SA Drink Of The Week

Joanne Hartstone and Tom Kitney

Tash York

Musical Pilgrimage

Adelaide Fringe at home, in a park, or in a theatre? Take your pick!

The Covid-19 pandemic and ever-changing response protocols have prompted Hartstone Kitney Productions to make it possible to do the Adelaide Fringe at home this year, more than ever before. Joanne Hartstone and Tom Kitney formed their production company in 2017 and in recent years they have invested heavily in filming and streaming live shows. Amid the uncertainty of the pandemic, all their Fringe shows this year will only be available via livestream or on-demand.

A reminder that Steve Davis and Ekkia Evans will be reviewing Fringe shows again this year. Read our Adelaide Fringe reviews here, throughout the Fringe.

For the SA Drink Of The Week, local comedian and show producer, Wendy Torbet, will share a Coopers Pale Ale while discussing some stand up comedy insights.

And Melbourne-based performer, Tash York, who lives in Adelaide every Fringe (and has done for many, many years), will share her insights on Fringe, interstate acts, and the glam/big hair aspects of cabaret.

And in the Musical Pilgrimage, we finish off with a track by Nick Vulture, that will feature in a show he's putting on called Southern Sounds.

You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!

The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards.

And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: podcast@theadelaideshow.com.au

If you enjoy the show, please leave us a 5-star review in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - The Adelaide Show Shop. We'd greatly appreciate it.

And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's our index of all episode in one concise page

Running Sheet: Adelaide Fringe at home and about

00:00:00 Intro

Introduction to the show.

00:04:53 SA Drink Of The Week

This week's SA Drink Of The Week is a Coopers Pale Ale, as recommended by Wendy Torbet, a comedian and producer who's producing some live, in-the-flesh comedy shows again this fringe.

Shows mentioned:

Open Mic Comedy at Legends Bar

Fashionable and Fabulous

The Good, The Bad and The Ugly

00:08:19 Adelaide Fringe at hom with Joanne Hartstone and Tom Kitney

In 2020, when Covid-19 struck and theatres went dark, the State Theatre devised an ingenious program called Decameron 2.0; a weekly hour of 10 short monologues broadcast online. It was a hit and the production qualities were very high. Some amateur companies also experimented with livestreaming or prerecorded theatre with mixed results, typically due to lower budgets and lack of experience. Our guests today have truly honed the art of filming and streaming live theatre, so much so that for the Adelaide Fringe in 2022, all their shows will only be viewable online. Joanne Hartstone and Tom Kitney, welcome to the Adelaide Show.

Shows mentioned:

The Girl Who Jumped Off The Hollywood Sign by Joanne Hartstone / Hartstone-Kitney Productions

The Reichstag Is Burning by Hartstone-Kitney Productions

EGG by Erin Fowler Movement

Spaces Between Us + Epilogue by Lewis Major Projects

Satori + Unfolding by Lewis Major Projects

You Can’t Hide In The Desert by Tracy Crisp

Something In The Water by Scantily Glad Theatre Company

Prepping For Theatre by Dr Lane

Myths, Legends and Fantasy by Emma Knights

Or just click HERE to see all Hartstone-Kitney Productions shows for the 2022 Adelaide Fringe

I had my first virtual experience of Black Box Live, which is the manifestation of your livestreaming and on-demand theatre, last year. I'd missed Dr Gill Hicks' theatre debut, Alive And Kicking, so watched your on-demand version. It was wonderful experience and I'm glad I got to see it. I also know that because of her connections to the London bombings, there were readymade audiences in England who got to watch the broadcast performances. What are your recollections of that show and your other shows during the 2021 Fringe? And did audiences split evenly between in-theatre and online, or was there a skew?

Can you take us through your thinking process for opting to only do Fringe shows online this year? Was it prompted by some heartbreak last year when restrictions were brought in right on the day before a big new season launch?

Did you watch any of the Decameron 2.0? Thoughts?

Apart from your productions, what livestreamed or on-demand theatre thrilled you over the past few years?

I hear some people, Peter Goers is one of them, who poo poos livestream theatre, saying theatre is meant to be live, in the flesh. I think if you go back a few years to filmed productions that had one or two cameras and sound being recorded from the auditorium, then I would be with him. But I've seen some stunning and thoughtfully filmed theatre in recent years and have become quite a convert. Do you still encounter this sort of staunch resistance? Or is that fading like the claims of early luddites who railed against the printing press in 1492, claiming handwriting was the moral superior to mechanical printing?

