Fest Adelaide 2019 Issue 3

Perfect Day

Schuldfabrik

Shop Front [Adelaide Festival] 4pm

Julian Hetzel’s art and theatre production Schuldfabrik is best enjoyed on a reasonably empty stomach. Purchase a bar of confessionally upcycled SELF branded soap made using human adipose tissue. Grab a ticket and check out the theatre tour to be confronted with social, moral and financial guilt.

Shobosho

17 Leigh Street 5pm

Shobosho’s seasonal menu highlights local produce using Japanese techniques such as fermenting, grilling and curing. Their balanced plates take you on a journey through noodles, bao buns and chargrilled meats. Grab a bottle of sake and be transported to Japan for a night.

Grand Finale

Festival Theatre, [Adelaide Festival] 7pm

Israeli born Hofesh Shechter is a contemporary dance choreographer, but not as you know it. Schechter has been known to call contemporary dance ‘boring’ and so his work is anything but. With bodies draped and dragged along the stage, thumping bass beats and rave dance moves, Grand Finale is set to be the least boring contemporary dance piece yet.

Credit: ben and martin photography

Credit: Rahi Rezvani

La Buvette

27 Gresham Street 8:30pm

From Japan to Paris, find the perfect bottle of French red at La Buvette. If you’ve built up an appetite, the bar snacks menu is up for grabs until late and includes French favourites escargots, duck rillettes, wild boar saucisson and cheese boards.

Ulster American

Dunstan Playhouse, [Adelaide Festival] 9:30pm

Not even 12 months old, David Ireland’s Ulster American deals with issues of identity, gender balance and consent. Being such a new play, the messages and the themes are incredibly current for a modern audience. With wit and dark humour, Ireland’s script creates a brutal and confronting space for conversation.

Bank Street Social

48 Hindley Street 11pm

Heavily featuring South Australian wine, craft beer and spirits, Bank Street Social is the perfect place to dance the night away. Score a booth toward the front end for breathing space, or cut some shapes on the d-floor in the back.

To Walk in Another’s Shoes

From within a family to crossing continents, we can learn from each others’ journeys: a truth expressed in several Adelaide Festival works this season

To journey through another’s life is a repeating theme at this year’s Adelaide Festival. The range of artistic expression encasing this idea teaches us that to take an empathetic journey should be one of our highest goals; not least because it makes us better people, but because it opens our eyes, makes us more compassionate and gives us perspective. Returning to the festival this year are celebrated contemporary artists, Gideon Obarzanek and Brian Lipson. Two Jews Walk into a Theatre... oscillates between generations, analysing father-son relationships, zeitgeist and honour. “We are very aware that the relationships we have with our fathers is something we can share with the audience,” says Lipson. “Of course, not everyone’s experience will be the same, but people can relate to it, particularly men of course.”

Two Jews Walk into a Theatre... begins with Obarzanek and Lipson, seated in the audience, playing their own fathers who discuss their sons’ upcoming performance. “The relationship starts off chummy. But they soon realise they don’t actually agree on very much… [so] the space becomes very uncomfortable,” says Obarzanek. “This dramatic tension stems from their Jewish identity – Brian’s father doesn’t want people to know he’s Jewish… and my father’s response was quite the opposite,” says Obarzanek. “But the heart of the work, or the centre of the piece I don’t think is about being Jewish. It’s about the relationship of children to their parents and how that passes through the generations.” Lipson adds, “there’s a very potent moment when you are halfway between your father and yourself and [you realise] it’s all in there, it’s all in me.”

Obarzanek and Lipson both attest to the understanding forged within them when playing their own fathers. “We both became more sympathetic toward our fathers,” says Lipson. “[My father] went to a British public school which would’ve been inherently anti-Semitic, as would’ve the army, so he had to develop a protective coat… to guard against that… I’ve never had to do that you see.”

“Each artist reveals positions, meditations and imaginative original thinking on the postcolonial world of their own experience”

– Gillian Brown

At the Samstag Museum of Art, the Adelaide// International series reminds us of our national journey. The series features exhibitions by Brook Andrew, Eugenia Lim, Lisa Reihana and Ming Wong. It deals with the migratory, colonial and international stories that have come to define Australia. “In matters of Australian history there is no end to dispute – nor it seems any consensus in sight –when considering our colonial history,” says Curator Gillian Brown. “Very thoughtfully, and in quite marvellous ways visually… each artist reveals positions, meditations and imaginative original thinking on the

Credit: Zan Wimberley

Adelaide//International

postcolonial world of their own experience…

“The 2019 Adelaide//International is about the love and recovery of Indigenous culture, and challenges questionable assumptions and the uncritically received histories of Empire. It is also about difference, marginality and displacement, and the search for personal identity amidst the suffocating flow of dominant culture.”

The exhibitions use moving image as a means to engage viewers. It’s a journey offering insight into the experience of receiving nations through the sweep of 18th and 19th century colonisation. Lim’s piece The Ambassador, “renders us outsiders,” says Brown, thus challenging any notion of cultural superiority within us. In essence, the series is dealing with the Australian-Asian narrative. It forces us, the audience, to acknowledge our national story from the perspective of others, which can be uncomfortable.

Adelaide Festival’s visual arts installation Another Life: Human Flows/Unknown Odysseys, by curators Hercules Papaioannou and Penelope Petsini, takes us on another path. This showcases photojournalism tracking the journeys of refugees from Africa and the Middle East to the Mediterranean.

“The decision for this exhibition was taken under adverse conditions: we had no budget at all, the Syrian refugee crisis in the first half of 2016 was at its most dramatic peak,” says Papaioannou. “While Greece has been receiving refugees and migrants from Iraq, Pakistan, Afghanistan and African states for quite some years, what made this crisis unique, and the photographs depicted this, was that a whole society was collapsing.”

The nature of photojournalism exhibitions is

that they offer the public a glimpse through a unique window in time. “The photographs may be amateur in quality, but they are an authentic testimony of people that went through all this,” says Papaioannou. “Greek photojournalists participating in this exhibition… were in an advantageous position: they could speak the language, communicate with the locals, knew the geographic space, and felt strongly for the case, as practically in almost every Greek family there is refugee blood,” says Papaioannou.

“The Odysseys of these people will largely remain unknown. Overall, though, if one reads through the exhibition narrative as a total, I think a story comes to the surface...

“And this is a story of the many.”

