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FringeReview Adelaide

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Our coverage for 2018 is now over.

Adelaide Fringe, one of the largest arts fesivals in the world, returns in 2018 with its usual variety, new work and regulars.

“The important thing about us is that we’re open access, which means that we don’t have a curator handpicking shows. Anyone who wants to be a part of the Adelaide Fringe, can! We provide a way for artists across all disciplines to share their work with the world.”

This page will be growing daily in the run up to Adelaide Fringe, so visit us regularly.

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NEW! Audio Interview: Theatre in Threes: Paul Levy talks to John Hinton about Scientrilogy


Our coverage for 2018 is below. Our coverage for 2018 is now over.

Top Ten Fringe Choices

Administrator, theatre-goer and recently launcher a Tour Booking company, Amie Kendall shares her Adelaide Fringe Top Ten

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The Tragical Life of Cheeseboy – Theatre
Driftwood – Circus and Physical Theatre
John Hinton’s Scientrilogy: The Element in the Room – Theatre
The Bacchae – Theatre
Peter Combe and the Juicy Juicy Green Band – Live it Up – Music
Aphrodite and the Invisible Consumer Gods – Theatre
Paul McDermott and Steven Gates Live! – Music
Have You Tried Yoga? – Theatre
Robbie Kay – Impossible – Magic
A Modern Guide to Heroism and Sidekickery – Theatre

(There are many other unmissalbe shows at Adelaide Fringe – this is Amie’s personal selection).


I want to see …  at Adelaide Fringe

Here is our quirky but highly useful show-finding tool…

I want to see…

Theatre and Drama

Your Bard

… a theatre piece on belief. Then see Séance

… some solo Shakespeare in a pub. Then see Your Bard

… some acclaimed modern historical theatre. Then see Gratiano

… some solo theatre FringeReview rated as Outstanding. Then see Shell Shock

… theatre from the First World War. Then see Anthem for a Doomed Youth

… a play which will challenge audiences to contemplate the choices that young adults make and their devastating repercussions. Then see Truth

… some highly recommended (by FringeReview) spoken word theatre. Then see Wordshow

… a site-specific murder mystery dinner show. Then see Murder in the Wine Cellar

… some spoken word performance –  a powerful true story of survival, loss and hope. Then  see Between the Crosses

… a presentation of concert arrangements of Negro Spirituals interwoven with spoken slave narratives in a new kind of lecture-recital format. Then see Narrative of a Slave Woman


Dance, Circus and Physical Theatre

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… a heart racing display of phenomenal high risk arts from around the globe. Then see Fuego Carnal

… a  full length contemporary dance work. Then see Con Tempus

… some acrobatics we thoroughly enjoyed at Brighton Fringe. Then see Elixir

… some sensual, aerial rope work. Then see Peer Rope Adelaide

… some early evening, experimental dance, performance art. Then see Fragmental

… award-winning text, movement, virtuosic dance, and song. Then see Castles

..  gravity-defying, adrenaline pumping fun for all ages. Then see Attrape Moi!

… a colourful combination of circus, physical theatre and paint. Then see Hand in Hand


For children and family

Dinosaur Time Machine

… some circus for all the famly. Then see The Circus Firemen

… some slapstick and silent clowning. Then see Kaput

… a show about dinosaurs for 3-9s. Then see Dinosaur Time Machine

… a show full of wacky thingamabobs, naughty puppets and madcap clowning. Then see Loose Ends

…  jaw dropping circus skills, mad capped antics and kooky comedy. Then see The Mr Spin Show

… some balloons. Then see Balloonatics

… some Latin cabaret. Then see Mojito! The Hemingway Cabaret


Cabaret and Musicals

Shirley Gnome: Come Again?

… some burlesque. Then see Burlesque by Force

… a high-energy, emotionally charged cabaret that challenges the perceptions that ‘mental illness’ is a dirty word. Then see It’s Not Easy Being Green

… a cabaret about May Winehouse. Then see Amy, Amy, Amy

… some acclaimed solo cabaret. Then see Shirley Gnome: Come Again?

