Some Fringe performers bring something new to the table every year and that creative drive is to be applauded and appreciated.

Some Fringe performers take an idea and incubate it, like barrel of finest Kentucky Bourbon, opening it over time to sample the ageing before resealing it again, until the time is right to appreciate the strengths & subtleties.

We first saw Noir Revue in 2011 – this is not the same Noir Revue – it has become an Anthology performance showcase of familiar faces, new characters and regenerated settings. Like our Bourbon, Noir Revue has hit a point of resplendent maturation.

But so much more than this, it is high tide-marking of where the confluence of burlesque, showgirl and vaudeville musical entertainment should be, now that we are so far into the revival of these arts. It is simply not enough to roll out the same old tired routines over the same weary old burlesque numbers. No more by the numbers. We expect more and few are delivering. But that is clearly changing.

Michael Wheatley may sing about Lilac Wine in one of many jazz laden sung-soliloquies, but the man’s tonsils are like a Sazerac – earthy rye whisky of the everyman, absinthe wash for desire, Peychaud Bitters for loss and remorse, lemon peel for the sour sting of hard luck, but a spoonful of sugar to make the telling sweet. Leading up his band of accomplished musicians, The Shantones, and supported by double-entendre laden gumshoe detective cinematography in the dives of New Orleans, this creates a unique audio-visual soundtrack to cradle the kinetic stage performances.

Missy & Paloma Negra have revisited their famous chair tango – but there is a razor sharpness, a bloodless surgical precision that slowly melts to a softer sensuality that makes it a fresh offering. The audience didn’t know when to exhale in my opinion. I can only imagine that IKEA must have developed the sturdy Pällämma-Mîsjii chair to support the strains of gymnastic pressure they bring to bear on their props.

When performing separately the pace by no means lessens. Missy exercises anatomical near-impossibilities on the vertical pole – verily they are isometric feats of astonishment. Paloma Negra skilfully blends elements of Eastern & Western performance dance – a dynamic tension of Noh & Ballet technique such that no muscle of her being, from finger tip to toe, is exempt from weaving a signature tapestry of movement.

Sarina del Fuego can lay down powerful showgirl moves in the right setting – but much more noteworthy in my opinion is her ability to deliver a very slow & deliberate tease – letting the slow pizzicato of a double bass line dictate the pace and extent of her unveiling. Hanging anticipation is among the hardest skill for new generations of showgirls & burlesque dancers from my observation. Contrary to expectations, we should never be in a rush to form a memory of (popped) pastied mammaries. Sarina del Fuego is an embodiment of a confident solicitous sensuality.

Last but not least, Lola La Belle, delivers a routine of transmogrification. Shape shifting, she commences manifestation within a white swan like gown, tracing arches and eddies with her wings, before casting them aside to drift and scintillate in rapturous diaphanous adornment.

Noir Revue is a feast for the senses, and a truly a soothing balm to counter the weariness over the habitual burlesque fare of recent years. Playing until Thursday 18th February, get your tickets here.

Old time vaudeville entertainment has never really gone away. Slapstick, acrobatics, juggling, comedy – it’s here, it’s just the medium has changed.

The well-worn & trodden stages of old, full of risk and unpredictability, have made way for highly scripted controlled comedy skit shows and children’s entertainment through broadcast & netcast mediums.   The Jack-Of-All-Trades entertainer who became a well known Personality, has made way for manufactured Personalities having a shot a various entertainment skill sets for which they are ill-equipped in the heart.

But children don’t change through the ages– only cynical adults. When you can have a six year old squeal in delight seeing something chaotic unfolding live, in such a way that it drags you back to having the eyes of that child, and share in their joy then you know you are onto a good thing.

That thing is Mr Gorski.

There is little doubt the man wields a rare proficiency to entertain – whether it is a small crowd of a dozen or a larger group, he has the uncanny ability to make you feel the performance is directed to you. And in this regard, he can fill the room with his presence and ability to engage all onlookers.  The marvel being that this can be done with the twitch of his moustache, or arching of an eyebrow. His face alone is as much of a performance as is his pratfalls.

Oh, have no fear! His antics will upset the most uptight of helicopter parents. They will cringe at unsafe luggage handling practices and precarious balancing feats while thumbing his nose at the long arm of the law. The carefree acts of headwear acrobatics will cause many a responsible adult fear for a plague of lost hats in the playground on Monday. And if the best China crockery that grandma handed down is found smashed from attempts to balance it, spinning, on the tv antenna – maybe you should be enrolling your kids in circus skills classes rather than implode in knee jerk disciplinarianism.

If the Vaude-villianous Mr Gorski is unable to make your own inner 6 year old squeal in delight, then you have truly forgotten what it is to be a child.

Shake the phenergen-like sedation making you quiet, safe and old. Take the kids. See the show.

Now.

Carnivale was the best damn thing to happen to television at the turn of this century and its cancellation will remain a crime forever more.  Fortunately my sorrows are annually ameliorated with the influx of performers, magicians, vagabonds, burlesque queens and musicians into dear (R)Adelaide for the Fringe Festival, dragging their creative accoutrements, stories and daring-do across the many miles.  They may not have gypsy wagons but flying in on Tiger Air is equally fraught with difficulty and an act of endurance demanding respect.

A number of familiar faces return this year – some are re-imagined offerings, some a bold new solo adventures for seasoned troupe performers. Here is my pick for Adelaide Fringe 2016. IT ALL STARTS NEXT WEEK SO GET YOUR TICKETS!

NOIR REVUE

A Fringe cabaret/burlesque favourite, a new line up albeit still under the steady hand of Sarina de Fuego – including musical director and co-producer Michael Wheatley who’s performance prowess has taken this production to another level.

THE VAUDE-VILLAINOUS MR.GØRSKI

If you have a child under 7 years of age – chances are they are familiar with  Hoopla Doopla! and may already be on the fast track to running away to join the circus.  Jango, aka Daniel Gorski, brings out one his darker split personalities in the Vaude-villainous Mr Gorski in this child friendly production with magic, juggling and chaos.

BURLESQUE IDOL

A good show case of the burly arts from a line up of local talent making the transition from enthusiastic amateur to national-starlet-in-the-making. Who will be the big names in Australian burlesque in the future?…get the good oil here.

LOVE, LOSS & LATTES

Mistress of the acrobatic aerial arts brings her solo show to Adelaide for the first time, as she explores the theme of her favourite caffeine marking time throughout life’s travails.

ADULT-ISH

We knew her best from Peaches & Gin Burlesque, but now Luna Eclipse has found a new voice as she comes to terms with growing older, responsibility, and whether she can continue justify living life like one of Neverland Lost Children. I think we know the answer but best go along just in case….

SCARLETT BELLE’S SCARLETT LETTERS

Ex-Blues and Burlesque star, Scarlett Belle, is another throwing caution to the wind and embarking on a solo tour, bringing a show of songs, stories & erotica that promises love, lust & adultery – something for everyone, including the grandparents.

BECKY LOU’s “SHAKE”

We reviewed Becky Lou’s standout tragi-comedy-burlesque performance last year in a charming ramshackle possibly near condemned building acting as a performance space. There was nothing ramshackle about her performance however, so imagine how great she is going to be on a larger stage with no risk of floor collapse! If you didn’t see this last year, don’t be the last person at your local front bar to be able to talk about the virtues of merkin puppets.