Have you ever wondered what it’s like to wander into a bar in Tokyo and speed date your way through a talented and anarchic group of magicians under a canopy of cherry blossoms? At Maho Magic Bar, you’ve come to the right place.
The first night of Tokyo Jet Daze – A Punk Weekender delivered a high energy night of punk rock excess. Featuring The Jet Boys, and legendary band The 184.108.40.206’s, it provided ample evidence that primal rock music will never die!
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.
Renee Geyer opened her show with a version of B.B. King’s The Thrill Is Gone, a song whose title could not be further from the truth for those who bought tickets to see her this time around.
As a showcase for comedians who have solo shows at the Fringe this is a good cheap way to get a brief sample of their comic wares before deciding if a full show of their form of comedy is likely to strike a blow to your funny bone.
In a night to remember, Lydia Lunch Retrovirus gave Adelaide a dose of their in-your-face, sonic brutality at the RCC on Thursday.
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.
Although he highlights at the start of his performance the potential dullness of riding solo in general, Hansen presents as entirely comfortable on stage alone and upholds the bold presence of earlier Chaser material.
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.