Fest Adelaide 2020 Issue 3 by Fest Magazine

Reviews | Full Listings | Venue Map

ENTER ACHILLES DANCING IN THE STREET

Your FREE Festival Guide

10 – 15 March

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Inside: Clare Bowditch Larry Dean Elizabeth Davie AJ Holmes Kafka’s Ape Snap Crackle Pop

Director Editor-in-Chief George Sully Rosamund West Co-editors Artworker Laura Desmond & Ben Venables Phoebe Willison Cover photography Hugo Glendinning

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, Farrin Foster, Miranda Hay, Emma Heidenreich, 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 Styx and Stones

Lloyd Newson on his seminal dance show Enter Achilles

Comedy 26 AJ Holmes A mindblowing performance from The Book of Mormon alumnus

Theatre

The Scottish comedian on connection through comedy

It’s alive!

Cabaret 42 Snap Crackle Pop

Life through a Lens

ROB

R PA

D D OA ROA KR NN MA

E TE E RRA C

RE ET

REE E ST

TYNT

TREE RD S

RN OU

The Foals photography exhibition lets the kids snap ADELAIDE places FESTIVAL VENUES their favourite

A10

EVR LE F

L L ST NNE O'CO

E TE RRA CE

T ES

E RE

R OA

KIN G W I LLIAM

PIRIE STREET 111 75 T FLINDERS STREE

116

CARRINGTON STREET HALIFAX STREET

PULTEN

WRIGHT STREET

WAKEFIELD STREET ANGAS STREE T

GOUGER STREET

5 109

GROTE STREET

RUNDLE STREET

107

GRENFE LL STREET

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

Rundle Mall

Venue Map & Listings RT NO

Scott Theatre – used by RCC and Adelaide Festival

State Library of South Australia – Hetzel Lecture Theatre

S 22 Thebarton Theatre LE ND know where you are? R1 Don’t RU 104 Trust our map to guide you DE 45 QU and ET find a show in our hourTE VI BARTELS by-hour ROAD LLE listings T

HUT T STREET

FRANKLIN STREET

110

EAST TERRACE

FROM E STREET

3 CURRI E STREET

K ING WILLIAM STREET

WEST TE R RACE

119

NORTH TERRAC E 93 50 6 HINDLE Y STREET

Art Gallery of South Australia

E HT

Anne & Gordon Samstag Museum of Art

E AC 18 RR

AD E RO

R I VE

Adelaide Town Hall

IA D

AC Arts

ST R

Adelaide Festival Centre

VI CTOR

IN DE R

Adelaide Botanic Garden

48 M FRO

N TE FIORE R OAD

Plus:

Y R OA D HACK NE

RA CE

ET WAKEFIE LD STRE

Poof Doof take over Adelaide’s nightlife

Circus 44 Blanc de Blanc Encore Champagne, aerials, lingerie!

Kids 46 The Lighthouse Fun with photons

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Larry Dean

33 Frankenstein: How to Make a Monster

Credit: Lara Cappelli

Credit: Lucy Partington

Perfect Day

Mouthpiece

UniBar

Odeon Theatre, Adelaide Festival

Union House, University of Adelaide

11am, 10 & 12 Mar,

3pm

1pm, 14 Mar

Perfect Day

A playwright uses her friendship with a working-class teenager to re-ignite her flagging career.

Student prices with a connoisseurâ&#x20AC;&#x2122;s range of craft beer and 12-inch pizza. If you fancy eating outside ask a bartender for a picnic rug.Â

The Kagools: Cirque du Kagool The Garden of Unearthly Delights 7pm

Nicky Wilkinson and Claire Ford bring a chaotic and child-like energy to their own unique take on circus. It’s comedy that is a little absurd and with a lot of friendship.

GAJA by Sashi

WERK IT

4/86 Pirie St

The Garden of Unearthly Delights

8.30pm

10:15pm

Explore the food that won MasterChef in 2018. A blend of Singaporean, Malaysian and Indian influences based on Sashi Cheliah's upbringing. On 14th March, check out Sandeep Pandit as a guest chef as part of GAJA March – every Saturday night in March.

Your boss might not approve of Circus Trick Tease, with their high-energy parody of working life.

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Perfect Day

Styx and Stones Cover Feature

25 years ago, Lloyd Newson’s seminal dance show Enter Achilles was performed in Australia for the first time. This year, it is brought back to life for a new age

when I was out with my male friends, we were actively doing things – not sitting, talking or anything that constitutes emotional support.” From this arose questions about masculinity and strength. And from his days on the hosiptal bed, n the mid-90s choreographer Lloyd Newson found Newson had the time to ponder the impact on the himself bedridden in hospital with a staph infecmale community. “What is it about men and their tion following a ruptured Achilles tendon. emotional support? Men in Britain are three times During these weeks, he observed a gendered more likely to commit suicide than women, and trend in those coming to give him company. “I noit’s roughly the same difference between men and ticed that my female friends came to visit regularly women who become alcoholics,” he tells us. whereas my male friends didn’t,” he says. “I started These self-lacerating trends are not only true in to think on my social interactions and realised that Britian, but apply to Australia too. Through Enter

Credit: Hugo Glendinning

Achilles, his landmark dance show, Newson seeks to explore the male psyche without comparing it to a female experience, or relying on such a simple binary. “While we accept that historically men have oppressed women, we have not explored how much they oppress other men and themselves,” he says. Enter Achilles is set in a typical British pub with a couple of lads having a night out. This setting is not unfamiliar to our own audiences; nor is the show’s alcohol fuelled fighting. When Newson created Enter Achilles, English soccer clubs had not long completed a five year ban from European cup competitions and tournaments after violent incidents from travelling ‘fans’.

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“There has always been a strong history of British violence at football games,” he says. “The statistics on physical violence – in terms of public violence – reached its peak in 1995, and interestingly they’ve declined since then.” But with our own notorious and barbaric history of late-night king hits, accidental deaths and street violence, Enter Achilles – a quarter-century later – is still a timely work. The piece also explores the class divide. Class has always been more explicit in England than here in Australia. In a land of both working-class lads and upper-class lords, these divides have become even more apparent in the recent Brexit vote: opening up tensions and the usual political map – such as Labour voters in the North of England and London who voted opposite ways when it came to leaving Europe. “There is this great antagonism between classes and this anger in the working class who think the people in the power bubble in London have ignored them economically, socially and politically,” says Newson, “and I think they’re right.” Despite its continuing relevance, Newson has still updated the work to suit the modern world. “When I created Enter Achilles, we could smoke on stage, we didn’t have mobiles, and Brexit hadn’t happened,” he says. “So there were a lot of things that needed to be updated.” Once the work had been updated, Newson needed to find performers who could convey his vision. This was not an easy task. In his own words, Newson’s work “is not obtuse, it’s not about how many pirouettes they can do, it’s about the character.” After years of training in high-end dance schools, learning to move in unusual ways, professionals can sometimes forget the basics of human interaction. As Newson says: “There are a lot of dancers who are very well trained in how to move their body parts but they don’t understand body language, which is so ironic.” He adds: “This natural understanding of body language is the essence of my work.” Focusing on our natural ability to observe body language, Newson uses contemporary dance to communicate with people of all backgrounds: “Because most people consciously – or unconsciously – monitor body language, you can feel if something is wrong by how people move. That’s how I have created the basis of the work. I want it to be understood by both dance aficionados and Joe Bloggs down the street.” This brings clarity to what Enter Achilles communicates: “The intention of my work is not to obfuscate, not to pretend to stay something with this pretentious language, but actually to say something in a language we can all understand,” he says. > continues

Features

Credit: Fiona Cullen Lloyd Newson

Cover Feature

Is Newson attempting to shift the deeply ingrained lad culture with this work? “I hope I can make people aware. I would hope the work makes them ponder.”

“ There is still a very strong code for how men can and can’t behave” It is something Newson has pondered himself, as he mentions a personal experience. “My cousin, who is an electrician, recently helped my parents out and he was horrified when I went for a hug rather than a handshake,” he says.

A reaction that seems ingrained within masculinity. “He expected this distance between us. I’m curious about how that emotional distance has impacted the rest of his life. Don’t get me wrong, he’s a lovely guy, but I think, what is it about men’s inability to connect with emotions other than anger?” There is still much to be said about masculinity and all its forms – whether destructive or constructive. “There is still a very strong code for how men can and can’t behave,” Newson says. “I think masculinity does need re-examination and I hope the piece provokes conversation.” ✏︎ Laura Desmond

VENUE: TIME: TICKETS:

Dunstan Playhouse [Adelaide Festival] 7pm – 8:20pm, 15 Mar $35

Features

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Party in Elder Park Tim Minchin helped Adelaide Festival celebrate a special year – but the free concert in Elder Park recognised the achievements of many

ince its humble beginning in 1960, the Adelaide Festival has achieved recognition as one of the world’s premier arts festivals, placing South Australia on the world map – if not for its contribution to the arts, then certainly for its well-known vehicular status as ‘The Festival State’. To celebrate its 60th year staging some of the world’s best performers, musicians and artists, the Festival put on a free birthday concert on the grass in Elder Park. Many came to see the headliner: the unfalteringly quick-witted musician-comedian Tim Minchin. As soon as he opened with ‘Rock And Roll Nerd’ – and the famous line “But you see the problem is there’s not much depth in what he’s singing, he’s a victim of his upper middle-class upbringing” – the evening belonged to him. Yet there was a special energy in the warm night air, with the sun dipping below the silhouette of Adelaide

Oval, as soon as people plonked down on the lush grass, with chardonnay in hand. A traditional Kaurna smoking ceremony by the dance troupe Yellaka started the evening with a reminder that despite the roaring planes and towering cranes around us, an ancient wisdom and spiritual connection to Country belongs to the First Nations’ Peoples. The celebration also paid tribute to the contributions of the Festival’s founding father – artistic director and Adelaide music professor John Bishop (1903-1964), as well as the many other signatories, artists, collaborators and directors who have contributed their time and passion to creating a festival that makes us proud to call Adelaide home. Names such as Helpmann, Dunstan and even the Queen Mother, come to mind. ✏︎ Emma Heidenreich Adelaide’s 60th Birthday Concert played Elder Park on 29 Feb

Credit: She Is Aphrodite

Features

Crowdsourcing

ctor, author and musician Clare Bowditch wrote her 2019 anthem ‘Woman’ for her girlfriends. “It’s here to speak to the complex experience of big-hearted women,” she says. “Women who want to make a difference in the world but don’t realise that it’s normal, given societal context, to question ourselves. This song exists to inspire them to keep remembering their strength.” Bowditch refers to resilience and strength as key qualities, especially for those starting out. “Regardless of gender there are qualities required to succeed in any arts industry, and in music also. You need to be dedicated to the slow and occasionally quick development of your craft, and you need to be extraordinarily resilient and impassioned and tough. A sense of greater purpose is truly the only thing that has sustained me through the years.” Writing is second nature to Bowditch, but she was once starting out too: “I’ve written daily since I was 13,” she says. “It’s a part of how I make sense of the world. Writing allows me to flesh out bigger ideas in a way that songs alone perhaps don’t, and people who come to my live show will know this well, because we talk together quite a lot.” When asked how she feels now, in comparison to the beginning of her journey, she says it all comes

Clare Bowditch

down to the crowd. “I am more confident now, sure. But when I’m with my audience, I feel strong, and fortunate, and inspired by them.” Invaluable lessons learned over time have not escaped Bowditch, nor has the gratitude for where her path sometimes takes her. “I am 20 years in the trenches now so there have been many highlights,” she says. “But one of my favourites is being invited to play Adelaide Festival. That really is sizing up to become a dream come true.”

“ When I’m with my audience, I feel strong, and fortunate, and inspired by them” - Clare Bowditch If Bowditch is Australia’s shining star, then Didirri is our rising one. Hitting the Australian music scene in 2018 with his debut EP Measurements, Didirri has captured audiences with his earnest vulnerability and youthful wisdom. Didirri also nominates the crowd as the key to > continues his performance.

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Clare Bowditch and Didirri chat to Fest ahead of their Adelaide Festival gigs

Credit: Bex Aston

Features

Didirri

“It’s not about the song that you love,” he says. “It’s about connecting with a crowd and an audience and a band.” He adds: “It’s about feeling like you’re all together in the room, feeling the same thing at the same time. Yes, that comes in the form of a song that you will know but it’s not actually the reason that people keep coming back. Connection is everything.” In only a few years, Didirri has completed two world tours amid other international and Australian showcases. Before all this, he was a street busker, studying jazz music and trying to pay for his degree. “It was there I discovered the joys of folk music and storytelling,” he says. “But I like the cinema of rock ‘n’ roll and the detail of the studio. I guess it’s all kind of come together in the last two years. “It’s strange to say that I was on the street less than three years ago playing music. It just goes to show that given the right opportunities you can go as far as you want to run.” One of Didirri’s best moments on stage was supporting Vance Joy at Rod Laver Arena. This was only two years after he was stood busking out the front of the same venue. “I was kicking myself the entire

time I was on stage. Thinking about the buskers out the front there that might be playing here in two more years.” From his performance at Adelaide Festival we can expect the usual warmth of connection, among a raucous band of fun-loving people. And his advice for emerging musicians? “There is no secret sauce, just keep doing what you’re doing. Some people get lucky but it’s what you do with luck when it’s given that is the most important thing.” ✏︎ Esther Rivers

SHOW: VENUE:

TIME: TICKETS:

SHOW: VENUE:

TIME: TICKETS:

Clare Bowditch The Workshop, Adelaide Festival Centre [Adelaide Festival] 8:30pm – 9:45pm, 11 Mar $49 Didirri The Workshop, Adelaide Festival Centre [Adelaide Festival] 10pm – 11:15pm, 14 Mar, $39

As Happy as Larry

Scottish standup Larry Dean talks about making a connection through comedy

Features

aking relatable comedy in response to terrible things that have happened is like taking the ‘fight’ option in a fight-or-flight scenario. You can hide from the dumb things you’ve done and mistakes you’ve made, or you can confess them all to a room full of strangers around the world. “When an audience hears a self-deprecating joke they don’t want to laugh because they feel bad,” says Larry Dean. “But I think there’s a lot of power in being able to joke about something bad. You’ve taken ownership and made something good out of it.” The Scottish standup has made a name for himself in a short space of time in the UK. Hailing from Glasgow like Billy Connolly, it’s little surprise he knows how to spin a good yarn. And it’s in the Scottish capital Edinburgh where his comic talents have been recognised.

In 2015, Dean was nominated for the Best Newcomer Award at the Edinburgh Fringe for his debut show Out Now! Then, three years later, he was shortlisted for the main award for Bampot. In that time he’s gone from playing a small bunker room to selling out one of the largest spaces when he returned to the same venue last year. Now he arrives at The Garden of Unearthly Delights with his new hour Fudnut, a show produced by the Melbourne International Comedy Festival. It’s a remarkable journey for someone whose first ever standup open spot went so badly he somehow, and inadvertently, ended up telling the audience his sexuality. This was before he’d had that particular chat with his mum and dad. Though Dean finds humour in everything and any passing thought can gain new perspectives

17 Features

through comedy. “The point of standup comedy is you’re owning your own thoughts and making them funny,” he says. “Not everyone gets arrested but everybody will at some point do something stupid.” For Dean, humour is revealing about ourselves and others. Doing ‘something stupid’ connects us, what makes us similar: “Observational comedy doesn’t need to be ‘You know that thing when you’re taking the washing out, what’s that about?’ When you’re listening to a story you can always relate and find something to connect to. Even if it’s not something that’s happened to you.” It’s a throughline which made Bampot so successful, as he told the story of his relationship with his Australian boyfriend. “Straight men don’t know what it’s like to be dumped by your gay lover but they can associate on other levels,” Dean says. There’s a beauty to this connection and relatability. Each audience member can find their own piece of Dean’s story and cling to it, seeing themselves within it.

