Aerial Artists Adelaide are a local company teaching a variety of aerial skills to people of all ages. Their 2021 showcase Aerialicious featured a variety of performers showing off their impressive strength and skills, high up in the air, to a well selected collection of music, smoke, and lights.
The skill level was incredible, with some artists who were a little newer among seasoned performers. It was fantastic to see all the local talent, and the price was appropriate for the various levels within the performances.
The venue was very welcoming and well spaced, with an enthusiastic crowd and happy vibes all around.
There were some lighting issues in this particular show, but they were always quick to get it back on track. We missed the fantastic singers from last year that helped tie together all of the acts, and the Effie Trinket styled hostess didn’t quite tie into the showcase style production, but the costumes were impressively styled and fun to observe.
The partnered acts were a thrilling highlight, with the enthusiasm between the pairs bouncing around the stage, with fantastic music, light shows, and unique costumes. Special mention to the highly skilled Peri, the Amelia’s and the cast also working behind the scenes on the ropes with Craig (head man at AAA) seamlessly keeping the performers safe in the air.
This show it suitable for absolutely everyone, young or old! Entertainment for the whole family. I look forward to seeing what they come up with for next year.
⭐ ⭐ ⭐ ⭐
Official Website: https://www.aerialartistsadelaide.com
Performance Reviewed: Apollo Theatre (The Big Slapple at the Adelaide Convention Centre) Sat 13 Mar 2021 5.00pm
FANGIRLS is a new Australian musical written by Yve Blake and directed by Paige Rattray, currently playing in the Adelaide Festival for their national tour.
The show follows 14-year-old Edna, played by Karis Oka, through a few weeks of high school life as a teenager hopelessly in love with a celebrity – so much so that she is convinced they will meet and fall in love instantly. Her mates, Brianna (Shubshuri Kandiah), a small insecure girl who has trouble standing up for herself, and Jules (Chika Ikogwe), a child of divorce who is strong willed and striving for attention, share her love for the celebrity known as Harry (AYDEN). The global pop star character Harry is based directly on early 2010’s Harry Styles.
The casting of this show is not only stunningly diverse but also full of powerhouse performers. The belting of Ayesha Madon (Lilly) in particular was so impressive it received multiple cheers for the audience. Her momentary character of a rhythmic gymnast was hilarious, the way which she prances across the stage is something that could be watched on repeat.
Karis Oka (Edna), is undeniably an incredible talent, having been a swing in the global sensation SIX (Aus cast 2020) she really shows her star power throughout the entirety of FANGIRLS. The emotional range she displays in each song manages to both break and heal the hearts of the entire audience.
James Majoos, who plays Saltypringl, has a magnetism about them that prevents the audience doing anything but love them. The energy Majoos brings to the stage is exhilarating. Each of the characters portrayed in the show were beautifully developed and gorgeously flawed, making all of them a delight to watch.
The sound engineering by Michael Waters throughout the entire show was goose bump inducing. The balance of the sound was exquisite and felt as though audience is fully immersed in every single moment. The music itself is incredible and is full of heart-breaking originality in songs such as ‘Brave Thing’ and ‘Disgusting’. The release of the studio cast recording on April 16th is a highly anticipated by the growing fanbase of FANGIRLS.
The set design by David Fleischer is innovative, fun and simplistic. The lighting and visual effects perfectly captured the essence of every scene, making the concert thrillingly realistic. The ‘Global Fan Chorus’ that is displayed on the screens that line the back of the stage can be distracting at times but adds a wonderful fullness to the stage.
The choreography was fast, upbeat and fun, the synchronicity of the movement was enthralling and every step, especially in the opening sequence song ‘Nobody’, was perfectly timed to the beat of the music. This feat is not only achieved by the talent of the cast but also by the incredible choreography of Leonard Mickelo.
Whilst the whole show highlights what it is like to be a teenage girl, the second act displays the negative self-image pushed upon young women for the entirety of their lives. The commentary on gender discrimination amongst teenagers is spot on. Songs like ‘Disgusting’ and ‘Silly Little Girl’ provide moments for poignant accuracy giving the audience a window in to mind of teenage girls and the emotional turmoil that comes with it.
Representation matters and this show represents a group that often belittled and brushed aside; people now think that young girls who are obsessed with bands like One Direction are silly, vapid and fickle… but they forget that Elvis, Frank Sinatra and the Beatles were also originally popular with the exact kind of crowd.
