Adelaide Fringe. Presented by Jimmy Jewell and Joanne Hartstone. Noel Lothian Hall, Botanic Gardens. 18 Feb 2019
Marlene lives again, or so one begins to think as one watches Peter Groom.
He has to be seen to be believed. Sublime is not an exaggeration for his performance in the Adelaide Fringe.
Groom is an English performer who has taken drag to a breathtaking theatrical high.
He steps onstage, tall and slender in slingback stilettos and an elegant golden sheath of evening dress on which delicate sparkling icicles shimmer as he moves. He does not resemble Dietrich. He “becomes” Dietrich. From beneath heavy lashes, he makes bold and sultry eye contact with his audience. Dietrich’s particular set of the mouth, that softly definite German accent, that slight thrust of the tongue; He has mastered every nuance.
The show is subtitled “Natural Duty” because Dietrich’s strong Teutonic sense of duty is thematic to it. It is a bio show in which Dietrich talks of her memories and her views, sometimes as links between songs and sometimes in response to the persistent questioning of an invisible journalist. The quizzical outsider is a clever device because it allows a range of emotional responses: feisty, indignant, and impatient; reactions not easily accommodated in a standard monologue. Thus is Groom’s Dietrich show a well-constructed theatre piece as well as a showcase for the impeccable impersonation.
The narrative begins with young Lena’s audition for The Blue Angel, the film which skyrocketed her to fame. She sings You're the Cream in my Coffee myriad times, Groom using the incident with a touch of humour to establish early the self-assured commanding core of his subject. He goes on to sing a repertoire of renowned Dietrich songs: Look Me Over Closely, Lily Marlene, Boys in the Back Room, and Falling in Love Again; imbuing each song with the languid come-on, the big tease, the double entendre characteristic of her seductive style. His every movement is carefully considered, slow, proud, graceful, sensual. Timing, timing, timing. Poise, poise, poise. Marlene would be honoured. Even more so were she to know of the political and personal qualities emphasised in this portrayal: her time as a Captain in the US armed forces, behind the lines in WWII wearing rough army drill instead of silken fashions; her uncompromising ethics; her fastidiousness; and her contempt for method acting.
This is a show as rich in knowledge and understanding as it is in uncanny talent. Groom makes no real attempt to feminise his voice. Marlene was a bisexual woman with limited vocal range. He taps right into the soul of her singing. And he taps into the soul of the audience, too. This hardened critic twice succumbed to tears, so beautifully heartfelt and percipient was his connection to her.
This is not just virtuoso performance, it is genius.
Samela Harris
5 stars
When: 18 Feb to 12 Mar
Where: Noel Lothian Hall, Botanic Gardens and Stirling Fringe, Stirling and Mt Barker
Bookings: adelaidefringe.com.au
Presented by The Adelaide Show Podcast. Historian Hotel. 17 Feb 2019
Sometimes, life is better away from the unearthly crowd. Coromandel Place could not be more out-of-the-way really, being noted only for a deeply bohemian artists’ collective and the charming little Historian Hotel. But this is the alley where the cats are at play: Two Cats on a Hot Fringe Roof. And since they started playing, the Historian Hotel’s rafters have been rocking and the walls reverberating with laughter.
The Two Cats are desperately, wickedly, absurdly funny.
Now this is not your run-of-the-mill Fringe comedy show. It is decidedly Adelaide-insider humour. It suits the older crowd although it is emphatically PG.
It’s a double act stand-up comedy show about the early days of live TV shows, particularly those for children. Hence, the funny bones it tickles are those who can remember going to bed with Fat Cat. Indeed, Fat Cat is its star. Ralf Hadzic was one of those brave performers who steamed for years inside the Fat Cat suit. And while Fat Cat didn’t talk back in the day, he’s sure talking now. It’s an anthropomorphic expose. Hadzic has stories to tell, children. Talking of which, Steve Davis performs in Playschool attire since he is one of the world’s great students of the dramatic art of Playschool. He has experimented with its styles and philosophies and is now the great Playschool method actor; in real life, if one is to believe his schtick. Well, it must be seen to be believed. Similarly his Mr. Squiggle. Oh, my. It is rib-ache funny.
