Fest Adelaide 2018 Issue 2 by Fest Magazine

Your FREE Festival Guide

Reviews | Full Listings | Venue Map

1–7 March

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WRITERS’ WEEK

Director George Sully

Editor-in-Chief Rosamund West

Adelaide Editor Laura Desmond

Designer Silvia Razakova

Sales Executive Helen Ciarla

Production Manager Sarah Donley

Cover Illustration Lewis Dalby @LEWDALA

Subeditor Ben Venables

Writing Team Justin Boden, Alexis Buxton-Collins, Hannah Connell, Joe Hay, Connor Jervis-Hay, Letti Koutsouliotas-Ewing, Jess Martin, Kylie Maslen, Max Opray Acknowledgement of Country Fest acknowledges the Aboriginal and Torres Strait Islander peoples of this nation and we pay our respects to ancestors and Elders, past and present. We also acknowledge the Kaurna people as the traditional custodians of the Adelaide region and that their cultural and heritage beliefs are still as important to the living Kaurna people today. Fest is committed to honouring Australian Aboriginal and Torres Strait Islander peoples’ unique cultural and spiritual relationships to the land, waters and seas and their rich contribution to society. Radge Media Publisher Sophie Kyle Media Sales Manager Sandy Park Bookkeeping & Accounts Rebecca Sweeney

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 Lane Print & Post, Camden Park SA 5038. Distributed by passingout.com.au

Contents

Comedy

Writers’ Week & Kids’ Weekend

Find craft, content and inspiration at Adelaide Writers’ Week.

27 Victoria Falconer: Oxymoron The cabaret improviser makes up a new musical every night

Theatre 36 Dion Not all theatre’s on a stage – try the backseat of a Hyundai

Tree Top Angels

Gratte Ciel bring heavenly creatures to WOMADelaide

Cabaret 42 A Night at The Musicals

Kids

Kings of War

Condense five Shakespeare plays into one Adelaide Festival show

43 Fun House We get the thoughts of genuine children on some Fringe shows

Music R1 ROB

Art Gallery of South Australia

Elder Park

Grainger Studio

Her Majesty’s Theatre

Pioneer Women’s Memorial Garden

State Library of South Australia

The Palais

Hour-by-hour listings, and a handy map of Fringe and Festival venues

Poignant contemporary circus that doesn’t skip a beat

TH OR

Welcome to ‘The Jungle’, we’ve got songs and beer

Circus

E AC

49 Fallot (FÄ-’LŌ)

ST R

R OA

KIN G W I LLIAM

Adelaide Town Hall

Venue Map & Listings

AC E TE RR

K PA R

Adelaide Festival Centre

H UTT ROAD

PULTENEY STREET

P EACOCK R

ACE Open

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Plus:

20:20

rom Tandanya

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Feb, prices vary M Mar, 16 Mar, $20.0 prices vary Sam Simmons EM Biggies at Bertram, Dave Hughes – The RADICAL WOMEN Joshua Warrior OR Jimeoin: Ridiculous 24 Feb–10 Mar, not Snorkeler OF LATIN AMERICAN Flinders University Aboriginal Gigolo IA 26 Feb, 27 Feb, 28 The Garden of ART, 1960-1985 3 Mar, prices LPlaza, Morella Community Feb, 3 Mar, 5 Mar, 6 D Unearthly Delights, The Garden of RI vary Centre, 2 Mar, $20.0 Mar, 7 Mar, $10.0 VE 21 Feb–3 Mar, not 25 Unearthly Delights, Cameron James: Butt Donut Jason Williams Feb, 26 Feb, 27 Feb, 5–18 Mar, prices vary Chilled Out/ Black Bull Hotel, 13 - Straight from prices vary Fired Up Simon Taylor Mar, 15 Mar, 18 Mar, VI CTO the Top NickRCody IA D- LooseE Happy Times Rhino on Raj, 20–24 10 vary prices Do or Dye BarberR IV Unit The Garden of Feb, prices vary Laing: shop, 2–3 Mar, $15.0 122 Stephanie Fowler’s Live, 15–17 Unearthly Delights, Rob Hunter: Mad About the Boy DAMIAN CALLINAN Mar, prices vary 18 Feb–18 Mar, not Uncle Rob’s 10 The Producers, 3–18 & PAUL CALLEJA: 2 19 Feb, 21 Feb, 28 Cent Comedy Show Mar, not 5, 12, prices 15 Viggo Venn: Pepito THE WINE BLUFFS Feb, 7 Mar, 14 Mar, ($24) The Garden of vary Stirling Fringe, 12 prices vary Rhino on Raj, 27 Unearthly Delights,8 POR Mar, $28.0 Adelaide Fringe Feb–3 Mar, prices TR 18 Feb–4 Mar, not 19 DAMIEN POWER Comedy Showcase OA A Visit With Nan In A Feb, prices vary 18 - VIOLENT CHAOS D vary The Vines Golf Club 34 E Caravan TERRAC NORTH of Reynella, 24 Feb, ANYONE? Luke Joseph Ryan Peter Helliar - Big The Garden of 9The of 1 Garden Reintroducing 2012 40 Boy Pants 23 57 3 Mar, $30.0 RUNDLE STREET Unearthly Delights, Unearthly Delights, Cleo Bachelor of the The Garden of 18 Feb–18 Mar, not THE ULTIMATE 18 Year Nominee 6–18 Mar, not 12, 48 T 96 Unearthly Delights, STREE Y Feb, INDLE 19 COMEDY 20 Feb, 26 31 GLOVE 12 SHOW The Producers,H18 prices vary 16–18 Mar, prices T Nexus Arts, 8–10 Feb, 27 Feb, 5 Mar, 6 R AVE STREE Feb–2 Mar, not 19 varyGRENFE LL 103 MATES! A struthin’ NU E Feb, 26 Feb, prices Mar, $25.0 Mar, 12 Mar, 13 Mar, Aussie Soap Opera STREET E Jack Savage Silly CURRI $15.0 How Can I Drive to a vary Black Bull Hotel, 1 Gig B with a Bogan on 4Billy STREET Apocalypse Now! Ross Noble: El 44 Black PIRIE Bull Hotel, 4–8 70 Mar, $15.0 my Bonnet? The Mill , 16–18 Mar, Hablador Mar, $0.0 71 50%98Canadian, The Griffins Hotel, $20.0 Thebarton Theatre, 100% T Crazy, Let’s 95 ❤ Trygve 27 Feb–4 Mar, prices S STREE One Mic Stand 8–10 Mar, $45.0 FLINDER Laugh Wakenshaw & vary STREET COMEDY LIN MIC Live From Tandanya, The Beautiful FRANKOPEN 109 Barnie Duncan: 53 Howling Owl, 19 Feb, 105 Card Ninja 7–18 Mar, Bogan - Life’s Different Party T not 12, THE GC at The 26 Feb, 12 Mar, $13.0 Not Fair WAKEFIELD STREE HHHH 13, $0.0 13 6–11 German Club, The Garden of Unvarious venues,GRO 20 TEHow To Make It In STREET Tommy Little - The Mar, prices vary earthly Delights, 18 STRAYA! Feb, 23 Feb, 24 Feb, Last T King Of Stupid STR Get Sweaty with Feb–18 Mar, not 19 EE The Garden of The Griffins Hotel, 3 Mar, 10 Mar, prices ANGAS Cheryl and Chardee Feb, 26 Feb, 513 Mar, 18–25 Feb, prices vary Unearthly Delights, GOUGER STREET RAJOPOLIS at Raj 12 Mar, prices vary vary 20 Feb–3ET Mar, not 25 Impromptu TRE S GTONFeb, 26 Feb, House, 21 Feb–4T North CARRIN and prices PLATFORM 56, 2 Mar, Matt Stewart: Dry STREE WRIGH Mar,Tnot 25 Feb, 26 Clybourne: Hope Ginger Male HHH vary $20.0 Feb, $17.0 Sydney The Producers, 18 Best of Adelaide T Ivan Aristeguieta STREE FAX HALI Black Bull Hotel, 28 UnPlotted Potter Feb–2 Mar, not 19 Matador Fringe: InternationFeb, $15.0 Live From Tandanya, Feb, 26 Feb, prices al Comedy Gala The Garden of UnSTURT STREET 14–18 Mar, $23.0 vary Woah, Alyssa! 1 Stirling Community earthly Delights, 18 RAJOPOLIS at Raj Theatre, 12 Mar, Feb–18 Mar, not 19 Fabien Clark STREET ERT GILB House, 20 Feb–4 - The Newborn $23.0 Feb, 26 Feb, 5 Mar, Supremacy Mar, not 26 Feb, 12 Mar, prices vary The Producers, prices vary SOUTH TERRACE Various dates from 11 Mar to 18 Mar, prices vary

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An uproarious soirée with two fabulous hosts

Perfect Day Overwhelmed with choice? Allow Fest to guide you through a perfect evening out in Adelaide

Proof Bar

Can’t Face

9 Anster Street Gluttony

5pm

8.20pm

What are the things you can’t face? This inventive circus-come-comedy-sketch-medley skips around some big issues with a wink and a spank, blending music, acrobatics and dance in an hour that’ll disgust, titillate and make you laugh – often all at the same time.

Credit: Andre Castellucci

Ease into the evening with a vino in the quiet surrounds of this laneway bar. If the weather is nice, head upstairs to the terrace and take in the city views. Peruse the extensive wine and cocktail list, or ask the experts to mix you something straight up, with a twist.

Osteria Oggi 76 Pirie Street

Perfect Day

6pm

For the freshest pasta in Adelaide, wander into the CBD to Osteria Oggi. Be transported to Tuscany with high ceilings, smooth concrete walls, and an incredible imported wine list. Start with a freshly sliced antipasto selection before treating yourself to a generous bowl of handmade noodles.

