Adelaide Fringe. Masonic - Foyer at Gluttony. 5 Mar 2019
Pitchfork is a multisensory experience. It’s about music and food.
It’s a concert like no other. It’s a complete tease. It teases you with excerpts (usually complete movements) from major works from the string quartet repertoire – some well-known, others not so. You want to hear more but there’s no time – it’s onto the next piece.
The food is sophisticated. The flavours and textures are gracious, but there is enough only for a taste. It’s also a tease. Like the music it draws you in. You know it’s good, and your body is inwardly screaming at you that it’s good, but then it’s gone all too quickly.
It doesn’t sound like fun, but it is. The magic is in the paring of the music with the food, the food with the music. The ying with the yang.
The audience is taken to their individual tables by a hostess and Philip Glass’s String Quartet No. 3 ‘Mishima’, is playing in the background. Immediately, because of the choice of this particular piece of music, one senses the next sixty minutes are going to be sublime. Glass’s music is not for everyone, but when it accompanies ritual washing of hands with lemon scented hand-wash, it’s just perfect. It’s hypnotic and soothing, like the citrus perfumes.
Scarlatti was played to accompany orange blossom and butterfly pea-flowered iced tea. It borders on a geisha tea ceremony. It’s very Silk Road.
Then it’s ripe camembert cheese with balsamic glaze (applied with a paintbrush of course) while Ravel is gently played. It whisks one off to Montmartre, but just for a short while.
Melon balls dipped in tangy sherbet perfectly suit the effervescence of a Mendelssohn quartet, and Joe Chindamo’s quartet is ideally suited to a game of pass the parcel where every player wins a prize; a piece of fudge in many flavours of course.
David Paterson’s Quartettsätze is given a première performance and it is the highlight of the evening. Paterson is a pianist who specializes in chamber music and his quartet – well, at least the first movement - is stunning. It voices the cello and violins in an especially interesting way which gives an urgency to the melody line. More! We want more! Oh yes, and we are served emu bush tea and native lemon myrtle lamington bites, and we want more of these too. More! Delicious!
With the palate cleansed and taste buds excited it’s onto a slab of chilli chocolate with a spiky Shostakovich quartet urging us to smash the chocolate into bite sizes. How convenient that our hostess has supplied us with a mallet to do the job, and the four players of the Australian String Quartet do not so much as miss a beat or flinch a muscle as we lay into the job!
And to finish? What better than a serene Schubert quartet while we enjoy a deconstructed pav which is semi-chaotically drizzled and crumbled over a fresh plastic tablecloth ready for our eager fingers to scoop it up into our mouths. Such fun!
The ASQ is innovative. This event is proof conclusive.
The caterers, Post Dining, are also innovative. Their merging of food and the arts is inspiring.
The next time an event like this comes along, do NOT hesitate. There’s nothing quite like it.
Kym Clayton
When: Closed
Where: Masonic – Foyer at Gluttony
Bookings: Closed
Adelaide Fringe. Martha Lott. Holden Street Theatres. 6 Mar 2019
Hot tip. This is going to be one of the must-see shows of Fringe 2019.
It has lured back to the stage Martha Lott. She is Holden Street’s entrepreneur and curator of five-star Fringe show programs. But the stage is where she really belongs.
Of course, she could not have taken on a more difficult piece of theatre.
Grounded is an award-winning work by American playwright, George Brant. It depicts a dedicated F-16 fighter pilot forced down to earth mid- career when she becomes pregnant. She’s a tough nut and life “in the blue” is her steely passion so she is aghast to find that returning to work means that she is grounded, committed to the “chairforce” whence she must become a drone pilot. She finds love as a family woman in her new circumstances but killing the enemy from a skyless trailer on the other side of the world is a very different kettle of fish. The denouement of this gripping one-hander is absolutely riveting, evoking emotion from even the most jaded among us. And it’s a tour de force by Martha Lott.
The actress taps profound resources in reaching for the depths of expression summoned in this potent play. It is way out of the ordinary and has audience members spontaneously springing to their feet in acclaim.
It is a five star play with a ten star performance.
Samela Harris
5 Stars
When: 6 to 16 Mar
Where: Holden Street Theatres
Bookings: adelaidefringe.com.au
Adelaide Fringe. Knaive Theatre. Holden Street Theatres. 6 Mar 2019
The audience files into the theatre to encounter a very English young man onstage very hospitably offering cups of tea to one and all. How nice. Yes, please. No to biscuits, but thanks.
Are we at the right Fringe show? Bin Laden?
The actor, Sam Redway, is a peaches-and-cream English lad out of RADA.
But, having finished passing out mugs of steaming tea, he starts interviewing the audience, asking people how they like their governments and their politicians. He removes his shoes and alerts the audience to his flip chart and his intention to teach it how to succeed and take control in life and, by the way, his name is now Abu.
For the next hour, this handsome, tousle-haired Englishman delivers an impassioned monologue about Islamic hopes and dreams, failures and philosophies, and evolving political affrays. As Osama bin Mohammed bin Awad bin Laden, he wields an automatic weapon and preaches a passion for the rightness of his cause. He summons from the audience, a woman who is to be his wife and a man who is to be Azam, his spiritual and strategic counsel. In this performance, he chances upon the TheAdelaideShow podcaster, Steve Davis, and adorns him in Islamic head attire for the role. Davis is a pro and slips into character with panache.
