How to Drink Wine Like a Wanker 2020

How to Drink Wine Like a Wanker is not something I thought I needed coaching on. I’ve been doing that for years; nonetheless, Anna Thomas has opened the cellar doors to not just the elitist holiday-makers but to us catastrophic normal folk. Cinching together real-life anecdotes, grape facts, and wanky wine nomenclature, a new realm of wine tastings have been established.

It begins with entering the Treasury 1860 Bar – a modern, gold and marbled accented room attached to the Adina Hotel. Ordering a drink [palate cleanser] followed by the wine wankers flight [participatory aspect]. I was highly unprepared for the fact I was the only one alone and it’s very well lit. There are maybe 35 other people packed into the wall-clad lounges, and I wonder: what is this show actually about?

Shortly, I am put at ease with the likes of a socks-without-shoes sporting woman whose warm smile welcomes you to her space. A space that, through sincerity and grounded humour, allows you to reflect upon your own journey. Not truly knowing how it is ‘on the nose’ or what an ‘oaky finish’ is works in my favour – her (un)pretentious descriptions transform the crushed grape into an experience. Her experiences. We are held captive by Anna’s storytelling, silent and immersed into the saga she paints before us.

“I’m the Grenache of the corporate world!” she exclaims after her analysis of the underrated wine. The wine was brilliant and is something I would never have found if not for this show.

Ana scoops up every self-proclaimed wanky monologue of spicy, nutty accents with a hint of realism. She explores the trials and tribulations of her corporate career and the ominous big questions we all swirl around the bottom of the glass – Who am I? What do I want? Part theatric monologue, part conversive narrative, Ana pinpoints the crossroads of her life and creatively pairs them with the six South Australian wines in our flight.

The show delves deeper than grape juice antics as she unravels her path through the adversity and heartache of womanhood, self-discovery, and vino consumption before you. At times, I could see the vines of the Barossa valley open up before her as she led us through her musings of Merlot and being a woman amongst the corporate top dogs.

Three whites, three reds, an hour of powerful storytelling and the unmissable opportunity to be a Wine Wanker for an evening.

4/5


Words by Taylor Veltman

How to Drink Wine Like a Wanker is running a sold out season at Treasury 1860 until March 15

For more information click here and to see our 2018 interview with Anna Thomas click here

In Coversation with: Anna Thomas of ‘How to Drink Wine Like a Wanker’

This past Fringe Festival saw the debut of Anna Thomas’s one-woman play, How to Drink Wine Like a Wanker. Met with praise and glowing reviews, this play returned for a limited run this July. The Treasury 1860 bar is once again the setting for one of 2018’s stand-out shows.

Arriving outside of the Fringe period, the show stood by itself for a time before Anna takes it to the biggest Fringe Festival on Earth, the Edinburgh Fringe, in August. With the show’s return and an exciting future beckoning, Tulpa sat down with Anna to discuss where the play came from, how it went, and where it will now go.

The story of how the show came to be is long and winding one. Anna explains that she always loved the arts and studied for a time at university before necessity taking her towards a more corporate path. Following her corporate life, Anna took up a role doing wine tours, although she fully admits to not having a huge amount of wine knowledge. She says it was her theatre skills that came to the fore in pretending she was so capable in her new job. It was also during this time that she met some of the “wine wankers” that would help inform her play. ‘I found myself, in the first six months, telling stories of the ridiculous wine wankers that I would meet’, she explains.

The play continued to change as she worked on it. ‘Initially, the idea was going to be more comedic and silly but as I started writing it, it felt a little shallow and this far more serious narrative took over,’ says Anna of the performance’s tone. This play is a mixture of tones, with the blend of personal experience and absurdity of wine wankers. Anna acknowledges her concern the title could have appeared too whimsical or satirical – ‘fortunately lots of people took a chance and didn’t have that predisposed idea of what it was.’

Once the play was out in the wider world of the Adelaide Fringe, Anna says she found the response to be ‘really wonderful and really shocking’. She says that she had only truly performed the play a few days before the first show, even to her husband. At the third show, she got a standing ovation which  took her by surprise. Not long after, a review got out from The Advertiser, and within four days she had a sold out show. Suddenly, it ‘had this ridiculous momentum about it’. The response was not universal though; Anna recalls that a ‘couple of gentlemen didn’t like the show – they thought it was too feministic. Someone wrote a review saying there was too much discussion about the glass ceiling. But I quite enjoyed that too because it meant it pressed buttons for everyone’.

Across the play’s run at the Fringe, she explains that there was a bit of change. The content remained relatively unchanged, but the delivery was altered. One of the key changes she describes is that her initial intent for the play was to be more traditional,but gradually the fourth wall came down bit by bit. She says she ‘found that the intimacy grew over time, and by the end, what was really lovely was that I felt like I could throw away a few lines when I needed to lighten the mood and I felt so connected with the audience and by the end there was this really lovely experience where I almost knew how it was going to fall and I knew how the audience was going to react.’