This show cannot be recommended enough! The feminist message may not be for all, but it is damn sure that the show has gained a major FANGIRL in me.
Winner of Best Circus for Fringe 2020, Rouge is back in Adelaide and sexier than ever! With jaw-dropping acrobatics, sensual partner routines and bombastic vocal performances, there is never a dull moment in this hybrid cabaret/circus show.
Rouge uses a series of circus acts as an anthology, each individual performance positioned as a snapshot into a character and their experience of their sexuality. It was certainly a breath of fresh air watching a show that is overall designed to titillate separating itself from the straight male gaze, showcasing vulnerable moments between men, queer relationships, and well as solo female sexuality.
The strong, cohesive theme strings together and provides context for the physical prowess demonstrated by all performers in their acrobatics and aerial acts.
Situated in the Peacock, a gorgeous venue up the back of Gluttony, even at restricted capacity the audience was large and raucous. The performers were eating up the energy and fed it back to the punters, making the show feel much more intimate and personal than the large venue would imply. They never take themselves too seriously, with some seriously side-splitting comedy moments interspersed without.
The cast of Rouge are inimitable professionals, each showcasing multiple circus skills across the show. They make flying through the air or spinning in a wheel seem effortless, flirting with the audience throughout. Vocalist Michaela Burger, Adelaide’s own, stands out amongst the sea of cabaret singers who descend upon the city in February, and is setting the new standard for vocal energy.
Leaving the tent, the audience were still buzzing about the double aerial straps act. The raw athleticism of the acrobatics juxtaposed against the vulnerable and intimate relationship between the two male performers will stay with you long after the show has ended.
Rouge is definitely circus for adults, suitable for 18+ audiences who are comfortable with nudity.
Bubble Show for Adults Only takes the audience on a wild ride from start to finish. Multiple times throughout the show I found myself turning to my friend with wide eyes thinking ‘what have we gotten ourselves into?’ But the pure joy and hilarity of the performance – and most importantly, the bubbles – constantly drew us back in.
If you’re looking for a show that goes beyond usual Fringe level of weirdness, this is the show for you. The quirkiness of the two characters on stage, matched with the astonishing ability to control such a fragile medium as bubbles, made for a very engaging performance.
For opening weekend, the artists did a wonderful job. There were some minor technical issues on the night but they easily breezed through these to continue on with the show. I’d recommend sitting towards the front of the stage or as close as possible, as a side view does expose some of the magic of the performance.
As the name of the show suggests, this is for adults only. Now if you’re not keen on the weird and wonderful side of Fringe, the artists were quick to inform us post-show that they also perform a family friendly version. Which I’m sure will be just as fun and quirky as it’s adult interpretation.
All in all, if you’re down for a wild ride through abstract concepts using bubbles in a way you never thought humanly possible, then this is the show for you.
Nama-wine! Tash York implored us in her one woman show to open our minds to true Winefulness, and we sure did. Just like her previous cabaret shows, Tash invites the audience into her world through parodies and original songs, delving into both the deep and the hilarious moments of life. Throughout her one woman show, Tash, alongside her truly talented accompanist, brought laughter and smiles to all who attended. The lighthearted gags and silly stories brought the audience to fits of laughter, while also connecting them to her story.
Presenting this show in The Parlour at Gluttony, along with the stunning lighting choices, assisted in this by making the atmosphere as intimate as possible.
Winefulness is by far well worth the price of admission. And without a doubt I know Tash York has in fact reached true Winefulness.
Three comedians rewrite a variety of your favourite film scripts with jokes and plot-holes, before getting an array of unwitting actors to read them live, for the first time. This haphazard, live read rushes through your favourite films leaving you lost for breath as both you and the performers discover the hilarity of the script together.
Dreamgun: Film Reads is presented by Hey Boss – a collaborative, award-winning production and management company working with cutting-edge, thoughtful and future-minded theatre, music, and comedy shows on the global festival circuit. In this production, performers with other Fringe shows skillfully read a script for the first time, and make the show well worth the ticket price.
In the small, close venue, it was easy to get swept up in the show and let yourself be taken along for a great ride.
