fringe: unplotted potter

Rita Skeeter (born 1951) is a witch journalist (and unregistered Animagus) who worked for the Daily Prophet.

At some point after Harry Potter "retired to the Bahamas", according to Improv Adelaide's Unplotted Potter, she started working with the Wizarding Police, took on a writing apprentice named Marius and was given a quill that caused whatever was written to come true... all while being marked for death by the Wizard Mob and pursued by a mysterious masked dark wizard (who turns out to be one of Neville Longbottom's children).

And that's what happens when the name of a minor character from the Harry Potter universe is drawn out of a very, very tiny Goblet of Fire and everyone on stage improvises a show based on that name.

This is our second time seeing Unplotted Potter and naturally it's a very different show.

As always, improv shows are about the cast, and there were many returning faces... Eden Trebilco as Marius and the head of the Wizarding Mob, Curtis Shipley doing a turn as a broomstick, Jarrad Parker as both a mobster and the editor of the Daily Prophet... I didn't catch the names of the two women, one of whom played Rita and the other who did an interesting turn as a Ministry employee very concerned about Animagus poop.

The new face, at least for me, was Sam who took on roles as both one of the mobsters and the masked wizard who turns out to be a Longbottom. I think if I was picking Best in Show (wait, is that just for dogs... now that seems horribly insulting... let's go with it anyway) it would have to be Sam. He managed to direct the story at a couple of key junctures (including inventing the whole "quill that makes things happen" subplot) and made it all the more interesting. Also he does a mean set of Quick-Quotes quills.

I will say that I think the story got away from everyone a little more this time than it has in previous shows I've seen. Which isn't a complaint, it's just what happens when everyone is making the story up on the spot.

It was still a very funny show, and one I would recommend to any Harry Potter fan.

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photo saturday: funny old day

Remember all the fun I had last week trying to cram too much week into my week?

Well it turns out that at least one part of that was a waste of time. My rental inspection.

I sent them an email on the Thursday just to say "hey, did you do it, because you didn't say anything"... then Monday they get back to me "no, we seem to have lost the spare keys, but we didn't remember to tell you either that we had lost them or that we weren't coming, because whoops". To which I say "WTF".

So I've had a spare set of keys cut, I dropped them into their office and now I have to make sure the apartment is ship-shape again this weekend for next Tuesday.

True, I don't have to do a whole lot and I have the holiday Monday to make use of, but even so, WTF.

Otherwise this week has been a bit blah.

I made a fairly excellent risotto as my week-long lunch... I took an existing recipe for an essentially vegetarian risotta and added chicken, bacon and chorizo to it, and it was pretty damn tasty, even by the end of the week (a little gloopy, yes, but still good).

Do you want to know what my second least favorite thing about living in my current apartment is? Not being able to wander down the street at any old time and find at least somewhere that I can get food. I mean, yes, there are places, but they're not as easy to get to. And for the record, my least favourite thing is the traffic/traffic noise.

This Saturday we only had two Fringe shows, but Ma wanted to run a bunch of errands and I needed some new slip on shoes...

As I was headed to the the supermarket I happened to think how weird it was that even though I've cycled through a number of different times that I end up going to the supermarket since I've been flying solo, that I never run into my friend who lives just around the corner. And yes, you guessed it... I ran into him not five minutes later. Weird.

I did a very, very minimal shop this week... I really don't need anything and I've decided I'm just going to buy my lunch this week, as I'll only need three days worth.

Then it was back here, unpack, wash some dishes, then off to Ma's to deliver her shopping and pick her up.

I don't think I've mentioned it previously... but thank the gods for podcasts... they keep me relatively sane on the drive to Ma's place to pick her up, and the drive back here after I've dropped her off again.

Anyway, I pick up Ma and we went off to the Gepps Cross Homemaker Centre to buy Ma a fridge. She really, really, really needs a new one, the old one has to be in excess of 30 years old... 20 at the absolute minimum.

And now she's the owner of a shiny new LG one, which is going to be delivered to her place tomorrow... and they'll even set up the new one and take the old one away.

We wandered around the rest of the complex a little, but only really poked our noses in a couple of places... then headed back towards my place, stopping briefly in Norwood to pick some stuff up, then headed off to Target so I could look for shoes.

