Monday, June 19, 2017


Magic Mirrors Spiegletent
Adelaide Cabaret Festival. 11th June 2017

Reviewed by Bill Stephens OAM

Claiming to combine the traditions of circus, the extremities of physical theatre, the artistry of drag, the bravado of burlesque, the debauchery of speakeasies and the showmanship of cabaret, the cast of “Briefs – Close Encounter” don’t disappoint as they power through their well-choreographed, cleverly staged, high-camp extravaganza.

Commencing with an eye-grabbing Ziegfeld Follies-inspired production number complete with lightshow, mirror-balls, feather fans and an excess of sequins, the six bronzed, bearded, buffed, and bold show boys, soon discarded their sexy white suits in favour of briefs and G-string’s to amaze and delight with a succession of seriously impressive acts combining physical skill interspersed with outrageous nonsense.

Teetering on dangerously high heels, potty-mouthed bearded lady, Fez Fa’anana, who describes himself as an alien tranny, proved to be genial ringmaster (ring mistress ?) , parading a succession of extraordinary outfits  each more outrageous than its predecessor.

Robbie Williams look-alike, Louis Biggs demonstrated his versatility manoeuvring sexily on the high trapeze, skilfully juggling tennis balls and manipulating Rubik cubes.   Beefy Thomas Gundry Greenfield, resembling a Michelangelo statue in motion, surprised with his “interpretive” dancing, while cheeky Mark Winmill insured that every one of his impressive tatts were well displayed.
Thomas Worrell and Lachy Shelley each contributed heart-stopping feats dangling from contraptions high above the heads of the audience, while bespectacled Harry Clayton-Wright left his audience amused and bemused with his bizarre dream sequence pas de deux.

Perfectly at home in the Magic Mirrors Spiegeltent, this surreal, warped, mischievous concoction from the boys in Briefs provided an entertaining and  deliciously diverting walk on the wild side for daring Adelaide Cabaret Festival aficionados.  
                                               Photo: John Tsiavis

This review first published in AUSTRALIAN ARTS REVIEW