Bulldozers and wrecking balls are about to start ripping into the Adelaide Festival Centre environs to regenerate the public space and buildings, as long foretold. There’ll be rubbish everywhere and there’s going to be venue issues and all that to boot.
What difference has it made to Adelaide Festival Centre’s 2017 plans?
A crafty lot of good!
The biggest hint being the inclusion of a number of Adelaide Fringe 2017 shows, particularly UK production Trainspotting (Andrew Kray and Associates/AFC/King’s Head/In Your Face.) It’s based on Irvine Welsh’s novel and references the film.
The venue? A secret CBD location. Then there’s Adelaide Fringe punk cabaret An Evening with Amanda Palmer, at Her Majesty’s.
This kind of thing is not ‘the usual’ for the Adelaide Festival Centre. What there is of ‘the usual’ for 2017 - wonderfully rich in content as it is - such as Dusty, The Look, The Legend, The Musical does not diminish the fact the 2017 program is distinctly focused on a sense of regeneration right across the board.
Most telling, is the fact the inSPACE program now offers three full new works, along with eight works in development. All 11 works involve cutting edge artists and small companies who’ve made a mark either in the Adelaide Festival of Arts - during the grand era of David Sefton’s Artistic Directorship - Adelaide Fringe, or Melbourne Fringe, as well as major European Festivals.
Venues vary for work in development. The three full works will show at Her Majesty’s, Plant 1 Bowden and The Space; again, not really ‘the usual’ biz for Adelaide Festival Centre.
They created inSPACE back in 1998. Collaboration happens with State Theatre Company now, but this is a quite a shift.
There should be such a shift; to meet pressures of ‘renovating’ as much as reinventing possibilities for a completely new physical environment.
Things change, thinking changes.
Having successfully brought Adelaide to embrace OzAsia Festival’s presence not just in theatres, but the Centre's grounds bedecked with food and song, as much as Adelaide Guitar Festival’s Guitars in Bars ‘mini festival’ pushed the joy of the instrument as a culture to the furthest pub possible, 2017 will be the year we see AFC consolidating a capacity to reach beyond its grounds, even as they are being shaped most especially to invite Adelaide’s people in.
David O’Brien
The AFC 2017 season will feature:
Dusty The Musical
Matilda The Musical
The On Stage Summer School
Operation Ouch! live on stage
Deadly 60 Live! Pole to Pole Tour
SAUL
David Bowie: Nothing Has Changed
Scotland The Brave
Long Tan
1984
Rabbits
Big Bad Wolf
Beep
Butterfly Ladies Band
Nouvelle Vague
Ludovico Einaudi
Tubular Bells For Two
An Evening with Amanda Palmer
Sun Rising
Trainspotting
The Whitlams 25th Anniversary Tour
The Something on Saturday program
Herman and Rosie with the Adelaide Symphony Orchestra
The GreenRoom program
DreamBIG Children’s Festival
The Adelaide Cabaret Festival
The OzAsia Festival
Frame of Mind
inSPACE: Developmentprogram
Morgan’s International Piano Series
World of Cultures
Our Mob
Christmas Proms
The CentrEd schools program
Morning Melodies
The Overture program
and much, much more, 2017 at Adelaide Festival Centre will be brimming with events and activities for all South Australians.
For full program details including co-presenters visit adelaidefestivalcentre.com.au
The South Australian amateur premiere of Wicked kicks off at the Arts theatre on the 7th of July and with only a few rehearsals remaining before opening night, performers Dianne K Lang and Kat Sachse are filled with both excitement and trepidation.
“It’s terrifying… there’s a lot of expectation out there!” says Di “But, we have an amazing cast”.
Di is playing the role of Elphaba, the green witch who becomes an outcast and later the better-known Wicked Witch of the West. Kat plays Glinda the good witch. The premise of the show finds the two girls meeting as teenagers and becoming close friends.
Producer/Director, Matt Byrne announced the auditions for the well-known musical two months before they were scheduled to take place.
“It’s been a long time, because auditions were back in December” Kat recalls.
“It’s all coming together now… seeing everyone practicing in costumes [makes] it feel more together.”