He often plays with ideas about identity. Because Dean doesn’t fall easily into common stereotypes about his sexuality, he can wrongfoot an audience about their own perceptions. And just as everyone’s wondering if he really prefers being called, in his own words, a “bender” to being called gay, he’ll pull the rug from under everyone’s feet with a superb dinosaur impression. In other words, he isn’t easy to pigeonhole. And this perhaps makes Dean even more relatable. It means everyone takes something from his show, which is an aspect of performance he especially enjoys. “Different people taking different things away from my show is half the fun,” he says. “It’s like when you go to a film with a few mates and one of you takes one thing from it and you take something else. “When people have told me about my show, they mention specific things that they’ve taken away from it. And I usually have no idea that I did that.”

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“ Different people taking different things away from my show is half the fun”

Dean isn’t the kind to hammer home a message or force a connection. Perhaps by talking about, or making, his experiences resonate on a universal level, it allows his audience to join their own dots, to draw their own conclusions. “Usually I find when I’m writing I will find themes running through each show. I’ve had themes of trust, of confidence and acceptance in different shows. I keep them as some context. It doesn’t mean there’s a message necessarily, but there’s usually a theme.” ✏︎ Laura Desmond SHOW: VENUE: TIME: TICKETS:

Larry Dean - Fudnut The Garden of Unearthly Delights 9:30pm, until 15 Mar, not 11 $25 – $34

Focus on:

Apex Predator M

Features

Credit: Nayt Housman

Elizabeth: The inspiration for Apex Predator came from Lucretia: Who are you talking to? E: Fest Magazine. They’re interviewing us and I’m practising. You should try it sometime. L: And you call me the idiot. E: Anyway, Apex Predator is about what it would be like to feel completely safe in a place like a dark alley because you’re the most dangerous thing in that alley. Most women can tell you a story of feeling unsafe in public spaces, on dark streets, even during the day. And I wondered what it would be like to never have to feel that way. L: It’s me! I’m the Apex Predator. We named the show after me! E: Yes, it’s very much a black comedy, a ludicrous exploration of the fantasy of being completely safe in a dark alley. Lucretia is the self-styled ‘Apex Predator’, who turns the tables on sexual predators. L: Predators! Where?! E: When I went to clown school the whole process was brand new to me. Clowns are essentially idiots, that’s what makes them funny, and your clown is a comic persona that’s totally unique to you, born out of your experiences. I wasn’t expecting mine to be a charming psychopath who dispatches predators, but here she is. L: I was a big surprise! E: My teacher’s technique was to find the story your body wants to tell. I went to clown school after escaping an abusive relationship, and I think Lucretia is my bodily response to that, part of how I processed a traumatic experience. She’s my anger manifested. L: But I’m not angry, I’m having a great time! Elizabeth thinks too much. You know the expression ‘the

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elbourne comedian Elizabeth Davie ‘met’ her alter-ego Lucretia at clown school. Now, even during an interview, she can’t get rid of her – so we let them ask themselves some searching questions

cart before the horse’? With Elizabeth, the cart is five miles down the road and the horse is dead. E: That’s true, I wanted to make this show because I’m tired of being afraid, but Lucretia wanted to make it because it’s fun and she’s a clown. Because it has these two sides, people respond to it in different ways. Three different reviews have described it as “not everyone’s cup of tea”, I think that’s unanimous. L: (cackles) I’m definitely not for everyone.

VENUE: TIME: TICKETS:

Gluttony - Masonic Lodge 9:10pm, 3–15 Mar, not 9 $20 – $26

What I Wish I Knew Before The Fringe Comedian Evan Desmarais tells us everything he’s learned during festival season It’s not all a party

IT’S ALL A PARTY! But that doesn’t mean it has to be for you. The fear is real – you may stay in one night and miss the evening where everyone did mushrooms with Daniel Radcliffe, before Harry Potter gave everyone their own wands. Magically, because of that night, everyone’s show sold out for the rest of the run. But that won’t happen. (It could, be afraid!) You’ll make the memories you need to – but you also have to look out for yourself. Have a balance of going out on those crazy nights, and being healthy and sober for your shows.

Stay close

I am in the firm belief of living close. Stay near the Fringe. Live in it. Why would you take a 16 hour flight to be an hour bus ride from your venue? This way you’re close to everything. Woke up too late to flyer for your show? Good thing you’re a hop, skip and a jump from being at work. Staying out late? Well, the money you save on those cabs makes up for the difference in rent you’ll pay!

Don’t waste your days

Sure, sleeping in all day will help a hangover. But you know what else is revitalising? Going to the zoo. You want to have a great day – feed a fucking lemur! Throw some watermelon to a hippo. That will make your week!

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Don’t get lost at camp

This will soon be your favourite time of year. You will make lifetime friendships. But you must realise, it’s a sleepover camp. Of the best kind, BUT YOU STILL HAVE A LIFE. Don’t get caught up in this month and forget that you unfortunately have to live the other 11 months of the year. Make sure you’re keeping up with life admin to have those months working for you. It’s easy to get caught up and make Adelaide your world.

Go see other people's shows

You’re not the only one with a show. All the people you’re friends with have amazing shows! Go watch, go support. Learn from the best, learn from the worst. Don’t judge anything before you’ve seen it. See as much as you can.

Work smart

Party, network, dance, flyer, drink, email. BALANCE BALANCE BALANCE. This life can be so addictive, but you need to teach yourself that this is a job and to not get caught up with the fun parts of it. Circus performers are some of the most fun people in the world but BE CAREFUL! It’s a job! Make sure you get your stuff done before you let loose. No-one can flyer better than you, but always have help. You’re the best person to sell your show. Make sure to be out every day interacting and flyering. But also, that’s the most draining part of the Fringe – selling your soul. So do it, but also find someone else to help. They will pay for themselves in ticket sales – and having that extra person takes away some of the stress that’s on you.

VENUE: TIME: TICKETS:

Gluttony - Rymill Park 10:00pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar $17 – $23

Features

Sibling Rivalry

he SEVEN SIBLINGS FROM THE FUTURE exhibit is looking to the year 2050. Siblings Ava, Julia, Kai, Luca, Alex, Mia, and Rowan are debating what should happen to their great-grandmother’s Eucalara property. You’ll meet each sibling in turn, learning about their lives: the genetically engineered ‘Austronaut’; the anarchist doomsday prepper; the romantic climate activist; the visionary entrepreneur; the burdened nurse; the displaced urbanite; and the freelance biohacker. Travelling through each exhibit with the Seven Siblings app (or a pen-and-paper ‘Visitor Passport’) you’ll help the siblings to make good choices, solve problems, plan for the future, and even find love. At the end, you’ll be matched with your ‘Soul Sibling’ – the sibling whose core values best match the decisions you’ve made along the way. App integration has always been a strong suit of MOD’s exhibits, but SEVEN SIBLINGS FROM THE FUTURE takes it to a new level, integrating nine displays into a single simple concept piece that hides its own technical brilliance.

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Justin McArthur previews the futuristic thought experiment happening at the UniSA’s Museum of Discovery It has the air of an online personality quiz over that of a stuffy lecture hall; a low stakes pub chat instead of a workplace integrity exercise. The questions to be had over each character continue the exhibit long after you’ve passed through the exit doors: Is Julia’s paranoia about valuing ‘safety’ or ‘preparedness’? Does Rowan value ‘freedom’ or just technical solutions over political and regulatory ones? Though there is moral depth to be found in the exhibit’s discussion of 2050 (it is, after all, only 30 years away), SEVEN SIBLINGS FROM THE FUTURE never lingers on ill portents. Rather than attempting to grip us with existential despair, it dares to be interested with low stakes. It presents a playful challenge that keeps the experience light, breezy and inviting.

TIME:

MOD. at UniSA 10am, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar

TICKETS:

FREE

VENUE:

Above;

Linear Park by Alex, 10 years Alex likes: “slides that go all the way to the Torrens.” Top Right;

Deep Creek by Ava, 7 years Ava likes: “Campfires and roasting marshmallows – and night walks with a head torch.” Middle Right;

West Beach Lizard by Katy, 12 years Katy likes: “...beaches and nature.” Bottom Right;

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Murray Bridge by Eli, 10 years and Levi, 5 years Eli and Levi like: “...the Bunyip, it’s cool because it goes roar.”

Life Through U a Lens The Foals exhibition puts children behind the camera

nless you had an early interest in photography, there are more photos of you as a child than there are photos you took. The school photos and baby snaps mum and dad like to embarrass you with are more for their memory than yours. Foals is a photography exhibition that faces another direction. It gives the camera to children and helps us see the world through their lens. The exhibition’s curator, Sofie Kim, grew up in South Australia. She says: “There’s so many things I love about SA – the food, the wine, the Central

Features

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Above;

The Botanical Gardens by Charlie, 16 years Charlie likes: “...the Botanical Gardens.” Top Right;

Yorke Peninsula by Ryan, 16 years Ryan likes: “... surfing, beaches, camping.” Middle Right;

Remarkable Rocks by Sarita, 17 years Sarita likes Whyalla: “Because it’s home.” Bottom Right;

Glenelg Beach by Tina, 15 years Tina likes: “...beach hangs and summer holidays.”

Markets and, of course, all the festivals. But the future is in the hands of our kids, and I wanted them to tell you what they loved about living and growing up here, in photographic form.” Each photo, a selection of which we showcase here, features a favoured location. And – in their own words – what each child and teenager likes best about South Australia. As Kim puts it: “Children are curious, creative and observant. While we may see beauty in the big things, children are often looking at the tiny details we often overlook in our busy lives.

We look at the trees and flowers whilst they look at the fallen leaves, stem or roots. From their lower level, the world above is an enormous place, looming larger than life.”

TIME:

The Garden of Unearthly Delights times vary, 13 Feb – 15 Mar, not 17 Feb

TICKETS:

FREE

VENUE:

Credit: GiuliaMcGauran

ADVERTISING FEATURE

U’Ball 2020 The new owners at Uni Bar are bringing some big local names for the first ever U’Ball Cry Club

’Ball boasts huge names, great beer, food trucks and DJ sets late into the night. The celebration on 21 March is a nod to O’Balls of years past and Indyfest of the late 90s. A place to enjoy the sunshine, meet your new classmates and listen to some great Aussie music. UniBar’s Kim Littler is proud of the line-up. “We’re driven a little bit by nostalgia, but also by the amazing musicians there are at the moment and being able to showcase that in a safe environment with a no dickhead policy,” she says. “The idea is that we want to make an accessible, safe space for everyone which is why we’ve chosen the bands that we’ve chosen. We’ve chosen some queer-heavy bands who are really cool.” Headlining the party is ARIA award-winning Montaigne – Australia’s next Eurovision hopeful. Hailing from Sydney, Montaigne will be representing Aus in the Netherlands after beating out other icons such as Casey Donovan and Vanessa Amorosi. “Montaigne has the appeal of everyone,” says Littler, “so people are getting really excited and now that she’s been announced for Eurovision there’s been some extra interest.” The Vanns will be bringing their high energy indie rock to the table. “People are just starting to get really excited about The Vanns which is really cool. It’s nice timing,” says Littler. Solo force Elsy Wameyo will be taking to the stage with her award-winning hip hop. Wameyo migrated to Adelaide from Kenya at age seven, and

her vibe is strongly influenced by her church singing as a child. Hey Harriet and Oscar the Wild round off the Adelaide bands, with some of the best guitar work currently floating around the Exeter, Lion Arts Factory and the Grace Emily band rooms. “Some of the acts are Adelaide Uni students and former students and it’s pretty female heavy which is great,” says Littler. “We’re supporting our little family with a big focus on young performers. Younger kids like to see themselves replicated up on stage.” U’Ball is a nice welcome for the new ground floor space, as much as there are some people in the community who still hold the upper level hovel dear to their hearts. “If I had a dollar everytime someone said ‘It was better upstairs with the carpet’ I’d have heaps of money,” says Littler. “I think there’s a lot of nostalgia around the old venue but having worked at the old venue and nearly killing myself on those dodgy schnitzels in the fryers I’m not really sure why. “It’s cool to re-energize this part of the campus and also remind people that live music is a really fun time – you can get out and interact with people and have a good time. We’re not just going to do a oneoff, it’s something that we want to get into people’s minds and in the calendar. U’Ball will be a nice bookend to the festival season.” VENUE: TIME: TICKETS:

Adelaide University’s UniBar 4pm - 12am, 21 Mar $25 – $50

Credit: Dylan Woodley

Comedy Reviews

AJ Holmes: Yeah, But Not Right Now HHHHH VENUE: TIME:

Gluttony - Rymill Park times vary, 14 Feb – 15 Mar,

Comedy

not 17, 24 Feb, 2, 9 Mar

TICKETS:

$25 – $30

In Yeah, But Not Right Now – a musical about one man’s abortive journey towards emotional maturity

– AJ Holmes takes us through his career from high school aspirations, to the struggles of early fame and the regrets of a once-pathological fuckboi, before rounding things off with a number about morning defecation. In the mid-sized tent, Holmes wows the audience with his Broadway-calibre ditties and West End showmanship. It’s truly impressive to witness such an entertainer at the top of his form. His comedic and musical timing is impeccable, his lyrics are highly

original and thoroughly hilarious. Beyond the catchy tunes, Holmes is also an excellent storyteller. He crafts a mood and sets a scene with just a few notes and a handful of words. There’s a honesty and openness to this show that resonates. And he carries a rollicking energy through his performance that doesn’t abate until the final applause. ✏︎ Justin Boden

Nurse Georgie Carroll: Off The Charts HHHHH VENUE:

TIME: TICKETS:

The Garden of Unearthly Delights 8:15pm, until 15 Mar, not 9 Mar $25 – $35

This is Georgie Carroll’s sixth standup show to date. She’s been touring Australia since 2012 and in that time racked up awards, TV appearances and more besides, cultivating a name on the circuit

– and with good reason. But this growing fame has not compromised her charm, or inflated her sense of self. Hailing from Manchester, Carroll has the affable, approachable charm of many a Northern English comic. But having taken to the mic late in life, after two decades as a nurse in intensive care, Carroll also bears the unshakeable, seen-it-all gallows humour that is so common in hospital workers. Her past career proves an inevitably rich seam to mine; her ability to recount stories in such a funny, disarming way is comparable to that of club comics 20 years in the game.

Off The Charts is also a commendable attempt to play to both practitioners and punters, tailoring her material to the specific departments and wards identified in the crowd, while also providing effortless context for the rest of us. The show’s peaks aren’t as high as those of more experienced comedians, but the hour carries an impressively consistent gag rate and flies by. And when Carroll chuckles at her own anecdotes as she tells them – usually with a mischievous glint in her eye – she shrinks the room down to a pub back room, like you’re watching a mate regale with tales from the ward. ✏︎ George Sully

Quirk is a skilled storyteller and commands the stage with swagger. Despite his recent absence from standup he remains comfortable in front of an audience. This proves essential on a night with myriad distractions and interruptions from an odd crowd.

Astonishing Obscurity is in its infancy and Quirk is open about trying new material, yet he never takes the audience for granted. There are clearly the bones of an excellent show here, and with comic storytelling like this it’s a pleasure to see Quirk back on stage. ✏︎ Kylie Maslen

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David Quirk – Astonishing Obscurity HHHHH VENUE:

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Three years after his last standup run, David Quirk is back with Astonishing Obscurity: a tale of obsession, jealousy, family and lip-sync battles. After coming across an article that refers to his brother’s high draft pick but non-starting career in professional Aussie Rules football, Quirk seeks to track down the man who smeared his elder sibling’s name. But what begins as a seemingly petty quest becomes an exploration of our motivations and communities: what separates the sportsperson from the artist? Why are we so obsessed with success? Why do arseholes often turn out to be annoyingly human?

