Adelaide Fringe. Prospect Productions. The GC At the German Club
It is sad how some of the world’s colourful figures can fall into oblivion. Coral Browne was an outspoken and much-loved star in her day. While her career played out largely overseas, she found her way into her Australian homeland's consciousness most particularly when she married the Hollywood star, Vincent Price. But, in her day, Coral Browne was definitely a beloved name in the theatre.
She could have stayed lost in time had it not been for Maureen Sherlock who has penned a bio monologue which zips through the outspoken star’s life, complete with the loathed critical mother who seemed determined to outlive her.
Genevieve Mooy has braved the task of embodying Browne and bringing Sherlock’s lively script to life for the Fringe.
The GC’s intimate surrounds work well for such a venture, albeit the venue should please ban noisy potato crisps from performance spaces. In its 6pm slot, noise from the adjoining restaurant does not seem to impact on the one-hander.
It’s a simple and effective set, designed by Rob George and Carol Yelland and representing Browne’s Hollywood Hills home in the 1990s. There’s a red chaise lounge, table, chair, hatstand and telephone with a painting on the wall which accommodates assorted slides of the star’s childhood, her many famous lovers, and various movie posters. There are also packing boxes and scrap books; the props which reference the fact that everything in the script has come from Browne archives boxed up in Melbourne and Adelaide.
From the hatstand, Mooy whisks headpieces which illustrate moments and, most significantly, create the costume for the scenes in which she becomes Browne’s dreaded mother. While mother is very Australian, Coral Browne’s accent, polished over the decades in the UK, is frightfully British. Mooy segues between the two with ease.
The script is dense and demanding, a tough call in the memory department and, by season’s end, Mooy should have it fully streamlined. But she is such an elegant pro that, even when calling for a line, she remains comfortably in character.
And she looks superb. Most courageously, she has aged up to play Browne looking back from the end of her career. She wears a stunning silvery top over loose black slacks and subtly bling shoes to reflect the glitter of the red carpet.
The show opens with Browne accepting her BAFTA award and then rolls back through the star-studded career on the London stage. Play after play, character after character, lover after lover, Mooy rattles through them at high speed, ensuring that a massive life’s work fits into the Fringe schedule’s one hour. The script is peppered with the bright wit characteristic of Maureen Sherlock’s works, the likes of Alzheimers the Musical and Ada and Elsie. While Browne was a funny woman in her own right, Sherlock has ensured enhanced entertainment value with just enough added gags.
It’s a fine actress onstage playing a fine actress and looking every bit the beautiful part.
The show is still being born and it promises to run in as a classic and classy bio piece which will have legs to play all over the country, and give the world the gift of a wonderful, vivid, provocative and fearless Australian artiste rediscovered.
Samela Harris
When: 23 Feb to 19 Mar
Where: The GC At the German Club
Bookings: adelaidefringe.com.au
Adelaide Fringe. Dream State Entertainment. 20 Feb 2017
Wandering the green fields of her father's proposed new mega mall and carpark, a child spots a strange looking circle. Unwittingly, she steps into a Faerie ring and is shrunk into a world of mythical creatures, where she meets a faery and an elf who are trying to save their world from the bulldozers.
Diamonds Found In Dreams is a collaboration between the experienced Dream State Circus husband-and-wife team, Jacob & Sophie McGrath, and the Diamond Duo sibling pair Calin & Arwen. Together, the foursome present a fun and educational performance that highlights the science of climate change and the importance of sustainable living for modern families.
Valiant in the face of an open-air theatre and unseasonably cold, wet weather, the show doesn't miss a beat. The professionalism of the two tween-aged siblings is particularly impressive. With buckets of talent and energy, they burst with confidence onstage and possess incredible acrobatic range. The show features juggling, acrobatics and comedy, with a wonderful group performance in the final minutes that showcases the strength and agility of the whole cast.
The performance feels a little loose and under-rehearsed, just needing a final lick of polish. However, it is clever in blending circus-style entertainment with a solid take-home message - quite literally! At the close of the show, the audience are encouraged to come forward and collect a sunflower seed and planting instructions.
A lovely touch that concludes an energetic and informative show.
Nicole Russo
When: 20 Feb to 19 Mar
Where: Empyrean at Gluttony
Bookings: adelaidefringe.com.au
Adelaide Festival Centre. Dunstan Playhouse. 17 Feb 2017
First released in 1973, Mike Oldfield’s Tubular Bells is one of the best known and more instantly recognisable pieces of modern music. Its early claim to fame was its opening piano solo being used in the soundtrack to film The Exorcist, also released in 1973.
At risk of becoming boring, it is worth commenting briefly on the composition first before singing the praises of this performance. Tubular Bells broadly comprises a suite of bright and catchy tunes that are subtly varied and played on a succession of instruments which gradually add together until the sound builds to a rich and detailed crescendo. For those of you, who are classically minded think of Ravel’s Bolero, which also features layer upon layer of music building on each other. Or, vice versa, think of Haydn’s Farewell Symphony, in which the complexity of the sound diminishes (rather than increases), as instruments are gradually removed one by one as members of the orchestra leave the stage. What makes Tubular Bells special, in this type of musical composition, is that Mike Oldfield played the majority of the instruments himself and in the original recording he overdubbed himself to create the musical snowball racing downhill towards its climax.