My probably with shoes currently is my feet seem to be getting wider, which is a pain, because they were already wider than the average. So I ended up getting a size larger than usual, which meant that fit perfectly width wise but are actually too damn long. They're functional though and that's all that matters.

We did a little bit of other random shopping, then came back here to relax for a little bit before we had to head out.

And then we were off... after the first show was over we had a wander and then went for some dinner at Schnithouse on Rundle Street... which was really, really busy, but the food was great.

Then we wandered down to Gluttony to try and work out a way to fill the time in... which we did by watching the guy who puts on free shows on a little stage, as well as watching the passing tide of humanity... fortunately the same humanity caused us to leave the spot we'd staked out to wander around, which was when we saw that the line was already starting for our second show... which was good because it ended up being stupidly long, and we ended up with a front row seat (essentially, there were multiple "front" rows, but I think we were in one of the best spots.

And then it was back down the road to Ma's, then home again, home again.

It's too damn late to write up the reviews for the shows now (it's currently just past 1am, but I am going to backdate the post to earlier), so I'm heading off to bed and I'll deal with all that and the other half dozen or so things I need to do tomorrow (yes, technically today).

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fringe: concrete

Concrete, as an adjective, is:

1. constituting an actual thing or instance
2. pertaining to or concerned with realities or actual instances rather than abstractions
3. representing or applied to an actual substance or thing, as opposed to an abstract quality
4. made of concrete
5. formed by coalescence of separate particles into a mass.

Concrete, as the show from the Concrete Collective, only fits the last definition.

The show is a collection of very separate particles, none of which necessarily go with any of the others, and together they form... well, a mass.

I want to make it completely clear that I think the three performers, Luke Hubbard, Dylan Rodriguez and Colette Pengelley are all incredibly talented.

But when it comes to circus and dance (both of which feature heavily in this show), I only ever want one thing. Character. If that character comes along with an understandable story, so much the better, but at the end of the day, if you give me some element of character, then I'm all yours. If I can't tell almost instantly what the scenario you're trying to convey is, I'm not going to engage.

Symbolism is also all well and good, but if nobody knows what it's supposed to be a symbol for, is it really symbolism. Also you can mix comedy and drama together, so long as the transitions make a degree of sense.

Oh, and pick your music very carefully, because music choices make all the difference.

As far as Concrete was concerned, I just couldn't find that one element to pull me through the show. It felt like it was all over the place, flicking from comedy to drama to abstraction. It felt like exactly what it was... a series of vignettes and ideas that had been pushed together to form the hour we all spent in a room together.

That's not to say that there weren't moments. The flamingo and duck number right at the end was genius, although I would have loved to see it pushed even further, with the duck really getting in there.

And the ballet vs breaking number could have been amazing, if the same music was kept through the whole number... changing to more street music made it obvious, but keep the classical music (or just throw a drum track under it), whole new ballgame.

The makeup number was interesting, but first it veers dangerously close to "blackface" and then just fizzles into nothing much.

However the "Beyonce" number is so completely incongruous with everything before or after it that it kind of grinds the whole show to a total halt. And that may just simply be the fact that suddenly there are words, loud words, incongruous words, irritating words. It also feels like the idea of a feminine man is being used purely for comic effect, and given that it's being done by Rodriguez, who is already a feminine man, it just didn't sit well with me.

I did kind of wish that Hubbard and Rodriguez had embraced their sexuality more in their performances (if they are both, as I presume, gay men)... it felt like the only times they really came together was either in a combative sense or a camp and asexual one.

The studio stage at The Bakehouse seemed like an incredibly odd choice for this kind of circus and dance show. It's very small and it felt like the performers were either going to hit the walls, the ceiling or the audience at any moment. And given how small it is, every time the performers thump into the floor or the walls, the whole theatre shakes, from the seats on up.

Also because the show is a series of isolated routines, the transitions between are often either too long, are missing music leaving the stage in complete silence before another piece of music starts or have lights and music but no performers. And I realise some of that was due to costume changes... but did there actually need to be that many costume variations.

I fully acknowledge that I have very high expectations for this kind of show, but sadly this one just didn't get there.

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fringe: altar girl

Teenage girls are horrible spiteful creatures... not individually perhaps, but get them in a group, or get on the wrong side of one and, as the man himself once said, hell hath no fury.

Altar Girl is Shakespeare's Othello "as told by teenage girls out for revenge".