Martin Scorcese was once asked what was more important, vision or sound. He said, sound. And I agree. What's the trick for capturing good sound when livestreaming?

How do you plan when to be close up and when to have a wideshot or even follow the action?

I was at Essential Theatre's Shakespeare In The Vines at Sevenhill Cellars last weekend, and their actors had wonderful skills around projection. Would they blow your mics? Is there a different discipline required for actors on your sets?

Are all shows suitable for filming?

I think we've covered many aspects but can we just reflect on some of the pros and cons related to producing theatre for the screen. For example, one person can buy a ticket but a whole family could watch (so you bleed some ticket sales). Similarly, I am sure there are actors who thrive on audience feedback. On the plus side, theatre on screen allows for greater access for people with disabilities, plus a greater chance of fitting theatre into lifestyles. What have I missed? Are some of these factors more or less important than others?

What do you have in store for 2022?

I need to ask about critics. There seem to be some different assumptions about the role of critics. In an ideal world, how does the role of critic fit into the journey of your production?

All reviewers got this note from the Fringe last week, in which it said: Due to the impacts of COVID, venue capacity limits and in an effort to not take seats away from artists and venues, Media will be able to select 1 complimentary ticket per event. We will still issue 2 complimentary tickets for Kids and Family events for parents/guardians to accompany children. If you need to request a second ticket for extenuating circumstances for an event you are attending, you may send a written request to mediaticketing@adelaidefringe.com.au. Please note that this request will be evaluated by our MediaTIX team and in consultation with the artist and in many cases may not be approved. What makes me think there is some wrong-thinking happening in the Fringe head office is the notion that critics "take seats away from artists and venues" when, in fact, critics help spread the word about shows to potential audience members. It is completely shortsighted and seems to come from a notion that when I get a "free" ticket, I'm just in seventh heaven going on a junket, without any thought OR RESPECT for the 1-2 hours it will take me to invest my own time in reflecting on the show and writing and promoting a thoughtful review. Comment? Oh, and for the last three Fringes, I have run 4 events and there is no way I would ever have limited a critic to a single ticket.

When you were producing "proper" theatre, you're obvious competitors were other producers of "proper" theatre. But now that you're in the online space, do you feel you are competing against TikTok and YouTube stars, let alone Netflix, Stan, and all the rest? How do you make sense of your marketplace?

01:33:55 Tash York

Tash York is a Melbourne performer who lives a month of her life every year in Adelaide. Amid rumours that some people are saying that all interstate shows have been cancelled this year (yep, that's been discussed in the Fringe artists' Facebook group), I thought I'd have a quick chat with Tash for some "proof of life".

Shows mentioned:

Tash York's Happy Hour

Wine Confessions with Tash York

Tash, when did you start coming to Adelaide?

What changes have you noticed with the Fringe and with Adelaide over this time?

What is your mood and your thinking in relation to these pandemic times?

Tell us about Happy Hour?

Do you really improvise an original song, live?

And tell us about the goon!

You've also recently joined the cast of Confessions.

Finally, you have big hair, your sidekicks do, also, along with big makeup. Most of us don't walk down the street like this. What is its appeal? Do you think it's voyeuristic escapism, eg, we watch you and marvel that we could never do that?

01:51:43 Musical Pilgrimage

In the musical pilgrimage, we have a song called Perfect Storm by Nick Vulture.

Show mentioned:

Southern Sounds

Nick is part of Southern Sounds, a one day event on Sunday February 27th 2022 between 1pm (doors from midday) to 7pm at the beautiful Port Noarlunga Arts Centre.  It will be celebrating some of the amazing original singer songwriter talent from the south of Adelaide with award winning acts such as Loren Kate, Tilly Tjala Thomas, Jen Lush, Steve Ashley and, of course, Nick Vulture.  There are plenty of nearby eateries to grab a feed before and/or after, and drinks will be available inside the Arts Centre.  This is a one off event with amazing musical talent, so get on board and support this amazing bunch of musos and enjoy a day by the beach at the same time!  Tickets at Fringetix - just search Southern Sounds!

