reverancepavane: (Beard)

Can you spot the [ profile] reverancepavane cunningly hidden in this photograph?
[Taken by Xani of The Twoks to prove they have Adelaide fans...]

reverancepavane: (Default)

OK, I lied. But only technically, since on this year the third Sunday in March was also the last Sunday of the Fringe. Anyway the third Sunday is traditionally the Whitemore Square Arts Festival. It was a lot more lacklustre and unpopulated than last year. Is suspect setting it on the last day of the Fringe was counter-productive, despite increased advertising that it was on. After all, it's half a mile away from any other Fringe stuff.

Anyway I mainly went there to see Brillig play. Contrary to popular belief neither Matt Denny or Elizabeth actually burst into flame when the sun struck them – although there was a distinct sparkle coming from Elizabeth. She will claim it's sunlight reflecting from her autoharp, but we all know better...

Anyway they played fun doom filled songs on a bright sunny day. Apparently there will be an extended hiatus for them as they continue their nefarious schemes for dominating the musical world.

I then made my acquaintance with a lamb (turning on a spit) and left to catch up on sleep and rest my weary body and exhausted mind. This Fringing for a month had it's down side.

Speaking of all things bright and sunshiny Leigh Stardust is currently working on a new album.

reverancepavane: (Valerie)

My last Fringe performance is likely to be Eidolon by Nervous Doll Dancing (Melbourne). This multimedia show featured Francesca Mountfort on cello augmented by visuals created by Tom Hume.

It was an oneiromancer's delight. The mellow and relaxed sounds of cello drawing one into a relaxed contemplation of the distorted visual dream imagery of the show. Both complemented the mood well, and I suspect that the Promethean was the perfect venue for this show.

I can actually think of no better way to end the Fringe, with neither a bang or a whimper, but with this quiet and relaxed meditation on sound and light.

reverancepavane: (cardinal)

There is a temptation when adapting the works of Oscar Wilde that one displays the same keen sense of timing and wit that characterised his works and commentary. However, unless one is named Stephen Fry, one should probably avoid the temptation as much as possible. When compared to the actual Wildean prose included in the adaption, it comes off as distinctly lacking in style.

This is not to say that the external framing of Wilde Life was particularly bad; the treatment of Victorian Society as an ornithological study does some have merit, but sometimes it definitely got in the way. A suspect a much more disciplined approach, akin to a Sir David Attenborough BBC documentary would have gone down better. The inconsistent adoption of bird-like mannerisms during the play was very off-putting, and probably should have just been limited to the framing moments, as the suggestion of previous behaviour carried into the actual vignettes would have been much more effective in drawing attention to the similarities.

Still the comparison of Victorian High Society to a muster of peacocks is rather apt, although thankfully, these actors were not as raucous as the birds they emulate (where I find the best revenge is one served hot, with lashings of gravy). One did, however, find it appropriate that "murder" is the correct turn of phrase for a crow – although to be technically correct one should probably use a word containing the prefix "train" when referring to the self-announced jackdaw.

Aside from a slow and very chaotic start, they did a good job of displaying the sharp wit and barbed observations of Wilde as it applies to the mating rituals of Society, especially when the show settled down to simply providing extracts from Wilde's plays, especially The Importance of Being Earnest (always a favourite). And I did enjoy the fate of the Breeding Hen, which was very well done.

There is definitely material to work with here, but it probably needs a good director to tighten it up and eliminate the extraneous.

[Although I appear to have a thing for cute young blondes in Victoriana. It must be the bustle. <grin> Well, that and the fact she got to play Cecily, who is a character I have much fondness for anyway.]

reverancepavane: (blink)

Seeing bands you like who are playing at the Fringe can be problematic, especially if they are playing in the Garden. Ticket prices are usually high, and the strict scheduling means the show lasts an hour and only an hour. But for some performers this is irrelevant. I bought my ticket to Kate Miller-Heidke's show only two hours after the booking office opened for the Fringe (and that was only because it took me two hours to do my first pass through of the online Fringe Guide). And yes, it was more than four normal Fringe shows (or three expensive Fringe shows). But it was worth it.

