Fest Adelaide 2020 Issue 2 by Fest Magazine

Reviews | Full Listings | Venue Map

ODETTE

ON THE WOMADELAIDE STAGE

Your FREE Festival Guide

27 February â&#x20AC;&#x201C; 9 March

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Inside: Dyson Stringer Cloher Breaking the Waves Tyson Yunkaporta WERK IT The Kagools Blunderland

Director Editor-in-Chief George Sully Rosamund West Co-editors Cover illustration Laura Desmond & Ben Venables Katie Smith Artworker Phoebe Willison

Cover art direction Rachael Hood

Digital manager Alexander Smail Sales and events executives Ollie Marshall & Sarah Norris Writing Team Justin Boden, Lauren Butterworth, Alexis Buxton-Collins, Harriet Hay, Miranda Hay, Emma Heidenreich, Letti K-Ewing, Justin McArthur, Kylie Maslen, Esther Rivers, Edwina Sleigh Radge Media Commercial director Sandy Park

General manager Laurie Presswood

Acknowledgement of Country Fest Magazine acknowledges that we are working on the traditional Country of the Kaurna people of the Adelaide Plains and we pay our respects to ancestors and Elders, past, present and emerging. We also acknowledge that the traditional Kaurna cultural and heritage beliefs are still important to the living Kaurna people today. Fest is committed to honouring Australian Aboriginal and Torres Strait Islander peoples of this nation by respecting their unique cultural and spiritual relationships to the land, waters and sky and recognising their rich contribution to society.

Contact fest-mag.com hello@fest-mag.com @festmag

Published by Radge Media Limited., c/o BDO Advisory SA Pty, Level 7, 420 King William St, Adelaide SA 5000, ABN 82609560817. Registered in UK 1.9 Techcube, Summerhall, 1 Summerhall, Edinburgh, Scotland EH9 1PL. Every effort has been made to check the accuracy of the information in this magazine, but we cannot accept liability for information which is inaccurate. Show times and prices are subject to changes – always check with the venue. All rights reserved. No part of this publication may be reproduced in whole or in part without the explicit permission of the publisher. The views and opinions expressed within this publication do not necessarily represent the views or opinions of the printer or the publisher. Printed by Finsbury Green Pty Ltd, 1-1A South Rd, Thebarton SA 5031. Distributed by poster-distribution.com.au

Contents Spoken Words

Comedy 34 The Kagools Move aside Cirque du Soleil

Arriving for WOMADelaide, Odette isn’t interested in being labelled

Theatre 37 Being Dead (Don Quixote)

Kieran Hurley talks about his acclaimed play Mouthpiece

A delightful adaptation of a literary classic

Cabaret 40 Blunderland Through the Brooklyn glass and what Adelaide found there

Shifting Sands

109

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Listings

Odeon Theatre

Ridley Centre Adelaide Showground

Venue Map & Listings

Kids

Find yourself and a show with our hour-by-hour listings and street map

Big brow fun for all ages

Rundle Mall

State Library of South Australia – Hetzel

T Lecture Theatre EE

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Thebarton Theatre

PULT

ET TREETat Adelaide’s festivals TONto SComedy TON STREguide Your hour-by-hour ETHT STREETCARRING CARRING STRE WRIG

43 Prehysterical

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ETLD STREET STRE EFIE WAKEFIE LDWAK

Productivity goes pop

Queen's Theatre

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Pioneer Women's Memorial Garden

CE Scott Theatre – used by RCC and 18 RA ER Adelaide Festival

Circus

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Lion Arts Factory – also used in Fringe

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Elder Park

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Botanic Park

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HarleQueen The Mill, 3–8 Mar, $23–$28 Daniel Connell Cheers Big Ears Gluttony - Rymill Park, 9–15 Mar, $18–$24 Chris Franklin in an Evening with Chris Franklin Rhino Room, 20–22 Feb, $28 Doggie in the Window The Jade, 24–27 Feb, $15–$20 Fringe of the Fringe Comedy Hilton Hotel, 21 Feb, 6 Mar, $10 PLASTICA FANTASTICA The Mill, 26 Feb, 29 Feb, $20 Benson’s Brexit (tbc) Gluttony - Rymill Park, 20 Feb–1 Mar, not 24 Feb, $15–$25

Art Gallery of South Australia

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Anne & Gordon Samstag Museum of Art

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An Evening with George Kapiniaris Morphettville Racecourse, 1 Mar, $30 Surviving the Circus Gluttony - Rymill Park, 3–8 Mar, $19–$25 UnPlotted Potter Black Box Theatre, 25 Feb–1 Mar, $25 Catherine McClintock: Please and Thank Yous Rhino Room, 10–14 Mar, $18–$22 Simon Caine: Every Room Becomes a Panic Room When You Overthink Enough Gluttony - Rymill Park, 20–23 Feb, $20–$25 I See Dead People Gluttony - Rymill Park, 20 Feb–1 Mar, not 24 Feb, $18–$20 Best of The Fringe Comedy Superstars Flinders University, Bedford Park, 14 Mar, $35 Chris Henry: FLAIR The Howling Owl, 25 Feb–14 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $15–$25 Greek Myth for Mortals The Jade, 20 Feb, 21 Feb, 23 Feb, $25 Deadly Funny Institute Theatre - Port Augusta, 23 Feb, FREE Jason Pestell: Kmart’s The Greatest Shop Man The Howling Owl, 20–22 Feb, $25 Clone-a-patra Star Theatres, 12–15 Mar, $27 DON’T SHOOT! I’m a vegan The Jade, 1 Mar, 10 Mar, $20

Adelaide Town Hall

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Men With Coconuts Rhino Room, 20–29 Feb, not 23, 24, $16–$25 The Smithergreens BASEM3NT Studios, 22 Feb, $23

EAST TERRACE

Sean Quinn - Cognitive Behavioural

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LARRIKIN LAUGHS with ME ‘N ME MATES Murray Bridge Town Hall, 1 Mar, $25

FROM E STREET

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Daniel Connell Cheers Big Ears Gluttony - Rymill Park, 14–15 Mar, $24 The Smithergreens 17:15 BASEM3NT Studios, 22 Feb, $23 Nik Coppin The Griffins Hotel, 23 Surviving the Circus Feb, 1 Mar, $10 Gluttony - Rymill Park, 7–8 Mar, $25 Andrew Silverwood: 17:30 Call Me Janice VR Comedy: The Gluttony - Rymill Best of the Bendigo Park, 22 Feb, 23 Feb, Comedy Festival 29 Feb, 1 Mar, $20 various venues, 20 Kel Balnaves Feb–1 Mar, $27.50 Righto Boats and Bogans Murray Bridge Town various venues, 6–8 15:45 Hall, 1 Mar, $18 Mar, $18 Scotland! RUNDLE STREET FamilyRUND FriendlyLE STREET A Full English Stirling Fringe, 22–23 Comedy Hour Breakfast with Clive Feb, $28 Flinders University, Palmer Bedford Park, 14 Ayers House Events, Mar, $20 16:00 29 Feb, $28 Bonanza of Conspiracy Theory: 17:00 Comedy: Festival A Lizard’s Tale Line-Up various venues, 22 Best in Fringe The Historian Hotel, Feb, 29 Feb, 1 Mar, 14 Comedy and Chat... 22 Feb, 29 Feb, 7 Mar, 15 Mar, $27 with Vladimir Mar, 14 Mar, $20 McTavish The Four Fringemen Gluttony Rymill Innuendo various venues, 1 Park, Everywhere: Becky Mar, 1181 Mar, 15 Mar, 111Various dates from 22 Feb to 15 Blake and Steve $30 Davis do it Mar, $20 The Duke of Stephen K Amos Brunswick, 23 Feb, 1 Talk Show Mar, $25 Arts Theatre, 14 Mar, $25

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Cherry Farrow Comedy Hypnosis Sparkke at The Whitmore, 22 Feb, 23 Feb, 29 Feb, 1 Mar, $25 Nothing But Dad Jokes: The First Sequel The Joinery on Franklin, 8 Mar, 14 Mar, $20 Mind Blowing Magic The Jade, 28 Feb, 1 Mar, $25 16th Theatresports(TM) Clash of the Titans The Garden of Unearthly Delights, 23 Feb, 1 Mar, 8 Mar, $35

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15:30

VR Comedy: The Best of the Bendigo Comedy Festival BASEM3NT Studios, 22 Feb, $27.50 Tough Boys Arkaba Hotel, 23 Feb, $30

James Veitch Tentative The Garden of Unearthly Delights, 13–15 Mar, $31–$33.50 Keep The Change The Hindley, 6–7 Mar, $20 DAVE HUGHES RIDICULOUS The Garden of Unearthly Delights, 29 Feb, $45 The Hilary Duff Film Re-Enactment Festival Ayers House Events, 7 Mar, 14 Mar, $25

Adelaide Comedy Gala Arkaba Hotel, 1 Mar, $50 Nothing But Dad Jokes: The First Sequel The Joinery on Franklin, 1 Mar, $20

Arj Barker Comes Clean Arts Theatre, 23 Feb, 1 Mar, 8 Mar, $38 Australia: A Whinging Poms Guide Belgian Beer Cafe ‘Oostende’, Various dates from 21 Feb to 15 Mar, $25 Jimmy McGhie - BA (Hons) The Garden of Unearthly Delights, 22 Feb, 29 Feb, 7 Mar, 14 Mar, $29 LARRIKIN LAUGHS with ME ‘N ME MATES Goodwood Institute Theatre, 8 Mar, $25 Best of the Edinburgh Fest The Garden of Unearthly Delights, 23 Feb, 1 Mar, 8 Mar, 15 Mar, $26

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VR Comedy: The Best of the Bendigo Comedy Festival BASEM3NT Studios, 22 Feb, $27.50 Stephen K Amos Talk Show Arts Theatre, 8 Mar, $25

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Simon Caine: Every Room Becomes a Panic Room When You Overthink Enough Gluttony - Rymill Park, 29 Feb–1 Mar, $20 A Show For Belinda Schmidt Marion Hotel, 23 Feb, $20 Marion Hotel Sunday Sessions Marion Hotel, 1 Mar, 8 Mar, $30 MICKEY D FOR PM (*FOUR) Gluttony - Rymill Park, Various dates from 22 Feb to 15 Mar, $25

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A collection of dad jokes no one asked to hear. Bunnik Tours ballroom, 23 Feb, $28

Good Morning Comedy Mercury Cinema, 26 Feb, 4 Mar, 11 Mar, $15 Matt Byrne’s The True Story of Dad Norwood Concert Hall, Various dates from 20 Feb to 13 Mar, $18–$22

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Finding Your Voice

WOMAD Bingo

Features

25 sights to tick off at WOMADelaide 2020

Illustration Credit: supalerk laipawat, nico bayu saputro, ProSymbols and Symbolon for The Noun Project

Improvised flower accessories

Attempted mosh pit (preferably <10 members)

Band with 10+ members

Apocalyptic weather

Planning huddle

Tech issues

Selfies for the 'gram

New society comprised entirely of tents

(preferably arising from obscure instruments)

Cannabisthemed merch

Cultural appropriation

Free-range children

Impromptu jam sesh

Performers waving national flag

Free space Henna foot tattoos

(we suggest 'endless percussion solo')

Endless donut queue

Snake oil

Cheapskates only going to 'Taste the World' for free food

Indecision at the coloured bins

Song calling for a revolution

Surprise onstage cameo

('bin-decision')

Mid-arvo snooze

Conservative that never leaves Midday yoga the beer stall â&#x153;?ď¸&#x17D;

Justin McArthur

fest-mag.com

Dance-off

Features

WOMAD Bingo

Spoken Words Cover Feature

Odette is not interested in being labelled

ith two ARIA Music Award nominations by 18 thanks to her first album To a Stranger, Odette quickly marked herself as an artist to watch. Signed to an agent at 14 she could easily have become overwhelmed by the attention. But she is assured yet down-to-earth. With influences ranging

from Carol King to Missy Higgins to Ryuichi Sakamoto, she refuses restriction – particularly when it comes to the innate gendering of music. “I’m just really over it. I’m proud of being a woman, but I don’t want to lead the conversation with ‘Hi. I am a woman’. I just want to say exactly what I want to say and have it taken seriously. Every time I hear I am a female artist I often find it’s in a subgenre, instead of actually up at the forefront, instead of just saying ‘an artist’ or ‘a writer’. It’s just really condescending to be honest.” This desire to break through boundaries has seen Odette find great partnerships with producers Damian Taylor (Björk, Florence + The Machine, The

“ It’s just about connecting with another person and then creating from there” Odette’s lyrical style is greatly influenced by traditional poets such as John Keats, and she uses spoken word elements on tracks including ‘Watch Me Read You’. But her songwriting process is not one drawn from dusty leather-bound notebooks. “I like to write on my phone,” she says, “because it’s there. It’s temporary. You can just write a note; it doesn’t have to be a whole thing.” In fact ‘Watch Me Read You’ burst out of her in a fury. She explains: “I was 18, I had just gone to London and I had some real bullshit going on. I was completely fragmented, I had no idea what was going on. Eventually I just kind of had this low-key breakdown. But I got into the studio, like, the next day and we just wrote it. I didn’t think about it at all. It was like it was already written in my head and it just came out on paper.” Despite the emotional vulnerability of her lyrics, Odette is not hampered by sharing her experiences. “It’s not weird, nothing’s weird. Now that I’m 22 I don’t really connect with who that person was anymore. I hear all this pain and I remember how it

felt to feel these things but I’m a completely different person. I think it’s quite interesting to listen to my music now with this different perspective. It’s like a time capsule.” Ahead of her performance at WOMADelaide, Odette reflects on the role her heritage has on her music. “Around the time of [creating To a Stranger] I was just realising what my ancestry even was. I had some family members do some research and heard songs that my family had passed on to me. It was really nice.” Born in the UK before moving to Australia at three years old, Odette's mother is Zulu, the largest ethnic group in South Africa, and her father is British. Exploring Zulu music has had a profound effect on her. “There’s a lot of polyrhythms, and a lot of different major scales which I don’t really use a lot. So it was nice experimenting with that.” With a new album in the works and a new single likely to grace the WOMADelaide stage, 2020 is looking to be an exciting one. “I’ve been working really hard. I’ve got my team with me, I’ve got the best people who I could possibly have surrounded myself with co-writing songs with me, so it’s beautiful. I had a beautiful time making it.” ✏︎ Kylie Maslen

VENUE: TIME:

WOMADelaide, Botanic Park 7:30pm Sat 7 Mar, 4pm Mon 9 Mar

fest-mag.com

Killers) and Paul Mac (Silverchair, The Dissociatives). “Paul and I worked together when I was very young, probably about 16 or 17,” she recalls. “I had just written ‘Pastel Walls’ and ‘Lotus Eaters’ so we went and did demos for those. “I really enjoyed working with him because he just had this beautiful world in his brain that kind of fit perfectly with mine in that moment. We both just knew what we wanted to do. I really like those sessions where you can just go in [without] thinking about a style or an arrangement or certain sounds. It’s just about connecting with another person and then creating from there.” She says her and Taylor (who produced the album) “are BFFs. He is amazing. We hit it off straight away. He is a lovely and talented person. It’s just nice to work with producers who don’t feel like you’re working with a producer. You don’t feel like you’re going into a studio to create a certain thing. You just have this freedom, which I think is very difficult to achieve.”

Features

BUT WAIT... THERE'S MORE!

Be sure to check fest-mag.com for more â&#x20AC;&#x201C; including daily reviews and full show listings!

We have one more issue left this season...on this date:

Issue 3 - Tue 10 Mar

@FESTMAG

KermesZ à l’Est

Ensembles, Assemble!

A talk with four of WOMADelaide’s (literally) biggest bands KermesZ à l’Est

1pm Sun 8 Mar, 6:15pm Mon 9 Mar Members: 8

t WOMADelaide 2020, acoustic Balkan metal act KermesZ à l’Est bring together eight of Brussels’ finest leather-clad anarcho punks – and a giant metal dinosaur. A curious act, the octet have refined their musical identity over more than a decade of Belgian street festivals. “We started with traditional Balkan music, which is wonderful, because it has beautiful melodies and interesting rhythms, and we feel free to play them a different way,” says Maxime ‘the

Megaphonist’ Tirtiaux. “Then we added more rock sounds, and some very weird sounds coming from vintage electro and our street acts. “Now we have reached this very original fusion between Balkan, electro, jazz, and metal – but I think that’s just a result of our curiosity for different kinds of music,” he says, who plays two kinds of mandolin (the banjolin and tamboura). “As musicians, everyone’s playing jazz, and rock, and many different styles. And with this band, we have a very clear goal of making very energetic music, full of the desire to party. “Playing centimetres from the public, there is a lot of interaction and improvisation. I think we learn a lot from these experiences. We love playing street concerts, and amplifying our music with the huge metallic dinosaur that we’ve made. It looks amazing, it looks very crazy. And it’s even more crazy to play very loud acoustic metal as a brass band,” says Tirtiaux. “Because we make this hybrid genre of music, we don’t really fit with many festivals. Rockers, I think, cannot conceive of a rock band without guitars, and with horns instead of amps; for traditional music, it’s too loud! So we find ourselves in very independent and very alternative networks, like WOMADelaide.”

fest-mag.com

Features

Minyo Crusaders

6:15pm Sat 7 Mar, 4pm Mon 9 Mar Members: 10

n the meantime, ten Tokyo locals will visit Adelaide as the Minyo Crusaders, whose music draws on the soft nostalgia of traditional Japanese folk songs, min’yō. Their songs emerge from extended jam sessions, where the band’s nine other members improvise (on guitar, bass, keyboards, trumpet, saxophone, timbales, congas, bongos, and melodica) around the vocals of founder Freddie Tsukamoto. “We play danceable party music, but it comes from Japanese folk songs that have been sung for Dr Piffle & the Burlap Band more than 100 years,” says Crusaders co-founder Katsumi Tanaka. “The ideas for the backing tracks Dr Piffle & the Burlap Band come from various world music genres. Each mem8pm Sat 7 Mar ber brings different world music rhythms and riffs, Members: 11 playing along with Freddie’s singing.” Their crusade to revive min’yō has taken them ong before they started playing together, Dr across the globe, with the band recently completing Piffle & the Burlap Band were friends through their first tour of Europe – including a performance skating and surfing around Adelaide. Like at Dutch festival Le Guess Who? on the same night as KermesZ à l’Est, their style came about through a fellow folk vocalists (and WOMADelaide 2020 visicombination of talent and improvisation. “Originally tors) Aldous Harding and Ustad Naseeruddin Saami. I played bass, but I went overseas and they picked Tanaka says that travelling together has helped up another bass player, because it’s kind of an esthe Crusaders to bond. “The feeling of increasing sential instrument,” says Nick Dugmore. “So when I teamwork is a very unique experience, spending came back, I just started playing a piece of driftwood time with members of various ages and different that was in the back of the ute. Then my mate came living environments (in Japan). “And of course, the back from Canada with a trumpet he found in a most enjoyable things are the delicious local foods of second-hand shop, and I used to play trumpet in the the places we visit.” school orchestra. So I picked that up again too. Minyo Crusaders “I’m really looking forward to just hanging out with the band, having everybody back together,” he says. “It’s pretty rare that we’re all together, even for a rehearsal. We’ll squeeze a few in before a big show like WOMADelaide, but one of us lives in Melbourne now, one in Sydney, and everybody’s got kids.” Dr Piffle & the Burlap Band have been on a break since 2015, when multi-instrumentalist Jed Altschwager (accordion, vocals, tambourine, and didgeridoo) lost his lower right leg in a workplace accident. Reuniting for WOMADelaide might offer them more than one reason to celebrate. The morning of their performance, Altschwager will find out if he’ll be rowing for Australia in the Tokyo Paralympics. “If he makes the Paralympics, it’s going to be a huge celebration for us – it’ll be an incredible day and night,” says Dugmore. “If he makes it, we’ll take the band to Japan later in the year, to watch him and play together.”

Features

Public Opinion Afro Orchestra 6:15pm Sat 7 Mar, 4pm Mon 9 Mar Members: 19

OMADelaide’s biggest ensemble of all, the Public Opinion Afro Orchestra, perform an ever-evolving mix of funk, jazz, hip-hop, and highlife. Born out of bands Musiki Manjaro, LABJACD, Alárìíyá, and The Bombay Royale, as well as the wider Melbourne musical community, the group have been together for 12 years with few changes to their epic lineup. The Afro Orchestra describe themselves as “a 21st century response to afrobeat,” incorporating elements from hip-hop as well as a host of pan-African rhythms. “[Afrobeat pioneer] Fela Kuti said music is the weapon of the future, and that is an edict that we hold close to our hearts,” says trumpeter Tristan Ludowyk. “Our music is aimed at the dancers, but we always want to bring everyone together and make them think a little as well. We party with a consciousness.” For all 19 members to write together, each song has to come from a different ‘seed’ – a theme from which they can all take musical and creative inspiration. From that seed, the guitarists, percussionists, and six-piece horn section will improvise slow, simmering grooves. These will become the skeleton of the song, around which the band’s vocalists will bring its message to life. “A Public Opinion song will always take you on a musical journey,” Ludowyk says. “One of the great

things about our band is that we have members from all corners of the globe, with different interpretations of not only the music we play but the message we bring to our fans too.” It helps that they enjoy each other’s company, as well as sharing in their musical passions. “Once we add soundies, partners and children, we often have a party of 30+ travelling together. And that’s what it is – a party!”

