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Adelaide Fringe – Have Sex With Me Please

25 February 2024 Alby T Grace

Hallelujah! The two biggest nincompoops in Adelaide Theatre are back, and we must heap praise on the alpha chads who have shepherded them every step of the way.

After several season launches last year, leading to no-shows, one might have wondered whether Muse of Fire would ever present a full production. Well – they have – and it is buckets of fun.

Nate “The Prince of Science” Troisi and Eddie “Total Virgin” Morrison make up the bad-boy theatre collective and bring to the tiny stage years of acting and comedy experience – which is immediately evident with the opening banger explaining the premise.

The setting is intimate, and the small crowd were absolutely raucous throughout – yelling, hollering, and completely involved in every moment of this surprisingly magnificent piece of rough comedy.

So – you’re probably asking – what is “Have Sex With Me Please”? From the marketing, you could be forgiven for thinking they want you to have sex with them, and this might be a very expensive way to try and get laid.

Eddie and Nate are both virgins, but don’t worry, only Eddie is seeking a sexual partner – Nate despises all forms of human contact. So the premise is set – will anyone in the audience be willing to take poor Eddie’s virginity?

Eddie tells us Nate has been deep in academic research about sexual habits in preparation for the show – but has he? No – it was really hard, so Nate has to fumble his way through, making Eddie more desirable.

Nate takes Eddie through various, increasingly absurd steps to make him more alpha and confident. The advice, purportedly from Professors, is from some questionable YouTube personalities. So Eddie is gradually transformed into a sort of sex-Frankenstein, becoming more and more ridiculous and pathetic at every moment, and the best friends (they have a medal to prove it) gradually unravel.

That brings us to the surprisingly gooey core of the piece. Both performers are perfectly pitched, absolutely at ease, and impossible not to laugh at and fall in love with. Seeing Eddie in an inflatable neckbrace actually made me proud. This is what Fringe should be – two total idiots making people cry with laughter for fifty minutes and then, somehow, miraculously, touching our stupid hearts.

Don’t miss your chance to have sex with Eddie.

Have Sex With Me Please runs at Prompt Creative Centre, Thursday 29th, March 1st and 2nd, all at 10:30 pm.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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Adelaide Fringe: The New Abnormal

25 February 2024 Alby T Grace

Walking in to see The New Abnormal, or any show, at the Goodwood Theatre and Studios is always a delight; the beautiful laneway leading to the magnificent theatre is a breath of fresh air in a Fringe of office buildings and hot tents.

It’s absolutely fantastic to sit in a large, air-conditioned theatre with elegant lighting and a generous stage to watch a piece of excellent naturalistic performance. Kudos to Simmy and Chris for their wonderful venue, and a little nudge to the Adelaide City Council to stop destroying
theatres to make car parks.

“The New Abnormal”, written by Jeff Stolzer, starring Orion Powell and Rachel Williams, and directed by Holly Howard and Tim Marriot, is, on the surface, a simple two-hander with excellent performances. However, as the play unfolds, the themes deepen, and this intimate portrayal of a couple faced with crisis is enjoyable and touching.

The premise is familiar to all of us; a couple is stuck in lockdown in New York, dealing with (presumably) the COVID-19 epidemic as it happens. Stuck with only each other’s company, the couple discuss the frightening situation outside, bicker, reveal long-held secrets, fight, make love, and generally be humans. It’s a very recognisable and sympathetic situation; fortunately, a small audience was with the characters every step of the way.

For me, the absolute stand-out of the production is the excellent performances of Powell and Williams. They’re entirely believable and rarely falter with Stolzer’s constant, quick, Mamet-esque dialogue and presence utterly convincing people. It’s effortless to fall into this world with them because of the quality of their acting. The skill in performance alone is worth the price of admittance.

The play itself is very well written, with snappy, crackling dialogue. At times, perhaps because of the premise, it does become a bit repetitive, and maybe we feel, as the audience, that we are also in lockdown with these characters, repeating the same day over and over.

I would have liked a bit more of a rise through the show and a clearer climax, but overall, it’s well-considered with high production values. The sound and lighting design complements the show well, and the subtle direction serves the apparently effortless performances. It’s also fantastic to see love, intimacy and romance on stage – things that are rarely performed nowadays and were executed with aplomb.

With the glut of comedy, circus and other work in The Garden and Gluttony, I always love to seek out the smaller, less represented shows, and this is a great example of well-produced, funny and engaging new theatre. The season only has three shows left, and I encourage you to
attend.

PS to some of the audience – perhaps you shouldn’t eat chips in the front row of a very intimate production.

The New Abnormal has three more performances at Goodwood Theatre and Studios on Feb 26th at 1pm and 6:30pm and Feb 27th at 6:30pm.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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Adelaide Fringe – Blood Of The Lamb

24 February 2024 Alby T Grace

Blood Of The Lamb. At the Migration Museum, Courtyard of Curiosities, until March 17th.

“You have hurt my feelings. I would obey the law.”

“What if one of my daughters were in your shoes?”

Presented by B-Street Theatre and written by prolific and stalwart playwright Arlene Hutton, Blood of the Lamb is a chilling, fast-paced, and thought-provoking piece of naturalistic theatre.

Borne out of speculation by Hutton on where the US was heading with abortion law, she was astonished and devastated to learn her speculations had gradually become truth in the wake of the overturning of Roe v Wade in the US.

In an anonymous backroom in an airport in Texas, Nessa (Dana Brooke), a well-dressed, professional woman wearing a hospital admittance band, and Val (Elizabeth Nunziato), who is here to help, begin to discuss the events of the day.

The energy is fraught from the outset – Nessa is shaken and disturbed, and a torrent of words pours from her as she attempts to piece together
the day. We gradually learn she has passed out mid-flight, flying from LA, and has to be taken from the plane to Dallas – or maybe Houston.

Nessa has suffered a miscarriage unexpectedly and assumes Val is a medical professional here to assess her before the procedure to remove
the fetus. We soon learn this is wrong; however, Val is actually a lawyer who is acting on behalf of Nessa’s unborn baby.

Nessa may be charged with “abusing a corpse” if the procedure goes ahead, and so she is living in limbo in this back room, with Val in full control of her fate. The play unfolds in many interesting ways, and there are further reveals that deepen the absurdity of the bureaucracy surrounding Nessa’s own body and the body of her baby.

Blood of the Lamb is a slick, tight, and nuanced production. With just two plastic chairs and a table, a few simple props, and a single lighting state, the story is simply and clearly delivered, enlarging the impact of the narrative.

The performances were marginally forced for the first fifteen minutes, but the actors warmed into it. Initially, the clean veneer of the performance style kept me at an emotional remove, but by the end, I was invested in learning both of their fates, especially Nessa’s.

Some aspects of the narrative don’t completely ring true to me – Val’s long conversation with her husband in the earshot of Nessa and then, soon after, Val singing to herself to calm herself both stood out as a bit unbelievable. Perhaps some of the voice work of the performers
was a little loud for the size of the venue. The production is sometimes a little one-note and monotone but picks itself up in its final section to deliver a powerful ending.

The themes of motherhood, bodily autonomy, men making decisions over women’s bodies, and the significance of career advancement over human compassion are interesting and resonant.

For what is very difficult subject matter, the play is never unbearably sombre or heavy, and moments of levity throughout puncture the darkness and clear the air for us to all breathe collectively.

B-Street should be commended for their work; this unique and compelling show deserves audiences. The performances are excellent, and the play is wonderfully written. It is the work we rarely see on a smaller stage in Adelaide. Be sure to get your tickets for Blood Of The Lamb before Adelaide Fringe is over.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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