/ Emma Heidenreich

SHOW: Another Life: Human Flows/Unknown Odysseys

VENUE: Adelaide Festival Centre - Festival Theatre Foyer

TIME: 9am, 1 Mar - 17 Mar

TICKETS: FREE

SHOW: Two Jews Walk into a Theatre

VENUE: Odeon Theatre [Adelaide Festival]

TIME: times vary, 6–10 Mar

TICKETS: $30

SHOW: Adelaide//International

VENUE: Anne & Gordon Samstag Museum of Art [Adelaide Festival]

TIME: 28 Feb–17 Mar

TICKETS: FREE

Another Life: Human Flows/Unknown Odysseys

Balance of Power

Gareth Nicholls talks about adapting the provocative Ulster American for international audiences

Ulster American explores themes of power abuse, consent and gender politics.

“It will be fascinating to see if audiences in Australia respond to the play with the same energy and passion as they did in Scotland,” says director Gareth Nicholls. “I really hope, and suspect, that they will, as the comedy within it and ideas around abuse of power are truly universal.”

Although the play is set in Ireland, Nicholls isn’t concerned about a loss of translation over the seas. “It touches on universal themes such as identity and gender politics – themes that are absolutely at the forefront of people’s minds around the world with no sign of abating.”

These themes are particularly prevalent in a post #MeToo world. “What it has to say about power and entitlement in light of the #MeToo revelations is fascinating,” says Nicholls. “In fact it couldn’t be more relevant and I’m sure it will provoke some fierce conversations long into the night afterwards.”

Having premiered last year in Edinburgh, Nicholls is faced with the challenge of directing a new work and adapting it to various cultures. “We’ve been incredibly rigorous with what the piece is saying politically and culturally, spending a long time testing each

and every word and its implications within the story,” he says. “We’ve taken time with the text and that has been an incredibly rewarding process.

“Ulster American deals with abuse of power, consent and male privilege.” He adds that writer David Ireland “tackles these issues head-on with writing that’s witty, confronting and brutal, and creates a hilarious satire that exposes the characters’ grotesque nature in an utterly compelling and enlightening manner.”

The modern world is waiting for a play like Ulster American. There are references to Brexit, but Nicholls isn’t concerned that this will reduce the accessibility of the piece. “The play raises some big questions around identity – who we identify ourselves as, who other people identify us as and where the gaps are in between the two.

“We live in a period where nationalism, anti-immigration policies and bigotry seems to be on the rise around the world, but Ulster American isn’t scared to ask uncomfortable truths of its characters and the world they inhabit.” / Laura Desmond

VENUE: Dunstan Playhouse [Adelaide Festival]

TIME: times vary, 13–17 Mar

TICKETS: $40

Credit:

Sid Scott

Organised Chaos

Jascha Boyce from Gravity & Other Myths talks about the universe

After worldwide success with their particular brand of circus highlighting physical connection, Gravity & Other Myths are back home to present their new work Out Of Chaos…

The show is in its infancy but has already had several iterations. “What we’re doing at the Festival is the result of six weeks of creation in Adelaide,” says associate director and acrobat Jascha Boyce. “The original conception of the show began 12 months ago in France, but it’s evolved so much since then.

“Humans are interested in being interested in things of the world – from the smallest particles to the bigger picture, the universe,” says Boyce.

This thirst for understanding became the genesis for the show’s storyline. “Humans are interested in exploring ideas of what people need to make sense of their own world and this was the start for most of our physical conception for the show.

“There is a subtle global theme, but at the same time, to counter to the vastness of the universe, there is the common thread of Gravity & Other Myths’ trademark themes of humanity and ultra connectedness,” she says.

“Humans are interested in being interested in things of the world”

There are some interesting new technological changes to drive this greater story of human curiosity. “The tech is very new,” says Boyce. “We use a bunch of wireless lights which the cast control themselves, which is very challenging but very exciting. We also have a new musician, Ekrem Eli Phoenix, who is half Bulgarian, half Turkish. His music is a different style to anything Gravity & Other Myths has ever worked with.”

Phoenix is known for his ethereal sounds and his genre-pushing performances, which seem a great fit for Out Of Chaos... “We’ve had to rethink the entire

stage space,” laughs Boyce. “Ekrem is displayed prominently for the entire show, so we have to work around him.” Out Of Chaos… is also introducing some new members to the Gravity & Other Myths crew. “There are lots of new faces, most of the original and founding members have stepped back,” says Boyce. “There is one acrobat from the original crew who has done Backbone and A Simple Space, but a few totally new people.”

Keeping true to their roots, while also branching into philosophical storytelling and exploration, Gravity & Other Myths prove they deserve to be on the world stage. / Laura Desmond

SHOW: Scott Theatre [Adelaide Festival]

TIME: run ended

Credit: Darcy Grant

Postcolonial Shadow

Co-director Josh Bond talks about his 17-year long process to bring Man With The Iron Neck to Adelaide Festival

Ten years ago Josh Bond wrote a 20 minute one-man show about his personal experience with suicide.

Now, Man With The Iron Neck has been fleshed out, by writer Ursula Yovich, and performed as a physical theatre spectacle in Brisbane and Sydney.

“The responses have taken all our breath away,” says Bond. “We seem to be hitting all the right marks.”

Bond began working as a physical performer, which aided in the conception and creation of this production. “When I was working at festivals and surrounded by carnies and performers I heard about The Great Peters, who would throw himself off bridges, and I became fascinated,” he says. “There were such parallels between his work and what we do with our own mortality, what I had experienced. I would question it – why would someone do that? Take their own life or take those risks? That fascination lead to the idea for this show.”

“To suggest that the suicide of these kids is unrelated to the inherited trauma from this colonisation would be a grave mistake”

Man With The Iron Neck looks at suicide in a remote Indigenous community. In 2017, suicide was the leading cause of death for Indigenous youth; with far higher rates of self-harm and suicide than their non-Indigenous counterparts. “This is the direct result of living under a post-colonial regime for 130 years,” says Bond. “To suggest that the suicide of these kids is unrelated to the inherited trauma from

this colonisation would be a grave mistake.”

The story is an Indigenous one. It recognises the severely disproportionate number of First Nation people who are committing suicide, but Bond believes the historic context is no barrier to story’s accessibility. “Irrespective of [the history], even from non-Indigenous perspectives, we are all a product of our environment and our experience – both lived and inherited.

“As much as this show is about suicide, it is also much more than that,” he says. “It is about when we feel so hopeless, what are the things that remind you that life is worth it? What are the things worth hanging on to? It reminds us that we need to have that selflove, and that we are loved and capable of surviving.

“If you can see love and receive love, then you can find empathy, and therein lies humanity,” says Bond. “Coming from the place of frustration –wanting to scream about it, and I often feel quite powerless. But I guess I wanted to do what I could with the skills that I have and make something that talks about relationships and love between families.”