Reviews

Larry Dean – Fudnut HHHHH VENUE:

TIME: TICKETS:

The Garden of Unearthly Delights 9:30pm, 2–15 Mar, not 11 $25 – $34

On paper, Fudnut is a very conventional piece of standup. There’s observational material, confessional storytelling, accent work, a light smattering of crowd interaction and a callback or two. But all this would be to downplay Larry Dean’s craft as a performer;

this is a tremendous new hour from the Scottish comedian. The key is his masterful command of the room. It’s certainly not his first time behind the mic, and tonight the audience is in the palm of his hand. He’s disarming, self-deprecating without being self-flagellating, and confrontingly honest without being puerile. The tropes listed above – as typical as they might be – are deployed so seamlessly it’s like sleight of hand. Dean’s been through some stuff. As he explains in his introduction, comedy has been his way of dealing with difficult things in his life. The focus tonight is on his relationship

woes, particularly around a recent Australian ex-boyfriend. But he navigates his material without the feeling that he’s exploiting trauma for laughs, or any sense of artificiality – and yet there’s clearly a well crafted structure keeping it all ticking along. Plus his accent mimicry is a hoot, somehow turning the tired format of “to sound like X, all you need to do is Y” into fresh laughs. These are welcome components in an already rich show. It’s the kind of magnetic set that might restore your faith in the art form; Adelaide is lucky to have him back. ✏︎ George Sully

Marr is always engaging and can bring colour and movement aplenty to a traditional standup setting. There are a few repetitions and jokes that don’t quite land, but this

seems built into the tension – or is it a joke itself? It’s this feeling that keeps fans – rightly – on the edge of their seats. ✏︎ Kylie Maslen

Reviews

ZOË COOMBS MARR – AGONY! MISERY! VENUE:

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Zoë Coombs Marr has form working with the surreal. Her best known character, Dave, took apart gendered stereotypes in comedy from the inside, and last year’s show – Bossy Bottom – was a meta exploration of the genre itself. In AGONY! MISERY! Coombs Marr has built a show around self-referential narratives, which is focusing on outsiders and the stories they have to tell. Or, to put it another way, it’s a show made for and about dorks. Those familiar with Coombs Marr’s previous work will be eagerly anticipating this new hour and won’t be disappointed. To sit in the crowd and try to pick out those who can’t understand what the hell is going on, or those who are having the time of their lives, becomes part of the performance. Coombs

FRIEND (The One With Gunther) HHHHH VENUE:

TIME: TICKETS:

The Garden of Unearthly Delights times vary, until 15 Mar $26 – $33

There are few television shows as iconic as Friends. 236 episodes over 10 seasons, the sitcom defined a generation. And now the millennials who grew up with it in the 90s are looking to reminisce, while Gen Z regard it with a curious fascination: that kooky, problematic old TV

show on Netflix. The pitch for this Fringe hour is at least quite interesting. In simplest terms – for the uninitiated – this one-man show is an attempt to tell the Friends saga from the perspective of a long-running background character. As the manager of Central Perk, the cafe meeting spot of the core six characters, Gunther’s been there through it all – nursing an obsession with Jennifer Aniston’s Rachel in the process. But the actual execution betrays the show’s premise. Brendan Murphy – an indefatigable comedian and improviser – portrays Gunther with uncharacteristically manic energy, a country mile from the

downbeat, monotone buzzkill from the TV show. And for something ostensibly about his perspective, the lion’s share of the show is simply reliving the program’s highlights and wallowing in catchphrases and callbacks. To its credit, FRIEND (The One With Gunther) does these things well, and is smart and self-aware about the sitcom’s weaknesses as well as its strengths. Murphy’s energy is infectious, with solid crowd work and an admirable commitment to his low-budget props. Fans of Friends (who else would go to this?) will get something out of it; just don’t expect an in-depth, groundbreaking expedition into Gunther’s interior life. ✏︎ George Sully

herself as not just a fuckwit with a giant boob named Clarence, but as warm, delightful and with an eye for connecting points in all of us. While the improvisational nature of the show allows Tisdell moments of vulnerable hilarity, not everything quite lands and some observations begin to strain. Tisdell’s curious and empathetic nature make her good at crowd work, but relying on this for the substance of the show requires

a willing audience, which can’t always be guaranteed. But, when Tisdell shines, the whole room glows and it’s hard not to leave feeling uplifted. Ultimately, this is a show that is as unpredictably funny as it is heart-warming and as Tisdell continues to test it out, its run can only shine brighter – even if Beryls can’t always be guaranteed. ✏︎ Lauren Butterworth

Steph Tisdell “Baby Beryl” HHHHH VENUE:

Comedy

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The Garden of Unearthly Delights, run ended

After learning the last Beryl was christened in 2004, Steph Tisdell became obsessed with tracking Beryls down. However, just days before the opening night of her show, Tisdell discovered something terrible and had a realisation that caused her to throw her original script away: we are all just extras in each other’s lives, characters we create that have the potential to become stories of their own. So instead, Tisdell’s show became about exploring the ordinary all around us and in an effort to break this down, she invites an audience member to the stage to be interviewed. In an uncanny turn of events, a real-life Beryl happened to be in our audience, an 85-year-old grandmother from Cheshire. In their conversation Tisdell reveals

Nina Oyama Is ‘Doing Me’ Right Now HHHHH VENUE:

TIME

The Garden of Unearthly Delights run ended

online experiences. Some are relatable, some play herself as the fool, but some regrettably punch down. While some sections of the show work, Oyama often repeats jokes, jumbles her lines or needs to start again. This is understandable during an early preview performance – and she isn’t helped tonight by the hecklers – but on the second weekend it’s disappointing not to see Oyama perform to her full potential. ✏︎ Kylie Maslen

Angelosanto emits something of a Wes Anderson air and his opening tale of the couple’s morning routine (cereal and milk for him, none for her) promises a quirky and charming show. As the narrative of their misadventures emerges, including a cancelled visa, an attempt at overnight fame with a naughty tape, and a great escape, things become increasingly bizarre. Angelosanto’s eye for the absurd and awkward

physicality carry the show, but unfortunately – despite his Gaulier School training – there is a sense of under-utilised potential in scenes which demand more nuanced physical comedy. There’s a lot of comedic possibility lost during a Zumba routine which becomes strained, as too does a mimed scene involving an encounter with the police. Yet, it isn’t hard to see that in time this lovely work of nonsense could really soar. ✏︎ Lauren Butterworth

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Some nights just don’t go your way. Prominent heckling from audience members derail tonight’s show on several occasions, leaving us with

a comedian who ‘is like a teacher who has lost control of the classroom’. This is how Nina Oyama describes the start of her own show. Despite her best laid plans, it continues to unravel from there. Oyama is best known from roles in sketch comedy shows such as Kinne Tonight and Tonightly with Tom Ballard. She also belongs to the niche world of “cum Twitter” due to a joke she posted going viral. In Nina Oyama is ‘Doing Me’ Right Now she is building an hour of standup around many of her

Reviews

Lucy & Me HHHHH VENUE: TIME:

The Breakout at The Mill run ended

Lucy & Me is a strange love story between a boy – German narrator Sphenn (Nicolas Angelosanto) – and his 1973 red Shwinnster, Lucy. With a whimsical coif and pencil-thin moustache,

Reviews fest-mag.com

Credit: Joyce Nicholls

Theatre Reviews

Frankenstein: How to Make a Monster HHHHH VENUE: TIME: TICKETS:

RCC 6:30pm, 15 Feb – 15 Mar $25 – $35

There might be a handful of red flags if you spot this show in the program. The 80 minute runtime, for one; young folks doing beatboxing, for another. But check your preconceptions at the door. This is a remarkable, once-in-a-Fringe kind of production. The talk of the town at last year’s

Edinburgh Fringe, Frankenstein: How to Make a Monster is a gig-theatre retelling of Mary Shelley’s iconic horror novel. The kicker is that it’s performed by members of the BAC Beatbox Academy – a London-based collective that works with kids from all walks of life and trains them up in vocal wizardry. That is to say, singing, rapping, spoken word, and – of course – beatboxing, that beguiling and sometimes uncanny trick of imitating drum sounds. All of these vocal skills are utilised – and only vocals, it’s important to stress, no matter what sounds you think you’re hearing – to unpack, dice up, reinterpret and redefine the Frankenstein myth. It’s

given a shake-up for the modern age, exploring how society creates monsters and the pain of systemic othering. What makes the show so compelling, beyond the incomprehensible talent of the six on stage, is the genuine energy and passion that beams out of this young, diverse cast. The a cappella virtuosity, original songs and captivating lighting would be enough to make this a winner. Add in their commitment to community outreach (for Adelaide, they’ve worked with Carclew to run beatbox sessions for local youth) and you have a show that doesn’t compromise its social message for the sake of entertainment. ✏︎ George Sully

Kafka’s Ape HHHHH VENUE: TIME:

Holden Street Theatres times vary, 5 Feb – 15 Mar, not 2, 9 Mar

TICKETS:

$20 – $25

A hunched ex-ape gives his report of his transformation to a man. Agile yet rotund, Tony Bonani Miyambo is captivating as Red Peter. With a minimal set, he transforms from a sauntering ape – out of place with his cane and briefcase – into a socially-acceptable ‘ex-ape’. Red Peter isn’t a man, but he is moving in man’s space. With few props and tight lighting, Miyambo acts out his story of being hunted, shipped and trained with claustrophobic emotion. Strained by language and frustration, Red Peter describes his gunshot wound, his cell, his trainer. What is so utterly devastating about Red Peter’s story is that it is one of so many people of Africa.

The Doctor HHHHH VENUE:

Theatre

TIME

Dunstan Playhouse [Adelaide Festival] run ended

Do you let her die in her ignorant delirium? Or do you snatch her out, cause panic, and relieve her of her mortal sins? Juliet Stevenson is Ruth Wolff – the professor in charge of making that very decision. Stevenson is sure, fierce and ethical in her posi-

The dehumanisation of Red Peter is thinly veiled and is not a far cry from the social dehumanisation seen in Apartheid-era South Africa.

Watching Red Peter recall unlearning his ape-ness and culture is heartbreaking – to change all but his fur to fit into a world which doesn’t want him. ✏︎ Laura Desmond

tion – but what follows is an unravelling tapestry of complexities. The first act follows the facility’s team discussing how to cope with the public backlash and divisions between the small team are clear. Things are not as they seem, however – the casting is such that you cannot know the sex nor race of a character by their actor. As female actors are ‘outed’ as male doctors, the issue of bias is pushed to the forefront. Was that character being treated differently for being a man? A woman? The second act is a powerfully uncomfortable conversation of

systemic issues and privilege. Wolff is attacked from all angles – race, bias, power, religion, choice – and cracks begin to show. As the multitude of relevant issues rise against Wolff, perspective shifts. Right and wrong are blurred by the lens through which you choose to view Wolff’s choice. Bodily autonomy, religious freedom, racial labels, oppression, privilege – these issues are increasingly relevant in today’s world and The Doctor poses bold questions. ✏︎ Laura Desmond

COMA HHHHH VENUE:

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The Garden of Unearthly Delights times vary, 14 Feb – 15 Mar $25

Darkfield have developed a number of immersive theatrical experiences in shipping containers, and COMA is the most enjoyable so far. Where Seance tried to trick audiences and Flight relied on confusion, COMA works with the power of suggestion. As a result, it’s the most effective of the trio.

Craigslist Allstars HHHHH VENUE:

Theatre

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Main Theatre, AC Arts [Adelaide Festival] run ended

At the age of 24, Samira Elagoz put a simple ad on Craigslist. As a filmmaker, she was seeking males who would accept her and her camera into their homes to record their first meeting.

The shipping container is lined with rows of bunks, each with a set of headphones on the pillow. This ‘seating’ format intentionally isolates every member of the audience, dispatching each individual to a solipsistic void once the lights go down. Alone and entirely free of distractions, we have no choice but to invest in the performance. Binaural technology allows for an aural experience much richer than stereo, and sounds seem to come from every direction. As some senses are stimulated and others deprived, those things that the audience can perceive are magnified. A disembodied voice invites

us to relax. Next, it asks us to trust it. This stranger simultaneously soothes and questions the nature of this new reality, lulling us into a dreamlike state. And because we’re asked, rather than forced, to embark on this journey, it’s easy to follow the hypnotic voice to another realm. Time stops in a vacuum, and stretches out disconcertingly when you’re completely dark and alone. Though this performance lasts just twenty minutes, it feels like it’s far longer and COMA’s ability to take audiences on a journey without the use of their eyes is quite an achievement. ✏︎ Alexis Buxton-Collins

Elagoz filmed across three cities over a number of years and her resulting work, Craigslist Allstars, is a film which blurs lines between documentary and softcore pornography. Interestingly, although not mentioned at all in the original advertisment, almost every participant uses his time to discuss sex. Fetishes such as sadism, exhibitionism and shibari (Japanese rope binding) are discussed and played out in front of Elagoz. A number of the men have sexual relations with Elagoz, which is shown graphically. This is an

important element to the work. The genuine interactions between people show how intimacy can be forged between two willing participants quickly. Regardless of any sexual act, Elagoz is sharing intimate moments with each of the men she meets on camera. Craigslist Allstars seems to add evidence to the stereotype of men never being able to think of anything but sex, but it also showcases female sexuality and choice in an honest and sex-positive way. ✏︎ Laura Desmond

Cassie and the Lights HHHHH VENUE: TIME: TICKETS:

RCC 6pm, 14 Feb – 15 Mar $20 – $26

Cassie is 17. Her two younger siblings are still in primary school. After leaving one night to buy them slushies, their mother fails to return home. It’s left to Cassie to try and pull together the remnants of a family. From Patch of Blue Theatre comes this playful and inspiring

story that idles between the realms of childish games and adult responsibilities. Is Cassie capable of caring for her siblings? Would they be better off in foster care? How does the justice system fail children? The script is based on real-life events and interviews with children in care. This is brought to life by the unique and captivating performances by Alex Brain (Cassie), Michaela Murphy (Tin) and Emily McGlynn (Kit). All three characters are well-imagined and have endearing, comedic, and distinct idiosyncrasies and mannerisms. Brain wavers a little in portraying the full complexities and anguish

her character is facing. In general though, the cast is mesmerising. The biggest drawback is the plot’s failure to put enough at stake for the audience to become fully invested. The two possible outcomes are almost equally weighted as both situations have their pros and cons. There’s a lack of tension because of this indifference. However, the creative live music and projections really bring the piece together and the cast more than captures the vulnerability and strength of children placed into the foster care system. ✏︎ Edwina Sleigh

but he isn’t given as much to work with. The clear standout is Wong, who brings Jamie to brilliant life through unique and unconventional acting choices. Guy Henderson’s original script is warm, light, and grounded in its depiction of lesbian, bi, gender

non-conforming and straight folk. Peppered with contemporary references and vagina-based puns, it’s more sweet and amusing than sharp or incisive. Yet this is an entertaining show worth the price of admission. ✏︎ Justin Boden

Reviews

Queer House Rules! VENUE: TIME:

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Four housemates discover they have a surprise inspection, with only a few hours to prepare. Emily (Flinty McBain) hasn’t tidied up the shared areas like she promised she would. Her best-friend, Daisy (Lillian Cheyne), is exhausted from working back-to-back hospitality shifts. Loveable goof Brad (Aidan Moller) hasn’t done the shopping like he was supposed to. While Jamie (Jess Wong) is left to play the role of house mediator. In the rush to clean all the things, simmering tensions rise to the fore. The performances in this four-hander are all very enjoyable but slightly unpolished. McBain and Cheyne offer grounded portrayals, but can be so soft-spoken that it’s a struggle to clearly discern their dialogue at times. Moller is more at ease on stage,

NO COUNTRY FOR OLD MEN + TROPICAL F*CKSTORM HHHHH HHHH VENUE:

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Joel and Ethan Coen’s taut, sparse cat-and-mouse thriller No Country for Old Men is, in some respects, an odd choice of film to get the live score treatment. Pockets of dense dialogue decorate an otherwise quiet, spacious story, as Javier Bardem’s chilling

psychopath Anton Chigurh silently pursues Josh Brolin’s moody Llewelyn Moss across the deserts of 1980s Texas. While the film was rightly praised upon its 2007 release, many critics specifically lauded its lack of noticeable score. For Melbourne art-psych prog quartet Tropical Fuck Storm to be enlisted as live accompaniment by seasoned film/band matchmakers Hear My Eyes, the exercise is one of restraint. Judicious use of ambient guitar, bass and electronics, with even more sparing percussion, ensure the band enhances – rather than competes with – the film’s neo-Western aesthetic. In fact, one criticism – if it can be called one – is that the sound pairings are so perfectly executed

you frequently forget the band is even there. But Gareth Liddiard and his bandmates do not disappear into the background. Coiled like rattlesnakes beneath the screen, they react with exquisite timing to key climaxes, channelling the tense tempo inherent to the Coen brothers’ masterpiece. They add renewed personality to hallmark scenes, often evoking Dave Porter’s atmospheric work on Breaking Bad and its arid New Mexico landscapes. At one point they even sample a gunshot sound, incorporating it into the music, ratcheting up the tension to heights that Carter Burwell’s original minimalist score could never reach. ✏ George Sully

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Credit: Kjetil Almenning

David, King of Israel, perhaps one of history’s greatest poets, wrote his Psalms from the heart: to express the joy, grief and complexity of life. Many others have since found solace in these texts. Over four nights, 12 individual performances by some of the best choirs in the world – The Tallis Scholars, The Netherlands Chamber Choir, The Song Company and The Norwegian Soloists’ Choir – sing all 150 Psalms by 150 composers in four different locations; three religious, one secular. The compositions in 150 Psalms range from responsorial Gregorian and Taizé chants to the complex canon perpetuus of Monteverdi, Brahms and Bach. Some were com-

The Norwegian Soloists' Choir

posed as early as the 10th century in Latin, German, French and English. Others come from the postWorld War era, such as Kodály’s Psalm 50 – an act of resistance against Soviet occupation. The depth, purity and focus of each choir can be attributed to their skill, but also to the century’s old choral tradition. Delicate refrains balance with rich crescendos and key voices. Such as the Netherland’s Chamber Choir soprano Mónica Monteiro’s solo of Huygen’s Psalm 35; Gilad Nezer’s bone-rattling bass in Becker’s Psalm 53, and the rhythmic, folklike joviality of Gretchaninov or Hammerschmidt. As with some of the most skilled choirs, the sound of these singers often seems to replicate that of one giant musical instrument. Yet no individual voice is lost, nor the original composer’s intent. Each performance is grouped into a separate theme of scripture.