Secret ingredient to the excellence of this production is slick professional direction by Glynn Nicholas, another Adelaide legend with strong links to the old children’s TV days. It’s quite a team. While it seems superficially all very in-group and casual, it’s a tight show with lovely comic timing.
So there we have it, off-Broadway, so to speak, an Adelaide Fringe jewel, with very nice pub dinner deals into the bargain.
This is for you, boomers.
Be quick. It’s a short season.
Samela Harris
4 Stars
When: 17 to 27 Feb
Where: Historian Hotel
Bookings: adelaidefringe.com.au
EDITORS NOTE: Samela Harris is partnered with Steve Davis in his capacity as an Adelaide Theatre critic. They do reviews together on Peter Goers’ SMART ARTS Radio 891 Sunday morning radio program.
Adelaide Fringe Festival. Mopoke Theatre Productions. Clayton Wesley Uniting Church. 19 Feb 2019
This performance of Puccini’s much-loved opera Tosca by Mopoke Theatre Productions is one out of the box. It is terrific.
Mopoke is a relatively new theatre company and is known for its pared down productions that get to the very heart of the art. Pared down in terms of scenery, costumes, set dressings and lighting, but strong on style, passion and integrity.
Tosca is a story of tested love. Tosca is a celebrated opera singer who is in love with handsome painter Mario Cavaradossi, but she is ever jealous that he is seeing other women, which he is not. Mario assists escaped political prisoner Angelotti to avoid recapture by the evil Baron Scarpia, but by doing so he places himself in grave danger. Scarpia arrests and tortures Cavaradossi to give up Angelotti, but he refuses. Scarpia instead tries to get Tosca to betray Angelotti in return for Cavaradossi’s release, but Tosca murders him in trying to defend her honour. From there it all goes pear shaped and doesn’t end well for anyone! Its grand opera at its best!
In the title role, soprano Joanna McWaters is excellent. She plays the taunting coquettishness of Tosca superbly, and her vibrant voice is well suited to the aria Non la sospiri, la nostra casetta (Do you not long for our little house). Her scene with Scarpia in Act 2, as she fights for her honour, demonstrates her well-honed acting abilities. Her Vissi d'arte, vissi d'amore (I lived for art, I lived for love) in Act 2 is a highlight, but slightly overpowered.
Andrew Turner sings Cavaradossi, and does it with convincing style. Like McWaters, his fine acting skills are evident, especially in Act 1. His final aria E lucevan le stele (And the stars shone) tests him, as it would do any tenor, but he is convincing and the audience’s collective heart breaks for him.
Joshua Rowe is truly menacing as Scarpia and he looks and sounds the part. His wonderful baritone voice is well suited to Scarpia’s signature aria Già, mi dicon venal (Yes, they say that I am venal), and it is another highlight of the production.
Rounding out the cast in the smaller roles are Daniel Goodburn (Angelotti and Spoletta), and Rodney Kirk (Sacristan and Sciarrone), who injects character and humour into what he does.
Hearty congratulations also go to Music Director Andrew Georg who excels at the piano throughout. The piano is the sole musical accompaniment in this production, and he amply demonstrates why he is a Geoffrey Parsons Award winner. His accompanying is empathetic, encouraging, and beautifully nuanced. It matters not that we aren’t listening to an orchestra. He does it all.
Nicholas Cannon’s direction is very capable. One can see his thoughtful influences throughout, particularly in Act 1 which seems slightly more refined than Acts 2 and 3.
The intimacy of the church amplifies the experience and one feels so close to the action that it borders on voyeurism!
This production is definitely worth seeing. There are two more performances: Thursday 21 and Saturday 23 February.
