In Helvetica. Tuxedo Cat – Cusack Theatre. 3 Mar 2016
So many words, so many actions to wonderfully give life to the notion of being speechless in the myriad of whacked out situations Sara and Toni find themselves in.
It’s too much fun, how excellent!
Toni Main and Sara Di Segna crash together in a union of hope from seemingly hopeless circumstances and do their very best for each other as life coaches, after a sort, for their sense of being absurd to the world and getting life wrong.
As third eye, Georgina Capper has ensured that the performance is wonderfully fluid. The blend of improv contemporary choreography, surreal conversation and pained effort to ‘get it right’ is crystal clear to an audience and unfailingly pleasing as much as it is mad in such a polite way. The text is deliciously absurd, as it is understandable as a big, deep and meaningful discourse between two women trapped in comically absurd circumstances and preconceptions of themselves they hate.
These artists are acutely aware of their audience. Speechless is about an audience and hoping to goodness they like you, that you say the right things, and aren’t ridiculous in the process. Being ridiculous is so wonderfully much better for the soul.
David O’Brien
When: 3 to 8 March
Where: Tuxedo Cat – Cusack Theatre
Bookings: adelaidefringe.com.au
She Said Theatre. Live From TandanyaTheatre. 2 Mar 2016
“We were brought up to believe we were orphans.”
Brought up to believe living, breathing, brothers and sisters, mothers and fathers were strangers or dead. Brought up to believe a connection to flesh and blood family and community did not exist. Brought up to forget what memories there were.
HART leaves the politics of this issue at the door, instead inviting inside very human social realities, experiences, and value of family which are absolutely universal. Performer/co writer Ian Michael’s solo performance gives voice to the stories and experiences of three Noongar men, including Michael’s.
A point to consider: This reality applied to young English children sent to Australia during World War II, who never returned to England in many cases. Those that did on realising their family were still alive, heading back to reunite, were too late.
The reality of those young English children from one small parcel of history is still being dealt with by children of Australia’s first peoples.
The Stolen Generation ‘label’, rightly describing a cyclical process of destructive social engineering experienced over decades, has limited capability to encapsulate fully the evil resulting from the destruction of family bonds, community union and a secure sense of place and being. It is something all people and cultures take as a central right of their existence, as evidence of the wholeness of life. HART fills that need.
Designer Chloe Greaves’ simple but so powerful set of a white ochre circle with a chair in the middle, and Shannah McDonald’s exquisitely balanced lighting, gives the production a uniquely blended sense of traditional ceremonial space and Greek amphitheatre.
Herein Michael’s proudly and passionately clothes his being in the stories of others and his own.
The Greek theatre allusion continues, in that this production offers one of the most brilliant prologues to the main body of work. It allows Michael to directly invite the audience into an experience, give them permission to catch the sense of feeling and loss he is charged with communicating, and to allow themselves not to worry about what point in time, or whose story is being related.
Michael’s and co-writer Seanna van Helten’s text is respectfully and beautifully crafted. In performance, Michael is so strong, so true, so giving and spiritually honest. He marries his experiences and those whose lives of which he tells with a sense of the common value of family shared by all.
There is no hate. There is anger tempered sadness - as there should be. There is hope as well, and above all, an invitation for his family, his community to be at one with ours as we can together heal the wounds of this shameful time in history not yet fully dealt with.
David O’Brien
When: 2 to 13 March
Where: Live From TandanyaTheatre
Bookings: adelaidefringe.com.au
Ms Chamberlain. Holden Street Theatres. 2 Mar 2016
Anne Chamberlain of New Zealand found in Eglantyne Jebb of Shropshire a soulmate and fellow traveller. And Jebb lead a life so inspiring as to prompt Chamberlain to research and write this one-person biographical play. You may not have heard of Eglantyne but you are likely familiar with her legacy - Save The Children. Those three words have made the difference between comfort and misery, even life and death, since Jebb and her sister, Dorothy Buxton, founded the charity in 1919 to support the children of Europe in the aftermath of World War I and the Spanish Flu.
