Purchase tickets at BASS

Leigh Warren’s latest dance work comprises three distinct chapters, each bound to the other by the notion of “equal footing” or “moving together”: pari passu (Latin, not French). Interactive multimedia technology describes and accentuates movement in a new way, whilst an exploration of human touch has the dancers connecting and disconnecting in turn.

Part one (titled random) showcases the lucid touchscreens which dominate Mary Moore’s set design. A seamlessly-tiled image of slate stone is stretched and morphed by some unseen force. Using their bodies the dancers are able to manipulate the projected images, to wondrous effect. Four silhouettes lined up against the screen play a game of Chinese whispers by movement. Prismatic bolts of energy connect them: a phrase begun by one dancer is continued, expanded upon or disregarded as it’s passed down the line. Fluid movement is translated into geometric shapes as a dynamic system of connect-the-dots forms, tracing arms and hands, legs and feet.

Where random demonstrates what the cool touchscreens are capable of, tangled is all about the dancers. Jesse Martin and Bec Jones partner up, delivering a pas de deux that’s sparking with fiery sensual energy. It’s great to see Lisa Griffiths again after her recent performance in Side To One. Although I preferred her partnership with Craig Bary in that previous production, here partnered with Timothy Farrar she again displays her incredible control and technique.

The third part, aptly named synchronic, brings all four dancers into militaristic unison. There’s a hypnotic repetition of beat, in the soundtrack and choreography. At best it feels neo-tribal, conjuring up a trance like state from the dancers whilst a projected vortex swirls unremittingly. Unfortunately the solo breakouts disrupt this mood, dissipating the powerful groundswell of kinetic energy that’s built up by the group.

The importance of the projection and music design of this piece cannot be understated, and here Adam Synnott excels. Transitions between the three parts are work mostly due to his contribution. Overall I didn’t find the work uniformly satisfying, but this could well be due to my individual taste. By its nature the structuring of this work allows for a diversity of expression, and while somewhat episodic this also ensures there’s something for everyone to engage with.

The  intimate and plush La Boheme is the perfect setting for the entrance of this cloaked and hooded pair.  Hidden from view and with a countertenor singing voice, Jake’s sexuality could be ambiguous, (apart from protruding man arms and an obviously male name!), but there is no doubting his musical ability.

The scenes are set in 5 stages, each set comprising 2 well crafted songs to lead you through The Darkness (hooded), The Awareness (Emma is now blond, and matching her Aryan brother-from-another-mother Jake), The Reckoning, The Healing, and finishing with The Light.

We’re taken on a twisted Hansel & Gretel tale into a mesmerizing dark place, each song filled with discord and a mix of strong emotions until we’re walked out of their darkness to a safer place.

Jake and Emma work effortlessly together, complimenting each other with their harmonies and styles.  It’s an awkward pas de deux within the confines of a small stage filled with a large keyboard and piano, but they move between their stations quietly and affectionately – supporting each other through the forest of life.

Their dream like state ends with such rousing applause that the pair demurely provide an encore – almost as though they’re surprised we’re in the room.  They seem a bit abashed at their ability to move the audience to such support, but it’s all very well deserved.

We’re charmed by their tale.

On tonight until Sunday….

Ps Bit thrilled to have my first review for this Adelaide Fringe Sammy J sitting next to me too (ok – at the next table) at my last review for this Festival….my circle of reviewing!

City Farm

Jed soon discovers that farming isn’t all about sitting under a tree (Mel the Melaleuca), but actual hard work. Between the sheep, the cows, the sowing and the harvesting Jed finds himself opting for the easier technological fix, technologies that come with problems of their own.

This play humorously and effectively sets out its message, despite being targeted at a younger audience, parents, teachers and other adult-types are well catered for. My friend and I were laughing more often than our younger fellow audience members. Jesse Butler as the computer and guitar-playing cow is particularly funny.

City Farm effectively engages not only the young but the old as well. Locally written and produced City Farm has humour, an important message and appealing characters. Complex issues are dealt with deftly, if somewhat simply, but it suits a young audience. I also like that there was an environmental scientist on hand to answer questions the audience might have after the show.

Perfect for school groups and families City Farm is a charming and entertaining show. If you have the time this weekend, take the kids and make a family outing of it.

In 1860 as part of the annual Christmas Lectures for Children held by the Royal Institute of Great Britain, Faraday gave a series of six lectures entitled ‘The Chemical History of the Candle.’ It is these lectures that form the basis for the Fringe Show, Faraday’s Candle at RiAus in Australia.

Simple in its staging, Faraday’s Candle more or less takes the first lecture, adds a few modern touches and delights the audience with the same experiments and demonstrations Faraday used over 150 years ago.  Despite the original lectures being aimed at children, when remodelled for the modern audience they have lost little of their original fascination. The mostly adult audience thoroughly enjoyed the demonstrations provided by Bernard Caleo as Michael Faraday.

Personally, while I found the presentation of the lectures interesting, the actual chemistry and science behind the lectures were nothing new to me and as a result I got a little distracted with the simplicity of it all. But the rest of the audience did not share my feelings, at the end, all I heard was talk of how fascinating they found the whole show and how they would never look at a candle in the same light again.

Undoubtedly if you already know the science, greater familiarity with the original lectures would have added an extra layer to Faraday’s Candle giving you more to examine and consider throughout the performance.

There is a lovely symmetry to Faraday’s Candle, given it is based on lectures presented over 150 years ago in the mother organisation to RiAus. If it is brought back to Adelaide it really ought to always be performed in this venue, considering the history of the lectures there is no better place for it.