And the tunnels under the Adina Apartment Hotel are the perfect setting. The space seems quite odd for a theatre piece, being long and narrow with the audience sitting along the length. But with some clever staging by director Alanah Guiry and the use of mirrors at either end, the audience is able to see pretty much everything that happens.

I will admit that I'm only passingly familiar with the original version, but as the story here is different enough to the original that it really didn't hamper my enjoyment in the least. The language is modern, with the occasional Shakespearean phrase thrown in. And setting the play in what feels like the latter half of a party means that everybody is primed for drama when it begins.

The cast is small, and about half of the characters are gender flipped, so Othello becomes Ollie, Iago becomes Lara and Roderigo becomes Rory, while Cassio and Desdemona remain Michael and Dess respectively. Which for the second time this Fringe means that the main character and their love interest in a Shakespeare inspired piece have been turned into a lesbian couple.

Substituting sexuality gives an interesting twist on the racial subplot of the original.. in fact sexuality and power are the key themes here, as Lara tells us and the other characters more than once "everything is about sex, except sex, which is about power".

Although Ollie is played by Shamita Sivabalan, the only non-white member of the cast, so they don't abandon race completely.

All the performances are exceptionally good but while I'm fully aware that Iago (or in this case Lara) is the villain of the piece, Jeni Bezuidenhout is just so incredibly magnetic in the role that I couldn't help but be drawn into her world of intrigue and revenge.

I knew Lara was bad, but I didn't care... I wanted her to succeed, even though none of the other characters have done anything to deserve her wrath. Even the moments when the focus was on other characters I was often drawn back to her. It also helped because she's the only character who addresses the audience directly once the play gets going.

Lucy Orr has the difficult job of making Rory both awkward, pathetic and sympathetic, which she manages admirably... and it's easy to see how she falls under Lara's spell so completely.

The show only runs until the end of this week, so I highly recommend going to see it if you can.

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fringe: the baby farmer

I don't believe I've ever gone to a play before that also had both a book and an art exhibition associated with it...

But that's probably the least weird thing about The Baby Farmer by The Laudanum Project.

I'll be honest though, the show was trying too damn hard to be weird. From the creepy (yet beautifully detailed) art by Chloe Neath outside the space, the dismembered baby dolls on spikes as set decoration, to the makeup and costume of the duo, to the lighting and music... it was trying very hard to creep the audience out. Now dark and creepy is very often right in my wheelhouse, so this should have been likewise, but it all smacked of just doing too much.

And looking through The Laudanum Project website, the characters they were presenting weren't specific to this show, it seems like they have those characters in everything they do... Alphonse Cheese-Probert (Nick Ravenswood) and Captain Enoch Malleus (Gareth Skinner). Although we were never introduced to them as their characters in this show.

I'll also say that having Skinner on stage providing the live musical accompaniment to Ravenswood's performance was at times a little distracting and a touch louder that I think was needed. I did wonder more than once if I would have been more engaged if it was just Ravenswood up on stage alone with the music either provided live but off-stage or just as prerecorded sound.

Having said all of that, the actual story that Ravenswood was telling was interesting.

The baby farming of the title was the practice of "accepting custody of an infant or child in exchange for payment" in late-Victorian Britain and the play tells the tale of 6 year old Agatha May and her mentally ill mother Winnifred Alcorn.

I think it's possibly the tale of the Alcorns was inspired in part by the tale of Amelia Dyer, the most notorious baby farmer of her day.

Ravenswood does command the stage well and his voice and delivery are perfectly suited for this kind of supernatural tale. I just couldn't connect with the material as much as I would have liked, it just felt like there were just too many layers of artifice in the way between me and it. The most effective and interesting part of the whole show for me was at the very end during the scenes in the prison.

But at the end of the day I really wanted to like this more than I ultimately did.

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fringe: sound and fury's sherlock holmes

In the past five years I've seen Sound and Fury tackle:

• fairy tales
• Shakespeare (twice)
• Alfred Hitchcock
• the entire fantasy genre.

This time they're off to jolly old Victorian England to take on Sherlock Holmes.

There has been a murder and Sherlock Holmes is going to put all of his considerable intellect and deductive reasoning into finding a solution. Except, in the grand tradition of Without A Clue, Sherlock is an idiot.

If you've never been to a Sound and Fury show, what have you been doing with your life? If you have, this is the same level of barely controlled insanity we've come to expect from them.