Dreamgun reads a different film script every night, rewritten with jokes and performed by unprepared comedians, including crowd-favourites from ‘Harry Potter’ to ‘Silence of the Lambs’. There is some minor swearing, but it is a good show for ages 15+. This show runs every night remaining for Adelaide Fringe 2020, so get out and see it.
Soaring to spectacular heights, Le Aerial did not disappoint! The one hour show was fabulously constructed with amazing feats of strength and skill both on stage and off, with the fly team working hard on the sides to allow the on stage artists to perfect their routines. With silks, hoops, chains, and even some floor routines, there was a bit of everything you could hope to see. Credit to the two gorgeous live voices who accompanied most of the performance, with masterful technique and sassy stage presence. It’s a fine art to provide a wonderful performance without detracting from the athletic stars of the show.
A big shout out to those involved from Aerial Artists Adelaide, helping to not only pull together a fantastic show, but for also providing pre-show entertainment just outside the venue. Their students were able to showcase their learnings and give a taster for what’s to come. I’m sure we will see some of them on stage in the future!
New Zealand actor Stephen Papps took the stage with his dead pan, observational comedy act. He has a polished, clearly well rehearsed delivery, with very little (if any) ad-libbed content. The main themes of the comedy show explored navigating sex and relationships, particularly in the context of growing older in our modern society.
The size of the audience lead to a very intimate show, with Stephen taking the time to make eye contact with each audience member throughout to really drive home his delivery. While Stephen’s particular style of straight-faced delivery and short story jokes may not suit every comedy-goer, he is clearly a professional and has his act down to a fine art.
Some of the content didn’t seem to resonate with the predominantly younger audience at the performance I attended, but I would recommend it to audiences at a similar life stage to Stephen Papps himself. Some audiences may be concerned with a couple of the jokes regarding women, especially trans women, as this does feature in Stephen’s punchlines.
For a few moments within the show, Stephen showcased his brilliant talent in vocal sound effects to provide background for his storytelling. This was a clear highlight and I found myself wanting more throughout the show.
Mim Sarre takes the audience through the basic course of how to be a Feminist, debunking a few myths and singing a killer set of fantastic original songs – with an incredible female band behind her! In her 50 minutes, she covers to A-Z of feminism, consent, and toxic masculinity in its several forms.
The atmosphere of the show was electric within the little Bally tent, packed to the brim with people who were very obviously enjoying every second of the experience. Mim Sarre and her team turn the Bally into an attention grabbing little place, with fantastic lighting by her female technician Maddy Gibbons that perfectly matched every mood change.
The show was beautifully written, covering a myriad of topics that were entertaining or useful to all within the canvas walls. With the low point of the show being a bit longer than expected, the meaningful segments of the show really hit right where they were meant to.
The ideal audience for this show would be anyone aged 14 or over; there is considerable swearing, but the content is extremely important.
The 2020 Adelaide Fringe season for Friendly Feminism has had three extra shows added, an obvious testament to its fantasticness! But if you somehow aren’t convinced by this review… just go anyway to see the Tea Song – she doesn’t lie when she says it’ll be stuck in your head for days!
Oliver Mol’s story of a ten-month migraine is so deeply immersive that it is, at times, uncomfortable. For anyone who has every experienced enduring pain, Mol’s interpretation of a migraine via storytelling and stage production feels very true to reality.
This 60-minute one-man show one-man show is a true, funny and heartbreaking tale about Oliver Mol’s chronic migraine, his departure from his work as a writer, and subsequent job on the railway when he couldn’t do anything else. Performed to music and visuals, it is a story of hope, laughter, pain, relationships, drugs, failed orgies, mothers, fathers and love.
Oliver Mol is such a regular sort of guy at first impression, that the depth he went to took me by surprise. His daggy “costume” of running shoes, baggy pants and white singlet tucked into his belt was a stark contrast to his eloquent storytelling and engaging performance.
Clever visuals projected to a screen behind Mol, and he used the small stage to good effect – often blending himself into the projection. This was particularly effective during the scenes depicting migraines, which built tension, and the scenes that took the audience on a ride along train tracks, which released the tension.
Often when we experience theatre, we feel heightened emotions of joy and pathos, but rarely – for myself, anyway – do I feel physical discomfort. To me, this is the genius of the show: the build up of discomfort… the suspended tension… and the release of pain, the release of one’s identity into a new, changed world.
Mol’s 2020 Fringe season has ended, but look out for his book of the same name in the near future.