Redway's’s voice is superb. His focus of performance is impressive. He wields a small suitcase from which costume changes emerge - from suit and tie to white smock. He urges his audience to think about Islamic hopes and values. Bin Laden was young. He was idealistic and driven. He suffered failures. He died young.
Of course, waving a book on the subject and flipping the pages of his success plan, he tends to the didactic. But it is an interesting idea he moots, looking at the terrorist to end them all from within. And, the cup of tea was lovely.
Samela Harris
4 Stars
When: 6 to 17 Mar
Where: Holden Street Theatres
Bookings: adelaidefringe.com.au
Adelaide Fringe. Masonic - Phoenix Room at Gluttony. 6 Mar 2019
The Lords of Strut are a double dance and slapstick act like you have never seen before, and probably never want to see again – well at least not for while – they are exhausting!
For fifty minutes, Irish brothers Seamus and Sean-tastic deliver non-stop turbo-charged high-energy antics that have you guffawing, jaw dropping and ear-to-ear smiling with their risqué banter and burlesque and occasionally gender-bending costumes.
Both guys are easy on the eye – the ladies in the audience vouch for that (and possibly a guy or two!) – and they strut their way through a fictional narrative about how their mother has done her best to turn them both away from pursuing careers in dance. The story is so extreme and so grotesque in parts that it has you laughing from start to finish.
Despite their acrobatic dance routines, which are impressive but not so out-of-the-ordinary, the narrative is not sufficiently strong to have the audience eating out of their hands, which is what they work relentlessly and so hard to achieve. There is some audience participation and one willing audience member joins them on stage and meets their ‘mother’ in what might be described as an anatomical exploratory experience. It is quite remarkable that the ‘volunteer’ took to the task so enthusiastically, but that’s the sign of a comic who makes his audience feel comfortable.
Good fun.
Kym Clayton
When: 6 to 16 Mar
Where: Masonic – Phoenix Room at Gluttony
Bookings: adelaidefringe.com.au
Adelaide Festival. Histoire(s) du theatre (1). Belgium/Germany. Space Theatre. 5 Mar 2019
Theatre is artifice. So one may have thought before Milo Rau. This extraordinary revolutionary director seeks to portray reality through that very artifice. What he achieves is a heart-stoppingly dramatic experience.
La Reprise is about a murder, the lethal bashing and torture of a young homosexual man called Ihsane Jarfi in Liege, Belgium. It is a true story.
Rau prefaces the production with a wonderful Egyptian-born actor, Sabri Saad El Hamus, talking about the craft of acting and the way that only theatre can give a voice to the dead. Thus from beyond the grave, but through the actors, comes Ihsane's story, not in his own voice but in that of those who were around him: his parents, his lover, his friend. And, the ensuing issue is whether truth and reality are ever quite the same.
Rau marries the reality of live acting with the simultaneous separate reality of video delivery. Both are profoundly immediate for the audience, the close-up video having big screen pores-and-all intimacy.
The actors are introduced in the form of an audition for the play. They do not come as sleek drama school products but as unemployed Liege locals. They speak in French or Flemish with surtitles beneath the video. Their interviews reveal their backgrounds. It is artfully static, the actors sitting and playing to camera, the nuances of expressions magnified on the screen. There’s Suzy the 67-year-old retiree who has done a spot of acting. There is multi-racial Tom who is always colour-cast and who can bluff that he also is multi-lingual. This trick is the comic turn of the production as he incorporates local references. There is Fabian, a former factory worker and forklift driver, a man usually cast as a villain "because of my face". There are also Sebastien and Kristen. The roles take them from interviewers to characters as the play unfolds in five chapters, each one titled and introduced formally onscreen. Thus do Suzy and Sabri become parents of the murdered boy, depicted at home in bed or interviewed on TV, naked, stripped to raw emotion. There are interwoven references to the actors’ auditions as reality and artifice play together.
How did the victim end up in the hands of the murderers? The audience finds out, piece by piece until an almost unbearably graphic denouement. The perfection of the theatrical depiction of the cruel joyriders is so intense that in their engrossment, audience members may lose a sense of their own reality; just being swept into the space Rau has created. Masterful is an understatement for this level of theatrical intensity. And, it is not comfortable.
La Reprise means “the repeat” and this is the action of the play, dissecting and re-enacting the world and characters involved in the victim’s life, until he lies naked and brutalised in the rain. This is Rau’s gut-wrenching “banality of death”.
It is an exceptional theatre work which explains the raging international reputation of the Swiss director. It is the first production to express his 10-point “Ghent Manifesto” rules which “aim not to depict the real, but to make the representation itself real”.
La Reprise succeeds in this.
It is a brilliant, gruelling, disturbing work. It is the stuff of which good Festivals are made.
Samela Harris
When: 5 to 7 Mar
Where: Space Theatre
Bookings: adelaidefestival.com.au