Perfect Day

Kick Ons: The Howling Owl

Glittery Clittery: a conSENSUAL Party

10 Vaughan Place 12.30am

Credit: Kate Pardey

Race over Rundle Road from Gluttony to the Garden to catch our first five star review of the season: Fringe Wives Club’s dazzling Glittery Clittery. An urgently contemporary ‘cult feminist disco’, this is a sequinned comedy cabaret of hilarious, entertaining original songs with a bitingly confronting social agenda. Smashing the patriarchy never looked so good.

Massaoke Club La La The Garden of Unearthly Delights 11.15pm

Swiftly becoming a Fringe institution, the instantparty-in-a-box live band Massaoke will have you belting out the lyrics to even the most shameful of pop classics with your mates. Gone is the embarrassment of warbling sadly into a mic alone in a bar; join the crowd and yell the words off a massive screen while actual humans with instruments play along (sometimes with guest singers).

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9.45pm

Credit: Jia Gardiner

The Garden of Unearthly Delights

Local gin haunt The Howling Owl has an impressive selection of the finest gins from Australia and the world. Not sure what to choose? Try a gin tasting board with four different drops, each with their own botanicals for you to mix and match. There’s also a fabulous selection of local craft beers for the gin-averse.

Credit: Shane Reid

Garden of Literary Delights No writer exists in a void and whether it’s craft, content, or inspiration you need, Writers’ Week is the place to find it

Cover Feature

f the stellar line-up of authors, poets, and thinkers isn’t enough to kick-start your literary brain, a few days of relaxing in the gorgeous surrounds of the Pioneer Women’s Memorial Gardens will get you in the mood to write. Writers’ Week is Australia’s largest free literary festival featuring six days of panel discussions, interviews, and readings from local and internationally renowned authors. This year’s program features 84 writers and ranges from the short stories of Fiona McFarlane to A. C. Grayling’s philosophical essays. This event is an opportunity to ask questions to published authors, meet literary idols and discover new favourites. This is Laura Kroetsch’s final year as director of Writers’ Week and she has put together an outstanding program around the theme of change. Kroetsch’s passion for Writers’ Week is clear. “Adelaide Writers’ Week is a cultural institution, one that is beloved by its audiences,” she says. “Unlike other literary festivals it has remained dedicated to the book and growing readership for writers. [Writers’ Week] offers anyone the experience of engagement with contemporary

literature, ideas, politics, art and entertainment.” Writers’ Week is an incredibly accessible festival

“ Adelaide Writers’ Week is a cultural institution, one that is beloved by its audiences” - Laura Kroetsch – content for all ages and all tastes, adjustments to be physically accessible and free of charge. In addition, Kroetsch is “thrilled that this year we are able to live-stream three days of the event into retirement villages, schools and libraries through our partnership with Southern Cross Care and Office for the Ageing. “There are so many barriers to engaging with arts and ideas and at Writers’ Week anyone can come along. I see Writers’ Week as the best sort of com-

The focus at Writers’ Week is firmly on current literature but the panels often branch into broader social discussions to provide a barometer of culture, philosophy and politics, and Kroetsch acknowledges that we have something special here in Adelaide. “Writers’ Week is the only free writers’ festival in Australia, it offers anyone the experience of engagement with contemporary literature, ideas, politics, art and entertainment.” While the pace is laid-back, the schedule is packed with events split across two stages. Take some time to drift between panels, the book tent and café or have some time out to take in the scenery. Serendipity, sentimentality, and sanguine intellectualism seem to find a perfect balance. Anyone can head along to Writers’ Week with no plan or program only to stumble across an author whose work speaks specifically to them.

TIME:

Pioneer Women’s Memorial Garden 9.30am-6pm, 3-8 Mar

TICKETS:

FREE

VENUE:

Kids’ Weekend

Inventive and magical possibilities are brought to life with storytellers and characters to meet at Kids’ Weekend on Saturday 3 March and Sunday 4 March 2018. The Story Tent hosts an all-star lineup featuring the beloved Mem Fox, as well as Jackie French, the Little Big Book Club, a foley storytelling experience with Story Trove, and a Kamishibai – a traditional Japanese visual storytelling genre. For some interactive action, Evelyn Roth’s Nylon Zoo will this year feature a quoll and an echidna, and there will be two designers who will be working with the children to create a giant mural. “It’s always lovely to have the students from Walford Anglican School for Girls making fans with children for audiences to use throughout the week,” says Kroetsch. Under the blue sails Nest Studio will show budding artists how to publish their own book and open the door to amazing imaginary worlds. ✏

Jess Martin and Laura Desmond

TIME:

Pioneer Women’s Memorial Garden 9.30am-6pm, 3-4 Mar

TICKETS:

FREE

VENUE:

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munity event and it’s important to me to make that experience as accessible as possible.” Writers’ Week supports its writers by providing such an accessible platform for discussion and allowing careers to thrive. “We don’t’ sell tickets,” says Kroetsch, “but we do sell books and books are how writers make careers.” The anticipated standout is The Trauma Cleaner by Sarah Krasnostein, the true story of a woman who specialises in restoring order in bizarre and disturbing places. The celebrated British Pakistani author Kamila Shamsie explores the conflict of family and faith in her Booker Prize-nominated novel Home Fires. Michelle de Kretser is longlisted for the Stella Prize with The Life To Come and Alexander McCall Smith returns with a new instalment in The No. 1 Ladies’ Detective Agency series. So with such a full program, what are the absolute must-sees? “I can’t possibly pick just one,” says Kroetsch, “so don’t miss Clive Hamilton on China on 4 March, Barbara Kingsolver on 6 March or Sarah Kranostein on Thursday 8 March.”

Features

Lior Attar was born in Israel and moved to Australia at the age of 10. His solo songwriting career has seen him nominated for many ARIA awards and Triple J’s Album of the Year. This Adelaide Festival season, Lior will be showing two distinct sides to his performance work

Features

ompassion was written in collaboration with Nigel Westlake as a full orchestral work. Ancient Hebrew and Islamic texts, and also proverbs, are woven with original soaring melodies, all conveying an underlying message of hope and exhilaration. The work has toured in Australia with the major symphony orchestras and across the US with the Austin Orchestra. For the Adelaide Festival season, it has been scaled down to suit an eight piece ensemble. “I was concerned it would compromise the work, but it brings clarity. Sometimes with a full orchestra there is a lot going on at once and it can be hard to hear individual elements. This arrangement, although simplified, allows each element to be heard.” The inspiration of the piece stems from Lior’s background and childhood. Although acutely aware of the unrest in Israel, he was also exposed to the significant similarities between Hebrew and Islamic texts, and musical works. “At a philosophical level, I wanted to find a dialogue and process to move toward peace in the Middle East, but my statement is not political, it’s humanitarian. I want to make a poignant statement of compassion.” Prior to working on Compassion, Lior would sing an a cappella Hebrew hymn at the closing of his solo shows which described the sense of freedom found in compassion. Audiences would connect with the song and understand its meaning was sacred within the music, and become captivated by Lior’s ability to effortlessly and entirely inhabit it. The audience’s reactions validated the interest in pursuing these

Credit: Claudio Raschella

‘ A sense of freedom and compassion’

ancient texts. “[The audience] could get a feeling of elation or sacredness without understanding what I was saying. Through this work I explore my own timbre and style, but I am also conveying a greater sense of liberation – a sense of freedom which comes from being a more compassionate person.” Along with the two performances of Compassion, Lior also performs a solo show at The Palais showcasing his extensive back catalogue, and several pieces from his upcoming album. “I have always had a loyal following in Adelaide. The show at The Palais will be an intimate one, and I get to show the two sides of my work. I’ve always loved performing in Adelaide and I’m looking forward to hanging out for a few days.” ✏︎ Laura Desmond

SHOW VENUE: TIME: TICKETS:

Compassion Adelaide Town Hall 7.30pm, 12 Mar $30-89 Compassion UKARIA Cultural Centre times vary, 8-13 Mar $40-55 Lior The Palais 8pm, 10 Mar $69

Credit: Andy Phillipson

Features

The Choir of Man Walks into a Bar Nic Doodson tells Fest how the sprit of the British pub is universal to all countries Perry to John Farnham, the performers show vocal, instrumental and dance talent across the stage. Underlying the high energy singing and dancing is a potent message of the importance of men having a safe space to speak their minds. “Men are not culturally encouraged to talk about problems, or talk about when we’re having a hard time, or talk about depression. And we definitely acknowledge that, and we definitely talk about that, and we definitely talk about the role. Not of the physical structure of the pub, but the role of a place to do that.” As a comparison, Doodson also mentions the Australian Men’s Shed Association. Although a shed is a different kind of space to a pub – one where men can work on projects – the construct of the association’s movement is the same in encouraging open discussion and support: “Men don’t talk face to face, they talk shoulder to shoulder. Although The Choir of Man’ stage is very much “There’s a lot I think that is useful to be said designed to be a pub straight out of the English about men in a pub. Especially in this day and age countryside, Doodson – co-producer and director – of #metoo I think that it’s interesting to investigate isn’t worried about the Australian audiences feeling what men are like together and not just the stereout of place. “The English pub culture translates very otype of ‘locker room’ chat, for example.” Doodson well all over the world. And that’s not because it’s in believes that creating a positive message about supa pub or because it’s drinking, but because at its best port for one another is important. “Men are not all English pub culture is about camaraderie and about like that and certainly a lot of them aren’t. It’s about friendship. It’s about a local place of meeting to acknowledging male camaraderie and male support share stories and to share good times and bad times for each other but in a genuine way.” ✏ Laura Desmond and that translates wherever you are.” VENUE: Gluttony UK slam poet Ben Norris hosts the night, as the TIME: times vary, 16 Feb–18 Mar, not 19 Feb, 26 Feb, 5 Mar audience learn of nine boys’ heartbreaks and misfortunes, each followed by a musical number. From Katy TICKETS: prices vary

“ It’s about acknowledging male camaraderie and male support for each other but in a genuine way.”

