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Adelaide Fringe Review 2017 – The Curiosity Experiment

The smell of Carclew House is all old wood and leather. Its 19th Century grandeur is a vestibule of memories imbedded in the lacquered patina, the sort of place you would expect denizens of the afterlife to dwell (and popular legend asserts this is so!). What more fitting place is there to stage The Curiosity Experiment?

No more than 13 personages are admitted per performance. When one walks into the antique lined Board Room allocated, we become conscious that this will not follow standard theatrical formula – with we, the audience, separated from events. Rather, that this will be immersive drama.

curiosity

The blindfolds on the table are amongst the first things you’ll notice. An instruction is given on how to withdraw from the performance lest your nerve not withstand the events that will unfold, with the caveat that you will not be permitted to re-enter. Be warned there will be sensory deprivation of a manner, but only to amplify the perceptions of the remaining senses in order to better facilitate your imagination, wherever that may take you.

Tapping into the tradition of post-War Spiritualist methodology, by séance & psychometry, we the participants are led into a performed purgatory of restlessness amongst auditory apparitions condemned by tragedy. How and what transpires, I am really not at liberty to say. Nor could I assert my particular experience will be in anyway analogous to yours.

It is, however, amongst the more innovative & intimate stagings I have encountered at a Fringe Festival. And a chance for a seat at the table is becoming progressively in limited supply. It’s the quick or the dead I’m afraid.

Posted by Jonathan on Mar 4th 2017 | Filed in Culture,Reviews,Theatre | Comments (0)

Adelaide Fringe Review 2017 – Baby Got Back

If you are parent to a child around 6 or 7, you will be familiar that to the sub-juvenile mind, butts are the funniest damn things on earth. You can hit them like drums, they can make rude noises and parents seem to flounce in embarrassment when you say bum loudly in front dear old Aunt Ethel who is going on 92.

Somewhere, as we grow up, we lose appreciation of body based humour and become exponentially more embarrassed by the one thing we all have alongside our opinions.

BGB

Think of Baby-Got-Back as a childhood regression therapy for anal retentive adults. From the opening projected sequence, we realise our youngest years of cartoon viewing from Warner Brothers to Ren & Stimpy, we were saturated with booty shaking. But somewhere in time the appreciative elegance and self-ownership of the human body changed into something to be hidden, suppressed and controlled by others.

Following the warm up we are assailed with Punk Pussy Power from the cast – which following the sounds of Prez Trump promoting white cis-male entitlement – forms the basis of an ongoing theme throughout the night, one I think well stated and reiterated by host Memphis Mae. That shaking-what-ya-mamma-gave-ya can be about celebration, spectacle and empowerment, but it should never be an assumption of nor misconstrued as an invitation. Consent culture needs to cast out the old poor-Pavlovian excuses.

What then follows under the curation of the BGB all-stars – Frankie Valentine,Bella deJac, Vesper White & Jane Doe – is a rollercoaster ride of Brazilian Carnivale excess, choco-hole gluttony of Brando-esque proportions, feminist bum puppetry and an Vagina Dentata monster that plays into the phallocentric nightmares of the entitled-male psyche. This is not a by the numbers burly show. It has nuggets of magic, comedy and social commentary amongst the arse-tistry.

Opening night was a sell-out crowd. Take that as a warning that your opportunity to get your bum on a seat (and in an Instagram post!) could be limited.

Posted by Jonathan on Mar 1st 2017 | Filed in Burlesque,Cabaret,Culture,Reviews | Comments (0)

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