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Angela Betzien’s Chalkface, premiered by State Theatre SA, is a zany portrait of an Australian public primary school. It holds up a cracked and grimly funny mirror to the end-result of years of state neglect and disrespect for teachers and their profession.
Catherine McClements returns to the Adelaide stage in a new satirical comedy by award-winning writer Angela Betzien that takes audiences into the staffroom of a fictional Australian school where two teachers face off in a ‘brutal smackdown’.
On the surface, this is a play about three students living in a share house; what lies beneath is a witty, nostalgic and touching exploration of womanhood and female friendship.
This splendid tribute to Stephen Sondheim not only exuberantly showcases the best of his songs, but affectionately recalls his close links with Australian music theatre.
In this strange elliptical cycle of a show, the surface of reality is consistently bent and re-shaped to reveal shadowy fundamental truths.
Not so much a night at the theatre as a fabulous party with your funniest friends, A Slightly Isolated Dog’s hilarious take on the lascivious antics of Don Juan is the most fun you’ll ever have in a room full of strangers.
State Theatre Company SA’s Antigone is a powerhouse renovation of an ancient story for the modern era, transforming a tragedy into a revolutionary call to action.
Windmill Theatre’s ambitious and charming new production reimagines the classic story of Cinderella in a way that shatters not only the glass slipper, but also the outdated concepts that have defined the fairytale genre
Powerhouse Disney musicals are renowned for magic and finesse, and Frozen thaws even the coldest of hearts.
Fledgling Adelaide theatre company CRAM Collective is set to take to the stage with its second production – the world premiere of an Australian play in which three friends come together to relive the events of a dinner party that changed their lives.
THE BUSINESS OF ART | Patrick Livesey has rapidly become a force in Australian theatre, but the artist – recently announced as a recipient of the prestigious Marten Bequest – says their rise has been hastened by the help of many supporters.
What do you get when you cross a musical diva with a hard-done-by 16th-century queen?
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.
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?
When 9 to 5 The Musical hits the stage at the Festival Theatre this October, Eddie Perfect will be playing for boos and hisses rather than rapturous applause.
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.
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. ★★★★
Emma Beech pores over the photographic record of her life in a hilarious and heartfelt family history lesson.
In theory, communication has never been more efficient than it is today; in reality, as Deus Ex Femina’s latest production so profoundly demonstrates, we may, in fact, be saying less than we ever have before. ★★★★★
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.
“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. ★★★★★
One Hour Photo is a snapshot of one man’s life – captured from 30 hours of interview and a lifetime of turbulent after-images. ★★★★½
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.
THE BUSINESS OF ART | As he was standing in a field in Afghanistan, watching men with machine guns joyride on military tanks, former comedian Henry Naylor turned into a playwright. Now he is telling the story of the trip that changed his life in a world premiere season at Adelaide Fringe.
Hartstone-Kitney Productions has drawn thousands of people to its pop-up Fringe venues in the Adelaide Botanic Garden in recent years, but it won’t be returning there next month after deciding to present a season of exclusively digital shows.
The Nightline is theatremaker Rosyln Oades’ paean to the alternate world that blooms after dark, and it sheds a gentle light on the social undercurrents that bind us together and push us apart.
THE BUSINESS OF ART | After a year of frustrated touring plans, Erin Fowler is relieved to be bringing solo work EGG back to Adelaide Fringe – the platform where it first drew the attention of local audiences and programmers around the world.
SA arts and culture news in brief: Small SA theatre company scores a big win at national awards, artist seeks messages in a bottle for Biennial installation, Critics Circle winners revealed, City of Adelaide announces 2022 cultural partnerships, and entries open for $12,000 art prize.
Building a life on nothing but lust, love and cheap wine may sound romantic, but it proves to be an idealistic venture in Bumming with Jane.
THE BUSINESS OF ART | Forced by the pandemic to pause its normally exhaustive international touring schedule, circus company Gravity & Other Myths has been crossing creative borders instead – expanding into new mediums during a period of fertile lateral growth.
True Ability Theatre co-creative director Kelly Vincent says the company’s latest theatrical production, UnSeen – a montage of monologues presented by a ‘100 per cent disabled cast’ – puts marginalised stories centre-stage.
New collective Good Company Theatre will take a radically different approach to Shakespeare with its debut production Hamlet in the Other Room – a play that will be performed by an all-female cast in the dressing room, corridors and performance space of Rumpus.
The devastatingly seminal events of 9/11 remain in reflection 20 years on. Theatre Republic’s production of Emily Steel’s new play How Not to Make it in America adds a fresh, striking and painfully human layer to this reflection.
In Catherine Fitzgerald’s grim comedy of climate crisis, two sisters cling desperately to the remnants of their unsustainable rural heritage on a South Australian property.