The Ides of March

Writer’s block is the bane of many writers; whether you’re staring at a blank page, hitting a wall, or just simply losing your steam it’s no enviable experience. However, if said writing is based upon a historical event there’s a simple solution. Time travel.

The Ides of March is a meta, witty, fourth wall-breaking romp of intelligent theatre. The premise is simple, William Shakespeare (Kieran Bullock) travels back in time with Cardenio (Paul Brown) to witness the murder of Julius Caesar (also Bullock). Unfortunately, Shakespeare makes a grave mistake, he becomes a suspect to the Detectivus (Jennifer B Ashley) and the Pomodoro (James Rosier). Mayhem ensues as the real culprits Cassius (Ashley), Brutus (Rosier), and Casca (Brown) try to sabotage Shakespeare’s every move to cover up their crime.

Slightly akin to that of an episode of Doctor Who, the escapades of these time-travellers are much richer in comedy. With only four key actors playing numerous roles (a great source of laughter) it’s commendable how easy it is to follow. The four reinvent themselves with ease utilising either a noir-like accent, a costume change, or a shift in mannerisms to switch between them distinctly. Their props and stage dressing are minimal but creative, and the intricacies of character changeovers (particularly in the final act) are handled exceptionally.

The cast of performers are well-rounded and bring plenty of charisma and talent to the stage. Ashley beams as Detectivus and Bullock’s hilariously narcissistic interpretation of Shakespeare as a struggling writer constantly taking notes runs the risk of being tired, but never does.

Certain elements of the narrative are slightly predictable in points, there’s the odd moment where you can expect it to go a certain way and it does. There is plenty to love with the odd twist or surprise that you won’t see coming as The Ides of March is a fantastic stage production that is bound to entertain.

4.5 / 5 stars


Words by Isaac Freeman

The Ides of March is showing at the Bakehouse Theatre until March 14

For more information and to book tickets click here

Numinous Asylum

Numinous: Descriptive of persons, things or situations having a deep emotional resonance, psychologically associated with experiences of the self.

Wandering through the Hamilton Theatres, I was greeted by a man with electric blue eyes in a long white coat. The Numinous Asylum logo on the coats and the medical face masks lets me know that I will be experiencing something different for this Fringe show.

Greeted, I was ushered into the theatre on the wishes of a swift recovery. Handed a clipboard with information about the residential asylum patients before my entry, I familiarised myself with what was to come.

The act followed four patients and their stay in the asylum and introduced to audience their histories, explaining why they were in hospital. What were once normal people, the patients were effected by isolated, or not so isolated, traumatic events. The heavy hitting point of the show – that people are people, deep down, and they just desire connection.

Creepy and dark, Numinous Asylum was something that made me both curious and uncomfortable at the same time.

Numinous Asylum continuously broke the fourth wall during the performance. Being treated like one of the patients from the very first moment, the actors made us feel a part of the act itself. Lighting was projected into the seating to further include the audience into the show. To add another sensory layer to the performance, sound and loud noises were used to create a shock effect.

I was grateful for company that night, as I would not want to be alone in this Numinous Asylum.

I would recommend this show for people who would like to explore their darker side in a macabrely playful scenario. I would suggest there be a trigger warning for those who do suffer from some of the issues addressed in this performance, as it touched on many sensitive topics. I’d recommend bringing a friend.

I give this show four stars for the raw emotional performance. Well done.

4 / 5 stars


Words by Sarah Ingham

Numinous Asylum’s season has concluded

For more information visit their website

George Glass Proves the Existence of God

George Glass Proves the Existence of God successfully scratches the itches to life’s biggest questions. Is there a God? Can God hangout later? What’s God’s biggest weakness? Will the Hungry Caterpillar show up? Is there anyone working on an Eyes Wide Shut musical?

Adelaide’s own George Glass brings musicality, absurdity, and plenty of blood in this exceptional one night only performance. Kicking everything off the band (Nic Conway, Pud Hamilton, Chris Nenov, Alister McMichael, and Ruby Gazzola) appropriately introduces themselves in an extremely religious fashion. The Garden of Eden. Eve is a man with balloon breasts of biblical proportions, Adam is a woman in a muscle suit, the forbidden fruit is, of course, an inflatable red costume with matching face paint, and the snake (a morph-suit) slithers its way on stage.

With an intro like that, you know that what you’re about to see is no Sunday service.

George Glass Proves the Existence of God is full of running bits that never grow old. There’s a cleverly instigated checklist at the beginning of the show that provides topics or thematic elements (e.g. baby, cake, pussy cat, tie him up and throw him in the River Torrens), a drummer with a small bladder, and a literal hotline to God. The back and forth tongue and cheek between the band is seamless and never fails to get a laugh, together inhabiting the stage as if it were their home.

