Adelaide Festival. World Premiere. Banquet Room, Adelaide Festival Centre. March 8-17, 2019.
Picaresque is as delightful, surprising and satisfying as an exquisite pop-up picture book.
This show, a combination of reminiscences, song, piano accordion music and installation, represents Robyn Archer’s memories of the travelling she has done since leaving Australia for the first time, aged 29 years.
Adelaide Festival 2019. Presented by Semperoper Ballett Dresden. Choreographed by Johan Inger Artistic Director Aaron S Watkin. Adelaide Festival Theatre. 8-10 March, 2019.
Ballett Dresden’s version of Carmen is a different beast from the usual versions of this story. This is a fiercely beautiful, at times voyeuristic examination of physical attraction, terrifying jealousy and violence.
Adelaide Fringe. Presented by Peter Combe. Corona – The Garden of Unearthly Delights. March 9 – 17, 2019.
I don’t honestly think I can say who enjoyed this concert most, the children or the adults. I think the adults knew more of the words and sang louder than the children, but I can also predict that the children present at this concert will be sharing the songs with their children.
The format was simple: songs and dance. The dance section was provided by a group of talented youngsters from Adelaide’s Theatre Bugs, who seemed to be having as much fun on the stage as the audience was having off the stage.
By Tom Stoppard. Adapted from Le Vent des Peupliers by Gerald Sibleyras. Director: Margaret Bell. Centenary Theatre Group, Chelmer Community Centre, Chelmer, Brisbane. 9-30 March, 2019.
Tom Stoppard’s 2005 comedy Heroes is as fragile as the wounded egos of its three protagonists. Set in a French veterans home in 1959, and based on the original play by Gerald Sibleyas, three World War 1 vets plan a fanciful escape from their restricted environment: first to Indochina, then to a picnic outside, and finally to a copse of poplars on the far horizon. That it’ll never happen is in no doubt, but their daily cantankerous musings about it on the porch of the retirement home are the basis of the play.
This one-man show by Loucas Loizou is wonderful and rather special. Loucas Loizou is something of a living ‘legend’ in certain circles. A Greek Cypriot refugee who began his performing career in London restaurant owned by Cat Stevens whose father was also a Greek, Loucas Loisou has subsequently performed around the world.
By Luke Townson. Adelaide Fringe Festival 2019. The Third Space at Live from Tandanya. 9-10 March, 2019
Luke Townson’s Green Tea is a ‘psychological thriller’ based on the 19th Century book by Sheridan Le Fanu.
In this intriguing one-man show Luke Townson plays the ‘philosophic physician’ Dr. Martin Hesselius, as well as a number other characters. He is absolutely terrific, not only in his performance but also in contending with a rather difficult venue that is not really ‘friendly’ for this creepy ‘gothic’ tale.
Music and lyrics by Richard Strauss. Based on the play by Oscar Wilde. Originally Directed by Gale Edwards. Set by Brian Thomson. Opera Australia. Dame Joan Sutherland Theatre, Sydney Opera House. March 6 – 26, 2019.
This twentieth century opera has the most confronting story-line of almost any work in the genre – and to put the audience in the mood for a night of extreme drama was a set (and costumes) to die for. At the top of the stage were green lit animal skeletons hanging above the court of King Herod, where a panel of different religious leaders are enjoying a banquet.
On the menu is a debate about John the Baptist, who is imprisoned in a pit below them. Is he a prophet who has seen the face or God or can he be executed?
By Elizabeth Davie. Adelaide Fringe. Gluttony- Little Sparrow. March 2-9, 2019
Super Woman Money Program, delivered with pizazz and pathos by Elizabeth Davie, is one of the particularly raw and thought-provoking pieces in the Fringe. Davie confronts us through comedy, song and storytelling about the harsh financial realities of being a woman. She raises the audience’s awareness that women truly are disadvantaged when it comes to superannuation-building as they are the ones who stop work to have and raise children, whilst their husbands continue to thrive in the work force.
By Ursula Yovich. Legs on the Wall. Adelaide Festival 2019. Dunstan Playhouse, Festival Centre. 8-11 March, 2019
Legs on the Wall's Man With The Iron Neck by Ursula Yovich is based on the book by Josh Bond, and is about youth suicide within a tight and loving indigenous Australian family.
Co-directed by Josh Bond and Gavin Robins with a terrific cast of indigenous Australian actors, including Ursula Yovich, this an extremely moving, poignant and spectacular production about something that is relevant and important to us all.
The Handlebards. Adelaide Fringe. The Bally, Gluttony, 5-17 March 2019
Four men playing every part (with a little help from a willing audience) race hilariously through the famous Shakespearean comedy of misdirected love and gender swaps, Twelfth Night. Colour-coded in knee-high socks and braces, they engage the audience with warmth and wit and keep them there through ninety minutes that pass too quickly.
