Vogue Music. Bebe’s Room. 23 Feb 2018
While Beyond The Sea – A Tribute to Bobby Darin & the Crooners is very entertaining it is clear that more rehearsals would’ve been helpful.
Melbourne’s Paul Hogan – no, not that Paul Hogan – performs some of the best-known crooner classics to a packed house at Bebe’s Room. There are no musicians behind him, though. Instead, Hogan has some quality backing tracks and makes amusing references to his “band” throughout the show – it wanes over the evening.
The first half of the show is good. Hogan has a Robbie Williams-like voice which is pleasant to the ear. Unfortunately, it makes the show seem more like a Robbie Williams impersonation than a tribute to Bobby Darin.
After interval, Hogan returns to the stage to sing more upbeat numbers including the popular Sway as well as Darin’s classic Splish Splash. The show faces an awkward moment when Hogan turns his attention to one of Darin’s lesser-known ‘country’ numbers; within moments it becomes clear Hogan has forgotten the words and in an attempt to move on he quickly returns to the upbeat songs.
The unfazed audience seem to enjoy themselves nonetheless; perhaps due to the flowing beer and wine on many of the tables. There is much singing along and groovers take to the dance floor at every opportunity to bust a move.
Hogan finishes the night with the Frank Sinatra classic New York, New York. He is joined by a large kick-line of audience members which makes for an entertaining end to an otherwise average show.
Beyond The Sea has the potential to be fantastic, but despite the audience's apparent enjoyment, it misses the mark.
Alex Bond
2 stars
When: 23 Feb
Where: Bebe’s Room
Bookings: Closed
Palmerston Projects Pty Ltd. Star Theatres - Star Theatre 2. 25 Feb 2018
Many argue that the battle of the Australians against the Japanese in 1942 on the Kokoda Trail changed the course of the war, but it's certain our victory there helped to protect northern Australia from even greater destruction subsequent to the earlier air attack on Darwin. Detecting the lack of appreciation for its importance, former Prime Minister Keating promulgated the campaign as the central focus of war remembrance. Kokoda in the Fringe is a reprise of last July's world premiere. Playwright Peter Maddern and actor Todd Gray have also teamed up on a number of theatre projects in the past, and from my viewing of this show, it's a winning combination.
Our Private Morris Powell, played with aplomb by Gray, is first seen loafing around Melbourne while other men are getting shipped out to war. He and his mates join the 39th Battalion, and with little training, take the brunt of the initial Japanese invasion, and are right in there for the counter-attacks as the battle shifts up and down the track. Maddern paints a comprehensive picture encompassing the privations of our private, the squabblings of the commanders and the exhilaration of the fighting. Gray successfully transforms Powell from larrikin to a battle-hardened and weary digger through the action. Yet I ponder if the emotional quotient of the show could have been lifted by reducing the contextualising historical narrative and focusing entirely on Powell's on-the-ground visceral experience.
Gray's ockerism was superb and endearing, and fresh from the '40s. We have such reverence for our military heroes that it's impossible not to get over-excited about it, and in Gray's case, this was manifested by occasional over-rapid and indistinct delivery and overuse of a high, sometimes shrill register. Indeed, after the show when he spoke to the audience, I was surprised how resonant, deep and pleasant his voice actually was. There was a lot packed into Maddern's script and Gray energetically attempted to convey it all. However, while great at explaining things, his battle scenes were as wooden as his Bren (direction by Peter Maddern).
Josh Williams contributed an experience-enhancing soundscape of bullets and bombs. The short film excerpts from the campaign were very helpful. Ken Kurtz's costuming was spot on.
Pitiful that this lad compared his deadly duty to the Grand Final for Australia; such a boy. It breaks your heart.
David Grybowski
3.5 stars
When: 23 Feb to 4 Mar
Where: Star Theatres - Star Theatres Two
Bookings: adelaidefringe.com.au
Kurt Murray. The Jade. 25 Feb 2018
The always-entertaining Bubble Show duo is back this year with a fresh new production: Milkshake and the Bubble Flower. Winter is here and Milkshake's bubble flower is in
peril, slowing losing its petals and in desperate need of more bubbles to help it survive the cold. Milkshake must find Dr Bubble and convince him to help before it's too late!
Dr Bubble (Kurt Murray) and Milkshake (Iulia Benze) are a much-loved fringe highlight for pre- and primary school aged children. Each year their set is brand new and always entertaining.
They raise the bar this year with a pantomime-themed story that has a gorgeous soundtrack and loads of slapstick comedy. The show alternates nicely between bubble action and story line with a mix that keeps the young audience engaged and happy. The dramatic soundtrack creates a sense of anticipation and atmosphere.
Murray and Benz are seasoned children's performers and know how to keep the energy alive. Benz has fantastic characterisation and is very lovable on stage. Murray is a true bubble master, conjuring giant-sized air balloons, bubbles within bubbles (within bubbles), towers of foam, and smoke-filled spheres that "poof" before your eyes.
The tricks are bigger and better this year with more complexity and, of course, amazement. This does result in a slightly lower success rate, but nobody is complaining. The audience are engrossed and love the drama and theatrics of it all.
Highly recommend for all youngsters and the young-at-heart. For the more mature bubble lovers among us, this duo also present a late night, adults-only version. Leave the kids at home for that one!