For those of you who have never heard her music you should. And then go see her at a gig because she is much more impressive in person. She is so very small to have such a great voice. [I don't think 6" heels are overcompensating... <grin>] Gigs also have the advantage that a number of her fun songs never make it to CD (Are You Fucking Kidding Me? the exception which made it to the live album). This gig had Someone Drew A Penis On My Band Poster.

Anyway this gig mainly consisted as a preview of what is coming up on her new album Nightflight, along with some of her more popular songs. I liked all of the new songs she sang, except for Sarah, which I like musically, but thematically it makes me want to break things (particularly certain people) so very much. The sad thing is it's apparently based on a true story (as are many of her songs). I want to applaud the song but not the story. Needless to say I've already preordered the new album.

I was amused, and not terribly surprised that she was going to play Politics in Space for the opening of the Australia Pavilion at the Shanghai World Exposition this year, until the night after hearing the rehearsal, a very nice note was slid under her door under a Chinese government cultural letterhead suggesting that she might like to reconsider her choice to a bright happy song. Again, I was amused, and definitely not surprised by the the request. {When she was trying one of the prototypes of PIS in a much earlier gig, when it was much more anti-baby-boomer, I felt I was about to be torn apart by a legion of her teenage female fans for having grey hair.)

Anyway, I love her voice and I love her music. This was a nice intimate performance for 400 people (as I was in the first row she was close enough to touch; although she did recognise me afterwards so hiding behind my beard obviously wasn't a viable strategy). I would have done the Gen Y thing of recording her gig on my phone and posting it on YouTube, except that I feel that such gigs have to be ephemeral to be truly appreciated.

I do wonder if I was in the photo on her Facebook page for the gig.

Anyway that was my last official Fringe show. There is a lot more that I want to go to, but I am now officially tired and broke. I may go to one more show to enjoy good company, but that's it. No more poffertjes for me!

[I don't really count the (free) Whitemore Square Arts Festival as a Fringe show despite it has a Fringe listing and is on this Sunday. I'll be there from 11:30am to see Brillig play a set, followed by the likes of The Baker Suite and Babylon Burning. Unfortunately I doubt I'll buy any more art from the local artists (it's a good place to get an excellent bargain (at before they were famous prices)), as I have ended up spending far too much recently. <sigh> Having the art show at the end of the Fringe is not the greatest idea.]

reverancepavane: (Valerie)

Shakespeare's Queens – She-wolves and Serpents:

This is another show by Kath Perry in the same vein as her Shakespeare’s Mothers – Mad, Bad and Dangerous To Know of last year. Again, it allows her to select the juiciest bits of the Bard’s plays to build a show around. Instead of a 2041 holovision interview on the effect of the plays of William Shakespeare on the rise in international women’s terrorism, the framing mechanism for this show is an argument between the spirits of Queen Elizabeth I (played by Kath Perry) and Mary Queen of Scots (played by Rachel Ferris) on the proper conduct of a queen. To that end they summon the spirit of William Shakespeare (played by Patrick Trumper) to explain the roles of the queens in his plays.

What begins is a journey through the various queens of Shakespeare’s plays, with the three actors effortlessly moving into the roles required of them for their parts in the vignettes stolen from the plays, with just the addition of some small costume element, and a change in posture and expression, signifying the assumption of a new role. But each role is clear and distinct. These are three seriously talented actors at the top of their craft that make it all look impossibly easy.

In between each scene from the plays, there is relaxed and easy (dare one say majestic) banter* occurs as both commentary on the plays and narration, as William Shakespeare guides us through his work, and presents each queen in context.

Twenty-four queens in sixty minutes. You can’t get better value than that. Go see it.

[* In other words, some people just can't get over the fact that you chopped off their head!]

I'm a definite fan of Shakespeare’s Mothers – Mad, Bad and Dangerous To Know and Shakespeare's Queens – She-wolves and Serpents. If I had to compare the two, I'd have to say that "Mothers" had the better framing but "Queens" had the better actors.** If you like the Bard's works this is a must see show. Very well done.

