It's the Fringe's final weekend, which means there are precious few evenings left to make the most of the art and atmosphere of festival season. See only the best shows by following the good word of the folks at InReview.
March 17, 2022
Culture
The absolute best shows still running at Fringe this weekend
THE BEST OF THE BEST
Sky Song
Genre: Drone art
Reviewer: Michelle Wakim
Score: ★★★★★
Dates: Until 20 March
Pairing ancient stories with new technology, the stunning drone-art show Sky Song leaves audiences mesmerised.
Why you should see the show:
“While the drone art is something to admire, Sky Song‘s soundtrack and songlines are what truly moves audiences. As (Archie) Roach’s ‘Took the Children Away’ or (Kev) Carmody’s ‘From Little Things Big Things Grow’ play to the audience, the drones complement the lyrics by forming figures of adults embracing children or hands being torn apart. Such moments of emotive impact connect with all age groups, as powerful storytelling often does.”
Judith Lucy & Denise Scott – Still Here
Genre: Comedy
Reviewer: Katherine Tamiko Arguile
Score: ★★★★★
Dates: Until 20 March
You can thank two years of Melbourne lockdowns for yielding the comedy gold Judith Lucy and Denise Scott deliver in their hilarious, Beckett-crossed-with-Flying-High-infused show.
Why you should see the show:
“Liturgical dancing, chairacise in luridly-coloured, home-crocheted active wear, excessive drinking and excessive body hair, Norman Swan as the object of sexual desire: Still Here has it all.”
Venus in Fur
Genre: Theatre
Reviewer: Michelle Wakim
Score: ★★★★★
Dates: Until 20 March
Through a post-Me Too lens, this play-within-a-play is a feat of provocative theatre that spotlights the harrowing power dynamics of the entertainment industry.
Why you should see the show:
“Since Venus in Fur’s conception in 2010, society has become less tolerant of gender inequalities, with discussions about power imbalances – particularly in the workplace – a frequent part of public discourse.
Because of this, director Daniel Lammin and his talented cast have taken what was traditionally characterised as a comedy and, instead, produced a challenging, thought-provoking piece of theatre that demonstrates how the themes in Venus in Fur are no longer funny.”
Oracle
Genre: Physical Theatre
Reviewer: Trista Coulter
Score: ★★★★★
Dates: Until 20 March
Surrender your senses and lose yourself among the gods of old as you embark on a breathtaking journey into the stars with the visually stunning Adelaide Fringe premiere of Oracle.
Why you should see the show:
“Intricately crafted costumes combine the beauty of old-world style with a subtle hint of risqué sensuality to bring the gods, goddesses, humans and mythical creatures of Oracle to life in vivid detail. This – combined the music and energetic routines – makes it is easy to lose yourself within the Oracle’s immersive world.”
The Girl Who Jumped Off the Hollywood Sign
Genre: Theatre
Reviewer: Jo Vabolis
Score: ★★★★★
Dates: On demand, virtual performance
“Everything here is big and impossible to climb.” Evie Edwards, aspiring Hollywood star, scrambles to the top of the sign famous to all who yearn to see their name in lights. She’s preparing to jump.
Why you should see the show:
“(Joanne) Hartstone’s talents are diverse and impressive – she sings and dances, as well as acts – and the play is the perfect vehicle for showcasing these skills.”
You Can’t Hide in the Desert
Genre: Theatre
Reviewer: Jo Vabolis
Score: ★★★★★
Dates: On demand, virtual performance
Like a spider quietly weaving a delicate web, writer and performer Tracy Crisp deftly spins connections back and forth between three narratives using an exploration of memory as the anchoring thread.
Why you should see the show:
“The shows that comprise You Can’t Hide in the Desert have all been performed before by Crisp. Now, for the first time, Pearls (2018), The Forgettory (2019) and I Made an Adult (2021) can be viewed as a suite via Black Box Live, recorded for this year’s Adelaide Fringe… The staging is different for each performance but shares a common ambience – vintage suburbia –and simple props set the scene for a deep dive into recollections of family, love, loss and grief.”
