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Sherlock Holmes: The Last Act

25 February 2024 Cheryl Lee

I love Fringe time – Adelaide comes alive for Mad-March, which starts in February. There are so many shows, many returning favourites, and hundreds of new favourites, such as Sherlock Holmes: The Last Act, waiting to be discovered.

Nestled on page 147 of 168 of The Guide between the hundreds (more than 1300 actually) of Fringe shows is Sherlock Holmes: The Last Act. Hubby Barry and I head to one of Adelaide’s old buildings, now a boutique venue for performing artists.

We are directed around the back to almost a mysterious secret entrance to “Studio 166” from the rear of the old theatre, originally the Goodwood Institute built-in 1887. We are filed past a surprisingly well-stocked bar into an extremely small theatre of just four rows, seating approximately 50 patrons. There’s not a spare seat in the house.

Sherlock Holmes: The Last Act is performed by Nigel Miles-Thomas, written by David Stuart Davies and directed by award-winning Gareth Armstrong. Being a newcomer to Sherlock Holmes, I wasn’t sure how much was actual Sherlock Holmes fact and how much was created by the writer, but it didn’t matter. Much of the time, if ever in doubt as to what was going on one minute, it was always made clear in the next.

Nigel Miles-Thomas is an amazingly talented actor who spoke the 65-minute monologue nonstop, not a stumble, not a misstep and held character the entire time; in fact, he apparently had multiple characters, 14 in total.

Father of five and I, husband Barry, are not theatre buffs by any stretch of the imagination; in fact, you more likely find us in the mosh pit at the front of a rock concert like The Angels or The Screaming Jets., therefore my thoughts are from an utterly naïve perspective.

In fact, the reviews from people who know theatre a hell of a lot better than I was so glowing I wasn’t expecting to enjoy it. But I must say Nigel Miles-Thomas grabbed my attention from the moment he walked out onto the sparsely decorated stage, and I did not take my eyes off him for the next hour.

Nigel has had an extensive career spanning five decades. He has worked with Steven Berkoff and performed a leading role in London’s West End and many of the regional theatres in the UK. Nigel has performed internationally in the USA, Europe and Asia. He is well known for his appearances in Doctor Who and many other popular UK programmes.

The story, not to spoil anything, is written to reveal the man behind the myth and expose the great detective’s fears and weaknesses, the devastating consequences of the dramas of his formative years, and, unexpectedly, his cutting sense of humour.

Fringe time is the perfect time to go out and see something new or try something different, and even if you’re usually an anti-theatre buff, I can recommend this one. You’ll thoroughly enjoy it as we did.

Remember to get out when you can, support local talent, and I’ll see you down the front!!

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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Adelaide Fringe – The Portable Dorothy Parker

19 February 2024 Kenneth Stephens

The Adelaide Fringe is underway for 2024, and I was lucky enough to see The Portable Dorothy Parker, a production currently playing at the Arch in the Holden Street Theatres. Grove Goddess Productions, Fringe Management LLC, and Joanne Hartstone bring this production to you.

Upon entering the theatre, I was greeted by music of the 1940s era and a simple production set containing a drinks table, phone table, chair and a fashionable standard lamp. This setting was very well suited to the space on offer.

The role of Dorothy was ably played by Margot Avery, a third-generation actor from the United States. She commands the stage in the gentle telling of a moment in Dorothy’s life. Margot speaks to the audience as if we are the person working for Viking Press, the publisher for whom she is putting together the book “The Portable Dorothy Parker”, which is the title of Dorothy’s first collection of literary work.

Dorothy Parker was a prolific writer, ensuring plenty of Dorothy’s authored material from which the play’s writer, Annie Lux, could draw upon. We get a sense of Dorothy’s character through her reminiscences as she sorts through samples of her writing and reads them to the invisible interviewer.

