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
Nice Productions. Holden Street Theatres – The Studio. 15 Feb 2015
He's king or at least regal something from another planet which respects intellectual prowess. He's here in exile, having had an education at a downmarket state school. He wanders onto the stage to tell the audience all about it. He seems like a nice chap. But there are others in this play. Antagonist fronts up and questions his credentials. Three witches, shrieking crones in face paint who like to eat men, scream about the place with ill-intent. Then there is a strapping dominatrix and a submissive man who cowers, semi-nude on the floor. An Arab fellow who seems very needy. Oh, and the playwright writes himself into the action. He's needy, too.
Is that all, I wonder?
Now, what was it about? The program notes describe it as a hard-hitting piece of theatre "designed to hit you, our dear royal audience, with a potato sack over your precious craniums",
That pretty much sums it up.
It didn't know what it was about. We didn't know what it was about. When the witches weren't yelling, the others were shouting. When people weren't shouting, we audience started nodding off. Just for something to do.
But there was a happy ending. The king killed everyone.
Ah, yes, a truly forgettable piece of theatre.
Samela Harris
When: 15 to 22 Feb
Where: The Bakehouse Theatre – The Studio
Bookings: adelaidefringe.com.au
Our New Little House. Children’s Event. The Garden of Unearthly Delights – The Deluxe. 15 Feb 2015
This year’s instalment of ‘The Amazing Drumming Monkeys’ finds them in a new “eco” house, with rainwater tank, solar panel, wind generator and a home made entirely out of recycled building materials.
The Drumming Monkeys are, of course, puppets. The puppeteers cleverly concealed behind a veil of sheer fabric so they can view the audience whilst simultaneously operating the arms of their puppets and play their drums.
The kids love it! The energy is high. The monkeys are hilarious. Audience participation is a hugely successful element; particularly when the kids get their own drum and have a chance to play along with the performers.
Despite not really having any significant content the 45 minute show flies by. Even quite a few technical difficulties don’t hamper the production, as the “monkeys” take it in their stride, engaging audience members and crew to reassemble parts of the failing set. It’s hilarious. Adults and kids alike are smiling from ear to ear as they leave the venue.
The monkeys play right through the Fringe Festival, and this show is a great excuse to get out of the house with the family and have a bit of fun. Do check it out!
Paul Rodda
When: 15 Feb to 15 Mar
Where: The Garden of Unearthly Delights – The Deluxe
Bookings: adelaidefringe.com.au
Theatre Bugs. Garden of Unearthly Delights - Le Cascadeur. 15 Feb 2015
If you are heading down to the woods today, there's definitely a surprise in store. If your timing is right, you'll spy a somewhat unconventional teddy bears’ picnic attended by two teddies "disguised' in bright lycra and tu-tus, a male fairy, still mastering the arts of flying and magic, and one scruffy teddy in desperate need of a make-over.
'The Teddy Bears’ Picnic' is a great little story that's fun, fast-moving and simple enough for toddlers to follow. This colourful collection of characters present a funny and musical show perfectly pitched at its sub-8 audience. The whole troupe are wonderful with their young audience, who delight in invading the stage for a better look despite the many planned opportunities for audience participation.
David Salter, as Larry the male fairy, is hilarious and provides constant comic relief as he attempts to fulfil the task assigned by the Fairy Queen: to help save the torn and well-loved Teddy Taylor from being thrown out by her owner, Chloe. Luckily, picnic event coordinators Teddy Tabitha and Teddy Tina are on hand to help, played by Casmira Cullen and Lucy Dilger respectively. These two keep the tempo and the laughs up throughout.
In this performance, Teddy Taylor is played by the gorgeous Sasha Champion. Her interaction with the audience is very natural and armed with beautiful vocals and movement; she has a great performing arts future ahead. In the role of Chloe, Kodi Jackson is equally impressive. The duet between these two at the close of show is a highlight.
‘The Teddy Bears’ Picnic’ is presented by performing arts school Theatre Bugs and it's a great advertisement for their work. A fun and enjoyable show for kids and carers alike, it's well worth braving the summer heat to see. The tent is air conditioned and comfortable for all, so no excuses. Get out and see this one before the teddy bears disappear back to their owners for another year.
Nicole Russo
When: 15 Feb to 15 Mar
Where: Garden of Unearthly Delights - Le Cascadeur
Bookings: adelaidefringe.com.au