… a show about transformation, acceptance, identity and self love. Then see Finding Me

… spoken word and soaring live music. Then see Orpheus

… some Motown. Then see The Motown Story



I'm Fine!

… some dark improv with a difference. Then see Improv Against Humanity

… a showcase of international comedy. Then see Best of Adelaide Fringe: International Comedy Showcase

… a revolving line-up of great international & Australian comedians of all shapes, sizes, genders, sexual orientations & styles with their best material based around that most hilarious subject and most noble of all pursuits, shagging! Then see Shaggers

… comedy about Anxiety. Then see I’m Fine!

… some absurd character comedy. Then see Maggot

… some Edinburgh-hit female sketch comedy. Then see The Kagools; Kula

… a comedy show about Trump. Then see Trumpageddon

… some comedy history. Then see That’s a Fact That’s Not Fun

… some improvised Harry Potter. Then see Unplotted Potter

… a  one man drama about a soldier’s journey from the streets of Melbourne to facing the Japanese war machine at its prime. Then see Kokoda

… some acclaimed solo theatre. Then see Nikola and I

… the incredible life story of Marie Curie. Then see John Hinton’s Scientrilogy – The Element in the Room

… an Adelaide debut from an award-winning comedy performer. Then see Nicky Wilkinson: Happy

… some late night comedy. Theh see Late Night Comedy at The Producers


Read Comedy.com.au’s top comedy picks here.

We’ll be adding more shows in the run up to, and during the Fringe.

Adelaide Fringe Link Collage

Here’s another way to choose a show at Adelaide Fringe.

Use your instincts and click on an image that draws you and you can reveal the show behind the image. Then get booking…

Sip'n & Sup'n: A tapestry of space, place & words Scaled once were pirates hero Bromance

Aphrodite and the Invisible Consumer Gods The Tragical Life of Cheeseboy Monsteria

Eleanor's Story: An American Girl In Hitler's Germany Under the Covers: Volume 2 Magic on the Edge - The Mystery of Magic

Dickinson's Room Carried Away Hand in Hand

My Brain is a Dick Have you tried yoga? The Door

Time and Machines - gymnastics in motion Parade of Light: A Balloon Dog's Life Red Bastard: Lie With Me

The God of Carnage BETWEEN THE CROSSES Bromance

The Bacchae A Tribute to George Harrison Exposing Edith

We’ll be adding more shows in the run up to, and during the Fringe.

Adelaide Keyword Chaos


We’ve selected evocative phrases from Adelaide Fringe.

Click on the ones that intrigue you and you might just find the show you need to see…

“This is her story. It’s sad and funny, familiar and surprising, not self-righteous or guilt-ridden but complex and truthful. Come sit by the pool, put your feet in the water, and listen.”

“With his two wives and mum on piano, and guest rapper MC Squared, he quantum leaps us through two world wars, two theories of relativity, and the deployment of two very big bombs.”

“whose life is a series of disasters somehow turning into unlikely triumphs. No gimmicks, no dead Dad, no props and no flipcharts. “

“Al can’t sleep. When his mind drifts off, it creates an endless stream of ideas and projects, each more absurd than the last.”

bring a blank canvas to life and reveal in our innate need for human contact.

“They would stare at the stars. That’s how they reminded themselves that there was hope. Because as small as they look. And sometimes not visible. They were there.”

“Over one long night, a bitter battle over the family property rages between them.”

“Should I get married? Should I donate sperm? Why do night markets exist? Why do people play mixed-netball? How the hell do you pronounce acai bowls?”

“The world is harsh and cruel and even harder without true friends. So why not imagine them? “

“The Mediterranean, 2017, rough seas. An ageing fishing boat is sinking fast, under the weight of refugees. As it dips lower in the water, one young Syrian is panicking. She can’t swim. And she’s six months pregnant…”

“takes a children’s fight out of the playground and into the loungeroom, serving up political incorrectness like cold clafoutis”

“With a resume that looks like a list of highly questionable life choices, from Croatian Busker, Australia’s Worst Tennis Tour Guide, Old Timey Nursing Home Singer to Magic Salad Fingers”

“Bodies entangled in rope are pushed off balance and props are stolen mid-trick, water spilt and apples split.”