Playwright and performer Anne Chamberlain takes us back to Anne's beginnings and pioneering presence in Oxford, where she realised a well lived life is a life of action and not words. Anne poignantly portrays the parallels in their lives - in relationships lost and perseverance. Jebb strives for meaning in her life and finds it in the children she never had. We share with Eglantyne and Dorothy their fundraising triumph at Albert Hall and their push for funds and awareness, up to and beyond Eglantyne's authorship of the Declaration of the Rights of the Child.
In a big life, there is a lot of ground to cover. Chamberlain's script is chockers with accurate historical information and while key emotional moments are noted, they could benefit from additional dramatic illustration. The whole thing is rather straightforward. Nonetheless, the roles of herself and the sisters are vividly portrayed. I imagine now that I saw Eglantyne and Dorothy discussing some aspect of boosting the fund, yet there was only one performer. The show's main objective was achieved - Eglantyne is now forever mapped on my consciousness, and I better get my wallet out because a good life is a life in action.
PS A proportion of the show's proceeds will be donated to Save The Children.
David Grybowski
When: 1 to 6 Mar
Where: Holden Street Theatres
Bookings: adelaidefringe.com.au
Briefs Factory & Royal Croquet Club. Royal Croquet Club - The Panama Club. 1 Mar 2016
The buzz on opening night was huge. I think I was the only person who didn't quite know what they were in for. The opening act in black light and feathers really was Vegas quality drag as the guys got the gear off, proving they weren't chicken feathers. The talent was well introduced and beautiful - the crowd loved it. Director and ringleader Fez Faannana usually took too long to say what he had to say and slowed the pace, in contrast to the effervescent entertainments by the boy crew. First of the features was a fine upstanding young man in shorts and a tie who seemed able to solve a Rubik's Cube in seconds. Out came the yo-yo, off came the pants and little man got roped into a few tricks. Shocking show of skill! The usual physical circus fare was interspersed with more hilarious antics, like the speedy monkey man and the show dogmen going through the hoops. I also was shocked again by a gross-out fetish I'm too polite to describe.
Faannana passed the hat around with an opportunity to purchase a lottery ticket, and the prize was lapped up by the shy winner. Extravagant lights and costumes helped make the boys blossom except for the black light arch act which was too dark to see. The show ended with some incredible acrobatics on a steel ring (similarly amazing work on the cloth straps preceded) followed by a grand finale that had the audience on their feet clapping for more, as they were asked to do, but only too glad to oblige. This show won the 2015 Fringe award for best circus and has travelled the world.A great night out.
PS The Briefs Factory is also putting on Club Briefs for two nights only - 4 and 11 March. This cabaret includes guests from other Fringe shows.
David Grybowski
When: 4 & 11 Mar
Where: The Croquet Club - The Panama Club
Bookings: adelaidefringe.com.au
Georgie Carroll. Gluttony – The Speakeasy. 2 Mar 2016
My wife works in a busy Adelaide hospital, and while she’s not a nurse, most of her friends are. And in addition to being able to put away copious amounts of adult beverages, nurses seem to make fantastic story tellers. Probably because they have so many strange-yet-true stories that unravel as a part of their daily grind! So, it’s not really too surprising that a nurse has decided to collate a few said stories from her experience and wind them together into a riotous session of tales of poo, pus, vomit, frequent-flyer patients and nurse politics.
Laden with wry humour typical of Georgie’s UK heritage, the now-Aussie nurse has some real crackers to tell. With a decent contingent of nurses present in the audience, no doubt drawn in through morbid curiosity of what they know will be discussed, there’s plenty of banter and involvement. Even for those of us who are not nurses, Georgie does a great job weaving things together beautifully enough that you’ll never watch an episode of ER or Grey’s Anatomy the same way again!
It’s clever comedy, and I like it…
Luke Balzan
When: 2 to 14 Mar
Where: Gluttony – The Speakeasy
Bookings: adelaidefringe.com.au