Performing her first one-woman cabaret show, local artist Nicole O’Rielley played to a sold out crowd last week at La Bohème.
Befittingly titled Publicly Private, O’Rielley unravelled some of the more vulnerable moments of her life by wearing it as a badge of honour. Through a series of quirky and heartfelt songs, her talent and passion was clear right from the get-go.
Sista Girl, presented by the State Theatre Company of South Australia and Yirra Yaaakin Theatre Company, is running at the Space Theatre from May 30 until June 3.
Elena Carapetis and Alexis West’s original theatre show depicts how two long-lost sisters are introduced to each other after the recent death of their father. Initially, they are strangers, but soon begin a challenging discussion that develops into a deep familial bond.
Presented at the ASSP Gallery, in association with the 2017 Adelaide Fringe from 17th February – 19thMarch.
Nestled in the heart of Port Adelaide, owner Sue Smith wholeheartedly welcomed her audience to the rather petite, though nevertheless beloved ASSP Gallery to view Dianne Vanstone’s latest exhibition, Faces of the World.
Suspended by hooks and thread across the gallery walls were a collection of oil paintings, depicting the intriguing narratives of both humans and animals. Each piece of art is united by their ability to convey cultural stories through facial expression. Vanstone, 64, uses her artistic abilities to create awareness by providing a voice to those who cannot express it.
She claims to have been inspired by the naivety of children and the matured intelligence of the elderly. This is particularly evident through the visually striking piece Wisdom, where splashes of colour surround the face of a matured Asian man. The vibrant approach generates an air of mystery, as viewers are left to ponder about his existence and intellect.
A rather emotive piece in the collection, entitled Stillness, portrays a giraffe hunching its body, with eyes of despair. The use of dark browns and pastel blues throughout the piece are intended, it seems, to illustrate the vulnerability of the animal before a tragic and untimely passing.
This is reminiscent of the Copenhagen Zoo controversy, where a young male giraffe was shot and dissected in front of a large crowd after it was deemed to be genetically unsuitable for breeding. This was despite offers from other zoos to rehouse the giraffe and public outcry.
Besides oil painting, Vanstone also works as a children’s author/illustrator and a self-employed art tutor. So, it becomes evident how utilising her skills to broaden the scope of opportunity was significant in her success of becoming an established and recognised artist.
Associating herself with the ASSP Gallery and the 2017 Adelaide Fringe, Vanstone was able to use these platforms as an outlet to showcase her works to a wider audience.
Both the gallery and the Fringe welcome emerging and established artists alike to showcase their talents, or volunteer their time to offer support and gain experience.
To arrange an appointment with the ASSP Gallery to show your portfolio, or to volunteer, contact them by telephone at (08) 8240 2686 during business hours, or by email firstname.lastname@example.org
Registrations for the 2018 Adelaide Fringe will open in August 2017. Artists will be able to apply via the Adelaide Fringe website.
To submit an application to volunteer for the Adelaide Fringe, applications open in November 2017 via their website.
Joanne Murray-Smith’s Hedda Gabler observed how the fundamentals of gender roles, social interaction and status are significant today as are they were in 1891.
While maintaining a balance of relevance and tradition in this contemporary adaption to Henrik Ibsen’s classic Murray-Smith has, unfortunately, left her audience in a colourless time-lapse, before the play’s tension-building climax.
Allison Bell’s (Hedda Gabler) portrayal of perhaps theatre’s most destructive and authoritative female leads, was a glass half empty. We are introduced to her deciphering the position of a settee, as she continuously shuffles it across the stage in a frazzled state of mind.
Despite this initial slice of mystery, she seemed to lack the same kind of flair her previous roles in theatre were able to deliver. Her overly monotonous tone and careless demeanour made the audience detach from her persona, as they struggled to find a relating quality.
Although, it became rather amusing to witness how Gabler was able to manipulate those around her for shear pleasure and to disturb the order of her bleak inhabitancy.
In contrast to Bell’s tedious depiction, the lighting (Geoff Cobham) and sound (DJ TR!P) production succeeded in diverting their audience from the long and tiresome scenes through thunderous strobing effects and heart-pumping techno music, implemented between significant plot points.
This seemed to be an attempt to visually depict the chaotic mindset of Bell’s role, as the insanity became more rigorous and prevalent throughout the performance.
The set design (Geoff Cobham) showed a Norwegian winter, with lifeless trees in the backdrop of a room with minimal sophistication. A desk and chair, with a settee were the only pieces of furniture utilised on the stage.
Furthermore, the complexity of the dialogue failed to achieve clarity as interest was misplaced in the unstable and long-winded chatter between these mundane personas, who ultimately lacked vibrancy.
Even so, the aftermath of Gabler’s suicide was conveyed rather poorly and lessened the impact of the play’s culmination.
With that said, the unsettling accuracy in Bell’s dialogue persists to linger with you beyond the space of the theatre as you are left to reconsider certain aspects of your life.
State Theatre Company of South Australia Hedda Gabler By Henrik Ibsen | adaption by Joanna-Murray-Smith Director Geordie Brookman Venue: Dustan Playhouse Dates: 26 April – 18 May, 2013