Richard Maritzer and Patrick Hercamp have returned without their erstwhile companion Ryan Adam Wells who is off touring his music show in the US, but they are ably assisted by honorary Furian and Perth native Shane Adamczak once again.

Shane makes a great replacement for Ryan, and brings a completely different energy to the group, which is always exciting.

I'm never completely sure when it comes to a Sound and Fury show what is intentional rehearsed mayhem and what is seat of their pants improvisation... and I think that Sherlock Holmes contains both in equal measure. Although I really couldn't tell you which was which. I will admit that I like it best when they manage to run each other off the rehearsed rails (which most often happens to Richard... normally caused by Patrick) and into a moment of incredulity and stunned silence.

The humour, as always, floats on that line between highly sophisticated and really, really dirty (often using one to get to the other), which I clearly adore. There's cross-dressing, a blow up doll, some really outrageous costume changes, excellent pipe work and an audience participant (who in this case was outstandingly good... like if she's not already doing a show, she should totally get involved, even if she did keep getting her script pages muddled up).

And as I think I've said in every review of them so far, one of the things that I like most about Sound and Fury is how welcoming they are and how much they seek to make a connection with the audience during the "pre-show portion of the show". They welcome you inside the joke and that makes all the difference.

As always, time spent with Sound and Fury is a very good time, and very well spent.

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fringe: half hour hamlet

This is our second time seeing Patrick Hercamp perform his half hour version of Shakespeare's Hamlet.

For the purposes of the show Hercamp is not the titular Dane but rather Shakespeare, translating the play into the modern language of the day (our day, not Shakespeare's). The role of Hamlet gets filled in by an audience member (which in this particular show turned out to be me, thanks for that Patrick), and Hercamp then directs much of the explaination/play directly to them (or, for the purposes of this review, "me"). Fortunately this entails sitting in the audience and holding Yorrick (the skull) and not being on stage.

Like last time there are also soundbites for the audience to recite... when anybody dies, when poison is mentioned, when everybody is blissfully happy (remembering of course that this is Hamlet, so that one doesn't come up a lot) and when "your grandfather kisses your sister" (or "ewwwwwww"). A little like last time, the first two of these are basically a noise and a word together, which get progressively more difficult for the audience to manage to remember for some reason as time goes on.

Having the whole half hour essentially directed right at me was something of a unique experience. I love Hercamp's energy at the best of times, and being right in the focus of it was amazing and more than a little dazzling.

The show itself feels somewhat tighter than last year, I'm guessing mostly because he's had a year to really relax into the performance, as well as refine it and lose anything that didn't work in favour of things that did. As I said before Hercamp's energy and performance is really what makes this an amazing show to watch. To keep the level of performance at around 11 for the whole half hour show really shows how skilled he is as a performer and an improviser (whether it was when a random somebody banged on the fence of the beer garden or when I said "whoopsy" about the death of Polonius, Hercamp just picks it up and runs with it).

I do find myself wondering if this is something that could work with other Shakespeare plays or if there's something particular about Hamlet that makes this work as incredibly well as it does.

In any event, it's a show I highly recommend you go and see, whether you're familiar with Hamlet or not.

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festival: intimate space

Intimate Space from Restless Dance Theatre is an odd experience that sits at the intersection between performance art, dance and theatre.

And it takes part against the backdrop of the large, never sleeping machine that is the Hilton Hotel.

Restless is a company who create "inclusive work informed by disability" and means that a large number of the performers have some kind of "difference", the most immediately obvious one for a number of them being Down Syndrome.

The experience beings with a great deal of whimsy. And the only people we interacted with were all members of the company. I'm going to keep some of the details vague, but there are certain things I definitely want to remember.

We were greeted by the concierge, who tied baggage check tags around our wrists after asking which of six categories listed we most identified with. At the time I chose "Fancy Free", but afterwards I went back and checked "Sentimental Fool" to go along with it, because it was more apt.

There were only about a dozen people in the audience group, enough to fill a hotel elevator, but not too many to make it really cramped.

Up to a certain point there's no speaking, we have to read signs and hand signals and people's clothing.

The whole introductory section with Ashton Malcolm, Kym McKenzie and Michael Noble was beautifully done to induct us into the world we're about to visit, and when Noble (that's him in the photo) finally leads us off, a little like a sweet and geeky version of the White Rabbit, leading Alice into Wonderland.

