They appear onstage wearing white painters’ overalls but these don’t stay on for long. The trumpets sound out the traditional circus theme Entrance of the Gadiators and the pants literally come down. Say “hello” to a new breed of circus performer, refreshingly irreverent and not afraid to be a little bit naughty.

This is a fitfully energetic very funny show: the creation of four young Australian performers. Each brings a bagful of varied circus tricks, delivering their unique re-imagining of circus favourites with humour, playfulness and some cheeky innuendo (to be expected, considering the title). You’ll see pole climbing, tumbling, balancing, juggling, hula hoops and trapeze but not how you’ve seen it before. These guys and girls keep it fresh: the thrill they must get when nailing a trick for the first time still lingers like electricity in the air.

The quartet is focused on ensuring the audience has fun, but are impressive technical professionals too. The level of trust required for the adrenaline-rush finale and the gorgeously conceived female static trapeze number is immense. The girls really shined in the latter, their fluid and graceful delivery belying the difficulty of the choreography.

You may leave this show regretting that you never asked mum and dad for circus lessons for Christmas, but you won’t regret spending an hour of your precious (and rapidly diminishing) Fringe time with this crew. Check them out at the “big top” (Gluttony – Excess Theatre) while you still can.

The night cats are out on the streets of  St Kilda and another bruised and bleeding girl is pushed from a car. 

Kristen Telfer directs Adelaide’s first performance of this gritty portrayal of the underground sex industry in Melbourne’s St Kilda.  The Cat’s Paw is about more than just prostitution, it’s a subtle commentary on love, sex and self esteem and the interplay of the three.

It was a refreshing change to see Damien White acting in a drama; far removed from his usual comedic roles. His portrayal of Paul, a socially awkward depressed man was admirable.

A word of warning, take a friend with you. If you wear your heart on your sleeve like I do, you’ll be needing a hug or a hand to hold afterwards.

With only two performances left you better get in quick.  29, and 30 June 2012 8.00 pm at The Studio, Holden Street Theatres.

The Seductive James McLean

He’s young, cute and funny, so why hasn’t James McLean found a partner?

As we reminisce with him through his memories of early love, we can’t help but empathise with his awkward moments and painful advances.

 ”Does she like me? Do I like her? Do I like him?”

And so the relationship roundabout begins! James presents a unique story of his quest for partnerdom, and in the process, charms and entertains the crowd. After a slow start, James really picks things up after his first encounter with ‘Two-Bit’: the normally good-tempered equine, with a mean streak aimed at James. ’Two Bit’ is a star too – with a crooners grin, lesson learning songs, handy hoofs and a slightly lame front fetlock.

(Aside: We thought Elton John was in the audience this night, and when Lion King started playing we were pretty sure we were right.  So thanks for popping into Nexus Cabaret EJ!)

James is self effacing and plays all the characters involved with gentle humour and good timing.  His singing improves with confidence throughout the show, and the big finale is a tribute to his capability. Accompanying James is none other than flawless pianist David McEvoy, who seems to be genuinely enjoying the jokes too. That’s always a good sign.

The bottom line: You can’t go wrong with equine advice. Truly entertaining!

[Ed's Note: We're hoping to see James appear in a festival again soon... perhaps at Feast or Fringe?]

Gobsmacked Promo Poster

But they weren’t the only amazing thing about the show. Nikki Aitken and Jamie Burgess team up for a light (and sometimes not so light) look at the trials and tribulations of the ‘sexy, single straight girl’ (or gay guy).

Featuring all original music, Gobsmacked is a great showcase for Aitken’s stellar voice. She and Burgess are clearly very comfortable together, trading witticisms and banter throughout the show. Burgess proves a worthy foil to Aitken’s dramatics, and is also given his moment to shine.

Whilst a mostly raucous affair, Gobsmacked does feature some tender moments, and Aitken and Burgess play these beautifully without things becoming mawkish.

Gobsmacked continues until June 30 and is definitely worth a watch. Plus – if you’re lucky, you might score a cupcake!

Show times: Thu 28th June at 7:00pm, Sat 30th June at 3:00pm & 7:00pm 

[60 mins (no interval)]

TICKETS: Adult $28.50, Conc $25.50, Gr 6+ $25.50 – purchase here.