These range from justice to trust, leadership to power, and to oppression. Keynote speakers introduce these themes – including Prof. Danielle Cellermajer, Order of Australia recipient, Tim Costello and Walkley award-winning journalist Kerry O’Brien. Each has an unabashed response to topics like income inequality, climate change and the refugee crisis. The Psalms’ capaciousness is exactly what makes them so perfect for such a plaintive task, challenging the automaticity by which we live our lives. We may take a verse, unravel it and ask ourselves: What do these themes mean for us here and now in Australia? ✏ Emma Heidenreich This review is based on the performances of Justice (The Song Company), Suffering (Netherlands Chamber Choir) and Celebration of Life (Netherlands Chamber Choir; The Tallis Scholars; The Norweigian Soloists’ Choir; The Song Company) which ran from 29 Feb–1 Mar

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150 Psalms

Reviews

Requiem HHHHH VENUE:

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Festival Theatre [Adelaide Festival] run ended

At the age of 35, Wolfgang Amadeus Mozart died. His seminal work Requiem in D Minor – a repose for dead souls – was, ironically, not finished. Romeo Castellucci recreates Requiem with heady sym-

bolism – a funeral song for life as we know it. He seems to ask the questions: Why do human beings conduct omnicide? Does a God of love and mercy, hear our cry for forgiveness? Using trickery with the lights and surrealism, Castellucci transforms the space into a sepulchre of sorts – scenes of death are played out, from car accidents to genocide and, in each, the fragility of the human condition and the innocence of the young are central.

There is so much to this piece, it is impossible to unpack in a short time. At some points, the space is overcrowded with meaning – there are scriptures rolling overhead, an Atlas of Extinctions on the backdrop and several separate actions onstage. Requiem is technically and musically brilliant. In particular, treble Luca Shin and the Adelaide Symphony Orchestra prove themselves a match for Castellucci’s ambitious feat. ✏︎ Emma Heidenreich

ceremony, including dancing, body painting, singing, and instrumentation. There is an intensity that is rarely seen on stage – an emotional and intellectual commitment to every movement. It is impossible to look away. While many of these actions may be unfamiliar to audience members not from a Yolŋgu background, the men embody each moment with such clear intention that meaning ripples out into the crowd. The men and the orchestra perform with an enormous projection behind them, alternating between footage of North East Arnhem Land, film of the Yolŋgu artists performing on country, depictions of artworks created by community members, and live footage of what is happening on stage. Individual elements of this projection are beautiful – the

artworks and the on-country vision are particularly compelling. Yet the mesh of different visuals is not always balanced and the projection detracts from what is happening onstage by presenting a competing version of the same ceremonial performance. The need for simplicity is underlined in the most powerful moments, occurring between and at the end of songs. For periods no longer than a minute or two, the orchestra ceases playing, the projection fades to black, and the Yolŋgu performers are given space to sing, dance, and make music alone. It is these moments that grab at something deep in the viewer and offer flashes of truth. They are extraordinary, but denied the space and time they deserve.

Buŋgul HHHHH VENUE:

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Thebarton Theatre [Adelaide Festival] run ended

Despite Gurrumul Yunupiŋu’s international and domestic success, his works – particularly those contained in posthumous album Djarimirri (Child of the Rainbow) – were not always well understood. Buŋgul is the generous antidote to this gap in comprehension around a great Australian musician. Yolŋgu dancers, Songmen, and artists from Gurrumul’s community in North East Arnhem Land offer insight into the timeless stories woven into his songs. Directed by Senior Yolŋgu Don Wininba Ganambarr and Nigel Jamieson, the show is structured around the tracks of Djarimirri and performed by the Yolŋgu artists with Adelaide Festival Orchestra. Recordings of Gurrumul’s transcendent voice soar over the powerful orchestral ensemble and each song swells to fill the Thebarton Theatre, but it is the Yolŋgu performers who hold the audience’s attention. This handful of men elegantly present elements of

✏︎ Farrin Foster

Cabaret Reviews Snap Crackle Pop HHHHH VENUE: TIME:

Cabaret

TICKETS:

RCC 9:30pm, 15 Mar $20

Adelaide University’s previous UniBar site is unrecognisable as Melbourne-based Poof Doof’s Snap Crackle Pop takeover the venue. Bass throbs through the floor as the piercing green and red lights

flash through the crowd as Grove from Frankenstein: How To Make a Monster tears up the DJ decks. Towering queens Karen from Finance and Daisy Confused wander through the crowd for photos and shots, before taking to the stage for a lip sync show. Karen from Finance’s ‘9 to 5’ routine is uninspired, but brings up the energy of the room with an easy singalong. Daisy Confused is striking as she strips and syncs to Shania Twain’s ‘Man! I Feel Like a Woman’, showing off her legs that seem to go for days.

Dollar Bin Darlings pumping Disco with a capital D provides a great grounding for a genuinely fun dance party. With all walks of life moving their bodies on the dancefloor, there is an electricity in the air – one of acceptance and love. This is what separates Snap Crackle Pop from a regular club night, and makes it one helluva party. For those with the stamina, Poof Doof crackle on into the wee hours of the morning. ✏︎ Laura Desmond This review is based on the first 2.5 hours of the 6 hour performance time.

Season of the Witch HHHHH VENUE: TIME:

Mary’s Poppin run ended

Wundes emerges in a black bodysuit and bright flower-like tulle. They belt out Judy Garland’s ‘Over the Rainbow’ and, it is clear, we are watching a powerhouse performance. Paying tribute to the witchiest of artists, Wundes casts a spell of darkness and vulnerability in a space that is typically bright

and camp. They exude old-school cabaret class and perform with subtlety and nuance. But it’s not all serious, and there’s a tongue-incheek sense of play at work among the darkness. Costume changes are disguised by slick multimedia that cycles through various manifestations of the witch, from The Wicked Witch of the West to Practical Magic, and the performers who embody the persona on stage. Not only is it an enchanting distraction, but taps into the biggest themes of the show: transformation and power. The narrative is hidden in the songs themselves. Wundes dresses in varieties of black. Soundtracked

by Kate Bush’s ‘Running up that Hill’ through to Lana Del Ray’s ‘How to Disappear’, the music brings a sense of struggle. That's until Wundes' grand emergence in Glinda the Good Witch fairy-floss pink - aptly accompanied by David Bowie’s ‘Changes’. Wundes is exceptional, and the only thing that would make this show stronger is if there was more storytelling to cement the narrative and create an even greater sense of intimacy. Regardless, Wundes enthrals and, as the standing ovation testifies, they have the power, talent and grace to cast their spell over an entire room. ✏︎ Lauren Butterworth

Monster work as one as they cover Adele’s ‘Rolling in the Deep’. To see a cabaret line-up show is to take a risk. In this case, you will most likely be there for the first performance of someone who will grow to be great. Listening to

Fa’anana and Karl ‘Winda’ Telfer passionately chat about their background in performance and Indigenous artistic expression is enthralling. ✏ Laura Desmond

Reviews

Black List Cabaret VENUE:

TIME: TICKETS:

fest-mag.com

HHHHH Tandanya National Aboriginal Cultural Institute 9:30pm, 14 Mar $20

As the only First Nations Fringe hub, Tandanya is celebrating performers of colour in Black List Cabaret, hosted by Samoan Fringe Ambassador Fez Fa’anana. What’s so beautiful about this show is the genuine celebration of culture. Fa’anana gives a quick Samoan lesson in clapping and rhythm and brings the audience together, calling mili and pati with vigour. Alongside seasoned performers like Movin’ Melvin Brown are newcomers; including an Indigenous drag act in their first time on stage. Although they are overcoming some nerves, a supportive audience pushes them through a mashup of iconic 2000s R’n’B with a laugh. The ever impressive crew from Frankenstein: How To Make a

Blanc de Blanc Encore HHHHH HHHH VENUE:

TIME: TICKETS:

The Garden of Unearthly Delights times vary, 14 Feb – 15 Mar $49 – $55

Parisian flair and speakeasy debauchery meet in this well-oiled production that mixes champagne, aerials and lingerie. It’s as cheeky as it is jaw-dropping and high-production values show off the company’s slickness and attention to detail. The Fortuna Spiegeltent has a 1920s charm and together with the art deco inspired set – flapper dresses, empire headpieces, and dapper suits – it encases you in an atmosphere of decadence. Hosts Remi Martin Lenz and Felix Pouliot play off one another effortlessly as their jokes – and outfits – become increasingly risqué. While the ensemble of acrobats, dancers and singers are each remarkable, of particular note are the mind-boggling feats of con-

PHAT CAB CLUB HHHHH HHH VENUE:

Circus

TIME:

Gluttony - Rymill Park run ended

In PHAT CAB CLUB, some of Australia’s best up-and-coming young acts show off in an hour of high-energy, high-skilled contemporary circus. Led by MC Rhys Davies, whose flair for puns and gross-out tricks is superb, the award-winning collective modernises all the traditional parts of the circus – juggling,

tortionist Ugi Otgonbayar and the aerial hoop routine of Caitlin Tomson-Moylan and Spencer Craig. With more confetti and pillow fights than you can poke a special

French ‘musical instrument’ at, Blanc de Blanc Encore is a decadent and intoxicating night out. ✏︎ Lauren Butterworth

acrobatics, hula and dance – to a soundtrack of hip-hop beats. Individually, each performer excels and, aside from a few fumbles, marks their place on the stage with confidence. Mark Longo’s haunting dance is a real treat. Like a mechanised doll, his still and mannequin-like face creates an eerie contrast to the precision of his robotic hip-hop moves. A crowd favourite is Odette Robbins, whose virtuosic juggling melts her increasing number of little white balls to a blur. But the real high point of the evening is Emily Chilver’s rope routine. In

an astounding feat of strength and grace, she demonstrates why circus remains so captivating: it’s superhuman. While each performer is strong alone in a cabaret-style variety show, the collaborations are where the energy really turns up, like Longo’s duet with diabolo king Jordan Twartz. But this does draw attention to parts of the night which lack a similar cohesion. That said, this independent company is yet more evidence that you don’t need a huge budget and high production values to stage good circus. ✏︎ Lauren Butterworth

Airy Botter & The Sorcery School Headmaster’s Office Escape Room HHHHH HHHH VENUE: TIME: TICKETS:

The Joinery on Franklin times vary, 20 Feb – 15 Mar $29 – $35

series of puzzles that are notable as much for their inventiveness as their variety. Maritzer’s escape rooms have always used plenty of gadgets, incorporating bluetooth connectivity to trigger reactions in seemingly unrelated objects. It’s a perfect fit for the magical theme of this room, which is filled with plenty of humour as we attempt to save a fictional wizardry school from non-copyright-infringing dark forces. And while some of his past creations have been fiendishly difficult and relied on obtuse clues, this is by far the most approachable. As a result it’s tough without being impossible, and one of the most satisfying escape rooms in Adelaide. ✏︎ Alexis Buxton-Collins

remove the virtual reality headset and noise-cancelling headphones, while you exit the lecture theatre into daylight. The piece is one of the first classical fusion music pieces put to VR and features the voice of mezzo-soprano singer Kate Miller Heidke, as well as the digitised outline of her frame which guides you through the life of a young woman and her memories. The plot is perhaps a little too rapid in its evolution to allow the

audience much time to reflect on this new environment, which may undercut Eight’s thoughtful intentions. Yet, Eight does linger in other ways as an intensely sensory project, melding visual graphics with a powerful multi-genre soundtrack. At one point, you are atop a cliff that feels so real, you cling to a bar – a bar which exists both in the real world and the virtual. ✏︎ Emma Heidenreich

fest-mag.com

Richard Maritzer has been appearing at the Adelaide Fringe for more than a decade as a member of the Sound & Fury comedy troupe. For the last few years, he’s also brought a travelling escape room

and this year that side gig has become his main show. But in his role as escape room host, he’s still first and foremost an actor. From the moment he greets us it’s clear that he’s going to bring a sense of theatre to the experience, as well as a healthy dose of humour. He knows that this is entertainment, and he makes sure not to take it too seriously. While many hosts disappear after explaining the rules and basic theme, Maritzer stays in the room with us for the entire hour, inhabiting his role as 'Almost Fumbledoor' in an entertaining fashion without being overbearing. His presence means that he’s able to guide us with a gentle hand as we tackle a

Reviews

Eight HHHHH HHH VENUE: TIME: TICKETS:

Hetzel Lecture Theatre times vary, 27 Feb - 15 Mar $25 - $29

Have you ever woken from such a realistic dream that reality felt surreal? This is the exact feeling that Michael van der Aa’s Eight elicits as the Adelaide Festival staff

Credit: Matt Byrne

The Lighthouse

Patch Theatre’s newest work explores light in the Queen’s Theatre. Interactive and exploratory, we take Miranda Hay (aged 11) to play with mirrors and lasers

Kids

What happened? It felt like I could almost touch the light but I couldn’t because a) it would be touching props and b) it felt like it was really really close but it was really far away. I didn’t want to touch it. It was so hard because so much happened. It was all really exciting, it was spectacular, it was fun – I enjoyed it. What was your favourite bit? My favourite but was probably the laser lights. I’m not supposed to give away anything, but I don’t know what substance the floor was and I have suspicions about them wearing socks but I don’t know why. Is it some sort of radioactive thingy, is that why they have to wear socks? It was really interesting. I felt like I could just hold it and pull it over here, but I couldn’t because it’s just light. Physics says no to that. It’s a hard show to review because so much happened in such a short amount of time that your brain tries to go ‘Remember this moment’, but the next moment seems like you need to remember it more and everything happens so quickly that you need to go back and watch it again. Would you recommend it to your friends? I would. I would, definitely.

