Don't Be Lonely. The Garden of Unearthly Delights - Le Cascadeur. 18 Feb 2015
Squidboy has now grown into a ‘Kraken’. A kraken is a mythical sea monster thought to inhabit the ocean between Norway and Greenland. Trygve Wakenshaw is a legendary physical movement comedian sighted regularly in a sea of audiences at festivals and fringes around the world, catching a swag of ‘best-of’ awards, and there are many that got away.
I was giddy from the very start. Wakenshaw is a rubber man with an uncanny ability to physicalise and vocalise character, animals, events, and objects. He is also a master of lateral thinking. Sizzling BBQ meat morphs into the hiss of a snake lulled by a snake charmer controlling the tune with a radio volume dial of compliant audience participation. A confident weightlifter transmogrifies into a mother and baby that magically becomes a drama on TV and then the birth of a horse. His human characters are hilariously hapless and naff.
Imaginary objects in his hands are easily suggested and are used in supernatural and surreal tasks. I was reminded of Robin Williams in ‘Mork and Mindy’ or even Williams' role model, Jonathan Winters. Wakenshaw loves to be looked at and could not finish the show. After an encore of embarrassing (if I was doing it) free style dance to a popular tune, he was imitating a stage hand changing over the set for the next show as the last audience member filed out; yes, that was me. Bravo!
David Grybowski
When: 13 Feb to 15 Mar
Where: The Garden of Unearthly Delights - Le Cascadeur
Bookings: adelaidefringe.com.au
Let Me Know How It All Works Out. Token Events. Garden of Unearthly Delights - Studio 7. 17 Feb 2015
If you are Celia Pacquola, reading this complimentary review may prove difficult. Just for you though, I promise a satisfying ending.
If you go and see Pacquola perform her show in The Garden's 'Studio 7', the above paragraph will not only make sense, it will give you a good giggle.
In a stream of comedy gold, 'Let Me Know How It All Works Out' reveals the comedienne's surprising weakness: despite being intelligent, well-spoken and otherwise normal, Pacquola is addicted to psychics, palm-readers and all things foretelling. She hates an unresolved ending, particularly her own, and her quest to know how it's all going to work out leads to a chance encounter with palm reader, Tony. His casual revelation leads to a hilarious set of events.
Pacquola invites judgment, questions fate, and delivers retribution before wrapping it all up nicely in the end. What more could you want? Bed impressions I hear you say? It's got that too.
Her chilled-out style and refreshing honesty are endearing. She quickly wins her crowd over, with the audience "heckling" cheers of encouragement and helpfully offering up Google search results on Pacquola's porn star doppelgänger. It's a great way to spend a steamy summer evening.
Epilogue: Twenty minutes after the show, Nicole ordered a veggie burger. She is still laughing.
Nicole Russo
When: 17 Feb to 22 Feb
Where: Garden of Unearthly Delights - Studio 7
Bookings: adelaidefringe.com.au
Irregular Productions. The Bakehouse Theatre - Main Stage. 17 Feb 2015
The stage is set. Four brightly coloured chairs and a piano. The players are already in place, chatting as if waiting for a rehearsal to start. The lights dim, and the players begin.
[title of show] follows the collaborative journey of friends, Hunter, Jeff, Susan, Heidi and Larry, as they try to create a musical in only three weeks for the upcoming New York Musical Theatre Festival. In lieu of an original idea, Hunter (the writer) and Jeff (the composer) decide to write a musical about two guys who are writing a musical about two guys who are writing a musical. The characters all play themselves… playing their character, that is.
This is a musical for the musical in-crowd. The show is billed as a comedy, and there are certainly some funny one-liners scattered throughout the script, but if you aren’t very familiar with the musical theatre genre then a lot of the in-jokes will be lost on you. Hint: read the glossary enclosed in the programme before lights out.
Hayley Horton directs the show, with Peter Johns as both musical director and in the role of Larry. Horton gives the show bucket loads of pace, and her players carry it off with consummate ease. But in that pace, comic timing gets a bit lost and many of the jokes are missing their laugh.
Non-stop for 90 minutes the entire cast are ‘on’. Both physically on stage and in their mental character focus. A better Adelaide amateur cast, Horton could not have wished for. Scott Reynolds, Rod Shultz, Claire McEvoy and Amy Nagesh sing the house down in this show. The odd note is out of range for some performers, but it doesn’t matter when this ensemble sings. They are the show, and they make the show.
Despite the awesome performances the script is about 30 minutes too long. The concept makes for a great musical, but beyond a certain point the show gets carried away with itself and ceases to be interesting or original.
The production is at its absolute best in 'What Kind Of Girl Is She’, the Festival ‘Montage’ and particularly in ‘Secondary Characters’. In terms of performance connection McEvoy and Nagesh take the cake when they sing together.
Tickets are selling fast. This is a well-publicised and highly anticipated show amongst Adelaide theatre audiences. If you know the show, or love everything ‘musical theatre’ then don’t miss it. But, do read that glossary.
Paul Rodda
When: 17 to 21 Feb
Where: Bakehouse Theatre – Main Stage
Bookings: adelaidefringe.com.au
Ambassadors Hotel. Imagination Workshop Pty Ltd. 16 Feb 2015
There may have been only 12 episodes of Fawlty Towers but the show goes on - and on and on and on.
The Faulty variation of Fawlty, an interactive theatre production performed around restaurant meal service, has proven itself an enduring hit. It has been touring for years. This is not its first Adelaide Fringe season and one hopes it won't be the last.
