Festivals

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This collection include previews and reviews of Festivals such as The Adelaide Festival, The Fringe Festival, The Adelaide Cabaret Festival, Womadelaide and The Big Day Out.

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Affirmation For Tradition. Womadelaide 2004 [review]
(The Adelaide Review, 2004-04) Bramwell, Murray Ross
This year was going to be a testing one for Womadelaide. It was the beginning of annual stagings of the event and the first time, since inception in 1992, that it had been re-incorporated into the Adelaide Festival. Some of us predicted that this might be a bumpy change and we were quite wrong. Attendance figures show that Womad this year has been the best ever with figures of 70,077, up by several thousand on 2003 and around six thousand from 2001.
Big World. Womadelaide 2001 [review]
(The Adelaide Review, 2001-03) Bramwell, Murray Ross
Womadelaide Mark Six has come and gone and its remarkable continuity is again assured. The key to its success is clear. It is well-funded, well managed and has a modus operandi that not only works but is shared by the up-to-25,000 crowd that fills Botanic Park at its peak attendance. Few outdoor festivals enjoy the support that Womad has - from Government departments, quangos, NGOs, arts organisations, Botanic gardeners, St John, the police, caterers and stall holders, all the many contributors to its organisation.
Festival Fractured By Chaos. Adelaide Festival 2002 [review]
(The Australian, 2002-03-15) Bramwell, Murray Ross
The 2002 Adelaide Festival has been full of earnest innovations, sparkling surprises and reflective moments. It has also, for audiences at least, been an organisational shambles.
Fringe Benefits. "Adelaide Fringe Festival" Fringe Theatre. [review]
(Adelaide Review, 2004-04) Bramwell, Murray Ross
Those long lines down Angas Street, out of the Nova on Rundle Street and the big mobs around the Scott Theatre were all for comedy acts. Some were worth the wait - the eccentric Daniel Kitson, Lano and Woodley’s hypermanic slapstick on "The Island" and the slowburn Dave Hughes. Others such as Brit Com-edy and the usually staunch Rod Quantock were not. The first week is clearly the time to strike and the excellent "Horse Country" and "Cincinnati" were in and out before the Festival and Womad could start distracting the punters. Also in early was one of my favourites, UK act Peepolykus’s show, "Mindbender". With Sidekick Bernard and not-very-subtle audience plant, Raymond, Michael Santos (aka David Sant) is the Mindbender, reaching into the audience to tell us - Raymond’s radio mike permitting - our names, addresses and our deepest thoughts. It was hilariously cheesy with mime gags, palm readings, lounge music, big jewellery and no-one will forget Bonko, the gypsy bear. At the FringeHUB venue in the Adelaide Uni Union we saw a number of excellent shows over three weeks. Theatre Simple from Seattle served us well, particularly with "Notes From Underground" as did Fresh Track with "Morph" and "Songs For the Deaf".
Fringe Notes. "Adelaide Fringe Festival". [preview]
(Adelaide Review, 2002-04) Bramwell, Murray Ross
The press kit reminds us that there are 381 registered events, including 76 in comedy and 102 in theatre. There is also a huge visual arts and film and video program, the schools tour YEP event, regional programs, the ATSI indigenous arts project, special schedules for families and the Fresh Bait initiative for young artists.
Gems At Risk of Being Swamped. Adelaide Fringe Festival 2004 [review]
(The Australian, 2004-03-11) Bramwell, Murray Ross
With an estimated crowd of one hundred thousand cheering the opening night parade, a lively buzz at Rundle Park’s Garden of Earthly Delights, and, by yesterday, a gross of $2.9m and 163,000 in ticket sales, the Adelaide Fringe is a conspicuous success. Boisterous doppelganger to the Festival, the Fringe is second only to Edinburgh, and like its counterpart, not only continues to thrive, but is presumed by many to be the Festival itself.
Global Appeal. Womadelaide [preview]
(The Adelaide Review, 2004-01) Bramwell, Murray Ross
