Presented by Adelaide Cabaret Festival
Reviewed Wednesday 19th June 2013

This concert was an interesting and eclectic mix of musical styles from a collection of composers who are famous in their own right. Tyran Parke has been working for some years in musical theatre and is a graduate of the prestigious Cabaret course at Yale University. This show is a result of his desire to combine his talent with that of his brother Trent, an acclaimed photographer.

Having conceived the idea for a show, Tyran showed an album of Trent’s shots to some very good composers and asked them to produce a piece inspired by what they see. Marvellously the likes of Stephen Schwartz, John Bucchino and even Eddie Perfect did just that, resulting in this show.

The opening song “I Remember” written by Scott Alan is beautifully crafted and haunting. Stephen Schwartz’s contribution “PDA” is upbeat and Tyran tells us that Schwartz wrote it on his mobile phone whilst they were lunching! A favourite for me was “Choose Happy” by Jeff Blumenkrantz but all were interesting and backed by some beautiful images.

The photographs were diverse and artistically interesting but occasionally did not seem to fit the mood of the musical piece they were paired with. The overall effect however, was, at times moving and uplifting, something a little different.

For a couple of songs Pyke’s undisputed talent was combined with another voice. For the Lance Horne’s offering “End of the Future” Marika Aubrey joined him, their voices blending beautifully. The powerful number “Colour My Life” was a duet with Gareth Keegan, a highlight of the show.

This is not the usual cabaret fare but the interesting music, which was debuted at this performance, was presented beautifully by the Adelaide Art Orchestra under the confident baton of Vanessa Scammell, making this worth a visit anyway. They are a pleasure to listen to any time.

Let us hope that future Cabaret Festivals bring us more interesting items like this.

Reviewed by Fran Edwards

• Tyran Park website
• Adelaide Art Orchestra
• Adelaide Cabaret Festival website

Venue: Dunstan Playhouse
Season: 19-20 June 2013
Duration: 70 mins

Presented by Adelaide Cabaret Festival
Reviewed Wednesday 19th June 2013

With Julie Andrews having just adorned the Adelaide Festival stage a couple of weeks ago, it seems very fitting that the Adelaide Cabaret Festival is presenting Julie Madly Deeply.

As presented by English comedienne/actor/cabaret performer Sarah-Louise Young, the show is a light-hearted but very loving look at Ms Mary Poppins/Maria Von Trapp herself, Julie Andrews.

The fact that there is something a little different about this production is evident from the overture beginning with the twittering birds of the Sound Of Music film soundtrack followed by the Twentieth Century Fox fanfare played on the piano. Ms Young then comes running in ala famous Austrian Alps shot, channelling Andrews.

From this opening, the audience are taken on a chronological ride through Ms Andrews’ life, from her birth in 1935 through to present day with her throat troubles and comeback appearances (not forgetting to mention baring her breasts in the film S.O.B along the way).

A variety of clever ideas are used in this telling: snippets of various songs from just about all Ms Andrews’ stage shows and films (although Darling Lili is notably missing); comical but sometimes eerily accurate impressions of important people in the performer’s life (Audrey Hepburn, Liza Minelli, producer Cy Fuer (who Young admits sounds very like Liza). Director Moss Hart and those pesky hung-over penguins from Mary Poppins); in-jokes such as Andrews being given an imaginary bouquet of flowers and finding out they were for Marnie Nixon (the singing voice behind Audrey Hepburn’s ‘film’ Eliza in My Fair Lady); Julie’s life from age 13 to 18 performed as a race call involving another filly, Petula Clark; a discordant medley depicting the performer’s breakdown; and Young reciting actual speeches given by Andrews throughout her career (such as her Academy Award acceptance speech for Mary Poppins and the interview she gave to the press when her voice gave out).

Pianist Nigel (last name not given) plays wonderfully, having a great rapport with Young, even though they only met a couple of days ago, and he sings well, having a solo number with “How To Handle A Woman” (from Camelot) and sharing a duet with her, “You And Me” (from the stage version of Victor/Victoria).

Although not what a few people would expect, Julie Madly Deeply is a great tribute to a lady who has sung her way into many hearts, including that of Sarah-Louise Young.

Reviewed by Brian Godfrey

• Adelaide Cabaret Festival website

Venue: Artspace, Adelaide Festival Centre
Season: 19 – 20 June 2013
Duration: 1hr 10mins
Tickets: $29.90 – $39.90
Bookings: Book at BASS

Photo credit: Barry Alsop

The 2013 Clipsal 500 injected more money into the South Australian economy than ever before with independent economic research showing an 8.8% increase on 2012 attendances.