“ We party with a consciousness” - Tristan Ludowyk A decade after they last played WOMADelaide in 2010, the Afro Orchestra are “excited beyond belief” to be returning. “It’s always a great time whether performing or not,” says Ludowyk. “It’s one of the best curated and run festivals in the country, and they treat all their artists really well and make them feel right at home. And the diversity of music and experiences on offer are incredible – almost all the performers are masters of their chosen craft. “But the thing about WOMADelaide is that you always find your favourite performances come from acts you’ve never heard of before. There are just so many new things to explore and check out!” ✏︎

Justin McArthur

VENUE: TIME:

WOMADelaide, Botanic Park 6-9 Mar

fest-mag.com

Public Opinion Afro Orchestra

Features

Indigenous WOMADelaide performers discuss language, culture, and pride

hen singer Deline Briscoe returns to WOMADelaide, she will be singing in the Yalanji language as both a celebration and protest. “I love the festival anyway, but to be a part of the line-up and to bring some of my culture back to that stage – it’s really exciting to present that to a world audience, you know,” she says. For Briscoe, who previously performed with the Mission Songs Project in 2018, and with the Briscoe Sisters in 2006, the Yalanji language both connects her to her ancestral home in the Daintree, and helps her to restore the cultural connections that were stolen from her mother. “My mother comes from the Stolen Generation,” Briscoe says. “She was taken at the age of four, and went back at the age of 17 to find her family. She wasn’t able to speak her language growing up – she was severely punished for that. “When I started learning more, I wanted to remember it. I wanted to preserve it and I wanted it to continue for the next generation, so if ever any Yalanji people are in the same situation as my Mum, where they don’t know anything, they’ve got a song

fest-mag.com

Homelands Deline Briscoe

that they can hear, and that can link them to other families.” Briscoe now performs around the world, but her songs transport her back to the Daintree. “When I sing in Yalanji, no matter where it is in the world, I feel like those words resonate with the natural surroundings. Every word is directly linked to something from my bubu, which is the homeland of my spirit. Every single word resonates with the tree, and the tree resonates with the branch – that’s the way our language is structured.” Alongside performing her own songs, Briscoe works with communities throughout Queensland, Victoria and New South Wales, helping other people to revive their stories, songs and dances by helping them to compose songs in their own languages. “For those that have had their languages taken from them, it’s a way of taking that back – bringing back the power of those languages for people like my mum, who were never able to speak it. Here I am, singing all over the world in Yalanji, with pride and with strength and with honour, for the culture that I represent.”

Briggs

Features

riggs returns to WOMADelaide as a solo act, after headlining the festival in 2017 as half of AB Original. “I remember it well. It was like, one of our biggest shows we’ve ever done,” says Briggs. “That’s how it was, back in the olden days of 2017.” Briggs makes history in 2020, as the first Indigenous rapper to return to WOMADelaide. He’s only the fourth to play the festival at all, alongside Brothablack in 2003, Baker Boy in 2018, and AB Original collaborator Trials at their aforementioned 2017 gig. But he says it’s “not really something you think about”. “That’s not how they present it to me, when they bring me the contract – ‘you’re the only returning Indigenous hip hop artist’. It’s some pub ammo, for sure. But I mean, hopefully we’ll have more, and that’s what it’s about. We killed it last time, why wouldn’t they have me back? “It’s a real cool festival to do. One of the ones I really enjoy – off the top of my head, you have Meredith, WOMADelaide, Splendour, Woodford – these are the ones that are always a good time, always warm, run by really good people. You like working with them, so you would come back.” A rapper, writer, actor, comedian, and record label owner, Briggs has a lot of careers for a guy in his early 30s. “It’s weird though, because I never had that in mind like ‘I’m gonna do that’. It’s always like ‘man, that’d be cool’. ‘Imagine doing that, that’d be sick. Imagine if you got to write TV shows, im-

agine if you got to be on TV doing comedy, imagine this and that. Yeah, that would be fun.’ “And I guess I just manifested it by doing things I love, and accessing the kind of opportunities that were able to present themselves. Run towards them, and do as much as I can. So long as it’s not brain surgery, and nobody’s life is in my hands, you can pretty much guarantee that I’ll give it a shot.” From taking his family name as a stage name, to bearing Yorta Yorta tattoos on his arms, to rapping about #sheplife, pride in his culture and heritage have always informed Briggs’ choices as an artist. “Our heritage, our culture is our values. You take that with you everywhere you go. So you know, it’s not always tangible, what people might think – it’s not always paintings and artifacts. It’s how we carry ourselves every day, in how we interact, and how we present to the world. You try to present, and lead with respect, and hopefully that’s what reflects back.” Does he consider himself a leader? “I guess so, like in the sense of – if you’re looking at it on paper? But like, what constitutes a leader, I think, shifts every era, every generation,” he says. “There are different leaders at different levels. But you don’t get to award yourself that title – that has to come from everyone else around you. “If you’re wondering if you’re a leader, or trying to put that on yourself, you’re probably not. Because you should be focusing on what a leader would do. And a leader would just get back to work.”

Features

Spinifex Gum

people to speak for us, but we want our own voice. You need a First Nations person to share what we need.”

“ The question should be: why dont we already have a voice in the Constitution?” - Grace Miller “You need an Indigenous person that knows the stories,” says Iverach. “Not every community’s stories, but their own stories. They understand what each and every Indigenous person goes through on a daily basis.” Speaking truth to power is part of Marliya’s appeal, says Miller. “‘Yurala’ is my favourite song, because it’s got a real attitude to it. You can really express yourself and ask why, and call out people in the audience, call out people that have done us wrong. And it also has a big story, a very important story of Indigenous culture. “When we perform, people can’t shut us down, people can’t tell us to stop talking. So when you’re performing onstage, you have to tell that story, because there’s not many opportunities to do it somewhere else – and who else is going to do it?” ✏︎

Justin McArthur

VENUE: TIME:

WOMADelaide, Botanic Park 6-9 Mar

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ew to the festival this year is Spinifex Gum, a collaboration between the Aboriginal and Torres Strait teenagers of the Marliya Choir and The Cat Empire co-founders Felix Riebl and Ollie McGill. Soprano Grace Miller wanted to join the Marliya Choir after she saw her sister perform. “Most of us started off in the Cairns [Gondwana Indigenous Children’s] Choir, so we all had experience in singing in choirs, but there’s a change from typical choral music to Marliya’s stuff,” Miller says. “The energy in the performance, the stage presence, it felt like family. Everyone was friendly and kind, and really good performers, and people as well.” “The way most of us were brought up in storytelling, we’re able to tell people’s stories not just from our community or people we know, but across Australia,” says alto Emily Iverach. “We were used to learning the island songs, and learning the island languages for them. And then we learnt the Yindjibarndi language from the Pilbara.” Many of their lyrics are in Yindjibarndi, as well as the choir’s name, marliya, taken from the Yindjibarndi word for ‘bush honey’. One exception is the song ‘Dream Baby Dream’, a cover of a cover with a new chorus: “Voice, Treaty, Truth, Now”. The choir have used this song to call for an Indigenous voice in the Australian constitution, as recommended in the Uluru Statement from the Heart. “The question should be: why don’t we already have a voice in the Constitution? There’s no reason that we shouldn’t have one,” says Miller. “We have

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Dyson Stringer Cloher Jen Cloher goes back to her Adelaide youth ahead of her performance at WOMADelaide

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ears before WOMADelaide began, a little Jen Cloher would scurry out of her house, across Hackney Road and into the parklands of Botanic Park to play beneath the Moreton Bay fig trees. “I’d cross that road, you know, and I’d be in nature – to some extent. So weirdly, I’m kind of going back to my old stomping ground.” Cloher went on to spend her adolescent years along Henley Beach’s coastline, trekking into the city to bask in the grime of Adelaide’s grunge rock scene. In their track ‘Falling Clouds’, Cloher reminisces about seeing The Clouds and Falling Joys as a teen in Adelaide. “You kicked the door wide open so I could walk onto that stage.” Dyson Stringer Cloher are now embarking on imparting the same inspiration Cloher found in Adelaide’s underground music scene to thousands at WOMADelaide in 2020. It’s sublimely cyclical to have Cloher return to Botanic Park with Mia Dyson and Liz Stringer, who make up the trio. A group that enlivened a new wave of female and gender non-conforming artists. The three formed Dyson Stringer Cloher on a whim in 2013. They played 40 gigs across the country, leaving people aching for more of their music, before diverging down the different paths of their individual careers. Six solo albums later, a stack of trophies, and some seriously inked-up passports, Dyson Stringer Cloher have released their self-titled debut album. And it is a jewel. It’s rock with sensitivity, simplicity and a natural fierceness.

The three pioneers aren’t doing this the old fashioned rock’n’roll way, but with an enviable zen swagger. “None of us drink,” Cloher says. “We just like sipping our kombucha and dandelion tea.” And as far as in-house fighting goes, it’s pretty tame. “Probably the biggest argument we would have is what milk we would put in our coffee. It’s actually quite embarrassing. Quality problems though.” There’s no denying Adelaide’s impact on Cloher’s formative years. From Carclew to Flinders Drama Centre and the Adelaide Fringe, her trajectory as an artist began on these streets. It’s something she hasn’t forgotten. “I love Adelaide. And the thing I really love about it is that it’s not a big bustling city. Particularly as an artist growing up, there’s enough of a sense of that isolation and loneliness you need as an artist to sort of really have that time on your own to imagine and create.” ✏︎ Edwina Sleigh VENUE: TIME:

WOMADelaide - Botanic Park 10:30pm Sat 7 Mar

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Credit: Lara Capelli

Finding Your Voice Kieran Hurley talks about his acclaimed play Mouthpiece

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here are many individuals who challenge social inequality. At times, though, discussions about poverty seem reserved for those with wealth and influence, whose benevolence comes from their own fortunate circumstances. This idea is one that Kieran Hurley’s Mouthpiece unravels. “In a sense, Mouthpiece is a way of me trying to work out my own class baggage,” says Hurley. The play’s plot stems from an unlikely connection between 17-year-old, unemployed Declan and a middle-class playwright, Libby. Declan is accustomed to violence and futility; Libby is disgruntled by the artistic community in which she is yet to find favour. Although saddened to hear Declan’s story, she quickly identifies the value in telling it. It also doesn’t hurt that such a story may kickstart her waning career. “It is an unconventional love story,” says Hurley. “It’s two people who are both lost in their own different ways. They are desperately and catastrophically alone… [this is] the hook that opens the initial bond in their relationship. They may not recognise it initially, but they both have a need for connection.

Libby and Declan’s experiences of being rejected by the world are very different but just as acute as each other.” Hurley acknowledges that the discussions between Declan and Libby mirror many of his childhood experiences. “The arc of the story is specific to my own experience,” says Hurley. The play is set in Edinburgh, Hurley’s hometown. “I grew up in a normal working-class, mixed-class community called Restalrig. In terms of my economic and class background, this is ultimately what the play is about. “I went to a state primary school in Edinburgh and grew up around many ‘Declans’. But at the same time, I grew up in a middle-class context, where I was encouraged to do things, like go to university, or have the belief in myself that I could grow up to be a writer.” Exposure to both worlds at a young age may give Hurley a unique perspective. “There is a structural problem in the industry,” says Hurley. “The current structure keeps people from being able to participate and to share their own stories… Most of it is related

Angus Taylor and Shona Macdonald in Mouthpiece

to money. To break through enough to imagine a steady income in the arts in the first place, you need financial support. So oftentimes the arts and artists themselves are supported by that steady wave of income which comes from those who are able to participate with free labour. And that is a problem, not just because of who gets paid for what, but because it impacts massively who is able to participate.”

is also a very important thing which is giving artists the right to fail, artists need organisations and institutions that will back them, even when they fail.” Hurley is also careful to make a disclaimer here, “Of course, I don’t want people who have paid money and given my work time and attention to be disappointed, I want my work to kick ass!” The issue may not only be about money though, it is more cyclic and dangerously subtle. “The arts are intertwined with middle-class production and consumption and values. It’s really culturally embedded… You can have all these diversity drivers, policies and panels, but as long as the industry is He adds: “If there is one simple way that you held afloat and held together by free labour, then could change that, it would change people’s access to there is only a small cross-section of society who are arts both on the level of the audience but also on the able to take that risk, who are able to participate,” he level of the maker and creator and contributor.” says. “This prevents people from being able to tell Despite Mouthpiece’s success, Hurley acknowltheir own stories, just like Declan is unable to tell edges that it was not a straightforward process to his. ✏︎ Emma Heidenreich write the play. “Initially, [the play] was pretty shit,” VENUE: Odeon Theatre [Adelaide Festival] he says. “There were so many drafts.” TIME: times vary, 6–14 Mar, not 11 And here lies what Hurley has identified as one of the most vital problems with the industry. “There TICKETS: $30

“ It is an unconventional love story”

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Craigslist Allstars

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Finnish-born filmmaker Samira Elagoz explores truth, intimacy and human connection while filming unscripted first meetings

Your techniques in film have been described as candid and transparent. Do you believe your work has been able to capture a true depiction of two strangers getting to know each other? Is this truth important to the work? I definitely have an aesthetic of depicting the average, imperfect human body without trying to make it more or less than it is. Especially as we live in an artificial world full of idealised images. The reality in my films is born from the interaction – an interaction that wouldn’t be there if the camera was not present. So of course the ‘real’ of the camera and the ‘real’ of the situation are different. It’s not that the film is showing us the truth, it provokes its own kind of truth, a focused truth. Social connection and intimacy is often said to be waning in the presence of sophisticated online platforms for meeting and conversation. Is Craigslist Allstars a testament to the decline, or the increase, of social connections in this highly online life?

It’s interesting that the section of ‘Personals’ for meeting people doesn’t exist anymore on Craigslist. So if not a testament, then at least the movie is a relic of time. I have always been a kind of digital romanticist. I think online platforms give you the chance to redefine yourself. There is an instinct to be less private with online strangers, more honest. I think that sexuality and romanticism online are as real as they can be in real life. In fact I believe that online we get to connect in a more honest way, at least honest to ourselves. The disconnect or superficiality people often project onto online interaction has always existed in my opinion, perhaps even more so. You have said before that you noticed there was a missing element online of women portraying men. How important is this balance of portrayal to you in your work? I think not only online but in the whole of art history. There is this assumption that women’s sexuality is existing for others to use, not for herself. It is seen as self-destructive and shameful. For the longest time it was frowned upon when women would use their bodies or sexuality in their art, even though male artists could use women’s bodies. I wanted to make films where I have agency, and don’t justify being sexual, or present myself in a manner others might find uncomfortable. The efforts to escape the male gaze became a bit fruitless. So I decided to kind of court it – to fuck with it. How have these interactions changed the way you view human interactions and experiences? I did learn that anyone, with the right amount of attention, can become a film star. ✏︎ Laura Desmond

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AC Arts 2pm & 6pm, 1 Mar & 3 Mar $15

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Credit: James Glossop

Deep Waters Missy Mazzoli’s operatic adaptation breathes new life into Lars von Trier’s film, as actor Duncan Rock explains

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“W

hy turn something into an opera?” laughs Duncan Rock, the male lead bass-baritone in Breaking the Waves. “It’s very expensive, there are significant limitations and film is a much easier medium. And yet, [Breaking the Waves] is so worth seeing as entirely separate from the film.” He adds: “Because opera allows us to tell a story in a more abstract way, allows the story to answer to itself in a more interpretive space.” Rock is the male lead bass-baritone in Missy Mazzoli’s adaptation of Lars von Trier’s heartbreaking 1996 film Breaking the Waves. Rock plays Jan McNeill, the masculine, charming husband to Bess.

Bess, played by Sydney Mancasola, is beautiful, enigmatic and naïve. Qualities which put her in danger. After Jan suffers an injury, he urges Bess to take carnal risks. There is an agonising inevitability to the original film. Breaking the Waves is akin to an ancient Greek tragedy. Wrought with dramatic irony, the story seems to position protagonists that are totally blinded to the tragedy of their own decisions, while the remaining characters sit powerless – hopelessly watching the story unfold. “There is one beautifully written scene in the middle of the piece,” says Rock. “[Jan] is completely

Mazzoli seeks to homage the harsh coolness of the film’s location of the Scottish Highlands through stage design and lighting. “We are somewhat limited to what is possible on stage versus in film, so Mazzoli emulates coldness through slightly different means,” says Rock. “The oil rig that Jan works on is more prominent in the opera, it looms forebodingly over the entire set.” Mazzoli works to highlight coldness partly through the characters, but also through the score. In the film, the loveless response of Bess’ church elders and family contrasts with the protectiveness from her friend Jojo and the Doctor. In comparison, Mazzoli’s adaptation features “a chorus of men who both represent the men in the town but also the oppressive, religiosity… not hyper-masculine but certainly misogynistic attitude of the clergy,” says Rock. “There is no chorus of women in this opera, so you don’t get that sort of feminine warmth, because even the mother is quite a cold character.” Von Trier’s original film is broken into chapters.

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“ The music is like another character”

Credit: James Glossop

static throughout it, but it’s where all the characters who love Bess, and have her best interests at heart, are trying to get through to her and she’s just resisting every single one of their attempts at helping her. And that’s when you know this is going to end badly… She’s just closed herself to all attempts at reason. I think that’s entirely powerful and the rest of the opera flows from there.” Scenes like these give us a sense of Mazzoli’s intention to focus on themes such as futility, naïvety and control. Given the shocking nature of it, the audience is not given as much time to reflect on these elements in the film. Bess’ experience and development is tousled by the religiosity of her church and upbringing. “[Jan] fails to see Bess’ emotional stuntedness for what it actually is,” says Rock. “He sees it as a beauty, a playfulness and innocence… [not] a lack of maturity. It is unintentional, but he fails to see it.” Rock’s perspective makes it clear why Breaking the Waves is a story so well-suited to the medium of opera. “There have been operas that you see and think ‘that didn’t add anything to the story’, but that is certainly not what you will feel with this piece.” The sense of futility is exacerbated through the operatic chorus and choral score. This is what lends the story so well to the dramatism of opera.

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Each chapter is introduced via oddly calming songs by Elton John, Leonard Cohen and Bob Dylan. In Mazzoli’s adaptation, the audience has no such relief. “The music leans into the intensity much more than the film. The score hugely influences the content, music is almost like another character,” says Rock. “Breaking the Waves is quite unique in that it unashamedly leans into the intensity of it. I actually quite love that about the piece – the opera is really rather incredible in that it tells the story through these snapshots in time. It doesn’t mean they are all heavy and depressing, but each one is entirely essential to the plot. There is no fat on this opera.” ✏︎

Emma Heidenreich

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Tyson Yunkaporta talks about challenging assumptions and Indigenous thinking

n Sand Talk: How Indigenous Thinking Can Save the World, Tyson Yunkaporta asks how can we make sense of the contemporary world through Indigenous thinking? And how might this lens bring humanity and sustainability to a fractured world in crisis? In each chapter, Yunkaporta shares an image to accompany his collection of yarns with experts who help to examine how we as a society have the potential to change for the better by listening to First Nations people. The result is a book that challenges us to think differently, read differently and see differently: even the very practice of storytelling is questioned. From an oral tradition into a book written by an academic, Yunkaporta still struggles with the idea of a didactic tangible object, describing the final result as “sporadic. Messy. Dangerous. Partially successful”. He explains: “It’s so ephemeral. Everyone who reads it is experiencing a different yarn. It’s just a translation of

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Shifting Sands Tyson Yunkaporta

a fragment, but the pattern is there and I guess anybody glimpsing that pattern of creation will find it unfolding all around them in their own unique way. “The focus of the yarns is already shifting to people far more qualified than me to talk about these things, and I’m really enjoying listening to them. It’s funny because the marketplace is always trying to do the opposite. The messenger is the product, the brand. But the yarns are their own thing, and they’re taking off because their time is now.” Yunkaporta’s attendance at Adelaide Writers’ Week while the climate catastrophe embroils the country seems incredibly poignant. The tie between the disrespect colonisers have for the land and Aboriginal Australia’s spiritual connection to it feels more graphically violent than ever. “When I wrote [Sand Talk...],” says Yunkaporta, “I was looking at all the signs and thinking forward, continues >

Writers' Week Forum

seeing it all starting up. People didn’t want to hear warnings though and they got angry at the time when I talked like that. I thought it was too late to try convince people to stop it, but maybe just in time to get people thinking about how to survive the transition to a very different reality, and begin the ten thousand year process of cleaning up.”

Part of this mass restructure in order to build a more cohesive and caring society requires some important challenging of assumptions and long-held beliefs. Some of those explored in Sand Talk... make for difficult reading for the privileged reader; others require further exploration as to how those without privilege can be protected. “There are a lot of assumptions about gender and culture and these are dangerous things to challenge,” Yunkaporta says. “Hopefully it’s humour and connection that underpins the book, and the provocations that may help people challenge assumptions just slide through underneath that.” Yunkaporta will speak at Adelaide Writers’ Week’s opening event addressing the idea that ‘The Only Constant’ in our lives is change. And while sometimes events such as this can often feel akin to “preaching He often writes of social fragmentation and to the choir”, they also offer “opportunities to expand individual greed that is fuelled by neoliberalism. notions of our community as having a living culture While the bushfires and other disasters this summer rather than a static collection of artefacts” – a chance have seen incredible acts of community, kinship and to allow for a greater understanding of Indigenous charity, he says we have a long way to go: “These are Australia’s evolving customs and thought patterns our biologically encoded social structures and we and what we might all learn from them. ✏︎ Kylie Maslen only see them emerge now in times of crisis when the civilising structures are disrupted. It’s not the crisis that causes it, but the temporary disruption to control systems. You see it in Africa all the time, SHOW: Adelaide Writers' Week Opening Event: when there is a war or a coup and the state falls The Only Constant apart, community marketplaces and economies VENUE: Adelaide Festival Centre emerge with a more human paradigm, and they TIME: 6:15pm, 27 Feb work. They are always eradicated when the state TICKETS: $15-25 reemerges, though.”

