Jun 11

CABARET FESTIVAL 2013 – Variety Gala Performance – 4.5K

SMA Kryztoff banner May 13 100dpi2013 Cab LogoBy Julia George

The 2013 Adelaide Cabaret Festival kicked off in spectacular style on Thursday night (6 June) with the annual Variety Gala Performance.

Hosted by the infamous Craig Mclachlan, who did a great job with the right amount of comedy & wit, alongside Festival Artistic Director Kate Ceberano, the Gala saw 14 Festival Artists take to the stage along with the ‘Class of Cabaret’, with music by the fabulous Adelaide Art Orchestra – directed by Vanessa Scammell.

Celebrating the 40th anniversary of the Adelaide Festival Centre in 2013, the Cabaret Festival, which is presented by AFC, played homage with a video montage played during the Gala, adding to the spectacle of the evening’s program.

Festival Director Ceberano has outdone herself this year, with a strong program of formidable artists. The 2013 Cabaret Festival is sure to be a standout event on the South Australian calendar.

The pick of the bunch? Hard to say – but Darren Percival & Ali McGregor commanded the stage & were the standouts. Molly Ringwald took the audience back to the ’80s, Tommy Bradson gave a memorable performance cementing his name as a true cabaret artist, and Hans was as entertaining as ever with his rendition of Psy’s Gangham Style. All must-see shows.

Hats off to the AFC for another fantastic Gala event.

Kryztoff Rating   4.5K

Jun 11

CABARET FESTIVAL – Backstage Club

SMA Kryztoff banner May 13 100dpi2013 Cab LogoBy Heather-Jean Moyes

Opening night at the Backstage Club created a great vibe and set the tone of the festival as accessible and very hipster, showcasing a random mix of surprising and classic performances. Well laid out, the cabaret seating allowed those down the front to get up close and personal and the designers provided enough space for the audience’s inclination for dancing. The atmosphere was welcoming. Even casual wandering through the room, drink in hand led to an invitation to dance with Michael Falzon for one lucky lady.

The night was hosted by chanteuse and New York icon Joey Arias. An original drag act like no other; his muscular momentarily challenging and unadorned act expresses the person with a lot less artifice that you might imagine, a great sense of humour and a unique voice in a professional watchable package.

The acts on the night included: the formidable songstress Ali McGregor blurring the genres of satire and song, the smooth voice and even smoother sleight of hand (and body) of Jack London of Boylesque dance fame, and then there was Jamie Crews Jewell as the classically risqué Candy Chambers punching out glittering numbers in equally glittering garments.

Kate Ceberano shone with a soulful rendition of ‘Cry Me a River’. Overcoming the glass tinkles and low volume chat that the cabaret atmosphere encourages, her voice cut through. Others to shine were Daren Percival, his The Voice fame well deserved, who got audiences “happening” with an audience participation rendition of ‘Hit the Road Jack’, the slick Michael Falzon who crooned, danced and romanced the audience and Matt Gilbertson who appeared in the guise of Hans, a fun curious mix of comedy and dance, pink feathers and Gangnam Style take offs. He rocked.

The program changes every night, the hosts rotate and the venue provides an excellent glimpse of what ‘s on offer during the festival. The opening night hosted by Joey Arias went off well. Drop in – it’s worth it. In fact it could be a regular watering hole – a place to “hang” after your show of choice.

The dates and host line up is as follows:

12-13 June: Jim Meskimen

19-20 June: The Leading Ladies of Cabaret

21 June: KC Superstar

22 June: Matt Gilbertson

Suitable 16 years +

Jun 11

CABARET FESTIVAL – Mojo Juju – 2.5K

SMA Kryztoff banner May 13 100dpi2013 Cab LogoBy Peter Maddern

Dressed in an ample two tone suit adorned with an incredibly long watch chain, Mojo Juju attempted to take us deep into the world of film noir, of speak easies, loose women, loads of drink and crooked ball players.

Unfortunately it all fell rather flat. The banter was either a poor parody of corny lines from a Bogart movie or just not funny, the energy early on reserved and withdrawn, and the first four songs sounded nearly exactly the same.

Her backing band players were excellent and did their best to lift this flat show but by the time Mojo found hers it was all a bit late.