Street Beats: The Roaming DJ
Genre: Music
Reviewer: Katherine Tamiko Arguile
Score: ★★★★★
Dates: Until 18 March
Bust some moves and strut your stuff to beats around the streets of the East End with Oscar Reed, his portable mixing desk and an enthusiastic crew of fellow punters for the perfect antidote to the world’s downers.
Why you should see the show:
“Mixing tracks as we go, (DJ Oscar Reed) keeps up a chilled, drily witty patter as we throw shapes and shake our booties in a silent pavement rave. We weave our way past bemused festival punters and pub-goers around the East End and into Rundle Mall, where benches provide the perfect opportunity for some enthusiastic podium dancing.”
THE VERY BEST
Greece Lightning
Genre: Comedy/Physical Theatre
Reviewer: Gianluca I Noble
Score: ★★★★½
Dates: 2—19 March
In this revealing one-man epic, Garry Elizabeth Starr seeks your help saving his homeland from recession by performing each of the Ancient Greek myths in under 60 minutes to boost tourism to Greece.
Why you should see the show:
“It is fascinating to watch (performer Damien) Warren-Smith not just include the audience in his show, but constantly bargain with them in the hope they’ll pardon and indulge his work. In an extended slapstick – joined by two audience members and set to Zorba the Greek’s sirtaki – he satirises exercises familiar to anyone who has ever taken a drama or dance class. Yet somehow, despite tricking and toying with members of the audience, he willingly remains the butt of the joke.”
1 Hour Photo
Genre: Theatre
Reviewer: Murray Bramwell
Score: ★★★★½
Dates: Until 20 March
One Hour Photo is a snapshot of one man’s life – captured from 30 hours of interview and a lifetime of turbulent after-images.
Why you should see the show:
“1 Hour Photo, written and engagingly performed by Tetsuro Shigematsu, is a mix of theatre monologue, a TED talk with a slideshow, and random pop-culture nostalgia. Darting in and out of history, Shigematsu starts with 1977. Star Wars. The launch of GPS satellites. The Apple II computer and the launch of the space probe Voyager 1.
He is energised by this progress stuff, moving excitedly between display items and screen images, eyes bright, moustache twirling and ponytail bobbing. He is a most affable narrator.”
The Defiant
Genre: Circus
Reviewer: Ali Moylan
Score: ★★★★½
Dates: 24 February—20 March
New circus show The Defiant finds joy and strength within its dystopian, post-apocalyptic world, offering a refreshing take on a well-trodden theme.
Why you should see the show:
“The Defiant has an all-femme-identifying cast and crew, and a distinguishing feature of the performance is the warm and joyful interaction between artists. Smiles, intimate connections, playfulness and a sense of community comes through the cutting intensity. It’s reminiscent and evocative of how the last few years have proven how humans come together in times of turmoil.”
SIMPLY THE BEST
Somnia 2.022
Genre: Physical Theatre
Reviewer: Elisabeth Marie
Score: ★★★★
Dates: Until 20 March
Whether the stuff of dreams or nightmares, Somnia 2.022 is a beautifully haunting display of acrobatics with some raunchy cabaret to set the mood.
Why you should see the show:
“Visually stunning, risqué costumes glitter beneath the stage lights, each outfit designed to suit a particular character. We see the glittering elegance of an acrobat as she spins overhead in a crescent moon, before “Miss Moisty” appears as a sleep paralysis demon, startling the audience with the clang of her steel boots and creating literal sparks with her sensationally smutty demonstration.”
Sam Simmons – Be a Verb
Genre: Comedy
Reviewer: Zoe Rice
Score: ★★★★
Dates: Until 20 March
It’s hard to know exactly what’s going to happen when you sit down to a Sam Simmons show, but the comedian is consistent with one thing – peculiarity.
Why you should see the show:
“Those familiar with Simmons know his particular brand of oddball comedy is as bizarre as it is hilarious. Often, you don’t really know why his jokes are funny, but you just can’t stop laughing.”