Adelaide Fringe at home, in a park, or in a theatre? Take your pick!
The Covid-19 pandemic and ever-changing response protocols have prompted Hartstone Kitney Productions to make it possible to do the Adelaide Fringe at home this year, more than ever before. Joanne Hartstone and Tom Kitney formed their production company in 2017 and in recent years they have invested heavily in filming and streaming live shows. Amid the uncertainty of the pandemic, all their Fringe shows this year will only be available via livestream or on-demand.
A reminder that Steve Davis and Ekkia Evans will be reviewing Fringe shows again this year. Read our <a href="https://theadelaideshow.com.au/reviews/">Adelaide Fringe reviews</a> here, throughout the Fringe.
For the SA Drink Of The Week, local comedian and show producer, Wendy Torbet, will share a Coopers Pale Ale while discussing some stand up comedy insights.
And Melbourne-based performer, Tash York, who lives in Adelaide every Fringe (and has done for many, many years), will share her insights on Fringe, interstate acts, and the glam/big hair aspects of cabaret.
And in the Musical Pilgrimage, we finish off with a track by Nick Vulture, that will feature in a show he's putting on called Southern Sounds.
You can navigate episodes using chapter markers in your podcast app. Not a fan of wine? You can click next to jump to the next chapter in the show. We're here to serve!
The Adelaide Show Podcast: Awarded Silver for Best Interview Podcast at the 2021 Australian Podcast Awards and named as Finalist for News and Current Affairs in the 2018 Australian Podcast Awards.
And please consider becoming part of our podcast by joining our Inner Circle. It's an email list. Join it and you might get an email on a Sunday or Monday seeking question ideas, guest ideas and requests for other bits of feedback about YOUR podcast, The Adelaide Show. Email us directly and we'll add you to the list: <a href="mailto:podcast@theadelaideshow.com.au">podcast@theadelaideshow.com.au</a>
If you enjoy the show, please <a href="https://itunes.apple.com/us/podcast/another-boring-thursday-night/id696302138">leave us a 5-star review </a>in iTunes or other podcast sites, or buy some great merch from our Red Bubble store - <a href="https://www.redbubble.com/people/theadelaideshow/shop?asc=u">The Adelaide Show Shop</a>. We'd greatly appreciate it.
And please talk about us and share our episodes on social media, it really helps build our community. Oh, and here's <a href="https://theadelaideshow.com.au/complete-list-adelaide-show-episodes/">our index of all episode in one concise page</a>
Running Sheet: Adelaide Fringe at home and about
00:00:00 Intro
Introduction to the show.
00:04:53&nbsp;SA Drink Of The Week
This week's SA Drink Of The Week is a Coopers Pale Ale, as recommended by Wendy Torbet, a comedian and producer who's producing some live, in-the-flesh comedy shows again this fringe.
Shows mentioned:
<a href="https://adelaidefringe.com.au/fringetix/open-mic-comedy-at-legends-bar-af2022">Open Mic Comedy at Legends Bar</a>
<a href="https://adelaidefringe.com.au/fringetix/fashionable-and-fabulous-af2022">Fashionable and Fabulous</a>
<a href="https://adelaidefringe.com.au/fringetix/the-good-the-bad-and-the-ugly-af2022">The Good, The Bad and The Ugly</a>
00:08:19&nbsp;Adelaide Fringe at hom with Joanne Hartstone and Tom Kitney
In 2020, when Covid-19 struck and theatres went dark, the State Theatre devised an ingenious program called Decameron 2.0; a weekly hour of 10 short monologues broadcast online. It was a hit and the production qualities were very high. Some amateur companies also experimented with livestreaming or prerecorded theatre with mixed results, typically due to lower budgets and lack of experience. Our guests today have truly honed the art of filming and streaming live theatre, so much so that for the Adelaide Fringe in 2022, all their shows will only be viewable online. Joanne Hartstone and Tom Kitney, welcome to the Adelaide Show.
Shows mentioned:
<a href="https://adelaidefringe.com.au/fringetix/the-girl-who-jumped-off-the-hollywood-sign-af2022">The Girl Who Jumped Off The Hollywood Sign</a> by Joanne Hartstone / Hartstone-Kitney Productions
<a href="https://adelaidefringe.com.au/fringetix/the-reichstag-is-burning-af2022">The Reichstag Is Burning</a> by Hartstone-Kitney Productions
<a href="https://adelaidefringe.com.au/fringetix/egg-af2022">EGG</a> by Erin Fowler Movement
<a href="https://adelaidefringe.com.au/fringetix/spaces-between-us-and-epilogue-af2022">Spaces Between Us + Epilogue</a> by Lewis Major Projects
<a href="https://adelaidefringe.com.au/fringetix/satori-and-unfolding-af2022">Satori + Unfolding</a> by Lewis Major Projects
<a href="https://adelaidefringe.com.au/fringetix/you-can-t-hide-in-the-desert-af2022">You Can&rsquo;t Hide In The Desert</a> by Tracy Crisp
<a href="https://adelaidefringe.com.au/fringetix/something-in-the-water-af2022">Something In The Water</a> by Scantily Glad Theatre Company
<a href="https://adelaidefringe.com.au/fringetix/prepping-for-theatre-af2022">Prepping For Theatre</a> by Dr Lane
<a href="https://adelaidefringe.com.au/fringetix/myths-legends-and-fantasy-af2022">Myths, Legends and Fantasy by Emma Knights</a>
Or just click <a href="https://adelaidefringe.com.au/search/events?keyword=black%20box%20live">HERE</a> to see all Hartstone-Kitney Productions shows for the 2022 Adelaide Fringe
I had my first virtual experience of Black Box Live, which is the manifestation of your livestreaming and on-demand theatre, last year. I'd missed Dr Gill Hicks' theatre debut, Alive And Kicking, so watched your on-demand version. It was wonderful experience and I'm glad I got to see it. I also know that because of her connections to the London bombings, there were readymade audiences in England who got to watch the broadcast performances. What are your recollections of that show and your other shows during the 2021 Fringe? And did audiences split evenly between in-theatre and online, or was there a skew?
