State Theatre Company South Australia and Belvoir Theatre. Odeon Theatre. 20 Jun 2023
A pair of muddy and weather-beaten boots sit at stage centre, evocative and waiting. There is wood, turning twisted gum branches laced around the stage’s perimeter and there is a darkened and broody backdrop.
At What Cost is a taut and powerfully written script from Nathan Maynard, and the anguish is evident within the first five minutes. A story of the return of the remains of one of the last Tasmanian Aboriginals and the battles gone through by a population sent into extinction, this is a modern-day cautionary tale, or a history lesson in horror, or a zombie apocalypse come back to life.
Mind you, it takes its time getting there. The main thrust of the play is not apparent until we are fully immersed, and that pair of boots forgotten. What happened to those boots, so evocative as the stage slipped into black at the start of the evening? Nothing. Sometime in the first five minutes Boyd (played by Luke Carroll) casually pulls them on. That is all.
The action unfolds, sometimes at what seems a determinedly slow pace - movement and blocking across the stage become repetitive and a bland accompaniment to the pace of the script, as predictable as the casual reaching for the saltshaker on the dinner table. The table, hard stage right, serves as one of the focal points, for the stage is divided into spaces (at The Odeon this is floor spaces, the audience overlooking from the raked seating). These spaces are not rooms, but they are delineated. The four actors enter and move along predetermined lines, the blocking is poor in places, but it is the strength of the script which carries it.
Boyd is a proud Aboriginal man, proud of his attempts to reclaim lands for the Palawa people of Tasmania. His wife Nala (Sandy Greenwood) is also a First Nations woman, and her performance is a nuanced and solidly supportive one. She is the quiet star of the evening, whereas Ari Maza Long as Cousin Daniel is somewhat given to histrionics, except he is strangely compliant when taken to bed by the interloper Grace, played by Alex Malone with rather too much gurning as expression for my liking. I say ‘Interloper’ because Grace seems to be a white woman, she is camping on First Nations land, and claims to be researching for her thesis. All, as they say in the classics, is not what it seems.
The question of identity, and identity politics, has tended to be an exploration - if not an accusation - from those on the right of the political spectrum, and has called out those who are deemed ‘too white’ to be considered Aboriginal. This play addresses the question from the other perspective, with Boyd asking his heart wrenching but rhetorical questions, where were you? Why are you here now?
The ‘tick-a-boxers’ or ‘claimers’ must be dealt with, but even within mob it’s a divisive issue, and the thread that runs through this production doesn’t provide any answers. What it does do is make clear that shades of grey are everywhere, but appropriation is never acceptable. The schism that this causes between the protagonists makes the shocking ending inevitable.
It’s not often that audiences gasp these days, but there are three or four places in this play where it is audible. That in itself is a job well done.
At What Cost is a difficult play to review because the revealing of one fact inevitably takes us towards revealing a great deal more. Such is the extremely simple narrative structure of the piece. Suffice to say that in dealing with genocide, and the extinguishing of the Tasmanian Aboriginals as a race, this is not going to have a comfortable ending. And yet to be taken aback by the trajectory of the story and the way it plays out in the final scene, in a gout of red and white lighting, involves a considerable suspension of disbelief.
The message of this play is so much more important than any shortcomings.
Alex Wheaton
When: 20 Jun to 1 Jul
Where: Odeon Theatre
Bookings: statetheatrecompany.com.au
Cabaret Festival. Festival Theatre. 17 Jun 2023
It is not practical to hold RocKwiz in an intimate environment with punters seated at tables enjoying their favourite tipple. Why? Because the show is so hugely popular that the venue would need to be arena sized. So, its RocKwiz in concert mode in the huge Festival Theatre playing to a sold-out audience! Yes, sold-out! And deservedly so!