[It is also a good example of why Majer and Smyth's show didn't quite work - they were vocal actors and there was no visual cueing as to when they adopted the roles 9although it worked well when the audience wasn't waiting for a visual cue, so the radio play CD format worked well). Here, after you see the actor add a small visual cue to the costume (often no more than a scarf or just a Tudor rose), you are expectantly waiting to see what personality emerges (actually carried by voice, posture, and expression). The token is just a reminder. Even the act of assuming it was a graceful part of the play. (And for roleplayers, this play is worth seeing as an excellent example for how good actors support the action, even when they are not actively drawing focus). These are really good actors.]

[** And not just because Rachel and Kath wore nice corsets in this production...]

reverancepavane: (Default)

Sound & Fury Present Doc Faustus:

The show itself is excellent, as always. Richard, Patrick and Ryan do an excellent job presenting a piece laden with many in jokes and humorous asides derived from many works (not just Faustus and every Western movie ever made). It was lots of fun and enjoyed heartily by the audience. There was much laughter.

One particular problem I felt with this show is that Faustus is a rather obscure play, although most people should have a basic familiarity with the plot. Taking the time to watch the 1967 film starring Elizabeth Taylor and Richard Burton before attending the show would probably serve to enhance the enjoyment of the show. [Alternatively reading the play is always an option.]

Another similar problem is that the knowledge of American westerns (and in fact American history) is not as pervasive over here as it is in the US (their heyday in Oz being a few decades ago), so for example, knowledge of the theme to Davey Crockett was lost on many of the younger members of the audience. [Or even the knowledge that the Alamo existed at all, in at least one case, which meant that some of the show wasn't understood until it was explained afterwards. Something unlikely to happen with a US audience.]

Finally, over the last couple of years Sound & Fury seem to have been always stuck with the wrong sized stages at the Fringe - usually ones that are rather too large for them. Their shows don't really suit the large landscape available, preferring a more intimate venue. This contributed to a lot of needless running around for them again this year, especially since they couldn't quickly slip around the backdrop for a quick-change (a necessity for a Sound & Fury Show). I definitely would like to see the show again in a more suitable venue (although perhaps performing in a barn was appropriate to the dominant theme of the show).

Still, I can't wait for next year's show. Rumpleforeskin, wasn't it?

I do think that the long season and large stage had gotten to them, for they seemed a lot more tired. I think we probably want to go earlier or later in the season next time.

I really do think the show would be a great success in the US, but there were a few miscues dealing essentially with American culture. For example our racism sensitivities move in a different direction from those of the US.

Although a Peter Pan based story is a apparently a possibility. (Rumpleforeskin is a running joke).Hey! A show where my default icon is entirely appropriate...

reverancepavane: (tarrant)

Axis of Awesome World Tour 2006:

After performing the same show for a 150 years things are bound to get slightly stale. One would have hoped for a slightly more development in the on-stage patter and jokes in the intervening year, but it followed much the same themes as in previous shows. If you've never seen them live (and you should really do so), then it will excellent fun and you will enjoy the patter immensely, but if you are a fan with fond memories of the previous shows, then a lot of humour will be lost in the predictability of the punch lines. Still, if you are a fan you will be going anyway, because they are always worth seeing live.

As for the songs themselves, which may be considered the important part of the show, there were a number of old favourites as well as some new ones, all of which (old and new) were thoroughly enjoyable and had the audience laughing and applauding wildly. And occasionally inappropriately. The performance was polished and professional, and quite enjoyable.

[And I second the bringing of tennis balls for after the show. Or ping pong balls.]

There were a couple of new songs for the show, such as the Floppy Man song (I'll leave you to imagine what that will entail), but mostly it had been performed before (but not previously recorded. This was essentially the live performance of their new CD Animal Vehicle which may also explain the same schticks being used in the show (almost all of these songs were new last show). Good music.