I’ve heard many things, but there were a couple of ‘Whoa’ moments in the opening song of Homicide and Home Cooking…moments where I felt a  little embarrassed to have invited someone to come along, but relieved they were a someone who was laughing!

It’s almost as though if you smile in that song, the worst has been said and you can warily relax.  If you’re shocked you should probably scull your drink and get out of (wrong) town.

Rose and Claire are quick and sassy, and their harmonizing vocals are indeed golden, often belying their brassy lyrics.

In the sumptuous ‘La Boheme’ the show starts with a series of comedy scenarios revealing the seedier side of life.   While the songs depicting Adelaide showed they’d done their homework, the Geelong gags didn’t translate as strongly.  Perhaps Geelong’s reputation isn’t as maligned over the border?

Regardless, we are enthralled by the team, and lighting issues not withstanding, await each set change eagerly.

Their comedic digs seem to have no boundaries, slowly making their way through Adelaide’s “City of Corpses”  murders like the murky Torrens, before moving onto international superstars and burlesque.

The burlesque highlight for me was the raunchy version of “In These Shoes” performed brilliantly by Claire in a pair of….I won’t spoil the punchline.

The burlesque continues as they cook up a very special therapeutic treat, and some braver audience members feel safe enough to receive a taste as reward for successful participation.

This was a thoroughly entertaining show with outstanding vocals, but take note, it does have offensive lyrics and plastic nudity…you have been warned.

The first time I saw a Peaches ‘n’ Gin show they were performing in a small room at Cushdy – now they are performing sold-out shows at Nexus Cabaret, a much larger, and more fitting, venue for their talents.

Their latest show, Peaches ‘n’ Gin At the Movies, showcases a series of movie-themed acts that take on a variety of films including the classic Gentlemen Prefer Blondes, the action packed True Lies and the magic filled Harry Potter franchise. Hosts Rohan Watts and Cara Louise, a Margaret and David like presence at their table to the side of the stage, introduce each new movie scene and rating the offerings out of a possible 5 tassels. Cara is not just host and her musical medley, accompanied by David Salter was lovely.

As with other burlesque shows I’ve been to it took the crowd a little while to warm to the idea of cheering and clapping during the performances but once they did their cheers seemed likely to drown out the accompanying tracks.

One of my favourite things about Peaches ‘n’ Gin shows is the way they incorporate comic elements into the burlesque acts, and don’t just leave them for the jokes cracked by the hosts in between. And they don’t just elicit a giggle here or there but often complete laugh out loud moments! However, there were darker moments as one of The Strawberry Siren’s acts, inspired by Secretary, provides a nice contrast.

As difficult as it is to choose a favourite act, a highlight for me was the Harry Potter scene starring Luna Eclipse as Harry Potter and Sapphire Snow as Draco Malfoy, who always complement each other beautifully. I won’t say much but I think I read a fanfic like that once…

The basement at Higher Ground  was a welcome relief on a hot Adelaide night.  It’s  several degrees cooler in that awkward subterranean world….worth noting if its a cool night already. The stage is set with 3 musicians ( Logan Watt, Hannah Bennett and Tim Overton) when Charles Sanders steps androgynously on to the stage.

His opening number, and all those to follow, show his outstanding vocalism off to perfection – and the band don’t miss a beat (sorry) either.

However, only by reading reviews since do I understand this Cabaret.
We (& I’ll include my +1 here too who was also bemused) seemed to miss the character changes and trying to weave the personalities together left us with a confusing, but still intriguing, show.

I’d rather leave it more eloquently to the following to explain…and thank them for their insight/experience:-

http://www.glamadelaide.com.au/main/tag/queer-the-wicked-webs-we-weave/

Or

http://www.cabaretconfessional.com/cabaret-confessional/2012/3/5/adelaide-fringe-2012-review-queer-the-wicked-webs-we-weave.html

Higher Ground 7 & 16 March

As I said in my opening paragraph for Love Child, I have no idea about local theatre; this also applies to local comedy. I’ve got NO IDEA who is good or bad, but these guys were f#&$ing ace. The technical production was surprisingly slick, with no screw ups from what I can see. The audio & video set up worked well to fill the time while the performers were preparing for the next scene.

It is a funny, quick, witty & sarcasting show and its some what relatable to everyone (the centrelink job-seeker scene is eerily close to an experience I once had) and the puns & jokes aren’t over thought and they’re not stupid either. The team knows how to perform to a crowd, and knows the right moment to break the fourth wall.

The Worldsend Hotel was a great venue for the show too, great location, great atmosphere and it feels similar to one of the smaller performance spaces of the Adelaide Town Hall; intimate & comfortable.

I’m definitely keen to see these guys perform again, and i’ll be keeping an eye out for them in the future.

There’s a vixen in a red dress in a club and he’s cheating on his partner with her. If not with her, then certainly with someone else. Lies, deceit and drunken debauchery. This is one night out that you won’t forget in a hurry.

Ad Nauseam is gritty and raw. The male lead, Nick Bendall is sexy. He’s sexy in the way you’d want a man to be if you were going to have an affair and cheat on your husband. 50 minutes worth of intense monologue is delivered so smoothly. Like an espresso martini.

It made me think of the people that I’ve loved, that have loved me and the way that their lives continue, without me. It’s inconceivable. Incomprehensible. This performance illustrates perfectly how two lives that are so completely intertwined can painstakingly disconnect from each other and the explosive consequences.

Ad Nauseam has one show left, 9 pm, March 10 at the Queen’s Theatre.

You’d be mad to miss it.