George Glass is foremost a rock-comedy showcase. Boasting an array of original songs (that you can listen to yourself on Spotify right now) that are catchy, full of energy, and of course humour. Particular songs such as Detective Andrews, God Is Dead, Christ Likes to Eat Pussy, and Secret Song are the highlights and bring to mind the works of Jack Black and Kyle Glass from Tenacious D. Cohesively the band are multi-talented, switching between instruments throughout the show as each member has their moment centre-stage. However, the first two songs were a little hard to decipher. Whether it be some slightly muddled vocals or technical difficulty, the lyrics weren’t entirely comprehensible, but the band soon found their footing and from there on out it was crystal clear.

George Glass also effortlessly involves the audience in their religious escapades. Members are utilised to form Caterpillars (of the hungry variety), dispose of very incriminating evidence, and to create a crowd surf that more or less turns into a polite yet wholesome carry.

If George Glass Proves the Existence of God resurrects itself for another performance in the future, make sure you see it.

4 1/2 stars


Words by Isaac Freeman

George Glass Proves the Existence of God‘s season has now concluded

For more information about George Glass visit his website

Cold War

As you walk in, you’re handed an ice-cube from someone wearing a vaguely Day of the Dead-style suit, and no further instructions. There’s a low, bass-y, static-y rumble, and almost as soon as you’re in your seat – still holding the ice-cube – it’s demanded that the audience gets out of the stalls and assembles on the dance floor, where the two cast members launch into some heavy punk-rock. This is not a drill, one of them repeats. You’re still holding what’s left of the ice-cube. Yep, welcome to Fringe.

For me, this is the heart of Fringe; big-money stand-up acts in 200-plus seat arenas might pay the bills and keep the wine flowing, but for a festival initially started as a rebellious response to the original Adelaide Arts Festival becoming elitist and exclusionary, Fringe needs these sorts of shows to remain the Fringe. Avant-garde, highly experimental, stuff like Cold War gives street cred to the event. MKA, with Doppelgangster, have created a boldly unconventional production that discusses the current inaction on climate change. The two performers talk at each other in rapid-fire, touching on a million topics but always coming back to the same theme. Seemingly all absurdist and random, and with that constant white noise in the background, it all pivots back to an underlying question – can you win your innocence back? Can you right the ongoing wrongs? Each ‘act’ is punctuated by some original punk songs – one notable one claims Titanic was an inside job – and these effectively set up each act’s scenario.

Unfortunately though, there just seems like there’s a bit too much going on at any one time. The conversations between the two actors are peppered with off-hand references and sharp wit, but because they’re also tending to a drone or shaving ice & walking around the audience, you miss specifics and have to rely on just getting the gist of it. Key parts are usually slowed down a bit, but the sound mixing was clearly off, and as a result some of the song lyrics were hard to pick up as well. Whether it was intentional or not, it detracted from an otherwise interesting and engaging show.

Inasmuch as Cold War is clearly designed to be a confronting attempt to experiment with how a play ought to be staged, the lack of narrative and chaotic nature will rankle some people, which is a pity as the spectacle is well worth the effort required.

 

3.5/ 5 stars


Words by Mikey Della Porta

Cold War is showing until March 15

For more information please click here.

Eddie Ray – Leader of the Resistance

Do you love The Terminator?  Well this show is perfect for you! Even if your heart doesn’t miss a beat when you think of the time-travelling cyborg, this is still the show for you. A comedy cabaret – Leader of the Resistance is the strange mix of social commentary and silliness that you don’t even realise you’re missing.

Eddie Ray’s preview performance Wednesday night was so much more than I expected. From the first minute he had his audience hooked and hanging onto his every word in spite of the sometimes semi-deranged look in his eye when he talks about being that guy, you know the one, the one who’s crazy enough not to have a mobile phone.

Starting off with an anecdote about childhood and a much simpler time, the show progresses, exploring the growing disconnect irl. We, the collective, are obsessed with our smart-phones; they rule our day-to-day lives and give us an excuse to ignore those around us. It’s no longer appropriate to say “hi” to the person next to you when you’re waiting for a bus and even a polite “is this seat taken?” is often ignored in favour of the screens in our hands.

Eddie gets into just what this show is about with the transformation of his character from that guy without a phone into that guy with a phone – highlighting the reliance many people have on this technology today. Think talking in hashtags, targeted advertising (knowing what you want before you do), and the plain and simple degradation of language.

While the Terminator references certainly make it fun and appealing, it isn’t just this show’s inter-textuality that makes it brilliant. Together with social commentary and the whims of a talented musician, Eddie builds his music with his voice, his guitar, and a loop station. While Eddie proclaimed his show was silliness about a serious topic, this is a showcase of skill and the fun you can have when an idea catches hold and you’re free to play and create.

Having held his audience captive for nearly the entire performance, I’d highly recommend seeing this comedy cabaret during its short run time.

