Experimental and bizarre circus that is as captivating as Fright or Flight is as rare as hen’s teeth. You will laugh at the parley between the kooky characters. You will be enthralled by the aerial acrobatics and bottle balancing. You will want to buy the soundtrack. And you will definitely want to take these weird creatures under your wing.
[Chongy] would love nothing more than for you think of him as a mate telling you a funny story at the pub, except your mate is 2009’s Adelaide Comedian of the Year and still punching strong.
Pasqualina and Maria Maria are two Roman Catholic Italian choir girls who develop a devotion to Bowie that soon overtakes their devotion to God. Something about this analogy of Bowie as a literal lord and saviour will hold a strong appeal for anyone who has at some point in their lives experienced a Bowie fixation.
The bits where naked men scrunched their genitals up into weird shapes are actually the least awkward part.
Barossa Valley Brewing… create a degustation dinner with a difference. Each of the divine five courses is paired with both a wine and a beer, with the question put to the diners: which beverage really compliments the course the best? And it really was a tough challenge.
The proclaimed Breakfast Club correlation is accurate in an angst-ridden and you’ll-probably-connect-with-it-if-you-see-it-in-your-teens kind of way; however, Wendy House is more of a hybrid between John Marsden’s When the War Began series and, at a stretch, the Hunger Games.
As [Dawson Nichols] shuffles onto the stage in the dim light of a flickering lantern and softly whispers, “I think I might be Edgar Allen Poe,” you know you are about to be transported to a hauntingly strange, poignantly dark, and fiercely funny world.
There is something infectious in the humour of this lively performer that endeared him to everyone with a warm-hearted show that easily outshone many more professional performers at the Fringe.
From the witch’s garish costumes to the overly simplistic lighting, it all just screams “high school production”.
Mutual A-Gender is a showcase in two parts – “Milkshake” by Sarah Ling, and “Gay by Nature” by Nick Walters, both of which explore gender and the nature of its representation – and performance – in society.
Even without the notion of a theme, Heath Franklin has the natural comic ability to stand up on stage and keep the crowd laughing with his personal anecdotes alone.
This is an engaging, minimalist little play which unites a conservationist and feminist agenda into sad, multi-layered tale.
Despite the title, and Turner’s promotional material, hip-hop is more of a back beat than the main event here. He serves up some very slick stand-up, riffing (and sometimes rapping) on a broad range of themes, and he displayed considerable talent for improvisation.
While the talented acts provide some promise that the scene has started to move beyond the Hilltop Hoods sound, the effort of attending a four-hour show for under 90 minutes of performance is a little draining to say the least.
The show was absolutely delightful. It takes a strong performer to pull off the perfect balance of constant witty banter, tomfoolery and delightfully tight knickers – such a shallow, fickle nature has I; such tight, tight undies has he – but the good doctor manages it effortlessly.