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“ There are lots of assumptions about gender and culture and these are dangerous things to challenge”

29 Features

Dismantling White Feminism Authors Dr Aileen MoretonRobinson and Ruby Hamad join Writers' Week to discuss their books which critique whiteness and feminism twenty years apart Ruby Hamad

lance journalist for some of Australia’s leading news publications, Hamad wrote White Tears/Brown Scars after her article for the Guardian, ‘How White Women Use Strategic Tears To Silence Women of Colour’ received unexpected global attention. Hamad says in 2018, Women of Colour from all over the world contacted her with personal accounts of being silenced by white women in various social contexts. What really stood out were the similarities across different demographics of Women of Colour. “No matter their racial background or what they did for work, their experiences were quite similar, which was the expectation of being grateful and agreeable,” says Hamad. “For me, what was important in this book was to focus on these personal interactions as a way of showing how they mirror the bigger picture. So, that same dynamic of colonising and invading and labelling [people] as just angry and violent… picture that in the workplace, how would that manifest? It would manifest as always having to be agreeable. ‘Always do what you’re asked, never really expect anything back.’ “And finally you can’t handle it anymore so you’re like, ‘Hell, hang on.’ And they say ‘Oh, why are you so angry? Why are you attacking us?’ Can you see how the broad political plays out into interpersonal interaction?” ✏︎ Letti K-Ewing

TIME:

Writers' Week, Pioneer Women’s Memorial Garden 9:30am - 8:30pm, 29 Feb - 5 Mar

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r Aileen Moreton-Robinson wrote Talkin’ Up to the White Woman in the year 2000. It was the first piece of literature from an Indigenous woman’s perspective that interrogated white womanhood and the functionality of racism within feminism. A Goenpul woman from Quandamooka First Nation and Distinguished Professor of Indigenous Research and Engagement at The Queensland University of Technology, Moreton-Robinson is recognised for her seminal works examining race, whiteness and colonialism, and Aboriginal land rights and sovereignty. “I don’t ever claim to be a feminist and I don’t know where the Indigenous feminisms are... I think as Aboriginal and Torres Strait Islander women, the womanhood that we have is about who we are in relation to the land and our countrymen,” says Moreton-Robinson. “The way in which I think gender is configured culturally is not necessarily the same as the way in which gender is taught within feminism. White women invented feminism, why do you want to be at their party? You know, we’ve always had our own power as women - Women of Colour and Indigenous women and Black women – but to me that is not configured the same way in which gender is configured through whiteness and capitalism.” Moreton-Robinson says newfound interest in Talkin’ Up to the White Woman 20 years after its publication comes as no surprise because “racism is still one of those dirty words.” Her response is evidenced by author Ruby Hamad’s 2019 book White Tears/Brown Scars, which critiques the ways in which white women subjugate Women of Colour by weaponising their privilege as the historical exemple of ‘true womanhood.’ A free-

It’s Complicated Dr Hannah Critchlow and Dr Robert Elliott-Smith discuss the importance of science communication amid new technologies and heightened public anxiety

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his is a golden age of cognitive science. Artificial intelligence (AI) technology can make predictions based on ‘deep learning’ capabilities. And neuroscientists have developed ways to predetermine brain conditions in unborn babies. At a time of revolutionary scientific and technological breakthroughs, communicating these findings clearly is imperative to public understanding. Otherwise complex technologies are left shrouded in mystery. “We’re living in a genomics revolution,” says Dr Hannah Critchlow, neuroscientist and science outreach fellow at the University of Cambridge. “All of this information is coming online about how a genome, this very individual and personalised genome, can give us a hereditary predisposition towards aspects of our life. “20 weeks before birth, researchers and scientists are able to see the brain being built. They’re able to peer into the brain and see the different anatomical changes in neural circuitry that are related to really complex conditions of the brain like autism or ADHD (Attention Deficit Hyperactivity Disorder), or even symptoms that might not emerge for decades, like major depressive disorder, bipolar, or even schizophrenia.” Critchlow says these studies currently focus on medical conditions. But her 2019 book, The Science of Fate, considers how personality, behaviour and temperament could be predetermined using the same technology. It is a fearful thought. Any notion of free will could be scientifically contested. However, she has resolved that public conversations need to be had now more than ever, particularly around the ethics and morality of gene editing: “I think now is a good time for us as a society to decide how we want to start using this information. Do we want to start to appreciate neurodiversity rather than create a

Dr Hannah Critchlow

more homogenous society? We really need to all get involved in this discussion to try and think about the future of our species. “There are a lot of scientists out there who are talking about their research and going to festivals like [Writers' Week], which is a wonderful way for people to exchange thoughts and ideas to help enrich all of our lives. It keeps our brains healthy by being able to learn new things and think in different ways. I get a huge sense of reward and pleasure from going out and talking about the brain with other people. I learn something from the public and I also feel it’s almost a duty really, that scientists go out and do this kind of work,” says Critchlow. Dr Robert Elliott-Smith is a Senior Research Fellow of Computer Science at University College London. He’s an expert in AI and evolutionary algorithms. His 2019 book, Rage Inside the Machine, explains how the internet exposes users to bigotry within online information bubbles, and seeks to reveal the prejudices within algorithms.

Dr Robert Elliott-Smith

“ I think now is a good time for us as a society to decide how we want to start using this information. Do we want to start to appreciate neurodiversity rather than create a more homogenous society?” — Dr Hannah Critchlow “I use ‘prejudice’ very specifically because what prejudice means is to prejudge, and you prejudge by

✏︎

Letti K-Ewing

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Writers' Week, Pioneer Women’s Memorial Garden 9.30am - 8.30pm, 29 Feb - 5 Mar

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basically making simplifications by effectively not looking at the entirety of evidence,” says Elliott-Smith. “What algorithms quite literally do is simplify and generalise, that really is the goal of an algorithm. So the simplification and generalisation in algorithms is the same process as [humans] being prejudiced. The way algorithms work is they are effectively driven by some sort of incentive and usually that’s an economic incentive, and therefore their tendencies line up fairly closely with existing social biases.” The answer about why algorithms have racist and sexist biases is complex. Elliott Smith says we must take an historical look at data, information gathering processes and the cultural contexts of the past: “[Algorithms] are a feedback loop and factors that influence it are certainly things like the fact that in Silicon Valley, representation is certainly not diversified and fair. It’s unfortunately a white male community that are creating most of the algorithms. “However, it also has to do with the data we provide the algorithms. When you take the algorithms that are learning to read and understand speech – in order to learn they’re being fed past documents and of course past documents carry all the prejudices of the past, including linguistic prejudices.” Unlike most science communication in the media – which Critchlow says has seen a vast improvement in coverage and literacy – Elliott-Smith says the media is “terrible” at accurately reporting on AI. “The thing I’m concerned about more than anything else is the media promotes the idea that machines can do doctor’s jobs. What I strongly believe will happen in the future is that we’re going to have a two-tier system, where people are going to get increasing services provided by machines that are not as good as services provided by human beings but are good enough for ‘plebs.’ And then people who have money in their pockets are going to get real doctors and real lawyers and real justice and everybody else is going to get machine mediated services like those.” The future may seem dystopian but with science communicators committed to accurately informing the media and lay public about their research, new light is being shed on what was once the dark.

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Azadeh Moaveni The author chats about her remarkable work of journalism and how her book speaks to Adelaide Writers’ Week’s 2020 theme: Being Human

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n Guest House for Young Widows: Among the Women of ISIS, author Azadeh Moaveni takes us onto the streets of Syria where many young Muslim women – seemingly Westernised and with university educations – have been entangled in the brutal terrorist regime’s fight. Your book does a remarkable job of dispelling some of the myths that Western media creates around the rise of the Islamic State. What role does the West have in protecting the vulnerable in respect to the Middle East? Ideally, the West would simply avoid fueling conflicts in the Middle East by stopping its military interventions and invasions, cutting its export of massive amounts of arms (which militarise societies), and ceasing to actively support corrupt, repressive governments that fail their people. Hands off would go a long, long way, but there are many political and economic forces in the West that actively seek or benefit from perpetual conflict in the region. The women you report on in Guest House for Young Widows... are so relatable, particularly how social media gives them a sense of connection when they are vulnerable or at a young age. What is the role of Facebook in the Islamic State’s recruitment and mobilisation? The Islamic State and Facebook are a bit inseparable in my mind. Facebook enabled a great many women in conservative societies to become jihadist militants without leaving their living rooms. I would argue that it simply reflected existing pathologies and chaos, it did not create them, and there is only small and partial truth in that. Your book is a perfect example of how seeing someone’s life through their experience makes their

choices seem so much more human and understandable. How important was it for you to tell this story through people rather than through historical reportage? The story of the women of ISIS couldn’t have been told any other way. They are the most demonised, vilified group of humans on this earth, and only the power of human storytelling could have persuaded anyone to read about or reconsider them. ✏︎

Kylie Maslen

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Comedy Reviews

The Kagools: Cirque du Kagool HHHHH VENUE:

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The Garden of Unearthly Delights 7pm, 14 Feb – 15 Mar, not 17 Feb, 2 Mar

Comedy

TICKETS:

$24 – $30

The Kagools, award-winning UK imports Nicky Wilkinson and Claire Ford, bring their silent comedy prowess in an hour of brilliant mime and physical comedy. The pair exude the chaotic energy of children who got into

the magic box and decided to treat their parents to a show. And, like the proudest of parents, the audience are only too happy to oblige. As they attempt cup tricks, hula hoops and acrobatics, they blunder and fall and pick themselves up with radiance and joy. If you sit in the front row, you might get hit in the face with a flying tooth, but really, nowhere is safe. The two pluck their willing victims for impromptu strong-man competitions, orches-

tral concerts and cleaning duties from everywhere. While they seem intent to pursue only absurdity at first, what emerges is a strange narrative of friendship, love and jealousy. That might be taking things too seriously, but communicated entirely through mime, physical comedy and astutely chosen songs, it’s hard not to feel the pathos that comes with only the best of clowns. ✏︎ Lauren Butterworth

Frank Woodley: *@#!king Clown HHHHH VENUE:

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The Garden of Unearthly Delights 8.15pm, 14 Feb - 1 Mar $29 – $42

Frank Woodley is no stranger to the Fringe, he’s more like a quirky, unhinged blood relative who’s entertained hordes of punters in

Adelaide for more than 30 years. This time round, he’s taking us to Marseilles, an iconic port city in southern France that juts out of the Mediterranean coastline. Here, he was to teach a three day masterclass for students who had come from all over the world. Only, he never did this because an infamous and aggressive 80-year-old Russian clown ended up taking the class, and Woodley ended up becoming a student. This show is an earnest and joyful dive into the peculiar and somewhat cruel world of clowning.

It’s a well constructed comedic narrative that has the audience invested in its final outcome. Where the show falls short is in its execution. Tonight, Woodley is hindered by technical difficulties at the start which halt his momentum and it was difficult for him to find his feet after that, not to mention coherent sentences. Once he irons out these creases, there’s no doubt this will improve as he refines a complicated show that’s filled with whimsical costumes, props and singing.

From stories of unexpected client text exchanges to her scatological adventures, she brings a frank and lighthearted candidness to what can be a taboo subject for many. But it’s an important topic of conversation, as she makes clear in

her closing remarks. Sex workers and their clients continue to face discrimination and prosecution, but it is work as valid as any other. And that’s exactly what Green’s comedy demonstrates. ✏︎ Lauren Butterworth

Reviews

✏︎ Edwina Sleigh

Bella Green is Charging For It VENUE: TIME:

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HHHHH Gluttony - Masonic Lodge 9:10pm, 18 Feb – 1 Mar, not 24 Feb TICKETS:

$20 – $25

From her experiences as a fledgling stripper in a peep show, to her time as a dungeon dominatrix, to her forays into gentrifying outer suburban brothels, Bella Green has seen – and done – it all. In an hour of cheeky and startlingly educational standup, she dives into the everyday life of a sex worker, revealing the answers to questions you may not realise you have. She is endearing, if slightly stilted in her delivery, with a glint in her eye and a swagger in her stance. Some punchlines build more organically than others, but considering she has only been performing standup for two years, Green shows an astute eye for some of the common absurdities and everyday weirdness of her profession.

You’re a Good Man, Dr Pirate HHHHH VENUE: TIME:

Rhino Room run ended

In You’re a Good Man, Dr Pirate Gillian English looks at all she’s been told in her life: from the books she read when she was young, to the religious education she was

denied by her parents, to the one she made up for as a bible studies camp counselor herself. But the centre of this show is a prophecy delivered to English on her 30th birthday by an astrologer: that she would meet the man of her dreams and that he would appear under very specific circumstances. English is an incredibly vivacious presence on stage. At one point she jokes that she has three degrees in Shakespeare and it fits: English very much has the

presence of a drama teacher who’d smoke during lunch breaks. But her energy is incredibly motivating and it’s hard not to get swept up in her frenetic storytelling as she takes the audience down some extremely dorky but adorable paths. This is a highly scripted show – to a fault at times, which sees it go off the rails a little whenever it needs to organically detour. But ultimately this is a rapid fire rom-com worth believing in. ✏︎ Kylie Maslen

Both comics can come off a little stilted or self-conscious in their delivery of written material; more stage time to loosen their delivery would help progress their craft. Yet they each clearly love to banter back and forth with the audience and welcome interaction

without ever singling out audience members. While they each talk about similar material, nothing feels like it’s been overdone or crossed over. This is comedy with a feminist bent. ✏︎ Kylie Maslen

Amy Hetherington and Danielle Andrews: Dynamic Duo HHHHH VENUE:

Comedy

TIME:

Rhino Room run ended

Amy Hetherington and Danielle Andrews will make you feel at home as soon as you walk into The Comedy Cupboard (Rhino Room’s intimate Alley Cat venue). It’s an admirable skill to relax a group of strangers in a confined space but both comics are just so happy to be here. At least they’re not playing in a servo – anymore. In this double bill the style of the two comics differs slightly: Hetherington begins with her laconic tales of Darwin life and tales of a woman over thirty. Andrews is more physical, using her body to emphasise stories of body positivity and what really happens in women’s bathrooms.

Being Dead (Don Quixote) HHHHH VENUE: TIME:

RCC 7:30pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar

TICKETS:

$18 – $33

In Miguel de Cervantes’ novels, Don Quixote was a lesser Spanish noble who became obsessed with romantic tales of chivalry. His literary obsession turned to self-delusion, as he came to imagine himself an old-fashioned knight, heart full

with pure intentions in a world that had become weary and cynical. This makes him a curious and somewhat tragic hero to aspire to, as Kerith Manderson-Galvin does in Being Dead (Don Quixote). In a consciously-unpolished performance, Manderson-Galvin is variously in character as Sancho the peasant-squire, Rocinante the nag of a horse, and, of course, as Don Quixote. And as these characters, Manderson-Galvin presents us with objects: references, quotes, memories and dreams. They weave them together into a larger presentation of clearly-articulated

intentionality, candid and forthright honesty, and hard-won self-realisations. Taken as a whole, the show is rich in layers. It is alternately funny, sweet, heartbreaking and triumphant. Manderson-Galvin is a disarming host, and slowly builds a rapport with the audience. A rapport that becomes increasingly powerful by the end. The result is a memorable experience in which Cervantes, the Wizard of Oz, and cardboard cutouts are re-appropriated in service of a surreal, lovinglycrafted miasma. ✏︎ Justin Boden

war with the warmth of domesticity. While Poppy Rowley, through her intimate direction, carefully realises these details to leave a lingering impression. But it’s Martha Lott’s brazen performance that steals the show. Lott is a familiar face at Holden Street Theatres, but she is almost

completely unrecognisable in the flight suit. In a demanding role, which requires that she make us sympathetic with a brash and somewhat unlikeable anti-hero, she offers a stunning, heartfelt performance. ✏︎ Justin Boden

Reviews

Grounded HHHHH TIME:

TICKETS:

Holden Street Theatres times vary, various dates between 5-8 Mar $20 – $28

A fighter pilot returns after an unexpected pregnancy to discover that, in her absence, the game has completely changed. There is no more use for F-16 pilots and she is reassigned to remotely pilot a military drone. But when a high-profile target comes up on her radar, she is drawn into an all-consuming, high-stakes game of cat and mouse. Grounded has the feel of a sci-fi dystopia, which is all the more unsettling in that it details not a distant future or an alternate reality but the very world we currently inhabit. It’s well-served by George Brant’s air-tight script: through judicious use of foreshadowing and metaphorical use of colour, he is able to draw clever parallels between surveillance and the surveilled, and the cold calculus of

fest-mag.com

VENUE:

Marvelous Mechanical Musical Maiden HHHHH VENUE: TIME:

TICKETS:

Ayers House Events times vary, various dates between 19 Feb and 6 Mar $28

Marvelous Mechanical Musical Maiden is a whimsical and enchanting storytelling experience. With rouged cheeks and wide eyes, performer and creative producer Carmel Clavin is utterly entrancing as the Maiden, a woman once flesh and blood but entrapped as an automaton after losing her voice to the father of the technological age, Thomas Edison. Surprised to find herself waking in Adelaide in the year 2020, the Maiden shares her journey from fin de siècle through to the 21st century, touching on the sparks she loved and lost and longed for

Review: Boys Taste Better with Nutella HHHHH VENUE:

Theatre

TIME:

The Mill run ended

Aggy and Frederick are two second-best friends who are trying their best to improve. Through a series of identical jumps, they flash between past relationships and the present moment to prove their progress. Without much of a fourth wall, performers Caitlin Hill and Peter Wood comically differentiate between these jumps to get the crowd up to speed.

along the way. The whimsy soon gives way to something deeper as the Maiden’s experiences reveal the cycles of inequality, ecological catastrophe and disconnection which, despite great technological innovations, have haunted humans for a century. In a bespoke, handmade steampunk dress, the Maiden is truly a technological marvel. A walking, talking one-woman theatre-caba-

ret, she wears software coded into the seams of her dress and speakers hidden in the paniers beneath her bustle. As music emits at the touch of her finger, her haunting voice breathes mechanical life into Regina Spektor, Ella Fitzgerald and David Bowie. There is a powerful intimacy in her performance as she connects with each member of her audience. ✏︎ Lauren Butterworth

Hill is engaging as Aggy, with an over-exaggerated series of facial expressions and a tendency to allow herself to get messy. Her story is one of failed relationships, and a loss of self through struggling to fall in love. A relatable enough story is compounded with her severe lack of healthy coping mechanisms, choosing instead to jam her mouth (and her arms, and her dress) full of Nutella and Passion Pop (“Just five bucks at Dan’s! Cheap!”) Wood as Frederick is delightfully camp and has a beautiful tenderness to him. He searches for validation online through meokbang videos – a Korean trend of filming oneself eating alone. His constant struggle with his weight and search for validation is quite

heartbreaking, and his dependency on food as comfort is both gross and endearing. The exploration of seeking validation in a modern world is an empathetic story. The script is jammed with modern references, which can at times feel quite forced. And although the show is tightly presented, the dance offs between Wood and Hill take away slightly from the feel of the dramatic. In a beautifully tender closing moment, the nature of Aggy and Frederick’s friendship is highlighted, proving that even the flawed are deserving of love and respect. ✏︎ Laura Desmond

39 Reviews

THE GODS, THE GODS, THE GODS HHHHH TIME:

TICKETS:

Black Box Theatre times vary, various dates between 14 Feb and 14 Mar $28

The Greek gods, like so many pantheons, are fascinating. Not because of their supernatural abilities but because of their fallibility. For all their powers, they are as prone to envy, avarice and lust as any mortal. Perhaps even more so, given their abundant leisure time. The Flanagan Collective & Gobbledigook Theatre’s ORPHEUS and EURYDICE explored that human side of the gods, bringing them into the modern world with a mix of spoken word and song that was at times hauntingly beautiful.

This megamix promises the same, but on a larger scale. 14 songs. Four intertwining stories. It should be (an) epic. Instead, the gods appear only as an anonymous mass while the main stories follow humans so bland they’re hard to separate. Instead of gods with richly rounded lives, we follow clichéd lovers who invoke and implore higher powers with platitudes fit for motivational posters. It’s a shame, because the setting is conducive to a rapturous experi-

ence. Black Box Theatre is turned into a sweaty, low roofed club, the audience huddled in the middle of the room as performers swap instruments and jump between stages arrayed around the room. Blues, rock and electronic club music alternate with spoken word and rap, and the performers venture into the audience as they deliver impassioned monologues. They know how to capture a crowd’s attention; unfortunately they couldn’t hold it. ✏︎ Alexis Buxton-Collins

fest-mag.com

VENUE:

Blunderland HHHHH VENUE: TIME:

Gluttony at Rymill Park 9:40pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar

Cabaret

TICKETS:

$15 – $30

From New York’s notorious club scene comes Blunderland. Featuring kitschy cabaret, burlesque and acrobatics, the night is vibrant, shocking and uproarious.