Port Adelaide Ghost Crime Tour
Genre: Events/Walk
Reviewer: Heather Taylor Johnson
Score: ★★★★
Dates: 4—19 March
Who is the perfumed ghost at the old Smokemart across from Porthole Records, and why is the spirit of a Russian sailor only ever spotted on Todd Street between 2am and 3am? Put on your walking shoes to find out.
Why you should see the show:
“As our tour began near the lighthouse, we learned why Port Adelaide was initially called Port Misery: when boats arrived, the finely dressed, suitcase-laden, children-holding passengers had to trudge through the thick river muck to get to land. Laugher from men drinking at the pub was a harsh sign of welcome.”
Naomi
Genre: Theatre
Reviewer: Farrin Foster
Score: ★★★★
Dates: Until 20 March
Patrick Livesey’s finely-tuned embodiment of a cast of real-life characters slowly builds a subtle, complex and deeply affecting narrative of their mum’s life and death.
Why you should see the show:
“Created and performed by Livesey and directed by Bronwen Coleman, Naomi tells a cumulative story about Livesey’s mum. Through the verbatim recollections and insights of people who loved her, a life is sketched out. Eventually, so is a death.”
I Want to Touch You
Genre: Circus
Reviewer: Alison Flett
Score: ★★★★
Dates: Until 20 March
Imagine gasp-inducing acrobatics combined with contemporary dance combined with the warm, fuzzy feeling of a hug. There you have I Want to Touch You, the returning Fringe show from Adelaide-based circus giants Gravity & Other Myths.
Why you should see the show:
“Director Darcy Grant has successfully steered [Gravity and Other Myths] towards much larger-scale productions (see Macro, the “world premiere opening night spectacular” for this year’s Adelaide Festival), so I Want to Touch You is testament to the company’s determination to stay true to its roots and continue to produce smaller ensemble pieces for the Fringe.”
Darker Side of Bowden
Genre: Theatre
Reviewer: Jo Vabolis
Score: ★★★★
Dates: Until 19 March
Where better to delve into tales of poverty, conflict and resilience than Bowden, once inner-west slum, now desirable city-fringe home to a diverse and growing population.
Why you should see the show:
“Aside from the strikes, robberies, accidental deaths and suicides that were common in the neighbourhood, a strong theme of triumph over adversity emerges. Families and fortunes grow, and true change-makers emerge to make waves far beyond their humble beginnings.”
Prepping for Theatre
Genre: Cabaret
Reviewer: Jo Vabolis
Score: ★★★★
Dates: Virtual performance, available on demand
Just as comfortable with operatic arias as he is with modern power ballads, Dr Lane switches confidently between song and spoken word, his love for the music evident in the emotion he brings to this performance.
Why you should see the show:
“There is an honest rawness to what (Dr Lane) Hinchcliffe discloses. He’s candid in his sharing of his personal struggles and his early fears (ultimately unfounded) of other people’s opinions. He doesn’t gloss over the difficulty of dealing with his demons but rejoices in revealing that the future did indeed live up to his expectations and dreams.”
Arj Baker — Power Hour
Genre: Comedy
Reviewer: Ben Kelly
Score: ★★★★
Dates: 24 February—20 March
Arj Barker’s Adelaide Fringe return is like a 30-year greatest-hits album that has been remastered and refined with a few new tracks for an hour of hilarious musings.
Why you should see the show:
“The show is sprinkled with short quips to the front row as the comedian brings you into his world and, as great comics do, makes the audience feel as though they are along for the ride with him.”
Cab Suave
Genre: Circus
Reviewer: Michelle Wakim
Score: ★★★★
Dates: 24 February—20 March
Film noir collides with the sequined world of cabaret to present a spirited, sexy production that breathes new life into this crime-drama genre.
Why you should see the show:
“Brought to the stage by Sparkle Society, a theatre company focusing on the representation of queer artists, this is, in fact, a sparkly and playful production, but with a sensuality that allows it to marry so well with the dark and cynical world of the film noir.”
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