Jennifer Degrassi, gorgeous nightingale from the Adelaide Hills, delights in her newest show Cirque Brisé. She focuses on the imperfections that we each have, and asserts that by embracing these imperfections, we only become stronger in ourselves.

Degrassi has selected a number of songs that centre around this theme: embracing imperfections within. She echoes David Bowie’s Heroes and the song that inspired this show, Leonard Cohen’s Anthem.

There is a crack in everything, that’s how the light gets in.

She also performs an original track she has written – truly groovy and bop-worthy. Her vocal range seems limitless. At first, she is quiet, drawing the audience right in with that seductive tone. She the progresses to what can only be considered as powerhouse vocals [Ed's Note: Think Whitney - RIP].

Degrassi is accompanied by some of Adelaide’s finest musicians: the amazingly talented Lyndon Gray Trio, accomplished violinist Belinda Gehlert (Adelaide Symphony Orchestra, Adelaide Art Orchestra & Zephyr Quartet) and accordion extraordinaire, Gareth Chin. As you’d expect, these guys do not disappoint, and are each given a moment in the spotlight to show off, while Degrassi recovers from her full-on numbers. to  The variety of instruments (piano, bass, drums, violin, accordion) enables Degrassi to showcase such variety: from traditional Weimar cabaret through to more of an unpredictable gypsy style of jazz.

Th next show on Saturday 30 June 2012 at the Promethean at 8pm will be recorded… are you going to be part of Degrassi’s story?

Purchase tickets here.

The Arts Club of the Don Polski building has been transformed into a swanky supper club for the Cabaret Fringe Festival. Beautifully painted decorations in the manner of Lautrec’s Moulin Rouge posters adorn the walls, and an art nouveau design surrounds the stage which has a gold curtain backdrop heightening the old nightclub feel. The atmosphere was certainly set for an evening of tunes made famous by Frank, Sammy and Dean plus a few extra.

The name of the show was Songs of the Rat Pack Era and it more or less describes the entire content of the night’s entertainment. I had heard of the Bill Parton Trio before but this was the first time I’d seen them perform. It is obvious that they’ve been playing together for a long time – ten years according to Parton – and that they know and love the songs they were playing. Some of my favourite songs of all time were played and while, at times, I felt the solos were a little drawn out and/or too numerous I definitely enjoyed their spin on these beloved tunes. They stay true to the spirit of the lounge music of the late ’50s and early ’60s whilst giving it their own flavour, with Bill Parton’s fairly unique vocal style being largely to thank, though it is the combined talents of the trio that truly make their style enjoyable.

I feel I may have enjoyed the show more thoroughly without some of Bill Parton’s chatting in between songs such as a couple of degrading remarks concerning women who had been at a past show (the phrase ‘slappers’ was used). Maybe this wouldn’t sour the evening for everyone but I find rude remarks like that to be unnecessary. However, it was only a small point in an otherwise enjoyable evening with great music in a gorgeous venue.

Hew Parham, who brought Schmoo to the 2011 Cabaret Fringe Festival, has a new show, The Giovianni Experiment. Parham uses his formidable physical comedy skills to portray Giovanni, an Italian waiter who clearly takes pride in what he does and the customs of good service. Using food props in unlikely ways Parham’s Giovanni is hilarious, charismatic and cheeky.

At a simple level, this relatively short show (40 minutes) is just very funny, poking fun at old food traditions and the people involved. At another it is a lament to the loss of those traditions in a modern world where food is mass produced, with little tradition, thought or heritage. Parham effectively and efficiently demonstrates the two extremes, adding dimensions to the show that while left me laughing also left me thinking.

The four distinct parts in The Giovanni Experiment create a four course meal that leaves you feeling very satisfied by the end. Very funny and a little dirty, there are some cracker lines and not a dull moment. My friend and I both laughed ourselves silly at Giovanni’s antics. Anyone who has been on the receiving end of exceedingly snooty waiters will enjoy themselves, as will anyone just looking for a fun show. Oddly it’s a comedy that makes you think about what you eat and where it comes from.

There’s one show left this Saturday night at La Boheme, hurry as I hear tickets are selling fast.

