Day 2 was certainly a busy one! If I may quickly say thank you to all who came to my workshop FOCUSING YOUR FINAL FESTIVAL DAYS at the Fringe Club, your commitment to further your practice is truly inspiring. Looking forward to watching these independent artists grow in their success!
Now to the heart of the matter: I was thrilled to catch three wonderfully different and well-executed performances at the Adelaide Fringe Festival during day 2.
First stop was Hannah Cryle’s THE LONELIEST NUMBER at the Spiegeltent in the Gluttony gardens. This performance showcased her ability to ‘do it all’ within a high-energy circus act. Accompanied by classically pop-culture hits from the 80s and early 90s, Cryle performed such tricks like hula hooping, lip-syncing and aerial manoeuvres from a chain hanging from the ceiling. Leaping across the stage Cryle successfully manoeuvres from trick to costume changes to the microphone for important announcements, and not one ounce of her enthusiasm waivers. The audience was left spellbound!
At the end, Cryle encourages the audience to continue supporting female solo acts throughout the festival by making strong recommendations to other events and engaging on social media with the hashtage ‘ladies perform alone’. Overall, I found this solo performance heartwarming, delightful and an authentic glimpse into the soul of the performer.
Next up was MINOR MIRACLES. Also staged in the Gluttony gardens, Swedish duo, Charlie Caper and Malin Nilsson, perform old-fashioned mind-bending magic and illusion. Although replicating gypsy-touring acts from the early 1900s, this duo doesn’t use old tricks. Instead tricks with bubbles, a robot and light bulbs leave the audience scratching our heads in bewilderment. The most enjoyable aspect about the overall performance was the leitmotif carried throughout. Performer Charlie Caper somehow kept reemerging his lost bow tie from all sorts of hidden corners of the stage. Without noticing the bow tie would disappear only to reappear again, but how and when does the transition occur? MINOR MIRACLES brings delightful and quality entertainment to the festival that tickles the heart strings of punters of all ages.
Lastly, down at Holden Street Theatre is HEYSORRYGOTTAGOBYE. Presented by Claudia Osborne, this endearing tale follows a young man named Wally who suffers from social anxieties. As Wally travels through the many small environments at a friend’s house party, the audience is taken through the ups and downs of his experience. Creatively, this production uses such stunning visuals that showcase the integration of live theatre and filmmaking technology. For example, a simple white sheet spreads tightly across the stage between two black pillars where at a one point a single light projected from behind helps create shadow puppetry; projected in front are scenes stylised like that of a virtual reality game. More so, in one scene the production’s creativity and innovation continues as a pair of magical characters is introduced and begins to engage with the protagonist. From where I am seated I can see that the magical characters are giant insects and are made from rubbish materials like soda cans and plastic piping. Overall, I thoroughly enjoyed witnessing HEYSORRYGOTTAGOBYE for its imaginative design elements, which completed this beautifully simple and touching story.