Eric Schmalenberger, ringleader of this strange circus, brings an adorkable charm to his queer cabaret, leading his collection of high-flying clowns and sensual sirens to outrageous heights. From quirky trapeze to jaw-dropping aerial pole dancing and stunning hoops, the acrobatics of the show bring a sense of stillness and awe. The three clowns, collectively known as Fou York, are a particular highlight and in their luminous French wigs and white aristocratic

makeup, they echo old-school foolery. The burlesque queens are both glamorous and outrageous, with a few cheeky surprises. Contrasted against all the colour and vibrancy is the crooning goth, Ruby Wednesday, who, side by side with Schmalenberger, adds Weimar cabaret glam to the ensemble. Blunderland is an outrageous and subversive celebration of all that is weird, queer and extravagant. ✏︎ Lauren Butterworth

WERK IT HHHHH HHHH VENUE:

TIME:

The Garden of Unearthly Delights 10:15pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar

TICKETS:

$28 – $36

Circus Trick Tease, and therefore the company’s growing rap sheet of festival-smashing shows (Can’t Face, Children Are Stinky, Brass Monkeys), Walsh has assembled a crew of new and familiar bodies for this latest lycra-clad spectacular. Without spoiling the feats here, WERK IT is packed with high-energy stunts, many of which are twists on old favourites, playing to the skillsets of Walsh and the team. And all backed by a party-starting soundtrack. Energetic, hilarious, and smartly put together; what a way to make a living. ✏︎ George Sully

industrialised scaffolding is paired with a contemporary soundtrack and plenty of bare skin can be seen through ripped and jagged clothing. There is no real narrative to the show, but each of the acrobats carry on as brooding, sauntering characters throughout. This overly serious demeanour unfortunately gets tired and draws away from the pacing of the show, with slow steps between every act. There are, however, a number of highlights. An unusual percussive

juggling routine is impressive, as is the innovative part tightrope walk/part parkour display of female strength. The Barbaroi tend to overuse their glacial pace to shapeshift into characters which seem not to add much to the show. Although the acts are solid and hit their marks consistently, a quicker pace between may make for a more engaging piece. ✏︎ Laura Desmond

fest-mag.com

Find a job you love, and you’ll never work a day in your life. That’s Confucius, supposedly, though many would attest it’s also probably bullshit. Turning anything into work usually saps the fun out of it, no matter how much you love it. Unless, of course, you’re with Circus Trick Tease, who have managed to

turn the whole idea of work into a goddamn riot. From 80s workout videos, to the cigarette addictions of high-powered office workers, to a religious take on tradies, WERK IT parodies work culture with affectionate reverence. And that’s to say nothing of the top-tier circus skills being employed to live out these parodies, nor the genuine comedic talent that the five-strong cast have in spades. Few circus shows are this funny; WERK IT could go toe-to-toe with some of the best comedy shows at the Fringe, without – well, technically, with – breaking a sweat. And we have Malia Walsh to thank. The mastermind behind

Reviews

Barbaroi HHHHH HHH VENUE: TIME:

Gluttony - Rymill Park 8:40pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar

TICKETS:

$30 – $35

With a set that wouldn’t look out of place on the next Mad Max film, Barbaroi touts itself as the ‘underbelly of circus’. Highly

Mummy’s Milk HHHHH HHHH VENUE:

TIME:

The Garden of Unearthly Delights times vary, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar

TICKETS:

$20

From the outside this installation looks like a fake brick pop up stall next to a toilet block. Inside, it’s an oasis of tranquiity where vulnerability is rewarded with a memorable performance.

Escape Room – Great White Killer HHHHH HH VENUE:

TIME:

Interactive

TICKETS:

Adelaide Escape Hunt: Escape Rooms & Bar times vary, various dates between 18 Feb and 13 Mar $32

A ticking clock holds remarkable power. Deadlines can elevate the most trivial tasks to high priorities, and escape rooms appeal to the deadline-driven part of our nature. With one hour to solve a series of puzzles, there’s no time to dwell on

The door is guarded by a leather clad Daddy bearing a clipboard with an unusual waiver form. 'Do you agree to surrender your ego on the doorway to Mummy’s living room?' it asks. Ego checked and consent granted, I enter and am greeted by a woman with bright red hair in curlers and a dressing gown tied loosely together. Mummy is comfortable in her living room, and she wants me to be at ease too. It’s just the two of us, and she tells me that the direction we take will be determined by how open I am to the experience. What follows is an intimate 15 minute interac-

tion that’s as much partnership as performance. Mummy’s Milk mixes late night drunken philosophy with genuine tenderness. When she offers to channel the aforementioned deity and share her wisdom, the question is as important as the answer. “Come in with an open mind and she’ll reciprocate,” Daddy told me on my way in. It was apt advice. Presumably each performance of this deeply personal work will be different; mine was gentle, reflective and lingered long after it was over. ✏︎ Alexis Buxton-Collins

thoughts of work, relationships or anything else – all our energies are focused on escaping the room. Except we’re not escaping. Rather, we’re investigating a series of murders. Escape Hunt’s use of local themes for their escape rooms, while commendable, appears to be wearing a bit thin at this point. The background exists more as a theme than a compelling narrative, propelling us forward through a series of puzzles that are too disconnected to allow for the suspension of disbelief. At their best, escape rooms are not just about successfully completing a challenge. They should also offer an hour of escapism, and

this one (which has us tracking a nefarious sea captain’s misadventures off the coast of Port Lincoln) doesn’t quite nail it. The puzzles themselves are interesting, though limited in range. Too often we find ourselves looking for yet another three or four digit code, and choke points mean that a single missed clue can make it impossible to advance. It’s a frustrating experience for five people crowded into a small room, while a door left mistakenly unlocked further ruins the illusion. Some escape rooms are so entertaining that it’s a shame when they end. This is one makes you happy to leave. ✏︎ Alexis Buxton-Collins

Reviews

Head First Acrobats’ latest children’s adventure follows three Neanderthals – Grok, Urgh and Ow – in search of food and friendship. We ask Miranda (aged 11) and Harriet (aged eight) if they dig it Let’s talk about the show. Did you like the music? H: Yeah! He was like, “No you idiots, I’ll just do Miranda: It WAS a great soundtrack! I knew… two of it myself!” those songs! It was a very good show. M: And I feel like the word “friction” made me go, “Uh oh, I’m gonna learn something now”. If that’s What did you like about the show? the way my school day went I would be so happy. I M: All the acrobatics. They were very extravagant. It would learn SO much more! was very funny Harriet: I loved the funniness of it! It was like, “I You mean if your school used circus? am… Krug!” M. Uh huh. Wait? Do [Prehysterical] do classes? M: Skrug? Grunt? Because if they did, I would join. H: Grunt! Whatever her name was. M: And they’re like, “Ow!” Describe the show in five words. H: No, no, it’s “Wow!” M: Funny, not-very-educational (with a bunch of hyphens), hysterical, historical, extravangant. Did it make sense to you? H: Extravagan-ZA! H: (immediately) No. M: Yeah, okay, change it to that. Extravaganza. M: Pre-hysterical, prehistorical, that made sense. H: Amazing, stupid, funny, inspiring, aaaand… (slaps leg while thinking) Ow! Was it... hysterical? M: And ‘ow’? That’s a good word. H: Yes, it was hysterically funny! H: No, my word’s not ‘ow!’. It’s caveman-ish. M: It was so funny I couldn’t laugh, because other✏︎ Laura Desmond with Harriet and Miranda Hay wise I wouldn’t have stopped. VENUE Gluttony - Rymill Park H: I loved it when she was in the trap, and she was TIME: 5pm, various dates like, “Help… Me...!” between 22 Feb and 15 Mar M: That was really well done. And I liked TICKETS: $25 the narrator.

fest-mag.com

Prehysterical

Ayers House

Bakehouse Theatre

Belgian Beer Cafe ‘Oostende’

Cafe Outside the Square

TE RR AC E

PA R

D WAR

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28 Carclew

Grace Emily Hotel

Nexus Arts

Rhino Room

Strathmore Hotel / Mercure Grosvenor

28 AR

96 Tandanya National Aboriginal Cultural Institute

99 Noel Lothian Hall – Black Box Theatre, The Bus Stop, Open Air Theatre

111

The Jade

116

The Mill

GLOV

ER A VEN

119 RCC

NORTH TERRAC E 93 50 6 HINDLE Y STREET

The Howling Owl

OA D

3 CURRI E STREET

FRANKLIN STREET

GRE

5 109

FLIN

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GOUGER STREET

WRIGHT STREET

27 STURT STREET

HALIFAX

GILBERT STREET SOUTH TERRACE

P EACOCK

PIR

WAK

GROTE STREET

110

POR TR

K ING WILLIAM STREET

The Griffins Hotel

VI CTOR

107

WEST TE R RACE

The Garden of Unearthly Delights

KIN G W I LLIAM

R OA

Gluttony – Murlawirrapurka/Rymill Park

Gluttony – Masonic Lodge North Terrace

ON TE FIORE R OAD

104

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Arts Theatre

TERR

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Holden Street Theatres

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ADELAIDE FRINGE VENUES

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109

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116

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16 R1 104 4D5E

Anne & Gordon Samstag Museum of Art

Art Gallery of South Australia

Botanic Park

Elder Park

Lion Arts Factory – also used in Fringe

Odeon Theatre

Pioneer Women's Memorial Garden

Queen's Theatre

Ridley Centre Adelaide Showground

CE RA

Rundle Mall

CE 18 RA Scott Theatre – used by RCC and R E Adelaide Festival

QU ET

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A10

15:30

Good Morning Comedy Mercury Cinema, 4 Mar, 11 Mar, $15 Matt Byrne’s The True Story of Dad Norwood Concert Hall, 27 Feb–13 Mar, not 29 Feb, 1 Mar, 2 Mar, 4 Mar, 7 Mar, 8 Mar, 9 Mar, 11 Mar, $18–$22

Cherry Farrow Comedy Hypnosis Sparkke at The Whitmore, 29 Feb–1 Mar, $25 Nothing But Dad Jokes: The First Sequel The Joinery on Franklin, 8 Mar, 14 Mar, $20 Mind Blowing Magic The Jade, 28 Feb, 1 Mar, $25 16th Theatresports(TM) Clash of the Titans The Garden of Unearthly Delights, 1 Mar, 8 Mar, $35

13:00 Adelaide Comedy Gala Arkaba Hotel, 1 Mar, $50 Nothing But Dad Jokes: The First Sequel The Joinery on Franklin, 1 Mar, $20

14:00 HarleQueen The Mill, 7 Mar, $28

14:45 LARRIKIN LAUGHS with ME ‘N ME MATES Murray Bridge Town Hall, 1 Mar, $25

15:00 Sean Quinn - Cognitive Behavioural Terrorist Gluttony - Rymill Park, 29 Feb, 1 Mar, 7 Mar, 8 Mar, $23 Ashes: A Comedy Showdown Belgian Beer Cafe ‘Oostende’, 29 Feb, 1 Mar, 7 Mar, 8 Mar, 14 Mar, $30 UnPlotted Potter Black Box Theatre, 29 Feb–1 Mar, $25

15:15 Stephen K Amos Talk Show Arts Theatre, 8 Mar, $25

16:00 Conspiracy Theory: A Lizard’s Tale HHH various venues, 29 Feb, 1 Mar, 14 Mar, 15 Mar, $27 The Four Fringemen various venues, 1 Mar, 8 Mar, 15 Mar, $30 Simon Caine: Every Room Becomes a Panic Room When You Overthink Enough Gluttony - Rymill Park, 29 Feb–1 Mar, $20 Marion Hotel Sunday Sessions Marion Hotel, 1 Mar, 8 Mar, $30 MICKEY D FOR PM (*FOUR) Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $25

16:30 Daniel Connell Cheers Big Ears Gluttony - Rymill Park, 14–15 Mar, $24 Surviving the Circus Gluttony - Rymill Park, 7–8 Mar, $25 Andrew Silverwood: Call Me Janice Gluttony - Rymill Park, 29 Feb–1 Mar, $20 Kel Balnaves - Righto Murray Bridge Town Hall, 1 Mar, $18

Family Friendly Comedy Hour Flinders University, Bedford Park, 14 Mar, $20

17:00 Best in Fringe Comedy and Chat... with Vladimir McTavish Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $20 Stephen K Amos Talk Show Arts Theatre, 14 Mar, $25 Arj Barker Comes Clean Arts Theatre, 1 Mar, 8 Mar, $38 Australia: A Whinging Poms Guide Belgian Beer Cafe ‘Oostende’, 28 Feb–15 Mar, not 2 Mar, 3 Mar, 4 Mar, 5 Mar, 10 Mar, 11 Mar, 12 Mar, $25 Jimmy McGhie - BA (Hons) The Garden of Unearthly Delights, 29 Feb, 7 Mar, 14 Mar, $29 LARRIKIN LAUGHS with ME ‘N ME MATES Goodwood Institute Theatre, 8 Mar, $25 Best of the Edinburgh Fest The Garden of Unearthly Delights, 1 Mar, 8 Mar, 15 Mar, $26

17:15 Nik Coppin The Griffins Hotel, 1 Mar, $10

17:30 VR Comedy: The Best of the Bendigo Comedy Festival various venues, 27 Feb–1 Mar, $27.50 Boats and Bogans various venues, 6–8 Mar, $18

A Full English Breakfast with Clive Palmer HHH Ayers House Events, 29 Feb, $28 Bonanza of Comedy: Festival Line-Up The Historian Hotel, 29 Feb, 7 Mar, 14 Mar, $20 Innuendo Everywhere: Becky Blake and Steve Davis do it The Duke of Brunswick, 1 Mar, $25 James Veitch Tentative The Garden of Unearthly Delights, 13–15 Mar, $31–$33.50 Keep The Change The Hindley, 6–7 Mar, $20 DAVE HUGHES RIDICULOUS The Garden of Unearthly Delights, 29 Feb, $45 The Hilary Duff Film Re-Enactment Festival Ayers House Events, 7 Mar, 14 Mar, $25

17:45 Men With Coconuts

HHH

Rhino Room, 27–29 Feb, $22–$25

18:00 HarleQueen The Mill, 3–8 Mar, $23–$28 Daniel Connell Cheers Big Ears Gluttony - Rymill Park, 9–15 Mar, $18–$24 Doggie in the Window The Jade, 27 Feb, $20 Fringe of the Fringe Comedy Hilton Hotel, 6 Mar, $10 PLASTICA FANTASTICA The Mill, 29 Feb, $20 An Evening with George Kapiniaris Morphettville Racecourse, 1 Mar, $30

Surviving the Circus Gluttony - Rymill Park, 3–8 Mar, $19–$25 Benson’s Brexit (tbc) Gluttony - Rymill Park, 27 Feb–1 Mar, $25 UnPlotted Potter Black Box Theatre, 27 Feb–1 Mar, $25 Catherine McClintock: Please and Thank Yous Rhino Room, 10–14 Mar, $18–$22 Best of The Fringe Comedy Superstars Flinders University, Bedford Park, 14 Mar, $35 I See Dead People Gluttony - Rymill Park, 27 Feb–1 Mar, $20 Chris Henry: FLAIR The Howling Owl, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $15–$25 Clone-a-patra Star Theatres, 12–15 Mar, $27 DON’T SHOOT! I’m a vegan The Jade, 1 Mar, 10 Mar, $20 THE OFFICIAL GLUTTONY VARIETY SHOWCASE - Best of CIRCUS, MAGIC, COMEDY Gluttony - Rymill Park, 5–15 Mar, not 10, 11, $25–$30 Nick O’Connell - Those Who Can, Those Who Can’t Rhino Room, 3–7 Mar, $15–$20 Liam Withnail: Homecoming Gluttony - Rymill Park, 3–15 Mar, $10–$25 With Two Dots

HHH

Rhino Room, 27–29 Feb, $25 Amazing Adventures of Her Majesty at 90+ The Warehouse Theatre, 27 Feb–8 Mar, not 29 Feb, 7 Mar, $10–$14

Your hour-by-hour guide to Comedy at Adelaide’s festivals

Completely Improvised Shakespeare Gluttony - Rymill Park, 27 Feb–1 Mar, $30 The Fax Machine Goes Corporate Hotel Royal, 6–15 Mar, not 9, $25 Lucy & Me The Mill, 27–28 Feb, $20 Men With Coconuts

HHH

Stirling Fringe, 1 Mar, $28 Tiramisu Rhino Room, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $22–$28

18:15 Zack Adams: Love Songs For Future Girl Rhino Room, 3–7 Mar, $15–$23 2 Englishmen and an Aussie The Griffins Hotel, 27 Feb–1 Mar, $25 Best Of Fringe: Early Show Belgian Beer Cafe ‘Oostende’, 27 Feb–15 Mar, $15–$20 Adelaide Comedy’s Next Generation 2020 Rhino Room, 27–29 Feb, $20 Transgressive The Griffins Hotel, 3–15 Mar, not 9, $20–$25

18:30 Conspiracy Theory: A Lizard’s Tale HHH various venues, 27 Feb–15 Mar, not 2 Mar, 3 Mar, 4 Mar, 5 Mar, 6 Mar, 7 Mar, 8 Mar, 9 Mar, $27 Australian Open Mic Challenge Final Ayers House Events, 28 Feb, $20 A Full English Breakfast with Clive Palmer HHH Ayers House Events, 7 Mar, $28

fest-mag.com

11:00

Listings

Blake Everett deb(u)t Ayers House Events, 12–14 Mar, $20 The Hilary Duff Film Re-Enactment Festival Ayers House Events, 4 Mar, 5 Mar, 6 Mar, 11 Mar, $15–$25

18:45 The Final Hours Hour Holden Street Theatres, 3–15 Mar, not 8, 9, $15–$28 Best of Adelaide Fringe: The International Comedy Show The Historian Hotel, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 3 Mar, 4 Mar, 8 Mar, 9 Mar, 10 Mar, 11 Mar, $20–$25

Comedy

19:00

PETER HELLIAR LOOPY The Garden of Unearthly Delights, 12–15 Mar, $39–$45 AdeLoL Stories The Crown and Sceptre Hotel, 5–7 Mar, $20 Kevin Kropinyeri Goes Talkabout Tandanya National Aboriginal Cultural Institute, 27 Feb–1 Mar, $30 The Kagools: Cirque du Kagool The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $24–$30 Lawrence Mooney: Beauty Royalty Theatre, 13–15 Mar, $49 5th Maestro Improvised National Games The Duke of Brunswick, 28–29 Feb, $25 WIL ANDERSON WIL-INFORMED The Garden of Unearthly Delights, 3–15 Mar, not 9, $35–$48

Unexpected Inheritance The Duke of Brunswick, 6–8 Mar, $18 Masterpiece Improv The Duke of Brunswick, 27 Feb, 5 Mar, 12 Mar, $20 A NIGHT AT THE WOPERA Rhino Room, 8 Mar, $35 Steph Tisdell “Baby Beryl” The Garden of Unearthly Delights, 27 Feb–1 Mar, $25–$30 Persian of Interest The Griffins Hotel, 3–15 Mar, not 9, $17–$25 Anna Nicholson: Get Happy Hotel Richmond, 29 Feb–5 Mar, $18–$22 Leigh Qurban - Crate Expectations Gluttony - Rymill Park, 27 Feb–1 Mar, $20–$23 Eddie Ifft - Dr. Google The Garden of Unearthly Delights, 27 Feb–8 Mar, $27.90–$35 Stand Up at Little Bang Little Bang Brewing Company, 4 Mar, 11 Mar, FREE Jimeoin - Ramble On! The Garden of Unearthly Delights, 5–15 Mar, not 9, $37–$45 Stephen K Amos Everyman Arts Theatre, 29 Feb–14 Mar, not 2 Mar, 7 Mar, 9 Mar, $35–$45 A collection of dad jokes no one asked to hear. Bunnik Tours ballroom, 28 Feb, $28 Scotland! The Garden of Unearthly Delights, 27 Feb, 28 Feb, 1 Mar, $32 Corporate Social Irresponsibility The Hindley, 5–9 Mar, $12–$15

Sammy J - Symphony in J Minor The Garden of Unearthly Delights, 12–13 Mar, $42 FRIEND (The One With Gunther) The Garden of Unearthly Delights, 27 Feb–1 Mar, $29–$33 The Four Fringemen Salisbury RSL SUBBRANCH, 5 Mar, $30 Lloyd Langford - My Name Is Lloyd The Garden of Unearthly Delights, 2–15 Mar, not 11, $22–$32 Michael Shafar Getting Better Gluttony - Rymill Park, 3–15 Mar, $15–$27 TOMMY LITTLE - I’LL SEE MYSELF OUT The Garden of Unearthly Delights, 27–29 Feb, $34–$39 Effie in Love Me Tinder The Garden of Unearthly Delights, 29 Feb, $45 Graduate Performance Astor Hotel, 14 Mar, $20 Backfired The Griffins Hotel, 27 Feb–1 Mar, $20 Nick Cody & Luke Heggie - Future Classics Rhino Room, 27 Feb–7 Mar, not 1 Mar, 2 Mar, $20–$28

Nicholas Huntley’s Hommus Sapien Rhino Room, 27–29 Feb, $20 Aaaaaaaargh! It’s the Best of Fringe Comedy from the UK The Griffins Hotel, 27 Feb–15 Mar, not 2 Mar, 4 Mar, 9 Mar, 11 Mar, $15–$25 Joshua Warrior Comedy Show Rhino Room, 27–29 Feb, $23 Marcel Blanch- de Wilt: Pancakes Rhino Room, 10–14 Mar, $15–$21 2020 Greek Comedian of The Year The Howling Owl, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $15–$25 Jacob Jackman From Bad To Worse Rhino Room, 3–7 Mar, $10–$20 Eric’s Tales of the Sea - A Submariner’s Yarn Treasury 1860, 5–15 Mar, $10–$22