This show is just so much fun. Before it even starts, it puts a beaming smile on your face as Brian Nankervis, who co-created the show and hosts it with Julia Zemiro, struts through the theatre foyer drumming up volunteers to be contestants. With his shock of silver-fox hair (compared to Don Dunstan’s in his heyday) and his distinctive brogue, he strides up and down whipping the crowd into a frenzy as he shoots off his sharp one-liners encouraging wanna-be contestants to flock to him like lemmings. Already you know you’re in for a damn good time, and two hours later when it’s all over and you’re making your way home (or to the next cabaret Festival event!) the smile on your face is still there.
RocKwiz has been around since 2005 and has been a favourite on our TV sets across a range of channels. It has received AACTA Awards and has even been nominated for a Helpmann Award. RocKwiz has also become a successful touring franchise and has staged national tours and special appearances at festivals, such as the current Adelaide Cabaret Festival.
The show runs to a formula of sorts, with potential contestants being quizzed by Nankervis to win a spot. Zemiro comes on stage and asks the contestants to identify the first concert they ever went to. For the audience it’s a walk down memory lane, but for Zemiro and Nankervis it’s an opportunity to exercise their razor-sharp wit with funny remarks and banter and to whip the audience almost into a frenzy. Then, through a series of ‘who am I’ questions, the special guests for the evening are introduced and they join the two teams at various times. Tonight’s show featured Anne ‘Willsy’ Wills, David Campbell, John Schumann, and Jess Hitchcock.
Of course, we all know Willsy, Campbell and Schumann, and have enjoyed their songbooks over many years, but Hitchcock is perhaps lesser well known. She is a Melbourne-based Indigenous singer-songwriter with a powerful mezzo-soprano voice who has sung everything from pop, country, folk, music theatre to opera (Opera Australia, and Short Black Opera). Tonight, she won a new legion of fans with an impressive rendition of Chandelier by Australian singer and songwriter Sia.
Campbell gave an excellent account of Paul Kelly’s Adelaide, which fitted the tone of the evening that purposely included as a many local references as possible in the quiz questions. (The show of course was themed as a salute to Adelaide.) Schumann of course sang the iconic protest song I Was Only 19 – we would have expected it, and wanted it – which never fails to have an impact on the listener, and many members of the audience were drawn to their feet as they applauded.
The show ticks along at an unrelenting pace, and the four-piece RocKwiz Orkestra is superb as it entertains with excerpts from songs throughout the show. Clio Renner is outstanding on the keyboard, and Olivia Jayne Bartley (aka Olympia) on lead guitar and vocals gave a soulful and skilful performance of the 1971 classic Because I Love You by The Masters Apprentices.
A highlight of the evening was the amazing general music knowledge of the contestants, especially ‘Victor’, who, as we found out, is the current manager of The Masters Apprentices! One could almost be forgiven for assuming he was a plant! And he has a trigger finger on the buzzer!
What a professional show! Ninety minutes passed by in the blink of an eye, and Zemiro and Nankervis had us eating out of their hands. Whether you are a popular music aficionado or a novice, do not, I repeat, do not pass up an opportunity to enjoy a live RocKwiz event. It is an absolute blast!
Kym Clayton
When: 17 Jun
Where: Festival Theatre
Booking: Closed
Cabaret Festival. Space Theatre. 15 Jun 2023
I don’t know much about Kate Bush, let alone performer Sarah-Louise Young, but I know a helluva good show when I see one! Research indicates Kate made it big in 1978 at the age of 19 with chart-topper Wuthering Heights. She was in the UK Singles Chart for four weeks and was the first female artist to achieve #1 with her own song! But it took until this year to see her inducted into the American Rock and Roll Hall of Fame.
Sarah-Louise ran amuck through the oeuvre moving like a pixie on steroids. The show is a kaleidoscope of theatrical trickery with lights, costume, dance and audience participation all coming off with cracker timing. Really unbelievable. And the voice! You are nowhere without a semblance to Kate’s art pop dramatic soprano. An Evening… takes the tribute show to a whole new level because it’s not about impersonation; it really is a loving embrace.