We're led through the hotel, from corridor to hotel room, then into the service corridors and the basement, to the blue lit laundry room, along the corridors following giggling staff, then up to the kitchen and out onto the mezzanine overlooking the bar.

The bar scene was the one that really got to me. We were all given headphones as we come out onto the mezzanine and after a number between a man and a woman we're invited to join the woman looking out over the balcony where performers are dotted amongst real hotel bar patrons. I have no idea if anyone warned the visitors what was about to happen, but they do kind of get absorbed into the narrative just by their mere presence in the room.

Then Jianna Georgiou and Alex Luke start to dance together on the stairs, as two people in love. She has a "difference", he does not. As they dance and flirt this looping, overlapping, repeating words and phrases come through the headphones.

"They don't belong together."

That's not all of it, there's a lot of words, all rolling and coiling over each other... in fact, I'm not even sure now if that's actually one of the lines, but that's the message. And it really got to me, because it's always what people who discriminate or want to have power over others say to lessen other people's power and agency. You can do better. He's too good for you. And I teared up. Because, as I mentioned earlier, I am a sentimental fool.

While I have singled out a few people by name, everyone involved did an amazing job, and intersecting with the lives of the real hotel staff and seeing, albeit briefly, the workings of the hotel was incredibly interesting.

The only quibbles I have are really minor ones... firstly the baggage check tags never overtly come into play... yes, I realise they're probably more to identify us as belonging to the production in a fun and quirky way, there was only one spot where Noble checks the tags on everyone, but I'm not sure if the tags made a difference. And on occasions it was difficult to know where to stand or when to follow, so the odd bit of extra direction wouldn't go astray.

But they're very minor issues with an otherwise highly interesting piece.

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photo saturday: hell of a week

Things I did this week...

• wrote a job application
• cleaned my house for a rental inspection
• had a meeting with the new employment agency contact
• went to three Fringe shows
• drove up and down the road to Ma's place twice (including today)
• got my hair cut
• went out for drinks with The Nuthouse.

It doesn't sound like all that much, but there was almost literally not enough week for the amount of shit I had to pack in it and I'm all kinds of emotionally shattered. Like I said last week I'd forgotten that the inspection was this week, so I'd intended to write my job application on Sunday, and I had to instead split my focus between the two and leave parts of the house cleaning until later in the week. Which would have been fine had I not had something of an emotional breakdown trying to write the application.

Partly that was due to the fact that those things are never just written in plain English... and I had to write 1500 words in response to things that made no sense. In the end I got to around 900 words, and then took it into work and spoke with La Ninj since she's no longer involved in the process, she gave me some good advice, I reworked some stuff, added other things that made sense, copy and pasted various things from the last time I did one of these things and got it to just shy of 1500 words.

I then put it in on Thursday. There was some additional internal mental drama around filling out the supporting documentation, but I kind of knew that was A Thing. Still doesn't stop it from being drama.

Now I guess it's just mine to lose. I've been doing the job for almost three years, I quite literally wrote the book (well, the process document) on how to do the job. And if it turns out that I don't get it for some reason, I will print out the process document, either hand it to the new person or simply leave it on the desk and walk out. Because fuck that noise.

I'm not 100% sure, but I think my current offsider is also applying for the job. If he isn't and the application document I saw him working on on Friday is for something else completely, then fine, I owe him an apology inside my head at least... but if he is, why the fuck wouldn't you just say something. I also can't really blame him for putting in an application, but at the same time I really want to... and doubly so because he hasn't had the decency to say something about it.

It also turns out that I know all three people who are going to be on the interview panel. I expected to know two of them and for the third to be a stranger, but no, turns out I know all of them. Not completely sure if that helps or not, but let's go with it being an advantage.

Tuesday was a big evening, with two Fringe shows back to back and then I had to drive Ma all the way home. Thankfully she came in on the train though and I met her at the Royal Croquet Club. But I didn't get home until almost midnight.

Wednesday was Haircut Day and also Tink Has A New House Day. Fortunately it isn't that much further away though. I finally made all the correct words about what I actually wanted from my hair colour... I kept not getting it quite right, at least since she'd been away, so while my previous hair did make other people comment, that wasn't really what I was looking for (by contrast, nobody said a damn thing this time, which I kind of prefer).