19:10

19:30

Marcus Ryan - Walk This Qué Gluttony - Rymill Park, 9–15 Mar, $20–$25

Star Crossed Clowns Star Theatres, 9–15 Mar, $25 Alex Williamson: Oi Mate! Arkaba Hotel, 13 Mar, $34.90 A NIGHT AT THE WOPERA Rhino Room, 3–13 Mar, not 7, 8, 9, $23–$39 The Best Of The Historian Hotel, Various dates from 2 Mar to 11 Mar, $23

19:15 Baz McCulloch: Surfacing Now! Rhino Room, 3–7 Mar, $10–$20 Rocking The Boat with Rick Sextant Rhino Room, 10–15 Mar, $15–$20

19:20 Andy Saunders - The Black Gluttony - Masonic Lodge, 27 Feb–1 Mar, $32 Joel Ozborn - The Madman & Me Gluttony - Masonic Lodge, 3–15 Mar, not 9, $25–$32

A Bookish Comedy Show Cafe Outside The Square, 2–4 Mar, $24 Aborigi-LOL: The Return Murray Bridge Town Hall, 28 Feb, $25 Stood Up! Ayers House Events, Various dates from 4 Mar to 14 Mar, $25 The Four Fringemen Sourc’d Aldinga, 10 Mar, $30 Grassroots Variety Challenge: Final Ayers House Events, 7 Mar, $17 Home Boys Log On Star Theatres, 27–29 Feb, $20 Nick Cody & Luke Heggie - Future Classics Stirling Fringe, 1 Mar, $28 Dreamgun: Film Reads Stirling Fringe, 29 Feb, $28 Becky Lucas - My neck, my back Rhino Room, 27–29 Feb, $25–$28 The Adelaide International Comedy Gala Thebarton Theatre [Adelaide Festival], 6 Mar, $20 Absolutely Irish The Griffins Hotel, 27 Feb–1 Mar, $20–$25 Adeladies - Best of the Fringe’s Funny Women The Griffins Hotel, 3–15 Mar, not 4, 9, 11, $15–$25 Lindsay Webb “Relentlessly Correct” Belgian Beer Cafe ‘Oostende’, 27 Feb–12 Mar, not 28 Feb, 29 Feb, 6 Mar, 7 Mar, $15–$30

19:45 (Please) Validate Me by Benjamin Maio Mackay various venues, 10–14 Mar, $20–$25 Boats and Bogans various venues, 27 Feb–1 Mar, $18 Abandoman - The Road to Coachella The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $30–$38

19:50 The Eulogy Gluttony - Masonic Lodge, 3–8 Mar, $24–$30

20:00 3 Imports Shangri-La Nightclub, 27–29 Feb, $15 The Four Fringemen various venues, Various dates from 28 Feb to 13 Mar, $30 All The Best From Edinburgh... To Adelaide The Historian Hotel, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 3 Mar, 4 Mar, 8 Mar, 9 Mar, 10 Mar, 11 Mar, $20–$25 Cherry Farrow Comedy Hypnosis Sparkke at The Whitmore, 27–28 Feb, $25 Adelaide Fringe Comedy Gala: Bringing The Best of The Fringe To Marion Marion Cultural Centre, 6 Mar, $33 Best of the Adelaide Fringe Comedy - The Fringe comes to Port Noarlunga Arts Centre Port Noarlunga, 7 Mar, $30 Matt Byrne’s Vegans Norwood Concert Hall, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 3 Mar, 8 Mar, 9 Mar, 10 Mar, $28

Find interviews, reviews and city guides at fest-mag.com

20:10 The Stevenson Experience: Stranger Twins Gluttony - Rymill Park, 3–15 Mar, not 7, 9, $20–$30

20:15 Nurse Georgie Carroll: Off The Charts The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $25–$35 Andrew Hansen Solo Show The Garden of Unearthly Delights, 27 Feb–1 Mar, $32–$36 PETER HELLIAR LOOPY The Garden of Unearthly Delights, 5–8 Mar, $35–$45 TOD Talks Scots Church Adelaide, 27 Feb, $20 DILRUK JAYASINHA VICTORIOUS LION The Garden of Unearthly Delights, 27 Feb–1 Mar, $28–$32 SAM TAUNTON ROOSTER The Garden of Unearthly Delights, 3–15 Mar, not 9, $22–$30 CAL WILSON - OPEN BOOK The Garden of Unearthly Delights, 9–15 Mar, $28–$38 Nick O’Connell - Those Who Can, Those Who Can’t The Griffins Hotel, 27–29 Feb, $20 Amos Gill: Ruins Rhino Room, 28 Feb–13 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $20–$34.90 ZOË COOMBS MARR AGONY! MISERY! The Garden of Unearthly Delights, 2–8 Mar, $24–$32

Best of the Edinburgh Fest The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $28.50–$35 TOM BALLARD ENOUGH The Garden of Unearthly Delights, 3–15 Mar, not 9, $25–$35 FRANK WOODLEY *@#!KING CLOWN The Garden of Unearthly Delights, 27 Feb–1 Mar, $34–$42 Jimmy McGhie - BA (Hons) The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $26–$34.90 Joel Creasey - Messy Bitch The Garden of Unearthly Delights, 9–15 Mar, $28–$40 NATH VALVO CHATTY CATHY The Garden of Unearthly Delights, 2–15 Mar, not 9, $25–$35 NIKKI BRITTON - ONE SMALL STEP The Garden of Unearthly Delights, 27 Feb–1 Mar, $28–$32 DAVE HUGHES RIDICULOUS The Garden of Unearthly Delights, 27–29 Feb, $37–$45 BRETT BLAKE - GO HARD OR GO HOME The Garden of Unearthly Delights, 27 Feb–1 Mar, $24–$29

20:20 Thomas Green: Yeah, nah! Gluttony - Rymill Park, 3–15 Mar, not 9, $15–$25 Tom Skelton: 2020 Visions (What if I hadn’t gone blind?) The Griffins Hotel, Various dates from 7 Mar to 14 Mar, $15–$20 Love Hurts Gluttony - Rymill Park, 27 Feb–1 Mar, $25

20:30 All Around the World: The International Comedy Show The Griffins Hotel, 27 Feb–15 Mar, not 2 Mar, 4 Mar, 9 Mar, 11 Mar, $15–$25 Peter Berner – Compassion Pie Rhino Room, 27–29 Feb, $25 Adelaide Fringe Comedy Show Case The Vines Golf Club of Reynella, 7 Mar, 14 Mar, $30 Welcome to Japan Hotel Richmond, 1–5 Mar, $15–$20 Billy D’Arcy Anxiously Arrogant Rhino Room, 10–14 Mar, $18–$22 Sean Conway 100% Rhino Room, 3–7 Mar, $7–$15 A Full English Breakfast with Clive Palmer HHH Ayers House Events, 14 Mar, $28 Granny Flaps - Show Us Your Best Bits! Chiton Rocks Surf Life Saving Club, 13 Mar, $26 Anna Nicholson: Get Happy Hotel Richmond, 27 Feb, $22 Innuendo Everywhere: Becky Blake and Steve Davis do it The Duke of Brunswick, 27–28 Feb, $25 Battery Operated Boyfriend The Duke of Brunswick, 27 Feb–1 Mar, $20 DON’T SHOOT! I’m a vegan The Jade, 2 Mar, $20 Talk Dirty, Stay Classy Ayers House Events, 27 Feb, 5 Mar, 12 Mar, $25 The Four Fringemen Mount Compass Tavern, 14 Mar, $30

Arj Barker Comes Clean Arts Theatre, 28 Feb–14 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $35–$45 A Class Act Hotel Richmond, 11–12 Mar, $20 Mind Blowing Magic The Jade, 27 Feb, $25 Giggles Comedy Rhino Room, 2 Mar, $10 BEN KOCHAN THROWS A STOOL AT THE AUDIENCE Rhino Room, 3–14 Mar, not 8, 9, $20–$25 Marty Sheargold Royalty Theatre, 13–15 Mar, $49 The Marvellous Snake Boy Ayers House Events, 27 Feb–13 Mar, not 1 Mar, 2 Mar, 3 Mar, 8 Mar, 9 Mar, 10 Mar, $20 Aborigi-LOL: The Return Tandanya National Aboriginal Cultural Institute, 4–8 Mar, $20–$25 Gene Louis presents Jokes Rhino Room, 27–29 Feb, $15

20:40 Impromptunes - The Completely Improvised Musical Gluttony - Rymill Park, 27 Feb–1 Mar, $28–$30 TAHIR - Pick of the Comedians. 6 stars Gluttony - Rymill Park, 3–15 Mar, not 9, $30–$39 Completely Improvised Potter Gluttony - Rymill Park, 27 Feb–1 Mar, $30

20:45 Zack Adams: Love Songs For Future Girl Rhino Room, 10–14 Mar, $15–$23

Your hour-by-hour guide to Comedy at Adelaide’s festivals

michael hing dressed as a lobster for a portion of the evening Rhino Room, 3–7 Mar, $25–$29 Best Of British Belgian Beer Cafe ‘Oostende’, 27 Feb–14 Mar, $15–$25 Eric in Tinkerland The Griffins Hotel, 5–7 Mar, $14–$20 Cornish Comedians Showcase The Griffins Hotel, 12–15 Mar, $20 Eh Canadian Comedy Dream! The Griffins Hotel, 27 Feb–1 Mar, $20

21:00 SUNS of FRED - The Greatest Showmen & Another Guy Gluttony - Rymill Park, 27 Feb–1 Mar, $25 PLASTICA FANTASTICA The Mill, 27 Feb, $20 John Spillane: Irish Comedian of the Millenium various venues, 27 Feb–8 Mar, not 2 Mar, $12–$22 The WTF?! Show The Mill, 28–29 Feb, $24.95 Eddie Ray - Leader of the Resistance The Mill, 4–7 Mar, $20–$25 Memo Fukin White City FC, 8 Mar, $40 Dreamgun: Film Reads Stirling Fringe, 1 Mar, $28 ADELAIDE’S MOST WANTED! Gluttony - Rymill Park, 3–15 Mar, not 9, $18–$23 The Four Fringemen Gaza Sports and Community Club, 27 Feb, $30 Shad and Pete Save the World (maybe) Ancient World, 27 Feb, $15

fest-mag.com

Best of The Fringe Comedy Superstars Flinders University, Bedford Park, 14 Mar, $35 Ben & Charlie’s Variety Hour (45 minutes) House of Spaghetti, 28 Feb, 7 Mar, $15 An Evening With Fiona O’Loughlin Gluttony - Rymill Park, 3–15 Mar, not 9, $28–$35 Conspiracy Theory: A Lizard’s Tale HHH Marion Cultural Centre, 9 Mar, $27 Akmal - Open for Renovations Encore Performance Gluttony - Rymill Park, 27 Feb–1 Mar, $35–$39 Arj Barker Comes Clean Arts Theatre, 27 Feb, $38 FRIEND (The One With Gunther) The Garden of Unearthly Delights, 3–15 Mar, not 9, $26–$33 Amazing Adventures of Her Majesty at 90+ The Warehouse Theatre, 29 Feb, 7 Mar, $14 The Fax Machine Goes Corporate Hotel Royal, 10 Mar, $20 Nick Capper: Tuxedo Traveller Gluttony - Rymill Park, 3–8 Mar, $15–$20 Kel Balnaves - Righto Gluttony - Rymill Park, 27 Feb–1 Mar, $20–$25 Apocalypse Comedy Club featuring Mick Neven Gluttony - Rymill Park, 10–15 Mar, $15–$20 Granny Flaps - Show Us Your Best Bits! various venues, 29 Feb, 6 Mar, $28 tim&TIM!’s FrEaKy fRiDaY! House of Spaghetti, 6 Mar, $15

Listings

Jess McKenzie Swingin’ With My Eyes Closed! Cafe Outside The Square, 28–29 Feb, $22 Late Night Comedy Astor Hotel, Various dates from 28 Feb to 14 Mar, $20 “There’s a Bit in That” The Big Slapple at the Adelaide Convention Centre, 6 Mar, $23

21:10 Bella Green is Charging For It Gluttony - Masonic Lodge, 27 Feb–1 Mar, $25 Elizabeth Davie Apex Predator Gluttony - Masonic Lodge, 3–15 Mar, not 9, $20–$26

21:15 TOM WALKER IS TIM WALTER The Garden of Unearthly Delights, 3–15 Mar, not 9, $24–$30 Shaggers The Historian Hotel, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 3 Mar, 4 Mar, 8 Mar, 9 Mar, 10 Mar, 11 Mar, $20–$25

Comedy

21:30

TOM GLEESON LIGHTEN UP The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $35–$45 Puppetry of the Penis Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $33–$44 Bald Man Sings Rihanna The Griffins Hotel, 27 Feb–1 Mar, $20 Shit- Faced Shakespeare: Hamlet Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $25–$34.90

Ivan Aristeguieta - Piñata The Garden of Unearthly Delights, 2–15 Mar, not 9, $25–$36 AJ Holmes: Yeah, But Not Right Now Gluttony - Rymill Park, 3–15 Mar, not 9, $25–$30 Talk Dirty, Stay Classy Ayers House Events, 6 Mar, 7 Mar, 13 Mar, 14 Mar, $25 SINGLE Gluttony - Rymill Park, 3–8 Mar, $19–$25 LEWIS GARNHAM - THE WORST TRAIN I’VE EVER BUILT The Garden of Unearthly Delights, 3–15 Mar, not 9, $20–$25 Doggie in the Window Ayers House Events, 28–29 Feb, $20 Two Little Dickheads: KAPOW! Gluttony - Rymill Park, 10–15 Mar, $20–$25 Ben & Charlie’s Variety Hour (45 minutes) House of Spaghetti, 6 Mar, $15 Nina Oyama Is ‘Doing Me’ Right Now The Garden of Unearthly Delights, 27 Feb–1 Mar, $25–$28 Christian Elderfield: Happy Pom The Griffins Hotel, 3–15 Mar, not 9, $10–$12 George Glass Proves The Existence of God RCC, 7 Mar, $15 JUSTIN HAMILTON… AND HAMMO WAS HIS NAME-O! Rhino Room, 3–7 Mar, $25–$29 Thomas Green: Yeah, nah! Stirling Fringe, 27 Feb, $25 Aboriginal Comedy Allstars The Garden of Unearthly Delights, 27 Feb–1 Mar, $39–$42

Read The Room Gluttony - Rymill Park, 27 Feb–1 Mar, $23 SAM SIMMONS - FUNT The Garden of Unearthly Delights, 9–15 Mar, $30–$42 Blake Everett deb(u)t Ayers House Events, 27 Feb, $20 Simon Taylor is a Super Funny Boy The Garden of Unearthly Delights, 27 Feb–15 Mar, not 4 Mar, 11 Mar, $22–$32 Heath Franklin’s Chopper - The Silencer The Garden of Unearthly Delights, 27 Feb–1 Mar, $36.95–$39.95 Rosie Waterland: Kid Chameleon Rhino Room, 27–29 Feb, $39.90 Kieran Bullock Builds IKEA Furniture and Talks To The Audience Ayers House Events, Various dates from 4 Mar to 14 Mar, $23 Dreamgun: Film Reads The Garden of Unearthly Delights, 2–15 Mar, $22–$32 tim&TIM!’s FrEaKy fRiDaY! House of Spaghetti, 29 Feb, 7 Mar, $15 Larry Dean - Fudnut The Garden of Unearthly Delights, 2–15 Mar, not 11, $25–$34 Nazeem Hussain Hussain That? The Garden of Unearthly Delights, 27 Feb–1 Mar, $30 A Night in at the House of Spaghetti House of Spaghetti, 28 Feb, $15 David Quirk - Astonishing Obscurity The Garden of Unearthly Delights, 27 Feb–1 Mar, $28–$30

21:45 3 is a crowd (so bring 2 friends) Rhino Room, 10–14 Mar, $10 Best of Adelaide Fringe: The Late Show The Griffins Hotel, Various dates from 28 Feb to 14 Mar, $25 James Bustar Caught in the Act The Howling Owl, 3–14 Mar, not 8, 9, $15–$25 Amos Gill: Ruins Arkaba Hotel, 13 Mar, $34.90 Shark Heist Rhino Room, 10–14 Mar, $17–$25 James Donald Forbes McCann: Devil’s Advocate The Howling Owl, 27–29 Feb, $24.50–$27.50 Oliver Coleman: The Prawning Rhino Room, 27–29 Feb, $25 Geoff Stone - Almost Rhino Room, 27–29 Feb, $20

22:00 AJ Holmes: Yeah, But Not Right Now Gluttony - Rymill Park, 27 Feb–1 Mar, $25–$27 Welcome to Japan Hotel Richmond, 29 Feb, $24 Dirty Tattooed Circus Bastards - The Prison Years Gluttony - Rymill Park, 27 Feb–1 Mar, $25 Adelaide Fringe Comedy Show Case The Griffins Hotel, Various dates from 28 Feb to 14 Mar, $25 Evan Desmarais: Pizza & Ice Cream

HHH

Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $17–$23

Aidan Jones - Taco Gluttony - Rymill Park, 3–14 Mar, not 4, 8, 9, 11, $19–$25 Aborigi-LOL: The Return Tandanya National Aboriginal Cultural Institute, 11–15 Mar, $25 The Highlight Reel Hotel Richmond, 11 Mar, 12 Mar, 14 Mar, $20

22:20 TAHIR - Pick of the Comedians. 6 stars Gluttony - Rymill Park, 8 Mar, $35

22:30 Blake Everett deb(u)t Ayers House Events, 28–29 Feb, $20 Welcome to Japan Hotel Richmond, 28 Feb, $24 All Up Late - The Historian Late Show The Historian Hotel, 6 Mar, 7 Mar, 13 Mar, 14 Mar, $20 Alcohol is good for you The Historian Hotel, 28–29 Feb, $21 The Hilary Duff Film Re-Enactment Festival Ayers House Events, 6 Mar, 7 Mar, 13 Mar, 14 Mar, $25 The Highlight Reel Hotel Richmond, 13 Mar, $20

Rhino’s Tuesday Night Flyer Rhino Room, 3 Mar, $15 Best of the Edinburgh Fest The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $26

22:50 The Great British Hate Off Gluttony - Rymill Park, 6 Mar, 7 Mar, 8 Mar, 13 Mar, 14 Mar, $25

22:55 Andrew Silverwood’s [Late Night] Panel Show Gluttony - Rymill Park, Various dates from 28 Feb to 14 Mar, $25

23:00 THE STAND UP SHOW The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $25 Rhino Room Late Show Rhino Room, Various dates from 28 Feb to 14 Mar, $30

23:15 Heath Franklin’s Chopper - The Line Up The Garden of Unearthly Delights, 28 Feb, $30

23:20

Stand Up - Smack Down Gluttony - Rymill Park, Various dates from 28 Feb to 14 Mar, $17–$20

TAHIR - Pick of the Comedians. 6 stars Gluttony - Rymill Park, 7 Mar, 14 Mar, $39 The Great British Hate Off Gluttony - Rymill Park, 28–29 Feb, $25

22:45

23:30

Demi Lardner & Tom Walker: We Mustn’t Rhino Room, 12–14 Mar, $25–$28

PHATCAVE Gluttony - Rymill Park, Various dates from 28 Feb to 14 Mar, $27

22:40

Go to fest-mag.com/adelaide/comedy for the latest reviews

11:30

Atomic - The New Rock Musical Nexus Arts, 11–12 Mar, $18 Stepping Out The Parks Theatres, 10 Mar, $20

The Doctor Dunstan Playhouse [Adelaide Festival], 5 Mar, $45

10:30 Fear (Not) The Garden of Unearthly Delights, 13 Mar, $28 ATLANTIS UNTOLD GU Film House Glenelg, 3–4 Mar, $20

11:00 The Witching Hour Forge Theatre, 5 Mar, FREE Mouthpiece Odeon Theatre [Adelaide Festival], 10 Mar, 12 Mar, $30 Dimanche Space Theatre [Adelaide Festival], 3 Mar, 5 Mar, $20 The Iliad - Out Loud Scott Theatre [Adelaide Festival], 14–15 Mar, $20 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 12 Mar, 14 Mar, $25 Princessez Marion Cultural Centre, 12 Mar, $22 Dance Nation Scott Theatre [Adelaide Festival], 27–28 Feb, $39 Peter Pan Norwood Concert Hall, 7 Mar, $25 A Thousand Cranes Adelaide City Parkland 18, 29 Feb–1 Mar, $15 The Loneliest Woman Star Theatres, 28 Feb, 6 Mar, $19.50–$24.50

12:00 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 12 Mar, 14 Mar, $25 Children of an Idle Brain Bakehouse Theatre, 2–7 Mar, $10–$25 ❤ Tartuffe

HHHH

Holden Street Theatres, 14–15 Mar, $28

12:30 Atomic - The New Rock Musical Nexus Arts, 11–12 Mar, $18 Dimanche Space Theatre [Adelaide Festival], 7 Mar, $20 ❤ Tartuffe

HHHH

Holden Street Theatres, 7 Mar, $28 The King Holden Street Theatres, 29 Feb–1 Mar, $25

13:00 I Hate Shakespeare! Salisbury Institute, 27 Feb, FREE The Doctor Dunstan Playhouse [Adelaide Festival], 7 Mar, $45 Mouthpiece Odeon Theatre [Adelaide Festival], 14 Mar, $30 Dimanche Space Theatre [Adelaide Festival], 29 Feb, $20 Fear (Not) The Garden of Unearthly Delights, 13–15 Mar, $28

Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 12 Mar, 14 Mar, $25 I Forgot to Register for Adelaide Fringe! The Parks Theatres, 29 Feb, $10 Faulty Towers The Dining Experience Stamford Plaza Adelaide, Various dates from 29 Feb to 15 Mar, $85 A Midsummer Livestream Bakehouse Theatre, 2–7 Mar, $15–$25 Eleanor’s Story: An American Girl In Hitler’s Germany various venues, 27–28 Feb, $33