Kryztoff Rating 2.5K

Jun 10

Adelaide Cabaret Festival 2013 – Love. War. Death. Brel – Space Theatre

SMA Kryztoff banner May 13 100dpi2013 Cab LogoFor many, Jacques Brel is synonymous with raw, dark cabaret which exudes despair, fear, loneliness and black humour. This atmosphere was heightened in the especially set-up Space Theatre, which was only lacking thick clouds of cigarette smoke and weeping sailors to completely transform it into a mid-century Parisian or Brusselier nightclub.

Helen Morse, doyenne of Australian theatre, purportedly told Kate Ceberano (the Festival’s Artistic Director) that she was nervous when agreeing to do this show because she was concerned that she could not sing. She need not have been so worried. Haunting and evocative, her voice provided a brilliant counter-point to musical theatre royalty John O’May and the beautiful Lucy Maunder.

Portraying Brel’s interwoven stories of love, loss, joy and sadness through philosophical quotes and a broad range of Brel’s playlist – mostly translated into English – which included his most famous hits such as ‘Les Bourgeois’, ‘Amsterdam’ and of course a poignant version of the devastating ‘Ne me quitte pas’, this is a beautiful, evocative show, performed masterfully by the trio of chanteurs. A wonderful cabaret show, if perhaps one that is most suited to fans of Brel or at least of French/Belgian cabaret.

3.5K

Jun 09

Adelaide Cabaret Festival – Kristin Chenoweth – Festival Theatre

SMA Kryztoff banner May 13 100dpi2013 Cab LogoI knew pretty early on in the show that the pint-sized star of stage and screen would blow my socks off. Despite standing a mere 4 foot 11, Kristin Chenoweth owned the stage within seconds of stalking onto it in a tiny dress and enormous heels.

Known to most as the ‘Good Witch’ Glinda from the immensely popular Wicked, as well as the star of television shows including Glee, the short-lived GCB and The West Wing, Chenoweth’s CV demonstrates that she is a consummate professional. So it was not surprising that her extravagant show was pitch perfect and polished in every way.

Demonstrating a vast range of songs – from musical showstoppers such as For Good and Wishing you were Somehow Here (from Phantom of the Opera) to the hilarious In these Shoes and I’m Tired, from country-tributes including What Would Dolly Do to Christian hymns and beautiful, emotive  pieces such as the touching Fathers and Daughters, Chenoweth’s two hour show highlighted her many talents, including her scope for comedy and – impressively – her ability to dance in skyhigh Louboutins.

This show was in every way about the story of Kristin, and included endearing insight into her personal life such as a touching video message to her father, an exploration of her Christian faith and her inspirations in life and music. Sure, Chenoweth probably doesn’t really want to live in Adelaide. Sure, the banter is probably the same on every stage around the world. But I didn’t care. For one night, Chenoweth made us believe that there was nowhere in the world she would rather be- and the feeling was mutual.

If ever there was a show that deserved five stars, this was it.

5K

 

 

 

Jun 08

CABARET FESTIVAL: Reg – Tommy Bradson – Space Theatre – 3.5K

SMA Kryztoff banner May 13 100dpi2013 Cab LogoReg Livermore is a legend of Australian theatre and performance, having appeared in a wide variety of roles, across a range of mediums, over the last 50 years. While he is well known for performances in a gamut of musical theatre classics (think The Producers, Jesus Christ Superstar and his much praised turn as Dr Frank’N’Furter in the original Australian tour of The Rocky Horror Show), Tommy Bradson has created a tribute which focuses on Reg’s original characters from his solo shows.

The scene was set with a montage of sights from Australia in the 70s projected on a large screen at the back of the stage – there were the beaches and the girls in bikinis, the big cars and big hair, Gough Whitlam making speeches, and through it all, snatches of Reg performing. It was presented with the beautiful haze of nostalgia and was both effective and affective. Bradson further added to the tone of heartfelt reminiscence with a charming rendition of ‘Quiet Please, There’s a Lady on Stage’.

However, it was also during this song that the first technical difficulties came into play, with Bradson often looking longingly at a screen that didn’t seem to be producing the hoped for images. In addition, the box designed to light up with instructions for the audience (applause, cheer, laugh etc.) in the following skit was very badly positioned, with many people unable to see it and the lighting up of the responses mistimed. This meant that Bradson didn’t get the momentum from the audience that the scene needed to succeed and at times appeared uneasy. However, once Beryl at the Sink appeared, with her potty mouth and highly strung nerves, the energy started to build and Bradson relaxed more into his performance.