Although on writing this Birdplane is making a come-back in the earworm stakes (last time it lasted three months). TION, where are you when I need you!!!

reverancepavane: (Tamara)

Running behind, so here are some of my Talk Fringe reviews. First The Jane Austen Experience Present Somewhere Under The Rainbow:

From the moment Jennifer Kingwell and Todd Dickens descend the stairs to the stage, singing to each other from across the crowded auditorium, you know that this musical duo has that certain chemistry and that you are in for an excellent show. And they don't disappoint as they present the songs from their new CD Somewhere Under The Rainbow. The later addition of bass guitar, drums, and cello for some of the songs deepens the sound magnificently. The lyrics are complex and thematically intriguing; they write songs that are well-suited to them, both in voice and theme. Mellow, relaxed, and yet strong and upbeat. Well worth seeing when they hit the Fringe again next year.

Their new album is available at Bandcamp at only A$10. And being Bandcamp you can listen to it all. I particularly liked Phoenix and Song for a Siren. But judge for yourself. I for one will be catching them next time they come here.

I initially chose them as a possibility because for some reason the show's title attracted me. Then I listened to their music and had to go. Only to discover that they had a number of existing fans amongst my friends who had neglected to tell me about them earlier. Oh well. Now I know better.

reverancepavane: (Valerie)

There is perfect a capella and then there is beyond perfect a capella. Just back from over an hour of perfect jazz a capella from The Idea of North (albeit an Idea with Joy rather than Naomi, who is still on maternity leave). Although Naomi did appear on stage for a couple of numbers, although, minus her new "young apprentice").

Joy Hague was a great deputy alto, and should be thanked for bringing Sara Barielles' Gravity into the repertoire (and she still maintains the correct karmic balance of ex-Adelaideans in the group). The rest of the guys (Nick, Andrew, and Sally) were great, as always. I mean, this is their profession. This is what they do, all around the world.

The Australian government even gives them away to other countries as birthday presents!


Mar. 7th, 2012 02:56 pm
reverancepavane: (Default)

Anyone want to see Axis of Awesome tomorrow (7pm Thursday $15+$2.75bf)?

ETA: Given no one is interested (and they've sold out of the cheap tix, I'll follow my original plan and go another day. This way it gives me time to recover from the opthamologist's drops (eyes fine!).]

reverancepavane: (Beard)

DeAnne Smith: Livin' the Sweet Life.

This was a preview show, which means that Deanne was essentially still trying to sort out some of the more subtle differences between Australian and Canadian humour. ["Eh."] But despite that it was thoroughly enjoyable, and I say that as someone who is really not the greatest fan of stand up comics. It was a relaxed show, with plenty of laughter and sympathetic winces (when the audience could see the inevitable tragedy that lay just ahead in Deanne’s stories), and I think everyone, Deanne included, left feeling a lot better about life. Which really is sweet when you think about it.

Smart, charming, witty, and fun. I particularly enjoyed her very geeky closing song. ["Yes. She sings too. Did I forget to mention it?"]


I really am not a great fan of stand up, but this wasn't all that bad. We sat in the front row, and naturally my awesome beard powers came to the fore deflecting comedic thrusts towards my companion of the evening ["My beard is like a shield of steel wool," said in a deep resounding Batfink voice*], although it also apparently meant that I must enjoy porn more than I actually do (am I really all that weird for liking women clothed – I mean, they are a lot of fun to unwrap, especially if you are doing it properly).***

Anyway... I wish to take a moment to thank some of my female friends for having described to me the procedure involved in doing a full wax (and you know who you are), so I could cringe in advance together with about a quarter to a third of the rest of the audience. [Although she didn't deal with the full procedure, so there were less contortions involved.]

Then onto more problems, such as being able to pick up women when you are a young single lesbian (trust me, they don't have any more clue than we heteronormal men do). However she does strongly suggest that knife-throwing whilst under the influence may not be the best way to start unless you want to visit the emergency room instead of the bedroom.

As I mentioned, it was a preview show, so there was a fair bit of probing going on to see what would be a good fit for Australian audience. Applause about a joke combining quantum physics and penis size did elect such a positive response that she finished a really excellent geeky love song (which I immediately forgot because The Twoks music that is still resident in my skull took it outside, beat it, and then shot it). But it was fun. I do hope the fact that the front row was nearly 50% scientist didn't alter her experiment significantly. Although judging from the applause and the anticipation for the song there must have been even more geeks behind us.

