by Colin Thomas | Sep 11, 2022 | Review
Playwright Bill Marchant’s Summer Teeth is an odd assemblage. It starts with one of the most riveting monologues I’ve heard in ages. The givens are that we’re in a post-plague near-future somewhere along the Pitt River in what seems to be a rural community. At least...
by Colin Thomas | Sep 11, 2022 | Review
It starts off charmingly. In The Disney Delusion, which he describes as “an (unfortunately) true story”, playwright and solo performer Leif Oleson-Cormack describes a romantic misadventure from 2008. Although he had an MFA in playwriting by that time, he had never...
by Colin Thomas | Sep 10, 2022 | Review
My bet is that artists are more likely to get away with this kind of nonsense on the fringe circuit, where audiences are more predisposed to giving it a pass as “artsy”. But Ha Ha Da Vinci is just very badly made. Phina Pipia, who wrote and performs this piece, plays...
by Colin Thomas | Sep 9, 2022 | Review
In Every Good Story Ends With One, well-loved Fringe performer Martin Dockery tells the story of a humiliatingly bad run he had at the Adelaide Fringe Festival, a run that was miraculously saved by an ardent — and anonymous — fan who sent a series of letters and small...
by Colin Thomas | Sep 9, 2022 | Review
Okay, first off, why is TJ Dawe not aging? Dawe’s lanky self comes striding out onto the Waterfront Stage and it’s like he hasn’t aged in the last 35 years. Second point: It’s a pleasure to watch such a seasoned pro having so much fun. In his surreal stand-up show...