/ Laura Desmond

VENUE: Dunstan Playhouse [Adelaide Festival]

TIME: times vary, 8–11 Mar

TICKETS: $25

Coming Clean

Julian Hetzel, creator and director of Schuldfabrik, confesses his guilt and explains how soap is at the centre of social change

“We are all born in a place in society where we inherit certain privilege and guilt,” says Julian Hetzel, whose immersive theatre installation Schuldfabrik is making its Australian premiere at Adelaide Festival.

“As a German, I’m always thinking of ways to not keep [our history] under the carpet. This is an important way of bringing it into the open”

The installation piece, which uses human adipose tissue from liposuction surgery to create bars of soap, is “based on curiosity and research into the concept of guilt and debt. Schuld is a German word. Germans have a very specific guilt fabric that they continue working on and unpacking,” says Hetzel. “They have social, political, religious guilt. This concept of Schuld means guilt and debt, including moral, ethical and financial obligation.”

Hetzel aims to use this combination of guilt and debt to create a stimulating and provoking art piece. “Our guilt doesn’t do anything but make us feel bad,” says Hetzel. “Can we see our guilt as positive? Can we see it as a resource that we can make something productive out of?”

Human fat is closely linked to first world guilt, and was therefore the perfect embodiment of social

and moral guilt. “It is the body’s way of storing energy and there are many reasons for obesity, but we made the assumption that guilt is fat and fat is energy and energy is guilt – it is a triangle.”

After discussions with legal advisors and liposuction clinics, Hetzel found a clinic who would, with consent, donate their patients’ tissue. In the factory tour, the audience is exposed to live liposuction surgery and the resulting soap bars. “We are posing new questions and creating new guilt,” says Hetzel. “How does this guilt contribute to the auto-generative circular nature of the work? The fat is turned to soap, then to money, then water and health and life.”

All of the proceeds of the installation’s soap sales, under the label SELF, go to a not-for-profit organisation in the Democratic Republic of the Congo to create water filtration systems and increase standards of hygiene. “Hygiene is one of the most urgent needs of the world,” says Hetzel. “The fat of the rich produces soap, an artwork, and the money then goes to people in need. We also donate one bar for each sold to the same communities, so impoverished countries can cleanse themselves with the fat of the rich from first world countries.”

Audience responses have been positive, with conversations around obligation and guilt often occuring post-show. “People feel the urge to discuss and to speak and to process it,” says Hetzel. “It’s stimulating, inspiring, provoking, interesting.

“We’re preparing a spicy meal.” / Laura Desmond

VENUE: Mystery CBD Location [Adelaide Festival]

TIME:: times vary, 1–17 Mar, not 12

TICKETS: $29

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Open Minds

Director Boukje Schweigman and dancer Meryl Tankard talk about

uniting joy and play

Adelaide Festival hosts two very different shows which both offer families and younger audiences insight about the impact of boundaries, fences and walls at a time of increasing intolerance. From piles of inconspicuous white fabric, a structure is created in Blaas. With life breathed into it an immersive playful boundary between the performers and the audience forms. For director Boukje Schweigman the interactive structure makes “the poetry that such [an] abstract object provides”. She says that for each project, with designer Cocky Eek, they try to “consider everything that is possible, even if sometimes it’s completely silly”.

A sense of play is also important to Zizanie. Set to premiere at the Festival, it’s a collaboration between Australian dance luminary Meryl Tankard and local company Restless Dance Theatre. “I’ve always loved choreographing chaos,” Tankard says. “'Zizanie' means discord, mischief, chaos and messing about. I’ve used the word as a starting point.”

Restless Dance Theatre works with young people to create beautiful, memorable shows. Their previous work, Intimate Space, won multiple awards and was a true highlight of 2017’s Festival. Tankard speaks of her excitement to work with the company, that “Restless’ artists may not fit the stereotypical dancer

image but it is in their difference that you will see their beauty and creativity.”

“The best way for children to understand something is to experience it first hand” – Meryl Tankard

Blaas finds its success in challenging assumptions too. Schweigman says that the show uses “both image and sound storytelling and yet it is so abstract.” The sound, created by composer Jochem van Tol, helps to create a dialogue. “All the disciplines melt in equal importance in order to allow for people to slowly leave their thoughts behind and get closer to their physical intelligence.”

Both shows come from a place of joy but carry a clear message of celebrating difference. “The best way for children to understand something is to experience it first hand,” Tankard says. “Diversity ignites curiosity and understanding of those around

Blaas

us. The arts can influence and expand a child’s view of the world. By seeing Restless’ dancers on stage, it will allow them to question their own beliefs and diminish judgement and stereotyping.”

For the creators of Blaas, the intent was not a driving force from the start. “We never had the idea to make a work that speaks on a political level, but that is inevitable,” says Schweigman. “This piece touches the fine yet complicated illusion of borders and [also in] the ability to open them.”

The work remains subtle in how it addresses its audience. “I think children don’t [always] have the baggage yet to see all [these] layers, lucky them!” What Blaas does seek to do is give them an extraordinary encounter. “They are often enchanted by the experience or overwhelmed. [It is like] a bath for the senses, where there is nothing to do except give yourself away to a sensorial experience.”

Schweigman says she finds the strength of Blaas in that “you are not obliged to join hands and sing, but there you are in a situation where you are inevitably reminded of the pack of human beings we are. I think [the structure] reminds us [of] our human size in things, and with luck it reminds us about humility and the finite beauty in our experiences.”

After touring Europe since 2013, Blaas makes its

Australian debut here in Adelaide. “It is a great honour to be [coming] to your country with this piece that is so dear to us,” says Schweigman. “It gives us joy to know that such evocative work speaks to so many people and goes beyond the borders of language and cultural background.”

For Tankard the importance of Zizanie is in representation.

Having built “a close rapport with the dancers,” Tankard says she “realised the importance of showcasing the Restless artists’ unique bodies on stage, their striking personalities and their perspectives of the world.” By celebrating joy and childlike wonder, Tankard hopes Zizanie will help to celebrate difference. “We are not born with hate,” she says. “Racism and intolerance is created by adults.” / Kylie Maslen

SHOW: Zizanie

VENUE: Space Theatre [Adelaide Festival]

TIME: times vary, 14–17 Mar

TICKETS: $25

SHOW: Blaas

VENUE: Thomas Edmonds Opera Studio, Showgrounds [Adelaide Festival]

TIME: run ended

Photo credit: Regis Lansac Drawing credit: Chris Dyke

Zizanie

Brothers in Arms

Circus Abyssinia’s Bibi and Bichu

Tesfamariam on launching their own touring company and being asked to perform in Tim Burton’s Dumbo

Brothers Bibi and Bichu Tesfamariam quite literally ran away to join the circus. For 11 years, they were part of Circus Jimma – one of the first travelling circus troupes out of Ethiopia.