Womadelaide will soon be upon us: from 5 -7 March, to be exact. And, yes, it does seem like only a year ago. Now an annual fixture, Womad, this year, is tucked under the wing of the Adelaide Festival- as it was for its inaugural presentation back in 1992.
Gotta Get Out of Displace. Adelaide Fringe Festival 2004 [review]
(The Australian, 2004-02-24) Bramwell, Murray Ross
The first weekend of theatre in the Adelaide Fringe has opened strongly with a number of works interestingly clustered around the theme of imprisonment within the self.
Long Cool Drink From Brel's Well. Adelaide Cabaret Festival 2004 [review]
(The Australian, 2004-06-15) Bramwell, Murray Ross
With 26 performances of its two week program already sold out, the Adelaide Cabaret Festival is bringing a winter boost to the often dark Festival Centre. The opening weekend alone has some 11,000 punters in every nook and cranny of the building, eagerly grooving on musical styles from smooth soul, hip Cuban, and retro Broadway to contemporary Australian and French boulevard ballads.
Naked Observation to End Festival on a High. Adelaide Cabaret Festival 2004 [review]
(The Australian, 2004-06-25) Bramwell, Murray Ross
When you go to a show called Private Dancer what exactly might you expect? Dancer, performance artist, satirist and hostess, Wendy McPhee makes it very clear when she appears dressed only in a studded choker. After being captivated by the vivacious Micheline Van Houtem and her band Mich en Scene, the Cabaret Festival has to change gears for Paris Combo’s more eclectically cool style.
Over the Border. Melbourne Festival [Preview]
(Adelaide Review, 2003-10) Bramwell, Murray Ross
The Melbourne International Arts Festival opens this month from 9th to the 25th. This is the second year for Robyn Archer as Artistic Director and, because she learnt a great deal from her time at the Adelaide Festival, Melbourne is definitely the city to watch - and watch out for. Cloud Gate Dance Theatre of Taiwan, for instance, who featured here in 1998 and return in the first weekend with "Cursive II" incorporating calligraphy into their ravishing stage picture. Jan Fabre performed here nearly fifteen years ago but his work is still as controversial as ever. "I am Blood" is his sanguine investigation of all that bleeds. Other international acts include Dumb Type with "Memorandum", Lepage collaborator Marie Brassard’s "Jimmy", "Johan Pada" from Dario Fo’s Teatrale Fo-Rame and from Austrian- based Barry Kosky - "The Lost Breath", a work blending the stories of Kafka with the music of Schumann.
Simple Strength Betters Virtuosity. Adelaide Festival 2004 [review]
(The Australian, 2004-03-09) Bramwell, Murray Ross
The eyes have it for theatre at the Adelaide Festival. Toronto’s CanStage even opens its accomplished performance of Gogol’s sardonic story with projected titles - just like the movies. Anyone familiar with the vibrant colours and evocative details of Ngarrindjeri man, Ian W. Abdulla’s paintings will be especially drawn to Windmill’s new work, Riverland.
Womadelaide Previewed. Womadelaide 2001 [preview]
(The Adelaide Review, 2001-02) Bramwell, Murray Ross
It is February and the “off-year” for the Adelaide Festival, so it must be time for Womadelaide. This is the sixth incarnation -including the Pimba train ride and the McLaren Vale boutique version in 1998 - and expectation is now higher than ever. This event has come a long way since its inception as part of the 1992 Festival of Arts.
The World To Come. Womadelaide 2003 [preview]
(The Adelaide Review, 2003-02) Bramwell, Murray Ross
Womadelaide celebrates ten years next month and it is now a leading fixture on the city’s cultural calendar. In 2004 Womadelaide comes full circle. Established in 1992 for Rob Brookman’s Adelaide Festival of that year, it will again be incorporated into the program of the Adelaide Festival and organisers will be hoping that the 34% of the Womad audience who travelled from interstate and overseas in 2001 will, next year, stay around longer for some Festival and Fringe consumption as well.

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