★★★★1/2
Adelaide Fringe. Prospect Productions. Holden Street Theatres/Domain Theatre, Marion. 28 Feb 2025
"Old is the new black”, they tout in their Fringe program.
Yes, it is. It’s not so much chic to be old as it is inevitable and everyone is headed in the same direction, so let’s make it fun.
It is not the first time that smart and sassy senior Maureen Sherlock has snaffled the golden years for a spot of fun and games. ’Twas she behind Alzheimers the Musical: A Night to Remember. And her mind garden of gags and send-ups is still a seething bed of fecundity. The funnies and sillies don’t stop through this new confection of elderly jests.
Four seasoned all-rounder actors people the stage: Maureen Sherlock, Sue Wylie, Kathryn Fisher, and Rose Vallen. They embody neighbours and a newbie in the retirement world, each with their peculiarities.
Slide projections reveal that they dwell in Paradise Park, a stereotypical retirement village which is trying to move with the times. To that end, community activities are adopting woke titles and volunteerism is a big thing.
The show opens with a great big full cast number, "YOLO - You Only Live Once". Of course, the lyrics are funny but then again, the message is not. Indeed, the message of the show is that one must laugh while one can. And Maureen Sherlock will help you do it.
The production is in revue format, a series of skits and songs with Paul Brokensha onstage on keyboard, and like any revue, there are changes in pace with outright, unambiguous humour coming way out on top but also some slow and wistful moments. Generally, it is compassionately observed. One can make fun of shortcomings and suffering but in the end of the day, they are not fun. Sherlock laughs with them, not at them. But she certainly doesn’t hold back. If there is an edge, she takes the mischief right there. Her frolic of the ancients features punny songs like “A Little Help from Depends” and a great love song, “Voltaren”. They keep coming.
Indeed, astutely directed by Rob George, there’s a fast-paced hour of them. Piece de resistance is “I’ve Had Everything” sung to the tune of “I've Been Everywhere” and listing every “-itis” known to medicine and then a mass more. It’s all very clever and hilariously delivered.
Fab cast, fab fun. You can be ageist if you are old.
Maureen Sherlock is without doubt doyen of the zany oldies genre; lovely, quirky, naughty humour. The balloon reproduction lesson is a hoot. And so are the promo ads onscreen.
But, that’s enough spoilers. Beg and bribe for tickets. The houses are selling out in a screaming hurry.
Samela Harris
When: 28 Feb to 9 Mar
Where: Holden Street Theatres/Domain Theatre, Marion
Bookings: adelaidefringe.com.au
★★★★★
Adelaide Frinte. Cirquework. Yusaku Mochizuki. MOA in Gluttony. 21Feb 2025
Once you’ve seen one Nouveau Cirque show, you’ve seen them all, right? Wrong!
YOAH is a brilliant blend of cirque and physical theatre, at once moving, entertaining and simply breathtaking.
YOAH’s five performers deliver an exquisitely simple silent narrative following a young woman’s quest for fulfillment. The young woman’s light, hooded attire evokes innocence and misery in equal measure.
The opening silks act, masterfully performed by our protagonist, Tsumugi Masui, propels the young woman into a strange, dark place inhabited by four rather sinister, black-clad, traditional Kasa hatted diabolo wizards.
The encounter takes the young woman deeper into this world where light seems to lead her on.
The diabolo wizards possess their own powers, each seeming to manifest different stages in the quest.
Masui’s presence throughout, linking each episode, ensures Artistic Director Yusaku Mochizuki’s narrative continuity, while the precision of each act, performed with variously great emotion, gravitas, humour, and energy is driven by Jin Takemoto’s taiko drum influenced (sometimes almost medieval) score. Naoki Inui and Yuuka Nakashima’s choreography links everything elegantly and effectively, while Go Ueda’s superb lighting and Hiroyuki Nakatsukasa’s dazzling animations create stunning backdrops.
It turns out Mochizuki, the Artistic Director, is also a diablo master; he creates a dynamic dazzling beginning to the quest.
Kyle Fowler’s cloud swing is breathtaking, while Tomohiro Morita’s clown and juggling act brings joy to the narrative.
The high point (excuse the pun) of the both the narrative and show is Yuya Takatori’s incredibly unnerving, lofty chair balancing act!
A flurry of diabolo madness, executed with great pizazz by Mochizuki and Morita elevates the tone and energy of the show towards its climax where Masui comes full circle, now a vibrant, alive woman, on the silks.
This is a great opportunity to see a superb example of modern circus with no sexualized or agenda driven content. Visually, it is a work of art!
And one thing is certain, the Cirquework artists are at the top of their game!
Go, see it!
John Doherty
When: 21 Feb to 23 Mar
Where: MOA in Gluttony
Bookings: adelaidefringe.com.au
★★★★
Adelaide Fringe. The Lab at Fool's Paradise. 23 Feb 2025
Ryan Simpson, aka Accordion Ryan, is a helluva funny guy! New Jersey born, currently residing in Vienna, Austria, Simpson brings a wealth of street entertainment brilliance to this show-busking, you survive simply by engaging passersby and holding their attention. However, Accordion Ryan is much more than simply a streetwise entertainer! Simpson is a maestro accordionist who leverages his skill on the instrument as a foundation for sharp, witty comedic engagement with his audience.
The show I joined on Sunday evening was underattended, but this did not deter Accordion Ryan from cavorting and leaping around with great abandon to connect with his multigenerational audience to make the show" our show, our space. This is a "get involved, sing along” show and even with a small audience it was impossible not to get caught up in the show! My fifteen-year-old niece loved it and sang along enthusiastically; a smile never left either of our teen or sexagenarian faces!