Another change to the play came in the approach to the more emotional content, which Anna says she initially approached with more caution. ‘Because of that caution,’ she says, ‘it caught people off guard too much’. With a few performances complete, she let that ease in a bit more so ‘people felt more comfortable with their emotions’.

Several months after the initial, very successful, run of How to Drink Wine Like a Wanker, the show returned for July’s limited run. How does this change the situation? ‘I [was] a little more scared. I was running off the back of the Fringe [last time]. Everyone’s very willing to take risks at Fringe time.’ Anna explains that the more risk-accepting crowd of the Fringe is gone now and a show in July requires its audience to have a more determined intent to go to a show. ‘It’s a more conscious choice’, she says, rather than the audience simply picking from the Fringe’s offerings.

This run in July served a few purposes for Anna as a performer. With the Edinburgh Fringe approaching, this allowed her to test the play on an audience in quite a different environment. It also helped in fundraising for the costs inherent in taking the show’s co-stars, the wines, over to Scotland.

Anna is adamant to acknowledge the aid of Arts SA and the Made in Adelaide grant she was awarded. ‘That has definitely afforded me this opportunity,’ she says. She was one of a select few to receive this support, and their involvement has been instrumental in getting the show to Edinburgh.

At the Edinburgh Fringe, Anna will be performing at ZOO Venues, in their cabaret bar which she says she has been to, ‘many Fringes ago’. She says she is conscious of the challenges in transporting her show across the world. Anna explains that in the UK, certain wines are appreciated differently. This necessitates a slightly different approach as the characteristics of the wines plays an important element in the performance. Merlot, for instance, the wine upon which she places ‘the pinnacle of the story’, is not so underappreciated in the UK as it is in Australia; ranking the second-highest selling wine in the UK.

The future beckons beyond the Edinburgh Fringe as Anna tells Tulpa she ‘definitely’ plans a season next year. She has also picked up a few regional tours that will see her take the show to McLaren Vale and the Adelaide Hills. Offers at the Brighton (UK) and Hollywood Fringes also being presented ensures the success of How to Drink Wine Like a Wanker has every opportunity to carry on further.

 


Words by Liam McNally

Tulpa Looks Back Over A Month of Fringe

Another year and another Fringe has passed us by. Hundreds of acts, some of which we at Tulpa were lucky enough to go and see. A festival of passionate creatives, wonderful venues, and great celebrations of art – the Fringe is a month in which the arts take over the city. After all of this, the Tulpa team got together to enjoy and share our memories of a remarkable series of arts events.

Reviewing over thirty shows, and going to several more, we at Tulpa were able to enjoy a busy and thrilling few weeks. Recently, in the wash-up from the several weeks of late nights and enjoyable oddities, we decided to discuss what we thought of the famed Mad March.

tix-pic.jpg
Just a selection of Fringe tix.

We nominated our favourite shows of the Fringe. For Taeghan Buggy, it was The Displaced of which ‘the comedic strangeness, attention to space, and skill of the performers was top notch’. For Liam McNally, How to Drink Wine Like a Wanker, a unique performance running a broad and deep range of experiences. Kayla Gaskell recalls her favourite shows as ‘a toss-up between the sexy-circus of Fuego Carnal (which I saw independent of reviewing), the classy cabaret of Anya Anastasia (which will be showcased at the Port Noarlunga Arts Centre in August), and of course, the magical musical theatre production, Little Shop of Horrors.’ Simone Corletto elects The Adelaide Office Live as her own personal favourite show.

 

The Fringe brings with it a lot of interesting shows that offer unique experiences. Where else would one have the opportunity to stroke would a 17th century man get you to stroke their sword, as was Lisandra Linde’s experience at Deviant Women: Julie d’Aubigny? Or perhaps at The Bacchae, where as Teaghan Buggy recalls, they ‘got all the men to leave the room for the final scene because they “did not have permission to see it”’, to which Taeghan adds, ‘It was so odd because that’s never happened in a play before but it was also a really great moment with the play.’ Simone notes as one of the more remarkable events of the 2018 Adelaide Fringe as when the city got its Seymour Skinner on with North Terrace’s ‘lights installation and basking under the aurora borealis, at this time of year, in this part of the country, located entirely in our museum courtyard’.

A month-long series of remarkable shows and special oddities that very certainly did not disappoint with well over one thousand shows, the Fringe was an event we all got some remarkable experiences from. Shows aplenty, Adelaide utterly transformed into the global arts hub for a city, we looked back on our shared and separate memories with fondness and another eleven months to wait until our city is once again transformed. Taking in a host of comedy, cabaret, theatre, arts installations and other thought-provoking events, the Fringe opened up a wonderful host of local and imported artists to bring their respective stories to Adelaide to share. Where else would you find a velvet-clad Shakespeare, a nun-burning pirate, and The Office come to Adelaide?

 


Words by Liam McNally with Simone Corletto, Taeghan Buggy, Kayla Gaskell, and Lisandra Linde.