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
Adelaide Fringe. Paradiso Speigeltent. The Garden of Unearthly Delights. 21 Feb 2014.
Circus cabaret (think Cantina, La Clique, La Soirée) has become an icon of the Adelaide Fringe and in particular the Garden Of Unearthly Delights. It’s dark, sexy and dangerous, and Adelaide can’t get enough.
Following in Cantina’s footsteps, Limbo is the latest smash-hit from the highly successful collaboration between Aussie production house Strut and Fret and the UK-based entertainment company Underbelly. If you need any proof of the popularity of this genre, consider that Limbo is on its return season and is still selling out shows and collecting rave reviews.
The production is worthy of its reputation. Featuring the original 2012 cast, Limbo is a vaudevillian feast of music, dance, theatre, illusion and circus trickery. Whilst many of the skills showcased are tried and true, they are presented in a unique and exciting way, and you don’t leave feeling that you’ve seen it all before.
From the outset, atmosphere is conjured by the “found sound” genius Sxip Shirey, who creates dark, powerful music with non-traditional instruments such as beads in a glass bowl. Musicians, Grant Arthur and Mick Stuart join him on stage and the three-strong group are ever present and crucial in maintaining the show’s dramatic mood.
The talented cast includes illusionist Paul Kieve, acrobat & aerialist Evelyne Allard, Chinese pole master Mikael Bres, contortionist Philipp Tigris and hand balancer Danik Abishev. The standout acts are Coney Island’s sword swallower, Heather Holliday and Australia’s acrobatic dancing sensation, Hilton Denis.
Holliday is gorgeous and sultry; she fits this show like a glove. Her array of skills includes tap dancing, sword swallowing and fire eating, with the latter providing a spectacular act in which Holliday prowls the fiery stage swallowing torches and breathing huge plumes into the air.
Equally, Denis shines out of the pack; he could have stepped straight off a 1920s vaudeville stage. His seemingly endless energy is infectious, and teamed with skill and great characterisation, you’ll give a little smile each time you see him re-enter.
Without a doubt, this is a quality and entertaining show.
This year however, the Limbo team has sacrificed some of that quality for bigger audiences and greater profits. The desire to maximize ticket sales and ensure as many people as possible have the opportunity to see the show is understandable and even admirable. The seating offered to the last to arrive however, was outrageously poor. To call it “cattle class” would be generous.
Almost 100 people were expected to perch atop rickety bar stools with virtually no back support, in the farthest corners of the Spiegeltent. If you happen to be in any row other than the first two, you probably won’t be able to see more than half of the production.
With your head cranked at 90 degrees to catch a glimpse of the stage, you’ll also have to battle the constant distraction of the thoroughfare and artist change room directly to your left. You are, however, guaranteed a cracking good view of the lighting and sound desks.
Despite all this, if sat on a stool you may have still have counted yourself lucky. Spare a thought for those who couldn’t get a seat, whose seat was broken, or who were so far back that they couldn’t see anything at all. These unfortunate souls ended up standing in the narrow aisles for the entire show.
This ridiculous arrangement was imposed on audience members who paid the same as everyone to see the show and were treated to a third class experience. Many didn’t bother to stick it out and simply left. I don’t blame them. Hopefully they were on their way to demand a refund, which they were more than entitled to.
All in all, if you get good seats the show is absolutely worth seeing. Our tip is to get there early. If you don’t, well, good luck.
Nicole Russo
When: 21 Feb to 16 Mar
Where: Paradiso Speigeltent
Bookings: adelaidefringe.com.au