Tourism Minister Leon Bignell said this year’s event provided a $36.6 million economic benefit to the South Australian economy, with an increase of almost 3000 interstate and overseas visitors on the previous year’s event.

“The significant rise in interstate and international visitors provided a real boost to our hotels, restaurants and other service providers,” Mr Bignell said.

“The research also shows that 90% of these visitors were likely to come to the event again and would recommend it to their friends.

“The Clipsal 500 Adelaide is South Australia’s largest annual ticketed sporting event and South Australians continue to show strong support for it with an estimated 80,000 locals attending in 2013.

“One of the great things about the Clipsal 500 Adelaide is that it adds diversity to the Mad March program, capturing an audience that may not necessarily attend arts-focussed events such as WOMADelaide or the Fringe.”

Mr Bignell said the introduction of new teams and the world class entertainment helped boost the race’s popularity.

“The addition of Mercedes and Nissan to the traditional head-to-head battle of Ford and Holden was a huge success, as were performances by Kiss, Mötley Crüe and hometown favourites the Hilltop Hoods.

The race’s official charity, Starlight Children’s Foundation, raised $106,000 at the 2013 event. Economic Research Consultants found the 2013 event achieved:

• $54.8 million in total event associated expenditure
• $36.63 million economic benefit to South Australian economy
• 286,500 attendances
• 15,053 interstate visitors
• 420 new annual equivalent jobs
• 79,394 hotel bed nights
• 80,000 South Australian attendees

First-time actor, 12 year old Cameron Wallaby and Crocodile Dundee star David Gulpilil unite with former television, now feature director and screenwriter, Catriona McKenzie in her directorial debut Satellite Boy.

This heart-warming story focuses on a young boy’s adventure to save his home and himself in a community divided between tradition and the future.

It is a vivid reminder of the magnificent country we live in, with a spectacular backdrop to the story of the very distinct Australian outback setting taking centre-stage with its barren yet beautiful landscape. The Kimberly becomes the real star of the show, thanks to legendary director of photography Geoffrey Simpson’s breathtaking cinematography.

All of this surrounds twelve-year-old Aboriginal boy, Pete (Wallaby) who lives in an abandoned outdoor cinema with his grandfather, Old Jagamarra (Gulpilil) near the far-northern town of Wyndham (shot in the Bungle Bungles).

Despite Jagamarra (Gulpilil) being a highly respected elder in the community who practices traditional bush living, Pete wants nothing to do with the old ways. He prefers technological progress to the traditional culture and wisdom of his grandfather’s advice.

Their comfortable life is torn apart when the cinema is threatened with demolition by a mining company so Pete and his mischief-making friend Kalmain (Joseph Pedley) decide to go to the city in the hopes of pleading their case, to change the company’s mind. Pete also decides to find his estranged mother Lynelle (Rohanna Angus) who is studying hospitality, in the hopes of them opening a restaurant together.

As they travel through the arid Australian landscape, Pete and Kalmain get lost and Pete now realises that some of his grandfather’s bush skills that he learnt growing up, just might save them! The two young boys are great as the confused young souls trying to find their way between cultural identities in modern Australia. This is a credit to director McKenzie to have achieved such outstanding natural performances.

Catriona McKenzie has to be credited for many things in this movie on top of her choice and training of the younger cast members. Additionally, it does not look at the negative, more controversial issues often highlighted when focusing on indigenous culture. What we see is a refreshing, more positive celebration of the family links of first Australians.

Reviewed by Kirstey Whicker

Rating out of 5:   3.5

Parade 2 Pinnacle is about your personal challenge… all 21kms of it.

It is also about helping others overcome challenges. Joining forcings with Movember, Parade 2 Pinnacle is helping raise funds and awareness for mens health issues.

Jason Hincks, Chief Operating Officer Movember states: “Movember is looking forward to bringing the moustache to the streets of Adelaide during this year’s debut Parade 2 Pinnacle. A great day for serious runners and weekend warriors alike, the event provides an opportunity for Mo Bros and Mo Sistas to pound the pavement and show their support for men’s health, whilst raising vital funds and awareness for a worthy cause”.

Winning the battle doesnt have to be done alone, nor does it have to be devoid of a good dose of FUN.  Corporate and social teams of four people can partake, relay-style. There are set handover points at approximately 5, 10 and 15km marks where a runner can tag a new runner in.