Young, fresh and loving life.

The Fishbowl Boys

This is how I would describe the a capella quartet of 21-year-olds The Fishbowl Boys: Kieran O’Dea – Tenor, Matthew Lykos – Lead, Robin Breugelmans – Baritone and Cameron DuRieu – Bass. After a long day at work, they put an easy smile on my face. They told me that everything will be alright as long as there is love in my life. And I believed them.

Let me say that The Sound of Silence never sounded so good. All-time classics interspersed by funny twisted originals made us laugh and relax.

They warned the audience about their love of engaging us. If you felt like it, you could join in and sing, but my personal highlight of the audience participation was when the quartet formed a strategic rectangle around the room and interviewed the crowd.

Their performance made me feel so young. Yes, I’ll admit that one of them was awfully handsome, and when he sang Moondance I nearly fell in love.

Each member of the quartet had a different story to share. And that made it so special for me. It wasn’t just about their looks; their personalities grabbed your heart.

The Fishbowl Boys had advice for any situation. One of the key messages for a mid-life crisis, or a bad day was,

“if your life is turning bad, thinking about your big penis, even if the size doesn’t matter!”

The pop song finale was a cover version of Britney’s Oops I Did It Again: it really made my day!

The fellas convinced me to buy a CD, partly to help Kieran the Tenor move out, but mostly so I can enjoy their great music anytime I want.

P.S: I am even considering hiring them for my wedding!

[Ed's Note: Sadly, the fellas only had one gig this time at Nexus Cabaret as part of the Adelaide Cabaret Fringe Festival, but we're hoping to see these locals perform again soon!]

The title of this single performance show put on by the Bailey Dolls is taken from the Irving Berling song – sung beautifully in the show – and the ‘it’ referred to is falling in love. The title is well chosen, not only as it fits with the narrative created for the show but because the show itself is wonderful. It might be a cornball thing to say but it is true nonetheless.

The Bailey Dolls – Tahlia Ries, Merrilyn Greer & Leah Potter

Rita, Edie and Betty – Merrilyn Greer, Leah Potter and Tahlia Ries – entertained the crowd with a selection of Andrews Sisters tunes (plus some) in their beautiful three-part close harmony that does the memory of the Andrews Sisters more than justice.

Not only was I entranced by their harmonies but the women all exude charm in the characters they have created. The subtle differences in their costumes perfectly captured the differences between their characters as well.

The first number - Boogie Woogie Bugle Boy – was a teensy wobbly in parts but by the end I could tell they were at ease. They had blown me away. Highlights included Near You, possibly one of the loveliest songs ever written, and Stephen Sondheim’s You Could Drive a Person Crazy from Company. The latter brought a bit of extra cheekiness though was by no means the only source in the show.

The girls made the most of the intimate performance space at La Boheme (one of my favourite venues). They switched a LED sign on and off to signal “onstage” or “backstage”. The band provided tight accompaniment, smoothly interpreting many of the big band songs for a three-piece.

When you can love your favourite songs sung by someone else, you know that something fantastic must be happening, just as I did at They Say It’s Wonderful.

Miss Conlin is a teacher by day and a burlesque performer by night. Backed by pianist Matthew Carey (“no class, pianist is not a funny word”) she transitions between english teacher to burlesque performer and demonstrates why burlesque shows are rarely one woman performances as pieces of costume fly wildly about behind a screen in the corner of the stage.

As a qualified Librarian I can tell you a thing or two about what it’s like working in a profession that comes with a whole gamut of stereotypes. Teacher and burlesque performer are no different. You’ll find yourself cackling at Miss Conlin as she mixes up her outfits, stays up late, sleeps in and ends up wearing burlesque outfits by day. No doubt you’ll end up picturing her disciplining “students” at night.

Conlin has a burlesque performers body to die for and proudly struts her stuff, her sequin covered 3  inch heels that is. She exudes sex appeal and confidence and if you’re a 16 year old boy you’d be in trouble if she was your teacher.

You can catch Carla Conlin in Miss Conlin Confesses for one other show on Sunday 24 June at 5:30 pm. Tickets through BASS.

Follow her on twitter and let her know what you thought of her show.