4.5 / 5 stars


Words by Kayla Gaskell

Eddie Ray Leader of the Resistance is playing at The Mill’s The Breakout until March 7
For more information and tickets click here

SHAD WICKA – BACKFIRED

I’m not particularly well-versed in corporate office behavioral requirements, but I’d have wagered that posing next to the Prime Minister for a social media photo whilst holding a craftily-designed mug that had a certain word that rhymes with ‘punt’ printed across it probably falls outside the realm of what’s deemed acceptable. Really rather amusing though; I mean, who doesn’t like sticking it to The Man? I can certainly condone it. Unfortunately for Shad Wicka, when he decided he was going to take a stand for the everyman, the reality of corporate management tending to take a dim view of the great unwashed attempting to strike back reared its ugly head, and he found himself – rather unsurprisingly – with a  lot more spare time on his hands.

For Wicka it was even worse; he’d previously been offered a promotion to host a drive-time radio slot only a few days prior to his act of rebellion, and so he’d canned the lease, packed the car, and convinced his partner to follow him to Sydney. Leaving Cairns, he got as far as Mackay before he got the phone-call from upstairs informing him that they were choosing to take a different direction with the hosting position, and he was politely asked to leave through the door marked ‘do one’. Having to then inform his partner – who’d quit her six-figure-paying job in order to support him under the bright lights of the big city – was probably akin to liberally applying chilli to an open wound. Still, laughter is the best medicine, right?

Following on from his previous show Not Great (but not sh*t), Backfired continues that theme by being a bit haphazard. Bouncing between adjusting to the abrupt upheaval of his life and some random observations, Wicka clearly has a knack for being funny, and whilst his casual and comfortable demeanour is gleaned from years behind a microphone, being up on stage is a different kettle of Atlantic salmon, and this is where things tend to fall a bit flat. It probably doesn’t help that he’s at a venue that’s a bit DIY; required to announce himself and also do his own sound work, he probably even has to put the chairs out beforehand and clean up the empty glasses after. He takes the hits as well as the misses, and the funny parts are genuinely quite funny, but the see-sawing unfortunately detracts from what is otherwise a solid set.

3 / 5 stars


Words by Mikey Della Porta

Shad Wicka – Backfired’s season has ended

Bend and Snap

What drew me to Bend and Snap was the way that it was sold to me. Three words: contortion romantic comedy. What was this strange genre, and how it would meld together to create a Fringe show? It was something I needed to see, and I am very grateful that I did.

I usually do not give out five stars. This show wasn’t Circus Soleil, but it deserves every single star I gave it.

The Café Outside the Square, a small café with a pay it forward program that feeds the homeless, is the perfect venue for the wholesome show. I did get lost on the way there; however, having the venue distanced from the Garden of Unearthly Delights and Gluttony meant that the atmosphere was less distracting and more focussed on the singular show I was there to see. The cosy café venue means that the audience can see just how much fun the actors were having performing and join in on the gleeful cheer. That is the magic of Adelaide at Fringe time, anywhere can be a Fringe venue.

A fun, down to earth comedy, Bend and Snap is a humorous show with amazing talent and stretchy bodies. Incorporating moments from popular film and theatre productions, there are scenes that will have you in giggles, gasping or gaping at great feats. Use your imagination to see the show’s minimalist set, and watch the actors themselves become tables, chairs and even the ocean.

I heard once in a Fringe show, that you should clap if someone on the stage is doing something that you cannot do. With this in mind, I was clapping for the whole hour length of the show.

I have given Bend and Snap five stars for many reasons. If you have a jolly sense of humour, like to see the human body bend into bizarre shapes, or just want to support some local, home-grown entertainment, please go along and see why I rate it so highly.

The sold-out show was so popular that it is returning for a third show on the 7th of March. I would highly recommend going along to support local Adelaide theatre and seeing the only con-rom-com Adelaide has to offer.

5 / 5 stars


Words by Sarah Ingham
For more information and to purchase tickets click here

Shit-Faced Shakespeare: Hamlet

Some might argue that tackling Hamlet is a task best left to those who aren’t in danger of spilling their beer mid-monologue. If you’re looking for a performance free of dirty jokes, foul language, and sexual references you won’t find it at Shit-Faced Shakespeare. Instead, you’ll find a drunken cast member set loose for the specific purpose of derailing the Prince of Denmark’s search for vengeance with a little mischief.

This, of course, results in a keg load of hilarious unpredictability, showcasing the comedic brilliance and improvisational skills of both the drunk performer and the sober cast members, who must operate around the version of Hamlet the drunk cast member brings to life through a combination of actual Shakespeare and complete spit-balling.