The secret to the success of Brisbane-based Interactive Theatre International is simple. It has a large roster of Basils, Sybils and Manuels - terrific actors who bear a passing resemblance to the original characters and who can step into the roles and make them believable - and funny. In some ways they have it tougher than John Cleese's crew because they have to deal, night after night, with diners who may have had a few drinks and diners who are a bit over-excited about the whole idea and want to top the actors. So they have to be ready with a bit of improvisation and some good heckler retorts.
And they have two hours and three courses in which to keep it up. It's rigorous theatre.
In Adelaide, the Ambassadors Hotel's lovely balcony restaurant is the scene. Diners meet downstairs in the Marble Bar until Manual and Basil turn up and set the mood with a bit of shtick. It's the classic cornball language misunderstandings of Manuel. Manuel's battle with the quaint double meanings of English words always was good for a laugh and it still is.
Once in the restaurant at their allocated tables, the audience may or may not be efficiently served. It is spectacularly haphazard. Manuel is all over the place doing his very inept best while Basil is stalking, sneering, sniping and in exaggerated disdain almost throwing things on the tables. Sybil tries to keep order and reduces Basil to the thwarted browbeaten husband we all know and laugh at.
The team has a thorough, scripted routine which is enacted around the meal service, creating glorious disorder and general hilarity. The actors work every corner of the room so that no diner feels unnoticed. Indeed, some feel a bit too noticed. Manuel has little life crises going on. Basil is plotting with Manuel. Sybil is cracking up with that wild, snorting, horsey laugh.
Luckily, there are three enchanting professional waiters on hand to see that everyone gets all three courses and that fresh drinks can be ordered. It's the best of all worlds, really. Utter, ridiculous, outrageous silliness combined with a decent pub meal.
In Adelaide, Suzanna Hughes is playing Sybil. She is a thoroughly convincing treat in the wildest multi-streaked over-the-top wig. She's better looking than the original, but the trick of acting these parts is to embody the spirit of them and Suzanna, shrill and British, "is" Sybil. Ron Kelly is no look-alike either, but he creeps into John Cleese mode by assuming a Cleesian posture, a sharp edge to the voice and a marvellous manic look. As for Andy Foreman, he is the star of the show. Always with an endearing look of utter innocence and eagerness, he does the prat falls, clambers under and onto tables, sits on laps, primps hair and, oh so willingly, does the irredeemably worst table service in the business. It's a high-energy performance and sometimes it seems exhausting just watching him.
It might not be the most gourmet meal you ever had out, but it is absolutely of the zaniest. Ah, yes, these impostors make faultless Faultys.
Samela Harris
When: 14 Feb to 15 Mar
Where: The Ambassadors Hotel
Bookings: adelaidefringe.com.au
Marie Clark Musical Theatre Company. The Soul Box. 15 Feb 2015
This brand new show opened on one of those extremely hot February afternoons when you can shoot a cannon down Hindley Street and not hit anything. Having rode my bike to the The Soul Box, I craved a cool drink and downed 600 ml of icy cold water for $4. Enjoying the pre-show buzz, and while stuck to the vinyl seats - I overheard that the unmoving fans only suck hot air in from outside - I worked over the calculator and my SA Water bill for a comparison. Cold bottled water is 2,950 times more expensive than tap water. Aside from that grumble, The Soul Box is a great cabaret venue.
The genesis of this show is a neat idea - the Marie Clark players take a few songs and stand them on their head - say, by using a different key, or slowing them down to really get the import of the lyrics, or contextualising the lyrics in a different mood, by gender switching, that sort of thing - to derive a new and interesting slant on meaning or emotion. The concept was exampled in the opening number with minor key, jazz, classical, and other versions of ‘Three Blind Mice’. Nice warm-up but, huh? Followed by a jazzed-up version of’ Feed The Birds’ from ‘Mary Poppins’, the show didn't really start until Damien Quick walloped Alicia Keys' crooner version of Jay-Z's ‘Empire State Of Mind’, which is an incredibly inspirational anthem to the Big Apple. This theme was reprised later by Kristin Stefanoff in her moving feminine version of Frank Sinatra's ‘New York, New York’ - including a narrative of her own follow-your-dream story from the Eyre Peninsula to a life of music. An English song sung in German with the rather funny German-to-English back-translation projected on a screen is always entertaining, but a downbeat version of ‘Don't Worry Be Happy’ might be soporific in the wrong hands.
The second act of the show was a cracker! A superficially innocent Disney number from ‘Aladdin’ became a den of dangerous double entendre in a new arrangement saucily sung by Jessica Rossiter. Matthew Robinson's ‘Yes, I Know!’ complaint set to music is a female's observation of a bra ad on a billboard, but it became salaciously smutty and pornographic when the lyrics were winkled out by Chris Daniels.
Sting was disturbed about how many people didn't get his ‘Every Breath You Take’ - the worldwide #1 hit single of 1983. You won't misunderstand the meaning when Rachel Dow, deadpan and with a deranged twinkle in her eye performs the rather now obvious menace and malevolence of the lyrics in an eerie arrangement.
The crew finished off with a jazzy ‘Smooth Criminal’ by Michael Jackson voicing off copious instruments. The audience clapped for an encore but there wasn't one and too bad, the show was on a roll. Upstage left, Ben Stefanoff pretended to spontaneously provide the right rhythms on electronic keyboard, but of course, he knew exactly what he was doing all along, having musically directed the whole shebang. New musical arrangements were by his self and his wife Kristin.
In ‘The Other Side Of A Song’, the Marie Clark players shift the emotional goal posts of familiar songs and absolutely delighted the audience with their inventiveness and performance. But don't leave home unless you are well hydrated or you will pay through the nose. There are only two more shows so don't muck around.
David Grybowski
When: 15 Feb to 25 Feb
Where: The Soul Box
Bookings: adelaidefringe.com.au