So what makes this evening’s concert performance different? Simple. Two musicians play all instruments between them in real time. Simple? No way. This is miraculous and exciting stuff! Australian musicians Daniel Holdsworth and Aidan Roberts have played this concert hundreds of times around the world to consistent and richly deserved acclaim. What they do is more to be seen than it is to be heard.
Between them they play four electronic keyboards, six or seven electric and acoustic guitars at various tunings, a mandolin, drum kits, glockenspiel, mouth whistles, their own voices, and tubular bells of course. They also simultaneously operate with their hands and bare feet a bewildering array of samplers and loop pedals all joined together by metres and metres and metres of electrical cabling. The stage is full to overflowing, and everything is oh-so-carefully positioned. These guys have to move at near lightning speed from one instrument to the other to maintain continuity, and mistakes can and do happen.
A highlight of the performance was Holdsworth momentarily losing his way in the music and improvising on whatever instrument was at hand. The expression on his face was priceless with “OOPS” written large from ear to ear on his beaming smile. Roberts, possibly oblivious but entirely caught up in what he was doing, kept going and the capacity audience loved them both even more for it.
Their musicality was only eclipsed by their exhausting athleticism. This was remarkable stuff. It was my very great pleasure to have seen this show before and it only gets better.
If you haven’t seen these guys, look them up on YouTube but do see them when they next return to Adelaide. They are pure genius!
Kym Clayton
When: 17 Feb
Where: Dunstan Playhouse
Bookings: Closed
Adelaide Fringe. Rebecca Castaldini. 18 Feb 2017
Burlesque, traditional or neo Burlesque, succeeds on the basis of how the reveal is framed in performance. It is a delicate art of teasing and pleasing an audience in such a way that the cocktail of sensuality, lust, and a lingering tint of invigorating romance is in perfect balance.
The Redheaded Cabaret: Rated R(ed) is a smashing demonstration of Burlesque, traditional and beyond. The crew of Redheaded hotties assembled by Rebecca Castaldini give up a sensational series of solo and group fantasy scenarios presented with top notch production values from costume to staging, all grounded firmly in a ‘less is more’ approach. Spiced with superb performance technique, this was an evening to totally revel in.
From black robed, lustful, sirens seeking the heart of an audience member (featuring black crucifix nipple pasties) to Sirena del Rossi’s ardent soaking wet murder ballad in motion, the production constantly kept hearts pumping.
Providing calming levity in between numbers, MC Miss Demeanour offered delightful chatter and song.
Humour too, was abundantly on show. Numbers featuring male ensemble member L’Homme Blayze successfully played off a two for one approach; one for girls, one for the boys utilising conventions of slapstick perfectly suited to his routine.
When it comes to the ‘neo’ in Burlesque, just how brilliantly this company play it can be judged by comparing Dulce Esperanza’s spot on perfect traditional double feather fan dance, with out-off-this-world routine’s from Sirena del Rossa, Miss Harlot Rose and Laveene Du Pearl.
These redheads are definitely worth seeing anywhere, anytime.
David O’Brien
Where: Nexus Arts
When: 18 to 24 Feb
Bookings: adelaidefringe.com.au
Adelaide Fringe. The Arch, Holden Street Theatres. 18 Feb 2017
It is not a pretty sight. Already people are describing it as a sight which cannot be unseen - Peter Goers in lycra.
He opens his 2017 Fringe show as one of those dreaded cyclists he so often berates on radio and paper. Complete with de rigeur Cibo coffee, he warns that now, as a cyclist, he can do whatever he likes and everyone must stay a metre away.
Audience eyes are as big as saucers, not just because there is a lot of Goers squeezed into that clinging lycra but that there is added mass, with apologies to Sir Les Patterson and then some. Tottering on his bike cleats, Goers milks the silliness before embarking upon one of the longest and most unusual costume changes in Fringe history.
So far as openers go, this is an unforgettable piece of pertinent self-parody and, as he settles down to tell stories, now clad in a pink jacket, the audience is right in the mood to laugh.
The monologue runs sweet and sour, funny and poignant. One minute one is in tears of laughter at the absurdity of life, the next one is misty-eyed at the cruelty of life.
Goers’ extensive experience in the world of South Australia’s public toilets and op shops produces some very funny yarns. Perhaps they’re topped by his adventures at the Clare show. No. The killer funny is his account of doing the Anzac Day live radio commentary at the Cenotaph.
But, of course as he proved in last year’s Fringe stand-up show, he has a large repertoire of oldies-but-goodies in the line of showbiz anecdotes and a wealth of classic jokes with the timing to get them across.
In this show he pays a rightful and wonderful tribute to Adelaide’s loved and lost Dave Flanagan aka Ted from Tennyson. He salutes the late Max Fatchen and other local identities.
It’s a jam-packed hour targeted at oldies but which, one notes, had Gen Ys in the audience equally amused.
Am I completely biased? Peter Goers is, indeed, my long-time friend. But, between you and me, if he were not funny and worth seeing, I would have kept my mouth shut.
Samela Harris
When: 18 Feb to 18 Mar
Where: The Arch, Holden Street Theatres
Bookings: adelaidefringe.com.au