Adelaide Fringe – A Solo Commedia dell’ Arte Show

Adelaide Fringe - A Solo Commedia dell' Arte Show

From the moment Andrew Crupi took the tiny but beautiful stage in the Yurt at the Migration Museum, you know you are in exceptionally good hands.

The show begins quietly; Andrew opens a suitcase and takes out a crown, a club, a note, and then, reverently, several gorgeous, hand-made leather masks. Each prop is given a quality, and each mask has a gag attached in its reveal – these little touches immediately imbue character into the mundane.

The opening is almost ritualistic; it gives us space to settle into the world Andrew created for us. And what a world it is. In the end, Andrew tells the audience some of his bonafide. He has trained as an actor and teacher, then specified in Commedia dell’ arte over the last eleven years, training under the master Antonio Fava.

As the show unfolds and the mellifluous score by Jake Morrison swells, it’s abundantly clear that we are in the hands of an exceptional performer. Channelling the physicality of Charlie Chaplin, the facial expressions of Rowan Atkinson, and vocal qualities and accents too many to name, Andrew is an unbelievably versatile performer.

The story itself is deceptively simple – we travel with a romantic farm boy, Flavio, as he attempts to woo the heart of the Princess in the tower. To do this, he must journey into the fearsome dark forest – but other hunters are going there too to claim the Princess’s heart as a prize if they can bring the club of the giant back.

Flavio is presented without a mask, and the other characters – Pantalone, Capitano, Zanni, etc are presented with unique masks that utterly transform Andrew as he deftly shifts between roles. The reveal of the giant in the dark forest is one of the funniest and most spectacular moments of the show.

Like a wizard in this magical space, Andrew takes us on a journey back in time. It’s a show which pays deep homage to this 500-year-old art form yet is bristlingly contemporary. It’s a show that is in debt to the comedy history and reflects on Andrew’s heritage as an Italian-Australian.

Andrew is a master craftsman, and seeing this style, which is often attempted but rarely executed well, achieved so expertly is a true delight. “A Solo Commedia dell’ Arte Show” is unlike anything else in the Fringe. Additionally, it works for any age – so bring your family.

In a festival where there are sometimes too many half-baked, thrown-together pieces of work, it’s refreshing and exhilarating to witness a work where every moment is considered.

Andrew’s detail, specificity, comic timing and stage presence are inspiring. At the culmination, we are reminded of storytelling’s power and the importance of laughing together.

A Solo Commedia Del Arte Show is at the Yurt Migration Museum on the 2nd and 3rd of March at 2.00 pm and Comida in Hahndorf on the 10th of March at 2.00 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 – Have Sex With Me Please

Have Sex With Me Please

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

The New Abnormal

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.

The New Abnormal

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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Sherlock Holmes: The Last Act

Sherlock Holmes: The Last Act

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

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.

Sherlock Holmes: The Last Act

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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