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“Y

ou walk into the theatre,” says Nic Doodson, “and we give you the feeling of walking into a pub somewhere in England or Ireland or Scotland. As soon as you walk in the door everyone turns around and looks at you. And you realise you’ve walked into a place where everyone knows each other, but with a big smile on their face they pat you on the back and put a drink in your hand.”

Features

Tree Top Angels T

oday our eyes often focus on footpaths and phones, but Gratte Ciel’s Place des Anges encourages us to look up and transform our relationship with familiar places. Created by Stéphane Girard and Pierrot Bidon, Place des Anges is an aerial spectacle arriving at WOMADelaide. The performance will feature angel-like acrobats performing in Botanic Park. Their white feathers will, Girard says, make a fascinating contrast against the night sky. Girard explains the show as a “storm of love” but these graceful angels are far from ordinary. They are more like “characters from the circus.” For 25 years Gratte Ciel have been developing techniques to push new limits and spaces with circus. Place des Anges has been performed many times around the world. But this string of performances, Girard explains, will be “completely different.” Trading buildings for trees, WOMADelaide will be the first time Place Des Anges performs in parklands. Girard and his team are excited for the challenge and opportunity to perform in among nature and with “a new energy.” The team have been planning and preparing for months, tackling the logistics the new space brings and constructing the set. Making the performance appear seamless is credit to a multiskilled team consisting of technicians, climbers, circus performers and dancers. Although the whole idea for Place des Anges came about as a “big joke,” says Girard. But, after their first

minimal show the audience reactions inspired him and Bidon to develop the concept further.

“ These unique creatures will dance in the tree tops and ‘descend to play with the audience far below’” Now paired with world music, the performance boasts 32 crew members. This includes not only 16 acrobats, but also metres of zip lines and one tonne of feathers. The feathers meet strict European regulations regarding animal welfare and will be composted after the shows. “It’s more than a show, it’s really an experience [which] speaks of love and tenderness,” says Girard. He hopes, as people stroll into Botanic Park in the future, memories of the performance will always return, giving new meaning to the space. ✏ Hannah Connell VENUE: TIME: TICKETS:

WOMADelaide times vary, 9-12 Mar prices vary

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Features

Credit: Jan Versweyveld

By Blood a King

Features

Toneelgroep Amsterdam bring a conflation of Shakespeare’s Henry V, three Henry VI plays and Richard III to the Adelaide Festival. We chat with Dutch actor Ramsey Nasr, who plays Henry V and Richmond

Does Kings of War have anything to say about the powerful figures of our own age? “The play deals with three types of kings, so in that respect three types of leadership. I’m responsible for the first type [Henry V], the noble Christian king, but in a way his religion doesn’t seem to matter. He puts his fate and the fate of his country and of his people in a higher context, be it religious, be it political, be it in terms of society, he doesn’t do anything without checking whether it is really right to go to war, and he refrains from humiliating the enemy after he defeats them. “Then there is the second king, Henry VI. He wants to be a leader but he is too weak, he has no solidity which causes not just political riots but civil war. He is the weak king who wants to do good but is unable to. It ends up with the third king [Richard III], who is the malign king, who only thinks in terms of his own benefit. Not even his friends can rely on him, so he is a Trump figure in a way who blows up all bridges, who doesn’t care about diplomacy let alone a higher cause. It is pure cynicism and the will to get power and keep power... these three types of leadership are continuous. It has been going on like this since the Egyptians or even before, and it will go on like this until the end of mankind.”

Kings of War director Ivo Van Hove says the performance shows man at his most noble and his most perverse. Is there a dark side to your Henry V? “The historical Henry V ordered his prisoners of war all to be killed. In Shakespeare’s play he says this as an aside [and] in a way I think it is a pity that Hove or the translator left it out. At a certain moment he bluffs his way, he says to the French: ‘This is your last chance, I will forgive you, just surrender, if you don’t do it we will,’ and he sums up some horrific images – putting people on spikes, killing babies, raping 14-year-old virgins, etc. The question is, is this the king who is really willing to do it, or is he bluffing? “I call it the Mladić speech [named after the Bosnian Serb general and war criminal Ratko Mladić]. A Trump-like figure, but in war, and he doesn’t care about anything, constantly: ‘I will kill them all and I don’t care. I could kill 10,000, 20,000, 1 million. This is my style, take it or leave it, we will rape you all.’ “In a way, Henry V is bluffing his way into convincing the French that they have to surrender. He does this by pretending he is a kind of Mladić figure. It is not really a dark side of him, but shows he at least has entrance to this side. I hope the performance will be convincing in a way that you think ‘hmmm, there is a dark side to him.’”

Netflix’s remake of House of Cards, which Kings of War has been compared to, explores abuse of power, yet behind the scenes actual abuse of power was allegedly being committed by Kevin Spacey. Do the real abuses taking place in the acting world ever feed into fictional portrayals of abuse of power, such as in Kings of War? “He is the one, Richard III, who is not suffering from any conscience. He would abuse people in any way, so why not sexually? He doesn’t want to be held accountable for anything. In a way he is sort of a Trump/Weinstein figure all in one... people like Richard III, people like Hitler, it is too easy to say: ‘He was a monster, he was the personification of evil.’

“ It has been going on like this since the Egyptians or even before, and it will go on like this until the end of mankind” fest-mag.com

There has been some debate about whether Henry V would be, by modern standards, a war criminal. Do you think he deserves to be hauled in front of the International Criminal Court (ICC)? “The standards of early days are never the standards of now. You can see it in the #MeToo discussion. We are accusing people who did things in the 1970s – and they should still be accused – but there is a reason they were not accused of this in the 70s. Whether we like it or not, moral standards were different in the 60s and 70s than they are now. So I don’t know if you can impose nowadays standards to that period. Perhaps I am too little informed about that. “We could probably put all kings in front of the ICC, all Shakespearean kings, [but we need to remember that] the Henry V that Shakespeare described might not look at all like the actual one. Proof of this is in Richard III. He was not at all compared to Henry V or VI as this bad monster, that is just what Shakespeare made of him, so it’s difficult. Shakespeare’s writing was so impressive that we are confusing those images with the actual images of historical kings. Richard III was bad, but not that much worse than his predecessors.”

Features

“If we put them in a corner and say: ‘this is just evil, we don’t even have to understand’, this frees us from our duty to understand how people come to that point. This is something from old times, where they would kill and eradicate people in the most horrible way, by amputating, by raping them, by gang-raping them, by torturing them in the most horrific way. How do people get to that point? This is something we should always try to understand. “I am not making a jump from Kevin Spacey to Weinstein to Richard III to Hitler; I would be very sad if people understand me in this way. But there is a line, what does power do to people? Sometimes people did not know that they had certain desires to do something, to step over boundaries, until the moment where they got to the position where they realised they could do anything. This could increase certain desires, or even incite something, spark something, if you have the authority to do anything

because people are afraid of you: ‘Wow he’s the boss, or he might be able to give me a job later on, or is responsible for my welfare.’ This is something of all times, of all professions, all races. “I think it happens everywhere. As soon as people of ideals come into power, they will be less concerned for those whom they care about, or for the concerns that they have, less than for the will to stay in power and to use the power that they have. Power becomes an addiction and a means in itself. If you are malignant, like Richard III, like Hitler, or like Mladić, then there is no limit. If people get power, there is no limit to what they are capable of.” ✏︎ Max

Opray

VENUE:: TIME: TICKETS:

Festival Theatre [Adelaide Festival] times vary, 10–13 Mar $30-129

alia Walsh is the acrobatic mastermind behind Can’t Face, a circus and cabaret combination featuring some of Australia’s top circus acts. Walsh uses the accessibility of circus to “find the joy in the grotesque and the things that we can’t talk about. [Circus] is short, sharp, and assertive, but it’s a lot of fun,” she says. “I had a lot to say about being an adult and about women’s issues and politics and I think circus is a great medium for it. It’s so palatable.

“ We offer a bit of tease in the form of nudity, but we definitely push it a bit further” - Elena Kirschbaum “We all just want to have a laugh but there are so many terrible things going on – the Trump administration, women’s rights – but if I keep putting marshmallows in, it’s funny and we can laugh together.” Similarly, Elena Kirschbaum uses lighthearted circus to incite larger conversations by “playing with and challenging gender norms, sex, and sexuality.” After great success with Papillon, Kirschbaum is back with her new show ROUGE, which “is also just a little bit political” she says. “We offer a bit of tease in the form of nudity, but we definitely push it a bit further.” ROUGE aims to shock and excite audiences. “Lots of theatre-going adults think they’ve seen everything,” Kirschbaum says. “When you can surprise a laugh, or get them to gasp for a skill they’ve never seen before, that’s when the magic happens

Circus’cision

between audience and theatre maker.” The boys behind smash hit circus show Elixir have created a new platform to show off ‘those that made the cut’ in Circus’cision. Tom Gorham from Head First Acrobats prefers adult circus to children’s circus as “there can be more layers and complexity. Circus’cision suits our personalities and physical abilities. It also really suited our brand and style of humour we had explored previously through other shows.” Head First’s cyr wheel acrobat, Rowan Thomas, has switched up his work to suit an older audience. “Thomas’s routine kills it,” Gorham explains, “usually it has been a surprise – this is the first time the nudity is advertised – it used to be a bit of a secret.” Get along to one of the shows where, as one ROUGE review puts it: ‘everything is performed with a wink and the kind of smile that makes you want to drop your knickers and have a fiddle’. ✏︎ Laura Desmond SHOW VENUE: TIME:

ROUGE Gluttony times vary, 16 Feb–18 Mar, not 19 Feb, 26 Feb, 5 Mar, 12 Mar

TICKETS:

prices vary

SHOW

Can’t Face Gluttony 8.20pm, 16 Feb–12 Mar, not 19 Feb, 26 Feb, 5 Mar prices vary

VENUE: TIME: TICKETS:

SHOW VENUE: TIME: TICKETS:

Circus’cision Gluttony 10.50pm, various dates between 2 Mar and 17 Mar $30

fest-mag.com

Roll up, roll over, and forget everything you think you know about circus. Risky meets risqué in a swathe of adult circus acts this Fringe that are messy, sassy, and sexy as hell

Features

Circus Up Late

Photos: Elliot Oakes

Fest Adelaide Launch Party 2018

Fest Party

hat better way to launch a new festival magazine for Adelaide than with a swanky party? For Fest’s debut Australian launch event, we were graciously hosted by local gin palace The Howling Owl, whose tireless bar staff served up a delicious array of drinks from their own menu (as well as gallons of Pirate Life beer) throughout the night. Following some slick DJing from man-abouttown Adam Cope, the night’s entertainment kicked off with a few words from our Adelaide editor Laura Desmond and director George Sully. The first performer was, in fact, also Ms. Desmond, on vocals and accompanied by Alister McMichael (of Scientology The Musical fame) on guitar. This led neatly

onto Carol Cates, the dark-minded ukulele player from the winner of the weekly award for circus Can’t Face, before a cappella army Gospo Collective stormed the stage to perform hits from Jackson Vs Jackson (winner of the weekly award for music). Last, but by no means least, the volcanic Gingzilla closed off proceedings in her own inimitable style – 7 feet tall and monstrously glamorous, giving our guests a very suggestive taste of her show Glamonster VS The World. Like smashing a bottle of bubbly against the side of a boat (not that we’d encourage wasting good champagne), the good ship Fest has now, officially, launched in Adelaide. Roll on Issue 3 on Thursday 8 March – and the 2019 festivals. See you there.

Gingzilla

Gospo Collective

Carol Cates

Laura Desmond & Alister McMichael

fest-mag.com

Fest Party

Credit: Jean Louis Fernandez

Full Circle Akram Khan comes to Adelaide for one of his final performances, and finds himself thinking about his first show

Features

kram Khan’s been getting ready to say farewell to his career for some time now, but that doesn’t make it any easier. “What’s really hard is knowing that your body can’t do it – it’s like taking away your voice and I’m still grappling with it, it’s a hard process.” The rigours of the profession are such that, at 44, he feels it’s time to step away from solo performance. For Khan, with a reputation as one of the world’s greatest dancers, the future lies in collaborating with others, as he did when choreographing Until The Lions, which was part of last year’s OzAsia program. That piece retold a portion of the epic Mahabharata through the eyes of a minor female character. Now arriving at Her Majesty’s Theatre, XENOS also visits a well-known story from a new perspective, portraying the experience of an Indian soldier fighting for the British in World War I. “History is written by the victors and we take that for the truth but we never get a 360 degree perspective,” says Khan. “Enough’s enough with the world always telling stories written by the most powerful people, by the richest people. There were huge numbers of foreigners fighting for the Brits and it was hardly mentioned – it was omitted from history.” Khan collaborated with a writer and dramaturg for his final work. The result is a rich narrative that incorporates currents of the Prometheus myth and gives voice to those disenfranchised by history. ‘Xenos’ means ‘outsider’ or ‘friend’ depending on the context, and the protagonist can be either of these. But on a broader level he reflects trends that are still

shaping our world. With great upheaval – mass population movements and reactionary scaremongering – across large parts of the globe, trends that preceded the period when XENOS is set, Khan is all too aware of history repeating itself. “It’s very strange to be in a situation where we’re creating a piece about the First World War and yet the same things are happening now, a hundred years later – it’s a pretty scary time right now.”

“ Enough’s enough with the world always telling stories written by the most powerful people, by the richest people” On a personal level, XENOS is also an archival piece in the sense that it serves as something of a career retrospective. “We’re picking out a lot of materials I’ve made in the past and exploring them. So it’s not just about the Indian soldiers, it’s also about me looking back at the body of work that I’ve made and revisiting some of that – there’s one scene that actually is from the first piece that I ever made,” Khan explains ✏ Alexis Buxton-Collins VENUW: TIME: TICKETS:

Her Majesty’s Theatre [Adelaide Festival] times vary, 16–18 Mar $35–89

Underwater Love Artist Joel Cahen introduces his (literally) immersive show Wet Sounds

Features

he premise of Wet Sounds is simple: Joel Cahen creates an hour-long DJ set while a team of dancers perform. What makes it tricky is that the audience and dancers are in a swimming pool. It’s a format that the London-based artist has developed over several years and he has it down to a fine art. Because the sound is coming through multiple channels, much of it is programmed beforehand. But, as Cahen tells us: “there’s a lot of space that I can play live. I have microphones going through effects, and it depends on what kind of instrument I feel like bringing. At the moment I’ve got this flute I really dig which goes through these pedals and sounds really interesting.” There’s no real song structure, so the music is like an hour-long mixtape. Or three hour-long mixtapes, because there are different channels coming from above, around and inside the pool. By moving above and below the surface, the audience can switch between the sounds, or create a blend by bobbing on the surface with ears half in and half out of the water. Swim close to the underwater speakers and you’ll be able to feel the soundwaves vibrating through the water. And the tone actually changes as you swim around. “The sound is much richer the deeper you go, and as you get closer to the surface it kind of dissipates until you’re above the water.” As well as the audio aspect, a team of local scuba

divers will perform a part choreographed, part improvised routine underwater using costumes and props. Cahen’s a bit unsure of exactly how it will look, because as well as being half the world away, he doesn’t have a personal pool for rehearsals. But in this anything-goes show, that’s fine. As long as you remember to bring your bathers, the rest is up to you.

“ It’s not a nightclub in a traditional sense, it’s just a place to listen to music and you can dance if you want” Cahen has witnessed a range of responses over the years. “Sometimes I see people dancing underwater and pulling all kinds of shapes or just kind of relaxing, so there are really different ways that people respond to it. It’s not a nightclub in a traditional sense, it’s just a place to listen to music and you can dance if you want.” ✏ Alexis Buxton-Collins VENUW: TIME: TICKETS:

Adelaide Aquatic Centre times vary, 1–5 Mar $35

Credit: Erica Fortes

Comedy

Reviews Gimme Five

Victoria Falconer: Oxymoron «««« “There is no barrier between her and the audience; she’ll sit in your lap to play the ‘musical saw’.” p27

Viggo Venn: Pepito

Leigh Qurban: Good Effort ««««

“It’s OK to lie to your girlfriend sometimes, banks are and always will be against us and seeds don’t belong in bread.” p32

««««

John Hastings: Audacity

“This is a space where all possibilities exist and anything can happen.” p27

««««

The Truth About Jack Gramenz «««« “He’s a bit of an unknown quantity at the Fringe, but those who give him a chance will be impressed with his broad and layered sense of humour.” p31

“The observational material is tight, he’s confident, and hits his storytelling beats with puffed-chest pride.” p33

The Bean Counter HHH VENUE: TIME:

La Boheme run ended

Can you guess how many beans are in the jar?This straightforward question turns into a complex sport in The Bean Counter, a clown comedy that is perfect for kids and anybody impatient. A disarming performer and a cooperative audience can’t stop a sense of competition taking hold. Despite the emergency bean counting circumstances, Alice Mary Cooper is affable and encouraging to every ill-fated competitor. It may be galling to get worked up about an inert jar of jelly beans, but in the

end there can only be one winner. While the concept is modest, Cooper has the theatrical skills to make it excruciating. Her trepidation – and enormous bag of bean counting tools – lets you know this is serious business, complete with an Adelaide

city anthem. The Bean Counter is a lot of fun for little beans and older beans alike, but good luck guessing right when the rules of the game change by the minute. ✏︎ Jess Martin

The parody comes from his genuine understanding of the inner workings of performance; bringing out the absurdity of the piece while remaining convincing that this is close to the genuine article. A little

prior knowledge about theatre is probably required for the full experience. But, a novice would still find many aspects of the show funny and enjoy Starr’s impressive feats and acting ability. ✏︎ Connor Jervis-Hay

Garry Starr Performs Everything HHH VENUE: TIME:

The Producers 6pm, 15 Feb–2 Mar, not 19 Feb, 26 Feb

Comedy

TICKETS:

prices vary

After being kicked out of the Royal Shakespeare Company, Garry Starr wants to show the world he is still a master. And so he’s going to do the impossible and perform every genre of theatre in an hour. Starr gives a sketch comedy tour through the different styles of performance. He uses singing, dancing, acrobatics and mime to both mock and demonstrate the key ideas of all types of theatre. From well known genres to the more alternative, Starr does seem to perform everything – and does so well.

Victoria Falconer: Oxymoron HHHH VENUE: TIME: TICKETS:

RAJOPOLIS at Raj House 20–25 Feb $28

Writing a musical in front of a live audience seems ill-advised, until cabaret powerhouse Victoria Falconer tries her hand at it in Oxymoron. This is essentially a workshop for a musical comedy about

identity politics. While that makes it sound like the show should be an under-prepared hot mess, Falconer styles it out like the accomplished artist she is. And it feels like this honest and expressive performer could entertain anywhere. The venue for the show is intimate – and so is she. There is no barrier between her and the audience; she’ll sit in your lap to play the ‘musical saw’. (And this is only the beginning of a bewildering array of seductive and esoteric instruments that Falconer

has mastered.) While a comedy musical about a “bisexual, bi-racial farm girl” is not necessarily for all, Falconer maintains a relatable presence. This is an explicitly sexual, boundary-breaking show that never feels creepy, even as our improviser fellates a kazoo to Pony by Ginuwine. Expect the performance to change each day – such is the nature of improvisation – but with such a consummate artist at the reins, you won’t be disappointed.