I think if you go alone you don’t notice a lot of things that I noticed. I feel like you could almost put it in a classroom and then you could come back to it. If I was sitting there watching it I would have been so bored but the fact that you have to move around, you have to touch, you have to get wet – it was so much fun. I would recommend it to everyone I know. Almost everyone. I’d recommend it to most people I know. Which is a lot. What five words would you use to describe the show? Tangible, exciting, creative, exquisite and planned. Don’t ask why! It’s got a storyline that sort of has things in the way and then finally, everything makes sense by the end of it. You feel like you’ve gone on this three-hour trip but it’s been a singular hour. But it isn’t a drag, it doesn’t feel like you’ve been there for ages. How do you know how long you’ve been there if you don’t have a watch? Just like, ‘How long have I been here? I could have been here for weeks and not noticed!’ I probably would have. ✏︎ Laura Desmond with Miranda Hay

VENUE TIME:

Queen’s Theatre Playhouse [Adelaide Festival] run ended

R1 O'CO

Ayers House

Bakehouse Theatre

Belgian Beer Cafe ‘Oostende’

Cafe Outside the Square

TE RR AC E

D WAR

E STRE

28 Carclew

Nexus Arts

Rhino Room

Strathmore Hotel / Mercure Grosvenor

R OA

Grace Emily Hotel

28 W

96 Tandanya National Aboriginal Cultural Institute

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

The Howling Owl

111

The Jade

116

The Mill

OA D

GLOV

ER A VEN

119 RCC

NORTH TERRAC E 93 50 6 HINDLE Y STREET

110

POR TR

3 CURRI E STREET

FRANKLIN STREET

5 109

GROTE STREET

GOUGER STREET WRIGHT STREET

27 STURT STREET

GILBERT STREET SOUTH TERRACE

P EACOCK

A5 Y

The Griffins Hotel

K ING WILLIAM STREET

107

VI CT

The Garden of Unearthly Delights

WEST TE R RACE

104

KIN G W I LLIAM

Gluttony – Murlawirrapurka/Rymill Park

Gluttony – Masonic Lodge North Terrace

ON TE FIORE R OAD

REET

E ST

TYNT

A CE

Arts Theatre

TERR

PA R

B RUMPUS

Holden Street Theatres

EV R E LE F

RE ET L L ST NNE

ADELAIDE FRINGE VENUES

ROB

E TE RRA CE

A10 AD AD RO RO RK NN PA MA

R ST NE

ADELAIDE FESTIVAL VENUES

UR BO

EY R OA

HACK N

Adelaide Botanic Garden

Adelaide Festival Centre

AC Arts

Adelaide Town Hall

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

Rundle Mall

FRO

ME 110

107

WAKEFIELD STREET

116

ANGAS STREE T

QU ET

BARTELS ROAD

CARRINGTON STREET

H UTT ROAD

PULTENEY STREET

ALIFAX STREET

N RU

HUT T STREET

FROM E STREET

5 PIRIE STREET 111 75 T REE ST RS DE FLIN

104

Thebarton Theatre

EE T

R ST 22

E DL

ST R

RUNDLE STREET

GRENFE LL STREET

19 State Library of South Australia – Hetzel Lecture Theatre

T EE

12 EAST TERRACE

Adelaide Festival

ER S

R OA 22

119

TH OR

VI LL

IN D

IA D R I VE

TOR

CE RA 18 Scott Theatre – used by RCC and

RA CE

ET WAKEFIE LD STRE

11:00 Good Morning Comedy Mercury Cinema, 11 Mar, $15 Matt Byrne’s The True Story of Dad Norwood Concert Hall, 10 Mar, 12 Mar, 13 Mar, $18–$22

15:00 Ashes: A Comedy Showdown Belgian Beer Cafe ‘Oostende’, 14 Mar, $30

15:30 Nothing But Dad Jokes: The First Sequel The Joinery on Franklin, 14 Mar, $20

16:00 Conspiracy Theory: A Lizard’s Tale

HHH

various venues, 14–15 Mar, $27 The Four Fringemen Marion Hotel, 15 Mar, $30 MICKEY D FOR PM (*FOUR) Gluttony - Rymill Park, 14–15 Mar, $25

16:30 Daniel Connell Cheers Big Ears Gluttony - Rymill Park, 14–15 Mar, $24 Family Friendly Comedy Hour Flinders University, Bedford Park, 14 Mar, $20

Comedy

17:00

Best in Fringe Comedy and Chat... with Vladimir McTavish Gluttony - Rymill Park, 14–15 Mar, $20 Stephen K Amos Talk Show Arts Theatre, 14 Mar, $25

Australia: A Whinging Poms Guide Belgian Beer Cafe ‘Oostende’, 13–15 Mar, $25 Jimmy McGhie - BA (Hons) The Garden of Unearthly Delights, 14 Mar, $29 Best of the Edinburgh Fest The Garden of Unearthly Delights, 15 Mar, $26

17:30 Bonanza of Comedy: Festival Line-Up The Historian Hotel, 14 Mar, $20 James Veitch Tentative The Garden of Unearthly Delights, 13–15 Mar, $31–$33.50 The Hilary Duff Film Re-Enactment Festival Ayers House Events, 14 Mar, $25

18:00 Daniel Connell Cheers Big Ears Gluttony - Rymill Park, 10–15 Mar, $18–$24 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 Chris Henry: FLAIR The Howling Owl, 10–14 Mar, $15–$25 Clone-a-patra Star Theatres, 12–15 Mar, $27 DON’T SHOOT! I’m a vegan The Jade, 10 Mar, $20

THE OFFICIAL GLUTTONY VARIETY SHOWCASE - Best of CIRCUS, MAGIC, COMEDY Gluttony - Rymill Park, 12–15 Mar, $25–$30 Liam Withnail: Homecoming Gluttony - Rymill Park, 10–15 Mar, $10–$25 The Fax Machine Goes Corporate Hotel Royal, 10–15 Mar, $25 Tiramisu Rhino Room, 10–14 Mar, $22–$28

18:15 Best Of Fringe: Early Show Belgian Beer Cafe ‘Oostende’, 10–15 Mar, $15–$20 Transgressive The Griffins Hotel, 10–15 Mar, $25

18:30 Conspiracy Theory: A Lizard’s Tale

HHH

various venues, 10–15 Mar, $27 Blake Everett deb(u)t Ayers House Events, 12–14 Mar, $20 The Hilary Duff Film Re-Enactment Festival Ayers House Events, 11 Mar, $25

18:45 The Final Hours Hour Holden Street Theatres, 10–15 Mar, $18–$28 Best of Adelaide Fringe: The International Comedy Show The Historian Hotel, 12–14 Mar, $20–$25

19:00

19:10

PETER HELLIAR LOOPY The Garden of Unearthly Delights, 12–15 Mar, $39–$45 ❤ The Kagools: Cirque du Kagool

Marcus Ryan - Walk This Qué Gluttony - Rymill Park, 10–15 Mar, $20–$25

HHHH

The Garden of Unearthly Delights, 10–15 Mar, $24–$30 Lawrence Mooney: Beauty Royalty Theatre, 13–15 Mar, $49 Masterpiece Improv The Duke of Brunswick, 12 Mar, $20 WIL ANDERSON WIL-INFORMED The Garden of Unearthly Delights, 10–15 Mar, $35–$48 Persian of Interest The Griffins Hotel, 10–15 Mar, $17–$25 Stand Up at Little Bang Little Bang Brewing Company, 11 Mar, FREE Jimeoin - Ramble On! The Garden of Unearthly Delights, 10–15 Mar, $37–$45 Stephen K Amos Everyman Arts Theatre, 10–14 Mar, $35–$45 Sammy J - Symphony in J Minor The Garden of Unearthly Delights, 12–13 Mar, $42 Lloyd Langford - My Name Is Lloyd The Garden of Unearthly Delights, 10 Mar, 12 Mar, 13 Mar, 14 Mar, 15 Mar, $22–$32 Michael Shafar Getting Better Gluttony - Rymill Park, 10–15 Mar, $15–$27 Graduate Performance Astor Hotel, 14 Mar, $20

19:15 Rocking The Boat with Rick Sextant Rhino Room, 10–15 Mar, $15–$20 Aaaaaaaargh! It’s the Best of Fringe Comedy from the UK The Griffins Hotel, 10 Mar, 12 Mar, 13 Mar, 14 Mar, 15 Mar, $15–$25 Marcel Blanch- de Wilt: Pancakes Rhino Room, 10–14 Mar, $15–$21 2020 Greek Comedian of The Year The Howling Owl, 10–14 Mar, $15–$25 Eric’s Tales of the Sea - A Submariner’s Yarn Treasury 1860, 10–15 Mar, $17–$22

19:20 Joel Ozborn - The Madman & Me Gluttony - Masonic Lodge, 10–15 Mar, $25–$32

19:30 Star Crossed Clowns Star Theatres, 10–15 Mar, $25 Alex Williamson: Oi Mate! Arkaba Hotel, 13 Mar, $34.90 A NIGHT AT THE WOPERA Rhino Room, 10–13 Mar, $23–$39 The Best Of The Historian Hotel, 10–11 Mar, $23 Stood Up! Ayers House Events, 11–14 Mar, $25

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

The Four Fringemen Sourc’d Aldinga, 10 Mar, $30 Adeladies - Best of the Fringe’s Funny Women The Griffins Hotel, 10 Mar, 12 Mar, 13 Mar, 14 Mar, 15 Mar, $15–$25 Lindsay Webb “Relentlessly Correct” Belgian Beer Cafe ‘Oostende’, 10–12 Mar, $15–$30

19:45 (Please) Validate Me by Benjamin Maio Mackay various venues, 10–14 Mar, $20–$25 Abandoman - The Road to Coachella The Garden of Unearthly Delights, 10–15 Mar, $30–$38

20:00 The Four Fringemen various venues, 12–13 Mar, $30 All The Best From Edinburgh... To Adelaide The Historian Hotel, 12–14 Mar, $20–$25 Best of The Fringe Comedy Superstars Flinders University, Bedford Park, 14 Mar, $35 Matt Byrne’s Vegans Norwood Concert Hall, 11–14 Mar, $28 An Evening With Fiona O’Loughlin Gluttony - Rymill Park, 10–15 Mar, $28–$35 FRIEND (The One With Gunther)

HHH

The Garden of Unearthly Delights, 10–15 Mar, $26–$33 The Fax Machine Goes Corporate Hotel Royal, 10 Mar, $20

20:10 The Stevenson Experience: Stranger Twins Gluttony - Rymill Park, 10–15 Mar, $20–$30

20:15 ❤ Nurse Georgie

Carroll: Off The Charts HHHH The Garden of Unearthly Delights, 10–15 Mar, $25–$35 SAM TAUNTON ROOSTER The Garden of Unearthly Delights, 10–15 Mar, $24–$30 CAL WILSON - OPEN BOOK The Garden of Unearthly Delights, 10–15 Mar, $28–$38 Amos Gill: Ruins Rhino Room, 10–13 Mar, $20–$34.90 Best of the Edinburgh Fest The Garden of Unearthly Delights, 10–15 Mar, $28.50–$35 TOM BALLARD ENOUGH The Garden of Unearthly Delights, 10–15 Mar, $25–$35 Jimmy McGhie - BA (Hons) The Garden of Unearthly Delights, 10–15 Mar, $26–$34.90 Joel Creasey Messy Bitch The Garden of Unearthly Delights, 10–15 Mar, $28–$40 NATH VALVO CHATTY CATHY The Garden of Unearthly Delights, 10–15 Mar, $25–$35

20:20 Thomas Green: Yeah, nah! Gluttony - Rymill Park, 10–15 Mar, $15–$25 Tom Skelton: 2020 Visions (What if I hadn’t gone blind?) The Griffins Hotel, 10–14 Mar, $15–$20

The Marvellous Snake Boy Ayers House Events, 11–13 Mar, $20

20:40 TAHIR - Pick of the Comedians. 6 stars Gluttony - Rymill Park, 10–15 Mar, $30–$39

20:30

20:45

Adelaide Fringe Comedy Show Case The Vines Golf Club of Reynella, 14 Mar, $30 Billy D’Arcy Anxiously Arrogant Rhino Room, 10–14 Mar, $18–$22 All Around the World: The International Comedy Show The Griffins Hotel, 10 Mar, 12 Mar, 13 Mar, 14 Mar, 15 Mar, $15–$25 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 The Four Fringemen Mount Compass Tavern, 14 Mar, $30 Talk Dirty, Stay Classy Ayers House Events, 12 Mar, $25 Arj Barker Comes Clean Arts Theatre, 10–14 Mar, $35–$45 A Class Act Hotel Richmond, 11–12 Mar, $20 Marty Sheargold Royalty Theatre, 13–15 Mar, $49 BEN KOCHAN THROWS A STOOL AT THE AUDIENCE Rhino Room, 10–14 Mar, $20–$25

Zack Adams: Love Songs For Future Girl Rhino Room, 10–14 Mar, $15–$23 Best Of British Belgian Beer Cafe ‘Oostende’, 10–14 Mar, $15–$25 Cornish Comedians Showcase The Griffins Hotel, 12–15 Mar, $20

21:00 ADELAIDE’S MOST WANTED! Gluttony - Rymill Park, 10–15 Mar, $18–$23 Late Night Comedy Astor Hotel, 13–14 Mar, $20

21:10 Elizabeth Davie Apex Predator Gluttony - Masonic Lodge, 10–15 Mar, $20–$26

21:15 TOM WALKER IS TIM WALTER The Garden of Unearthly Delights, 10–15 Mar, $24–$30 Shaggers The Historian Hotel, 12–14 Mar, $20–$25

21:30 TOM GLEESON LIGHTEN UP The Garden of Unearthly Delights, 10–15 Mar, $35–$45

Puppetry of the Penis Gluttony - Rymill Park, 10–15 Mar, $33–$44 Shit- Faced Shakespeare: Hamlet Gluttony - Rymill Park, 10–15 Mar, $25–$34.90 Ivan Aristeguieta - Piñata The Garden of Unearthly Delights, 10–15 Mar, $30–$36

❤ AJ Holmes: Yeah, But Not Right Now HHHHH

Gluttony - Rymill Park, 10–15 Mar, $25–$30

Talk Dirty, Stay Classy Ayers House Events, 13–14 Mar, $25 LEWIS GARNHAM - THE WORST TRAIN I’VE EVER BUILT The Garden of Unearthly Delights, 10–15 Mar, $22–$25 Two Little Dickheads: KAPOW! Gluttony - Rymill Park, 10–15 Mar, $20–$25 Christian Elderfield: Happy Pom The Griffins Hotel, 10–15 Mar, $10–$12 SAM SIMMONS - FUNT The Garden of Unearthly Delights, 10–15 Mar, $30–$42 Simon Taylor is a Super Funny Boy The Garden of Unearthly Delights, 10 Mar, 12 Mar, 13 Mar, 14 Mar, 15 Mar, $22–$32 Kieran Bullock Builds IKEA Furniture and Talks To The Audience Ayers House Events, 12–14 Mar, $23 Dreamgun: Film Reads The Garden of Unearthly Delights, 10–15 Mar, $24–$32

❤ Larry Dean Fudnut HHHH The Garden of Unearthly Delights, 10 Mar, 12 Mar, 13 Mar, 14 Mar, 15 Mar, $28–$34

21:45 3 is a crowd (so bring 2 friends) Rhino Room, 10–14 Mar, $10 James Bustar Caught in the Act The Howling Owl, 10–14 Mar, $15–$25 Best of Adelaide Fringe: The Late Show The Griffins Hotel, 13–14 Mar, $25 Amos Gill: Ruins Arkaba Hotel, 13 Mar, $34.90 Shark Heist Rhino Room, 10–14 Mar, $17–$25

22:00 Adelaide Fringe Comedy Show Case The Griffins Hotel, 13–14 Mar, $25 Evan Desmarais: Pizza & Ice Cream

HHH

Gluttony - Rymill Park, 10–15 Mar, $17–$23 Aidan Jones - Taco Gluttony - Rymill Park, 10 Mar, 12 Mar, 13 Mar, 14 Mar, $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