13:30 Atomic - The New Rock Musical Nexus Arts, 14 Mar, $18 Eleanor’s Story: An American Girl In Hitler’s Germany Largs Bay RSL, 29 Feb, $33 The King Holden Street Theatres, 14–15 Mar, $25

14:00 Inner Journey State Library of South Australia, 1 Mar, 8 Mar, 15 Mar, FREE Sh!t Theatre Drink Rum With Expats Holden Street Theatres, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $20–$28 On the Couch with Tammy Anderson Tandanya National Aboriginal Cultural Institute, 15 Mar, $20 The Doctor Dunstan Playhouse [Adelaide Festival], 29 Feb–1 Mar, $45

Cold Blood Ridley Centre, Adelaide Showgrounds [Adelaide Festival], 7–8 Mar, $30 Mouthpiece Odeon Theatre [Adelaide Festival], 8–9 Mar, $30 Princessez Marion Cultural Centre, 15 Mar, $22 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 15 Mar, $25 I Forgot to Register for Adelaide Fringe! The Parks Theatres, 29 Feb, $10 Dance Nation Scott Theatre [Adelaide Festival], 29 Feb, 7 Mar, $39 Stepping Out The Parks Theatres, 4 Mar, 5 Mar, 7 Mar, 11 Mar, $12–$20 The Daly River Girl Tandanya National Aboriginal Cultural Institute, 1 Mar, $20 Fracture RUMPUS, 7 Mar, $20 Ragnarøkkr Holden Street Theatres, 1 Mar, $28 I Don’t Wanna Play House Tandanya National Aboriginal Cultural Institute, 13 Mar, $20 Moof’s Adventures The Mill, 1 Mar, 15 Mar, $22 Adelaide Short Play Festival Fulham Community Centre, 29 Feb, $25 A Thousand Cranes Adelaide City Parkland 18, 29 Feb–1 Mar, $15 Craigslist Allstars Main Theatre, AC Arts [Adelaide Festival], 1 Mar, $15 Kafka’s Ape Holden Street Theatres, 29 Feb, $25

Beautiful - The Carole King Musical Star Theatres, 29 Feb, $44 Only Human RUMPUS, 29 Feb, $30 The Nights by Henry Naylor Holden Street Theatres, 29 Feb, 1 Mar, 7 Mar, 8 Mar, $28

14:30 ❤ Josephine HHHH Stirling Fringe, 27 Feb, $30 Peter Pan Norwood Concert Hall, 8 Mar, $25

15:00 FLIGHT The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25 Dimanche Space Theatre [Adelaide Festival], 1 Mar, $20 SÉANCE The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $20 Cock Cock…Who’s There? Main Theatre, AC Arts [Adelaide Festival], 29 Feb, $20 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 15 Mar, $25 I Forgot to Register for Adelaide Fringe! The Parks Theatres, 29 Feb, $10 COMA The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25

Your hour-by-hour guide to Theatre at Adelaide’s festivals

The Nights by Henry Naylor Holden Street Theatres, 14–15 Mar, $28

15:15 Peter Pan Norwood Concert Hall, 7 Mar, $25

15:30 Abattoir Noir The Mill, 1 Mar, $20 The Iliad - Out Loud Scott Theatre [Adelaide Festival], 14–15 Mar, $20 Dead Gorgeous: A True Crime Clown Show RUMPUS, 7 Mar, 14 Mar, $25 Queer House Rules! RUMPUS, 29 Feb, $25 UnderLyingSkins The Mill, 8 Mar, $18

16:00 FLIGHT The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25 How To Drink Wine Like A Wanker Treasury 1860, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $25 The Doctor Dunstan Playhouse [Adelaide Festival], 8 Mar, $45 SÉANCE The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $20 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 15 Mar, $25

fest-mag.com

10:00

Listings

COMA The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25 A Thousand Cranes Adelaide City Parkland 18, 29 Feb–1 Mar, $15

16:30 Writer / 20세기작가 Black Box Theatre, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $28 Attenborough and his Animals Stirling Fringe, 27 Feb, $25 Ragnarøkkr Holden Street Theatres, 29 Feb, $28

16:45 Peter Goers in Best We Forget Holden Street Theatres, 29 Feb, 1 Mar, 8 Mar, 14 Mar, 15 Mar, $20

Theatre

17:00

FLIGHT The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25 MEDEA AND JASON - A MINI MUSICAL WITH LOUCAS LOIZOU Hilton Hotel, 13–15 Mar, $25 SÉANCE The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $20 Cock Cock…Who’s There? Main Theatre, AC Arts [Adelaide Festival], 1 Mar, $20 Dead Gorgeous: A True Crime Clown Show RUMPUS, 8 Mar, 15 Mar, $25

Frankie Foxstone A.K.A. The Profit: Walking Tour

HHH

The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $20 COMA The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25 Eleanor’s Story: Life After War Gluttony - Masonic Lodge, 1 Mar, $33 Eleanor’s Story: An American Girl In Hitler’s Germany Gluttony - Masonic Lodge, 29 Feb, $33 The Loneliest Woman Star Theatres, 29 Feb, 1 Mar, 7 Mar, 8 Mar, $24.50 Only Human RUMPUS, 1 Mar, $30 Translation Goodwood Studio, 6 Mar, $20

17:20 The Tempest Gluttony - Rymill Park, 3–15 Mar, $19.50–$27.50

17:30 The Wild Unfeeling World Stirling Fringe, 1 Mar, $25

18:00 Cassie and the Lights RCC, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $20–$26 ‘For Both Resting and Breeding’ by Adam Meisner The Bus Stop, 27–29 Feb, $28 Gratiano Bakehouse Theatre, 4 Mar, 9 Mar, 13 Mar, $25

FLIGHT The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 The Doctor Dunstan Playhouse [Adelaide Festival], 3 Mar, 4 Mar, 5 Mar, 7 Mar, $45 Breaking the Waves Festival Theatre [Adelaide Festival], 15 Mar, $40 Mouthpiece Odeon Theatre [Adelaide Festival], 7–8 Mar, $30 SÉANCE The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20 The Ballad of Mulan Bakehouse Theatre, 3 Mar, 7 Mar, 12 Mar, $15–$25 Rich Bitch - A Parody of Law Of Attraction Gurus The Griffins Hotel, 3–15 Mar, not 9, $10–$20 Dimanche Space Theatre [Adelaide Festival], 28–29 Feb, $20 The Daughters of Róisín The Mill, 13–14 Mar, $26 Spitfire Solo Bakehouse Theatre, 27 Feb–7 Mar, not 1 Mar, $18–$26 I, AmDram Treasury 1860, 5–15 Mar, not 9, $18–$25 ME The Garage International @ Adelaide Town Hall, 11–13 Mar, $28 Train Lord Bakehouse Theatre, 27–29 Feb, $20 The Book Of Faz Astor Hotel, 27–29 Feb, $20

COMA The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 Mengele The Garage International @ Adelaide Town Hall, 3–7 Mar, $23–$29 Gone Girls Holden Street Theatres, 10–14 Mar, $22–$27 Stepping Out The Parks Theatres, 6 Mar, $20 Moby Dick Bakehouse Theatre, 2 Mar, 6 Mar, 11 Mar, $25 TABOO Treasury 1860, Various dates from 27 Feb to 4 Mar, $18–$25 Girl Shut Your Mouth Bakehouse Theatre, 10–14 Mar, $23–$28 Kafka’s Ape Holden Street Theatres, 27 Feb–8 Mar, not 2 Mar, $20–$25 Craigslist Allstars Main Theatre, AC Arts [Adelaide Festival], 3 Mar, $15 Dietrich: Natural Duty Black Box Theatre, 3–15 Mar, $23–$30 Renfield: In the Shadow of the Vampire Bakehouse Theatre, 5 Mar, 10 Mar, 14 Mar, $15–$25 UnderLyingSkins The Mill, 15 Mar, $20

18:10 ❤ EURYDICE HHHH Open Air Theatre, Various dates from 27 Feb to 11 Mar, $22–$28 ORPHEUS HHH Open Air Theatre, 3–5 Mar, $22–$28

18:15 ‘Tales of an Urban Indian’ by Darrell Dennis The Bus Stop, 27 Feb–1 Mar, $28

18:20 SÉANCE The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20 Far Far Away The Garage International @ Pilgrim Uniting Church, 3 Mar, 4 Mar, 6 Mar, 7 Mar, $18–$23 Promise and Promiscuity: A New Musical by Jane Austen and Penny Ashton Gluttony - Masonic Lodge, 27 Feb–1 Mar, $26–$28

18:25 Bleach various venues, 5 Mar, $28

18:30 Frankenstein: How to Make a Monster RCC, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $25–$35 FLIGHT The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 Mouthpiece Odeon Theatre [Adelaide Festival], 14 Mar, $30 Dimanche Space Theatre [Adelaide Festival], 3–6 Mar, $20 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 11–14 Mar, $25 COMA The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25

Bleach various venues, 6–7 Mar, $28 Marvelous Mechanical Musical Maiden Ayers House Events, 4–6 Mar, $28 Dance Nation Scott Theatre [Adelaide Festival], 27–28 Feb, $39 The People’s Festival: 60 years of Adelaide Fringe Mercury Cinema, 10 Mar, $8 Queer House Rules! RUMPUS, 1 Mar, $25 Gone Girls Holden Street Theatres, 15 Mar, $27 Fracture RUMPUS, 8 Mar, $23 Eleanor’s Story: An American Girl In Hitler’s Germany Victor Harbor Town Hall, 27 Feb, $33 ❤ Tartuffe

HHHH

Holden Street Theatres, 27 Feb–8 Mar, not 2 Mar, $20–$28 Only Human RUMPUS, 27–29 Feb, $30 Enterprise Stirling Fringe, 28 Feb, $28 The King Holden Street Theatres, 10–14 Mar, $15–$25

18:45 Josh Mensch: Abomination Holden Street Theatres, 28 Feb–1 Mar, $13–$16 Attenborough and his Animals The Garden of Unearthly Delights, 2–15 Mar, not 9, $25–$30

Go to fest-mag.com/adelaide/theatre for the latest reviews

Gobby Gluttony - Rymill Park, 3–15 Mar, $22–$28

19:00 FLIGHT The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 I Hate Shakespeare! Salisbury Institute, 27 Feb, $20 The Doctor Dunstan Playhouse [Adelaide Festival], 28 Feb, 29 Feb, 6 Mar, $45 Schapelle, Schapelle The Parks Theatres, 12–15 Mar, $32 Cold Blood Ridley Centre, Adelaide Showgrounds [Adelaide Festival], 6–7 Mar, $30 Mouthpiece Odeon Theatre [Adelaide Festival], 6 Mar, 12 Mar, $30 SÉANCE The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20 Our Solar System Holden Street Theatres, 28 Feb–14 Mar, not 2 Mar, 9 Mar, $20–$25 Dead Gorgeous: A True Crime Clown Show RUMPUS, 4 Mar, 5 Mar, 11 Mar, 12 Mar, $17–$25 The Hipster- A musical for people who don’t like musicals Little Bang Brewing Company, Various dates from 8 Mar to 17 Mar, $35

Translation Ancient World, 29 Feb, $20 CAN ART STOP A BULLET: William Kelly’s Big Picture Mercury Cinema, 5 Mar, $25

The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 3 Mar, 4 Mar, 9 Mar, 10 Mar, 11 Mar, $20 Snapshots from Home The Parks Theatres, 27–28 Feb, $20 Faulty Towers The Dining Experience Stamford Plaza Adelaide, 27 Feb–15 Mar, not 4 Mar, 11 Mar, $85–$110 The Good Word Spoken MixedCreative, 6 Mar, $5 Fracture RUMPUS, 6–7 Mar, $23 Your Best American Girl Woodville Town Hall, 27 Feb, $20 Adelaide Short Play Festival Fulham Community Centre, 28–29 Feb, $25 Table for Two? Holden Street Theatres, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $17–$20 Floral Peroxide Nexus Arts, 11 Mar, $30 Bordertown St Aloysius College, 27–29 Feb, $25 Dirty People Hotel Richmond, 27 Feb, $27 Passengers RCC, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $20–$35 Open Heart The Duke of Brunswick, 3–4 Mar, $25–$32

19:15

HHH

I, AmDram Treasury 1860, 3–4 Mar, $18

19:20 SÉANCE The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20

19:25 ❤ Josephine HHHH Black Box Theatre, 27 Feb–1 Mar, $30

19:30 Being Dead (Don Quixote) RCC, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $18–$33 The Witching Hour Forge Theatre, 5–6 Mar, $10 Sh!t Theatre Drink Rum With Expats Holden Street Theatres, 27 Feb–8 Mar, not 2 Mar, 3 Mar, $28 An Evening with the Vegetarian Librarian Bakehouse Theatre, 27–29 Feb, $28 FLIGHT The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 The Mark Drama various venues, 29 Feb, 1 Mar, 3 Mar, $8 Marvelous Mechanical Musical Maiden Ayers House Events, 27 Feb, 29 Feb, $28

Imposter Cafe Outside The Square, 7 Mar, $25 Cold Blood Ridley Centre, Adelaide Showgrounds [Adelaide Festival], 5 Mar, $30 Audio Book - LIVE MixedCreative, 28 Feb, 7 Mar, 13 Mar, $20 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 11–14 Mar, $25 Autoeulogy The Mill, 3–5 Mar, $20 COMA The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 Zombie Zoo Bakehouse Theatre, 9–14 Mar, $15–$25 Don’t Hate The Player Star Theatres, 6–8 Mar, $30 Gone Girls Holden Street Theatres, 3 Mar, $15 Mengele The Garage International @ Adelaide Town Hall, 27 Feb–13 Mar, not 1 Mar, 2 Mar, 3 Mar, 4 Mar, 5 Mar, 6 Mar, 7 Mar, 8 Mar, $23–$29 Voices Of Joan The Mill, 6–8 Mar, $20–$25 The Daly River Girl Tandanya National Aboriginal Cultural Institute, 29 Feb–1 Mar, $20 Moof’s Adventures The Mill, Various dates from 27 Feb to 15 Mar, $22 Peter Pan Norwood Concert Hall, 6–8 Mar, $25 Enterprise Black Box Theatre, 3–15 Mar, $22–$30

Kafka’s Ape Holden Street Theatres, 10–14 Mar, $20–$25 The Terminator Star Theatres, 1 Mar, $27 Beautiful - The Carole King Musical Star Theatres, 27–29 Feb, $44 The Will To Be Bakehouse Theatre, 2–7 Mar, $24–$27 UnderLyingSkins The Mill, 10–12 Mar, $18–$20 BOND - AN UNAUTHORISED PARODY! Bakehouse Theatre, 27 Feb–7 Mar, not 1 Mar, $26 The Ides of March Bakehouse Theatre, 9–14 Mar, $20–$27 The Loneliest Woman Star Theatres, 4–5 Mar, $24.50 Peach Cobbler The Living Room, 12–13 Mar, $15

19:40 ❤ EURYDICE HHHH Open Air Theatre, 3–5 Mar, $22–$28

19:45 Dr Selflove or: How I Learned to Stop Worrying and Love My Thighs various venues, 3–7 Mar, $15–$18 ORPHEUS HHH Open Air Theatre, Various dates from 27 Feb to 11 Mar, $22–$28

19:50 Safety Banana Gluttony - Masonic Lodge, 10–15 Mar, $20–$25

20:00 Gobby Stirling Fringe, 27 Feb, $28 FLIGHT The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 The Doctor Dunstan Playhouse [Adelaide Festival], 27 Feb, $45 Breaking the Waves Festival Theatre [Adelaide Festival], 13 Mar, $40 Mouthpiece Odeon Theatre [Adelaide Festival], 10 Mar, $30 SÉANCE The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20 Cock Cock…Who’s There? Main Theatre, AC Arts [Adelaide Festival], 2–3 Mar, $20 The Iliad - Out Loud Scott Theatre [Adelaide Festival], 14–15 Mar, $20 COMA The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 Dance Nation Scott Theatre [Adelaide Festival], 28 Feb–7 Mar, not 1 Mar, $39 THE ITCH RUMPUS, 1 Mar, 8 Mar, 15 Mar, $10 Queer House Rules! RUMPUS, 27–29 Feb, $25 The Daughters of Róisín HAT’s Courthouse Cultural Centre Auburn, 7 Mar, $30 Kafka’s Ape Holden Street Theatres, 15 Mar, $25

Listings

18:50

COMA The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 Frankie Foxstone A.K.A. The Profit: Walking Tour

fest-mag.com

Thunderstruck The Garden of Unearthly Delights, 2–15 Mar, $20–$30

Pinter at the Pub Kings Head Hotel, Various dates from 3 Mar to 12 Mar, $15–$20 The Nights by Henry Naylor Holden Street Theatres, 3–14 Mar, not 9, $20–$28 The King Holden Street Theatres, 27 Feb–1 Mar, $25 Laurie Anderson - All The Things I Lost In The Flood RCC, 14–15 Mar, $55

20:15 The Wild Side RCC, 28 Feb–15 Mar, not 2 Mar, 9 Mar, $25–$35 Josh Mensch: Abomination Holden Street Theatres, 3–15 Mar, not 9, $13–$16 I Don’t Wanna Play House Tandanya National Aboriginal Cultural Institute, 13–14 Mar, $20 Far Far Away The Garage International @ Adelaide Town Hall, 1 Mar, 8 Mar, $18–$23

20:20 SÉANCE The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20

Theatre

20:30

FLIGHT The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 Forbidden Broadway The Parks Theatres, 27–28 Feb, $25 Mouthpiece Odeon Theatre [Adelaide Festival], 13 Mar, $30

Dead Gorgeous: A True Crime Clown Show RUMPUS, 6 Mar, 7 Mar, 13 Mar, 14 Mar, $25 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 11–14 Mar, $25 COMA The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 Fracture RUMPUS, 4–5 Mar, $23 The Wild Unfeeling World Holden Street Theatres, 3–14 Mar, not 9, $19–$25 Dirty People Hotel Richmond, 29 Feb, $27 Open Heart The Duke of Brunswick, 5–7 Mar, $32

20:40 Happily Ever Poofter Gluttony - Rymill Park, 27 Feb–1 Mar, $25–$28

21:00 FLIGHT The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 Imposter Cafe Outside The Square, 5 Mar, 12 Mar, 14 Mar, $20–$25 Sh!t Theatre Drink Rum With Expats Holden Street Theatres, 11–14 Mar, $28 The Punter’s Siren Bakehouse Theatre, 2–14 Mar, not 8, $18–$27 SÉANCE The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20

COLD WAR HH RCC, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $18–$33 Nikola and I Dream Well, Various dates from 27 Feb to 17 Mar, $15–$20 No Coming Back Bakehouse Theatre, 27 Feb–7 Mar, not 1 Mar, $15–$25 COMA The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25 Don’t Hate The Player Star Theatres, 5 Mar, $25 Far Far Away The Garage International @ Adelaide Town Hall, 9–10 Mar, $18–$23 Numinous Asylum Holden Street Theatres, 10 Mar, $25 A SPECIAL DAY Black Box Theatre, 27 Feb–15 Mar, not 2 Mar, $25–$28 The Terminator Star Theatres, 27–29 Feb, $27 Dirty People Hotel Richmond, 28 Feb, $27 The Will To Be Bakehouse Theatre, 27–29 Feb, $27

Cock Cock…Who’s There? Main Theatre, AC Arts [Adelaide Festival], 28–29 Feb, $20 The Nights by Henry Naylor Holden Street Theatres, 27 Feb–1 Mar, $28 ❤ Tartuffe

21:15

THE GODS, THE GODS, THE GODS Black Box Theatre, Various dates from 28 Feb to 14 Mar, $28 Safety Banana Gluttony - Masonic Lodge, 6–7 Mar, $20 Abattoir Noir The Mill, 27–29 Feb, $20–$25 UnderLyingSkins The Mill, 14 Mar, $20

Gone Girls Holden Street Theatres, 4–8 Mar, $27 Ragnarøkkr Holden Street Theatres, 27 Feb–1 Mar, $28

21:30 Grounded Holden Street Theatres, 3–8 Mar, $20–$28

HHHH

Holden Street Theatres, 10–14 Mar, $20–$28

21:40 Mullygrubs Treasury 1860, 7–15 Mar, not 9, $18–$25

23:00 FLIGHT The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $25 SÉANCE The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $20 COMA The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $25

22:00 FLIGHT The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $25 SÉANCE The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $20 COMA The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $25

22:30

Go to fest-mag.com/adelaide/theatre for the latest reviews

10:00 Foals The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, FREE Teeny Tiny Stevies The Garden of Unearthly Delights, 29 Feb, $33

10:30 Opera Mouse The Jade, 1 Mar, $20 Inamojo - Children’s Wellbeing Workshops Singing Gazebo Clarendon, 29 Feb, $26 Toddler Bop The Parks Theatres, 4 Mar, $12 Once Upon a Circus CircoBats, 12–13 Mar, $15 MR BADGER tells the story of The Wind in the Willows Carrick Hill, 7 Mar, 14 Mar, $15 Juggling vs Magic Marion Cultural Centre, 7–8 Mar, $12 Do the Hibble Hop various venues, 29 Feb, 3 Mar, 4 Mar, $0–$12 When the Mirror Bird Sings Marion Cultural Centre, 27–29 Feb, $15 Multicultural Storytime Hutt Street Library, 3 Mar, FREE