Kat had success on the 2014 season of The Voice which, along with her band commitments, has meant significant time away from the theatrical stage.
“I haven’t done a musical in a couple of years.” Kat says.
“It’s one of those roles that I’ve always wanted to do, but I always psych myself out of auditions.”
Di feels very much the same way. In fact she almost didn’t go for the role, believing that if she didn’t get it she was unlikely to get another shot at it. “It was actually Inara, my daughter, who said ‘Mum you have to do this, you have to audition’.” It was that encouragement that gave her the push she needed.
“It is a really important role for me” Di continues, “And it’s kind of hard to explain to people how personal it is, because it brings back a lot of childhood memories. I remember being a young child, about 7, and I remember my mum letting me stay up late to watch the Wizard of Oz. She sat me down and said ‘Now there is a really scary witch in this movie, and she scared me so much when I was a child that I hid under the seats in the cinema’… so I prepared myself for that. When she came on the screen, I distinctly remember thinking – yeah she’s mean, but why is she so angry? And I remember thinking, just in my innocent child mind, what’s happened to her to make her so angry with everyone?”
“On a subconscious level I think that stayed with me most of my life. I have recently gone through my [late] parents’ home and found all my books from my childhood; and they are all with this recurring theme of misunderstood witches… it just struck a chord with me.” Di explains.
“When Wicked was written and I discovered the musical it was like these were the answers I’d be searching for my entire life.”
Ironically Di gave Kat the extra encouragement she needed to step up and audition too. “What actually gave me an extra push to audition”, explains Kat, “Is that Di… said, ‘Do you want to run some lines with me before auditions?’, so I went over to her house, we ran some lines together and sang some songs together, and I [thought] I really want this role now!”
Kat and Di have actually worked on stage together before in a performance of Les Misérables, but Kat played Cosette and Dianne, Fantine, which meant they never spent any actual time performing opposite each other.
“This is the first time I’m actually onstage with Dianne, because she was my mum!” Kat says; after Les Misérables Kat and Dianne kept in contact.
“We became really good friends, and she has so much experience, she is a bit of a mentor.”
Kat finds it really easy to play Elphaba’s best friend, since she and Di are such good friends off stage. “The friendship is not something that has to be manufactured or faked… it’s genuine.” Kat explains.
Kat connects with Glinda in a few different ways and draws parallels between her own bravado and insecurities and the ones of her character. The two have spent a lot of time researching their respective roles. They have both read the book and use it as the basis of their characterisations, “The musical is quite different to the book, it has a lot more humour in it and is family friendly, but the characters of Elphaba and Glinda remain the same, they are fluffed up a bit for the musical, but the core of their character and their relationship is the same as in the book” Dianne says.
“We talk after each rehearsal about the characters and the motivations behind each scene.” Kat explains.
“It’s going to be different because we don’t have the million dollar budget [of a professional show], but what Matt has come up with will be really exciting to see”.
Byrne’s production is really focussing on the characters and their friendship.
“It’s about making sure that the character arc is convincing” Kat continues.
“She does go through quite a big journey – she starts off a bit ignorant, and it’s not until she befriends Elphaba that she realises there is more to life than just getting what you want. It’s not until the end, when she’s lost everyone, that she realises she needs to make sacrifices for the greater good. In the end she ends up sacrificing the love of her life and her best friend.”
Kat is a huge fan of the show too, and she isn’t afraid to admit it.
“I am following all of the [Wicked] blogs on Tumblr” she says, “It’s a bit embarrassing to admit”. She has also seen several versions of the show.
It isn’t the first time Kat or Di have worked with Matt Byrne either. In fact Matt is responsible for introducing Di to her husband Jeff! Kat has also been in a couple of Matt’s shows.
“I did Hairspray and Phantom with him” she remembers.
“I have nothing but the utmost respect for Matt” Kat says. “He just gets so excited about a production and it is one of the reasons I enjoy working with him, he has such a passion for this show and it’s infectious. He gives us a little pep talk before each rehearsal.”
Both performers are highly complementary of each other and their fellow cast and production team too. “The show is brilliantly cast, we are really lucky” Di says.
