Bond – An unauthorised parody

By Gavin Robertson. Adelaide Fringe. Bakehouse Theatre. February 24 - March 7, 2020

Bond- An unauthorised parody, at the Bakehouse Theatre, is written and performed by the extremely talented Gavin Robertson and directed by Nicholas Collett. This show would be one of my ‘picks of the Fringe’. It is not just for the Bond lovers but for all lovers of sharp, clever, witty theatre and mime.  This is a wonderfully enjoyable hour and has the audience riveted to every word and action.

Casablanca - Radio Drama

Directed by Gary Klinger. New Farm Nash Theatre. February 21 – March 7.

Based on the well-known movie, this radio drama was first performed in 1944 to raise money for the war effort. It was more than just cast members sitting on stage and moving forward to read their various roles but a visual presentation to be seen as well. Thus the audience became fully involved while some may have compared this to the original movie. Nash Theatre tends to start their programme each year with a radio play and this year they have chosen well.

Keeping Up Appearances

By Roy Clarke. Hobart Repertory Theatre Company. Shauna-Lee Ward (Director). Rogan Brown (Set, Lighting and Sound Design). Annie Harvey (Costumes and Wigs). The Playhouse Hobart. 28 February – 21 March, 2020

Roy Clarke wrote the original Keeping Up Appearances television series as well as the stage adaptation. For this reason, Hobart Repertory’s production faithfully revisits all the characters and situations one has come to expect from the television show via an original script. The only difference is that there is no canned laugh track. The audience response is genuine and spontaneous.

The Happy Prince

Ballet based on the story by Oscar Wilde. Australian Ballet. Queensland Symphony Orchestra. Adaptation: Kim Carpenter & Graeme Murphy, Choreography: Graeme Murphy. Composer: Christopher Gordon. Set & Costume Design: Kim Carpenter. Conductor: Nicolette Fraillon. Lyric Theatre, QPAC. 25-29 February 2020

Despite the Australian Ballet’s wildly inventive production of Oscar Wilde’s The Happy Prince, the piece is curiously lacking in dance. A pas-de-deux between the two leads, Adam Bull (Prince) and Marcus Morelli (Little Swallow), and some exquisitely brief sequences with the Little Match Girl (Benedicte Bemet), classical ballet per se is missing. But there’s plenty to please the eye in Graeme Murphy and Kim Carpenter’s playful, sad, and irreverent version that’s alive with child-like magic.

Conchita Wurst & Trevor Ashley In Concert

Featuring Kate Miller-Heidke. Concert Hall, Queensland Performing Arts Centre, Brisbane, 26 February, 2020

Mardi Gras fever hits Brisbane with Australian and Austrian Eurovision and cabaret royalty together on stage for one glam-tastic evening of entertainment, celebrating friendship, diversity and the power of pop!

Kafka’s Ape

Adelaide Fringe. Holden Street Theatres, Adelaide. 25 February – 15 March 2020

“Experience is not what happens to you; it’s what you do with what happens to you.” When Red Peter delivers this Aldous Huxley quote, we’re already uneasy in our seats, disturbed emotionally and physically – and wondering what we’re going to do with this experience.

The King

By Jimmy Lyons. Adelaide Fringe/ Red Phoenix Theatre. Holden Street Theatres, Adelaide, 25 February – 15 March 2020

When Roger (Nigel Tripodi) dares to stop and look at a bright red barrel of a barbecue, salesman Hank (Michael Eustice) pounces on Roger’s uncertainty, finding every button to push that persuades him to buy what he doesn’t need – and offer it as a wedding anniversary gift to his vegetarian wife, Melissa (Sharon Malujlo).

Tales of an Urban Indian

By Darrell Dennis. Adelaide Fringe Festival. The Bus Stop - Adelaide Botanic Garden. 25 February - 1 March, 2020

In Tales of an Urban Indian 35-year-old Canadian indigenous actor, Brendan Chandler ‘becomes’ Simon Douglas, growing up on two different reserves. This piece of non-traditional theatre is compelling, all embracing, challenging and uplifting. The 90-minute, one-man narrative, like his earlier performance piece, How Did You Find Me Here? is the journey of a young man coming to understand his Indian heritage and its impact on his life.

Our Blood Runs In The Street

Chopt Logic / Red Line Productions. Old Fitz Theatre, Woolloomooloo. Feb 19 – Mar 21, 2020

With The Campaign running at the Seymour Centre about the activists who drove Tasmanian gay law reform, and now this show about five decades of gay violence in NSW, Mardi Gras shows itself as more than just sex, glitter and show tunes.

Both plays are impressively researched verbatim documentaries drawing on interviews and records and both are told with empathy and imagination.

Amore e Morte

By Riccardo Barone & Nikki Elli Souvertjis. Adelaide Fringe. Sei Sette. Adelaide Town Hall. 23 February 2020

Amore e Morte is a fascinating and compelling ‘song cycle’ written and performed by local artists Riccardo Barone (originally from Italy) and Nikki Elli Souvertjis. As its title suggest this is a tale about ‘Love and Death’ and told through music and songs. Furthermore, the tale is told from a female perspective – the wife of an Italian man. He has witnessed a murder and is pressured by an unknown force (the Mafia? Government? Police?) to remain silent.

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