Buzzy and Bumbles’ Bee School Carrick Hill, 29 Feb, $15

11:00 Bubba-Licious Gluttony - Rymill Park, 29 Feb–1 Mar, $15 Monski Mouse’s Baby Cabaret The Garden of Unearthly Delights, 7 Mar, 14 Mar, $17 Ordinary Ed Bakehouse Theatre, 2–7 Mar, $10–$15 Amazing Drumming Monkeys The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $18 Monski Mouse’s Baby Disco Dance Hall The Garden of Unearthly Delights, 1 Mar, 8 Mar, 9 Mar, 15 Mar, $17 What’s in the Box? Marion Cultural Centre, 1 Mar, $13 The Bureau Of Untold Stories various venues, 29 Feb–15 Mar, not 2 Mar, 3 Mar, 4 Mar, 5 Mar, 9 Mar, 10 Mar, 11 Mar, 12 Mar, $20 The Circus Firemen Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $20 MR BADGER tells the story of The Wind in the Willows Carrick Hill, 8 Mar, 15 Mar, $15 Once Upon a Circus CircoBats, 14 Mar, $15 A Princess Party Morphettville Racecourse, 27 Feb, $10

Do the Hibble Hop Glenunga Hub, 1 Mar, 7 Mar, 8 Mar, $12 Wilbur the Optical Whale The Big Slapple at the Adelaide Convention Centre, Various dates from 27 Feb to 4 Mar, $12–$20 The Alphabet of Awesome Science Gluttony - Rymill Park, 10–11 Mar, FREE The Artist Main Theatre, AC Arts [Adelaide Festival], 11 Mar, 13 Mar, $20 Switch Witchetty’s Almanac of Everything Holden Street Theatres, Various dates from 7 Mar to 15 Mar, $19–$20

11:15 Bubble Show with Dr Bubble and Milkshake Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $19

11:30 Brass Monkeys The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $24 ‘80s Baby: A Kids Disco Stirling Fringe, 29 Feb–1 Mar, $20 Do the Hibble Hop Glenunga Hub, 29 Feb, $12

11:45 MR BADGER tells the story of The Wind in the Willows Carrick Hill, 7 Mar, 14 Mar, $15

12:00 Bubba-Licious Gluttony - Rymill Park, 29 Feb–1 Mar, $15 Erth’s Dinosaur Zoo RCC, 29 Feb, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $20 The Artist Main Theatre, AC Arts [Adelaide Festival], 14 Mar, $20 Petit Circus Murray Bridge Town Hall, 29 Feb, $26

12:30 Don’t Mess With the Dummies The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25 The African Elephant Of My Heart: Dance Extravaganza Holden Street Theatres, Various dates from 29 Feb to 15 Mar, $20 Big Tops & Tiny Tots Circus Show Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $19

12:45 Grossed Out Game Show Gluttony - Rymill Park, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $20 Good is the New Bad Gluttony - Rymill Park, 29 Feb–1 Mar, $20

13:00 Monski Mouse’s Baby Cabaret The Garden of Unearthly Delights, 29 Feb, $17

Balloonatics Belgian Beer Cafe ‘Oostende’, Various dates from 29 Feb to 15 Mar, $20 What’s in the Box? Marion Cultural Centre, 8 Mar, $13 The Fairy Wonderland Show Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $25 Once Upon a Circus CircoBats, 12–13 Mar, $15 The Bureau Of Untold Stories Marion Cultural Centre, 2 Mar, 9 Mar, 16 Mar, $20 When the Mirror Bird Sings Marion Cultural Centre, 27–29 Feb, $15 Mr Snot bottom’s Horrible, Terrible, Really, Really, Bad, Bad, Show The Garden of Unearthly Delights, 8 Mar, $22 Boomstars 4Kids: ‘Shake It Up’ Concert Marion Cultural Centre, 7 Mar, $18 The Alphabet of Awesome Science Gluttony - Rymill Park, 10–11 Mar, FREE The Beach Party Woodville Town Hall, 14 Mar, $16 Kids’ Director’s Cut Stirling Fringe, 29 Feb–1 Mar, $20

13:15 Science Magic Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $16

13:30 CLG and ASMS present STEMTacular Australian Science and Mathematics School, 29 Feb, $20

Listings

CLG and ASMS present STEMTacular Australian Science and Mathematics School, 29 Feb, $20

14:00 Peter Combe in Brush Your Hair with a Toothbrush!! The Garden of Unearthly Delights, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $26 Erth’s Dinosaur Zoo RCC, 29 Feb, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $20 Amazing Drumming Monkeys The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $18 ‘Aladdin and the Genie of Unlimited Wishes’ Star Theatres, 14–15 Mar, $20 Jack & Jill and the Beanstalk - An Environmental Tale Mount Barker Waldorf Living Arts Centre, 1 Mar, $28 Once Upon a Circus CircoBats, 14 Mar, $15 BEST OF KIDS FRINGE Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $19 Adam Page - For Kids... and their Adults The Wheatsheaf Hotel, 29 Feb, $15 THE SCIENTIFIC BUBBLE SHOW Brighton Performing Arts Centre, 7 Mar, $18

fest-mag.com

09:00

14:15 The Alphabet of Awesome Science Gluttony - Rymill Park, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $17–$20

14:30 SCARY STORIES FOR BRAVE KIDS (in the dark & light) Goodwood Institute Theatre, 29 Feb, 7 Mar, 9 Mar, 14 Mar, 15 Mar, $15 Mr Snot bottom’s Horrible, Terrible, Really, Really, Bad, Bad, Show The Garden of Unearthly Delights, 7 Mar, 9 Mar, 14 Mar, 15 Mar, $18–$22 A Dinosaur Safari Burnside Community Centre, 1 Mar, $20 MR SNOT BOTTOM’S STINKY SILLY SHOW AT STIRLING FRINGE Stirling Fringe, 29 Feb–1 Mar, $20

14:45 Mickster’s Magic Gadgets Gluttony - Rymill Park, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $15–$25 Circus SONAS Family Show Gluttony - Rymill Park, 29 Feb–1 Mar, $18

Kids

15:00

Do the Hibble Hop Glenunga Hub, 1 Mar, 7 Mar, 8 Mar, $12 Tony Roberts: I’m a Magician Get Me Out of Here The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $20

Juggling vs Magic Murray Bridge Town Hall, 29 Feb, $12

15:15 The Stevenson Experience Sing Silly Songs for Kids Flinders University, Bedford Park, 14 Mar, $18 A Dinosaur Safari Burnside Community Centre, 7 Mar, 14 Mar, $20

15:30 Peter Combe in Brush Your Hair with a Toothbrush!! The Garden of Unearthly Delights, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $26 Petit Circus Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $26

15:45 The Greatest Magic Show Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $25

16:00 Big Tops & Tiny Tots Circus Show Stirling Fringe, 29 Feb–1 Mar, $20 SCARY STORIES FOR BRAVE KIDS (in the dark & light) Goodwood Institute Theatre, 29 Feb, 7 Mar, 14 Mar, 15 Mar, $15 Erth’s Dinosaur Zoo RCC, 29 Feb, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $20 ‘Aladdin and the Genie of Unlimited Wishes’ Star Theatres, 14–15 Mar, $20

Ann-Droid-The Wonderful Adventures of a Robot Girl The Garden of Unearthly Delights, 11–15 Mar, $20 Cosmo the Clown Comedy Magic Show Ayers House Events, 29 Feb, 7 Mar, 14 Mar, $15 Children are Stinky The Garden of Unearthly Delights, 28 Feb–1 Mar, $20–$24 Best of Adelaide Fringe: Kids and Family Selection The Historian Hotel, 29 Feb, 7 Mar, 14 Mar, $18 ‘Enchantments’ by Pierre Ulric Gluttony - Rymill Park, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $23

16:15 Amazing Drumming Monkeys The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $18 Absolutely Bestest Kids Show to Ever Happen... SERIOUSLY! Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $18

16:30 Mickster’s Magic Gadgets Stirling Fringe, 28 Feb, $20 Stuart Reid’s Fantastic Flatulence The Griffins Hotel, 29 Feb–1 Mar, $20 Do the Hibble Hop Glenunga Hub, 28 Feb, 6 Mar, $12

The African Elephant Of My Heart: Dance Extravaganza Holden Street Theatres, 6 Mar, $20 Kids’ Director’s Cut Stirling Fringe, 28 Feb, $20 Switch Witchetty’s Almanac of Everything Holden Street Theatres, 7 Mar, 8 Mar, 14 Mar, $19

17:00 Foals The Garden of Unearthly Delights, 27 Feb–13 Mar, not 29 Feb, 1 Mar, 7 Mar, 8 Mar, 9 Mar, FREE Prehysterical Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $25 The Artist Main Theatre, AC Arts [Adelaide Festival], 9 Mar, $20

17:30 Brass Monkeys The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 3 Mar, 4 Mar, 10 Mar, 11 Mar, $24

18:00 THE SCIENTIFIC BUBBLE SHOW Stirling Fringe, 29 Feb, $20 The Artist Main Theatre, AC Arts [Adelaide Festival], 10 Mar, 14 Mar, $20

18:15 Don’t Mess With the Dummies The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 3 Mar, 9 Mar, 10 Mar, $25

19:00 Once Upon a Circus CircoBats, 13–14 Mar, $15 The Artist Main Theatre, AC Arts [Adelaide Festival], 12–13 Mar, $20

19:30 The Artist Main Theatre, AC Arts [Adelaide Festival], 11 Mar, $20

Daytime Sing A-Long The Parks Theatres, 28 Feb, 6 Mar, $12

11:00 An Austen Affair Urrbrae House, 5 Mar, $28 A Wandering Minstrel - Keith Potger Marion Cultural Centre, 10 Mar, $20 Dogapalooza Orphanage Park, 15 Mar, $18 150 Psalms Abandonment Adelaide Hebrew Congregation [Adelaide Festival], 1 Mar, $30 Open Mic with Greg Coombes Lake Albert Caravan Park, 7 Mar, FREE Buŋgul Gurrumul’s Mother’s Buŋgul Gurrumul’s Grandmother’s Buŋgul Gurrumul’s Manikay Thebarton Theatre [Adelaide Festival], 3 Mar, $35

11:30 Roomful of Teeth (Composer & Citizen: Chamber Landscapes) Ukaria Cultural Centre [Adelaide Festival], 7 Mar, $47 The Female Voice (Composer & Citizen: Chamber Landscapes) Ukaria Cultural Centre [Adelaide Festival], 8 Mar, $47

Hidden Secrets (Composer & Citizen: Chamber Landscapes) Ukaria Cultural Centre [Adelaide Festival], 9 Mar, $47

12:00 150 Psalms - A Mirror for Today’s Society St Peter’s Cathedral [Adelaide Festival], 29 Feb, $30

12:45 BESSIE * BILLIE * DINAH ~ Empress, Lady & Queen of the Blues Murray Bridge Town Hall, 1 Mar, $33

13:00 Heartbeat of Japan Brighton Performing Arts Centre, 8 Mar, $35 Lunchtime recitals St Francis Xavier’s Cathedral [Adelaide Festival], 4 Mar, 11 Mar, FREE Weimarian Revolution: Stories from the Shadows of 1920s Berlin The Jade, 15 Mar, $22.50 Eolia The Jade, 8 Mar, $20 150 Psalms Leadership Pilgrim Uniting Church [Adelaide Festival], 2 Mar, $30 150 Psalms - Power and Oppression Pilgrim Uniting Church [Adelaide Festival], 3 Mar, $30

13:30 The Real Housewives Choir Black Box Theatre, 1 Mar, $35

14:00 A New Gilbert and Sullivan Concert various venues, 29 Feb, 8 Mar, $28 “TOO GOOD TO BE TRUE!” various venues, 1 Mar, 8 Mar, $28 An Austen Affair Urrbrae House, 15 Mar, $28 A Class of Brass – Flying High Burnside Ballroom, 1 Mar, $20 Satisfaction play the Hits of The Rolling Stones The Kentish Hotel, 1 Mar, $30 1960 Rock ‘n’ Rollin Jukebox Journey– Celebrating the 60th Fringe Anniversary various venues, 1 Mar, 8 Mar, $23 Feelin’ Groovy - The Songs of Simon & Garfunkel Arkaba Hotel, 15 Mar, $30 The Revolution ‘Drive that Funky Soul’ Nexus Arts, 29 Feb, $25 Diamond in Unley Fullarton Park Community Centre, 6 Mar, FREE Two Different Paths Nexus Arts, 1 Mar, $40 Weimarian Revolution: Stories from the Shadows of 1920s Berlin Sinclair’s Gully Winery, 7 Mar, 14 Mar, $22.50

All That Matters. Fly Bird Fly Studio, 29 Feb–1 Mar, $20 The Georgia Horgan Show Cafe Outside The Square, 29 Feb–1 Mar, $20 AN AFTERNOON OF WINE, WOMAN AND SONG Sinclair’s Gully Winery, 8 Mar, 9 Mar, 15 Mar, $22.50 Jungle Jams Karkoo Nursery, Various dates from 29 Feb to 15 Mar, FREE 150 Psalms Gratitude Adelaide Hebrew Congregation [Adelaide Festival], 1 Mar, $30 Classic Harmony Hits Victor Harbor Town Hall, 29 Feb, $27 Acoustic Country And Other Classics Sinclair’s Gully Winery, 1 Mar, $19.50

14:20 Groove Terminator and the Soweto Gospel Choir’s History of House Gluttony - Rymill Park, 14 Mar, $35

14:30 The Garden Sessions The Garden of Unearthly Delights, 29 Feb, 7 Mar, 14 Mar, FREE Broadway to Hollywood Hungarian Club of SA, 1 Mar, 15 Mar, $23 BESSIE * BILLIE * DINAH ~ Empress, Lady & Queen of the Blues Stirling Fringe, 28 Feb, $33

Two Of Us Gluttony - Rymill Park, 7 Mar, 8 Mar, 9 Mar, 14 Mar, $27 Composer & Citizen 1 (Composer & Citizen: Chamber Landscapes) Ukaria Cultural Centre [Adelaide Festival], 7 Mar, $47 Composer & Citizen 2 (Composer & Citizen: Chamber Landscapes) Ukaria Cultural Centre [Adelaide Festival], 8 Mar, $47 Composer & Citizen 3 (Composer & Citizen: Chamber Landscapes) Ukaria Cultural Centre [Adelaide Festival], 9 Mar, $47 Footloose and Fancy Goodwood Institute Theatre, 29 Feb, $28

14:45 Hugh Sheridan Unplugged Gluttony - Rymill Park, 14 Mar, $52 Jukebox Chorus - The Ultimate Australian Playlist Gluttony - Rymill Park, 8 Mar, 9 Mar, 15 Mar, $49.50

15:00 Hugh Sheridan Unplugged Gluttony - Rymill Park, 1 Mar, $52 España El Vito the Spirit of Spain & Tango - Piano and Guitar Concert Scots Church Adelaide, 14–15 Mar, $33

Scotland in Australia The Anne Jolly Hall, 29 Feb, $18 Pianist Tim Barton various venues, 8 Mar, 15 Mar, $22 The Carpenters Songbook Regal Theatre, 1 Mar, $45 The 60 Four Norwood Concert Hall, 15 Mar, $55.95 A History of Early Blues Part 1 The Wheatsheaf Hotel, 1 Mar, $25 Kacey Stephensen Port Adelaide Visitor Information Centre Courtyard, 8 Mar, $20 Irish Concert Songs of Luke Kelly & The Dubliners with Dave Clark Singing Gazebo Clarendon, 1 Mar, $25 You’ve Got a Friend - Stories of Carole King’s Tapestry Urrbrae House, 8 Mar, $45 A Medieval and Renaissance Showcase Barr Smith Library, 29 Feb, $30 Sunshine, Lollipops and Rainbows Star Theatres, 1 Mar, $30 150 Psalms Trust St Peter’s Cathedral [Adelaide Festival], 29 Feb, $30 The Furball Express - Pure Swamp Blues The Wheatsheaf Hotel, 15 Mar, $20 Mahler / Adès Adelaide Town Hall [Adelaide Festival], 15 Mar, $35

fest-mag.com

10:00

Listings

Californian Legends Regal Theatre, 8 Mar, 15 Mar, $45

15:20 Tribute to MTV Unplugged with Louise Adams Gluttony - Rymill Park, 1 Mar, $30 The Magnets 90s Rewind Gluttony - Rymill Park, 29 Feb, 7 Mar, 9 Mar, 14 Mar, $35

15:30 Ingenue: Deanna Durbin, Judy Garland and the Golden Age of Hollywood The Jade, 27 Feb, 6 Mar, $29 Marvellous Music at Mary Mags St Mary Magdalene’s Anglican Church, 1 Mar, 8 Mar, $23 Piaf and Brel: The Impossible Concert The Jade, 3–5 Mar, $20–$29 A TRIBUTE TO THE SHADOWS - THE SHADOWCASTERS (Ft: DION ERMEN) The Jade, 8 Mar, $24

Music

16:00

Mitchell River The Anne Jolly Hall, 6–8 Mar, $19 Sufi Music Highway Nexus Arts, 29 Feb–1 Mar, $25 A Norah Jones Tribute Saint John’s Anglican Church, 1 Mar, $30 MC ME - Guilt, Fame, Love. Nexus Arts, 14 Mar, $30

The Stag Balcony Bar The Stag Public House, 29 Feb, 7 Mar, 14 Mar, FREE Ukulele Death Squad: The Squad Father Regal Theatre, 14 Mar, $25 ELECTRIC DELTA: Blues Hits Big Town The Wheatsheaf Hotel, 8 Mar, $25 27 G&Ts @ The Prohibition Prohibition Distillery, 1 Mar, $30 Plant Based Disgrace Brompton Hotel, 14 Mar, $33

16:20 The Choir of Man Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $45

16:30 Hugh Sheridan Unplugged Gluttony - Rymill Park, 29 Feb, $52 Sax to the Max Clayton Wesley Uniting Church The Spire Community, 1 Mar, 8 Mar, 15 Mar, $15 Mugenkyo Taiko Drummers The Garage International @ Adelaide Town Hall, 1 Mar, 8 Mar, $35

16:40 Jukebox Chorus - The Ultimate Australian Playlist Gluttony - Rymill Park, 7 Mar, 14 Mar, $49.50

16:45 Koto Music Concert “SOU MA TOU” The Garage International @ Adelaide Town Hall, 29 Feb, $28

17:00 The Sound Ceremony Gluttony - Masonic Lodge, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $26 Pink Floyd Orchestral Masterpieces by Eclipse Deviation Road Winery, 29 Feb, $48 #PopJazz Treasury 1860, 15 Mar, $25 150 Psalms Powerlessness Adelaide Hebrew Congregation [Adelaide Festival], 1 Mar, $30 Siobhan Stagg in Recital (Composer & Citizen: Chamber Landscapes) Ukaria Cultural Centre [Adelaide Festival], 7 Mar, $47 One Among Many (Composer & Citizen: Chamber Landscapes) Ukaria Cultural Centre [Adelaide Festival], 8 Mar, $47 Requiem Festival Theatre [Adelaide Festival], 1 Mar, $60 The Beatles and Beyond Burnside Ballroom, 7 Mar, $20

17:30 A History of Early Blues Part 2 The Wheatsheaf Hotel, 1 Mar, $25

Ceberano + Co. The Garden of Unearthly Delights, 15 Mar, $60

17:45 Koto Music Concert “SOU MA TOU” The Garage International @ Adelaide Town Hall, 27–28 Feb, $28

18:00 Happy Sad Songs of Tim Buckley The Wheatsheaf Hotel, 27–29 Feb, $25 2020 Twilight Sessions Prospect Memorial Gardens, 28 Feb, FREE Lenka The Mill, 10 Mar, $33 The Cameramen take over the Left Barrel Left Barrel Brewing, 7 Mar, $15 Sweet As Swing: Aussie Classics Re-Imagined Nexus Arts, 7 Mar, 13 Mar, $30 Kuko Nexus Arts, 14 Mar, $15 Music With Motion: End Game Marion Cultural Centre, 1 Mar, $20 From Paris with Love Saint John’s Anglican Church, 1 Mar, $30 The Deer Johns: COMA EP Launch Norwood Hotel, 15 Mar, $18 MC ME - Guilt, Fame, Love. Nexus Arts, 15 Mar, $30

We’ll Meet Again: Vera Lynn, the Forces’ Sweetheart The Jade, 28 Feb, $25 Ingenue: Deanna Durbin, Judy Garland and the Golden Age of Hollywood The Jade, 2–5 Mar, $20–$29 The Mixed Bag Boomers On The Beach, 29 Feb, $18 Weimarian Revolution: Stories from the Shadows of 1920s Berlin The Jade, 11–12 Mar, $22.50 The Music of Disney feat Adam Hall and the Velvet Playboys The Jade, 6 Mar, 8 Mar, $30 Eolia The Jade, 15 Mar, $20 Mugenkyo Taiko Drummers The Garage International @ Adelaide Town Hall, 9–10 Mar, $30–$35 A TRIBUTE TO THE SHADOWS - THE SHADOWCASTERS (Ft: DION ERMEN) The Jade, 13 Mar, $24 A New Gilbert and Sullivan Concert Walkerville Town Hall, 6 Mar, $28 The Finns Tribute Band- Celebrating the songs of Tim & Neil Finn LION ARTS FACTORY [Adelaide Festival], 13 Mar, $25 The Paul Simon Experience Gluttony - Masonic Lodge, 27 Feb–1 Mar, $45

