Review – Katie Noonan & Circa: Love-Song-Circus
Love-Song-Circus is powerful, uplifting and gut-wrenchingly beautiful. Noonan gives voice to the long-unspoken stories of the female pioneers of Australian stoicism.
Love-Song-Circus is powerful, uplifting and gut-wrenchingly beautiful. Noonan gives voice to the long-unspoken stories of the female pioneers of Australian stoicism.
Add to this a Freddie Krueger rap from a Nightmare on Elm Street, featuring dubious sexual references “not in the backdoor” and you have a vastly inappropriate and often hilarious show. The show is not perfect, but the delivery is and Christine and Phelan excel.
FOMO: The Fear of Missing Out is a hilarious, theatrical sketch-comedy not to be missed.
[Kraken] is hilarious, charming and unique in about equal measure. A thing to be seen.
An up-and-comer to look out for, Hodge is sure to delight, and will hopefully return next year with even more stories.
The humour was spot on. A bit outlandish and crude at times but set up well, earning groans and surprised laughter.
This show is just pure simple fun. Each component is delivered with a shot of comedy that keeps you giggling between gasps.
Musical comedy acts can be a bit of a risk – too often, performers have one or two well-known good songs and a lot of mediocre filler. This is assuredly not the case here.
Henry Wagons’ charisma is what really makes this show, so it will be interesting to see how it translates to a studio album. Next time they’re in town, I highly recommend catching their gig. Strap yourself in. Wagons is one helluva ride.
Concluding that only “perverts” would attend a kids show without bringing their children along, the duo change up their show halfway through to make it appeal to perverted sensibilities, resulting in a night of drug use, mass-murder, incest, infanticide and child molestation jokes.
Tea With Terrorists is one of the more unique comedy shows going around this year, and with a little editing would be one of the best offerings around as well.
it became apparent that [Craig Hill is] really not a fan of Aussie accents. Or maybe he is, but only as fodder with which to constantly insult the audience. As in, “Your accent couldn’t make you sound more like a knuckle dragger”, or, more simply, “Your accent is mingin'”
David Gauci should be commended for his ambition of presenting shows that fail to come to Adelaide professionally. Such is his devotion to the productions that his amateur renditions are a mighty substitute for the original.
Based on the novel by Kenneth Cook, Wake in Fright tells the story of a young and cultured teacher who is eager to escape the confines of the city over his summer break. Becoming stranded in the mining township of Bundanyabba, and gambling away his already meagre wages, audiences witness teacher John Grant quickly enter a booze-fuelled downward spiral.
Elja rarely misses a beat in her stagework; however, to sustain a show of this nature it requires that the performer be a very strong singer, and Elja is not flawless.
What the masses said