While touring the UK with Circus Jimma, they met and performed for director Tim Burton. “We were travelling the countryside and Tim Burton and his family were in the same area,” says Bibi. “He’d see the show every year, and he used to hang out after the show. He loved that we were a travelling group and he’d bring the kids every year.”

“Tim

Burton would see the show every year and hang out ”

After noticing their performance with Circus Jimma, Burton sparked a conversation about a film. “[Burton] didn’t even mention it was Dumbo to begin with,” says Bichu. “He just said he was going to direct something with circus, and we said, yeah, definitely. A year after we started creating Circus Abyssinia we got this phone call from the casting director asking if we were still interested.

“Just before the phone call we were trying to apply for funding,” says Bibi. “It was so difficult, we were running around asking people for money, and we couldn’t afford to [launch the company] at that time, but then we got this call.” From a serendipitous meeting in the countryside, a hope formed. “We

started thinking, maybe we can create a self-funded, self-producing company with no hassle,” Bibi says. “This made it possible and it worked for us. I really believe that everything happens for a reason.”

What followed was seven months of long filming days in London. “We would get make-up done and sit around all day and sometimes not even get filmed,” says Bibi. “But that’s part of the game. It was definitely an experience, but a good one and I would do it again.” And in August they performed over weekends at the Edinburgh Fringe between filming. “We worked on the film from Monday to Friday in London,” says Bichu, “then flew to Edinburgh on Friday to work the weekend at the Edinburgh Fringe, before heading back to London ready to film on Monday.”

This year the whole Circus Abyssinia troupe is back in Australia. “If you remember last time, we had a lot of trouble with visas,” Bibi laughs. “It was so easy this time.” The brothers are excited to perform their full works in Adelaide. “The show has changed,” says Bibi. “Last year we were missing a lot of guys so we couldn’t do the whole show, and we have some new acts that the audience hasn’t seen.”

The support was overwhelming. “After we had all the visa issues, honestly, the Adelaide audiences came out to support us, and we’re happy to be back to thank everyone – we really appreciate it.”

/ Laura Desmond

VENUE: Gluttony

TIME: times vary, 15 Feb – 17 Mar

TICKETS: $29 – $39

Opening Address

Writers’ Week introduced a new Opening Night Address on the theme of truth

Afresh addition to the Adelaide Writers’ Week program under Director Jo Dyer, the Opening Night Address began in prophetic fashion.

To start a week of discussions around the theme ‘Telling Truths’, the audience were greeted by extreme heat and a generous and moving Welcome to Country by Aunty Georgina.

Dyer was drawn to invite novelist Ben Okri –who gave the address – through his work in the wake of the London’s Grenfell Tower tragedy.

Okri’s address, while providing a powerful statement on troubling times, lingered on the most important freedom of all: the “freedom of one’s inner world.”

Despite politicians surrounding us with ever-increasing messages, appealing to our jealousy and fear, building intolerance and hate, Okri’s message was of literature, at its best, giving us the secrets to understanding life.

Imagination is an act of subversion, with the audience invited to join in a week of examination, discussion, to find our own truths. / Kylie Maslen

VENUE: Pioneer Women’s Memorial Garden [Adelaide Festival]

TIME: run ended

What our Star ratings mean

Five Stars

A life-changing show which tests the boundaries of the art form.

Four Stars

An excellent show. Brilliantly executed and performed.

Three Stars

Two Stars

One

Good to very good. A recommended show if not perfectly flawless.

Unremarkable. This show might be dull or clichéd. Or perhaps there was a good idea that has been poorly executed.

A show so ill-conceived, so offensive in the wrong way, that it leaves us feeling diminished as a result.

JELLY OR JAM

Jascha Boyce of famed circus troupe Gravity & Other Myths, along with Joren Dawson, has created a spellbinding show for kids – filled with wobbly jelly. Fest turns to Miranda (age 10) and Harriet (age seven) to see if this really breaks the mould

What did you think of the show?

Miranda: It was good, it was beautiful. It was sweet. It was very jelly.

Harriet: I did NOT know how they did tricks on the slippery floor!

How did it feel walking in the jelly after the show?

Both: Eewwwwgghh!!

M: It got stuck between my toes!

H: Me toooo, it was SO slippery!

What was your favourite part?

M: Probably when they were fighting over the jelly.

H: Yeah me too!

Is that like how you guys fight?

H: Nooo…. Fine, maybe yes. But no!

What did you think of the two performers?

M: Like jelly and jam. Most of the time it worked. Now that’s called a mic drop.

H: I liked it how she picked a random person but I think that was actually the person she was meant to be picking. Cos if she picked another person then they won’t be able to do it, so then it’ll be very very strange actually.

How would you describe the show in five words?

M: Sweet, beautiful, jammish, jellyish, peanut-butter.

H: Sweet… beautiful… sad… very strange. Okay, just strange…

M: “Just strange”, that’s two words!

H: Strange… scary. Scary because it was very slippery on the floor and I thought they were gonna fall down!

/ George Sully with Miranda and Harriet Hay

VENUE: RCC Fringe

TIME: run ended

Pity Party! HHHH

VENUE: A Club Adelaide TIME: run ended

When life gives you lemons, make a mad sketch show. That’s how the saying goes, right?

Frankie McNair and Miriam Slater are Sweaty Pits, a sketch duo from Canberra. Like all good comedy troupes, they seem like authentic best buds, and this is one of a few key ingredients in their winning formula. They’re a fairly new outfit but Pity Party!, their debut show, has already netted awards at other festivals in 2018 and it’s clear why. It’s inventive, it’s genuinely funny, it’s relatable and – crucially – bears an uncompromising social message that neither detracts from the humour nor feels tacked on.

What’s commendable here is that there aren’t actually that many sketches. Forgoing breadth for depth, McNair and Slater deploy a handful of skits that are acutely observed and carried by their incandescent chemistry. They tackle unrealistic beauty standards for women, gender inequality and lad

ering not just what a typical woman should be but also what’s expected of one in this country.

There’s nudity, too, and it isn’t there for shock value but is brazen and effective within the scene.

Amy Hetherington: Where They Hide The Crazy HHH

VENUE: No venue TIME: run ended

Amy Hetherington is looking to recruit people to move to the Northern Territory. But it can’t be

just anyone, they have to be the right kind of crazy.

The NT is the target of many jokes from the rest of the country and Hetherington does not shy away from it. In fact she celebrates all the things that make her home town of Darwin the truly cooked place it is.