22:30 All Up Late - The Historian Late Show The Historian Hotel, 13–14 Mar, $20

The Hilary Duff Film Re-Enactment Festival Ayers House Events, 13–14 Mar, $25 The Highlight Reel Hotel Richmond, 13 Mar, $20

22:40 Stand Up - Smack Down Gluttony - Rymill Park, 13–14 Mar, $20

22:45 Demi Lardner & Tom Walker: We Mustn’t Rhino Room, 12–14 Mar, $25–$28 Best of the Edinburgh Fest The Garden of Unearthly Delights, 13–14 Mar, $26

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

22:55 Andrew Silverwood’s [Late Night] Panel Show Gluttony - Rymill Park, 13–14 Mar, $25

23:00 THE STAND UP SHOW The Garden of Unearthly Delights, 13–14 Mar, $25 Rhino Room Late Show Rhino Room, 13–14 Mar, $30

23:20 TAHIR - Pick of the Comedians. 6 stars Gluttony - Rymill Park, 14 Mar, $39

23:30 PHATCAVE Gluttony - Rymill Park, 13–14 Mar, $27

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

fest-mag.com

Apocalypse Comedy Club featuring Mick Neven Gluttony - Rymill Park, 10–15 Mar, $15–$20

Listings

10:00

15:00

16:30

11:00

13:30

FLIGHT The Garden of Unearthly Delights, 14–15 Mar, $25 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 15 Mar, $25 SÉANCE The Garden of Unearthly Delights, 14–15 Mar, $20 ❤ COMA

Writer / 20세 기작가 Black Box Theatre, 14–15 Mar, $28

Fear (Not) The Garden of Unearthly Delights, 13 Mar, $28

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 Faulty Towers The Dining Experience Stamford Plaza Adelaide, 14–15 Mar, $85

HHHH

Mouthpiece Odeon Theatre [Adelaide Festival], 10 Mar, 12 Mar, $30 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

Atomic - The New Rock Musical Nexus Arts, 14 Mar, $18 The King Holden Street Theatres, 14–15 Mar, $25

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

10:30

12:00 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 12 Mar, 14 Mar, $25 ❤ Tartuffe

HHHH

Holden Street Theatres, 14–15 Mar, $28

Theatre

12:30

Atomic - The New Rock Musical Nexus Arts, 11–12 Mar, $18

13:00 Mouthpiece Odeon Theatre [Adelaide Festival], 14 Mar, $30

14:00 Inner Journey State Library of South Australia, 15 Mar, FREE Sh!t Theatre Drink Rum With Expats Holden Street Theatres, 14–15 Mar, $28 On the Couch with Tammy Anderson Tandanya National Aboriginal Cultural Institute, 15 Mar, $20 Princessez Marion Cultural Centre, 15 Mar, $22 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 15 Mar, $25 Stepping Out The Parks Theatres, 11 Mar, $20 I Don’t Wanna Play House Tandanya National Aboriginal Cultural Institute, 13 Mar, $20 Moof’s Adventures The Mill, 15 Mar, $22

The Garden of Unearthly Delights, 14–15 Mar, $25 The Nights by Henry Naylor Holden Street Theatres, 14–15 Mar, $28

15:30 The Iliad - Out Loud Scott Theatre [Adelaide Festival], 14–15 Mar, $20 Dead Gorgeous: A True Crime Clown Show RUMPUS, 14 Mar, $25

16:00 FLIGHT The Garden of Unearthly Delights, 14–15 Mar, $25 How To Drink Wine Like A Wanker Treasury 1860, 14–15 Mar, $25 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 15 Mar, $25 SÉANCE The Garden of Unearthly Delights, 14–15 Mar, $20 ❤ COMA

HHHH

The Garden of Unearthly Delights, 14–15 Mar, $25

16:45 Peter Goers in Best We Forget Holden Street Theatres, 14–15 Mar, $20

17:00 FLIGHT The Garden of Unearthly Delights, 14–15 Mar, $25 MEDEA AND JASON - A MINI MUSICAL WITH LOUCAS LOIZOU Hilton Hotel, 13–15 Mar, $25 Dead Gorgeous: A True Crime Clown Show RUMPUS, 15 Mar, $25 Frankie Foxstone A.K.A. The Profit: Walking Tour

HHH

The Garden of Unearthly Delights, 14–15 Mar, $20 SÉANCE The Garden of Unearthly Delights, 14–15 Mar, $20 ❤ COMA

HHHH

The Garden of Unearthly Delights, 14–15 Mar, $25

17:20 The Tempest Gluttony - Rymill Park, 10–15 Mar, $19.50–$27.50

18:00 Gratiano Bakehouse Theatre, 13 Mar, $25 Cassie and the Lights HHH RCC, 10–15 Mar, $20–$26

FLIGHT The Garden of Unearthly Delights, 10–15 Mar, $25 Breaking the Waves Festival Theatre [Adelaide Festival], 15 Mar, $40 Rich Bitch - A Parody of Law Of Attraction Gurus The Griffins Hotel, 10–15 Mar, $10–$20 The Ballad of Mulan Bakehouse Theatre, 12 Mar, $25 The Daughters of Róisín The Mill, 13–14 Mar, $26 I, AmDram Treasury 1860, 10–15 Mar, $18–$25 ME The Garage International @ Adelaide Town Hall, 11–13 Mar, $28 Gone Girls Holden Street Theatres, 10–14 Mar, $22–$27 Moby Dick Bakehouse Theatre, 11 Mar, $25 SÉANCE The Garden of Unearthly Delights, 10–15 Mar, $20 Girl Shut Your Mouth Bakehouse Theatre, 10–14 Mar, $23–$28 ❤ COMA

HHHH

The Garden of Unearthly Delights, 10–15 Mar, $25 Renfield: In the Shadow of the Vampire Bakehouse Theatre, 10 Mar, 14 Mar, $15–$25 UnderLyingSkins The Mill, 15 Mar, $20

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

Dietrich: Natural Duty Black Box Theatre, 10–15 Mar, $23–$30

18:10 ❤ EURYDICE HHHH Open Air Theatre, 10–11 Mar, $22–$28

18:20 SÉANCE The Garden of Unearthly Delights, 10–15 Mar, $20

18:30 FLIGHT The Garden of Unearthly Delights, 10–15 Mar, $25 ❤ Frankenstein: How to Make a Monster

HHHHH

RCC, 10–15 Mar, $25–$35

Mouthpiece Odeon Theatre [Adelaide Festival], 14 Mar, $30 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 11–14 Mar, $25 The People’s Festival: 60 years of Adelaide Fringe Mercury Cinema, 10 Mar, $8 Gone Girls Holden Street Theatres, 15 Mar, $27 ❤ COMA

HHHH

The Garden of Unearthly Delights, 10–15 Mar, $25 The King Holden Street Theatres, 10–14 Mar, $15–$25

Attenborough and his Animals The Garden of Unearthly Delights, 10–15 Mar, $25–$30 Thunderstruck The Garden of Unearthly Delights, 10–15 Mar, $20–$30

18:50 Gobby Gluttony - Rymill Park, 10–15 Mar, $24–$28

Faulty Towers The Dining Experience Stamford Plaza Adelaide, 10 Mar, 12 Mar, 13 Mar, 14 Mar, 15 Mar, $85–$110 SÉANCE The Garden of Unearthly Delights, 10–15 Mar, $20 Floral Peroxide Nexus Arts, 11 Mar, $30 Table for Two? Holden Street Theatres, 10–15 Mar, $17–$20 ❤ COMA

FLIGHT The Garden of Unearthly Delights, 10–15 Mar, $25 Schapelle, Schapelle The Parks Theatres, 12–15 Mar, $32 Mouthpiece Odeon Theatre [Adelaide Festival], 12 Mar, $30 Dead Gorgeous: A True Crime Clown Show RUMPUS, 11–12 Mar, $25 Our Solar System Holden Street Theatres, 10–14 Mar, $20–$25 The Hipster- A musical for people who don’t like musicals Little Bang Brewing Company, 10 Mar, 15 Mar, 16 Mar, 17 Mar, $35 Frankie Foxstone A.K.A. The Profit: Walking Tour

HHH

The Garden of Unearthly Delights, 12–15 Mar, $20

SÉANCE The Garden of Unearthly Delights, 10–15 Mar, $20 ❤ COMA

Holden Street Theatres, 10–14 Mar, $20–$25 ❤ COMA

HHHH

The Garden of Unearthly Delights, 10–15 Mar, $25 ❤ Kafka’s Ape

The Garden of Unearthly Delights, 10–15 Mar, $25 UnderLyingSkins The Mill, 10–12 Mar, $18–$20 The Ides of March Bakehouse Theatre, 10–14 Mar, $20–$27 Peach Cobbler The Living Room, 12–13 Mar, $15

Holden Street Theatres, 15 Mar, $25 Pinter at the Pub Kings Head Hotel, 10–12 Mar, $15–$20 The Nights by Henry Naylor Holden Street Theatres, 10–14 Mar, $20–$28 Laurie Anderson - All The Things I Lost In The Flood RCC, 14–15 Mar, $55

19:45

20:15

19:30

ORPHEUS HHH Open Air Theatre, 10–11 Mar, $22–$28

❤ Being Dead (Don Quixote)

19:50

Josh Mensch: Abomination Holden Street Theatres, 10–15 Mar, $13–$16 The Wild Side RCC, 10–15 Mar, $25–$35 I Don’t Wanna Play House Tandanya National Aboriginal Cultural Institute, 13–14 Mar, $20

HHHH

19:00

Moof’s Adventures The Mill, 13–15 Mar, $22 Enterprise Black Box Theatre, 10–15 Mar, $22–$30 ❤ Kafka’s Ape

The Garden of Unearthly Delights, 10–15 Mar, $25 Passengers RCC, 10–15 Mar, $20–$35

19:20 SÉANCE The Garden of Unearthly Delights, 10–15 Mar, $20

HHHH

RCC, 10–15 Mar, $18–$33 FLIGHT The Garden of Unearthly Delights, 10–15 Mar, $25 Audio Book - LIVE MixedCreative, 13 Mar, $20 Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 11–14 Mar, $25 Zombie Zoo Bakehouse Theatre, 10–14 Mar, $15–$25 Mengele The Garage International @ Adelaide Town Hall, 10–13 Mar, $23–$29

HHHH

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

20:00 FLIGHT The Garden of Unearthly Delights, 10–15 Mar, $25 Breaking the Waves Festival Theatre [Adelaide Festival], 13 Mar, $40 Mouthpiece Odeon Theatre [Adelaide Festival], 10 Mar, $30 The Iliad - Out Loud Scott Theatre [Adelaide Festival], 14–15 Mar, $20 THE ITCH RUMPUS, 15 Mar, $10

20:20 SÉANCE The Garden of Unearthly Delights, 10–15 Mar, $20

20:30 FLIGHT The Garden of Unearthly Delights, 10–15 Mar, $25 Mouthpiece Odeon Theatre [Adelaide Festival], 13 Mar, $30

Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 11–14 Mar, $25 Dead Gorgeous: A True Crime Clown Show RUMPUS, 13–14 Mar, $25 The Wild Unfeeling World Holden Street Theatres, 10–14 Mar, $20–$25 ❤ COMA

A SPECIAL DAY Black Box Theatre, 10–15 Mar, $25–$28 ❤ COMA

The Garden of Unearthly Delights, 10–15 Mar, $25

21:40

HHHH

21:00 FLIGHT The Garden of Unearthly Delights, 10–15 Mar, $25 Imposter Cafe Outside The Square, 12 Mar, 14 Mar, $25 Sh!t Theatre Drink Rum With Expats Holden Street Theatres, 11–14 Mar, $28 The Punter’s Siren Bakehouse Theatre, 10–14 Mar, $18–$27 COLD WAR HH RCC, 10–15 Mar, $18–$33 Nikola and I Dream Well, 10 Mar, 11 Mar, 12 Mar, 13 Mar, 17 Mar, $15–$20 SÉANCE The Garden of Unearthly Delights, 10–15 Mar, $20 Far Far Away The Garage International @ Adelaide Town Hall, 10 Mar, $18 Numinous Asylum Holden Street Theatres, 10 Mar, $25

HHHH

The Garden of Unearthly Delights, 10–15 Mar, $25

21:30 ❤ Tartuffe HHHH Holden Street Theatres, 10–14 Mar, $20–$28

Mullygrubs Treasury 1860, 10–15 Mar, $18–$25

22:00 FLIGHT The Garden of Unearthly Delights, 13–14 Mar, $25 SÉANCE The Garden of Unearthly Delights, 13–14 Mar, $20 ❤ COMA

HHHH

The Garden of Unearthly Delights, 13–14 Mar, $25

22:30 THE GODS, THE GODS, THE GODS

Black Box Theatre, 13–14 Mar, $28 UnderLyingSkins The Mill, 14 Mar, $20

23:00 FLIGHT The Garden of Unearthly Delights, 13–14 Mar, $25 SÉANCE The Garden of Unearthly Delights, 13–14 Mar, $20 ❤ COMA

HHHH

The Garden of Unearthly Delights, 13–14 Mar, $25

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

fest-mag.com

18:45

Listings

10:00 Foals The Garden of Unearthly Delights, 14–15 Mar, FREE

Switch Witchetty’s Almanac of Everything Holden Street Theatres, 12–15 Mar, $19–$20

10:30

11:15

Once Upon a Circus CircoBats, 12–13 Mar, $15 MR BADGER tells the story of The Wind in the Willows Carrick Hill, 14 Mar, $15

Bubble Show with Dr Bubble and Milkshake Gluttony - Rymill Park, 14–15 Mar, $19

Kids

11:00

Monski Mouse’s Baby Cabaret The Garden of Unearthly Delights, 14 Mar, $17 Amazing Drumming Monkeys The Garden of Unearthly Delights, 14–15 Mar, $18 Monski Mouse’s Baby Disco Dance Hall The Garden of Unearthly Delights, 15 Mar, $17 The Circus Firemen Gluttony - Rymill Park, 14–15 Mar, $20 The Bureau Of Untold Stories Marion Cultural Centre, 13–15 Mar, $20 Once Upon a Circus CircoBats, 14 Mar, $15 MR BADGER tells the story of The Wind in the Willows Carrick Hill, 15 Mar, $15 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

11:30 Brass Monkeys The Garden of Unearthly Delights, 14–15 Mar, $24

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

12:00 Erth’s Dinosaur Zoo RCC, 14–15 Mar, $20 The Artist Main Theatre, AC Arts [Adelaide Festival], 14 Mar, $20

12:30 Don’t Mess With the Dummies The Garden of Unearthly Delights, 14–15 Mar, $25 The African Elephant Of My Heart: Dance Extravaganza Holden Street Theatres, 14–15 Mar, $20 Big Tops & Tiny Tots Circus Show Gluttony - Rymill Park, 14–15 Mar, $19

12:45 Grossed Out Game Show Gluttony - Rymill Park, 14–15 Mar, $20

13:00

14:15

15:45

16:30

Balloonatics Belgian Beer Cafe ‘Oostende’, 14–15 Mar, $20 The Fairy Wonderland Show Gluttony - Rymill Park, 14–15 Mar, $25 Once Upon a Circus CircoBats, 12–13 Mar, $15 The Bureau Of Untold Stories Marion Cultural Centre, 16 Mar, $20 The Alphabet of Awesome Science Gluttony - Rymill Park, 10–11 Mar, FREE The Beach Party Woodville Town Hall, 14 Mar, $16

The Alphabet of Awesome Science Gluttony - Rymill Park, 14–15 Mar, $20

The Greatest Magic Show Gluttony - Rymill Park, 14–15 Mar, $25

Switch Witchetty’s Almanac of Everything Holden Street Theatres, 14 Mar, $19

14:30

16:00

17:00

SCARY STORIES FOR BRAVE KIDS (in the dark & light) Goodwood Institute Theatre, 14–15 Mar, $15 Mr Snot bottom’s Horrible, Terrible, Really, Really, Bad, Bad, Show The Garden of Unearthly Delights, 14–15 Mar, $22

