Review: ADAM PAGE: ADELAIDE FRINGE 2018 at Tin Shed At The Wheatsheaf Hotel

Reviewed by Ray Smith, Wednesday 7th March 2018.

Adam Page took to the stage at 7.30 pm in the quirky performance space of the Wheatsheaf Hotel in front of an almost capacity crowd and, with his engaging stage presence and gentle warmth, he had them in the palm of his hand within moments.

His shows are object lessons in the art of improvisation and the smooth integration of audio technology into live performance, and he is the undisputed master of his craft.

The number of instruments on the stage is quite mind-boggling for a one-person show, but they are almost certainly outnumbered by the awards on Page's mantelpiece as he has been collecting them for years both here in Australia and overseas.

The first piece he offered was a merciless plunge into looping madness, as instrument upon instrument was added to a vocal beatbox rhythm with such fluidity and assuredness that it looked effortless. The constantly shifting soundscapes morphed across genres as Page moulded the dynamic in real time, mixing the samples he had created and adding effects to the loops using the controllers at his feet.

It was playful, graceful, tasteful, and thoroughly engaging, but once he picks up his trusty tenor saxophone the comedian melts way and the maestro jazz player emerges.

He left the stage and wandered through the audience, collecting sounds from the members on a small handheld sampler. Clinking glasses, the clatter of a wooden chair, keys dropped onto the table surface, vocal sounds, and even the sound of your correspondent's review notes being ripped.

He returned to the stage and created a cycle from his new samples which formed the backdrop for more superb improvised soloing.

One of the audience members was picked out and Page asked for her name.

He created a new piece, using only his voice, in layer upon layer of looping and effects and the name, Evie Gwanetha Metz. It was an astonishing piece of work, I do hope that Ms. Metz was able to record it.

To improvise at this level requires a deep musical knowledge, consummate skill and a wild, unrestrained imagination and Page has all three in spades. He is a multi-instrumentalist of the highest order and a polished performer.

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