Kym Clayton
When: 18 to 23 Feb
Where: Wesley Uniting Church
Bookings: adelaidefringe.com.au
Adelaide Fringe. Empire Theatre at Gluttony. 16 Feb 2019
Roll up, roll up - the one-woman Big Tops & Tiny Tots Circus Show is in town!
Written and performed by circus veteran and coach, Luth Wolff, the show combines slapstick comedy and good old fashioned tricks with some great take-home messages. Wolff easily keeps the attention of her young audience with a mix of juggling, magic, hula hooping, and a particularly impressive display of unicycle skipping.
Wolff cleverly sprinkles the educational elements of her show amongst the frivolity, opening with question-and-answer on how to be a good audience member. She regularly involves the children in the performance, getting a lucky few onstage and offering tips on how to achieve basic circus skills at home. Everyone gets the opportunity to join in from their seat with singing, counting, and a loud and frenetic session of spinning-plate monitoring at the close of the show.
Wolff is an experienced and engaging children's performer, making the Big Tops & Tiny Tots Circus Show a fun and worthwhile afternoon out for the under-7's.
Nicole Russo
When: 16 Feb to 17 Mar
Where: Empire Theatre at Gluttony
Bookings: adelaidefringe.com.au
State Opera Of South Australia & Melbourne Recital Centre. Elder Hall, University of Adelaide. 18 Feb 2019
It is difficult not to praise this production of Purcell’s King Arthur too highly. It is one of the best operatic performances seen in Adelaide for some time and will long stay in the memory of those who heard (and saw) it.
Under Paul McCreesh’s expert, sensitive and almost avuncular direction, the Gabrieli Consort & Players give the audience an authentic experience of what the music must have sounded like to Purcell himself. The musicians play on period instruments that are meticulously prepared and some of which are infrequently seen, such as ‘bass violins’ and ‘theorbos’. They play with clarity and with techniques purposely developed to recreate an authentic sound. And then there is the choir! They only number nine but in the pleasing acoustic of the Elder Hall they sound like many more. But, because their diction, musicality and general vocal technique is exemplary, they synchronise so well that they sometimes sound only like one or two.
King Arthur is an example of a ‘semi-opera’, where there is much spoken dialogue and the principal characters do not sing – they just speak. There is also dance and all the excess and splendour which we come to expect from grand opera. For this production, McCreesh has stripped away the dialogue and presents only the music and singing in a concert production that is devoid of scenery and the like. It sounds like it could be dull, but it is anything but. The singers are so accomplished as actors that your mind’s eye fills in all the other ‘stuff’ in an instant.
This reviewer usually contends that a concert should stand on its own two feet, and that audience members shouldn’t need to do homework prior in order to understand or enjoy it. But in this case, a little research goes a long way. The story line has nothing to do with the usual Arthurian stories – there is no refence to Camelot or the Knights of the Round Table. Because the main characters, such as King Arthur, do not appear in this production it is all too easy to (almost literally) ‘lose the plot’! Having said that, the concert is still able to be enjoyed for itself: a celebration of fine baroque music and superb singing.
There are many examples of stunning singing, but the highlight of the night is the duet You Say ‘tis Love sung by tenor Marcus Farnsworth and soprano Anna Dennis accompanied by harpsichord and theorbo. Paul McCreesh doesn’t need to conduct – he sits with the rest of the choir. It is sublime.
A standout aria is What Power Art Thou. This is often sung by counter tenors in concerts , and it is electrifying, but Purcell scored it for a bass, and pleasingly it is sung with great authority and gravitas by bass-baritone Ashley Riches.
The audience show most appreciation for the chorus Your Hay It Is Mow’d, which is sung with such gusto and humour that one thinks one is in a country tavern drinking and singing along with the locals! It is infectiously good fun!
This production is outstanding on every level. Highly recommended. There is only one more performance – Tuesday 19th February!
Kym Clayton
When: 18 and 19 Feb
Where: Elder Hall
Bookings: bass.net.au