“Behind the masks we wear each day, is it possible to overcome grief by revealing who we really are or does it destroy everything we know about ourselves and each other”

“Feast your eyes upon the depravity, triumphs and utter hilarity of the underprivileged in a vivid and fast-paced ride through a working class estate which fuses Shakespeare-inspired lyricism with cockney accents.”

We’ll be adding more shows in the run up to, and during the Fringe.


Adelaide Fringe Trailer Dive In

We are sharing some video trailers for Adelaide Fringe shows, ones that have caught our eye.

Just click on the link to get off the page for a few minutes…

It’s only Life


Anya Anastasia: Rogue Romantic

The Gizmo

Parade of Light


We’ll be adding more throughout the Fringe.


Producer, writer and performer, Tim Marriott from Smokescreeen Productions, talks about Mengele

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What’s the theme of your show?MENGELE is “an expose of a charming manipulator and sociopathic narcissist” (Broadway World). Set on the beach where the notorious doctor of Auschwitz, Josef Mengele, drowned in 1979, the play imagines him drawn ashore to confront what he assumes to be a local peasant, who cajoles, flatters and encourages him to talk about himself. Ultimately the pay makes uncomfortable comparisons past and the present and offers a warning form history of where buying into bigotry and hatred can take us.

What’s new or unique about the show?Placing a real life character in an imagined situation, the play is stylised and highly dramatic, set against a backdrop of carefully constructed archive and creative film footage. Developed with support from Holocaust charities the play seeks to be educative in highly engaging and dynamic style.

How did the show come into being?

MENGELE was commissioned by the publishers of Phiiip Wharam’s novel ‘Right to Live’, which follows Josef Mengele’s life in hiding, and is created with support and advice from the Holocaust Educational Trust whose mission is to educate young people from every background about the Holocaust and the important lessons to be learned for today. As Auschwitz survivor Lydia Tischler put it: “the best way to remember it would be if people could learn from this… because the potential for destructiveness is in all of us”.

Describe one of your rehearsals.

Rehearsals are largely practical. The piece is essentially a two handed conversation, part psychological thriller, part subtextual theatre of menace. It is therefore, by definition, an intellectual exercise for actors and director to make sure that every nuance and gear change is physically and vocally realised. Initially time may be spent in text realisation, identifying the units of action and the gear changes and then translating this into vocal and physical articulation. But ultimately, we have to let the words do it for us, so the objective is to learn them and avoid bumping into the furniture!

How is the show developing?

The show was previewed in a tiny venue at the Edinburgh Fringe for a limited run of seven shows. I tried to avoid performing it myself, as I had not performed in 17 years, but Philip Wharam would not let me off the hook and reminded me that the deal was not just for me to write the script but also to perform the character. We were lucky to be ‘discovered’ and received 5* reviews and a ‘Fringe Encore Winner’ award to perform in New York. Two weeks performing there to a largely Jewish audience was deeply affecting and resulted in us receiving the endorsement of the Amud Aish Holocaust Memorial Museum

How has the writer been involved?

Philip Wharam has been terrific. He gave us a completely free had to adapt his work and has never once offered any negative criticism or block. He drew up a meticulous itinerary for our research trip to Krakow, providing copious notes and advice on how to spend our time at Auschwitz, Birkenau, the Schindler Factory and Jewish Quarter. He travelled to initial rehearsals and, being a novelist not a dramatist, largely restricted himself to observations of factual, biographical or practical nature whilst always being encouraging of the creative process. Script drafts flew back and forth across the internet with copious notes and suggestions, always supportive, never defensive. He continues to attend as many performances as he can and continues to offer observations and insights that are illuminating and helpful.

