The intimacy of the venue, in conjunction with the honest delivery of her performance, made the audience feel like they were in familiar company; a toast of whiskey at the end solidifying the sense of connection felt within room come the show’s conclusion.
Winefulness is completely and utterly relatable. York’s connection with her audience is undeniable; the performer was hell-bent on them having a good time. As the people poured out of The Parlour with smiles ear to ear, it was clear York achieved her objective. Cheers to that!
While their Fringe season may be over, Motown Connections are regulars on the Adelaide circuit, and if you’re a lover of all things sixties soul, then you must keep an eye out for their next show.
“Sometimes people think they can’t have a good time anymore because they have too many responsibilities, but it is about finding your own fun. You can have your wine, and drink it too!” she laughs.
Kissajukian started strong and had a clear rapport with the audience, but the second half went slightly off tangent at times; perhaps a result of the copious vodka the comedian was swigging. The irony was that alcohol WAS actually good for him – as the laughs came from his response to the sometimes awkward silence amongst his audience.
Ruins is completely and utterly relatable – it’s like Gill read our minds! All the stuff we were already worried about seem less daunting, however, when Gill infuses them with a comic spin. He moves seamlessly from topic to topic building his case for the last days.
Fans of 70s British rock will know of the genius that is Jethro Tull and in Adelaide last night we got a taste of musical masterpieces that defined an era. Led by Michael Coghlan and Geoff Perkins, both on guitar and vocals, Acoustic Tull explores the back catalogue of the iconic group – albeit as best as they can in the seventy minute Fringe slot.
Bordertown, directed by Samantha Riley, is the latest offering from South Australian Playwrights Theatre. It tells the story of regional hairdresser, Patricia Barnes (Katie O’Reilly), who is famed for creating Bob Hawke’s iconic ‘silver bodgie’ hairstyle in the former Prime Minister’s hey-day.
The Catchelorette captures the realities of 21st century dating perfectly, and anyone who has ever experienced perils in their quest for love would most definitely relate to Mattiazzo’s show.
The diversity of all the bodies on stage was fabulous, and the athleticism was something to behold. Although Burlesque Idol may have been a one-off show, Fringe is the perfect vehicle to showcase some of the art forms’ best in local and international talent.