From the infamous front pages of The NT News to jokes about butt sweat, Hetherington is self-effacing about the territory and all the stereotypes that go with it. The

effortlessly propelled by two talented friends who seem to care deeply about each other and the issues that galvanise them. Oh and there’s a great sketch with lemons. / George Sully

broader message of Where They Hide The Crazy is one of self-acceptance: Darwin gives Hetherington the confidence and ability to be the truest version of herself, and she invites the audience to accept the mad feelings within ourvelves as our own.

Not everything in this show flows and the narrative gets muddied at times. Yet, Hetherington, with her laconic drawl and laid back confidence, is an easy comic to love. / Kylie Maslen

Eve Ellenbogen: Too Much

HHH

VENUE: Rhino Room, TIME: run ended

Eve Ellenbogen has always been told she’s a bit too much – so have most women. The stories we have been brought up on tell us to keep quiet, but Ellenbogen has had enough and is here to make some noise.

Having been brought up in a house full of men after her mother passed away at a young age, Ellenbogen’s female role-models came from Disney princesses. Now in her mid-thirties, Ellenbogen pulls apart just how toxic these so-called fairytales are. With a US President diminishing women’s rights by the day, and the #MeToo movement still only scratching the surface, Ellenbogen’s material is timely.

Too Much has potential, but is patchy. It is still in development

with new material being tested, but even then the show still feels more like a club set at times rather than an exploration of the issues Ellenbogen raises.

She is an intense performer and is thrown a little on a slow night. But, nevertheless, she genuinely wants her audience to enjoy themselves and she isn’t afraid to put in the work to make sure that happens. However in the end, Too Much isn’t yet quite enough.  / Kylie Maslen

tonight, who recognise themselves and their own annoyances.

Gifted Underachiever is far

from a groundbreaking hour of comedy, but it is an enjoyable one. With consistent laughs

over the hour, Wilson’s standup feels like catching up with an old friend. / Kylie Maslen

Fiona O’Loughlin:

Gap Year HHHH

VENUE: Thebarton Theatre TIME: run ended

Gap Year... You’re thinking: Contiki tours, bug infested bunk-beds, sunburn, brownies in Amsterdam, criminal hangovers, sandy sex and strange rashes.

But for Fiona O’Loughlin, ‘gap year’ brings thoughts somewhat

different from the philandering escapades of adolescents abroad.

She’s thinking of 2016. She’s thinking about waking from a life-threatening coma at the age of 52, and the subsequent year she spent negotiating a void where she had no home, no job, no money, and a serious addiction to alcohol.

It doesn’t sound funny. But therein lies the talent of a seasoned comic: exposing humorous brightness onto the relatability of life’s darker sides.

Three years on and she’s bringing her raw and heartfelt standup show

back to her South Australian roots. There’s no denying amid a feverish, cheering and glassy-eyed audience that she’s more than cherished here – she’s a catalyst for unifying the commonality of the human struggle with genuine vulnerability.

Above all though, she’s a phenomenal storyteller with an impeccable memory. Drawing on moments from childhood to her life after recovery, it’s a humbling experience to share in these beautifully crafted tales of hardship and humour.  / Edwina Sleigh

Dolly Di*mond’s Bl*nkety Bl*nks HHH

VENUE:

TIME:

Based on the classic TV game show, Dolly Diamond’s Fringe version less quick thinking and wit.

Diamond pits two audience members against each other with several guest comedians supplying the game's incomplete statements, or blanks, for them to fill in. It gets competitive, with prizes on the line.

Tonight, Andrew Silverwood from Late Night Panel Show Balnaves from especially when firing out the most jokes while revealing the answers.

The snappy back and forth between contestants, the panel and Diamond transform the most mundane answers into great comedy. And Diamond also enjoys some solo time in the spotlight, showing off her singing talents in-between rounds.

Tonight’s show seems to end a little abruptly, which is unfortunate

as some real momentum had been created through Diamond’s sharp banter and gags, with everyone

wishing to continue enjoying the great atmosphere created with another round. / Connor Jervis-Hay

The Establishment: Le Bureau de Strange

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VENUE: The National Wine Centre

TIME: 8:30pm, 2–17 Mar

TICKETS: $22 – $26

Le Bureau de Strange is exactly that: strange.

From the minds of Dan Lees and Neil Frost comes an absurdist sketch show. And The Establishment have an unrivalled charm as well as unpre dictable comedy, with the duo easily getting everyone onboard with their brand of chaos. It becomes obvious early on that the hour doesn’t follow a normal structure.

They enhance their surrealism with improv techniques and bring the audience into some non-intrusive participation. The combo create unforeseen twists and, sometimes, drastic shifts in mood to keep everyone on their toes.

Their unique blend of styles gives the show a loose and free flowing feel. It’s to their advantage as they have clearly mastered riding this flow, pushing what works

over what doesn’t.

Once the tempo of the show is established, watching them improvise and have fun is just as much

Michael Hing: Lies I’ve Told My Therapist And Other Professionals

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VENUE: The National Wine Centre TIME: run ended

Somehow lying has never achieved Michael Hing’s goal of making him seem less awkward. Lies I’ve Told My Therapist And Other Professionals may not be universally relatable,

with jokes that hinge on fairly niche concepts – Warhammer, Hansard, and tripping on Zoloft.

Hing is extremely likeable and there are some real “oh honey” moments of vulnerability that win over the audience.

Hing knows what is funny and how it is funny, but he can’t predict how the audience will react. This show is driven by the saga of an ill-advised skit Hing wrote for SBS’s The Feed which sent viewers into a frenzy of online complaints. The audience for his

selves. It is definitely a show for the more adventurous and for fans of the bizarre. / Connor Jervis-Hay

standup are much more entertained, but Hing is still unsure why he is misunderstood.

When the jokes finally land this show is a riot. Hing is at his best when in the swing of explaining why he has lied to so many people: his counsellor, people who recognise him from TV, even inexplicably inventing a fake family while buying nerdy action figures. Ultimately this show is unstructured and the material has the potential to be much funnier than Hing delivers it. / Jess Martin

Sleeping Trees: World Tour HHHH

VENUE: The Garden of Unearthly Delights

TIME: 7pm, 15 Feb – 17 Mar

TICKETS: $25 – $32

Among many other British acts tackling Australia for the first time this year, London’s sketch trio Sleeping Trees are playing Adelaide for the whole Fringe – and seem to be loving it. It’s hard to sell insincere enthusiasm, though these impish, cheeky boys would probably be happy performing anywhere.