SCARY STORIES FOR BRAVE KIDS (in the dark & light) Goodwood Institute Theatre, 14–15 Mar, $15 Erth’s Dinosaur Zoo RCC, 14–15 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, 14 Mar, $15 Best of Adelaide Fringe: Kids and Family Selection The Historian Hotel, 14 Mar, $18 ‘Enchantments’ by Pierre Ulric Gluttony - Rymill Park, 14–15 Mar, $23

Prehysterical Gluttony - Rymill Park, 14–15 Mar, $25 Foals The Garden of Unearthly Delights, 10–13 Mar, FREE

13:15 Science Magic Gluttony - Rymill Park, 14–15 Mar, $16

14:00 Peter Combe in Brush Your Hair with a Toothbrush!! The Garden of Unearthly Delights, 14–15 Mar, $26 Erth’s Dinosaur Zoo RCC, 14–15 Mar, $20 ‘Aladdin and the Genie of Unlimited Wishes’ Star Theatres, 14–15 Mar, $20 Amazing Drumming Monkeys The Garden of Unearthly Delights, 14–15 Mar, $18 Once Upon a Circus CircoBats, 14 Mar, $15 BEST OF KIDS FRINGE Gluttony - Rymill Park, 14–15 Mar, $19

14:45 Mickster’s Magic Gadgets Gluttony - Rymill Park, 14–15 Mar, $25

15:00 Tony Roberts: I’m a Magician Get Me Out of Here The Garden of Unearthly Delights, 14–15 Mar, $20

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

15:30 Peter Combe in Brush Your Hair with a Toothbrush!! The Garden of Unearthly Delights, 14–15 Mar, $26 Petit Circus Gluttony - Rymill Park, 14–15 Mar, $26

16:15 Amazing Drumming Monkeys The Garden of Unearthly Delights, 14–15 Mar, $18 Absolutely Bestest Kids Show to Ever Happen... SERIOUSLY! Gluttony - Rymill Park, 14–15 Mar, $18

17:30 Brass Monkeys The Garden of Unearthly Delights, 12–15 Mar, $24

18:00 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, 11–15 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

SAâ&#x20AC;&#x2122;s Biggest Open Access Live Music Festival

www.umbrellafestival.com.au

11:00

14:30

16:00

A Wandering Minstrel - Keith Potger Marion Cultural Centre, 10 Mar, $20 Dogapalooza Orphanage Park, 15 Mar, $18

The Garden Sessions The Garden of Unearthly Delights, 14 Mar, FREE Broadway to Hollywood Hungarian Club of SA, 15 Mar, $23 Two Of Us Gluttony - Rymill Park, 14 Mar, $27

MC ME - Guilt, Fame, Love. Nexus Arts, 14 Mar, $30 The Stag Balcony Bar The Stag Public House, 14 Mar, FREE Ukulele Death Squad: The Squad Father Regal Theatre, 14 Mar, $25 Plant Based Disgrace Brompton Hotel, 14 Mar, $33

13:00 Weimarian Revolution: Stories from the Shadows of 1920s Berlin The Jade, 15 Mar, $22.50 Lunchtime recitals St Francis Xavier’s Cathedral, 11 Mar, FREE

14:00 An Austen Affair Urrbrae House, 15 Mar, $28 Feelin’ Groovy - The Songs of Simon & Garfunkel Arkaba Hotel, 15 Mar, $30 Weimarian Revolution: Stories from the Shadows of 1920s Berlin Sinclair’s Gully Winery, 14 Mar, $22.50 AN AFTERNOON OF WINE, WOMAN AND SONG Sinclair’s Gully Winery, 15 Mar, $22.50 Jungle Jams Karkoo Nursery, 14–15 Mar, FREE

Music

14:20

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

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

16:20 The Choir of Man Gluttony - Rymill Park, 14–15 Mar, $45

15:00

16:30

España El Vito the Spirit of Spain & Tango Piano and Guitar Concert Scots Church Adelaide, 14–15 Mar, $33 Pianist Tim Barton Living Choice Fullarton, 15 Mar, $22 The 60 Four Norwood Concert Hall, 15 Mar, $55.95 The Furball Express - Pure Swamp Blues The Wheatsheaf Hotel, 15 Mar, $20 Mahler / Adès Adelaide Town Hall [Adelaide Festival], 15 Mar, $35 Californian Legends Regal Theatre, 15 Mar, $45

Sax to the Max Clayton Wesley Uniting Church The Spire Community, 15 Mar, $15

15:20

18:00

The Magnets 90s Rewind Gluttony - Rymill Park, 14 Mar, $35

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

17:00 The Sound Ceremony Gluttony - Masonic Lodge, 14–15 Mar, $26 #PopJazz Treasury 1860, 15 Mar, $25

17:30 Ceberano + Co. The Garden of Unearthly Delights, 15 Mar, $60

Lenka The Mill, 10 Mar, $33

Sweet As Swing: Aussie Classics Re-Imagined Nexus Arts, 13 Mar, $30 Kuko Nexus Arts, 14 Mar, $15 The Deer Johns: COMA EP Launch Norwood Hotel, 15 Mar, $18 MC ME - Guilt, Fame, Love. Nexus Arts, 15 Mar, $30 Weimarian Revolution: Stories from the Shadows of 1920s Berlin The Jade, 11–12 Mar, $22.50 Eolia The Jade, 15 Mar, $20 A TRIBUTE TO THE SHADOWS - THE SHADOWCASTERS (Ft: DION ERMEN) The Jade, 13 Mar, $24 The Finns Tribute Band- Celebrating the songs of Tim & Neil Finn LION ARTS FACTORY, 13 Mar, $25 Mugenkyo Taiko Drummers The Garage International @ Adelaide Town Hall, 10 Mar, $30 The Carole King & James Taylor Story Gluttony - Masonic Lodge, 10–15 Mar, $35–$45 Words and Music for Iris Flinders St Baptist Church, 13 Mar, $20 The Furball Express - Pure Swamp Blues The Wheatsheaf Hotel, 15 Mar, $20

18:10 Back to Black: The Music of Amy Winehouse Gluttony - Rymill Park, 10–15 Mar, $35–$45

The East Pointers ‘Yours to Break’ Tour The Garden of Unearthly Delights, 10 Mar, $35

19:20

Rebel Gluttony - Rymill Park, 11–15 Mar, $33–$39

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

18:30

19:30

Soweto Gospel Choir Gluttony - Rymill Park, 10–15 Mar, $29–$42

THE WHEATSHEAF UKULELE COLLECTIVE PRESENTS: LIGHTS, CAMERA, UKULELE! The Wheatsheaf Hotel, 12–14 Mar, $25 An Austen Affair Urrbrae House, 13 Mar, $28 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, 13 Mar, $20 Mike, Dave and Dave do Tarantino Rhino Room, 14 Mar, $18 Turn Up Your Radio - Rock Arena The Alley, 13–15 Mar, $39.50 The 60 Four Norwood Concert Hall, 14 Mar, $55.95 Alaska String Band Down under Church of the Trinity, 15 Mar, $30

18:20

19:00 JOHN SMITH IN CONCERT The Garden of Unearthly Delights, 11 Mar, $30 From Paris with Love Nexus Arts, 12 Mar, $30 Mambo Italiano B. Social Restaurant, 14 Mar, $59 Rock Orchestra By The River Par 3 North Adelaide Golf Course, 14 Mar, $35 Ballads By Candlelight St Peter’s Cathedral, 14 Mar, $37 Things Of Stone And Wood The Garden of Unearthly Delights, 14 Mar, $45 Dream Boat - Party on the Popeye The Popeye Boat, 12–13 Mar, $20 Ceberano + Co. The Garden of Unearthly Delights, 15 Mar, $60 Pianist Tim Barton Urrbrae House, 14 Mar, $22

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

19:50 The Magnets 90s Rewind Gluttony - Rymill Park, 10–15 Mar, $30–$45

20:00 Just One LookThe songs and sounds of Linda Rondstadt Marion Cultural Centre, 14 Mar, $32.50 Alaska String Band Down under HAT’s Courthouse Cultural Centre Auburn, 14 Mar, $30

20:30 FACE TO FACE - The ELTON & BILLY Experience Bridgeway Hotel, 14 Mar, $45 The Merindas Tandanya National Aboriginal Cultural Institute, 12 Mar, $25 T.REX vs David Bowie The Jade, 11 Mar, $20 The Choir of Man Gluttony - Rymill Park, 10–15 Mar, $35–$58 A TRIBUTE TO THE SHADOWS - THE SHADOWCASTERS (Ft: DION ERMEN) The Jade, 10 Mar, $17 Clare Bowditch The Workshop, Adelaide Festival Centre [Adelaide Festival], 11 Mar, $49

20:40 The Dolly Parton Story Gluttony - Masonic Lodge, 10–15 Mar, $30–$45

20:50 Simply The Best: The Music of Tina Turner Gluttony - Rymill Park, 10–15 Mar, $35–$45

21:00 Never Been To Me Cafe Outside The Square, 13 Mar, $25 Lenka The Mill, 10 Mar, $33 That 90’s Show Slumber Party! Norwood Hotel, 13 Mar, $25

Whole Lotta Zepp Adelaide: Led Zeppelin II Tonsley Hotel, 14 Mar, $23 RCC CULT RCC, 13–14 Mar, $100 UTOPIA RCC, 13–14 Mar, $20 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, 10 Mar, $40 Mugenkyo Taiko Drummers The Garage International @ Adelaide Town Hall, 11–13 Mar, $35 The Monster The Mill, 11–14 Mar, $30 Lisa Gerrard & Paul Grabowsky The Workshop, Adelaide Festival Centre [Adelaide Festival], 13 Mar, $69

21:30 Truckload of Sky - The Lost Songs of David McComb RCC, 12 Mar, $35

22:00 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, 13–14 Mar, FREE

Listings

Aghaani Zamaan (Traditional Arabic Songs) Nexus Arts, 14 Mar, $25 UKE SPRINGSTEEN grace emily hotel, 10 Mar, $15 Pianist Tim Barton The Jade, 12 Mar, $22 NOLA Live NOLA Adelaide, 12 Mar, FREE Jukebox Chorus The Ultimate Australian Playlist Gluttony - Rymill Park, 10–14 Mar, $35–$49.50 Steve Reich Music for 18 Musicians RCC, 13 Mar, $40 1965 Masters Apprentices McCracken Country Club, 14 Mar, $35 Unplugged - The Acoustic Sessions Marion Cultural Centre, 12 Mar, $22 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 BESSIE * BILLIE * DINAH ~ Empress, Lady & Queen of the Blues Treasury 1860, 14 Mar, $33 Aretha - RESPECT The Gov, 12 Mar, $38 Mike, Dave and Dave do Tarantino The Wheatsheaf Hotel, 11 Mar, $18

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

22:45 Hottest 100 Dance Party Gluttony - Rymill Park, 13–14 Mar, $30

23:00 Hugh Sheridan Unplugged Gluttony - Rymill Park, 13–14 Mar, $52 Massaoke Mixtape Vol. 2 The Garden of Unearthly Delights, 13–14 Mar, $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

Weimarian Revolution: Stories from the Shadows of 1920s Berlin Sinclair’s Gully Winery, 13 Mar, $22.50 Ukulele Death Squad: The Squad Father Regal Theatre, 14 Mar, $25 DISCO INFERNO 70’s & 80’s FANCY DRESS at NORWOOD LIVE Norwood Hotel, 14 Mar, $23 Mahler / Adès Adelaide Town Hall [Adelaide Festival], 14 Mar, $35 Pianist Tim Barton Red Door Utopia community centre, 13 Mar, $22 DIVA AT DUSK Sinclair’s Gully Winery, 14 Mar, $29.50

09 :00

13:0 0

S i n g -a -l o ng an Op S h o p Op Sh op Bus, 14 Ma r, $ 3 8

Age nt N ovember Esc ape Game: M aj o r X Plo e -S hun BASEM3NT Studios, 14 –1 5 Mar, $20 ❤ Airy Botte r & The S o rc e ry S chool H e adm aster ’s Offic e Escape Ro o m H H H H The Joiner y o n Franklin, 14 –1 5 Mar, $35

09 :15 E sc a p e Ro o m Zo m b i e A p o c a l y p se Th e Pa r ks The a t res , 14 –15 Mar, $1 25

1 0:00 1 0 0 0 D o o rs H H Th e Ga rden of U n ea rthly Delig ht s , 14 –15 Ma r, $ 1 5 S E V E N SIBLIN GS FROM T H E FU T U RE MOD. a t UniSA, 1 0–1 5 M ar, FREE

1 0:45 E sc a p e Ro o m Zo m b i e A p o c a l y p se Th e Pa r ks The a t res , 14 –15 Mar, $1 25

1 1 :00 Fa m i l y Fun Day Ma ws on Lakes Hotel a n d Funct ion Centre, 15 Ma r, F REE We l l Ve rs e d 2 PBA-F M , 10 Mar, F REE

1 2:00

Interactive

E r i c P a rso ns: Tr ut h H unte r Eric Pa rsons: Tr ut h Hunter Meet in g Point, 14 Ma r, $ 23

1 2:15 E sc a p e Ro o m Zo m b i e A p o c a l y p se Th e Pa r ks The a t res , 14 –15 Mar, $1 25

14:0 0 Age nt N ovember Esc ape Game: M aj o r X Plo e -S hun BASEM3NT Studios, 14 –1 5 Mar, $20 Eric P arsons : Truth H unter Eric P arsons : Truth Hunter Meeting Po i nt, 14 Mar, $23 Esc ape Room Zo m bi e Apo c alypse The P arks T he atres, 14 –15 M a r, $125

14:30 ❤ Airy

Botte r & The S o rc e ry S chool H e adm aster ’s Offic e Escape Ro o m H H H H The Joiner y o n Franklin, 14 –1 5 Mar, $35

15:0 0 Age nt N ovember Esc ape Game: M aj o r X Plo e -S hun BASEM3NT Studios, 14 –1 5 Mar, $20 80 Days - A Real Wo rld A dvent ure ReadeBook, 14 Mar, $30

Come & Tr y Aus lan Wor ks hop T he D u ke of Br u nsw i ck , 1 5 M a r, $2 0

15: 3 0 Es cape Room Zombie Apocaly ps e T he Pa r ks T he a tres , 14 –1 5 M a r, $1 2 5

16 : 0 0 Agent November Es cape Game: Major X Ploe-Shun BAS E M 3 N T S tu d i o s , 14 –1 5 M a r, $2 0 Er ic Pars ons : Tr ut h Hunter E r i c Pa rs o ns : Tr u th Hu nte r M eeti ng Po i nt, 14 M a r, $2 3 ❤ Air y B ot ter & The Sorcer y School Headmas ter ’s O ffice Es cape Room H H H H T he Jo i ne r y o n Fra nk l i n, 14 –1 5 M a r, $3 5 Werewolves T he G a rd e n of Une a r thl y D el i g hts , 14 –1 5 M a r, $2 5 The Mus eum of Mov ing Memor ies Ad el a i d e Pa r kl a nd s Bi ke Tra i l , 14 M a r, $2 0

16 : 45 Es cape Room: Great White Killer H H Ad el a i d e E s ca p e Hu nt: E s ca p e Ro o ms & Ba r, 1 0 –1 3 M a r, $3 2

17 : 0 0 Er ic Pars ons : Tr ut h Hunter E r i c Pa rs o ns : Tr u th Hu nter M e eti ng Po i nt, 14 M a r, $2 3 1000 Doors HH T he G a rd e n of Unea r thl y D e l i g hts , 1 0 –13 M a r, $1 5 Luminar ium: Daedalum RC C , 1 0 –1 5 M ar, $1 5 .5 0