Kate’s movements amply visible in her numerous videos on YouTube are eccentric and ripe for parody, but Sarah-Louise rendered a reverence that was slightly tongue-in-cheek. She is clearly starstruck by Kate and polled the audience on their fandom. Fans are collectively schooled as Fish People – there are so many reasons available for this bizarre appellation that it’s better left as a mystery.
Sarah-Louise gave a humourous quick lesson in Kate’s favourite moves while dressed in signature flowing apparel. She is constantly in motion and talking to the audience with many excursions round the cabaret tables. She fetched a couple of 37 years to slow dance while she sang, re-creating the video. Kate’s crazy dance moves are channeled with delightful dexterity.
For the final song of Wuthering Heights, Sarah-Louise simply let the audience sing nearly all of it, which they did joyously in celebration of the famous songstress. This was a noble act on Sarah-Louise’s part – to take yourself out of the picture and let each audience member relate to Kate in their own special way. Kate’s spirit in the room was already well conjured; contra to the title, it’s actually an evening with Kate Bush.
Sarah-Louise is the consummate cabaret performer, highly skilled in all its aspects – singing, movement, costume, performing and audience interaction. Did I mention the hair? She has brought this show from the UK for her first time in Australia. Hats off to director Russell Lucas who no doubt gave the green light to the complex theatrical elements.
If this isn’t the hit of the festival, I’d be very surprised. Double bravo!
David Grybowski
When: 15 to 17 Jun 2023
Where: Space Theatre
Bookings: cabaret.adelaidefestivalcentre.com.au
Adelaide Cabaret Festival. Space Theatre. 16 Jun 2023
She’s the last one standing.
Lionel Williams, Ernie Sigley, Kevin Crease, and Roger Cardwell are gone and that gracious Ian Fairweather is deliberately lost in the mists of time.
Now it lives as favoured nostalgia.
It was Channel 9’s Adelaide Tonight which performed for the workers at the opening of the Festival Theatre fifty years ago this month. And it is Adelaide Tonight which is back with bells on as a variety show in the Adelaide Cabaret Festival - again.
Anne “Willsy” Wills and her 19 Logies are indomitable. She’s 79 already, and not shy about it. She’s kept her voice and her idiosyncratic sense of style. Hence, performing in duets with her beaut sister, Susan, it is in homemade costumes of sequins and feathers.
They are adorable and the CabFest audience whoops with love for them. Having shown the audience a 70s Pru Acton mini frock worn by Sue entertaining the troops in Vietnam, they harmonise on the song Among My Souvenirs with sisterly ease and beauty.
In many ways, Adelaide Tonight at the CabFest is Bob Downe AKA Mark Trevorrow’s show, although he was never a Channel 9 live TV star back in the day. He functions as MC and star of the new Adelaide Tonight. He has the old 70s wig and exaggeratedly corny polyester attire (one outfit no less than Butterick pattern 3459, he reveals). He has all the moves and the vocal slides of his parody persona. And, he is funny. As ever. He’s been doing it for decades and, while it actually is old, it never feels old. He nailed it back in the 80s and it stands as a great, nay classic, Australian comic characterisation. One would say it was iconic, but the icon de jour rocked up onstage on opening night. Hans, the Germanic superstar was just crowned CabFes Icon 2023. Don’t you Want me, Baby? he sings. Everybody wants him. He gives. The audience takes. He is big, sparkling inside and out, witty, accomplished - and ours. He straps on the accordion and the audience thrills. Of all instruments to deliver millennial stardom, but there we are. Hans belts out Treaty and audience members join with “yes”. He is sounding better than ever. Aussie songs ring forth.
Bob Downe has another friend for the show: Pastel Vespa. Lovely crystalline voice, good dancer, quirky character with a solo of When Doves Cry and then a duet with Downe.
Fabien Clark comes as an unexpected delight. Says he’s a “bogan hippie”. A mass of dreadlocks and conventional attire. While one is coming to terms with his look, one has been beguiled by his diabolical standup routine. Kids’ crafts will never seem the same again.