The youthful exuberance of Joshua George Smith, James Dunnell-Smith and John Woodburn is the motor inside World Tour, their latest (and apparently tenth) sketch composite. The conceit being that these gentlemen have been on some globetrotting adventures during the past year, and use the Campanile stage to get each other up to speed. But given that the performers’ background has been enacting surreal,

of course), that taste for the cinematic shines through in every madcap skit they inhabit.

They possess such extraordinary range (vocal, physical, comic) that you’ll scarcely believe that the deranged characters they conjure could come from such polite, well-spoken chaps. From a hostage situation flipped on its head, to a musical number sung by famous walls, to a layered aeroplane scenario, the Trees make

with zero props or staging.

The only weakness is that messy stuff before, and between, the sketches – though that’s the foil of many a sketch troupe. Fortunately the sketches themselves are tremendous flights of dark fancy, inventive and well written. They even leave the door slightly ajar to mess with each other, and it’s those snatches of improv within their tight scenes that spark the brightest. / George Sully

Odette: Baby Daddy! HHH

VENUE: The National Wine Centre

TIME: 9:45pm, 1–17 Mar, not 14

TICKETS: $15 – $21

Marina Margarita is ‘Odette’: a heavily pregnant cleaning lady who has a propensity to belt out improvised pop ballads and spends her days romanticising the cast from the Bold and the Beautiful

This one-woman-show is fast-

paced and sublimely awkward. It’s mostly a pleasure to watch Margarita literally mop up the stage with her hilarious facial expressions and purposefully uncomfortable interactions with the audience.

Unfortunately, the performance relies too heavily on these interactions and runs the risk of quickly deflating if the wrong participant is chosen.

While there are a handful of hilariously scripted moments, as a whole the show lacks unity and it’s obvious

the script is underdeveloped.

In saying that, Margarita’s performance carries the show right through til the end. Her singing –even with the exaggerated twang of the Aussie accent – is alluring and the lyrics are delivered with impeccable comedic timing. I

t’s worth going just to witness Margarita perfectly embody a fancrazed cleaning lady who’s falling for a fictionalised TV star, all while she’s on the precipice of giving birth. / Edwina Sleigh

Credit: Mark Dawson

Ben Kochan: Nice Boy Seeks Kind Audience HH

ended

On the first cold night of this Adelaide Fringe, Ben Kochan is made to work hard in front of a small audience, but sadly his material

warrants a cold shoulder. Kochan admits during Nice Boy Seeks Kind Audience that his show is more “funny sentences” than good jokes and it’s an apt description.

Kochan’s standup covers relatable material, from internet wormholes to embarrassing sex talks from the parents. Unfortunately his jokes aren’t punchy enough to be one-liners, and the lack of narrative in the show means there’s nothing really tying all these loose threads

Brett Blake: Bogan Genius HHHH

VENUE: The National Wine Centre TIME: run ended

Self-proclaimed bogan, Brett Blake takes to the stage sporting a mullet best described as a criminal dirty blow-out paying tribute to drug experimentation in the 1980s.This leaves us wondering if there’s any room beneath the hair art for genius to thrive.

And, of course, there is.

Like the intellectual greats, Blake’s got an above average IQ. He is both genius and bogan. But more importantly (given it’s a comedy show) he’s also an undeniably funny and talented storyteller. His humour is playful and witty, his demeanor is friendly and infectious which is easy to absorb within the intimate performance space.

His ability to retain relatable Aussie humour without disrupting the gods of political correctness is a relief, not to mention a tribute to, and perhaps a verification of, this so called superior intellect.

More than that though, the show

together. A table full of props are a constant distraction as the audience waits for these to be utilised, but as Kochan loses track of time not all are presented and it seems a missed opportunity to engage the crowd.

Nice Boy Seeks Kind Audience has a sense of silliness to it that could – and should – be charming, but sadly needs a lot more work. / Kylie Maslen

is an emotional and uplifting trek into the world of a younger, smaller Blake who’s struggling through school with dyslexia and ADHD. It’s about defying the odds and throwing an eraser at anyone who

tells you you’re not good enough. Just like you shouldn’t judge a book by its cover, you probably shouldn’t judge a bogan by the length of their mullet.   / Edwina Sleigh

VENUE: The National Wine Centre TIME: run

Credit: Jen Pomphery

THE DUKE

VENUE: RCC Fringe

TIME: run ended

A slice of social commentary disguised as a wildly entertaining shaggy dog story, Shôn Dale-Jones performs THE DUKE with a sense of childlike wonder at the beauty, and occasional unfairness, in the world. It’s a joyous flight of fancy

populated by exquisitely described characters; brought to life through his endearing mannerisms and wonderfully expressive eyebrows. (And this is only part one of the trilogy, with the other two episodes also showing at this year’s Fringe).

Dale-Jones regularly breaks off the story to address the audience and it’s impossible not to like the starry-eyed Welshman, such is his enthusiasm and humour. THE DUKE draws more laughs than most

Matriarch HHH

VENUE: Live From Tandanya TIME: run ended

A one-woman show by Sandy Greenwood, Matriarch is an intergenerational saga about the power and beauty of traditions, and the violence that can shatter them in a moment.

As well as telling her own story, Greenwood plays her mother, grandmother and great-grandmother at various points in their lives. She teases out the details and the key moments that shaped four generations of Gumbaynggirr women. She has a great deal of affection for these family members and inhabits each role as only someone who has heard these stories countless times can.

As she describes their lives, inhabiting the voice and mannerisms of each, their photographs are projected behind her. It’s a reminder that at times the harrowing episodes she describes are not only stories – they are a part of her

cultural heritage.

It is a show for those who love picaresque storytelling and richly detailed characters, who want to laugh and see a show with a social conscience. / Alexis Buxton-Collins

Greenwood’s mother and her thirteen siblings were part of the Stolen Generation. As well as rejoicing in the culture her ancestors gifted her, she explores the intergenerational trauma she carries within herself.

She acknowledges the privilege

of her own white skin. A privilege not afforded to her Gumbaynggirr ancestors, as well as the guilt that this brings. But this inner conflict is touched on only briefly. While these stories have power and importance, a diffuse approach to the delivery of the vignettes loses some of their impact. / Alexis Buxton-Collins comedy shows and its greatest strength is Dale-Jones' versatility. With impeccable timing he leaps from the fantastical plane that he has conjured to our world, addressing social issues in a kind, approachable manner and inviting the audience to be part of the solution.

Pussy Riot: Riot Days HHHH

VENUE: RCC Fringe TIME: run ended

Russian punk collective Pussy Riot’s theatre art piece Riot Days is a surging revolt against Putin’s dictatorship and a universal call to arms to wreak havoc on societal complacency.