Can you take us through your thinking process for opting to only do Fringe shows online this year? Was it prompted by some heartbreak last year when restrictions were brought in right on the day before a big new season launch?
Did you watch any of the Decameron 2.0? Thoughts?
Apart from your productions, what livestreamed or on-demand theatre thrilled you over the past few years?
I hear some people, Peter Goers is one of them, who poo poos livestream theatre, saying theatre is meant to be live, in the flesh. I think if you go back a few years to filmed productions that had one or two cameras and sound being recorded from the auditorium, then I would be with him. But I've seen some stunning and thoughtfully filmed theatre in recent years and have become quite a convert. Do you still encounter this sort of staunch resistance? Or is that fading like the claims of early luddites who railed against the printing press in 1492, claiming handwriting was the moral superior to mechanical printing?
Martin Scorcese was once asked what was more important, vision or sound. He said, sound. And I agree. What's the trick for capturing good sound when livestreaming?
How do you plan when to be close up and when to have a wideshot or even follow the action?
I was at Essential Theatre's Shakespeare In The Vines at Sevenhill Cellars last weekend, and their actors had wonderful skills around projection. Would they blow your mics? Is there a different discipline required for actors on your sets?
Are all shows suitable for filming?
I think we've covered many aspects but can we just reflect on some of the pros and cons related to producing theatre for the screen. For example, one person can buy a ticket but a whole family could watch (so you bleed some ticket sales). Similarly, I am sure there are actors who thrive on audience feedback. On the plus side, theatre on screen allows for greater access for people with disabilities, plus a greater chance of fitting theatre into lifestyles. What have I missed? Are some of these factors more or less important than others?
What do you have in store for 2022?
I need to ask about critics. There seem to be some different assumptions about the role of critics. In an ideal world, how does the role of critic fit into the journey of your production?
All reviewers got this note from the Fringe last week, in which it said: Due to the impacts of COVID, venue capacity limits and in an effort to not take seats away from artists and venues, Media will be able to select 1 complimentary ticket per event. We will still issue 2 complimentary tickets for Kids and Family events for parents/guardians to accompany children. If you need to request a second ticket for extenuating circumstances for an event you are attending, you may send a written request to mediaticketing@adelaidefringe.com.au. Please note that this request will be evaluated by our MediaTIX team and in consultation with the artist and in many cases may not be approved. What makes me think there is some wrong-thinking happening in the Fringe head office is the notion that critics "take seats away from artists and venues" when, in fact, critics help spread the word about shows to potential audience members. It is completely shortsighted and seems to come from a notion that when I get a "free" ticket, I'm just in seventh heaven going on a junket, without any thought OR RESPECT for the 1-2 hours it will take me to invest my own time in reflecting on the show and writing and promoting a thoughtful review. Comment? Oh, and for the last three Fringes, I have run 4 events and there is no way I would ever have limited a critic to a single ticket.
When you were producing "proper" theatre, you're obvious competitors were other producers of "proper" theatre. But now that you're in the online space, do you feel you are competing against TikTok and YouTube stars, let alone Netflix, Stan, and all the rest? How do you make sense of your marketplace?
01:33:55&nbsp;Tash York
Tash York is a Melbourne performer who lives a month of her life every year in Adelaide. Amid rumours that some people are saying that all interstate shows have been cancelled this year (yep, that's been discussed in the Fringe artists' Facebook group), I thought I'd have a quick chat with Tash for some "proof of life".
Shows mentioned:
<a href="https://adelaidefringe.com.au/fringetix/tash-york-s-happy-hour-af2022">Tash York's Happy Hour</a>
<a href="https://adelaidefringe.com.au/fringetix/wine-confessions-with-tash-york-af2022">Wine Confessions with Tash York</a>
Tash, when did you start coming to Adelaide?
What changes have you noticed with the Fringe and with Adelaide over this time?
What is your mood and your thinking in relation to these pandemic times?
Tell us about Happy Hour?
Do you really improvise an original song, live?
And tell us about the goon!
You've also recently joined the cast of Confessions.
Finally, you have big hair, your sidekicks do, also, along with big makeup. Most of us don't walk down the street like this. What is its appeal? Do you think it's voyeuristic escapism, eg, we watch you and marvel that we could never do that?
01:51:43&nbsp;Musical Pilgrimage
In the musical pilgrimage, we have a song called Perfect Storm by <a href="https://www.nickvulture.com/">Nick Vulture</a>.
Show mentioned:
<a href="https://adelaidefringe.com.au/fringetix/southern-sounds-af2022">Southern Sounds</a>
Nick is part of Southern Sounds, a one day event on Sunday February 27th 2022 between 1pm (doors from midday) to 7pm at the beautiful Port Noarlunga Arts Centre.&nbsp; It will be celebrating some of the amazing original singer songwriter talent from the south of Adelaide with award winning acts such as Loren Kate, Tilly Tjala Thomas, Jen Lush, Steve Ashley and, of course, Nick Vulture.&nbsp; There are plenty of nearby eateries to grab a feed before and/or after, and drinks will be available inside the Arts Centre.&nbsp; This is a one off event with amazing musical talent, so get on board and support this amazing bunch of musos and enjoy a day by the beach at the same time!&nbsp; Tickets at Fringetix - just search Southern Sounds!