Accompanying a thoroughly entertaining variety show, the Adelaide Tonight Band of Sam Leske, Bev Kennedy, Chris Neale and Nick Sinclair adorn the stage, along with a vintage TV camera and screen for vintage Yo Yo and Safcol ads. Nostalgia blends with the new in a fast, impeccably paced hour.
And, here it comes - a really triumphant new turn, a wildly alternative addition to those good olde days of live telly variety. Therein, Willsy Wills had always been the cute and funny weather girl and popular singer. Stripping down to black corset with red bows and a wild red fascinator was never a “thing” in those good old days. No. But in 2023 Willsy is stretching her wings and her vocals with a bit of the old Weimar style. Down comes the register. Down. How low can she go? Suddenly, it’s “move over Robyn Archer. Willsy Wills has dived into your territory".
And, she’s fabulous.
Adelaide Tonight turns out to be very “today”.
Bright, funny, fresh, clever, warm, and not a bit old school or homespun.
It will be running two more nights through the CabFest with different entertainers making guest appearances. Rightly, it is packing in the audiences so grab a ticket pronto. You won’t be sorry.
Samela Harris
When: 16 to 18 Jun
Where: Space Theatre
Bookings: cabaret.adelaidefestivalcentre.com.au
Adelaide Cabaret Festival. Banquet Room 15 Jun 2023
Mark Nadler is back in town.
Thank dog and all powers that be,
He is one of THE great showmen. For a while he was a regular at the Adelaide Cab Fests and we took him for granted.
Then there was a decade-long hiatus. Woe.
Being back in a Nadler audience was the most invigorating and soul-restoring experience. This was for one-night-only The Old Razzle Dazzle performance in the Banquet Room. He’s following on with two of his famous Hootenanny shows.
But, oh, the pleasure of a one-man concert, beautifully and carefully contrived with a theme of liars and lies and conmen.
There will be one truth in this show. See if you can pick it, he jokes
From Pinocchio to Trump went he, commanding and eliciting magic from that mellow old grand piano. His musicianship is such that he can kill on the keys while all the time eyeballing the audience and, for heaven’s sake, doing a spot of percussionistic seated tapdancing at the same time.
And that barely touches the surface of his skills as an entertainer. Consummate and then some.
One swoons in ardent fandom as he pairs politics with fairy stories, love and loss with victory and fury, belting out big, big songs connected by the solid thread of a maddened morality.
Why do we lie to our children? Tooth fairy, Father Christmas. And wasn’t Jiminy Cricket worse than Pinocchio as a liar?
When You Wish Upon a Star. Pretty song, but, ironic perhaps? Blizzards of lies pour forth and he whams the piano and sings in a lather of passionate commonsense.
He’s satire and musicianship, he’s cabaret at its essence.
He delivers a rollingstock of relevance and wit with an interlude of mellow reflection before rolling forth yet again with The Great Pretender and a wickedly funny Little Tin Box song of corruption and deception. From George Washington’s cherry tree to Goebbels, to the value of illusion and the oftentimes need just not to know. We laughed and laughed. We went misty and reflective. And then, of course, a great showman has to have a grand finale…. It was what everyone had awaited. Glorious, daring, twinkle toe, razzle dazzle - original, fearless, funny, brilliant.
And, just because he is such an impeccable pro, he not only praised, and so rightly, the contemporary CabFest transformation of the Banquet Room, but also he gave a list of credits mentioning all the techs and backstage crew by name, oh, except for that one Irish surname, She’d challenged him before the show that he wouldn’t remember it. And if you’ve ever seen a star kicking himself.
Good man and true.
Welcome back, Mr Nadler. We’ve missed you. Please don’t leave us again. You’re a bloody cabaret pinup.
Samela Harris
When: 15 Jun
Where: Banquet Room
Bookings: Closed
Mark Nadler - Hootenanny
When: 16 to 17 Jun
Where: Banquet Room
Bookings: cabaret.adelaidefestivalcentre.com.au