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Grounded in her own experience, Michèle Saint-Yves’ Clock for No Time is a play about disability, the father-daughter relationship and living in a world where it often feels like time is running out – and the writer-director is determined to ensure as many people as possible can see it.
Controversial Australian play Kill Climate Deniers will be brought back to the stage in an immersive production by Kinetik Collective – and the new Adelaide theatre group’s co-founders believe it is more poignant now than ever.
Indigenous director Margaret Harvey has used colour-conscious casting to give a 21st-century Australian context to playwright Edward Albee’s 60-year-old American play Who’s Afraid of Virginia Woolf?
THE BUSINESS OF ART | The lessons of a lifetime spent working in arts institutions – from the Adelaide Fringe to Restless Dance Theatre – are helping Windmill Theatre Company associate director Sasha Zahra steer home the remount season of Amphibian this week, amid gut-wrenchingly relevant international tragedy.
Rumpus teams up with independent theatre-makers James Watson and Mary Angley to bring a touch of farce to the serious questions of what and who we believe when art and media become vehicles for propaganda.
Poet and performer Caroline Reid has revived Siarad – an engaging spoken-word performance about memory and mess, moving through and moving on – for a return season at the COMEBACK Festival at Goodwood Theatre & Studios.
If there was ever a text to expose the desperation and fear masked by old-school masculinity, Glengarry Glen Ross would be it: four real estate agents sized up against each other in a sales competition that sees the winner take home a Cadillac, the runner-up awarded steak knives, and the others lose their jobs.
Discussions of class, privilege and origin rarely are light and often are confronting, as seen in Adelaide Repertory Theatre’s production of Good People.
Layers of stories, characters and blankets combine to form a profound and tender production about brokenness, loss and the eternal, hopeless human desire for a singular, true identity.
A viral news story about a lost tourist in Iceland handed Mount Gambier-based actor Sarah Brokensha the perfect framing for a story much closer to home. The resulting show, The World Is Looking For You, is a little bit lost, and a little bit found.
A diverse collection of South Australians will take to the stage to answer the question “Who has power over you and what do you want to say to them?” when the unique theatrical show Truth to Power Café comes to Adelaide.
Hibernation, State Theatre’s engaging and theatrically inventive new play, is not only a wake-up call about the climate crisis, it reminds us that to fix the planet we really have to fix ourselves.
THE BUSINESS OF ART | Adelaide artist Gill Hicks’ live show Still Alive (and Kicking) will this month be streamed for audiences on the other side of the globe, but her journey to the stage has been long and winding. From a creative childhood, via the trauma of the London bombings, Hicks is reconciling her activist and artistic drives with help from a debut Adelaide Fringe season.
Noël Coward’s Blithe Spirit is still charming audiences 80 years on from its first production in this new incarnation by the University of Adelaide Theatre Guild.
Two of South Australia’s celebrated performing arts companies have joined forces in an enchanting acrobatic adventure that exhibits the infinite possibilities of human identity and imagination.
The closure of the Bakehouse Theatre signifies more than the loss of a historic venue. For independent theatre-makers, it’s long been a unique stepping stone – an affordable, accessible and flexible space where careers could be made through the presentation of big, bold ideas.
Opening hot on the heels of a damning new report about the rapid rate of climate change, playwright Finegan Kruckemeyer’s Hibernation imagines a future where the entire global population is put to sleep for a year to save the planet.
SPONSORED: With the support of a Helpmann Academy Creative Investment Fellowship, emerging independent theatre-makers James Watson and Mary Angley are bringing their propaganda comedy to the Rumpus stage.
Independent Theatre’s traditionalist approach in its new production of Macbeth highlights the timeless themes of ambition, guilt and fate that make this play a beloved Shakespearean tragedy.
Swift jumps between camaraderie and conflict keep audience members on edge and intrigued in this Adelaide production of Sam Shepard’s play about two estranged brothers whose identities unravel when they reconnect.
Paul Capsis revels in the challenge of singlehandedly bringing a multifaceted tale to life in this extraordinary adaptation of a literary classic.
Exotic characters and sweeping sagas abound in The Bridge of San Luis Rey, a fresh theatrical take on a classic novel that director Chris Drummond says also offers some profound insights into humanity, mortality and love.
Adelaide’s Bakehouse Theatre – a stalwart of the local theatre scene for many years and a popular venue during the annual Fringe Festival – will be forced to close when the lease on its Angas Street premises ends next May.