The direction by Lee Costello reinforces Dorothy’s character. Her movements around the sparse set to certain elements helped us gain insights into Dorothy’s character, such as the drinks cabinet, telephone and piles of paper and books. Through this, Dorothy talks about her life and namedrops her famous friends and acquaintances such as Ernest Hemingway, F Scott Fitzgerald and others.

A sizable audience enjoyed the show, with plenty of quiet chuckles from the attendees, who were clearly enjoying the wit of Dorothy’s writing. Only a couple of times did I miss a word or two. But that is only a minor complaint.

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Overall, I enjoyed this brief look into the life of Dorothy Parker. The creative team of Margot Avery, Lee Costello and Annie Lux have put together a nice piece of work. From the simple set and sound effects to the acting, it is well worth catching it before the end of the Fringe.

Tickets are on sale now for The Portable Dorothy Parker, which is showing from the 13th of February to the 17th of March with a runtime of 60 minutes.

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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Ricordi Di Sanremo – Memories of Sanremo

15 October 2023 Davros Dark

Last night the Astor Theatre hosted a collage of Italian stars in Ricordi Di Sanremo, a concert covering three generations of memories from Italy’s most popular music festival, for one night only.

The annual Sanremo Music Festival, which has been running in the coastal city of Sanremo since 1951, was originally established as a pathway to revitalizing its economy and survives to this day. Accordingly, The Sanremo Music Festival also holds the distinction of being the longest-running annual TV music competition in the world and served as the inspiration for the creation of the Eurovision Song Contest. What sets the Sanremo Music Festival apart is its unique focus on new songs only.

Ricordi di Sanremo showcases songs representing the most cherished memories from three generations of the music festival and a few fan favourites recognised across the globe. All these are performed by an ensemble of international and Italian-Australian artists such as Pupo, The Esteriore Brothers, Silvia Colloca, Luca Sala, Corinta, and many others.

Our host for the evening, the Italian star Pupo, released his first album in 1976 and was a former winner of the 1980 Sanremo Music Festival with the gold record-winning song “Su di noi (Above us).” To date, Pupo has earned 11 gold records.

Much of the evening’s content was delivered in Italian. Given that most of the audience consisted of expat Italians, I felt like I might have been the only person needing to fully grasp the content of the presentations. Yet, despite language barriers, the ensemble’s energy shone through all night.

Touches of nostalgia were evident, with a cinema screen backdrop often displaying videos of the performers from generations ago as they sang live on stage. Pupo proved an adept host, expertly MC’ing the event to the audience’s evident delight. Family connections also graced the stage as stars from Italian music’s past performed duets with their vocally gifted daughters. Among the standout moments of the evening was the opening act, performed by Pupo, which warmed up the audience with its vibrant energy and exceptional guitar play.

Another standout was Pupo’s performance of his pop hit “Gelato al cioccolato,” accompanied by the showing of his 1980 music video against the cinema screen backdrop. A song mentioning gelato is bound to be sweet, and it delighted the crowd. Pupo doesn’t appear to have slowed down over the past 40+ years and remains an excellent performer.

The Esteriore Brothers, resembling a quintessential boy band, were crowd-pleasers, especially among the ladies. Their mere presence seemed enough to warrant applause! True to Italian flair, the entire ensemble appeared impeccably dressed and presented themselves in style.

Other fan favourites incorporated into the night’s entertainment and familiar to international audiences included That’s Amore, Quando Quando Quando, Mamma Maria, and Volare, among others.

The night was a delightful mix of great music, vintage tunes, family connections, nostalgia, and a vibrant ensemble that joyfully engaged with a receptive audience, making it a night to remember.

After first touring Australia in 2022, this festival is set to become an annual event. Ricordi Di Sanremo’s 2023 Australian tour will move on next to Adelaide, Sydney, and Melbourne, but all for one-night-only performances. So be sure to be prompt about securing your spot this year, but also keep your eyes out for them next year. Ciao!

This review also appears on It’s On The House, or click here to read more Dark Stories Theatre Reviews.

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