Surprising fun, and I'm glad I saw it. Eh. <grin>

[* Of course, my immediate thought on making that statement in relation to this show is then saying "That probably means oral sex is out of the question." (NB: question not directed at anyone in particular, and definitely not to anyone who reads this journal at the moment)**]

[** Although I reserve the right to have some future peruser of this magnus opium [sic] run screaming out of my life if she ever reads this.]

[*** Besides. Where would the legs go? (in joke)]

reverancepavane: (Valerie)

Those with a passing familiarity with me might know that I am a fan of the Melbourne group The Twoks, who have a tendency to do a show or two at the last few Fringes. But I also have to admit to being slightly conflicted about them.

You see the very first music of The Twoks was very avant-garde, consisting on layers and layers of Xani's violin (with percussion on the soundbox, beating the strings, and plucking them in addition to the more traditional bowing), resulting in an incredibly complicated and rich soundscape in which she played. They were so large you couldn't take them in in one gulp, but you had to enter them and chase the music as it swirled around inside them. Sort of like a big majestic building. You can build up the sense of the building by exploring it until finally you know the whole building despite being unable to see it entire. Which I admit I found extremely tantalizing, being able to explore the structure of these incredible creative pieces, that you could hear being built for you a piece at a time. What would you find around the next corner?

Creating these older soundscapes required lots of foot pedals to control the equipment required to capture and play the loops at the appropriate time, which often forced Xani to sit and use her feet very dextrously. (I sometimes joked that she played her violin with her feet.)

Anyway over the last few years the music has changed. Become less complex and involved and easier to perceive immediately as a whole. Less avant-garde and more popular. More refined and purer. Sublimated.* There are however two great benefits to the new form. First Xani has added her vocals to the mix. She has a good voice and it adds a thematic component to the music which allows people to follow her through the piece (no more exploring on your own). Secondly, with fewer layers there is less need for her to be tied to a chair in the performance and she is free to dance as she plays, and this just adds incredible energy to the pieces. [It also made the simple slow acoustic piece she did in the middle of the tent very poignant.]

Now I like both versions. A lot. But it's different parts of me that like each of them. So sometimes I mourn for the loss of the original music. But not for long, for the new music has an excellent advantage that outweighs the past. As Rufus** said "And it's great to dance to."

And I should also mention Mark, who is also as much a reason for the current sound of The Twoks as Xani. His percussion gives great form to the music. The chemistry between these two musicians is excellent (and it shows). It also has to be, because many of the pieces are quite susceptible to spur of the moment improvisation. Both Xani and Mark are The Twoks.

Anyway, this year's performance was great. I'm still bouncing eight hours later as pieces of the show are still streaming through my head.

Apparently the Melbournians don't believe that The Twoks can have attracted such a large audience to their shows here with playing just the occasional gig. The obvious solution to that is to get them to come back for more gigs. They have a full CD release coming up in September so I hope they will journey back to do a CD launch here. Failing that, just come over and play a Sunday gig at the Wheatie.


The Twoks consist of violinist Xani Kolac and Mark Leahy on drums. Xani generally makes extensive use of looping to build up a wild and exhuberant soundscape, which is given exacting focus by Mark’s laser sharp percussion.

The music of this band has changed since they first appeared at the Fringe a few years ago. The soundscapes aren’t quite as complex as they once were, but that lack is more than made up for by the sheer energy of the performance and the addition of Xani’s vocals. Plus, the new music is great to dance to if you are so inclined, as well as great to just listen to.

The best way to describe the show (and Xani for that matter), is wild and uplifting. Almost fey. You’ll definitely still be hearing their music in your head hours after the gig.

Again, a one-off show. But definitely keep them in mind for next Fringe.


[* In the traditional sense rather than the scientific sense. As something is sublimated it gives off the impurities and dross and becomes more sublime.]

[** Bill & Ted's Excellent Adventure.]

reverancepavane: (pa-van)

Randy is Sober is a short stand-up show by the eponymous character about having stopped drinking. It was wide-ranging, often digressing quite seriously, but always entertaining. This is a purple puppet who always has important things to say.