The Carole King & James Taylor Story Gluttony - Masonic Lodge, 3–15 Mar, not 9, $35–$45 150 Psalms Safety St Peter’s Cathedral [Adelaide Festival], 29 Feb, $30 Words and Music for Iris Flinders St Baptist Church, 13 Mar, $20 The Furball Express - Pure Swamp Blues The Wheatsheaf Hotel, 15 Mar, $20 Sun Songs The Wheatsheaf Hotel, 5–6 Mar, $25 Requiem Festival Theatre [Adelaide Festival], 4 Mar, $60 The Ironing Maidens - A Soap Opera Nexus Arts, 28–29 Feb, $30

18:10 Back to Black: The Music of Amy Winehouse Gluttony - Rymill Park, 3–15 Mar, $35–$45 Amity Dry: Highway Superstar Gluttony - Rymill Park, 27 Feb–1 Mar, $35

18:20 Rebel Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 10 Mar, $28–$39

18:30 Soweto Gospel Choir Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, $29–$42

19:00 Fascinating Fifties Hilton Hotel, 7 Mar, $25 JOHN SMITH IN CONCERT The Garden of Unearthly Delights, 11 Mar, $30 Midnite Kiss presents ‘Bittersweet Delirium’ Hotel Richmond, 7–8 Mar, $20 The Nashville Story Regal Theatre, 28 Feb, $45 “TOO GOOD TO BE TRUE!” Burnside City Uniting Church, 28 Feb, $28 Singalong to the Songs of Scotland Arkaba Hotel, 27 Feb, $29 A Norah Jones Tribute Nexus Arts, 4 Mar, $30 From Paris with Love Nexus Arts, 12 Mar, $30 Music With Motion: End Game Woodville Town Hall, 28–29 Feb, $20 Mambo Italiano B. Social Restaurant, 14 Mar, $59

Rock Orchestra By The River Par 3 North Adelaide Golf Course, 14 Mar, $35 Get Back: 75 Minutes of Beatles Murray Bridge Town Hall, 1 Mar, $20 Ballads By Candlelight St Peter’s Cathedral [Adelaide Festival], 14 Mar, $37 Diana Rouvas The Garden of Unearthly Delights, 4 Mar, $52.50 The Black Sorrows The Garden of Unearthly Delights, 5 Mar, $52 MC ME - Guilt, Fame, Love. Nexus Arts, 3 Mar, $20 Things Of Stone And Wood The Garden of Unearthly Delights, 14 Mar, $45 Dream Boat - Party on the Popeye The Popeye Boat, 27 Feb, 28 Feb, 6 Mar, 12 Mar, 13 Mar, $20 Heartbeat of Japan Brighton Performing Arts Centre, 7 Mar, $35 Carl Christensen Once & Again Book Cafe, 1 Mar, FREE COPACABANA & ALL THAT SAMBA - Juliana Areias and Marvio Ciribelli Band The Garden of Unearthly Delights, 3 Mar, $35 Mi Cuba Nexus Arts, 27 Feb, $30

The Real Housewives Choir The Garden of Unearthly Delights, 6 Mar, $35 Ceberano + Co. The Garden of Unearthly Delights, 15 Mar, $60 Country Halls Tour - A Night with Fanny Lumsden The Garden of Unearthly Delights, 8 Mar, $25 The Guitar Music of South America and Spain Nexus Arts, 5 Mar, $25 All That Matters. Fly Bird Fly Studio, 29 Feb, $20 Pianist Tim Barton various venues, 7 Mar, 14 Mar, $22 Bakers Daughter aka Alyce Platt The Garden of Unearthly Delights, 1 Mar, $35 SPIRAL Presents: Metalworks The Joinery on Franklin, 7 Mar, $15 Renee Geyer The Garden of Unearthly Delights, 28 Feb, $50 The Southern Pop Express + TRex Oz + CouZins Ink Astor Hotel, 8 Mar, $25 Tex Perkins & Matt Walker The Garden of Unearthly Delights, 27 Feb, $55 Buŋgul Gurrumul’s Mother’s Buŋgul Gurrumul’s Grandmother’s Buŋgul Gurrumul’s Manikay Thebarton Theatre [Adelaide Festival], 2 Mar, $35

Audrey in the Sky with Diamonds Latvian Hall, 29 Feb, $30 The Baker Suite and friends celebrate the songs of John Baker Woodville Town Hall, 5 Mar, $30 Eves in Autumn St Mary’s College, 5 Mar, $15 The East Pointers ‘Yours to Break’ Tour The Garden of Unearthly Delights, 10 Mar, $35

19:15 Lennon Live Morphettville Racecourse, 28 Feb, $28

19:20 BANDALUZIA FLAMENCO Gluttony - Rymill Park, 10–15 Mar, $23–$32

19:30 THE WHEATSHEAF UKULELE COLLECTIVE PRESENTS: LIGHTS, CAMERA, UKULELE! The Wheatsheaf Hotel, 12–14 Mar, $25 An Austen Affair Urrbrae House, 13 Mar, $28 The Real Housewives Choir Arkaba Hotel, 4 Mar, $35 España El Vito the Spirit of Spain & Tango - Piano and Guitar Concert Scots Church Adelaide, 13 Mar, $33 The Collectables tribute show to Cat Stevens Boomers On The Beach, 6 Mar, 13 Mar, $20

80 years of Frank - Läther play the music of Frank Zappa Norwood Hotel, 27 Feb, $30 Mike, Dave and Dave do Tarantino Rhino Room, 7 Mar, 14 Mar, $18 Martini Hour The Lion, 27–28 Feb, $42 Musical Moments Morphettville Racecourse, 27 Feb, $30 Turn Up Your Radio - Rock Arena The Alley, 6 Mar, 7 Mar, 13 Mar, 14 Mar, 15 Mar, $39.50 The 60 Four various venues, 29 Feb, 1 Mar, 7 Mar, 8 Mar, 14 Mar, $40–$55.95 Alaska String Band Down under Church of the Trinity, 15 Mar, $30 Weimarian Revolution: Stories from the Shadows of 1920s Berlin Sinclair’s Gully Winery, 13 Mar, $22.50 The Georgia Horgan Show Cafe Outside The Square, 5–6 Mar, $20 Ukulele Death Squad: The Squad Father Regal Theatre, 14 Mar, $25 DISCO INFERNO 70’s & 80’s FANCY DRESS at NORWOOD LIVE Norwood Hotel, 29 Feb, 14 Mar, $23 Acoustic Tull The Duke of Brunswick, 27 Feb, $23

Mugenkyo Taiko Drummers The Garage International @ Adelaide Town Hall, 3–7 Mar, $30–$35 Garrick Ohlsson Adelaide Town Hall [Adelaide Festival], 2 Mar, $40 Mahler / Adès Adelaide Town Hall [Adelaide Festival], 14 Mar, $35 ANDREW LLOYD WEBBER AND OTHER CLASSIC FAVOURITES Sinclair’s Gully Winery, 6–8 Mar, $29.50 FULL TILT JANIS - Janis Joplin Tribute Show Arkaba Hotel, 5 Mar, $23 Evenings at Treasury 1860 Treasury 1860, 27 Feb, 5 Mar, FREE 27 G&Ts @ The Prohibition Prohibition Distillery, 1 Mar, $30 Hidden Secrets (Composer & Citizen: Chamber Landscapes) Ukaria Cultural Centre [Adelaide Festival], 6 Mar, $47 Pianist Tim Barton Red Door Utopia community centre, 13 Mar, $22 Requiem Festival Theatre [Adelaide Festival], 28 Feb, 3 Mar, $60 Footloose and Fancy Goodwood Institute Theatre, 28 Feb, $28 DIVA AT DUSK Sinclair’s Gully Winery, 29 Feb, 14 Mar, $29.50 The Other Side Carclew, 7 Mar, $15

fest-mag.com

From Paris with Love Stirling Fringe, 27 Feb, $30 Sing Australia: Songs of Australia Cleland Wildlife Park, 1 Mar, 6 Mar, $15 HIT ZE ROAD JACQUES The Wheatsheaf Hotel, 7 Mar, $25

Listings

19:40 THE GREAT AMPONG BAND The Garage International @ Pilgrim Uniting Church, 6–7 Mar, $25

19:45 Plant Based Disgrace Brompton Hotel, 11–14 Mar, $33

19:50 The Magnets 90s Rewind Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $30–$45

Music

20:00

Shakerfaker: The Ultimate Oasis Tribute LION ARTS FACTORY, 7 Mar, $25 The Clashing Pumpkins LION ARTS FACTORY, 28 Feb, $27 Along Comes Mary - Let The Sunshine In St Joseph’s Brighton Parish Activity Centre, 28–29 Feb, $32 Just One LookThe songs and sounds of Linda Rondstadt Marion Cultural Centre, 14 Mar, $32.50 A Night in Paris Marion Cultural Centre, 2 Mar, $32 STEREOLAB RCC, 5 Mar, $55 Adelaide Aurals House of Spaghetti, 29 Feb, $22 Sweet Bad Lizzy - The Best of The Sweet-Bad Company Thin Lizzy plus more Brit Rock! Marion Cultural Centre, 7 Mar, $33

The Big 60s Show Arkaba Hotel, 28 Feb, $28 ELTON SHOW - Your Song Regal Theatre, 29 Feb, $40 Alaska String Band Down under HAT’s Courthouse Cultural Centre Auburn, 14 Mar, $30 Aghaani Zamaan (Traditional Arabic Songs) Nexus Arts, 14 Mar, $25 Mi Cuba Stirling Fringe, 28 Feb, $30 UKE SPRINGSTEEN grace emily hotel, 3 Mar, 10 Mar, $15 Far Beyond Nexus Arts, 29 Feb–1 Mar, $25 Radiohead - A Tribute grace emily hotel, 28 Feb, 6 Mar, $25 Sufi Music Highway HAT’s Courthouse Cultural Centre Auburn, 28 Feb, $25 Pianist Tim Barton The Jade, 12 Mar, $22 Welcome to the Nightmare - A tribute to Alice Cooper Marion Cultural Centre, 27 Feb, $35 Tusk!FM a Tribute to the music of Fleetwood Mac The Police Club, 6 Mar, $30 Night Fever - The Ultimate Bee Gees Tribute Arkaba Hotel, 6 Mar, $35

‘The Three Crooners’ a Tribute to THE RAT PACK Marion Cultural Centre, 29 Feb, $30 Satisfaction play the Hits of The Rolling Stones Norwood Hotel, 6 Mar, $30 NOLA Live NOLA Adelaide, 27 Feb, 5 Mar, 12 Mar, FREE The Real Housewives Choir Marion Cultural Centre, 5 Mar, $35 Jukebox Chorus - The Ultimate Australian Playlist Gluttony - Rymill Park, 27 Feb–14 Mar, not 2 Mar, 9 Mar, $35–$49.50 Elton John - He’s Still Standing The Highway, 28–29 Feb, $35 On My Skin Halls of Wesley Uniting Church, Kent Town, 3–5 Mar, $30 Steve Reich Music for 18 Musicians RCC, 13 Mar, $40 1965 Masters Apprentices McCracken Country Club, 14 Mar, $35 Cat, Neil and Captain Fantastic Goodwood Institute Theatre, 27 Feb, 29 Feb, $25–$28 Hot 6 - Hot Jazz from New Orleans The Jade, 8 Mar, $30 Echoes of Pink Floyd Presents: The Very Best of Pink Floyd LION ARTS FACTORY , 29 Feb, $40 Unplugged - The Acoustic Sessions Marion Cultural Centre, 12 Mar, $22

Ashley Hribar plays Dr Caligari: musical rebirth of a silent film legend Mercury Cinema, 27–28 Feb, $30 Graham Howle “Man with a story” HAT’s Courthouse Cultural Centre Auburn, 13 Mar, $28 Singalong to the Songs of Ireland Marion Cultural Centre, 13 Mar, $29 150 Psalms Suffering St Francis Xavier’s Cathedral [Adelaide Festival], 1 Mar, $30 150 Psalms - Path of Life St Francis Xavier’s Cathedral [Adelaide Festival], 2 Mar, $30 NO COUNTRY FOR OLD MEN + TROPICAL F*CK STORM RCC, 28–29 Feb, $45 150 Psalms Celebration of Life Adelaide Town Hall [Adelaide Festival], 3 Mar, $35 BESSIE * BILLIE * DINAH ~ Empress, Lady & Queen of the Blues Treasury 1860, 29 Feb, 14 Mar, $33 The Sound of History: Beethoven, Napoleon and Revolution Adelaide Town Hall [Adelaide Festival], 7 Mar, $35 Aretha - RESPECT The Gov, 12 Mar, $38 The New Pornographers The Workshop, Adelaide Festival Centre [Adelaide Festival], 1 Mar, $59

Tribute to MTV Unplugged with Louise Adams Robe Institute, 28 Feb, $30 Furnapalooza Furnace and the Fundamentals Adelaide Entertainment Centre, 29 Feb, $39.50 Mike, Dave and Dave do Tarantino The Wheatsheaf Hotel, 4 Mar, 11 Mar, $18 An Evening of Tom Waits Songs The Gov, 8 Mar, $45

20:30 FACE TO FACE - The ELTON & BILLY Experience Bridgeway Hotel, 14 Mar, $45 Caledonian Castaways The Wheatsheaf Hotel, 5–6 Mar, $25 90’s to NOW The Crown and Sceptre Hotel, 27–29 Feb, $20 Plant Based Disgrace Hotel Richmond, 7–8 Mar, $33 Chunky Custard’s Countdown V MTV Classics Arkaba Hotel, 7 Mar, $28 The Merindas Tandanya National Aboriginal Cultural Institute, 12 Mar, $25 T.REX vs David Bowie The Jade, 4 Mar, 11 Mar, $20 The Choir of Man Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $35–$58

You’ve Got a Friend - Stories of Carole King’s Tapestry Urrbrae House, 7 Mar, $45 A TRIBUTE TO THE SHADOWS - THE SHADOWCASTERS (Ft: DION ERMEN) The Jade, 3 Mar, 10 Mar, $17 Boogie On Down To SOUL TRAIN Arkaba Hotel, 29 Feb, $40 Kate Tempest LION ARTS FACTORY [Adelaide Festival], 27 Feb, $47 Clare Bowditch The Workshop, Adelaide Festival Centre [Adelaide Festival], 11 Mar, $49 ICOSA Sound Bath Flour Shed, 29 Feb–2 Mar, $33 Kinda Groovy The Jade, 5 Mar, $30 Hitsville USA The Motown Story The Gov, 7 Mar, $40

20:40 The Dolly Parton Story Gluttony - Masonic Lodge, 3–15 Mar, not 9, $30–$45

20:50 Simply The Best: The Music of Tina Turner Gluttony - Rymill Park, 3–15 Mar, not 9, $35–$45 The Aretha Franklin Songbook Gluttony - Rymill Park, 27 Feb–1 Mar, $45

21:00 Never Been To Me Cafe Outside The Square, 6 Mar, 13 Mar, $25

UTOPIA RCC, Various dates from 28 Feb to 14 Mar, $20 Mugenkyo Taiko Drummers The Garage International @ Adelaide Town Hall, Various dates from 27 Feb to 13 Mar, $35 Nirvana: MTV Unplugged in New York Tribute Arkaba Hotel, 14 Mar, $28 The Rock Doctors ‘Prescribing Happiness’ Henley SLSC, 14 Mar, $20 Zooma Zooma Nexus Arts, 3 Mar, 10 Mar, $40 150 Psalms Justice St Peter’s Cathedral [Adelaide Festival], 29 Feb, $30 THE VELVET UNDERGROUND: Live at the Grace Emily Hotel grace emily hotel, 29 Feb, $15 HIT ZE ROAD JACQUES The Wheatsheaf Hotel, 7 Mar, $25 The Monster The Mill, 11–14 Mar, $30 Kevin Morby The Workshop, Adelaide Festival Centre [Adelaide Festival], 4 Mar, $39 Weyes Blood The Workshop, Adelaide Festival Centre [Adelaide Festival], 5 Mar, $49 Vince Jones & The Heavy Hitters The Workshop, Adelaide Festival Centre [Adelaide Festival], 7 Mar, $69

E^ST The Workshop, Adelaide Festival Centre [Adelaide Festival], 8 Mar, $39 Lisa Gerrard & Paul Grabowsky The Workshop, Adelaide Festival Centre [Adelaide Festival], 13 Mar, $69 Come to Brazil Nexus Arts, 27 Feb, 5 Mar, $30

21:30 Tokyo Jet Daze: A Japanese Punk Weekender RCC, 28–29 Feb, $35 Truckload of Sky The Lost Songs of David McComb RCC, 12 Mar, $35 Paris, LA, Rio! Ayers House Events, 28–29 Feb, $28 Indiago Murray Bridge Town Hall, 28 Feb, $15 Ross Wilson Boppin’ With The Boss The Gov, 29 Feb, $55 ONE WILD NIGHT THE AUSTRALIAN BON JOVI TRIBUTE SHOW Arkaba Hotel, 8 Mar, $24 Nineties vs Noughties Murray Bridge Town Hall, 29 Feb, $13 Richard Clapton Live at the Gov The Gov, 28 Feb, $59.95 Carl Christensen Ayers House Events, 27 Feb, FREE Amyl and The Sniffers RCC, 5 Mar, $35

Lydia Lunch Retrovirus RCC, 27 Feb, $45

22:00 The Dolly Parton Story Gluttony - Masonic Lodge, 28–29 Feb, $45 Joep Beving The Workshop, Adelaide Festival Centre [Adelaide Festival], 12 Mar, $49 Didirri The Workshop, Adelaide Festival Centre [Adelaide Festival], 14 Mar, $39

22:10 Up Late with The Boys Club Gluttony - Masonic Lodge, 8 Mar, 13 Mar, 14 Mar, FREE

22:20 Groove Terminator and the Soweto Gospel Choir’s History of House Gluttony - Rymill Park, 29 Feb, 7 Mar, 8 Mar, 14 Mar, $35–$45 HELLO - Erin Jae’s Tribute to ADELE Gluttony - Rymill Park, 13 Mar, $35

22:30 Plant Based Disgrace Hotel Richmond, 6 Mar, $33 Rumours - The Fleetwood Mac Show Gluttony - Rymill Park, 6 Mar, $35 Tiggy Vivacious MADDOLLS VICE BAR, 6–7 Mar, $20

The Parov Stelar Band The Workshop, Adelaide Festival Centre [Adelaide Festival], 28 Feb, $79 Mad Max and The Shaolin Afronauts The Workshop, Adelaide Festival Centre [Adelaide Festival], 29 Feb–1 Mar, $39 Robin Fox The Workshop, Adelaide Festival Centre [Adelaide Festival], 6 Mar, $39

22:45 Hottest 100 Dance Party Gluttony - Rymill Park, Various dates from 28 Feb to 14 Mar, $30

23:00 Hugh Sheridan Unplugged Gluttony - Rymill Park, 28 Feb, 29 Feb, 13 Mar, 14 Mar, $52 FIFA - The Biggest Banger LION ARTS FACTORY, 29 Feb, $20 Massaoke Mixtape Vol. 2 The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $28–$30 Tony Hawk’s Pro Skater - The Biggest Banger LION ARTS FACTORY, 14 Mar, $20

23:30 Science Fiction Double Feature The Rocky Horror Tribute Show Capri Theatre, 13 Mar, $28

fest-mag.com

Midnite Kiss presents ‘Bittersweet Delirium’ Hotel Richmond, 6 Mar, $20 Karen J White: My Tribute to Kirsty MacColl The Garage International @ Adelaide Town Hall, 3–7 Mar, $20–$25 Lenka The Mill, 10 Mar, $33 BLOW Vintage Vulture, 28 Feb, $25 Adam Page - 4 Saxophones and a Beat Machine The Wheatsheaf Hotel, 27–29 Feb, $20 Bono Vs Bolan Clovercrest Hotel, 7 Mar, $25 That 90’s Show Slumber Party! Norwood Hotel, 13 Mar, $25 T.REX vs David Bowie Tonsley Hotel, 29 Feb, $25 EMERALD (The Australian Gary Moore Tribute) plus FREECO (A tribute to Free and Bad Company) Clovercrest Hotel, 6 Mar, $18 Whole Lotta Zepp Adelaide: Led Zeppelin II Tonsley Hotel, 14 Mar, $23 Radio Americana Norwood Hotel, 28 Feb, $23 RCC CULT RCC, Various dates from 28 Feb to 14 Mar, $100 Bon Jovi Forever Port Lincoln Hotel, 8 Mar, $35 The Georgia Horgan Show Cafe Outside The Square, 7 Mar, $20

Listings

Kidnapping:

Blunderland

CASE FILE Destination Maslin ‘Unclad’ Beach Playlist

Don’t Speak - No Doubt

Mr Brightside - The Killers

I’m Not Okay My Chemical Romance California Phantom Planet

P Features

re-10am, we wait for 12 of Blunderland’s circus crew to caffeinate and pile into our hired bus. Streaks of last night’s glitter adorn ringleader Eric Schmalenberger’s face, while Piper arrives with a flawless face behind oversized sunnies. Despite this being our first meeting with most of the Blunderland cast, they welcome us into their world immediately. A couple of singalongs in the car later, and we’re well and truly out of the city and on the stunning coast.

We could not have asked for more perfect beach weather. As we get onto the sand, clothes come off, ciders come out and we set up our beach plot. Over the next few hours, we have photo shoots, talk performance and be ourselves. Ruby Wednesday reads a book hidden under an enormous black hat, and Darlinda wanders further down the coast. After sufficient sunburn, we head to Oscar’s in McLaren Vale for a late lunch before napping all the way home. ✏︎ Laura Desmond

VENUE: TIME:

@blunderlandvariety

TICKETS:

Gluttony - Rymill Park 9:40pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar $15 – $30