Love is a Game: An Adele Song Cycle
Presented by Oliver John
TICKETS: Love is a Game: An Adele Song Cycle | Adelaide Fringe
If Adelaide is ever in the middle of a talent drought, it’s
likely because Oliver John has hoarded it all for his latest production.
Hyperbole, perhaps, but John has assembled an incredible group of emerging
performers for an encore production of Love is a Game: An Adele Song Cycle.
Love is a Game tells the story of three friends and their
journeys through romantic, queer, platonic, and self-love. Told through Adele's
music, John and Sienna Bertram have crafted three interwoven stories familiar
to anyone with an overly dramatic friendship group – When We Were Young(er)
perhaps. The show explores the cycle of heartbreak: picking up at the club,
confessing feelings to a friend who doesn't return them, and the sting of a
proposal gone wrong. It all leads to a poignant finale – standing as a best man
while your lost love serves as bridesmaid – before the closing title track.
Our three soloists and protagonists are a well-matched trio
of talent. Oliver John’s tenor voice is a powerhouse that handles the
musical-theatre-infused pop sound with deftness. Mackenzie Garcia’s voice is as
smooth as silk. And Sammi Keough deploys her vocal fry with precision. The
three harmonise perfectly and support each other throughout the show. Their
acting too is to be noted, capturing their unique characters with consistency
throughout the 80-minute show; you feel their heartbreaks as if it were your
own.
The ensemble each has moments to shine as a soloist but
their talent is most on display in their multipart harmonies, bolstering our
protagonists. Their ability to blend, support and contrast is a testament to
their skill, training and rehearsals and this reviewer didn't catch a single
note out of tune.
Jay Scott’s choreography is executed well by the entire
cast. His choice of contemporary choreography suited the music, talent and,
most importantly, the story. It underscored and made clear the emotions of our
protagonists’ arcs.
The costumes were the production’s only notable stumble.
While tonally appropriate, they lacked the distinct visual signposting needed
to fully anchor the narrative. A more intentional use of colour would have
helped the audience track exactly who the ensemble members were portraying at
any given moment – a missing link that was confirmed in the lobby after the
show. There, I overheard a couple still attempting to piece together the
character connections and specific story beats well after the final bow.
The three-piece band was well rehearsed and tight throughout
the show. With Raff Raschella on keys, Ben Waller on drums and Mat Hawke (also
a cast member) on guitars and bass; together they produced a full sound for
John’s arrangements that allowed the ensemble to feel grounded. The
arrangements for all 14 songs – plus the encore medley – are complex enough for
a well-trained ear while not being overly indulgent. They have been written to
amplify the stories being played out on stage.
Love is a Game: An Adele Song Cycle showcases Oliver John’s
innate understanding of the theatrical heart within Adele’s discography. He has
mastered the art of the song cycle; now, I am eager to see him graduate from
reimagining a superstar’s hits to crafting a story that is entirely his own.
–Scott
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