Review: Yesterday

A world without The Beatles.

A horrifying thought for sure. What if John, Paul, George, and Ringo never found their calling? What would today look like without the musical progression of these “long-haired louts”? I can’t imagine what the world would be like but it would certainly be nothing like today.

The director’s image of modern life without The Beatles doesn’t go in depth about the repercussions—which would be difficult to do considering how big an influence they were on many musicians, amateur and elite, not to mention creatives in all streams, and the everyman. Maybe I’m talking them up a bit much, but you have to remember that this group was a rock and roll revolution for their time.1 Dany Boyle (Trainspotting and Slumdog Millionaire) did however show that the world would be incomprehensibly different by removing some of the biggest staples of Modernity.

In a world much like our own, Jack Malik (Himesh Patel) finds himself being had on by all of his friends, playing a Beatles classic ‘Yesterday’ and being praised for his inventive genius. And what would any reasonable man do in his situation? He agonises over whether he should take credit for the music, not once considering keeping it to himself. And so, Jack’s journey begins, along with his manager Ellie (Lily James) and his unlikely supporter Ed Sheeran. But fame has never been Jack’s dream and it soon becomes too much. He’s losing Ellie and if Ellie is the cost of fame, who would want to be famous?

Patel is well suited to playing Malik, the down and out musician and his pained facial expressions really make the character authentic. Malik’s struggles as a musician quickly turn around with a little help from his friends and an impressive exercise in memory, recalling every word to songs such as ‘Strawberry Fields” and “Eleanor Rigby” and revealing them to the world.

A sweet British film, Yesterday reminds us of the power and influence of music, while also showing us a side to Ed I still don’t believe. Staying reasonably true to the music minus the butchering of ‘Hey Jude’ (thanks Ed) and a change of pace, the film is a fun response to The Beatles legacy and I would recommend it to anyone looking for a easy-going and fun rom-com.

 


3.5 stars.

Words by Kayla Gaskell

All the Best from Edinburgh… to Adelaide

Upstairs from the bustling bar of the Historian Hotel, the audience packed into the seating for a set of four comedians to showcase their talents. Each set was a bite-sized helping of a greater meal, with most comedians directing the audience to get to their own shows whether they be a set of comedians riffing on the subject of sex or a self-described dangerous circus show. It was a sample pack of comedy.
Each comedian got to show off their rehearsed material but also showed their ability to go off script when needed, including a brutal but stylish shutting-down of a heckler. The mixture of comic tastes should ensure that everyone gets a helping of something they appreciate and a little of something new as well.
The line-up changes throughout the Adelaide Fringe so you could come back for seconds and find something new. The first night’s line-up seemed like the set up to a joke – a Scot, an Englishman, and an Irishman walk into a bar – but the audience gets more than that, much more.
The show’s variety does mean that the short sets we get from each comedian don’t feel quite complete but that is what you get with a show of this kind – it’s the ultimate in ‘try before you buy’ Fringe shows. If you want to hear more from a particular comedian, you can follow them up in their own show and see what they have to show outside of the time constraints necessitated by the format.
Following nearly immediately from the conclusion of All the Best from Edinburgh… To Adelaide is the final comedian, Nik Coppin’s Shaggers, a revolving offering of comics presenting their routines on sex. This ensures you don’t have to go far, or wait long, to get an extra helping if this show whets your appetite.

 


3.5 stars.

Words by Liam McNally

All the Best from Edinburgh… to Adelaide is playing every Thursday, Friday, and Saturday, until the end of the Adelaide Fringe. Tickets are available here.

 

In Conversation with: BAD [w]OMEN

After a tremendous performance of BAD [w]OMEN: Mirrors, Tulpa wanted to get in contact with BAD [w]OMEN’s Jennie Hall to have a chat and find out how their show came to be. 

 

Why the Adelaide Fringe as a place for your show?