A weekly podcast recorded in Adelaide that puts South Australian passion on centre stage with a featured guest who joins us each week as a co-presenter to share how they're pursuing their passions. We venture across topics as diverse as history, wine, food, art, music, relationships, critical thinking, health, news, interviews, chat and quizzes. 

Every single interview, every single show, unlocks insights into what drives people to be doing what they're doing and what keeps them striving. 

The Adelaide Show is produced by Steve Davis and Nigel Dobson-Keeffe.

Please subscribe to our In Crowd list; you get an email each Friday (when we have published a new episode) with an overview of that week's show. Plus, consider joining our Inner Circle; a small group of passionate South Aussies who allow us to pick their brains and gain interviewee suggestions.

This podcast began life as Another Boring Thursday Night In Adelaide from episodes 1-79.

A podcast recorded in Adelaide that puts South Australian passion on centre stage with a featured guest who joins us each week as a co-presenter to share how they're pursuing their passions. We venture across topics as diverse as history, wine, ...

The Adelaide Show

A podcast recorded in Adelaide that puts South Australian passion on centre stage with a featured guest who joins us to share how they're pursuing their passions. We venture across topics as diverse as history, wine, food, art, music, relationships, critical thinking, health, and general news. Every single interview, every single show, unlocks insights into what drives people to be doing what they're doing and what keeps them striving. The Adelaide Show is produced by Steve Davis, and ends with an original song by a South Australian artist. Please subscribe to our In Crowd list; you get an email each Friday with an overview of that week's show. This podcast began life as Another Boring Thursday Night In Adelaide from episodes 1-79.

A podcast recorded in Adelaide that puts South Australian passion on centre stage with a featured guest who joins us to share how they're pursuing their passions. We venture across topics as diverse as history, wine, food, art, music, relationships, critical thinking, health, and general news. Every single interview, every single show, unlocks insights into what drives people to be doing what they're doing and what keeps them striving. The Adelaide Show is produced by Steve Davis, and ends with an original song by a South Australian artist. Please subscribe to our In Crowd list; you get an email each Friday with an overview of that week's show. This podcast began life as Another Boring Thursday Night In Adelaide from episodes 1-79.

Steve Davis discusses the livestreaming of theatre in depth, with Joanne Hartstone and Tom Kitney - Plus2022  Adelaide Fringe previews

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