The second half of the show was certainly the more successful, with characters such as Carmen Marahuana and Tara the Incredible providing Bradson with a chance to show off his vocal talents, while Vaseline Amalnitrate (the footy-player-turned-ballet-dancer from Perth, complete with swan headdress) was a riot and definitely a crowd favourite. The talented five piece band and two lovely backup singers filled the spaces while he switched between characters, keeping the show moving along, as did projected snippets of original Reg performances. It was through these that you also gained an appreciation of just how revolutionary a performer and commentator he was in his day. A touching anecdote relating Bradson’s own introduction to Reg’s work added a personal element to the performance and his closing rendition of ‘Celluloid Heros’ was powerful and beautiful.

For those who have had the pleasure of seeing Bradson’s own one-man shows at the Fringe over the past few years, this tribute helps to put his creations into a cultural and historical context; he continues to tap into the ethos of Reg’s performances through his own mad-cap characters and stories. While in need of a bit more polish on the technical side of things, this was an enjoyable show, whether as an introduction to, or revisiting of, the characters and spirit of Reg Livermore and the talent of Tommy Bradson.

Kryztoff rating: 3.5K

Jun 08

Adelaide Cabaret Festival 2013 – Darren Percival – A Tribute to Ray Charles – Dunstan Playhouse

SMA Kryztoff banner May 13 100dpiI may have been the only person in the audience who did not know that Darren Percival had the illustrious honour of becoming ‘runner up’ in 2012’s version of reality TV show ‘The Voice’. Then again, judging by the disparity in ages in the filled-to-capacity Dunstan Playhouse, it appears that many people simply wanted to see the late, great Ray Charles’ music brought to life on an Adelaide stage.

Whatever the reasons for attending the show, Darren Percival and his band of dads certainly delivered. Percival’s amiability shone off the stage and enhanced a fabulous stage presence, which had everybody – young and old – bopping along in the aisles in next to no time.

Despite using all of the traditional stage performer’s gags to endear him to the audience – including adapting ‘Song for You’ to an Adelaide crowd and – very sweetly – dancing cheek to cheek with a lucky front row audience member to ‘Georgia on my Mind’ – Percival’s show never seemed tacky or cliched.

Including all of the greatest hits, including an impressive sing-along to ‘Hit the Road Jack’ and a rousing rendition of ‘Shake a Tail Feather’, as well as Ray Charles’  more emotive songs including ‘You don’t Know me’ and ‘Drown in My Own Tears’ ,the best way to describe this show is with one word – FUN.

The only problem was that we couldn’t keep twisting the night away with Mr Percival and his brilliant friends.  A great way to kick off my Adelaide Cabaret Festival 2013 season.

4.5K

 

Jun 06

CABARET FESTIVAL – Shane Warne the Musical – Her Majesty’s – 4K

SMA Kryztoff banner May 13 100dpi2013 Cab LogoBy Peter Maddern

You have to admire Eddie Perfect for taking on a subject like Shane Warne – especially in this the oddest of contexts – a musical. The somewhat larger than life figure has always been grist for the media’s wheel, ever since ‘the ball of the century’ and, of course, it has to be said Shane himself has never failed in the 20 years since to dish up everything they could ever have wanted.

Perfect shies away from none of it and presents a somewhat warts and all perspective on the man, leaving his audience free to pick and choose those elements that tend to their view of the man or to sit back and reflect on a deeply flawed genius, a man who simply exists in a parallel universe to all others – fellow players as well as the punters.

It has to be said Shane Warne – The Musical is a somewhat bizarre production that at times teeters on the rail above destruction but at other times reaches great comic heights. Three numbers stand out being My Name Is John, recalling the moment Warne met with John the Indian bookmaker (played delightfully by Jolyon James), then after the break Donna Wright, where Amy Lehpamer squeezes every once out of her portrayal of the English nurse who became the subject of Warne’s texting attentions and, finally, Christie Whelan Browne delivers her Elizabeth Hurley. It has to be said, it was only then that of all the characters we saw, did Warnie seem most likely to have found his soul mate.

There is a certain menace about Eddie Perfect’s performances, songs and music where his cutting wit rips open human façades but he survives through sheer panache. There were times, especially in the first half, where one wondered whether the whole thing was just an elaborate send up of this entertainment genre, yet by the end he had managed more than deftly to balance that scythe with sentiment and satire.

