Day five at Adelaide Fringe, and the experiences continue to impress. Here’s a breakdown of highlights from my day:
Who says artists can’t have it all? South Australian superstar, Joanne Hartstone proves that artists can do it all – perform, produce and direct multiple events within a festival season – in her one-woman show THE GIRL WHO JUMPED OFF THE HOLLYWOOD SIGN.
THE GIRL WHO JUMPED OFF THE HOLLYWOOD SIGN gives Hartstonea platform to showcase her multi-talented capabilities.: not only does she superbly embody the character Evelyn Edmonds, a young Hollywood wanna-be starlet, but she also sings classic jazz tunes from the 1940s. With a voice that sounds similar to that of the greats Judy Garland and Jean Harlow, Hartstone commands the attention of her audience throughout the nostalgic performance.
If you are looking to support a solid South Australian artist who gives audiences bang for their buck, I highly recommend catching Joanne Hartstone in THE GIRL WHO JUMPED OFF THE HOLLYWOOD SIGN. Likewise, I recommend some of her other festival events: WE ARE ANONYMOUS, BLINK and NUCLEAR FAMILY, which were reviewed earlier this week.
Poking fun at one’s own culture as a way of building an understanding between two different cultures comes with boundaries and risks. However, Angela Yeoh’s RUNNY MONEY finds that balance graciously while paying homage to her own roots in Chinese culture.
Throughout the show, Angela sheds light on quirky stereotypes of the Chinese culture. According to the performance, Chinese people maintain a strong relationship with money and business, always trying to outsmart the next man with a big a idea. It is emphasized that the importance of work is passed down to children at a very young age, and often times education is centered around business development. At one point, Angela introduces a funny plastic machine (made in China, of course) that has the ability to scan the audience’s personal possessions on the spot in order to predict its value. Based on these values, we receive our economic social status and then are given certain privileges.
That is only one of many hilarious and interactive moments presented by Angela Yeoh in RUNNY MONEY. Without giving too much more away, I highly recommend anyone to see this hilarious comedy showcase. It is stressed by Angela that the work is still in the creative development phase; however, this performance has a solid foundation with potential for greatness!
Speaking of comedy, award-winning character act, Neal Portenza, returns to Adelaide Fringe to present a new work in development, which allows him to be as zany, spontaneous and interactive as ever before. While making up skits and trying out new punch lines on the spot, performer, Josh Ladgrove showcases his ability to think quickly and fearlessly stumble through authentic comedy routines. His genuine approach to his audience and comedy is a shining example of his own philosophy, “Art is not art if there is a chance for destruction.”
Unfortunately, not everyone understands Ladgrove's comedy. During last night’s performance, a heckler kept egging Ladgrove to erupt in anger and break focus from the performance. Instead, like a comic champ, Ladgrove gracefully accepted the annoying heckler, stating that he appreciated their random spouts of negative feedback. The show continued with the heckler remaining in the audience until the end.
I’ve seen Neal Portenza several times at both Adelaide Fringe Festival and the Melbourne International Comedy Festival, and each performance is different. Never disappointing. Looking forward to catching him again at this years; Melbourne International Comedy Festival!
Unfortunately, not every event at the festival is an absolute winner. As a fan of American playwright, Sara Ruhl, I was excited to see a performance of LATE: A COWBOY SONG presented by Lady Like Theatre Collective. However, this production left me slightly disappointed at its cookie-cutter and lazy interpretation.
As a playwright who challenges gender roles and social norms throughout all her work, Ruhl pushes characters and environments to the edge. Unfortunately, I didn’t see much edginess in this performance.
Amongst the many elements within the play’s writing that were missed, I did find a few choices that worked: an acoustic guitar was nicely played by the cowboy. Using imagination and creativity for characters riding real horses the male actor is used to symbolise the horse.
However, here are some of the missed elements, or elements that need more development, that were under-performed in this production: there was a strong lack of understanding traditional role playing between the characters; there was a lack of growth in the relationship between the cowboy and the leading lady; there also was a lack of conflict within the relationships that was spoken in between the words, especially between the cowboy and the husband.
Hopefully, this creative team keeps working on LATE: A COWBOY SONG. I would love to give it another chance to see it develop deeper.
For more information about these shows, or to purchase tickets, please visit the Adelaide Fringe Festival website.