17 : 3 0 Agent Novemb er Es cape Game: Major X Ploe-Shun BAS E M 3 N T S tu d i o s , 1 3 –1 5 M a r, $2 0 Luminar ium: Daedalum RC C , 1 0 –1 5 M ar, $1 5 .5 0 ❤ Air y B ot ter & The Sorcer y School Headmas ter ’s O ffice Es cape Room H H H H T he Jo i ne r y o n Fra nk l i n, 1 3 –1 5 M a r, $3 5 Es cape Room Zombie Apocalyps e T he Pa r ks T he a tre s , 14 –1 5 Mar, $1 2 5

18: 0 0 The Mus eum of Moving Memor ies Ad e l a i d e Pa r kl a nd s Bi ke Tra il , 1 0 M a r, 1 2 M a r, 1 3 M a r, 14 M a r, $1 2– $2 0 Door way Cabaret G l u tto ny - Ry mil l Pa r k , 1 0 –1 5 M ar, F RE E

E ric Pa rso n s: Tru t h H u nter Eric P arsons: Tru t h H u nte r Me et ing Point, 13 Mar, $23 Lu min a riu m: D a ed a l u m R CC, 10–15 Mar, $15.50 ❤ Airy B ot ter & T h e S o rc ery S c h o o l H ea d ma ster’s O f f ic e E sc a p e Ro o m HHHH T he J oine ry on Frankl in, 10–12 Mar, $29 –$35 ❤ M u mmy ’s M il k HHHH T he Garde n of Une art hl y De l ight s, 10–15 Mar, $20 Fo rt N ite B a t t l e Roya l Live Gl u t tony - R ymil l P ark, 13–14 Mar, $14

18:15 E sc a p e Ro o m: Grea t Wh ite Kil l er HH Ade l aide Escape H u nt : Escape Rooms & Bar, 10–12 Mar, $32

18:20 ❤ M u mmy ’s M il k HHHH T he Garde n of Une art hl y De l ight s, 10–15 Mar, $20

1 8 : 30 Ag ent N ovemb er E sc a p e Ga me: M a jo r X Pl o e-S h u n BASEM3N T St u dios, 13–15 Mar, $20 Lu min a riu m: D a ed a l u m R CC, 10–15 Mar, $15.50

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

Fo rt N ite B a t t l e Roya l Live Gl u t tony - R ymil l P ark, 13–14 Mar, $14

18:40 ❤ M u mmy ’s M il k HHHH The Garde n of Une art hl y De l ight s, 10–15 Mar, $20

19:00 D o o rwa y Ca b a ret Gl u t tony - R ymil l P ark, 10–15 Mar, FR EE E ric Pa rso n s: Tru t h H u nter Eric P arsons: Tru t h H u nte r Me et ing Point, 13 Mar, $23 D eGO O N sta t io n D in n er Cit y of Te a Tre e Gu l l y Library, 13 Mar, $35 Pa int & S ip St u dio Vino, 13 Mar, $55 E sc a p e Ro o m Zo mb ie Ap o c a l y p se The P arks The at re s, 10–15 Mar, $125 Lu min a riu m: D a ed a l u m R CC, 10–15 Mar, $15.50 ❤ Airy B ot ter & T h e S o rc ery S c h o o l H ea d ma ster’s O f f ic e E sc a p e Ro o m HHHH The J oine ry on Frankl in, 13–15 Mar, $35 ❤ M u mmy ’s M il k HHHH The Garde n of Une art hl y De l ight s, 10–15 Mar, $20 Fo rt N ite B a t t l e Roya l Live Gl u t tony - R ymil l P ark, 13–14 Mar, $14

1 9 :1 5 M e ssa g e s fro m Beyo n d with Le a n n e W i nsto n P syc h i c Me di um Comfor t I nn Reg a l Pa rk Funct ion Room, 12–13 Ma r, $ 28

19:20 ❤ Mum my’s Mi l k H HH H Th e Ga rd en of U n ea rt hly Delig ht s , 10–15 Ma r, $ 20

1 9 :3 0 A g e nt N ove mbe r E sc a p e G ame : Major X P l o e -S h un BASEM 3 NT St ud ios , 13–15 Ma r, $ 20 ❤ Airy B ot te r & The S o rc e r y S c ho o l H e a d m a ste r’s O f f i c e E sc ape Ro o m H H H H Th e J oin ery on Fra n klin , 10–12 Ma r, $ 29–$35 Lum i n a r i u m : D a e d a l um RCC, 1 0–15 Mar, $1 5. 50 Fo r t N i te Battle Roya l L i ve Glut tony - Rymill Pa r k, 1 3 –14 Mar, $ 14

1 9 : 40 ❤ Mum my’s Mi l k H HH H Th e Ga rd en of U n ea rt hly Delig ht s , 10–15 Ma r, $ 20

20:00 D o o r wa y C a b a ret Glut tony - Rymill Pa r k, 1 0–15 Mar, F REE

Eri c P arso n s : Truth H unter Eric P arsons : Truth Hunte r Meeting Poi nt, 1 3 Mar, $23 Lum i nari um: Dae dalum RCC, 10–15 M a r, $15.50 ❤ M ummy’s M ilk H H H H The Garden of Unearthly Delights, 10–1 5 Mar, $20 Fo rt N i te Bat t le Royal Li ve Gluttony - R y mi l l P ark, 14 Mar, $14

2 0 :2 0 ❤ M ummy’s M ilk H H H H The Garden of Unearthly Delights, 10–1 5 Mar, $20

2 0 :30 A ge nt N ovember Esc ape G ame: M ajo r X P lo e -S hun BASEM3NT Studios, 13–1 5 Mar, $20 Lum i nari um: Dae dalum RCC, 10–15 M a r, $15.50 ❤ A iry Botte r & T he S o rc e ry S c hool H e admaster ’s Offi c e Esc a pe Ro o m H H H H The Joinery o n Franklin, 13–1 5 Mar, $35 Fo rt N i te Bat t le Royal Li ve Gluttony - R y mi l l P ark, 14 Mar, $14

2 0 :4 0 ❤ M ummy’s M ilk H H H H The Garden of Unearthly Delights, 10–1 5 Mar, $20

2 0 : 45

22:00

23: 30

Es cape Room Zombie Apocalyps e T he Pa r ks T he a tre s , 1 0 –1 5 M a r, $1 2 5 Singalonga Pub Q uiz Ar ka b a Hote l , 1 2 M a r, $2 5

Door way Cabaret G l u tto ny - Ry mil l Pa r k , 1 0 –1 5 M a r, F RE E Luminar ium: Daedalum RC C , 1 0 –1 5 M a r, $1 5 .5 0 ❤ Air y B ot ter & The Sorcer y School Headmas ter ’s O ffice Es cape Room H H H H T he Jo i ne r y o n Fra nk l i n, 1 3 –1 5 M a r, $3 5

❤ Airy

2 1: 0 0 Door way Cabaret G l u tto ny - Ry mi l l Pa r k , 1 0 –1 5 M a r, F RE E ❤ Air y B ot ter & The Sorcer y School Headmas ter ’s O ffice Es cape Room H H H H T he Jo i ne r y o n Fra nk l i n, 1 0 –1 2 M a r, $2 9– $3 5 Luminar ium: Daedalum RC C , 1 0 –1 5 M a r, $1 5 .5 0 ❤ Mummy ’s Milk H H H H T he G a rd e n of Unea r thl y D e l i g hts , 1 0 –1 5 M a r, $2 0 ❤ ‘Maver icks , Madnes s and Murder Mos t Foul!’ - Wes t Ter race Cemeter y by Night Tour

HHHH

Wes t Te r ra ce C emeter y, 1 3 –14 M a r, $2 8

2 1: 3 0 Agent November Es cape Game: Major X Ploe-Shun BAS E M 3 N T S tu d i o s , 1 3 –1 5 M a r, $2 0 Luminar ium: Daedalum RC C , 1 0 –1 5 M a r, $1 5 .5 0

B ot ter & T h e S o rc ery S c h o o l H ea d ma ster’s O f f ic e E sc a p e Ro o m HHHH The J oine ry on Frankl in, 13–14 Mar, $35

2 2 : 15 Es cape Room Zombie Apocalyps e T he Pa r ks T he a tre s , 1 0 –1 5 M ar, $1 2 5

22:30 ❤ Air y

B ot ter & The Sorcer y School Headmas ter ’s O ffice Es cape Room H H H H T he Jo i ne r y o n Fra nk l i n, 1 0 –1 2 M a r, $2 9– $3 5

2 2 : 45 Werewolves T he G a rd e n of Unea r thl y D e l i g hts , 1 2–14 M a r, $2 5

23:00 Door way Cabaret G l u tto ny - Ry mil l Pa r k , 1 0 –1 5 M a r, F RE E

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S i n g a l o n g a Pub Qui z A r ka b a Hotel, 12 Ma r, $ 25

Listings

15:30

17:30

Adelaide Spectacular Ballroom Dance Championship 2020 Wonderland Ballroom, 15 Mar, $55

360 ALLSTARS Gluttony - Rymill Park, 14–15 Mar, $35 CIRQUE AFRICA PROGRAM 1 CIRQUE AFRICA BIG TOP, 15 Mar, $39 The Bakers The Mill, 14–15 Mar, $25

CIRQUE AFRICA PROGRAM 1 CIRQUE AFRICA BIG TOP, 14 Mar, $39

11:00 Two Crews Space Theatre [Adelaide Festival], 12–13 Mar, $25 Hands UP! Payneham Youth Centre, 15 Mar, $26

14:00 Rouge Gluttony - Rymill Park, 14 Mar, $39 CIRCUIT Gluttony - Rymill Park, 14–15 Mar, $35 CIRQUE AFRICA PROGRAM 2 CIRQUE AFRICA BIG TOP, 15 Mar, $39

14:15 Two Crews Space Theatre [Adelaide Festival], 14 Mar, $25

14:30 CIRQUE AFRICA PROGRAM 1 CIRQUE AFRICA BIG TOP, 14 Mar, $39

14:50 Hotel Paradiso Gluttony - Rymill Park, 15 Mar, $30

15:00 Art in Motion Goodwood Institute Theatre, 15 Mar, $30

16:00 Hands UP! Payneham Youth Centre, 14 Mar, $18 CIRQUE AFRICA PROGRAM 2 CIRQUE AFRICA BIG TOP, 14 Mar, $39

16:30 The Black Blues Brothers Gluttony - Rymill Park, 15 Mar, $42

16:40 Hotel Paradiso Gluttony - Rymill Park, 13–14 Mar, $30 ❤ CIRCOLOMBIA ‘ACELERE’

HHHH

Gluttony - Rymill Park, 15 Mar, $49

18:00 360 ALLSTARS Gluttony - Rymill Park, 12–15 Mar, $35 A Belly Dance Harem Belly Dance Academy of Adelaide, 15 Mar, $15 Two Crews Space Theatre [Adelaide Festival], 11 Mar, $25

18:20 By a Thread Gluttony - Rymill Park, 10 Mar, 12 Mar, 13 Mar, 14 Mar, 15 Mar, $25–$39

18:30 CIRQUE AFRICA PROGRAM 1 CIRQUE AFRICA BIG TOP, 15 Mar, $39 Hands UP! Payneham Youth Centre, 14 Mar, $25

18:40

16:45 Idris Stanton - WHAM GLAM CIRCUS MAN! Gluttony - Rymill Park, 14–15 Mar, $22

17:00 CIRQUE AFRICA PROGRAM 2 CIRQUE AFRICA BIG TOP, 15 Mar, $39

RAILED Gluttony - Rymill Park, 11–15 Mar, $35

19:00 Art in Motion Goodwood Institute Theatre, 14–15 Mar, $30 Floating Melodies: Burlesque on a Boat MV Dolphin Explorer, 12 Mar, $60

[MIS]CONCEIVE Tandanya National Aboriginal Cultural Institute, 11–14 Mar, $25 Chasing Smoke The Garden of Unearthly Delights, 10–15 Mar, $30–$35 Enter Achilles Dunstan Playhouse [Adelaide Festival], 15 Mar, $35 Two Crews Space Theatre [Adelaide Festival], 14 Mar, $25 CIRQUE AFRICA PROGRAM 2 CIRQUE AFRICA BIG TOP, 10–14 Mar, $26–$39

19:30 Retrieve Your Jeans Restless Dance Theatre, 13–15 Mar, $20 Two Crews Space Theatre [Adelaide Festival], 10 Mar, $25

20:00 The Black Blues Brothers Gluttony - Rymill Park, 15 Mar, $39 ❤ CIRCOLOMBIA ‘ACELERE’

HHHH

Gluttony - Rymill Park, 10–15 Mar, $43–$55 SEVEN Ambassadors Hotel, 13 Mar, $30

20:10 A Simple Space Gluttony - Rymill Park, 10–15 Mar, $30–$40

20:30

22:30

❤ Blanc de

The Bakers The Mill, 12–13 Mar, $15–$25

Blanc Encore

HHHH

The Garden of Unearthly Delights, 10–15 Mar, $49–$55 CIRQUE AFRICA PROGRAM 1 CIRQUE AFRICA BIG TOP, 10–14 Mar, $26–$39

20:40 Barbaroi HHH Gluttony - Rymill Park, 10–15 Mar, $30–$35

20:45 Rouge Gluttony - Rymill Park, 10–15 Mar, $35–$46

23:00 The Otherworld: Elements Gluttony - Rymill Park, 13–14 Mar, $25 ❤ Blanc de Blanc Encore

HHHH

The Garden of Unearthly Delights, 13–14 Mar, $49

23:10 Circus’Cision Gluttony - Rymill Park, 14 Mar, $35

20:50 CIRCUIT Gluttony - Rymill Park, 12–15 Mar, $35

21:00 The Perfectly Normal Family Friendly Circus Ancient World, 12 Mar, $15

21:30 The Black Blues Brothers Gluttony - Rymill Park, 10–14 Mar, $35–$48

22:00 LOST Gluttony - Rymill Park, 10 Mar, 12 Mar, 13 Mar, 14 Mar, 15 Mar, $25–$33

22:15 ❤ WERK IT HHHH The Garden of Unearthly Delights, 10–15 Mar, $28–$36

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09:30

Listings

CASE FILE Destination Fleurieu Peninsula Playlist The Killing Kind – Marianas Trench

Kidnapping:

Features

Nina Cried Power – Hozier

6/10 – dodie

Angela – The Lumineers

Animals Stingray

Gobby

Baby goat – Frank

25+ horses

We give Jodie Irvine a day at the beach

Countless doggos

fter her first full night’s sleep since landing in Oz, Jodie Irvine is bright-eyed and bushytailed ahead of our day trip to the Fleurieu Peninsula. We swing by to pick up our unofficial tour guide Tate Simpson, and we head south along the coast. Our first stop is Ingalalla Falls. Slightly inland, the short drive is worth it for the serenity of the rock filled creek and waterfall. We take a few minutes for some low-level bouldering up the side of the waterfall before heading to High Country Trails to say hi to the locals. Simpson often volunteers her time with High Country Trails, so we’re able to meet the horses at the property including Liam – an affectionate dappled grey. Frank, a young goat, is a new addition to the property. He takes some coercing, but soon we’re cuddling on the grass.

We then make our way to Forktree Brewing and have lunch overlooking the beach and the surrounding cliffs. We taste a couple of their small brew beers, and then head to the beach. We set up camp and wander knee-deep into the crisp water. Within minutes, a stingray glides close to where we’re standing and a crowd forms along the coastline. The curious creature cuts a lap of the shore before heading back into deeper water.✏︎ Laura Desmond Thank you to High Country Trails for letting us meet your horses. VENUE: TIME: TICKETS:

Gluttony - Rymill Park 6:50pm, 27 Feb – 15 Mar, not 28, 29 Feb, 1, 2 Mar $22 – $28

PRESENT...

“THE BEST VERSION OF THE TEMPEST I HAVE EVER SEEN!”- BROADWAY BABY “BLACKADDER MEETS MONTY PYTHON”

- THE ADVERTISER FOR ‘TWELFTH NIGHT’

Fest Adelaide 2020 Issue 3

Articles inside

The Lighthouse

Frankenstein

Blanc de