Adelaide Fringe. Apriori Projects. Holden Street Theatres. 25 Feb 2014
Playwright Steven Berkoff is Britain’s living treasure in the art of the theatrical one finger salute. Drama critic Aleks Sierz described Berkoff's dramatic style in general, and this play in particular, thusly:
“The language is usually filthy, characters talk about unmentionable subjects, take their clothes off, have sex, humiliate each another, experience unpleasant emotions, become suddenly violent. At its best, this kind of theatre is so powerful, so visceral, that it forces audiences to react; either they feel like fleeing the building or they are suddenly convinced that it is the best thing they have ever seen and want all their friends to see it too. It is the kind of theatre that inspires us to use superlatives, whether in praise or condemnation."
There’s a good dose of politics and social commentary as well in this offering from 1981. Berkoff is appalled with the decadence and snobbery of the upper classes, and the inability of the lower class to see themselves as equals. The monologues are delivered in verse and the play works on many levels – from crude titillation to onion-like layers of meaning.
Katherine Shearer and Rowan McDonald play both couples. Decadence delves into the nation’s class division through the sordid two-timing of a curiously class-mixed marriage. The cheating couples never meet, but talk about the other incessantly.
It’s a tough acting gig with little conversation, heaps of physical work and razor sharp characterisations required to keep up the interest. Shearer excels in both her class roles utilising sexuality and an amazing array of facial expressions. McDonald often let the plum in his mouth get in the way of good diction and a tie would have been appropriate given Shearer’s shimmering diamonds and low-cut frock. It was McDonald that created the most vivid word pictures for me: the description of casual homosexuality at a toff boys’ school, and the over-indulgent supper post-opera. The unstructured script leaves open the complaint of it being too long.
A good sampling of Berkoff admirably performed.
David Grybowski
When: 25 Feb to 2 Mar
Where: Holden Street Theatres – The Studio
Bookings: adelaidefringe.com.au
Adelaide Fringe. The Producers Bar. 22 Feb 2014
Mickey D is a “Champion Bloke”. His advertising literally confirms it, “How often do you get to create your own flyer?” says Mickey. It’s his flyer, so he can put whatever he wants on the front, and he does!
Mickey D is an incredibly natural performer. He instantly makes you feel welcome, like an old friend. Weaving throughout the audience his inclusive manner pulls you in. The show’s contents feels almost adlibbed; it is either the best rehearsed and acted performance, or Mickey is genuinely flying by the seat of his pants and taking his leads from the evening and the crowd; I’m convinced it is the latter.
As a proud former South Aussie there are plenty of local references to keep you laughing. The easily offended might find some of the language a little coarse, but it’s all part of Mickey’s energetic and quick witted style.
As a previous winner of the ‘Best Show’ award, it is easy to see why you shouldn’t miss this show. Get along folks!
Paul Rodda
When: 22 Feb to 15 Mar
Where: The Producers Bar
Bookings: adelaidefringe.com.au
Adelaide Fringe. Holden Street Theatres. 22 Feb 2014
The concept for this show is perfect; compress one of Shakespeare’s texts into 30 minutes by keeping all of the important pieces of dialogue and introducing a narrator to fill in the gaps. The show, presented by Recycled Theatre Company, sees the troupe of 4 players mix humour, slapstick, jokes and modern references into their performance. Retelling some of Shakespeare’s most popular tales such as Romeo and Juliet and a Midsummer Night’s Dream, todays performance was Hamlet.
Returning for the 2014 Adelaide Fringe after a reported sell out season during 2013, I expected the show to be a little better rehearsed. Unfortunately the narrator of the story read everything from page after page of scripted notes – and not always very clearly. His unfamiliarity with the prepared text made it difficult for the audience to understand; like having a book read to you, it was too hard to keep up with what was being read.
The playful and occasionally adlib jokes were a highlight, as were the characterisations and interpretation of Shakespeare’s texts by those in the character roles. The whole production had loads of potential and a bit of direction could have tightened the final result to create a great piece of theatre.
Probably not for children of ‘all’ ages, but great for youngsters with an appreciation for theatre and an open mind.