How have you experimented?: We have experimented with a cinematic style where on screen action underscores and supports on stage action. The live performance is juxtaposed against film footage, which gives the audience historical perspective but also release from the wordplay in the script and intensity of performance. The play is classically structured in three acts, so the projections offer an inter-act contemporary interpretation of the Greek chorus, hopefully achieving the same affect of commenting and enhancing the subject matter of the play.

Where do your ideas come from?

The play itself is informed by Phil’s novel, historical research and our visit to Auschwitz. The style is inspired by classical theatre but also deliberately evocative of the ‘Angry Theatre’ of the post war era, particularly the subtextual Pinteresque ‘theatre of menace’. Returning to theatre after a long break, I want to create theatre of impact that provokes conversations and encourages analysis of the human condition that goes deeper than a 140 character tweet… the play is therefore occasionally laced with homage references… or derivative theft, depending on how you look at it!

How do your challenge yourself or yourselves?

The subject matter itself is hugely challenging. The obligation to history immense and the responsibility to get it right weighs heavy on all involved. The play is essentially a painful dissection of the sociopathic mind and ultimately a condemnation of one of the most notorious war criminals ever. Performances in Edinburgh and New York have been attended by survivors and relatives of survivors and it is vital that we fully respect that hugely personal and massively important history that is their, and our, heritage. There is a responsibility to respect personal testimonies and collective experience of those who suffered and continue to suffer as much as to offer a warning from history.

What are your future plans for the show ?

None at the moment beyond the Adelaide Fringe. It would be great to take this play to a wider audience and have the opportunity to do so, but at present that lies in the hands of others. I guess that means… watch this space?

What are your favourite shows, and why?

Well, we are at The Bakehouse in Adelaide as part of the Lest We Forget Season presented by Guy Masterson, so we are excited to be a part of that and to see the work of others being presented by Guy within that marvellous venue. But we are also aware of the terrific work that is locally produced and are looking forward to seeing as much of that work as we can. I know Adelaide’s Joanne Hartstone has a number of shows that she is presenting including her own performances and having seen her work in Edinburgh, would heartily recommend any show that bears her name

Show dates, times and booking info:

27 Feb
1, 3, 5, 7, 9, 13, 15, 17 March
all at 7.30pm
The Bakehouse Theatre, Angas Street, Adelaide
Book here

Company web site: http://www.smokescreenprods.com


Georgia Walkden from Baobab Tree Theatre Company talks about King Jack Queen


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What’s the theme of your show?

Our show explores the theme of university student night life, in all it’s liveliness; but also, the rarely acknowledged aspect of sexual consent.

What’s new or unique about the show?

The aim of our show is to use theatre to create true to life experiences, explore new perspectives, and challenge perceptions. This production tackles an often-misrepresented issue in society; sexual consent. We blur theatre and reality by inviting the audience to be a part of the show. The immersive nature of the piece provides the audience with a chance to get to know the characters, by playing a game, having a dance and getting involved in their night out.

How did the show come into being?

Our company director, Eloise Bonney, first created the character Danni at the Cartwright Drama Studio as a short, two minute monologue. The feedback to Danni’s story and the subject of sexual consent was raw and engaging. It was this feedback that transformed the project into what is now; King Jack Queen.

Describe one of your rehearsals.

Our rehearsals begin with a warm up that involves a game of some sort, followed by tongue twisters to warm our vocals. We go through some character development and team building skills to ensure Danni and Jack’s relationship is strongly maintained. We then do run-throughs of the show for the remainder of the time. Because our show is an immersive piece and is different every time depending on the audience members, our crew plays different personalities to challenge the actors and allow them to practice many scenarios that may arise during the performance.

How is the show developing?

King Jack Queen is continually growing as a piece and is largely influenced by the audience feedback. Each performance has elicited discussions, opinions or personal stories from the public and the Baobab Tree team have carefully listened and interweaved these aspects into the play. This is important for the development of the show as King Jack Queen aims to be an honest portrayal of both characters in this situation rather than demonising them, continuing stereotypes or creating a plot line for dramatic effect.

How has the writer been involved?