Randy, as a purple puppet, is both curiously non-threatening, and, as animated by the brilliant puppeteer Heath McIvor, possessed of a lively and very human personality. The combination results is a surprisingly intimate show, where Randy can easily engage the audience in conversation, whilst still pondering the questions faced by many of us. The audience soon trusts Randy in a way that they wouldn’t trust a human stand-up comedian, but also strongly identify him as a person, not a thing.

It’s also incredibly easy for Randy to portray different characters, since all Heath needs to do is alter his body language ever so slightly and Randy becomes different. This allows Randy to readily talk to himself as well. Or do a passable imitation of Stephen Hawking.

The sad thing was this was a once-only show. Definitely worth seeing again, if only for the fact to experience it with a different audience and see where it goes.

Randy’s solo shows are always worth seeing, even this one did not appear to include a Time Yeti. It was much less caustic and more open (and vulnerable) that Postcards From Purgatory.

Well worth seeing.

reverancepavane: (Jenny)

Aluka again this afternoon. Word is getting around about these beautiful young Victorians who can sing as the basement was rather full. next year bigger and better things. Wasn't as good as the Friday show because they had the sorriest excuse for a PA system in existence. They are much better unplugged, as the few numbers they performed without the PA showed.

Followed it up with High Tea with some of SA's Fandom luminaries and my former bookpusher. Then almost made it to the Cranker for a gig by Naomi Keytes (as recommended by Aluka). Actually was about to secure my bike and go in when I realised the State Bank Free Concert would be on and I might find some interesting new groups. Besides Naomi didn't seem that enthused to have old people at her gig when we chatted after the previous Aluka show (she parked her bike next to ours*).

Anyway heard Ghostboy and the Golden Virtues, Spontaneous Broadway, and The Jane Austen Argument. Tempted to go for the free Ghostboy tickets (the Golden Virtues were rather cute), but didn't know how I'd feel by then (I was up late finishing an excellent book that had been on my "must mean to read that pile" for months now). The tickets were later given to other friends by the winner. Hope they enjoyed the show - the lack of good vocals after an Aluka gig probably would have been a killer for me. TJAA enhanced my desire to see them. Will have to be a Thursday or Friday though as I was in intense pain by the end of Randy and shall need Wednesday as a break. Given my opthamology appointment is on Thursday it will probably need to be Friday if anyone is interested. [If Tristrom was on Thursday I'd see him (or rather, given the drops they will put in my eyes, not see him very well at all). Sorry. Seriously running out of time, so i might not get the opportunity to heckle you.]

Cycling home was painful, which is a good sign I'm overdoing stuff.

Tomorrow, Twoks. Tuesday, Sound & Fury. [Friday, The Jane Austen Argument presents Somewhere Under The Rainbow.] Saturday, The Idea of North. Tuesday, Shakespeare's Queens. Thursday, Kate M-H. Sunday, Brillig and Elise (who stage name I can't remember offhand) at the Whitemore Square Arts Fair. Still need to add Who Me and Axis of Awesome and any other interesting groups (but it seems the really interesting show have very short seasons).

And I'm babbling to avoid pain.

[* And yes, I need glasses. "She's definitely a girl."]

reverancepavane: (Adrienne)

Jenny M Thomas and the System. They can't all be Fringe picks. There version of Maggie May wasn't too bad, but I'm not sure whether that was just because it was the last song of the gig.

I suspect it was the mix (and judging from the reactions of the musicians in the crowd, definitely the tuning of the instruments), as the online samples I listened to sounded a lot better. Still I doubt I'll see them again.

Apparently "bush gothic" is code for folk-inspired jazz with an Australian colonial theme. Which is surprising, because the resulting music lacks both the thematic and musical depth common to either of these aforementioned styles. At times thin and strained, and at others disorganised and dischordant, the musicians often mistake intricacy for complexity, often to the great detriment of the work. There was little sign of discipline and leadership, which means the musicians were frequently playing against themselves in the improv sections, rather than to the audience. Vocals were thin and often lost in the mix. It may be to your taste, but it definitely wasn't to mine.

reverancepavane: (Eris)

I first heard Aluka when they opened for Clare Bowditch at the Gov. They were a last minute replacement and almost no one there really wanted to listen to them (two-thirds of them were the backing singers for Clare's New Slang). Anyway, despite trying to do a capella with a crowd of drunken louts who actually came here to see a different opening act, in avenue that is not a good one for such (the bar trade if nothing else is disruptive, even when no one is ordering).

