Adelaide Fringe. Paradiso Speigeltent. The Garden of Unearthly Delights. 21 Feb 2014.
Circus cabaret (think Cantina, La Clique, La Soirée) has become an icon of the Adelaide Fringe and in particular the Garden Of Unearthly Delights. It’s dark, sexy and dangerous, and Adelaide can’t get enough.
Following in Cantina’s footsteps, Limbo is the latest smash-hit from the highly successful collaboration between Aussie production house Strut and Fret and the UK-based entertainment company Underbelly. If you need any proof of the popularity of this genre, consider that Limbo is on its return season and is still selling out shows and collecting rave reviews.
The production is worthy of its reputation. Featuring the original 2012 cast, Limbo is a vaudevillian feast of music, dance, theatre, illusion and circus trickery. Whilst many of the skills showcased are tried and true, they are presented in a unique and exciting way, and you don’t leave feeling that you’ve seen it all before.
From the outset, atmosphere is conjured by the “found sound” genius Sxip Shirey, who creates dark, powerful music with non-traditional instruments such as beads in a glass bowl. Musicians, Grant Arthur and Mick Stuart join him on stage and the three-strong group are ever present and crucial in maintaining the show’s dramatic mood.
The talented cast includes illusionist Paul Kieve, acrobat & aerialist Evelyne Allard, Chinese pole master Mikael Bres, contortionist Philipp Tigris and hand balancer Danik Abishev. The standout acts are Coney Island’s sword swallower, Heather Holliday and Australia’s acrobatic dancing sensation, Hilton Denis.
Holliday is gorgeous and sultry; she fits this show like a glove. Her array of skills includes tap dancing, sword swallowing and fire eating, with the latter providing a spectacular act in which Holliday prowls the fiery stage swallowing torches and breathing huge plumes into the air.
Equally, Denis shines out of the pack; he could have stepped straight off a 1920s vaudeville stage. His seemingly endless energy is infectious, and teamed with skill and great characterisation, you’ll give a little smile each time you see him re-enter.
Without a doubt, this is a quality and entertaining show.
This year however, the Limbo team has sacrificed some of that quality for bigger audiences and greater profits. The desire to maximize ticket sales and ensure as many people as possible have the opportunity to see the show is understandable and even admirable. The seating offered to the last to arrive however, was outrageously poor. To call it “cattle class” would be generous.
Almost 100 people were expected to perch atop rickety bar stools with virtually no back support, in the farthest corners of the Spiegeltent. If you happen to be in any row other than the first two, you probably won’t be able to see more than half of the production.
With your head cranked at 90 degrees to catch a glimpse of the stage, you’ll also have to battle the constant distraction of the thoroughfare and artist change room directly to your left. You are, however, guaranteed a cracking good view of the lighting and sound desks.
Despite all this, if sat on a stool you may have still have counted yourself lucky. Spare a thought for those who couldn’t get a seat, whose seat was broken, or who were so far back that they couldn’t see anything at all. These unfortunate souls ended up standing in the narrow aisles for the entire show.
This ridiculous arrangement was imposed on audience members who paid the same as everyone to see the show and were treated to a third class experience. Many didn’t bother to stick it out and simply left. I don’t blame them. Hopefully they were on their way to demand a refund, which they were more than entitled to.
All in all, if you get good seats the show is absolutely worth seeing. Our tip is to get there early. If you don’t, well, good luck.
Nicole Russo
When: 21 Feb to 16 Mar
Where: Paradiso Speigeltent
Bookings: adelaidefringe.com.au