After writing the play, Eloise approached Katrina Grier to direct it and since then they have worked together to take the play to an ever-growing audience. Eloise is also an actor in King Jack Queen. Once she handed the script over to Katrina for her input and direction, Eloise took on the role of Danni and left the role of the writer behind. Any changes from the original script have been devised through company collaborations which have helped to develop and improve the story.

How have you experimented?

After writing the original monologue for a showcase, Eloise was invited to perform the piece at SASS; an event in London promoting body-ownership and tackling sexual assault. Removing the restrictions that come with fitting the piece into a showcase allowed Eloise to experiment with the boundaries between the audience and the characters. Eloise explored finding the balance between the audience involvement, the characters telling this important story, and how to use that to question common perceptions of the stories we often hear in the media. Making it intimate and personal means it is a continuous experiment with every new audience.

Where do your ideas come from?

Eloise’s ideas for the initial monologue were built up over time; creating a character and story around a typical university student night out in the UK that ended in an act of betrayal by her best friend. After settling on exploring the “grey area” around sexual consent she started reading articles about cases of sexual assault and the personal stories behind the news reports. She also began to listen to people’s reactions and opinions to these stories which often come under heavy criticism or a lack of empathy.

Much of the feedback from the monologue included people telling their real stories about similar events, this inspired the development of the original story. Eloise began to ask herself “what would those people think if they had seen what happened and they knew both people that were involved?” This was the turning point that motivated the move to present the play as an immersive performance. Since then, she has been aided by continuous feedback, real stories, and the book ‘South of Forgiveness’ by Thordis Elva and Tom Stranger.

How do your challenge yourself or yourselves?

We are consistently having conversations and keeping up to date on current affairs relating to sexual consent, for example the recent campaigns such as #metoo, Draw a Line, and Times Up Now. We challenge ourselves to look at all points of view, including the perpetrators, in order to best educate ourselves and figure out how we can further develop our show in a sensitive yet significant way. It has been rewarding, but also challenging when hearing feedback from audience members, especially when they are expressing some sort of relation to the event that took place. At times the work we are doing can be overwhelming and confronting, but it is also meaningful, valuable and most definitely worthwhile.

What are your future plans for the show ?

We are currently developing our show even further and creating a workshop to run alongside the performance that would be appropriate for university and college students. We are in the process of doing this and are working with two universities to put our plans into place. We want to have safe and open conversations with young people about sexual consent to provide them with a new perspective of this issue that is too commonly silenced in our society.

What are your favourite shows, and why?

I love theatre that is captivating, has a twist at the end and gives you that “AHHHH” feeling when everything falls into place and makes sense. My favourite show would have to be Angela Betzien’s, The Dark Room. It is brilliantly written and I love the way the characters’ lives are separate, but all weave together. It made me laugh, cry, jump, shudder, sigh relief, and I appreciated the way they pulled off giving the audience an insight to the darker side of life.

I have also included a short answer from Eloise and Katrina (Director):

Eloise: I love theatre that teaches me something in a creative way and leaves me amazed. CELL by Smoking Apples is up there in my top contenders. It tells a story of a man, Ted, who gets diagnosed with Motor Neurone Disease and then goes on a trip of a lifetime, using puppetry and physical theatre. It made me laugh and cry and the visual representations of the disease spreading through his body are very powerful. But on the flip side I also love a great musical like Chicago!

Katrina: I’ve seen a few brilliant productions but one that sticks out in my mind is Second Shot Productions ‘Glory Dazed’. The show was developed with ex-serviceman prisoners and examined what life is like for a serviceman returning home from a warfront. It was a powerful and honest piece that actually inspired me to pursue a career in applied theatre and will always be with me.

Show dates, times and booking info:

February 28th: 6.30pm
March 1st-3rd: 6.30pm and 8.30pm
March 4th: 4.00pm and 6.30pm

Danni’s Apartment
140 Gouger Street, Apartment 7, Adelaide, SA 5000.

Book here

Company web site: http://www.baobabtreetheatre.co.uk/


Tim Marriott, writer, producer and performer from Smokescreen Productions (see above for his interview about Mengele)  talks about Shell Shock: The Play









What’s the theme of your show?