The character of Boq is played by Zak Vasiliou. “He is absolutely wonderful” says Kat, “I think he was born to play this role, he’s got the voice of an angel. I’m really excited for Adelaide to see him showcase his talent because he is only 19!”
Di agrees adding, “I swear he has munchkin D.N.A in there somewhere, because he is the best Boq I have ever seen in my life.”
On the production side Anne Williams has been working on the girls’ costumes. “She is an amazing woman” Kat says. Di adds that the costumes Anne has made are simply “amazing”.
Wicked is a big show for the two lead roles and will require a lot of stamina from both Kat and Di.
“In terms of singing it is something that I’m comfortable to do, but the acting side of things is definitely the biggest challenge because this is probably the biggest role I’ve ever played” Kat explains.
Di says “I’m taking each day as it comes. I’m just focussing on the story, I’m focussing on the character, I think the pressure would just get to me if I didn’t do that. I do feel a lot of pressure and I just have to block that out!”
When asked if Elphaba will soar 15 feet into the air Di kept the secrets of the show safely locked away. “I can’t tell you that, you’ll have to come and see it!” Di exclaims.
The show opens on the 7th of July for two weeks at the Arts Theatre in the Adelaide CBD and then for a further two weeks at the Shedley Theatre in Elizabeth.
Admission is $40 Adults and $35 for Concessions, with Group Discount prices of $38 /$33 for 10 or more. Wicked Cheap Nights will be $30 on July 12 at the Arts and July 20 and 27 at the Shedley. (Booking fees apply.)
Book at wickedsa.com, mattbyrnemedia.com.au, 8262 4906, bass.net.au or dramatix.com.au
Paul Rodda
They call it "The GC". It is the latest acronym in Fringe destinations.
The German Club at 223 Flinders Street has been a successful alternative venue in several Adelaide Festivals but this year, brandishing The Fringe banner with entrepreneurial flourish, a team of seasoned Adelaide identities has transformed the Club into a multi-space, multi-function arts centre.
It is a sensational success.
Modestly, its creators are calling it "the new kid in town" but it is not starting small. A lot of work has gone into The CG and for its first Fringe it is turning on no less than 174 performances.
Colin Koch and Alan Rosewarne recognised The GC potential when performing there in their band, The Bald Eagles, at last year's Fringe.
Drawing in their old mate, renowned Adelaide marketer, Ron Dent, they branded themselves "three amigos" and set the show on the road.
Unlike most of the Fringe movers and shakers, these "amigos" are sexagenarians. They even describe themselves as “old farts".
They are also savvy seniors with a wealth of arts experience and an influential network.
Hence, this great new Fringe performance centre which ranges over four floors is set out with a big touch of class.
Of course, the German Club came equipped with good toilets, air conditioning, bars and, without doubt, the wonderful German Club Bistro with its famous German meals.
It now has five performance rooms - the Lounge, the Studio, the Clubroom, the Cellar and Showroom One - all with good seats, stages, lighting rigs, sound and professional facilities.
The biggest space is called Showroom One. It stretches out from a proscenium stage, down a long bar, the vast expanse laid out in a cabaret configuration. Obviously, it is where the big shows are taking place, among them, the famous Masters Apprentices and the Brewster Brothers with the glorious Moonshine Jug & String Band.
Abba Gold by the Flaming Sambuccas is also programmed for Showroom One, along with Bless My Soul - The Gospel Music of Elvis. Oh, and not forgetting Hans and Willsy. Big shows in the big room.
Then again, serious theatre is scheduled in Showroom One, among them one of those special festival-time experiences of epic theatre nights. The Irish plays are very hot ticket - with Beowulf - The Blockbuster, Underneath and Donal O'Kelly's Little Thing, Big Thing able to be seen in one gorgeous big, greedy night, or, for those who prefer, spread over the Fringe season on separate nights.
These are Arts Project Australia goodies and The GC's Alan Rosewarne croons that they are a major coup for a Fringe, let alone a new venue.
Fringe director, Heather Croall was among those enthusing about the venue and its program when it turned on its media opening this week.
