★★★★
Adelaide Fringe. The Flamingo, Gluttony. 26 Feb 2022
Circus is a broad church these days, and 360 Allstars occupies a niche that is ideally suited to millennials, with a nod to Gen Y. I add the latter, as the break-dancing, beat boxing, rapping performers seem to have centred themselves pretty firmly in the ‘nineties’ (as in last century). It’s nonetheless appealing, as breakdancing in particular has joined the lexicon of dance and is dangerously close to mainstream.
The urban circus has been touring for a number of years, and this iteration features a female MC and vocalist, Mirrah, who wastes no time in getting the crowd pumped from her riser above the action. It’s loud and it’s fast (which does provoke a bit of ear covering by younger members of the audience), and the back of stage screen introduces the players for today’s production.
Heru Anwari is the BMX Flatlander and he’s quick out of the blocks. He’s a three time Australian champion and spins around the stage area on his seat, on his bars, on his front and rear wheels. Unfortunately, as the stage doesn’t rise above the sight lines of the flat floor seating, a bit of this is missed, but those at the front seemed happy!
Director and drummer Gene Paterson is in and out the action – also on his own riser above the stage, he patters and raps and hypes the crowd.
Breakdancers B-Boy Fongo and B-Boy Sette strut their stuff; they’re good, they’re rhythmic and they come up with some great moves. Again though, ground moves like helicopter and spider were lost to most of the crowd, but the boys were clearly skilled and having fun with it! The headspins and handstand freezes were wild and later on the moon walk proved its evergreen ‘crowd favourite’ status.
Gene Peterson treated the crowd to a solo drum performance with a head-cam screening his moves onto the stage backscreen; the image appeared a bit low res but it was effective.
Highlights of the show are basketball free styler Bavo Delbeke and Daniel Price on Cyr wheel. Bavo, prompted by the crowd to press the Do Not Press button, starts off with one basketball and ends up juggling five, much to the delight of the younger audience, none of whom would have ever heard of the Harlem Globetrotters and their pioneering style. Pops, arm rolls, spinning, juggling – he had it all and was amazing to watch.
The relatively recent Cyr wheel is always a crowd pleaser, and this was no exception. Price had the gyroscopic 360 waltzing moving across the stage to the pulsating beat drawing excited oohs and ahs from the audience. Again, with moves such as the Coin, it was difficult to see as the spin flattened to ground level.
The ending seemed a little disjointed as performers moved in and out, and it appeared that the cupboard of tricks was a bit bare, but some great choreographed breaks from the boys kept it together. Given the high energy intricacy of many of the acts in 360 Allstars, better staging with good sightlines is essential. This was a five star performance in a three star setting.
Arna Eyers-White
When: 26 Feb to 20 Mar
Where: The Flamingo, Gluttony
Bookings: adelaidefringe.com.au
★★★★
Head First Acrobats. The Vault @ Garden of Unearthly Delights. 27 Feb 2022
Three Neanderthals walk into a cave…
In PreHysterical there is no dialogue apart from “Roc”, “Ugh”, and “Oww” which by incredible coincidence are the names of the three. The first named is a woman, who is clearly smarter than the two men, so there is the first of the cultural jokes, not that a target audience of kids aged 5 to 12 care that much.
Before the acrobatics then, a brief sojourn into culture, since the references are there. We see the beginning of language (Roc, Ugh, Oww), the need for food (fruit) and hunting and gathering, and shelter including warmth from the fire. Fire may also be for protection as there’s a loud hungry tiger prowling around backstage.
As quickly as the three introduce themselves it’s into the action. Handstands become backflips and contortions; as the three meet each other the contortions become a sniffing circle (just like dogs). Yes, there’s a fart joke or two.
The quest for food involves crossing a river and avoiding the electric eels, and the use of a trapeze to get across the river was screamingly funny for many of the audience. Slapstick and acrobatics; highlights of an advanced culture. Hula hoops and a large [pretend] animal skull introduce a section on the development of ball games and sports. Did primitive soccer evolve from three Neanderthal kicking a skull around a cave?
Urg performs a brilliant routine on the Cyr wheel as the performance draws to a close, then has a dream sequence rudely interrupted by the tiger’s loud roar. A plan to trap the tiger with ropes leads to the introduction of the suspended slings, and on this apparatus Roc is superb. She is sinuous, lithe in motion.
We never do see the tiger but the way culture, communication (from performers to audience) and performance skills are combined make this show a winner. It moves and challenges, it scarcely pauses to draw breath, it keeps the kids engrossed.
Alex Wheaton
When : 27 Feb to 20 Mar
Where: The Vault/GOUD
Bookings: adelaidefringe.com.au
★★★
Adelaide Fringe. Melba Spiegeltent -Gluttony. 26 Feb 2022
Tim Motley, aka Dirk Darrow, has been performing for many years, and he knows what he’s doing – perhaps too well. His show Dirk Darrow: Magic of Future Past attracted its fair share of kids -perhaps because of the afternoon timeslot for the performance, and this was perhaps his Achilles heel.
