Sunday Night In #8 (the Adelaide Fringe Edition #3)
Plus a few other bits and pieces
Dear Sunday Night In friends
I know it’s nowhere near Sunday, but I was flat out over the weekend with extra sessions of Stitches as well as the opening of Pearls (Unstitched) my visual arts show (do come along, it’s free and the gallery is open every weekend until the end of fringe). Then yesterday I had to water the garden because it’s been so very dry for so very long (I’m afraid the avocado trees are probably a lost cause—again). Covid is still messing with my energy so that’s pretty much all I could do before I was back on the couch.
I still wanted to put an issue out this week, because things come and go so quickly at this time of year. So herewith Sunday Night In (on a Tuesday). It’s about Adelaide Fringe of course, but I’ve included links to other theatre and literary happenings, because there is life to the arts outside fringe!
ADELAIDE FRINGE
My focus is on local artists in theatre and storytelling simply because that’s what I know about. But do take some time to look through the guide for artists and companies who might pique your interest. It’s a huge opportunity for audiences, from the spectacle of the circus to the quiet one-person performances, whatever your mood on the day there will be something that fits exactly what you need.
One of the great things about putting on a show is the backstage and dressing-room glimpses of other people’s shows. In my space, we all respect each other’s space and boundaries, with not too much chatter because everyone is in their own zone, but enough to see the thought and work and love that has gone into bringing their shows to life. This year, I’m on before and after Sarah Kwong who is presenting her one-person show, Daughters of Eve. We stayed on to watch after my show on Saturday and I’m so glad I did. Sarah is a warm and welcoming performer, a brilliant writer (the poetry in the script was fantastic), and the original songs were really well paced throughout the script. It was moving and avoided sentimentality or cliche. I am also sharing the theatre with Danielle Lim who is presenting a really short season of her solo piece, Caught in Between which explores the experience of migration and “the possibility of existing within two worlds at once.” The ambition of the piece on its own was enough to make me want to see it—every night Danielle is bumping a large, multi-piece screen in and out, and sharing an intricate piece of storytelling that uses live performance, soundscapes and video. I caught only a glimpse of it, but am booked in to see it later this week and looking forward to it a lot.
On a similar theme to Danielle’s work is Juanita Navas-Nguyen presenting her solo show, Confessions of a Boba Liberalist in the Courtyard of Curiosities at the Migration Museum which is a lovely venue. Juanita has a growing body of interesting work and you might have seen her in State Theatre’s Single Asian Female a few years ago (I loved the energy of that production, just loved it).
I haven’t seen B.L.I.P.S. but a lot of people I know are talking about and it had this review in InReview a few days ago. From the fringe guide: “Join Margot Mansfield for a wild ride of real-life circus psychosis, acrobatic madness, hula hoop hope, and radical resilience.”
I don’t get along to a lot of stand-up these days, but there is no one who does stand-up like Steve Sheehan does stand-up. I am a huge fan of his work and looking forward to watch as he “throws the rulebook out the window and dances to its own, delightfully peculiar tune.”
I have mentioned many other shows in previous issues of Sunday Night In last week here and the week before here. I won’t go over them again, but many of them are only just about to open so it’s worth looking through them.
DO NOT MISS THIS—YOU CAN SEE IT FROM YOUR PHONE
My admiration for Alysha Herrman’s and fascination with her work is boundless. She facilitates a lot of work within communities (especially regional communities), but is also an extremely inventive writer, creator and performer. Her current project is Writing the River Rising, a response to last summer’s flooding of the River Murray. If you’re in the riverland, you can visit any of the sites, but if not, you can also visit the project online. Astonishing work, truly astonishing.
WORKSHOPS AND CLASSES
The Mercury Cinema’s Script Club remains one of the most fascinating regular events providing insights into the nuts and bolts of writing. In March, the script under discussion is Monolith facilitated by writer Lucy Campbell. Only $10 for Guild and Writers SA members and $17/$15 for others.
VENUES
I dream of having a small creative space that acts as gallery and space for readings and performance, and if you do too, here’s an excellent seminar run by Renew Adelaide and Helpmann Academy. A two-hour seminar explaining how Renew Adelaide can help you find a rent-free space in the CBD to test your concept.
OPPORTUNITIES
You’ll need to be quick for this one, auditions for State Theatre Company’s upcoming production The Questions close on 28 February. It’s for female identifying Asian Australian actors aged between 20—35. It will be staged later this year, and is something to look forward to for us all.
Writers SA is launching a new journal and looking for a Literary Editor. This is truly an opportunity of a lifetime and I wish I’d spent more time building up my CV to do this.
Writers SA have their usual excellent program of seminars, workshops and talks. Open now are applications for the Deep Creek Residency which is presented in partnership with Matilda Bookshop and in association with Ultimo Press. A week’s accommodation in Deep Creek, a mentorship session with Rachael Mead and a consultation with Ultimo Press. Truly a brilliant opportunity.
That’s all from me for now. I should be back with the next issue of Sunday Night In on Sunday, but it might be Monday or even Tuesday. In the meantime, have a wonderful time soaking in the life of all that the fringe and festival have to offer.
With love, Tracy