Also on hand was award-winning actor, Joanne Hartstone who has turned producer and entrepreneur for the 2016 Fringe and is using the GC as the venue for one of her top imports - Thom Pain (based on nothing) by Eno Pain. This show was nominated for a Pulitzer Prize. Hartstone has other interesting Fringe shows spread around town, especially in the other new hotspot, the White Queen in the Old Queen's Theatre.
Among shows in The GC Lounge is Chopin's Last Tour, a hit show from Edinburgh. In the Clubroom, Party, by Tom Basden offers a spot of political satire. Then there's Lady Cara's Travelling Art Show, something completely different from the freaks and misfits world of burlesque.
Lots of information is provided on facebook.com/thegermanclubadelaide or thegermanclub.com.au - and, of course, in the Fringe guide.
The GC rises up to complement the other great Fringe arts hub, Holden Street Theatres at Hindmarsh where once again, Martha Lott has curated a brilliant program of award-winning theatre including some for children.
2016 is a bumper year for good theatre. The Bakehouse Theatre also is presenting a major theatre program and there are other intriguing works at Queens.
If only one could be everywhere and see everything.
Samela Harris
When: 12 Feb to 14 Mar
Where: 223 Flinders Street, Adelaide
Bookings: adelaidefringe.com.au
The World’s Festival. Botanic Park. 11 to 14 March 2016.
As sure as the sun rises every morning, March hails the arrival of the festival season in Adelaide. For lovers of world music Botanic Park is the only place to be and WOMADelaide, The World’s Festival, the party to be at!
Botanic Park will once again be transformed with over 60 performers, guest speakers, workshops, street acts, cultural food vendors and vibrant dance, as well as nearly 100,000 world music lovers from all over Australia and beyond.
Instore for 2016 is first timer to WOMADelaide, Angélique Kidjo, who will be accompanied by a 60 strong Adelaide Symphony Orchestra for a premiere performance of her unique orchestral repertoire. Including the amazing Ifé, a three part orchestral collaboration between Kidjo and Phillip Glass, the one off performance will be an absolute highlight on the festival’s opening night and not to be missed!
Also taking to the stage on opening night are the famed Cat Empire. As WOMAD stalwarts, with three WOMADelaide appearances already under their belt as well as performances in the UK and New Zealand festivals, their presence will definitely be something special.
Guest speaker and globally renown environment scientist, David Suzuki, will be in attendance to give an eco-talk on Saturday, followed by a panel discussion entitled What’s Love Got To Do With It?, with Sir Tim Smit, Indira Naidoo, Amelia Telford and Suzuki examining if winning the battle for our hearts is more important than economics, politics and carbon numbers.
Also appearing for the first time at WOMADelaide is revered South African choir Ladysmith Black Mambazo, who give stirring a cappella performances singing traditional Isicathamiya songs.
There will be a one off Adelaide show by cult heroes the Violent Femmes after a 15 year hiatus; Australian debut performances by Palestinian hip hop act 47SOUL with their "electro-mijwez, shamstep, choubi" sound that synthesises Palestinian debka music with electronic pulse; Sumtuous tempered ballads and fizzing electronic pop songs from American singer-songwriter John Grant who will plumb dark, penetrating spaces with his self-effacing lyrics; and a major site installation in the form of Sacrilege, an interactive, life-sized inflatable replica of Stone Henge measuring 34 metres long and 5 metres high!
The UK’s Mercury Prize nominated and politically charged electronic act Asian Dub Foundation will make their WOMADelaide debut on closing night in a sound sphere where raga meets sitar, dub meets bhangra, and punk rock meets hip-hop. Also the eight-piece New York ensemble Hazmat Modine will transform 1920s American music into 21st century verve like a cocktail of Tom Waits and gypsy-flavoured tinpan alley blues.
All the usual festival delights will be there including Taste The World, the Global Village, Womade, and the Healing Village. Acrojou will roll their elaborate circular house around the park unfurling a curios narrative tale which blends acrobatics and their amazing hand built structure, while Fair Play Comedy will delight festival crowds with their walkabout show featuring dancing prawns, animated octopuses and a worrying seafood smoothie!