Motley’s magic and mentalist routine is clever, and breath takingly spooky at its conclusion, but the film-noir and futuristic time-travel infused sci-fi patter that sustains the routine (at least in this matinée performance) is too sophisticated for the younger members of the audience and not risqué enough for the adults. There are moments when the burgeoning tide of sexual innuendo is about to inundate us, but it pulls up short and quickly and leaves you a smirk on your face and a desire to send the kids out to buy ice-cream!
However, that’s a relatively minor grizzle, and the substance of Motley’s show is truly impressive. Just how do magicians do it? Sometimes we think we can sus out the trick behind the trick, but that confidence is soon dashed by something even cleverer.
Audience participation is a major feature of Motley’s show, but it’s all quite polite, benign and safe. No embarrassment at all, even if we do witness him fishing inside his pants for a … prop!
Throughout the show, Motley makes a number of observations that he quantifies: a particular date; the number of times something happens; a person’s age; somebody else’s weight etc. And then, right at the end of the show, there is one almighty and hugely impressive display of numerology where it is all tied together! It’s truly impressive and the audience holds its collective breath for a 60 second review of the entire show! I’m still wondering how he did “it”!
Kym Clayton
When: 26 Feb to 6 Mar
Where: Melba Spiegeltent -Gluttony
Bookings: adelaidefringe.com.au
★★
Adelaide Fringe. Slingsby. The Hall of Possibility. 26 Feb 2022
This work has been written and performed by Slingsby's Flying Squad and its intentions are excellent. It seeks to show the role that trees play in life on earth and in the lives of the cast of its creatives in particular. It uses all sorts of theatrical techniques: miniatures, shadow play, mime, monologues, and song. It delivers stories growing from the creation story, First Nation history, white grandma’s garden, Greek immigrant domestica, Islander in Islander language, and how trees can give knowledge in books and create musical instruments.
Various trees are depicted: the macadamia for its native bounty, the olive for its immigrant bounty, the mango for its islander bounty, and even tall trees for ocean-explorer bounty.
Different performers deliver their narratives in different styles, the common characteristic leaning into didactic earnestness. The cast members are very likeable and they move beautifully but perchance they could abridge and spark up their reflections. Even the songs feel dirge-like.
It would help to re-block the lighting so the performers look brighter and stage spotlights are not so often directed right into the eyes of audience members.
The show is rich with skill and good will and it clearly has masses of promise.
Samela Harris
When: 5 Mar
Where: The Hall of Possibility
Bookings: adelaidefringe.com.au
★★★★1/2
Fringe Festival. Visual Art: Simon Kither. Music: B.S. Roberts. West Village. 24 Feb 2022
Like artists the world over, Ben Roberts and his band, the Ukulele Death Squad, found themselves in 2020 without a gig, without an audience, without a plan. Months of domestic and overseas gigs, just gone.
So in July of that year, Ben packed up his uke and took off along the Heysen Trail with Simon Kither, to film and record a musical journey far away from the madding crowd.
To be fair, they only got about 17 kilometres (of about 1200) in, but it was enough to record an album’s worth of songs and to document some of the stunning countryside that so inspired the painter Hans Heysen.
The end result is projected onto three screens, with Roberts taking the lead on solo ukulele and vocal, accompanied by Alice and Matt Barker (aka Roger the Albatross). The LED screens cover about 50 square metres, along the length of the walls on three sides, and it takes a bit of rubbernecking to catch everything that’s going on. Once the music settles in though, so does the audience, and rather than looking at the scenery, it becomes part of the immersive experience. Simon Kither’s visuals can be quite mesmerising, and some of the ground level shots are just stunning.
The six-song EP, Live on the Heysen reflects different locations along the trail, and Roberts explains these as we go along. The songs don’t necessarily reference bucolic vistas - Southern State finds Roberts reflecting on his youth and his decision to leave home state Tasmania – and additional songs such as Compressed expresses the feelings and frustrations of living through the COVID-19 experience.
Alice and Matt Barker, providing backing vocals, are an integral part of this performance. With just one ukulele the sound can be a little sparse. This is not to say that it gets lost; Roberts uses his instrument brilliantly, is a great picker and has developed some really interesting arrangements. But it is when the Barkers add their soaring harmonies that the songs really come to life. Many build up to anthemic choruses, bringing a forceful character to some otherwise quite pensive songs. And for my money, Spiders took best in show.
For anyone who thinks that embarrassingly poor renditions of April Sun in Cuba is indicative of what you can do with a ukulele, enlighten yourself. Ben Roberts aka Ukulele Death Squad, will show you the way.
Arna Eyers-White
Where: The Lab, West Village
When: Thursday 10 March
Bookings: adelaidefringe.com.au