Reviews

✏︎ Jess Martin

Viggo Venn: Pepito TIME:

various venues times vary, 15 Feb–18 Mar, not

TICKETS:

prices vary

VENUE:

fest-mag.com

HHHH

Viggo Venn’s Pepito is not your average comedy show. An absurd physical comedy and almost sketch-like at times, Venn blurs the boundaries of the standard structure. Blending music, props, mime and even loop tracks, the limits of his jokes are pushed to the absolute maximum. This is a space where all possibilities exist and anything can happen. He thrives in the uncertainty that he creates. Light audience participation, or its confused and hesitant responses, is expertly twisted to build upon the show, regardless of how awkward they may have initially seemed. Playing off the unexpected, the starting gags never truly seem to end, with the following jokes becoming layered on the top. It leaves you baffled and unsure but also in a state of

Credit: Stano Murin Photography

19 Feb, 14 Mar

anticipation for what is to come. Pepito is not a show for everyone – it may be too out there for the less adventurous. But, for fans of the bizarre and

those wanting to see how stange the Fringe can get, this absurd rollercoaster of a show is a chaotic masterpiece that rewards at every turn. ✏︎ Connor Jervis-Hay

29 Reviews

Rose Callaghan: Will You Accept This Rose? HH TIME: TICKETS:

Howling Owl 7.15pm, 20–24 Feb $27

The Bachelor and The Bachelorette reality game shows feel like easy targets for cheap jokes about bogans and dumb blondes. Rose Callaghan takes some of those quick laughs early on in Will You Accept This Rose? through some slides recapping the franchise, complete with voiceover from the host himself Osher Gunsberg. Callaghan takes a while to warm up but hits her stride when she starts to weave her own experiences of meeting contestants from the show in real life, and the audience takes glee in her fandom. But,

weaker material on trolling follows this and includes some fantastically ill-thought jokes on mental health – and these jokes do not fit the narrative of the show. She redeems herself in part through the second half as she regales us with stories from her own dating life; with relatable and

often hilarious Tinder encounters, one-night-stands gone wrong and relationship disasters. Here the material becomes far more engaging and clever, and the audience are far more invested. It’s a shame Callaghan didn’t build the whole hour around this. ✏︎ Kylie Maslen

part of the split bill almost steals the show from her host. Meanwhile, Lavoipierre’s set is confessional and blunt. It brings out empathy from the audience here tonight, who feel drawn to her while also wanting to take her under their wing. She takes a while

to warm up, but the turning point comes with a brilliant performative spot that sets the tone for the rest of the show. It needs some polish and development, but Levoipierre’s tragicomic standup is not far from being the finished stage act. ✏ Kylie Maslen

Luxury Split Bill HHH VENUE: TIME:

RAJOPOLIS at Raj House 8.30pm, 20 Feb–4 Mar, not 26 Feb

TICKETS:

prices vary

In a change from the original program, Luxury Split Bill stars Ange Lavoipierre with a rotating roster of warm-up acts instead of fellow comedian Jane Watt. Fortunately, Lavoipierre and tonight’s opener Fran Middleton’s sets complement each other well, despite their different comedic styles. An absurdist clown, Middleton’s act is both ridiculous and fun. And she’s fun to the extent that her

fest-mag.com

VENUE:

The Guilty Feminist Podcast HHH VENUE: TIME::

The Royalty Theatre run ended

"Podcasts are radio that no one stops you making", Deborah Frances-White tells the audience opening tonight’s The Guilty Feminist Podcast. It’s a quick welcome to the long-running format incorporating feminist discussion with standup comedy. Frances-White is joined by cohost for the evening, Claire Hooper, who more than holds her own.They are later joined byTessa Waters who adds bright vivaciousness to the show at the point where it begins to

grow tired. Tonight’s show is a discussion of the financial pressures faced by women. “When they say they’re talking about money,” Hooper quips, “I hope it’s for a long time. Because it’s boring.” But while Hooper gets a hearty laugh, money is the perfect topic for a show presented in a highly competitive festival where artists play a high-stakes game to share their stories. The Guilty Feminist Podcast feels like a late-night variety show in a prime time slot. It’s messy, conversational and best consumed with friends.Those not familiar with the show are right to grow restless during numerous fumbles blamed on jet lag, but this remains an entertaining night out for fans. ✏︎ Kylie Maslen

Nazeem Hussain: No Pain, No Hussain HHH VENUE:

Comedy

TIME::

The Garden of Unearthly Delights run ended

With his strine accent, it is no surprise that Nazeem Hussain is the new voice for Arnott’s biscuits. As he says, it's also no surprise that his voice was all they wanted; utilising his ocker tones to narrate an ad full of white people. So Hussain’s act goes, shrugging through the casual racism he encounters on a daily basis, his anecdotes couched within references to suburban cultural touchstones. He broaches some uncomfortable topics for many white Australians – shouldn’t we change the flag? – in a language that seems tailored

to appeal to the targets for these messages. And he peppers his gags with self-deprecation and reality TV references. Had Hussain performed this act about five years ago it would have felt dated. Another hour of rote, second-generation immigrant observational humour, complete with jokes about being mistaken for a delivery driver, impersonations

of his Sri Lankan mother’s accent and the grating voice and ideas of Pauline Hanson. But that’s the thing – jokes about Hanson aren’t dated anymore: people like her are back on top. Comedians need to once again prick the same bubbles that keep gurgling up from the deep; a service Hussain delivers with competence. ✏︎ Max Opray

VENUE: TIME:

BASEM3NT 8.30pm, 21 Feb–3 Mar, not 25 Feb, 26 Feb, 27 Feb

TICKETS:

$15

The Truth About Jack Gramenz is the first solo show the Brisbane-based comic has taken to Adelaide. As such, he’s a bit of an unknown quantity at the Fringe, but those who give him a chance will be impressed with his broad and layered sense of humour. Topics include jokes about suburban masculinity, the colonial implications of cricket, the aspirational male

Reviews

HHHH

sex drive, and his detailed punter’s analysis of a kiddie rugby matchup. Gramenz has mastered the theatrical aspects of his comedy. He speaks with a bright and animated cadence, he knows the value of a comedic beat, he has an enviable command of the segue, and he crafts seismic tonal shifts into his punchlines that enable them to hit with devastating force. This is how he gets one of his biggest laughs, strangely, off a joke about rom-com plot lines and building code violations. The truth about Jack Gramenz is that he is a solid comic with a very strong set. His crowd work might lack spontaneity, but his jokes are extremely well crafted, the performance is spot on, and his sense of humour is sharp, clever and insightful. ✏︎ Justin Boden

fest-mag.com

The Truth About Jack Gramenz

Fran Middleton – Franny Pack HHH VENUE: TIME:

The Producers 7.15pm, 15 Feb–2 Mar, not 19 Feb, 26 Feb

TICKETS:

prices vary

Fran Middleton’s Franny Pack is not an adventure for backseat viewers – she’s in your face, eccentric and absurd, even when her jokes don’t always take off. She’s not put off by a tough crowd; aided by an array of music to suit each mood, and a few unusual props, she persists with her seemingly random yet flowing skits. Changing moods and characters with every movement, her energy bounces off the walls. Her uncanny tangents resemble something of Sam Simmons’ style. Some might call this idiotic; the more open minded would find it weird and wonderful.

Her mannerisms are what get the giggles and there’s no avoiding her intense eye contact that traces the room. It’s the discomfort she draws on that fuels her performance. She

thrives off those in the front row regretting their seat choice. Though with her loving mother persona, she wins them over like everyone else. ✏︎ Hannah Connell

Leigh Qurban Good Effort HHHH VENUE: TIME:

The Producers 8.30pm, 15 Feb–2 Mar, not 19 Feb, 26 Feb

TICKETS:

prices vary

Don’t you hate it when you don’t get enough sleep at work? Leigh Qurban’s Good Effort will teach you how to change your life for the better. Or not really, it all depends on how seriously you take him. Moving on from the cringe-worthy opening act, Leigh ditches the guru disguise and comes clean: he’s just a ordinary Aussie bloke. But, he does have some wisdom to share.

