Self-described 'bald dickhead with a beard', Aidan Jones isn’t exactly the kind of guy you would expect to see sit down at a grand piano and beautifully bust out a classical tune.
Jones is affable and rough around the edges – yet bubbling with charismatic charm as he bursts on to the stage at BSIDE Gallery dressed in the style of the Romantic period pianist Chopin, whose composition will be a feature of the show. It’s opening night and Jones has forgotten his wig – a moment that only serves to endear him more to the warm and enthusiastic crowd who have filled the quirky venue. Jones is a seasoned professional who is comfortable on stage and simply takes the moment in his stride, making it feel as if maybe it was just part of his plan, demonstrating his skill and ease with being on stage.
The sound of Jones cracking a beer can open creates a beautiful moment of contrast with how he is presenting, adorned in ruffles, and surrounded by a completed, decked out immersive space. Jones has gone to great lengths to adorn the space he is performing in, delivering a show that feels more than worth the price of entry for the pay off – it’s a nice little experience to see a show that you can really feel had effort go into it from multiple aspects. Even taking a moment to wonder how a grand piano could have been brought into the venue makes you appreciate it all even a bit more. All this can be soaked up before Jones has even uttered a word – but once he settles in behind the microphone and at the seat of the piano, he is a transfixing presence.
As Jones begins playing the first few moments of Chopin’s 'Nocturne' ('Nocturne in E-flat major') it feels as if it can’t be real – is this goofy guy really the one producing that beautiful sound? Yes – Jones isn’t just an incredibly funny guy, he’s also impressively musically talented. Over the course of an hour, Jones gently takes the audience through aspects of the composition, breaking down note choices and hilariously relating them to unhinged but tangible moments. To have a classical music piece made accessible to a contemporary audience by using comedy as a vehicle is such a masterful concept – it’s easy to see why this show scored itself a Weekly Award for Best Comedy at the Adelaide Fringe.
I can’t say I’ve ever sat in a room and watched a guy deliver a piece of classical music on piano. By the end of this show, I was so pleased to have been able to. While it may have been more enjoyable due to being peppered with jokes as the piece was slowly introduced, it was also a delight to hear the full performance of the classical piece at the end of the show. Jones has constructed a well thought-out and polished show, leaving the audience glowing with a feeling of hope and giddy with laughter.