So when they played the Grace Emily last year I went to see them again. Here, they rightfully silenced the pub.

Anyway, even if I wasn't a junkie for good a capella, especially from all-female harmony groups, I'd go see them (especially since my previous addictions of Arraimedeia and Jelelah are no more). In fact I'm going to see them again tomorrow.

Breathtakingly beautiful ethereal intimate a capella.

Hmmmmm (I was bouncing for hours after getting my fix the show.

ETA: Thanks [ profile] molokov_au for the hint that people might like to know who I was actually talking about.

reverancepavane: (tarrant)

When is a CD launch not a CD launch?

When they haven't mixed the CD yet.

The Sammy J Songbook was supposed to be a launch of his new CD. So instead we were treated to a selection of his usual style of songs, together with some anecdotes. There were a few old favourites (including the always requested Backwards Song), together with a few new ones. As for most of his songs, the events they describe start out rather sensibly, but get more and more out of control and weird as the song goes on, until it bears absolutely no resemblance to any possible reality.

Which reminds me. Next Sammy J gig I really have to take some friends and sit in the front row, and when he starts the ninja song, have all of us pull out black t-shirts (to make fake ninja hoods) and plastic ninja-to and shuriken.

In a major break only half the songs were performed by him playing at his keyboard, the rest were sung to a backing tape so that Sammy could make the most of his ability to gyrate amusingly.

This was his only solo performance at the Fringe, and was, despite a huge crowd (a change from the original 4 people in 2007), very relaxed and rather laid back. It's actually a pity that it wasn't a show with a longer run, perhaps in a more intimate venue, because then you could come multiple days and probably expect a different line up of his songs. But with the effort of putting on his other major show, I expect that it would be too fraught.

reverancepavane: (Valerie)

FIRST OFF: Anyone want to go see the last performance of Chants des Catacombes on Wednesday? Good show (a musical theatre in the round, set in the atmospheric confines of the Old Adelaide Gaol), and which finishes with a mini-gig by The Twoks. With dancing (at the gig), which when all is said and done is the reason I want to go. The downside it finishes after midnight on a school night. I'll have to go as my good twin though as the evil twin went last night. [People playing guilt cards should pay attention. Although as they don't dance, maybe they shouldn't.]

Chants des Catacombs is a rather good musical theatre production that makes excellent use of the ambience of the Old Adelaide Gaol. Immersive and progressive, the action takes place in and around the audience as they move through the confines of the Gaol. The chemistry between the actors (Nicola Andrews, Anna Boulic, and Laura Burzacott) is very good and they are in fine voice. The music for this performance is provided by The Twoks (Xani Kolac and Mark Leahy), and the performance is well suited to their distinctive style. And after the performance the show finished with a short set by The Twoks, with dancing.

Rumours that I may heve been seen dancing to The Twoks elsewhere may be exaggerated, but they are fun to dance to.

Made a passing acquaintance with Tammy Brennan, a composer of opera from Alice Springs, when we both wandered over to a window so as to hear the Twoks playing the prelude to the show. Apparently she has a new opera coming out in June, which might be tempting to see (although it will be performed in Alice Springs). She had a rather nice energy about her, and was not afraid to dance. Or chat with that strange bearded fellow. <grin> [Having seen her website she has been quite prolific. Now I just have to listen to some of her work to see if I'll actually like it (from the description I might). I don't dislike opera. Apart from Puccini.]

reverancepavane: (ale)

Note to self: Tammy Brennan. Putting on her new opera Confined in Alice Springs, somewhere around June. Attend if possible. Assuming you remember. <grin>

The result of a passing conversation at Chants de Catacombs. She has a great energy and spirit about her. Plus she dances!


reverancepavane: (Default)
Ian Borchardt

October 2012

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