Nicole Russo
4 Stars
When: 25 Feb to 18 Mar
Where: The Jade
Bookings: adelaidefringe.com.au
Peter Goërs and Holden Street Theatres. Holden Street Theatres - The Arch. 25 Feb 2018
Herr Goërs is back at Holden Street with his third Fringe show of self-proclaimed "crap." Like Actors, Drunks And Babies Never Hurt Themselves and Smoked Ham, ...Hard Rubbish draws on his considerable experience as an inveterate theatre watcher, theatre producer and director, movie and theatre reviewer, and more lately, world traveller and ABC radio personality. What comes with the radio work is his absolute dedication to his regional SA and Broken Hill audiences. He would do a 400 km round day trip to open a cake sale in Jamestown. I used to hear his stories for free at parties. Now I have to pay for the pleasure at one of these shows, or otherwise drive to Oodnadatta or Coober Pedy to watch him judge a talent contest or open a renovated institute.
Peter was always a wonderful raconteur in his inner circle, so it's great that he has weaponised his wit for a live and loyal audience, many of whom desire to put a face to the radio voice. Advertised as for old people (unflatteringly, I think he means anyone over 50), he really connects with the modern niggles - like why are people throwing out perfectly good chairs and buying Ikea - and nostalgia - lamenting the disappearance of drive-ins and double-cut roles. He has an uncanny ability to link subjects or to return to them with humorous effect (a technique known in the business as shelving). There is much to draw on from his visits to the regions, like his great observations of the sticky taped history found on the walls of town halls and institutes, and anecdotes of people and incidents which he made compelling. All the local references make it seem you are in on something. I found that he was more revealing about himself in this show than the first, with references to his personal peccadilloes - "When workplaces became smoke-free, I quit work" - and his long stay in Turkey, which was a touchstone in his life. Like most of the audience, I was laughing when not smiling and thoroughly entertained.
He nearly ended the show with a story about Patrick White's Netherwood, saying that the play stops when all the characters are shot dead by police, thus ending the tedious proceedings. He said, "Wouldn't it be great if that happened in more shows?" Then a shot rang out and Peter feinted mortality to complete the joke. Unfortunately, the shot missed Herr Goërs and the show did go on, partly with material recycled from previous shows (eg the Ethel Merman joke) for which he apologised in advance. The shot would have been a good time to stop, like he said.
A thoroughly enjoyable time with the dinner guest you would love to have liven things up. And his ...Hard Rubbish is indeed "reasonably priced compared with a lot of other crap."
PS There is some funny business with his pal, Willsy.
David Grybowski
4 stars
When: 24 Feb to 18 Mar
Where: Holden Street Theatres - The Arch
Bookings: adelaidefringe.com.au
Grist To The Mill Productions. Studio at Bakehouse Theatre. 23 Feb 2018
In the vein of Tom Stoppard's Rosencrantz and Guildenstern Are Dead, Gratiano sees one of Shakespeare's minor characters catapulted into the limelight and given the opportunity to tell the story from their point of view.
The piece is a one-hander written and performed by Ross Ericson. Ericson delivers a sequel to The Merchant of Venice where the irreverent Gratino is the main event. Shakespeare's characters are transplanted into Mussolini-era Venice where, three hundred years later, the same echoes of antisemitism are being used to turn a country against itself in the lead up to the Second World War.
Gratiano, chatty and flippant in his original form, is reinvented beautifully as a cockney gangster. Inside a police integration room, he is being questioned over the recent murder of Bassanio. Suspected of having a hand in the "unlawful killing", Gratiano protests his innocence to the unseen Police Inspector and in the process, reveals his tale.
The show’s first half stays within the boundaries of the play and we are treated to Gratiano's take on the characters and their motives. It is engaging and funny. The script is skilfully written in Shakespearean verse and done justice by Ericson's brilliant portrayal. He masterfully delivers the complex dialog whilst embodying the cheek and cocksure swagger of an old school London mobster.
As the play progresses, it steps beyond the close of Shakespeare's piece and this is where it truly shines.
Ericson's characterization never falters and he breezes through a number of obvious lighting blunders with complete professionalism. He keeps you engaged throughout. The sparse set provides everything required, which is virtually nothing other than Ericson himself.
The production cleverly modernises Shakespeare and provides a different and very engaging slant on one of his better known plays. Much more than that, it uses the play as a platform to explore the insidious nature of institutional racism. Ericson shows how it can linger through generations, easily manipulated by an isolationist agenda and capable of inciting horrible acts of callousness and indifference.
The Merchant of Venice is the vehicle through which Ericson tells a much bigger and more culturally relevant story. If you are just looking for a new look at Shakespeare in this piece, you will be disappointed and miss its true strength.
Through Gratiano's own realisations, Ericson portrays the personal cost of standing aside and allowing bad things to happen to fellow humans: neighbours, colleagues, or even strangers. A failure to move, to speak, to protest, leaves the bystander forever scarred. Could such a person have the courage to right the wrong if a second chance at justice presented itself? Could a society condemn them if they did?
Don't miss this one, its well worth it.
Nicole Russo
5 stars
When: 23 Feb to 3 Mar
Where: Studio at Bakehouse Theatre
Bookings: adelaidefringe.com.au