Backdropped by raw video footage of the group’s protests and arrest, Maria "Masha" Alyokhina recites excerpts from her memoir. Between this roaring linear narrative the leather and denim-clad anarchists play screeching scores of their better known songs.

the group performs with all the gusto the world has come to recognise from their viral videos.

Ordinarily, Pussy Riot aren’t known for their polished musicality. But Nastya Awott adds melody to the madness on saxophone while

Performed almost entirely in Russian, the backgrounded subtitles aren’t easy to see from the mosh, so it’s not accessible to everyone; an element of irony con-

The Tiger Lillies present Edgar Allen Poe’s Haunted Palace

VENUE: RCC Fringe TIME: run ended

In theory it seems like a great fit: masters of the macabre The Tiger Lillies channel Edgar Allen Poe. The depressive, tubercular writer’s autobiography alone contains a wealth of material and his stories plumb the depths of the human condition.

Unfortunately, The Tiger Lillies eschew much of that source

material, exchanging it for bestiality jokes and a mentally challenged assistant who is locked in a cage and eats babies. In his short stories Poe evokes tension and dread, but this show instead opts for cheap gags in an attempt to shock the audience out of its torpor.

In the opening song, Martin Jacques declares himself ‘the imp of the perverse’ telling the audience repeatedly just how bad he is and hamming it up as a pantomime villain. This sets the tone for 90 long minutes. The musical backing is exquisite, making use of theremin, musical saw and the more conventional drum and bass. But the songs themselves are overly simplistic and repetitive, belying the band’s talent.

sidering their take home message: anyone can be Pussy Riot.

Ultimately, Riot Days is bold and anarchic piece in both its content and its production. Pussy Riot may be remembered for their social impact more than their music but that’s sort of the point. / Letti K-Ewing

Five years ago, the Tiger Lillies' Rime Of The Ancient Mariner foregrounded the original narrative, but this disjointed collection of scenes switches between Poe’s stories and his own life mindlessly, and lingers far too long on Jacques’ tedious character.

The sumptuous projected set looks incredible and the accompanying actors (playing the aforementioned assistant and Poe) hurtle around and through it, including in one memorable chase scene. But it’s telling that the highlight of this interminable performance comes at the very end with a musical version of The Raven that makes use of Poe’s words and actually allows time for the drama to build. Would that there were more. / Alexis Buxton-Collins

Credit: Alexander Sofeev

Blaas HHHH

VENUE: Thomas Edmonds Opera Studio, Showgrounds [Adelaide Festival]

TIME: run ended

‘Blaas’ can equally mean either blow or breath in Dutch, and this push and pull is integral to the exploration at the heart of Blaas. From humble beginnings a structure slowly increases in size, testing the trust of those beyond it. With time the audience shift from watching the inflatable structure to exploring it from inside, and it is here where the show gains pace, intensity and emotion.

The sound composition and lighting are integral to the work,

and beautiful humane touches are created by the performers which highlight the message behind the show. Some accessibility is required by audience members that is not communicated to the audience prior to the performance, and others may need to be aware of claustrophobic spaces.

Blaas walks the line of the best work made for children and families, where adults may take away an entirely different message from that of their younger counterparts but both will be equally moved.

On one hand it is a multi-sensory exploration of space, on the other a highly affecting portrayal of the migration crisis. Either way, the audience leaves amazed that so much is possible from seemingly so little. / Kylie Maslen

and legal contracts for the acqui

sition of the human fat, which is a byproduct of liposuction. A surgeon explains the medical procedure and performs liposuction on a model so realistic that one member of the audience faints.

Other rooms take the subject matter less literally and invite the audience to confess their sins or visit a sweatshop, but ultimately the aim is to make us think about how we all interact with our guilt and examine whether it can be used to make the world a better place.

It’s an appealing concept, and one that is put into action in the non-ticketed part of this installation. The performance begins and ends at SELF, a concept store selling the bars of soap and using the proceeds to provide clean drinking water for communities in the Democratic Republic of Congo. / Alexis Buxton-Collins

Credit: Geert Snoeijer

Counting and Cracking HHH

VENUE: Ridley Centre [Adelaide Festival]

TIME: run ended

The audience is told in the introduction to Counting and Cracking that the show’s 19 performers originate from 11 countries and speak nine languages. Thus begins a multigenerational

tale of Sri Lankan-Australian history, akin to that of a sweeping work of historical fiction.

Counting and Cracking is a stunning production. The staging is unique and captivating, with a subtle yet effective soundtrack performed live. The dizzying number of cast members are put to full use to play four generations of a family plus other key figures, with much of the dialogue spoken in native Tamil or Sinhalese and translated by actors slightly off-stage.

Ultimately the work is let down by trying to achieve too much. In weaving human elements into the Sri Lankan story for historical context we lose the effectiveness of either strand on its own. At three and a half hours, a more focused script would have delivered more punch in half the time. Despite this, Counting and Cracking is an affecting tale of migration, family, and cultural survival that contributes to an important contemporary discourse. / Kylie Maslen

Baba Yaga HHHH

VENUE: Queen’s Theatre [Adelaide Festival]

TIME: run ended

This production takes the traditional story of Baba Yaga, a sinister figure from Slavic folklore who, among other things, eats people and walks on chicken legs, and turns it on its head.

Here, Baba Yaga is a rowdy apartment resident who owns a motley assortment of cats and cactuses. She also has the ability to impart life-changing wisdom, in this instance on the timid concierge Vaselina.

Christine Johnston, who some might know from the musical comedy trio The Kransky Sisters, is delightful as Baba Yaga. She plays the character with the hand-rubbing glee of a pantomime villain. Elizabeth Hay does well at embod-

ying the repressed people-pleaser Vaselina – there’s a moment which is both hilarious and agonising, where Vaselina tries to do her job at the concierge desk while making as little noise as possible.

Both performers do well with the show’s original musical numbers, and it is a treat to see

La Reprise.

Histoire(s) du théâtre (I) HHH

VENUE: Space Theatre [Adelaide Festival]

TIME: run ended

In 2012, a young gay man was brutally murdered in the economically depressed Belgian town of Liège. La Reprise... purports to be a re-enactment of that crime. But part of director and playwright Milo Rau’s Ghent Manifesto is that “theatre is not a product, it is a production process” so this is also a play about the casting

and development process of that re-enactment. Throughout the performance the line between historical reality and fiction is kept intentionally blurry, reflecting the fact that only the murderers will truly know what happened.

The cast includes a number of non-professional actors and every member plays at least two roles: a character involved in the crime or its aftermath, and the actor researching and playing that character. Perhaps these elements are autobiographical but nothing can be taken for granted, and when they break the fourth wall another layer is added. Playwright and director Milo Rau is playing with the audience, most obviously when

Johnston play the musical saw. The magical elements of the story are deftly conveyed by Chris Edser’s surreal animations.

