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Adelaide Fringe Review – Scarlett Belle’s Scarlett Letters

 

 

The language of erotic seduction is not French.

Italian? Understandable assumption, but incorrect.

Some suave Spanish? Very wide of the mark, I’m afraid.

There can be little doubt that nothing quite gets the oxytocins flowing like a good Scottish brogue, on either a man or woman for that matter.

 

Adorned in Eye’s Wide Shut masks in the dim ambiance of La Boheme, we the audience are inducted into this privileged circle of erotic reflection under the dulcet tones of a deep male voice best reserved for reading the shipping news, relating a scene of impending orgiastica. It is then our Edinburgh-based muse of amore, Scarlett Belle, takes the stage to conduct us through an episodic exploration of her sexual awakening from childhood to womanhood, in a sometimes confrontational confessional manner.

scarlett

But this is no Mea Culpa performance. Defiantly proud of the experiences that made her who she is – she tackles difficult subjects such as a child’s first understanding of sexual feelings, the inevitable teenage mating disaster, the effects of internet porn, drugs & sex and the exploration of veiled sexual modalities not approved by polite society and the local Vicar.

 

Well-constructed, hilarious but engaging monologues for each chapter in life challenge our understandings of the blurred lines between love and sex, and make us perhaps uncomfortably dwell on our own experiences. However, unlike Scarlett, few of us have the polished vocal chops to engage in such biting reflection on social mores through rip roaring show tunes and vaudeville smarts.

 

This doesn’t have to be a Fringe show. It is really bigger than that. It deserves to be bigger and maybe will over time.

 

Wouldn’t it be good to say you saw it first in the intimacy of a 50 person venue right at the start?

 

Sure it would….book here.

 

 

Posted by Jonathan on Feb 22nd 2016 | Filed in Cabaret,Culture,Music,People,Reviews | Comments (0)

Adelaide Fringe 2016 Review – THE VAUDE-VILLAINOUS MR.GØRSKI

 

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.

 

Mrgorski

 

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.

Posted by Jonathan on Feb 13th 2016 | Filed in Cabaret,Culture,People,Reviews | Comments (0)

Burlesque Idol 2015 – Adelaide Review

 

Burlesque Idol has been winging it’s way around Australia at a break neck pace under the steady hand of producers Sarina de Fuego and Lola LaBelle, with host Michael Wheatley charismatically wielding the mike. This is not just an Australian affair, but part of an international showcasing stretching from the UK to the US, which should not be surprise with many a seasoned Australian burlesque performer making inroads into these performance circuits.

 

Adelaide had its chance to showcase the up and comers in the Burly arts on the 28 March 2015 at the Nexus performance space.

 

First up we had a stunning kick off with Aurora Blue, slinking onstage to some dirty low blues tunes, resplendent in black satin & trimmings. Gyrating and smiling through almost carnivorous teeth, it was a smooth and engaging performance.

 

Briar Rose was up next who combined alt-girl style with traditional routines to sassy jazz. She is very elegant on stage and teases the audience, however the connection could probably be strengthened if she allowed herself to move more like the bass drum, and less like the hi-hat rhythms.

 

Desert Rose is often a surprising performer, and her entry with a mink coat to John Barry Bond-esque sounds had us settling into a certain frame of reference. Then to our surprise, all was discarded as B-52’s “Love Shack” burst through the speakers, and we were treated to a very aerobic Go-Go Girl mix-routine. For me personally, if we can get a few less predictable saxophone tunes, and more interesting musical choices with routines to match, the better the burlesque arts will be. Is it what the standard “I want classical burlesque” crowd want? – this is a debate I should probably engage in another piece for this blog…. Needless to say I think things need to change and get contemporary.

 

Speaking of which, classical ballet trained Lilly Evelyn bought us a Black Swan inspired routine that moved from piano laden dark ambience to a metal onslaught carrying the same tune. Graceful, effortless and a wonderful example of a performer applying skills from one medium into another.

 

lola+labelle

 

Lyla Dash bought us back into some classical territory, keeping it cheeky and fun. And while her skills in both nipple tassel & ‘ass-el’ twirling was beyond doubt, the pace of her performance matched the Beatles tune selected, in that it seemed to be over way to quickly. I think she can afford to slow right down and tease us for much longer.

 

Again cracking the typical burly mold, Miss Kiki brought us her Mr Cheese physical comedy routine over fine British show tunes and Monty Python standards, with diversions into Marvin Gaye. It was all very Victor Victoria (for those old enough to remember Julie Andrews for things other than Sound of Music) . Vaudeville and cabaret are key parts of burlesque, and in fact historically were more prominent parts before the stripping element came to the fore, and this is ground she is clearly keen to reclaim. Heaven knows, burlesque needs a good shot of humour – it takes itself far too seriously quite often.