Naturally cultivated Movember moustaches are encouraged, as is a festive spirit. Event Ambassador and Redbacks Cricket hero, Gary Putland is already in pre-moustache training leading up to the event.

The 878 metre ascent gets underway on Norwood Parade, preceeding the Norwood Christmas Pageant between 7am and 9am on Sunday November 24th and climbs to the peak of Mt Lofty via a 21km route winding through the Adelaide Hills.

Register online at www.parade-pinnacle.com.au

www.facebook.com/parade2pinnacle

Presented by The Soul Box
Reviewed Friday 14th June 2013

Sometimes there is a world of difference between a good show and a good, fun night out – the variety show Live At The Soul Box is definitely the latter.

It is what it purports to be: a variety show. There are no frills; it is far from slick; but as a good time out, it is fairly successful.

The emcee on the night was dread-locked, head-banded, young Aussie battler Fabian Clark who, in his own inimitable way, told very funny stories of his lifestyle, his family and his mates. Clark’s delivery is very, very laidback and relaxed (perhaps a little too much so), but he certainly knows how to whip up a frenzy from quite a small audience, making all the acts feel very welcomed.

On the night reviewed, the acts were Scott the Magician, Chloe and her ukulele, two burlesque dancers and an improvisation routine.

Scott was good and amazingly tricky; Chloe was sweet and entertaining; and all the burlesque routines were sexy and flashy (in more ways than one).

The art of improvisation is just that, an art. It is extremely difficult to pull off well and should be left to the experts – unfortunately, the two performers on the night reviewed were not. The female of the team had quite good witty responses, but the male’s reactions were as slow as a wet weekend.

As a ‘good time had by all’, this is a great attempt but needs to be shaved time wise – lose the interval and the impro act and the end result would be a lot better.

A good excuse to share nibbles and have a drink or two in the comfortable surroundings of The Soul Box – but Cabaret it ain’t!

Reviewed by Brian Godfrey

• Cabaret Fringe Festival website
• The Soul Box website

Venue: The Soul Box, 252 Hindley Street, Adelaide
Season: 14, 22 & 29 June
Duration: 2hrs 15 min (including interval)
Tickets: $12
Bookings: Book online at the Cabaret Fringe Festival website or tickets available at the door if not sold out

Having launched a year ago in April 2012, Carmelina bags have proven to be successful in the baby bag market, and now Carmel Margaritis – Designer and Owner of Carmelina Bags, is introducing a new addition; the Jewel baby tote, as well as launching in to the mainstream handbag market with the introduction of the Indigo bag.

Drawing on her own life experiences as a working mother of two, 30 year old Carmel Margaritis designed the Carmelina Baby Tote range after she was unable to find a nappy bag for herself that was not only functional in every way, but also extremely stylish.  A year on and the brand has proven to be extremely successful with stockists nationally, and online sales in high demand.

The Jewel baby tote in black is the newest design to the baby tote family of Carmelina bags. A large, stylish bag that will fit all your baby needs, the Jewel baby tote’s best accessory is the number of pockets on hand which help find those all important items, including two bottle insulated pockets. Made from a combination of PU leather and PU patent leather, this bag retails for $189.00, and also includes a quick-drop key compartment, zipped waterproof wet bag, two pram hooks, change mat, and Carmelina travel blanket.

“The Jewel baby tote is a fashionable, yet versatile bag. Completing any outfit in classic black, this bag can make mothers feel good on the most stressful of days,” says Carmel.

A first for Carmelina is the introduction of the limited edition Indigo leather bag in tan, which is designed for all. Featuring the classic Carmelina clutch, which can be clipped off and used as a separate bag, the Indigo bag can used for travel, fashion, work, or as a toddler or baby bag. Made of 100% soft leather and retailing for $349.00, this bag will get you through season to season in the always on-trend tan tone.

“After having such success with the baby totes, I wanted to design a bag that could be used for other key stages of life – work, travel, or even purely as a fashion accessory. The Indigo still represents what Carmelina is all about – style and practicality, but launches Carmelina in to a new market,” says Carmel.

Carmelina bags are designed for women who are on the go and who are always spotted in the latest trends, as the bags are extremely fashionable, highly desirable, and functional – adding flair to any outfit.

www.carmelinabags.com

www.facebook.com/CarmelinaBags

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Presented by the Adelaide Cabaret Festival
Reviewed Saturday 15th June 2013

Oh my goodness! If you missed this performance, you missed a cabaret tour de force.