SHELL SHOCK was commissioned as a stigma reducing, early intervention piece on the theme of Post Traumatic Stress Disorder (PTSD).

Framed as a solo show, a conversation with the audience, it follows the experience of one old soldier, returning to civvy life and NOT having PTSD… as far as he’s concerned, there’s nothing wrong with him, it’s just the rest of the world that is at fault…

The play is humorous, but follows a dark path as his frustrations and anger at the world spiral into the confusion and conflict of Post Traumatic Stress through to the dysfunction that is Post Traumatic Stress Disorder.

What’s new or unique about the show?

Many companies have tackled PTSD in fictional recreations and verbatim theatre. However, this show is unique in it’s combination of authenticity, being based on an ex-squaddie’s diary, and the direct, conversational, confessional style of delivery. Also in that it focusses not on life in military service, but long afterwards where PTSD most often strikes.

How did the show come into being?

We were approached by the publishers of ‘Shell Shock: The Diary of Tommy Atkins’ by Neil Blower to see if we could adapt his work into a stage show. Having seen a simply superb solo piece adapted by Alan Rickman from a blog of a US volunteer in Palestine (‘My Name is Rachel Corrie’), the story telling, confessional style of the diary was immediately attractive as was the devastatingly tragic story of the central character, thankfully, in Shell Shock, resolving itself positively. The play is supported by a number of military and mental health charities who have been most helpful in the development of the piece as have a large number of former service personnel who have given up their time and energy to meet with us, attend rehearsals and open up about their own experiences. We are deeply grateful to Help For Heroes, Heads Together, Talking2Minds, The Armed Forces Network, Combat Stress and Stand Tall for PTS in Australia for their support.

Describe one of your rehearsals.

A solo show is obviously difficult and challenging to sustain. Breaking the diary down into evenly distributed events or chapters and then punctuating the story with the ebb and flow of lighter and darker moments was the first objective. We used the company signature cinematic style to create a backdrop of audio visual footage taking us into the mind of the protagonist and piecing patterns of stage movement into these ‘headings’ was an operation of intricate choreography and orchestration of military precision!

How is the show developing?

Well… it began as a performance piece for a younger actor who did wonderfully well at the Edinburgh Fringe, achieving great notices and audience feedback. But just prior to a tour performance circumstances forced us into a recast at very short notice and writer/director Tim Marriott had to hastily rewrite the piece as an older character and go on stage at a day’s notice. However, the response was terrific.The poignancy of an older soldier, after a long service career, raging at the world that offers him so little in his ‘retirement’ was doubly tragic and affecting, so this is the version that we are now touring.

How has the writer been involved?

Neil Watkin (writing as Neil Blower) has been hugely generous in allowing a free adaptation of his work. He has been involved in authenticating the script, advising on technicalities and attending script meetings in London as well as being a great ambassador for the project wherever he goes.

How have you experimented?

We have immersed ourselves in the work. Writer, director and performer have spent significant time in Help for Heroes Recovery Centres talking to those affected by PTSD and those who offer support. Staying in barracks and attending training in military garrisons in Aldershot and Plymouth and interviewing senior officers alongside the ranks offered verbatim material and surprising doses of healthy military humour, though most of that of a nature that we could never put on a public stage!

Where do your ideas come from?

From the diary and interviews with service personnel, medical staff and health providers as well and personal experience of failing to cope with stress and trauma.

Tim, how do your challenge yourself?Placing Neil’s deeply personal story on stage is a challenge in itself. The responsibility of illustrating the descent through PTS to PTSD is immense, making it accurate and affecting to encourage potential sufferers to open up and share is a difficult and exacting challenge but so worth it when it works.

What are your future plans for the show ? There’s clearly an education element here.

There are further plans to tour to schools, behind the wire to military centres and to public theatres as a part of the continuing campaign in the UK to bring the often hidden condition of PTSD out into the open. We have been invited to attend the Invictus Games in Sydney in September and it is hoped that this will kick off a wider tour of Australia and New Zealand.

