on seats” That’s the cry from all Fringe performers this year. Brad Storer goes further in his show opener by putting his bum in our faces. While the rest of him is baby like naked, thankfully this part of his anatomy adorns a snugly pair of Aussiebums as he ensures you won’t easily forget how you came to again hear Kate Bush’s Babooshka.

12308387_865307043589907_7864720955810287058_nThe nicely appointed upstairs room at La Boheme is more than suitable for some sinister cabaret though the Trickster’s focus on the apocalyptic may keep you glancing for the locale of the nearest fire escape in case his madness turns a little too real scary.

Storer, presenting as if touched by the devil, a reject audition for another Batman movie, a Heath Ledger reincarnate, with a white painted face and white shirt (when dressed) delivers on the staples of modern cabaret.

It’s all deliciously camp, catastrophic and calculating and sure to delight after a night out, especially with a full house – so give him one and come out of the dark and into his dark side for hour this weekend.

Kryztoff Rating   4K