2002
Reviewed by Murray Bramwell

Things were always going to go well for the Fringe this year. Everything, from the logo launch of that underdog-looking little bambi to the setting up of its ambitious on-line ticketing, had an assurance and energy about it. This not only came from director Katrina Sedgwick, CEO Jodie Glass and an army of workers and volunteers but was evident in the vibrant response from an Adelaide crowd looking for something more edifying, and certainly more …

2002

Shut Up and Love Me
Karen Finley
Union Hall, Adelaide University until 15 March.
Bookings FringeTIX 08 8201 4567. All tickets $36.
Brisbane and Sydney dates

Murray Bramwell

The Adelaide Fringe has been going gangbusters. Already a week ago, more tickets had been sold than 2000 – an increase of forty percent – and, running seven days after the truncated Adelaide Festival, that margin is likely to increase.
Especially with imaginative local work such as Fresh Track’s production of …

2002
Reviewed by Murray Bramwell

The Fringe is in full swing for 2002. Even before the Friday night Opening Parade, which attracts a crowd upwards of fifty thousand, plenty of venues are well under way. At The Garden of Unearthly Delights in Rundle Park East, the Amazing Lunar Tent has already opened for circus biz while the Spiegeltent, which made its first appearance in Australia in Adelaide several Fringes ago, has again opened its elegant Edwardian doors for a full …

2002
APA presents

3 Dark Tales
A Theatre O production

Melbourne – Merlyn Theatre
February 11 to 20, 2002
Box Office 03 9685 5111

Adelaide Fringe Festival
Adelaide – Scott Theatre
February 22 to March 9, 2002

Bass 131 246 www.bass.sa.net.au
or FringeTIX www.adelaidefringe.com.au

The Company
Director Joseph Alford
Designer Isla Shaw
Choreographer Eva Vilamitjana
Lighting design Sarah Coxon

Stories by Joseph Alford, Jon Rand, Carolina Valdes
Lucien MacDougall and Sarah Coxon

“O,o interj. An exclamation expressing surprise, admiration, pain, …

Adelaide Fringe 2002
Previewed by Murray Bramwell

The Adelaide Fringe is a remarkable event, for its size, its energy and, especially for the opportunity it offers artists to reach their audiences. That has not been happening with much vigour in Adelaide of late. There has been less activity in the performing arts in the past two years and the link with audiences has often been a tenuous one. For any number of good and terrible reasons, people seem to have …

Fringe Reflections

Murray Bramwell

Since its relocation in the Rundle Street precinct the Festival Fringe has, seemingly, had a charmed life. But I say seemingly, because sometimes in among the razzle dazzle it is hard to work out exactly what is actually going on. In identifying the success of the Fringe you wonder, in the words of the poet, how you might tell the dancer from the dance ? There is certainly a lot of action in town. The nights …

The 1996 Adelaide Fringe program lists sixty-two entries under Theatre, not including another ten or so roosting under the heading of Comedy. The range is huge in both style and quality. There are a variety of spins on Shakespeare, revivals of classics such as Marlowe’s Edward II and Buchner’s Danton’s Death, as well as productions of contemporary playwrights Wallace Shawn, Edward Albee and Stephen Berkoff. There is also a gratifying array of new and self-devised work.

Lotus War , written …

The Festival Fringe is always a bit of a chook raffle. With hundreds of events programmed, many with bizarre titles and uncertain provenance, it is difficult to know which is the best investment for the hard-earned rouble.

Daily reviews and colosseum star-ratings both hinder and help but more often it is the halitosis, or otherwise, of word-of mouth which decides. It is an unpredictable business, full of surprises – some delightful, some excruciating beyond measure.

This year’s range has been …

The Adelaide Festival Fringe really exceeded itself this year. More than 240 events were programmed in nooks and crannies all over Adelaide in a remarkable showcase of performing, visual and community arts. Much of the action was at the Living Arts Centre, the former Fowler’s Lion factory in Morphett Street which despite some well-meaning CEP sprucing still looked like a particoloured abattoir. However, regardless of the spartan venues and the inevitable difficulties of determining which part of the catacombs was …