Paul Rodda
When: Closed
Where: Holden Street Theatres
Bookings: Closed
Adelaide Fringe. Presented by Jethro Compton in association with The Centre for International Theatre and Joanne Hartstone Ltd. The Bunker. 20 Feb 2014
For anyone who enjoys serious theatre that is pure class, the three plays that comprise the Bunker Trilogy are compulsory viewing.
Directed and designed by Jetho Compton the trilogy are re-imaginations of three classic pieces of literature. I have now seen two of them, and they are quite remarkable pieces of theatre.
The setting for ‘Macbeth’, as for ‘Morgana’ (and for ‘Agamemnon’ which I have yet to see), is a bunker on the trench line of World War I. Although ‘Macbeth’ is a truncated version of the Shakespeare, the original story line is clearly recognisable. Great chunks of the original text have been removed, which does create a problem for the actor who plays Lady Macbeth – she has fewer opportunities to establish her character. Other sections of the original Shakespeare are out of order and other sections are ‘mashed’ together, but much of they key text and significant speeches are there. As I said, the original story line is clearly recognisable, even though the setting has been updated. (The ‘editor’ is not acknowledged in the program, but he/she has produced an effective job.)
Four actors – the same ones from ‘Morgana’ – play the principal characters. As Macbeth, Sam Donnelly is masterful, and in his hands the gradual destruction of Macbeth’s humanity is compelling to watch. With the role of Lady Macbeth pared back by the edited script, Bebe Sanders has fewer dramatic opportunities but brings the steely and murderously resolute villainess to life.
Hayden Wood and James Marlowe are often effectively costumed in gas masks which allows them to double many roles, including the witches. The masks are an ultimate symbol of man’s inhumanity to man, and when haze is pumped into the confined acting space and the lights are made piercingly intensive, you feel as if you are actually there in the insane world that is the trenches. It is as if Birnam Forest is actually about to descend and the ghost of Banquo and countless others are forcing their way into your psyche.
Another object lesson in theatre.
Kym Clayton
When: 20 Feb to 16 Mar
Where: The Bunker
Bookings: adelaidefringe.com.au
Adelaide Fringe. Presented by Jethro Compton in association with The Centre for International Theatre and Joanne Hartstone Ltd. The Bunker. 20 Feb 2014
Directed and designed by Jetho Compton (who starred in the sensational play ‘The Boy James’ at the Fringe several years ago), ‘Morgana’ is a re-imagination of the Arthurian legend. It is one of the plays of the Bunker Trilogy. It is gritty, powerful and compelling theatre. It draws you in and holds you spellbound.
The setting is a trench bunker on the Western Front in World War I. It is purpose built, and unlike other Fringe venues, it can only be used for this production (as well as the other two plays of the trilogy). It comprises a small timber framed room with hessian walls and ceiling and a dirt floor. It smells claustrophobic, which adds to the experience. You are so close to the actors that you could reach out and touch them; see the pulsing of the veins in their necks. You can see every muscular twitch. You inhabit their world – the world of British soldiers on the reserve lines – and you very quickly become deeply disturbed by the way they are forced to live and try and survive the best way they can.
Written by Jamie Wilkes, ‘Morgana’ is about three young soldiers who, in their childhood, fashioned themselves after Arthur and the Knights of the Round table. They are Arthur (played by Hayden Wood), Lancelot (Sam Donnelly) and Gawain (James Marlowe), and we are witness to their efforts to survive the insanity of a brutal war. They have contact with local villagers and are understandably distracted by the women, either real or imagined. Gawain takes refuge with Morgana, whom may not be real – we are never really sure. Gawain and Arthur are continually prompted to remember Gwen (think Guinevere), who is Arthur’s sweetheart back home, but who is also secretly admired by Lancelot. The roles of the women are all played by Bebe Sanders. The plot line is clever and the Arthurian legend is used to great effect. The acting is superb, and a fight scene between Lancelot and Gawain is visceral and oh so realistic.
The lighting is slick and evocative, the costuming faultless, and Jonny Sims’ well crafted soundscape rounds out the experience.
This company knows its craft. It’s an object lesson in theatre.
Kym Clayton
When: 20 Feb to 16 Mar
Where: The Bunker
Bookings: adelaidefringe.com.au