Good Effort is about learning life balance and realising you can’t be an overachiever all the time. It’s OK to lie to your girlfriend sometimes, banks are and always will be against us and seeds don’t belong in bread. Bringing us back down to reality, Leigh is structured and genuine in his performance and most of his tangents are just long enough. Returning to his home town he had a good rapport with the audience, which he built on by defending little old Adelaide and putting Melbourne back in its place. If the crowd wasn’t won over already, that did the job. In the end Leigh goes full circle. After defaming motivational speakers he ends up being a pretty good one himself. ✏︎ Hannah Connell

Reuben Hunter The Hoard HHH VENUE: TIME:

The Producers 10pm, 15 Feb–2 Mar, not 19 Feb, 26 Feb

Comedy

prices vary

A disclaimer about mental health isn’t exactly how you expect a comedy show to start but this isn’t your regular standup. Starring Dora the Ex-Hoarder among others, Reuben Hunter has put together a unique and touching performance in The Hoard. More than anything, it’s a personal story about Hunter’s father’s death, in which he doesn’t hold back. Giving an insightful reflection into the years gone by, Hunter whips out (sometimes cheesy, sometimes witty) punchlines to suit any situation. It’s these little quips that keep the show light

Credit: Shaun Ferraloro

TICKETS:

while covering such a dark subject. At times you’re caught mid-chuckle, second guessing when’s appropriate to laugh and feeling slightly uncomfortable. But all of this is Hunter’s intention, surfacing the emotions we keep boxed up and making us reassess

what really matters. Sure, the show has a bit of baggage and might not be everyone’s idea of light entertainment but if you’re up for it The Hoard will show you how easy it can be to smile even when your world appears so bleak. ✏︎ Hannah Connell

33 Reviews

Justin Matson: Fatter Than You Think H TIME:

TICKETS:

BASEM3NT times vary, various dates between 15 Feb and 17 Mar $25

Instead of comedy this feels like part motivational speech and part group therapy session, and it fails at all three by floundering in a lack of humour and depressing lack of self-awareness. It doesn’t help that the warm-up was a slew of racist punchlines – chain gangs, the trail of tears, the Holocaust – that soured Justin Matson’s otherwise likeable persona. A series of stories about not fit-

ting on rollercoasters form the main narrative thread, but Matson lacks momentum and frequently resorts to a barrage of unoriginal one liners. Personal subjects are often the best fodder for comedy but Matson is clearly not at ease with opening up about his weight as a subject of ridicule. As a result he constantly shies away from the genuine or

relatable aspects of his self deprecation. All that is left is a joyless life story that it would be cruel to pass judgement on. Unfortunately, there is little sense that the content has been developed for a standup audience rather than just a maudlin and lengthy round of small talk. ✏︎ Jess Martin

fest-mag.com

VENUE:

John Hastings: Audacity HHHH VENUE: TIME:

Gluttony 9.30pm, 16 Feb–18 Mar, not 19 Feb, 26 Feb, 5 Mar, 12 Mar

TICKETS:

prices vary

John Hastings is a little surprised tonight. He claims previous nights haven’t been nearly as busy, and this is the best crowd he’s had this Fringe. If anything he’s almost fazed by us – humbled, even. But for Audacity, the observational material is tight, he’s confident, and hits his storytelling beats with puffed-chest pride. Leading the fore is his penmanship; Hastings is a lean comic writer, distilling punchlines into hardened

little jabs of wit. His arts degree background – mined briefly for a throwaway line – lends his jokecraft a pleasing theatricality, allowing him to tackle otherwise meaty issues like white privilege or police brutality with a reassuring eloquence. Where he really shines is in his sharp reactions to the audience, the surrounds and his own material. The crowd is certainly more cooperative than the surrounding sound bleed, but he incorporates the disruptions into his routine with seasoned ease. And when he stumbles with his pre-written gags, the self-referential improvisation is genuinely thrilling. A paper-thin tent at a humid festival is nobody’s best environment. But under the sweat beading from Hastings’ boyish cap this evening, there’s a standup pro finding his feet. ✏︎ George Sully

In 2014, while on holiday in Berlin, Christopher Bryant was struck by a car. He acquired a brain injury in the accident, and the rehabilitation process was difficult and ongoing. Intoxication represents part of that process. Bryant continues to contextualise the trauma of that event and come to an understanding of himself. This is a very intimate show. Bryant often eschews the microphone to deliver his monologue, leaving

the stage to sit among the audience. Such an approach complements the raw and personal nature of his tale. He spends time examining the whys and wherefores of app dating: the shallowness of connections it engenders, the focus on sex and immediate gratification, the necessary artifice of posing and posturing. This isn’t unique content for a Fringe show. But, in the repetition of these themes Bryant invites the audience to empathise with his anxieties and feelings of inadequacy. In this sense, Intoxication is about the subtle and profound ways in which the world shapes us and the deep impressions trauma leaves. But it is also about the struggle to reach out past them and make personal connections. ✏︎ Justin Boden

ing works strongly in his favour, with just a few lights, some clothes and hand-drawn signs to help paint the picture. Being an award winning slam poet, there are elements of the spoken word that land with a great deal of effectiveness. By the time Norris concludes his tale, he has shared his personal motives, his insecurities, and his

growing likeness to his father. The closeness he creates between himself and the audience is inspiring and incredibly effective. By opening up about his own communication issues, Norris sparks a conversation about relationships, family and what it means to be close to another human. ✏︎ Laura Desmond

Intoxication HHH VENUE: TIME:

RAJOPOLIS at Raj House 7.15pm, 23 Feb–4 Mar, not 26 Feb

prices vary

fest-mag.com

Credit: Sarah Walker

TICKETS:

The Hitchhiker’s Guide to the Family HHHH VENUE: TIME:

TICKETS:

Holden Street Theatres 3pm, various dates between 17 Feb and 18 Mar $25

Almost awkwardly, the audience walk in on Ben Norris packing his backpack to begin his journey. His quest is a noble one, with the best intentions – to understand his father by hitchhiking through the many towns he has lived, in reverse chronological order. Norris’ story is a relatable one – having grown up with a distant father who showed more emotion during a football (soccer) match than towards his own son. His storytelling is superb. The basic stag-

Reviews

Once Were Pirates HHH VENUE: TIME:

TICKETS:

Holden Street Theatres times vary, various dates between 23 Feb and 11 Mar $24

Two pirates marooned in the present day must navigate their way through a new and confusing world of contemporary adulthood. Where is the code of honour that unified them in the past? Once Were Pirates is a comingof-age story for adults and a laugh-out-loud buddy comedy buoyed by its script. It has an undercurrent that explores tradi-

tional masculinity, friendship, fear, entitlement and migration. David McVicar’s production is presented in-a-round of sorts. And there’s something of a Shakespearean comic tragedy to Emilie Collyer’s writing. This adaptation also includes original music by local performer Kyron Weetra, though it is not completely integrated into the work. Weetra as Shane and Joshua Mensch as Gareth are an entertaining odd-couple. Yet their boisterous performance lacks the light and shade to highlight the depth of Collyer’s work. An intimate room with stripped-back staging keeps the audience close. But, sadly it leaves little breathing room for the actors or the script. ✏︎ Kylie Maslen

Dion HHHH VENUE: TIME:

RAJOPOLIS at Raj House times vary, 23 Feb–9 Mar, not 26 Feb, 5 Mar

Theatre

prices vary

Three of us squeeze into the back of a Hyundai hatchback. Writer and director Davina April Wright is at the driver’s seat. As she pulls away, and takes us on a meandering journey through Adelaide’s East End, the car stereo narrates her break-up with her girlfriend of seven years, ‘Dion’. What follows is an intimate and ambitious share-ride exploration of heartbreak, romance, longing, bitterness, sadness, love and loss. There is a dream logic to Dion. As we travel through laneways and back alleys, we are made witness to surreal slices of ad hoc, curb-side theatre. We see people out jogging, couples in love, and watch on as a first date plays out in front of us. It

Credit: Pier Carthew

TICKETS:

all serves to cast the city in a new light, and you find yourself paying attention to all the pedestrian romances which Adelaide plays host to. The drama takes a turn for the nightmarish as the show begins to examine the darker emotions which

break forth in the aftermath of a break-up. It’s an excellent touch, which reinforces the personal nature of this show and paradoxically gives Dion universal relevance. This is profound experimental theatre with fantastic performances. ✏︎ Justin Boden

Cabaret Reviews Gimme Five Glittery Clittery: a conSENSUAL Party ««««« “Fringe Wives Club take on bitingly personal issues with both conviction and warmth.” p41

Diffusion: The Movies in my Mind «««« “Diffusion is a polished and self-actualised mix of theatre and cabaret that truly brands Cazeleon as a star.” p38

Blanc de Blanc «««« “It’s a high energy show with performers at their peak.” p41

A Night At The Musicals ««««

“Le Gateau Chocolat and Jonny Woo’s act is as polished as a tall pair of Kinky Boots.” p42

Revenge «««

“Irene Nicola throws herself into her jazzy cabaret numbers with technically astounding piano skills.” p38

Revenge

Revenge is a dish best served cold, burlesque performer and singer-songwriter Irene Nicola attempts to convey through impressive original cabaret numbers and abrasive verbal takedowns of the male gender. While Nicola’s feminist intention is clear from her opening monologue, “this show is about rage, pain, sadness, and laughing in spite of that,” the awkward execu-

tion of the first half of the act sees her message slightly lost among the more unpolished content. Salvaging the show’s beginning is Nicola’s husband reciting a crassly revised story of Little Red Riding Hood. A gruesome tale with a heroine spin by casting the beloved characters as feminist vigilantes. The reading garners plenty of laugh-out-loud responses. Even though the show may be in need of some perfecting, Nicola throws herself into her jazzy cabaret numbers with technically astounding piano skills. However, despite her impressive vocals and in-your-face brashness, Revenge lacks the female-fire that was initially promised. ✏︎ Letti K-Ewing

ly identifiable monologue by Rose McGowan about shaving her head to combat industry sexism. Showcasing their prestige as a triple-threat performer with outstanding vocal abilities and acting finesse, Cazeleon has a stage presence that demands attention. Diffusion is a polished and self-actualised mix of theatre and cabaret

that truly brands Cazeleon as a star. Concluding the performance, Cazeleon hits some emotional highnotes about gender identity and personal liberation, eliciting tears from many of the audience members. Diffusion: The Movies in my Mind is a battle cry for so many LGBTQIA++ folk who have struggled with gender identity. ✏ Letti K-Ewing

HHH VENUE: TIME: TICKETS:

La Bohème 11pm, 22 Feb, 1 Mar $35

Diffusion: The Movies In My Mind HHHH VENUE: TIME:

RAJOPOLIS at Raj House 10.45pm, 21 Feb–3 Mar, not 25–28 Feb

Cabaret

TICKETS:

$25

Self-professed chameleon of the stage, cabaret performer Cazeleon takes the helm in their one-person show embarking on a journey through cinematic history with a deeply personal twist. In this cabaret spectacular, Cazeleon employs a linear sequencing of movie eras to tell the tale of their glamazonian alter-ego thrown into the bright-lights of the ‘golden-era’ of Hollywood, and all the glitz and damnation the industry has to offer. From Chaplin-style silent films to 1940s era glamour complete with musical numbers reworked from the greats, Cazeleon constructs a clever narrative about gender politics, including the now resounding-