What are your favourite shows, and why?We are presented in Adelaide by Guy Masterson, Theatre Tours International, as part of the Lest We Forget Season. The performances in this season chart the affects of conflict across the last 100 years, with WW1 and WW2 pieces through to the present day in Shell Shock. I’d recommend any of these shows as essential in learning the lessons from history and avoiding repeating the mistakes of the past.


Show dates, times and booking info:

26, 28 Feb
2, 6, 8, 10, 12, 14, 16 March
all at 7.30pm
The Bakehouse Theatre, Angas Street, Adelaide
Book here.

Company web site: http://www.smokescreenprods.com


Writer and Performer Al Lafrance from Thunder Blunder talks about  I Think I’m Dead

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What’s the theme of your show? The show discusses insomnia, parallel universes, and my inability to make optimal life choices. It talks about professional wrestling, natural disasters, and serious mental breakdowns. Laughter guaranteed!

What’s new or unique about the show?

I have a particular style of comedy that has a huge storytelling spin to it. Plus, I’m one of the few Canadian insane enough to come tackle this gigantic festival!

How did the show come into being?

Decades of sleep deprivation lead me to start creating work based around my sleep issues. I was doing regular spots in Montreal, telling stories, and I realized that so many of them had come into being because of my failing health – enough to build a show!

Describe one of your rehearsals.

My rehearsals are mostly me pacing around in a small room, looking at a clock and making sure I’m getting the pacing right. Plenty of coffee is involved, some swearing, and the occasional air guitar rockout breaks.

How is the show developing?

It’s been growing for the past few months – I’ve done it about 30 times now across Canada, and a few times in Australia (where I had to alter some referential material that just didn’t make sense here) and now it’s finally at a place where I think I’m nailing it. And the audience feedback has been tremendous – I’ve had people break down in tears and hug me after the show, I had one person pass out during a segment, and one person had to step out because they got caught in a bout of laughter that just wouldn’t stop. Can’t complain about any of those!

How have you experimented?

Mostly, I played with the level and type of audience interaction involved in the show, and at first I toyed with projection-based lighting, but in the end, I found other ways to draw focus where I need it to be.

Where do your ideas come from?:

How do your challenge yourself or yourselves?

I challenge myself by having no boundaries on stage. I’ll talk about anything personal, as long as it’s interesting for an audience, doesn’t hurt anyone else who was involved, and has the consent of any other humans involved in any story I tell. It becomes challenging to open up as much as I do to a room full of strangers – if they reject me at my most raw, how am I supposed to handle that? That’s a question for my therapist, not you, sorry.

What are your future plans for the show ?

After this, the international tour continues! The show heads back to North America for a few months, and then off to Europe in the fall. Gotta keep moving along!

What are your favourite shows, and why?

I love to see shows that reek of honesty, but are efficiently executed. That’s what I try to reflect in my own work, anyhow. But I also generally adore the absurd, and the dark. When I see a show, I want to be fascinated at every turn. It’s hard to pull off, and when it’s done right, it’s unreal. 🙂

Show dates, times and booking info: Feb 19-25, 7:15PM, at Tuxedo Cat.

Tickets 20$ general, 15$ concession.

Book here 

Company web site: http://www.al-lafrance.com/

NEWS WIRE – Headlines from Adelaide Fringe

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13 Feb – Director’s UK blitz paying dividends for Adelaide Fringe Festival (The Australian)

10 Feb – Staging a show at the Adelaide Fringe Festival can be a costly business (Abc.net.au)

14 Jan – 8 Must-See 2018 Adelaide Fringe Events That Peeps Are Frothing About (Pedestrian)

3 Jan – 2018 Adelaide Fringe guide in Saturday’s edition of The Advertiser (Advertiser)


8 Dec – Adelaide Fringe releases monster 2018 program (The Adelaide Review)

8 Dec – 2018 Adelaide Fringe program ‘more inclusive than ever’ (InDaily)

8 Dec – Adelaide Fringe Festival Announced (Daily Review)