I won't list the songs here; suffice it to say there's a range of pop classics, iconic Aussie chart toppers, bawdy tunes, and originals, all worthy of getting your pipes warm for!
Is the rejuvenated Fools' Paradise on Victoria Square the best venue for this show? Perhaps not. But there is no choice in this. The Fringe assigns venues, and one can't help but think this guy would kill it in the Garden or Gluttony!
So, as the great Molly Meldrum would say, " Do yourself a favour!" Go! See it!
John Doherty
When: 20 Feb to 2 Mar
Where: The Lab at Fool’s Paradise
Bookings: adelaidefringe.com.au
Adelaide Festival. Space Theatre. 26 Feb 2025
This show is remarkable and should be seen. It’s not standup comedy, but it feels like it, and the audience treats it that way. It’s fully scripted and there is no extemporisation. It comprises one-liner after one-liner and the audience are in stitches of laughter, almost constantly. The one-liners are deliciously written – the English language never sounded better in a standup routine - but … it’s not standup although the physical antics of the actor are easily the equal of the best stand-up comedian.
So, who is the actor, and what’s it all about? The ‘play’, for that’s what it is, is written by Marcelo Dos Santos and is possibly autobiographical. It’s about a stand-up comedian who is trapped in a world of one-night stands and doomed relationships, because the comedian – our unnamed protagonist – has a self-destructive approach to life: he’s not good enough for anyone, so he might as well kill off a relationship himself before his partner does. It’s simpler that way. Except, he meets someone – an American – who really seems to be Mr Right. However, the American suffers from cataplexy, which is a disorder whereby laughter causes dangerous muscular paralysis that can quickly lead to death. So, we have a comedian falling in love with someone who can never laugh at his jokes. It’s a narrative that any quality standup comedian could milk for a million dollars. And that’s exactly what Samuel Barnett does in the role of the comedian.
Barnett is a master of timing, gesture, and tonality, but above all he understands the importance of silence and volume modulation. He delivers the text at breakneck speed and every word is heard with crystal clarity; such is his superb articulation. The lighting is simple but effective, and it is the set: a series of fluorescent tubes that change colour as needed. The lighting changes are tied to changes in the narrative and Barnett synchronises superbly. Really, it’s quite masterful.
Listening to the storyline unfold is like wading into quicksand – it consumes you and you know that one grubby description of a sexual exploit is inexorably leading to another, but its compelling. You need to hear what’s coming next, and even you ‘know’ how it’s all going to end, you still need to hear it because you can’t really be sure. Dos Santos is overflowing with ambiguities, but that’s what makes it funny, and, under the astute and tight direction of Matthew Xia, Barnett knows how to milk it for everything it has, and then some.
Just superb.
Kym Clayton
When: 26 Feb to 2 Mar
Where: Space Theatre
Bookings: adelaidefestival.com.au
Adelaide Festival. Queens Theatre. 26 Feb 2025
This is a cult show. And without a doubt, followers of Hedwig were in massed attendance tonight; the mere bat of an eyelash was enough to set them off, cheering and catcalling with gay abandon.
For those of us who hadn’t seen the show or the film previously (all over YouTube), it seemed to take a while to kick in. At the Queen’s Theatre, a surprisingly small stage was set in the half round (the crescent?), covered with a circular shimmering silver tube curtain.
Hedwig (Seann Miley Moore) is an East German refugee, having escaped to the United States with their then US soldier husband. They haven’t escaped unscathed; they had to ‘leave something behind’ and a botched operation leaves them with ‘an angry inch’ for genitals “where my penis used to be, where my vagina never was”. Collecting and losing another lover (the rock star playing next door) they are now married to Yitzhak (Adam Noviello) who sings back-up in the punk band The Angry Inch.
The show opens with Tear Me Down which places the narrative firmly into the anger space as they recall their life as Hansel Schmidt in Berlin in the early 1960s. Much of the narrative of the show is based on their search for their ‘other half’, which is inspired by Aristophane’s speech in Plato’s Symposium, who opines that humans were once attached to another – the angry gods split them in two, and they spend their lives looking for their other half, their soul mate. This is Hedwig’s mission, as it is articulated in The Origin of Love.
The rock musical was written by two Americans (Stephen Trask and John Cameron Mitchell) in the 1990s, and some of the references, including musically, are dated and America-centric. There’s also the double entendres common to every drag cabaret show, “I do love a warm hand on my entrance”. Occasionally however, Miley Moore kicks it into 2025 with pointed references to contemporary issues – unsurprisingly, JK Rowling gets a name check (and Hedwig the Owl gets a hoot check).
Hedwig’s anger propels the show, and while I’d hesitate to describe the band as having a punk ethos, they certainly perform the songs with an energy and enthusiasm that keeps the whole thing rocking (sound design by Jamie Mensworth, musical director Victoria Falconer).
While initially Jeremy Allen’s sparse set seemed a little limiting, it quickly revealed its ‘nooks and crannies’ as it were; ladders leading to flyovers, walls becoming doors to a rock stadium and Geoff Cobham’s lighting design brought depth and angularity to the dark design.
In the tradition of the pub gig vs the theatre show, the fourth wall is a flimsy construct, with Hedwig using the audience as part of the show, chatting directly, running through the crowd, and using audience members as props.
There’s a lot to see and take in here, and what at first seems like a paean to Rocky Horror develops into a thought provoking look at when to let go and what to leave behind, beyond the physical.
There are still some loose ends here, not least some of the linking narratives that don’t quite hit the mark, but there is still relevance to be had in this quietly aging production; while it’s not a knockout, it still packs a punch.
Arna Eyers-White
When: 26 Feb to 15 Mar
Where: Queens Theatre
Bookings: adelaidefestival.com.au