As Warne himself, he is just the fit. But amongst his cast he is no loner. Shane Jacobson captures the equally flawed Terry Jenner and Lisa McCune is stunning as the unsuspecting and incredulous Simone. While the set is just remarkably basic, Geoff Cobham’s lighting is also a highlight delivering mood and magic from just one block of lights behind the stage.

Great fun and for sports fans who would normally be horrified at the prospect of being seen at the theatre, go on, take the punt and ready yourself for two hours of enjoyment that the giggle box can never match.

Kryztoff Rating  4K

May 28

THEATRE: Random – State Theatre Company of SA – Space Theatre – 4K

SMA Kryztoff banner May 13 100dpiIn a working class home in London, we witness the beginning of a new day for a family of four. Things progress as usual: it’s a struggle to get out of bed for the son, the daughter is distracted by boy trouble, the mother has burnt the porridge and the father is still asleep, having worked through the night. While all is normal, there is also a hint of something in the air; a fleeting, unsettling shadow hanging over the day. What is to come will leave the family irreparably altered.

Performer Zindzi Okenyo portrays each member of the household with great skill. Nescha Jelk’s direction is tight and clearly differentiated body movements, accents and intonation leave the audience in no doubt as to which character they are following at a particular time. The majority of the action occurs through the eyes of the daughter and, while the other characters provide interesting contrasts to her reactions and experiences, a greater level of emotional connection exists with her. It is the feeling of normality evoked by the writing and the natural performance of Okenyo, which makes the key development in the story so impactful. The disbelief, the denial, the numbness, is all keenly felt by the audience.

The set (Geoff Cobham and Jelk) is straightforward and fitting. This is STCSA’s education show for 2013 and, in addition to the run in the Space Theatre, it tours to various parts of South Australia for further schools’ performances. The simplicity of the staging is thus no doubt partly due to the requirements for flexibility that this imposes. Jelk has employed the space she has well and utilised Okenyo’s wonderful physicality to keep the action varied and interesting. The lighting (Ben Flett) does most of the work in establishing the scene and provides nice transitions through the story and between members of the family. However, the overwhelming darkness of the opening sequence was a little distracting and made it difficult to get acquainted with the physical aspects of the characters early on.

Portraying the effect of a life-altering experience with honesty and realism, Random by debbie tucker green, is thought provoking theatre. Recent events may also make the play resonate in a particularly powerful way for some. This production will generate great topics of discussion for the classroom, while also being a moving experience for general theatre-goers.

Kryztoff Rating: 4K

May 19

DRIVING Miss Daisy – Her Majesty’s – 3.5K – Til 2 June

driving-miss-daisy760x380By Peter Maddern

Race relations are a fraught subject at the best of times. In post war USA, they reached another crescendo of hostility and conflict, though this time rather less violently than through the civil war of 70 years previous. Miss Daisy (Angela Lansbury) is an aging Jewish widow who’s driving record means she can no longer be trusted alone on the roads. Her diligent and caring son, Boolie (Boyd Gaines) hires her a driver, the African-American, Hoke (James Earl Jones).

Driving Miss Daisy then is the play of how these two start the long process of bonding, then inter-dependence and finally a sincere and deep friendship that sees their days out, with all of this played out before a back drop of the search for equality for African-Americans in the United States, particularly the South. The prejudice also displayed against Jews and the pressures placed upon those who get it by business and social conformity add spice to the tale.

For those who see Driving Miss Daisy as an opportunity to see two icons of TV, theatre and film strutting their stuff, you will not be disappointed. Recently I marveled at the stamina of 70 something Barry Humphries doing his ‘last’ show but he is but a spring chicken compared to Lansbury and Jones, both of whom are well into their 80s – Lansbury a remarkable 87.

Not that age was wearying them. Though neither was required to dance like Nureyev, both sustained their energy and composure throughout leaving us with the most touching and poignant moment of the whole show.

This play, written by Alfred Uhry, is a substantially pared down version of his Best Picture winning film of 1989 (directed by Bruce Beresford). Remarkably, this production is the first to be on Broadway and features that production’s cast other than for Lansbury who replaces Vanessa Redgrave. As well as its strong racial message, Driving Miss Daisy will also move baby boomers who will see their own lives flash before their eyes as the 60s pass and their relationships with their elders come into focus through Daisy, Hoke and Boolie.

A thoroughly enjoyable show that utilises minimal staging but clever use of projections to take us between the various locales and moments of time.