Thursday was my inspection day... and I think it went well, unlike the last couple of times nobody left me any kind of communication to say that it was all good or not, so I don't really have a clue.

I also had a late Fringe show, which I really should have left for earlier than I did... I had to rush as quickly as possible from where I parked the car to the Garden and then was at the end of a long line of people. It wasn't a major disaster, but I could have been closer to the action if I'd just gotten my crap together earlier. Kind of the story of my life just at the present to be honest.

Friday was actually a really slow day. Mostly because I decided to take it slowly after having been through the wringer for the rest of the week, but fortunately there wasn't anything that stopped that from happening. And then we went out for drinks after work... and I discovered Pimms. Yes, I know, it's been around for a while, but it was sitting there on tap right in front of me, and it just sounded like a good idea.

Granted there was only one of the bar staff who really knew what the fuck they were doing when they made it up for me with orange and lemon and lime peel and whatever else he did (and he charged me slightly less than the others too)... whether that had anything to do with me talking about Puppetry of the Penis with someone from work when I went to the bar, I don't know.

It wasn't a late one, but I couldn't be bothered walking home, so I took my slightly tipsy self off to the bus. Of course because of stupid damn Clipsal it took longer than usual to get home.

This morning was what has become the new standard Saturday... I got up, I got ready, I went to the supermarket, I did my shopping and Ma's shopping, I forgot at least one thing that one of us wanted, I came back here and unpacked. We didn't have any shows until 2pm today (Festival, not Fringe), so I hung out here for a while before I packed up the car and headed off to Ma's. Essentially I drove down there, gave her her stuff and we got back in the car and came back here again. There wasn't a lot of time to spare, so we made a quick stop here for tickets and whatnot and then headed into the city for the show.

Then afterwards we came back here to hang out until it was time for the evening shows.

First show we only just got to it in time, which is a habit I don't enjoy, but at least we didn't have to do a lot of useless hanging around. Between that show and the third show of the day we went across to Gluttony for some food. There may have been better choices/options if we'd tried anywhere else, but we had yiros and it was nice enough.

Then we headed over to wait for the last show, saw that, resisted the urge to punch the people in the row behind us who seemed to think that they were part of the show, left, drove Ma home, had a very lovely and chilled (and, yes, quite cute) drunk dude engage me in conversation from the back seat of the taxi he was in when it pulled up next to us at the traffic lights, came back here and called it a night (okay that last bit isn't in the least bit true, I came back here and proceeded to finish this post which I started when we came back here earlier, then I have to do the write-ups for the three shows).

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fringe: puppetry of the penis

I just spent 75 minutes of my evening sitting in a large wooden box, surrounded by women (with the odd incidental husband/boyfriend and a smattering of homosexuals) watching two grown men play with their genitals.

Yep, that's right... I saw Puppetry of the Penis. Or, as they refer to it during the performance... The Dick Show.

I've been wanting to go and see it for a few years, but it was only this year that the guys, Barry Bisco (left) and Rich Binning (right) really caught my attention and I knew the timing was right.

By every definition and metric it is a weird ass show. There's no other Fringe show that I've seen in the last 129 shows (oh yeah, this was also my 130th Fringe show) that was just dick from beginning to end. And no other show where the guys were just playing with the genitals the whole time. Plus straight women do tend to get very... enthusiastic and excitable... when naked men are involved.

There is just something odd about watching guys contort their penises into all manner of shapes and configuration... for example, the Eiffel Tower, the hamburger, the sailboat, the Loch Ness Monster, the snail, the Kanye and the Drumpf (which were essentially the same joke with different props), the baby bird, the ladies and the wristwatch. And you can pretty much imagine what most of those involve.

It's not that I think they're hurting themselves... guys all know just how stretchy and elastic a flaccid penis can be, but there's some definite above and beyond stretching going on.

It was incredibly funny though... some parts more than others if I'm honest, which is only to be expected, but it did have me laughing for the majority of the show.

Of the two guys, I have to say that I had much more of a fondness for Rich... there's just something about his cheeky smile and just the way that he played with the audience... not to mention all of that body (and those great tattoos).

Oh and full kudos to the young guy who was sitting near me in the audience who got up and dropped trou to participate in the hamburger. It was a good looking burger, although I was amused and impressed that he didn't give a shit after the trick was over and just flashed the whole audience his unburgered junk and he got dressed again. Woohoo for bonus penis.

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