Melissa Madden Gray aka Meow Meow is an Australian born artiste of international reputation. She is at home on the stages of London’s West End, Edinburgh, Paris, Berlin, and New York. Down Under she has won coveted Green Room Awards, Helpmann Awards and a Sydney Theatre Critics Award. She is a phenomenon.

It’s difficult to describe her ‘act’, but it’s closer to the roots of cabaret than most other performers in the Cabaret Festival. Apart from a powerful singing voice that is at home with the gentlest of songs from the likes of Brel, as it is with Shirley Bassey-esque belters, she is also a raconteur, a comedienne, and … a circus performer (of sorts!) that borders on the ribald! Curiously, Meow Meow carefully and selectively uses her grab-bag of diverse talents to weave a coherent and touching story that draws you in and has you engrossed from start to finish.

“What, no flowers?” she quipped when she first arrived on stage in the packed Dunstan Playhouse.

What’s a girl to do other than walk off into the wings, get her own flowers – dozens and dozens of them! – and then distribute them to the audience with the instruction to adoringly cast them at her feet when she returns to the stage for take-two of her grand entrance. A reverse Dame Edna trick? The audience loved it and settled back for her opening bracket of international songs.

And just as the show seemed to be well underway, a Stage Manager walked on stage and had a quiet conversation with Meow Meow. The gag was that her costume was being reclaimed by hire-company, because the costume budget did not stretch beyond the first five minutes of the show. So, again, what’s a girl to do other than throw modesty to the four winds and change on stage from one very revealing costume into another! There were other antics throughout the show including another costume that was lowered down from above, and audience members press-ganged onto the stage to become her ‘play things’.

Meow Meow’s diction is superb and her command of Spanish, French and German songs is enviable. She is true to pitch regardless of how loud or soft she sings and has an almost imperceptible vibrato even at the big finishes. Meow Meow oozes sex appeal and knows how to deliver Weimar inspired songs with all the requisite vim, verve and grunt. On stage an outstanding two man musical ensemble accompanies her on piano and drum kit – best in the Festival! (I don’t know your names, guys. There was no printed programme and I couldn’t hear Meow Meow clearly enough when she introduced you by name. Sorry!)

A highlight was her version of Jacques Brel’s 1959 classic “Ne me quitte pas”. It was a centrepiece for the entire show that was a richly embroidered story about the fragility of the beauty of youth and the transience of many of the relationships that are inspired by it.

When you though the show couldn’t get any bigger or better, Meow Meow mischievously and provocatively announced that it was time for a “big f*ck of a finish” and with that she …wait for it … crowd surfed off the stage into the audience, up the stairs and into the foyer for a CD signing!

Wow!

Reviewed by Kym Clayton

• Adelaide Cabaret Festival website
• Meow Meow official website
• Twitter: @MeowTopia
• Meow-Meow Facebook Page

Venue: Dunstan Playhouse, Adelaide Festival Centre
Season: 15-16 June 2013
Duration: 70 minutes

Photo credit: Karl Giant

Presented by the Bald Eagles
Reviewed Saturday 16th June 2013

The Bald Eagles’ Life in the Slow Lane III stretches the definition of cabaret to present a fun, upbeat tribute to the Eagles.

The setting of the Top of the Ark in the Arkaba gives a refined pub feel to host the six man band who play all the hits from the Eagles as well as a few of their other personal favourites. Half the band have been playing together for thirty years and look very comfortable together on stage.

Front man Alan Rosewarne knows his crowd to banter with them, profanity and all, and lure them out onto the dance floor. The linkage and movement between songs requires some refinement to step out of the pub band territory and into a cabaret performance.

The rest of the band, Bob Armitage, Colin Koch, Dave McArthur, Russ McCormick, and Trent Heneker, dress uniformly in flannelette shirts and give a passionate performance.

To blend into the genre of cabaret we are introduced to Lady Clara who steals the show with a saucy rendition of Chicago’s “When you’re good to mama”. She returns throughout the show in stunning corsets and evening gowns.

The Bald Eagles’ long sets play well into the evening so makes for a long night at a single venue. Their season with the 2013 Cabaret Fringe Festival has come to an end but the local band will continue to perform throughout the year at numerous venues.

Reviewed by Alex Dunkin

• Cabaret Fringe Festival website
• Bald Eagles website

Venue: The Arbaba Hotel
Season: 14-15 June