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Theatre
Set on the Limestone Coast, Caleb Lewis’s fine new play (featuring the outstanding Nathan O’Keefe) is not only a deep dive into the depths of grief and loss, it is also about returning to the replenishing light of day.
Theatre
Smash together 10 seasons’ worth of the ’90s hit TV show Friends on stage and you’ll get exactly what you came for: a whole lot of Rachel, Ross, Monica, Chandler, Phoebe and Joey. Could it be any more fun?
The Bakehouse Theatre has chosen one of the 20th century’s great plays to mark its last hurrah and it hits all the show-stopping notes we’ve come to expect.
Inspired by South Australia’s Limestone Coast and an experience from his own childhood, Caleb Lewis’s new play is a deep dive into a dark night of the soul.
THE BUSINESS OF ART | Thomas Fonua’s journey from full-time contemporary dancer to becoming one of Australia’s most celebrated drag queens, an independent artist and community leader is book-ended by seminal Adelaide Fringe experiences.
One of Adelaide’s veteran companies ambitiously tackles Anton Chekhov’s Seagull, a play that revolutionised theatre.
The Bakehouse Theatre this month mounts its final show, A Streetcar Named Desire, featuring cameos by theatre stalwarts Pamela Munt and Peter Green. When the curtain falls it will sell its colourful collection of memorabilia – and an era will be over.
This extraordinary mix of masterly storytelling and astute use of Bob Dylan songs has given the stage musical new heft and new meaning.
THE BUSINESS OF ART | As stage producer Richard Jordan wraps on a four-show digital season at Adelaide Fringe, the Tony, Emmy and Olivier-awarded industry heavyweight highlights how the festival drives arts innovation – in Australia and abroad.
With dazzling stagecraft and an extraordinary solo performance by Eryn Jean Norvill, this screenshot of Dorian is a Wilde ride.
In Their Footsteps is a vivid tribute to the unsung female heroes of the Vietnam War, interweaving recollections from five actual participants. ★★★★
Adelaide Festival
Emma Beech pores over the photographic record of her life in a hilarious and heartfelt family history lesson.
Adelaide Festival
Solène Weinachter and Kip Johnson enthral as Shakespeare’s star-crossed lovers, now middle-aged and in need of marriage counselling.
This rarely-seen Russian satire of power and folly is brought to the Adelaide Festival Theatre stage with humour and brilliant imagination.
Patrick Livesey’s finely-tuned embodiment of a cast of real-life characters slowly builds a subtle, complex and deeply affecting narrative of their mum’s life and death. ★★★★
Girls & Boys showcases the commanding talents of Justine Clarke as she traces a relationship from its dreams and achievements to the bleakest depths of domestic violence. It is a tour de force.
THE BUSINESS OF ART | Equal parts nostalgic ’80s action film fever dream and hilarity-fuelled satire, Fringe show MANBO deconstructs the murky reality of toxic masculinity with laughter and empathy.
Adelaide Fringe
“Everything here is big and impossible to climb.” Evie Edwards, aspiring Hollywood star, scrambles to the top of the sign famous to all who yearn to see their name in lights. She’s preparing to jump. ★★★★★
Adelaide Fringe
Like a spider quietly weaving a delicate web, writer and performer Tracy Crisp deftly spins connections back and forth between three narratives using an exploration of memory as the anchoring thread. ★★★★★
Two women are cast on to a desolate beach. As they begin to get their bearings, the world will never be the same. Nor, perhaps, will yours. ★★★★★
Leading British actor Juliet Stevenson returns to the Adelaide Festival – in voice only – in a unique thriller about a pandemic of blindness told entirely through immersive sound in a darkened theatre. It is a bleak story, the director tells InReview, but also one of bravery and hope.
South Australia has been fertile ground for new independent theatre companies in recent times and the 2022 Fringe will see several showcase their production style and talent with original works ranging from dystopian drama to charismatic comedy.
Led by a ‘gargantuan’ solo performance by Eryn Jean Norvill, director Kip Williams turns Oscar Wilde’s 130-year-old novel into a portrait of 21st-century vanity.
