When a leading contemporary dancer and choreographer teams up with a rave party producer, the result is bound to be interesting.
Mad March will draw to a close on Sunday, but there are still plenty of shows to see over the final weekend. Here are some highlights from all genres of the Adelaide Festival and Fringe programs.
The Adelaide Festival hosted a pre-show event for its partners at the Park Palais hub (in Elder Park) this week.
Forget sequins, glitter and extravagant costumes, this is circus as you've never seen it before, pushed to its conceptual and cerebral limits.
By turns poignant and rousing, '1967 – Music in the Key of Yes' is both an impressive showcase of Indigenous talent and a celebration of a landmark moment in Australia's civil rights history.
It's the stuff that childhood memories are made of: an enchanting world of secret hopes, dreams and journeys. You would need a heart of stone not to fall in love with Lula Del Ray.
The opening night of Chamber Landscapes at Ukaria Cultural Centre was a rare and unforgettable experience, writes reviewer Greg Elliott.
The Adelaide Festival hosted a preview party and an opening VIP party on its Riverbank Palais hub on the Torrens River at Elder Park.
Curator Leigh Robb and the Art Gallery of SA have created something special with Versus Rodin – an exhibition that is both a homage to the French sculptor and a celebration of the human body.
Cast members and guests attended an opening night party last week for Adelaide Festival show The Secret River, which is being staged at The Quarry, Anstey Hill Recreation Park.
The 3D audio technology in The Encounter is so sharp you would swear actor Richard Katz is whispering directly in your ear. You can practically feel his warm breath.
This Adelaide Festival exclusive is a chance to get to know three prominent Asian-Australians who’ve made a cultural difference in this state, writes reviewer Heather Taylor Johnson.
Artist Lynette Wallworth's immersive film experience is a deep dive into another universe – a coral reef in all its kaleidoscopic glory, writes reviewer Jo Vabolis.