 

Velvet Chase brought us into animatronic heaven with a wind up doll routine – which interestingly is quite common in burlesque and yet seldom have I seen it done with such attention to detail (special note to the “Made In China” stencil on her derrier!). Aptly underpinned with Regurgitators “Polyester Girl” this routine was a pleasure to watch, and richly deserved was her “Runner Up” award at the end of the night.

 

I was initially quite nervous that Viola Verve’s routine would be a too close a follow up to Velvet Chase, her being adorned in a classic French clown doll attire. However such concerns soon faded as she employed many miming techniques that clearly differentiated her routine from the former. It was equal parts disturbing yet fascinating in the manner she managed to maintain “soulless doll eyes”, which occasionally would transition to softness and sensuality before withdrawing back. It was a clever introvert/extrovert dynamic that a number of people noted.

 

Lastly Vivienne Von Coffin swanned onto the stage to solo clarinet beat jazz, adorned in purple velvet for an elegant and measured classic burlesque introduction. Before we knew it she was down bare, the tempo was up and a rockabilly tempest was unleased, highly synchronised Go Go moves combined with mock snarls and generous smiles. Vivienne was a very polished in her routine and this was reflected in her taking the Burlesque Idol Tiara for the night – probably a timely leap off point as I think she is clearly making that transition to benchmark performer.

 

Burlesque Idol will be back again next year, and a wonderful opportunity for the serious amateur to make a concerted footfall on the journey to the professional.

Posted by Jonathan on Mar 29th 2015 | Filed in Burlesque,Events,People,Reviews | Comments (0)

Adelaide Festival 2015- Unsound – Forest Swords, ATOM + Robin Fox, The Bug, Shackleton

 

Returning to the South Australian Freemason’s Grand Lodge for night two of Unsound Adelaide the anticipation was building for a night possibly grander the previous evening.

 

The throbbing live bass guitar of Forest Swords grinding over thick dub beats drew us into the main hall – a welcome sight to see some traditional instrumentation mixed with desk artisty. It certainly wasn’t all dub odyssey, with Matthew Barnes touching on Portisheadish trip hop beats, explorations into distinctly bluesy phrasing and somewhat Spaghetti Western guitar moments that gave me pleasant Ennio Morricone chills.

 

It is very difficult to describe what happened next when immersed into the RGB world of ATOM ™ & Robin Fox. Full body scans of laser light with visceral sounds that boil blood in a surreal sensory tennis match with Uwe Schmidt’s Germanic precision electro dance sounds and video projections. His luminous head projected above us – a demigod of the matrix reassuring us that the following treatment will be painless and liberating. Sensory overload was balanced with ambience of deep grey noise and indistinct swirling visuals – a respite for our synapses. You can’t dance to architecture and it is equally hard to give words to this performance that would be subjected to injustice if described simply as a sound & light show.

 

The Bug (Kevin Martin) proved to be a major crowd pleaser – bathed in haematological light, underpinned by siren driven loops, he delivered subterranean dub beats weaving below high frequency drone. He would also move effortlessly between open ended electronica and the framework of traditional song structures, working dynamic arches and minimalism as a counterpoint to his heavy artillery dancehall beats. Intermixed with eviscerating hip hop from Manga and a toasty Miss Red – the audience were in it penny for a pound. This did raise some interesting questions and discussion with my concert going companion about the propensity for Australian audiences to self-identify with music touching on themes of class struggle, in what is arguably a much more egalitarian society.

 

Lastly (Sam) Shackleton took us back into realms that one would be mistaken as thinking of as traditional techno sounds, although such an error could be made if one were not paying attention. Clever xylophonic arpeggiated sounds overlays old school beats, but builds in Tubular Bells fashion with simultaneously stripping back older layers. It was nothing short of painting through music. And throughout this thoroughly danceable symphony were very distinct melodies, sometimes like a folk tune, differentiating this electronic musical craftsmanship from the less adept IDM-meisters.

 

Will Unsound return next year under David Seftons extended tenure as Director of the Adelaide Festival, or have we experienced something quite special and unique over the past three years? There is no doubt Australia’s appetite has grown year on year – and it would be a shame for the momentum to stop now.

Posted by Jonathan on Mar 18th 2015 | Filed in Events,Music,News,People,Reviews | Comments (0)

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