We love the Adelaide Fringe – two of us have worked as staff here for the last few years and it’s such a unique and exciting festival. Given our history working for the festival too, we felt like we understood its dynamic and had enough good people behind us here. It’s also not quite as intimidating as Edinburgh in terms of a place to debut a show, so it was a no brainer!


How did the show originate? All three of you? A conversation? Did you seek out other collaborators after the original idea? 

We all separately wanted to do a show, and then one drunken night at the Edinburgh Fringe this year, we just committed to it together. The group has always been just us three – we all had such a similar idea about what we wanted the show to be, and Chloe and Rosie had previously done comedy together, so it seemed perfect!



What’s the deal with the silver morphsuits? It’s an Adelaide summer!

Yeah look, we didn’t think that one through properly – haha! There’s a couple of reasons. The show is called Mirrors because we hope that audiences see something of themselves or a world they recognise in our satire, so getting reflective suits was a fun way to visualise that. Also it’s important to us to have a brand and visibility. A lot of people stop us and ask what we’re doing, or say they’ve seen us around and it’s because we’re recognisable.

 


Why should people come to see your show? What sets it apart?

Our show is a sketch show with a twist – it’s an attempt at something new, and at making something that sends a message without being preachy. We’re massive on taking the piss out of people to take away the power they hold and I think that’s quite unique in terms of a Fringe show. Also there’s party poppers, glitter and amazing tunes!!

 


If you could go back in time, what would you tell/warn yourselves of, in the making of the show? 

Potentially get more breathable costumes!! Honestly think if we could go back in time, we’d maybe actually give ourselves a little more time. Doing a season with a brand new show is always hard, and inevitably it gets really intense. We’d probably tell ourselves to just give ourselves a break a little bit more – rest, spend time alone, eat well and try and stay healthy mentally and physically!

 


Interview by Liam McNally.

Thanks to Jennie Hall and the BAD [w]OMEN team.

BAD [w]OMEN: Mirrors

You know what takes dedication? Wearing a silver latex jumpsuit outdoors on a sticky Adelaide evening. The ladies of BAD w[OMEN] had no trouble running, jumping, dancing and beating one another up with plastic baseball bats in their silver outfits, even with the humidity bearing down on us like a musty cave bear.

 

BAD w[OMEN] has all the trademarks of a standard sketch show – from handmade props and costumes to slapstick and easily recognisable archetypes of characters for each scene. But this show also went beyond the standard – tying all the seemingly unrelated sketches together into an insanely interconnected storyline.

 

What’s more, sketch by sketch the audience was exposed to a strong underlying theme of feminism and women’s struggles against workplace sexism – dished out left, right and centre by the recurring voice-over of sketch-show boss and first-class sleaze-bag ‘Dave’. The show tackled the really meaty issues of women’s day-to-day struggles through punchy and provoking humour that never felt preachy yet stuck with us well after the show was finished. This was definitely more than a run-of-the-mill sketch show. This was something more ambitious, and more satisfying to watch. It was comedy with substance – and that’s always something worth sticking around for.

 

This is a show that gets the audience engaged with the characters of the story – something which is unusual for a sketch show but which played out triumphantly for BAD w[OMEN]. With each passing scene the audience found themselves wondering what would happen to our Spanish lesson heroine Maria, or the book club of bubbly-guzzling newly-minted feminists. And when we weren’t seeing the strings of these stories come together we were treated to some sensual Fringe box-office service, an intense Harry Potter rendition and the antics of the Producers’ own resident ghost.

 

Over-the-top, sharp, timely and non-stop funny, this show is a must-see for lovers of comedy and people looking for something rather different yet oddly familiar to sink their teeth into. It’s comedy with heart and balls (the lady kind). In BAD w[OMEN]’s own words, ‘join us as we tackle the big stuff. And the small stuff. Because when you take the piss, you take the power.’

 


Words by Lisandra Linde

4.5 Stars.

BAD [w]OMEN is playing at The Producers until March 2 (except Mondays). Tickets are available here.