Adelaide Fringe review 2017: Buyer and Cellar
THE actor who plays the out-of-work actor greets you at the door. A one man show, he near doubles the male contingent in the 50-strong audience, the rest come to revel in 75 minutes of light camp but heavy going.
Theatre
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Buyer and Cellar
Theatre/comedy *1/2
Tandanya Arts Cafe until March 5
THE actor who plays the out-of-work actor greets you at the door. A one man show, he near doubles the male contingent in the 50-strong audience, the rest mostly an assortment of artsy, middle-aged women come to revel in 75 minutes of light camp but heavy going.
To speak, fluently and quickly and without break, as the character Alex Moore does is impressive indeed, a delivery that might not be bettered this Fringe.
But the story is tedious, Moore finding himself working in a shopping mall beneath Barbra Streisand’s mansion basement, as you do.
And it drags, dreadfully so, barely a titter all evening despite the gushing and faux subject matter.
Take out the name Streisand and this is a nothing show. Leave it in and it’s no better.
Richard Evans
Borders by Henry Naylor
FOR lightning to strike three times in succession is a rare thing indeed, but UK writer Henry Naylor follows his previous Fringe hits Echoes and Angel with another extraordinarily powerful chapter in his exploration of the Middle East.
Flesh & Bone
HAD Shakespeare written a season of EastEnders for Netflix, with Gordon Ramsay as dialogue coach, it might go a little like the ribald, raucous revelry of young London company Unpolished Theatre’s impressive debut Flesh & Bone.