HHHHH VENUE:

TIME:

The Garden of Unearthly Delights 9.45pm, 16 Feb–18 Mar, not 19 Feb, 26 Feb, 5 Mar, 12 Mar

TICKETS:

prices vary

Feminist comedy hits its peak with Glittery Clittery: a conSENSUAL Party. Fringe Wives Club take on bitingly personal issues with both conviction and warmth. The trio, comprising Tessa Waters, Rowena Hutson and Victoria Falconer-Pritchard, are awe-inspiring masters of

Reviews

physical, storytelling and musical comedy respectively. They are as passionate as they are entertaining about the hairy issues of anatomy, fake allies and decorative flaps. This show knocks it out of the park. It is a raunchy, sassy, feminist call to arms. Falconer-Pritchard’s provocative exuberance balances Hutson’s earnestness and Waters’ audacious charm. Glittery Clittery is deliberately confronting at points, and the audience are welcome to leave at any time as the performers challenge social boundaries, the patriarchy and anatomical knowledge. The songs are brutally and hilariously relatable, the outfits are sequinned glory, and the anger is in the right place. This is a cult feminist disco not to miss. ✏ Jess Martin

Blanc de Blanc HHHH VENUE:

TIME:

The Garden of Unearthly Delights times vary, 16 Feb–18 Mar, not 19 Feb, 26 Feb, 5 Mar, 12 Mar

TICKETS:

prices vary

It’s clear tonight that Blanc de Blanc’s production values are high; the show is sleek, sultry and sexy. Variety entertainment powerhouse Strut & Fret are one of the biggest names in the business, and Blanc de Blanc – a show that’s now been run for over two years – has the fizz and glamour to match. Champagne is the showcase’s clear inspiration, and so the acts which play on bubbles are a delight. It keeps the crowd in good spirits (so to speak). The impressively choreographed contortion and breakdance routine, effortlessly

pulled off by Shun Sugimoto, is a highlight. The hoop set by Jess Mews is one of the tightest around (even with a dropped prop), and the penultimate duo straps piece – by couple Hampus Jansson and Milena Straczynski – is exquisite. It’s a high energy show with performers at their peak, though for some it might be nothing they haven’t seen before – and not every act hits the spot (one vocal duet is unfortunately quite piercing). This audience is lapping up every drop, however; it’s the kind of show whose interval can catch you off guard (has it already been half way?), thanks in no small part to Spencer Novich’s irreverent, selfaware banter between the acts. Despite its tendency to occasionally veer into slight cliché, Blanc de Blanc is a captivating and effervescent spectacle that’s always up for a good time. ✏ Laura Desmond

festmag.co.uk

Glittery Clittery: a conSENSUAL Party

Adulting HH VENUE: TIME: TICKETS:

Gluttony 8pm, 16–25 Feb, not 19 $25

Tash York tries to figure out life without asking her mum for help in this musical comedy about how to be an adult. If you’ve ever had chicken nuggets for dinner, or ignored a parking ticket for a little too long, this is a show speaking to you. Adulting seems tailored to the parents of millennials rather than to the younger crowd it is satirising. York is witty but also wacky for the sake of it. And, her comedic cover versions have a bit too much polish

to be relatable. While the content is sometimes quite personal, it also hits a few strange notes emotionally. The struggle of millennials tackling grown-up problems is a popular cabaret subject that other performers have handled with more

charm – Luna Eclipse’s Adult-ish comes to mind. This take on millennial entitlement comes across as somewhat generic and impersonal. York is a talented singer but her performance in Adulting feels ultimately insincere. ✏ Jess Martin

baritone and bravado in controlled operatic revisions of Disney’s Frozen, The Phantom of the Opera, and The Sound of Music. There’s an effortless back and forth between them and the show never wanes in hilarity or energy. Woo’s East London colloquialisms

and deliberately makeshift costumes contrast with the old-school drag glamour of Chocolat’s extravagantly embellished, fitted gowns. The standing ovation at the end made clear no-one was quite ready to say so long, farewell, auf Wiedersehen or goodbye. ✏ Letti K-Ewing

A Night at the Musicals HHHH VENUE:

TIME:

Cabaret

TICKETS:

The Garden of Unearthly Delights 9.35pm, various dates between 16 Feb and 18 Mar prices vary

After touring A Night at the Musicals for over two years, Le Gateau Chocolat and Jonny Woo’s act is as polished as a tall pair of Kinky Boots. Now the duo are back on the Adelaide stage with their playful homages to everyone’s favourite musical numbers. “This is where musical theatre comes to die,” teases Chocolat at one point. But, what is actually in store is an awesome revival of show tunes. Woo’s slapstick and quick wit make comedic bastardisations of Cabaret and Les Misérables. While Chocolat demonstrates both

Kids

Fun House A whirlwind of bright lights, stark colours and acrobatics, Strut & Fret’s Fun House is a sickly-sweet adventure for the whole family. Hosted by renowned clowns Trygve Wakenshaw and Spencer Novich, there’s something for everyone. Kitty (aged 4) and Lulu (aged 3) talk us through it.

What did we just see? Kitty: A show. Do you remember what it was called? K: No. [pause] A Fun House. Who were the characters? K: I don’t know. Boys and girls. What did they do on stage? K: They danced. They danced like this. Lulu (in the background showing off her dance moves): And they did this, and they did this! Did you see the hula hoops? K: Yes, I liked the hula hoops. I like the girl that was

✏ Laura Desmond with Kitty and Lulu Wanganeen VENUE: TIME: TICKETS:

The Garden of Unearthly Delights times vary, various dates until 18 Mar prices vary fest-mag.com

on that thing swinging. L: I can do the hula hoops.

Would you tell other people to go? K: Yeah. L: What’s your name? I’m Laura, don’t you remember me from last week?

Anna Cherkasova: FARRAGO HHH

TIME:

Nexus Arts 9am, until 23 March

TICKETS:

FREE

VENUE:

Anna Cherkasova has taken over Nexus Arts’ gallery space by adorning the walls with her precise black and white line-work, in an interactive installation that invites viewers of all ages to pick up a coloured pen and join in the fun. This is an evolving piece of work, meaning Cherkasova will be drawing live at the gallery each day and adding to the growing array of detailed creatures and critters already decorating the space. As its title suggests, Cherkasova has created a farrago

of illustrations that are mostly native Australian flora and fauna, but has also snuck in a few exotic animals and other enchanting surprises to entice participation and wonder. FARRAGO is a large and

impressive body of work mostly aimed at children with its collection of cute animals, but adults can just as easily enjoy the exhibit by taking a break from the monotonous and adding colour to this imaginative piece. ✏︎ Letti K-Ewing

TIME:

Gluttony times vary, 16 Feb–18 Mar, not 19 Feb, 26 Feb, 5 Mar

TICKETS:

prices vary

If you’ve been to a Fringe before – in Adelaide, Edinburgh or otherwise – chances are you’ll have seen the Soweto Gospel Choir. If not on stage, then on the streets, in variety galas, or you’ll have heard about them from friends. They’re an arts festival mainstay and an indefatigable company, with Grammys and more besides on their collective mantelpiece. Part of their continued success lies in their energetic, colourful shows, with the 20-strong choir bedecked in illustrious traditional outfits and beaming wide, expressive smiles. What makes them

Jackson Vs Jackson HHH VENUE: TIME: TICKETS:

Gluttony 16–25 Feb, not 19, 20, 21, 22 $40

It’s easy to forget, amid the carnival sawdust of the Gluttony festival site, that The Peacock tent boasts such a high production calibre. But walking in through the dry ice and seeing the spotlit choir on stage – massive lightbulb-lettered ‘JACKSON’ sign above them – you know the Gospo Collective have brought the professionalism a space like this deserves. And make no mistake, this is

a polished outfit. Some 70-plus singers flank an accomplished live band, led by the elegant Charmaine Jones-Devasagayam, with coordinated outfits and single white gloves all over the shop. Jackson Vs Jackson is – in case the name didn’t give it away – a modern gospel take on the work of the famous Jackson siblings, Michael and Janet, using mashups and medleys to unite their respective catalogues. And it’s a marvel to watch. But they could do with helping this crowd out a little more. Maybe it’s the mid-afternoon slump, may-

be the many shiny, soulful versions of the Jacksons’ R ‘n’ B and pop classics are a touch too slow (or simply unfamiliar), but this audience are a static bunch. Restless kids fidget during the ballads and parents check phones – a crying shame when the slick dance moves and awe-inspiring vocal talents on stage are a rare festival treat. The first point at which the crowd finally sings along is the Billie Jean segment in the penultimate showstopper medley – a telling sign that this is what was wanted all along. ✏ George Sully

festmag.co.uk

VENUE:

Credit: Andy Phillipson

HHH

extra important is their commitment to celebrating the linguistic and cultural diversity of not only their homeland, South Africa, but the African continent more broadly. This year the repetoire includes, alongside their gospel originals and pop interpetations, an ode to Nelson Mandela. But even right after the opening number – sung in the South African click language Xhosa – there is explicit reference to the country’s varied linguistic tapestry, relegating English to a minority position. This is Soweto’s greatest strength. It’s tough to sustain their energy – and our attention – for a full hour, and they do an admirable job, but in all a show like this is like festival sorbet. It cleanses the spiritual palate, taking us thousands of miles away from the Fringe’s surfeit of cynical comedians, self-important cabaret and anglocentric theatre. And you don’t need to understand the words for that to be effective. ✏︎ George Sully

Credit: Alice Healy

Soweto Gospel Choir

Reviews

HHHH VENUE: TIME:

Gluttony times vary, 16 Feb – 18 Mar, not 19 Feb, 26 Feb, 5 Mar

TICKETS:

prices vary

The vibe inside the tent is electric, yet incredibly welcoming. Some of the performers greet audience members on arrival, and choose a select few to join them onstage for a brew before the show begins. The opening number welcomes us to this pub – ‘The Jungle’ – with a brilliant cover of the Guns N’ Roses classic. The very skilled Ben Norris – a UK Slam Poet champion – hosts the evening with wit, charm and a lovely message about the

importance of men having a space to speak freely. As the cast members are introduced, they tell their tales of being heartbroken, being hurt and moving forwards. Underlying their incredible harmonies is a beautiful display of mateship and support between friends, which is increasingly important in the current social climate. These guys are presented as loving, emotional human beings who express themselves freely – something their frequent audience interactions illustrate time and time again. An absolute blast of a show, Choir of Man has heart, soul, and some damn talented vocalists, while providing a necessary counterpoint in today’s rapidly evolving discourse around gender and mental health. ✏︎ Laura Desmond

Credit: Andy Phillipson

Choir of Man

Massaoke Club La La HHH VENUE:

TIME:

Music

TICKETS:

The Garden of Unearthly Delights 11.15pm, various dates between 16 Feb and 17 Mar prices vary

Late night karaoke-en-masse institution Massaoke is back at the Garden. The band play some of the most well-known songs around and the audience are more than happy to come along for the ride. From the Spice Girls to Bowie, Massaoke is high energy and incessant. The songs and melodies are heavily carried by the crowd. More than once, the lead singer himself has to turn his head around to check the lyrics, which isn’t great for the immersion of the performance. Overall the seasoned band

are tight, but some of the guitar solos are lost to the bass, which is disappointing given the appeal of Massaoke is its live gig aspect (compared to the tinny ‘karaoke versions’ of songs we love to hate). Tonight’s guest appearance is the mighty Gingzilla. Though only on stage for a single song, her presence is incredibly commanding

– and even something of a relief. Many of the song choices otherwise are arguably a bit trite, with nothing out of left field, though for a feelgood pop extravaganza that’s to be expected. The entire crowd are more than happy to dance, sing and get lost in a room full of strangers, and the energy of the space is electric. ✏︎ Laura Desmond

Cabaret

VENUE: TIME:

Royal Croquet Club 9.30pm, 16 Feb–4 Mar, not 19 Feb, 20 Feb, 26 Feb, 27 Feb

TICKETS:

$28

Bound in white cloths exposing only select limbs, seemingly fragmented bodies scale the floor... This is just the beginning of a gripping hour which pushes the boundaries of femininity in circus. From the first scene you’ll hope these artists have warmed up, because the power and flexibility of the acrobatics can make those of

Reviews

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us sat still squirm with tension. It is not quite as spectacular as some circus acts, but it’s impressive. Their bodies, either intertwined or in sync, carry out acts in a less than familiar fashion with faces always covered, and as this reduces their sight it makes their feats all the more admirable. Throughout the show each woman’s identity trickles to the audience in an unorthodox celebration of the feminine body. It’s a challenge to misconceptions. Each act builds on each other and unravels a story, stripping back the layers of femininity. Some routines do seem like time fillers though. And in contrast to the intensity of the rest, this unfortunately dilutes the performance as a whole. ✏︎ Hannah Connell

festmag.co.uk

Monsteria

Fallot (FÄ-’LŌ) HHHH VENUE: TIME: TICKETS:

Royal Croquet Club 8pm, 16–25 Feb, not 19, 20 $28

Tetralogy of Fallot is a rare congenital heart problem, and the inspiration for Fallot (FÄ-’Lō) – an abstract autobiographical exploration of acrobat Marianna Joslin’s experiences with the condition. In a cruel twist, a torn knee ligament has forced Joslin to take on more sidelined duties (narration and the occasional lift). But her choreography lives on through a new recruit and the change in cast has lost none of the production’s impact. For physical shows like this it’s easy to tack on a narrative or apply meaning after the fact; in Fallot the show is the meaning, with cardiac imagery woven into every step of each act. A silks routine is

reimagined as surgical procedure; a performer’s ‘Night Girl’ doppelgänger (her alter ego when under anaesthetic) joins her on the trapeze; boisterous brothers dance with wheeled hospital privacy curtains. And the off-kilter soundtrack is glitchy, arrythmic and unsettling. It’s an enchantingly personal reinterpretation of familiar circus. And many routines pluck pairs from the quintet to explore the du-

alities of frailty and inner strength, of sleep and wake, of life and death. A wire-frame heart (hollow, but full of blood-esque silk) hangs above the stage, as a reminder. The show is, overall, an eerie portrayal of the effects a condition like that can have on the psyche, but ends on a cheery note. Through its suffering, and for want of a better expression, Fallot is full of heart. ✏︎ George Sully

A Simple Space HHHH VENUE: TIME:

Circus

TICKETS:

Royal Croquet Club times vary, various dates between 22 Feb and 18 Mar prices vary

The premise is simple: multiple bodies on an empty square set, allowing for the sheer brilliance and physical ability of the performers to shine. The acrobats themselves flick the corner lights on and off

during the show, creating height, depth and emotion throughout. The choreography of A Simple Space is commendable; a flood of figures writhing on stage, seemingly with no direction, but finessed to the finest detail. It can be hard to catch each gesture due to the constant movement and group work, but often enough an act stands out – literally – from the others. The work is solid throughout and each member of the troupe gets their time in the spotlight. The piece is paced and spaced

by small competitions – who can hold their breath for the longest, or who can make a balloon animal behind their back the fastest – which brings a joyous levity to the show. There’s a good reason A Simple Space has been touring for years. Even though Adelaide’s Gravity & Other Myths – the bright-spark company behind the show – have developed newer, bigger productions (the ambitious Backbone premiered at the 2017 Adelaide Festival), this show’s core simplicity makes it a reliable winner. ✏ Laura Desmond

Crown & Anchor Hotel

Fowler’s Live

Gluttony

Grace Emily Hotel

109

GROUNDED

Holden Street Theatres

La Boheme

115

Live From Tandanya

National Wine Centre

Nexus Arts

Queen’s Theatre - The Lab

RAJOPOLIS

Rhino on Raj

Rhino Room

122

Royal Croquet Club

The Austral Hotel

The Belgian Beer Cafe Oostende

The Garden of Unearthly Delights

The GC at the German Club

The Griffins Hotel

The Howling Owl

The Jade

125

The Kentish Hotel

103

The Producers

105

Tuxedo Cat at Broadcast Bar

AC E PA R

REE E ST

TYNT

D WAR

E STRE

R OA

ON T E FIORE R OAD

POR TR

WEST TE R RACE

ER A VEN

OA D

GLOV

KIN G W I LLIAM

Black Bull Hotel

TE RR

K BASEM3NT

122

NORTH TERRAC E

HINDLE Y STREET

CURRI E STREET

44 FRANKLIN STREET 105 GROTE STREET

VI CTOR

K ING WILLIAM STREET

Bakehouse Theatre

A CE TERR

EV R E LE F

Arts Theatre

RE ET L L ST NNE

ADELAIDE FRINGE VENUES

O'CO

GRE

4 109

ANG

WRIGHT STREET

HALIFAX

STURT STREET GILBERT STREET

HW AY

P EACOCK RO AD

SOUTH TERRACE

FLIN

WAK

GOUGER STREET

PIR

ROB

E TE RRA CE

A10

A CE TERR

AD AD RO RO RK NN PA MA 25

V RE R ST NE

U BO

ACE Open

Adelaide Festival Centre

Adelaide Town Hall

Art Gallery of South Australia

Elder Park

Grainger Studio

Her Majesty’s Theatre

Pioneer Women’s Memorial Garden

State Library of South Australia

The Palais

EY R OA

HACK N

WAKEFIELD STREET ANGAS STREE T

103

P EACOCK RO AD

H UTT ROAD

PULTENEY STREET

T EE QU E

BARTELS ROAD

CARRINGTON STREET HALIFAX STREET

115

HUT T STREET

T 4 PIRIE STREE 70 98 71 T REE ST RS FLINDE

FROM E STREET

GRENFE LL STREET

ST R

RUNDLE STREET

TR ES

61 EAST TERRACE

109

R TE

H RT

R OA

CE RA

R IVE

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IA D

FRO

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ADELAIDE FESTIVAL VENUES

ET WAKEFIE LD STRE

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T HE PARADE

14:30

Good Morning Comedy

Australia: A Whinging Poms Guide

Mercury Cinema, 6 Mar, 13 Mar, $10.0

12:00 Magical Mystery Comedy Coach Tour

East Terrace Continental, 4 Mar, 12 Mar, $55.0

13:30 laugh with baby

The Austral Hotel, Various dates from 1 Mar to 18 Mar, $20.0

13:45

The Belgian Beer Cafe Oostende, 10 Mar, 17 Mar, $20.0 Damian Callinan: Swing Man

La Bohème, 11 Mar, $15.0 Epic Darren Motorcycle Comedian

Adelaide Showground, 4 Mar, 11 Mar, $25.0

Gluttony, 17 Mar, $20.0

Fringe @ Molly’s

Mollydooker Wines, 3 Mar, $50.0

Black Bull Hotel, 3 Mar, $15.0

Ferrari : Unlimited Kilometres

The Kentish Hotel, 4 Mar, $30.0 Death At Hogwarts

Stirling Community Theatre, 11 Mar, 17 Mar, $18.0

Live From Tandanya, Various dates from 3 Mar to 18 Mar, $25.0

Getting Away Scott Free

La Bohème, 10 Mar, 17 Mar, $10.0

Best of Irish Comedy