The performance I attended featured a shit-faced Hamlet (played by James Murfitt), whose inebriated state resulted in a dramatic romantic sub-plot between Hamlet and Laertes,  the discovery of previously unearthed father and son issues between the dead king’s ghost and the prince, a brief chance for Ophelia to be an independent woman, and perhaps most surprisingly for one of Shakespeare’s tragedies, a happily ever after.

Despite the unpredictability of the sub-plots, the entire production operates like a well-oiled machine and any drunken detours taken toward jokes gone too far, or tangents carried on for too long, are quickly redirected by the sober cast, as well as the use of an air horn. The danger of the performer sobering up is likewise combated with a little audience participation, most of which is best left as a surprise.

So, if you don’t mind a little foul-mouthing and spilled beer, and if you’re looking for a show filled with an hour of riotous non-stop laughter, drunken shenanigans, a somewhat familiar story and a cast that’s having as much fun as the audience, then stop, and look no further; you’ll find it all in Shit-Faced Shakespeare.

4.5 / 5 stars


Words by Rachael Stapleton

Shit-Faced Shakespeare: Hamlet is running until March 15

For more information and to purchase tickets click here

Only Human

The future of Robotics, the uBot, was revealed last night at the Only Human showing at RUMPUS in Bowden. The South Australian Young Artists (SAYArts) delivered a thrilling and relatable story that pays homage to the tropes of the Golden Age of Science Fiction.

Only Human is an ode to Mary Shelly’s Frankenstein. The show demonstrates that science goes too far, having the uBot learning quickly and despising humans due to their apparent inferiority to robots and A.I. The uBot, part of the next generation of robotics and A.I. technology, breaks the Three Laws of Robotics as set down by Isaac Asimov back in 1942.

Some of the main tropes from the Golden Age of Science Fiction are explored in Only Human with great detail. Issues with racism, accelerated advancement of technology, and human greed are discussed with subtlety. This subtleness is what I found one of the most enjoyable about the show. The creators have introduced these classic sci-fi themes to a wider audience in this show. One example is how someone thinks crocs are bad because others on the internet say they are, this shows how we mould our thoughts around what others say without experiencing them ourselves.

The cast of this show is made up entirely of young artists who did a fantastic job within this performance, carrying a high level of professionalism and enthusiasm bringing their characters to life. The human and the robot character who later fall in love were two notable actors who did a great job. I related to their character on a personal side as the character reminded me a lot of myself, through their love to overexplain everything and awkwardness with human interaction.

Another moment of the performance that is memorable is the dance in the last third of the show. They all dance along to Flight of the Conchords’ ‘Robots’, fitting the robotic theme of the show, this choice allows the performers to take advantage of this catchy, funny song.

Only Human is a well-written performance that is funny, thought provoking and filled with references galore. It explores the idea of science and technology going too far with an effective narrative that is deep but subtle. It is a show you must see if you are into any of the above-mentioned themes of science fiction. Even if you aren’t, this is still an enjoyable show in an equally enjoyable venue.

4 / 5 stars


Words by Cameron Lowe

Only Human is showing until March 1

Tickets to the final two performances are now sold out

For more information please click here

Grace Notes: Grace O’Malley, Irish rebel, pirate queen

In a captivating feat of storytelling, Jennifer Liston entrances her audience with a combination of spoken word and song. Liston’s talent for drawing in her audience is impressive as she tells the tale of a distant ancestor, the legendary Irish rebel and pirate queen Grace O’Malley (Grainne Mhaol).

Born in the 16th century, O’Malley’s life was different to that of the typical female archetype of the time. A born leader and a wily adversary, O’Malley’s life was ruled by her love for the sea. Having devotedly learned the art of sailing and clan rule from her father, O’Malley returned to her clan after the death of her husband, taking on the role of clan chief and maintaining their reputed strength on both land and sea. With her education steeped in Brehon law, O’Malley’s character is presented as being a highly moral individual both for the good of her family and her clan.

One of the highlights of this show is perhaps the explanation of Brehon law, a cultural norm of the time which bleeds into modernity. Together with explaining the concept and telling us of O’Malley’s afront at this law being ignored, she also graces us with a haunting tune that will stay with her audience for some time yet. Even now I can still hear the echoes of that chorus.

Liston transforms the atmosphere of the Grande Room in Gilbert Street hotel into something almost mystical. With the help of white and red lighting, subtle costume ‘changes’, and the skill of switching between song, narration, and poetry the audience is quickly drawn into this entirely captivating performance.

Born from scraps of history, legend, and a touch of innate intuition, this performance is telling in the way stories can inspire new works of art. If Liston hadn’t heard O’Malley’s story from Sister Peter back in school and if she hadn’t talked with her mother about it after, who knows if Liston would have come so far as to perform this particular show at this particular Fringe Festival far from the wilds of her Irish homelands.

4 / 5 stars


Words by Kayla Gaskell

Grace Notes: Grace O’Malley, Irish rebel, pirate queen is running until March 4

For more information click here