There is set to be some fervent debate in the Planet Talks with discussions about off-the-grid innovation and activism in Off The Grid Game Changers; the future of clean and green economic development in a climate constrained world in A Green Growth Economy; and a discussion about science, communication, misinformation and debunking science skeptics with Dr Karl, Naomi Oreskes and Professor Tanya Monro in Should We Trust Scientists?.
WOMADelaide and independent Adelaide-based label Pilot Records are teaming up to bring more fresh electronic sounds to Speakers Corner to chill out or fire up before the DJ sets. Performers include Datãkae, Mortisville vs The Chief, Problems, and Zeequil.
The KidZone will also feature plenty of interactive events for the little ones including cool activities, immersive theatre, science discoveries, storytelling, dress ups, face painting, bouncy things and much more. There will be multiple opportunities to see amazing performances over the 4 day festival, with a timetable of events available online at womadelaide.com.au.
The Barefoot Review has been at WOMADelaide for many years, capturing the highlights, celebrating the performances, interviewing the artists and previewing the festival! In 2015 we had the great pleasure of capturing a day of the event on film, so be sure to check out our WOMADelaide experience and don’t miss the festival, this March, under the Morton Bay Figs at Botanic Park!
Paul Rodda
When: 11 to 14 Mar
Where: Botanic Park, Adelaide
Bookings: womadelaide.com.au
WOMADelaide experience
https://www.youtube.com/watch?v=dchWlrcS1qA&feature=youtu.be
CREDITS:
Video Production, Editing, Direction - Chris Daniels, Chris Daniels Productions
Presenter, Camera Assistant, Assistant Direction - Paul Rodda, The Barefoot Review
The Adelaide Critics Circle awards were again held at the University of Adelaide's Little Theatre this year with an excellent crowd in attendance. The awards, which took place on Monday 7th of December, are now in their 18th year. Members of the arts community, supporters, friends and family all turned out to learn who the winners for 2015 would be.
The Adelaide Critics Circle has faced a few funding challenges in the past 2 years, particularly with the withdrawal of funding by Arts SA at the end of 2013, and this year only managed to confer the awards, with the cash prize, due to the support of the Independent Arts Foundation (IAF) and the generous support of other individual donations.
Presented by the ACC Chair, Peter Burdon, the audience heard how the funding challenges had meant the well-known trophy, designed and created by Christine Pyman, was no longer financially viable. Burdon continued by acknowledging the generous donors for the cash prizes, but admitted that the amount had been reduced by fifty percent due to the challenges of fundraising. Despite this reduction the awards remain the only ones in Australia to be accompanied by a cash prize and, with $500 going to Professional categories and $250 to the Amateur/Community category, still represents a huge boost for the recipients.
The winners of the awards for 2015 were:
Group Award – Amateur & Community Theatre
University of Adelaide Theatre Guild - Who’s Afraid of Virginia Woolf
Individual Award – Amateur & Community Theatre
Julie Quick, actor - Who’s Afraid of Virginia Woolf: University of Adelaide Theatre Guild
Professional Group Award
Brink Productions - The Aspirations of Daise Morrow
Professional Individual Award
Michelle Ryan, dancer - Intimacy: Body Torque
Emerging Artist of the Year
Elena Carapetis, writer - The Good Son: The Other Ones
Independent Arts Foundation Award for Innovation
Zephyr Quartet - Music for Strings and iThings
Visual Arts - Emerging Artist
Julia McInerney
Lifetime Achievement Award
Michael Fuller
Critic, Michael Morely delivered an empassioned, well-recieved, speech in the absense of Michael Fuller, who was unable to attend due to health reasons.
With ongoing support from the community and the plan to incorporate in the New Year, the Adelaide Critics Circle is confident in its plans to continue into the foreseeable future.
Critic, Ewart Shaw also made a personal plea on behalf of his media outlet, Radio Adelaide, for support in the face of potential closure. Attendees and award winners were encouraged to have their photo taken with the banner #SAVEradAD to show support for Radio Adelaide and help guarantee its future.
Paul Rodda
When: 7 Dec
Where: The Little Theatre
Photography by Paul Rodda
