<?xml version="1.0" encoding="UTF-8"?>
<feed xmlns="http://www.w3.org/2005/Atom" xmlns:dc="http://purl.org/dc/elements/1.1/">
  <title>DSpace Collection: Reviews of Festivals</title>
  <link rel="alternate" href="http://hdl.handle.net/2328/34" />
  <subtitle>Reviews of Festivals</subtitle>
  <id>http://hdl.handle.net/2328/34</id>
  <updated>2013-05-24T18:09:43Z</updated>
  <dc:date>2013-05-24T18:09:43Z</dc:date>
  <entry>
    <title>Cabaret Funnies - Fond and Furious. "iBob" by Bob Downe, "We Don't Have Husbands" by the Kransky Sisters, and "The Big Con" by Max Gilles and Eddie Perfect. Adelaide Cabaret Festival [review]</title>
    <link rel="alternate" href="http://hdl.handle.net/2328/8244" />
    <author>
      <name>Bramwell, Murray Ross</name>
    </author>
    <id>http://hdl.handle.net/2328/8244</id>
    <updated>2013-05-13T01:29:22Z</updated>
    <published>2005-07-08T00:00:00Z</published>
    <summary type="text">Title: Cabaret Funnies - Fond and Furious. "iBob" by Bob Downe, "We Don't Have Husbands" by the Kransky Sisters, and "The Big Con" by Max Gilles and Eddie Perfect. Adelaide Cabaret Festival [review]
Authors: Bramwell, Murray Ross
Abstract: The Adelaide Cabaret Festival, in part, arose from the need to separate from the avalanche of stand-up comedy that dominates the Fringe. However, there has been no shortage of funny business in the Festival Centre recently in a program that has included the CNNNN jokers, Sandman and Flacco, Wil Anderson - and Bob Downe.&#xD;
Even after twenty one years, it seems, you can’t keep an irrepressible man down. Bob Downe, the acrylic and polyester alter ego of Mark Trevorrow, has - you might say - come of age. But he hasn’t quite arrived either because he belongs in a long and hilarious line of repressed entertainers,&#xD;
those, like Norman Gunston, whose vaulting ambitious outweigh their talents, and whose geek-detectors are permanently switched off.</summary>
    <dc:date>2005-07-08T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Running, Jumping, Not Standing Still. "Come Out Festival 2005" [review]</title>
    <link rel="alternate" href="http://hdl.handle.net/2328/8239" />
    <author>
      <name>Bramwell, Murray Ross</name>
    </author>
    <id>http://hdl.handle.net/2328/8239</id>
    <updated>2013-05-13T01:30:12Z</updated>
    <published>2005-04-01T00:00:00Z</published>
    <summary type="text">Title: Running, Jumping, Not Standing Still. "Come Out Festival 2005" [review]
Authors: Bramwell, Murray Ross
Abstract: Come Out, the Australian Festival for Young People has been showcasing new work for more than thirty years and its achievement is impressive. For much of that time, Come Out was not just the leading festival for&#xD;
young people in Australia, it was the only one - and an important opportunity, through forums, performances and collegial exchange, to take a look at the state of the arts for audiences ranging from pre-school to late&#xD;
adolescence. In 2005 Artistic Director Sally Chance has again brought together all the&#xD;
many aspects of Come Out - schools touring, outreach programs, Allwrite the literature and creative writing branch - as well as theatre, music and dance. It is an ambitious brief and includes many thousands of children&#xD;
across the state.</summary>
    <dc:date>2005-04-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Hearts and Box Office Won, Minds Yet to Follow. "Adelaide Festival 2004" [review]</title>
    <link rel="alternate" href="http://hdl.handle.net/2328/8238" />
    <author>
      <name>Bramwell, Murray Ross</name>
    </author>
    <id>http://hdl.handle.net/2328/8238</id>
    <updated>2013-05-13T01:29:43Z</updated>
    <published>2004-03-16T00:00:00Z</published>
    <summary type="text">Title: Hearts and Box Office Won, Minds Yet to Follow. "Adelaide Festival 2004" [review]
Authors: Bramwell, Murray Ross
Abstract: 2004 would be the Recovery Festival for Adelaide. That has been the received wisdom ever since the 2002 event ended in inglorious shambles. The experience with iconoclastic American director Peter Sellars had been financially and organisationally traumatic. He had embarked on an ambitious series of community arts programs which he then left to a team of Associate Directors with neither experience nor clout.</summary>
    <dc:date>2004-03-16T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Other People's Festivals. "Edinburgh International Festival", "Melbourne Festival", and "China Shanghai International Arts Festival" [review]</title>
    <link rel="alternate" href="http://hdl.handle.net/2328/8231" />
    <author>
      <name>Bramwell, Murray Ross</name>
    </author>
    <id>http://hdl.handle.net/2328/8231</id>
    <updated>2013-05-13T01:28:31Z</updated>
    <published>2003-01-01T00:00:00Z</published>
    <summary type="text">Title: Other People's Festivals. "Edinburgh International Festival", "Melbourne Festival", and "China Shanghai International Arts Festival" [review]
Authors: Bramwell, Murray Ross
Abstract: Over a ten month period last year I had the chance, including the Adelaide Festival in March, to attend four international festivals. I haven’t had such an opportunity before and it will be about the time of Halley’s Comet before I am likely to again - so, with our own 2004 event little more than twelve months away - maybe it is worth some impressions and comparisons.</summary>
    <dc:date>2003-01-01T00:00:00Z</dc:date>
  </entry>
</feed>