Baba Yaga delivers an imaginative recalibration of a well-worn story, as well as a rousing message about marching to the beat of your own drum. / Emma O’Connell-Doherty

he incorporates video elements and switches between live and pre-recorded segments.

The murder itself is terrifying when it arrives. Sebastien Foucault in particular delivers a disturbingly intense performance as the events are re-enacted without dialogue after the initial encounter. But the script suggests that the actor is merely a vessel for the delivery of a story, and cynically uses Ihsane Jarfi’s murder as a vehicle for its own message: that we are all complicit in the crimes that we do not stop. There’s plenty of light entertainment on offer during the Festival period. This is not it, but then it’s not meant to be. / Alexis Buxton-Collins

Credit: Rob McDougall

Sretensky Monastery Choir

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VENUE: various venues

TIME: run ended

Exhausted, sombre faces fill Adelaide Town Hall, frantically fanning themselves with tonight’s programme – a two-part performance of Russian Orthodox Divine Liturgical hymns and folk songs by Sretensky Monastery Choir. Choir Regent and conductor,

The Sex Cult Cousins LIVE! LIVE! LIVE! HHH

VENUE: The Garden of Unearthly Delights

TIME: 10:45pm, various dates between 28 Feb and 16 Mar

TICKETS: $25

If Elvis Presley had a child with a Texan drag queen, it would be something close to The Sex Cult Cousins’ frontman Tommy Bradson. Backed by Adelaide guitarist Sam Leske, Bradson sings of cocks, cults and werewolves.

Nikon Stepanovich Zhila, bows respectfully and takes quiet command of his choristers. The music immediately transports us to the Motherland: picture monks walking through ancient monastery courtyards and forest birds flying from minarets.

“Orthodox worship attempts to engage all the bodily senses, not just hearing, but to feel spiritual grandeur and the presence of heaven on earth,” says Father Peter Hill of Saint Patrick Russian Orthodox Church. To hear First Tenor, Ivan Leonov’s operatic falsetto in ‘Council of the Eternal’, one could believe

they are on Bethlehem’s hill the night of Christ’s birth.

The choir draws on a 600-yearold tradition of acapella singing that has survived war, revolution and postmodernity. A passionate, joyful energy is felt in ‘Kalinka’ and a haunting restraint in ‘Blaze Blaze My Star’. Yet it is the bassi profundi who conjure a sound so deep, one questions whether they are listening to a choir, or a living organism.

At the end of each movement, the audience sigh in unison, before an enrapturing applause.

/ Emma Heidenreich

Nudity and coarse language were promised in the show’s blurb, and expectations are high for a raucous, genre-bending experience. This three piece band, however, is doing anything but challenging the rock n roll scene. The language warning was warranted, and references to ‘Black Betty’ are swiftly flipped around to a new, filthier understanding.

The band is tight and their timing is impeccable. Leske’s fingers fly

across the fretboard with ease, but the songs themselves are basic and formulaic in their structure, making for a predictable set. These classic rock songs are catchy, and the choruses are easily sung along to. Bradson has a clear voice with gravely overtones which work well for their rock n roll style.

An acoustic ballad from Bradson breaks up the short, fast, loud pace

of the set with surprising sincerity, before breaking into another ‘banger’.

The band keeps its promise of explicit language within their set, and they are clearly talented and energetic, but they lack any message tying the set together and fail to produce genre-challenging content. Their talent, however, makes for an enjoyable yet emulative experience. / Laura Desmond

Credit: David Jobling

You’ve Got a Friend HHHH

VENUE: La Bohème

TIME: 6pm, 15 Mar

TICKETS: $28

Many remember the iconic, sweet melancholy induced by the music of Carole King. The sold-out sign outside Victoria Traeger’s tribute show speaks of the significance of King’s multiplatinum album Tapestry to a

Reverend Billy and the Stop Shopping Choir HHH

VENUE: RCC Fringe

TIME: run ended

You first encounter Reverend Billy greeting his congregation on the steps of his church in a hot pink suit, crocodile smile, and an eye for sin. Not the sin of unholy sexual desire, but the rampant destruction and degradation caused by our modern capitalist consumer society.

Supporting his passionate call for change, the Stop Shopping Choir challenges the audience between sermons about the poison of unchecked consumption and the virtues of consumer absti nence. Reverend Billy’s sermons don’t drag, they are passionate and to the point and although the message is heavy, the pace, accompanying choir and musical arrangements keeps it positive and full of energy.

generation. “These songs are our friends,” says Traeger. “Tapestry has touched millions of people, the songs are woven into our lives and live on through peoples’ stories.”

In the intimate setting of the old Railway Hotel we might be in a living room, even if on a 30° night. Songs such as You’ve Got a Friend, It’s Too Late and Will You Love Me Tomorrow, which became a constant in people’s lives, are revived tonight.

Traeger immerses herself in Carole King, giving credence to

the husky, simple melodies and the piano power chords we know and love. Stand-out performances include Way Over Yonder, during which Traeger’s daughter, Mae, joins the group on violin.

As well as an encore performance of Up on the Roof, showcasing the bluesy quality of Traeger’s lead guitarist and taking us back a few decades, to bask in the glorious pop rock era which saw no end of fabulous musicians. Musicians who have had such an indelible impact on us all. / Emma Heidenreich

The Stop Shopping Choir is

initially loose and its messages are sometimes lost in the choral arrangements but they quickly tighten as the themes develop and individual strengths emerge. Between the choir performances,

the audience is entertained by solo vocalists, showcasing the talent and depth of this impressive group.

An important message delivered by a performance filled with passion, rhythm and soul. / Joe Hay

Thirteen Ways to Look at Birds HHHH

VENUE: Adelaide Town Hall [Adelaide Festival]

TIME: run ended

Perfect in its simplicity, grace and execution. Paul Kelly lends his iconic Australian voice to 13 diverse poems about birds, and by doing so, he not only brings them back to life, he reimagines them for a new, contemporary audience. Watching the performance, you can easily believe they were drawn from Kelly’s varied back catalogue by the ease and joy in which he approaches each poem.

Sharing the stage with Kelly

winning musicians James Ledger, Alice Keath and the Seraphim Trio, who vividly paint the humour, perseverance and mystery of each bird and the fear, wonderment and ecstasy of the author.  By breathing life back into these poems, the

in celebrating the joy of nature and its importance to people, it also manages to remind us of the beauty, lyricism and power of prose and the connection it can create with the natural living world. / Joe Hay

The Magic Flute HHHH

VENUE: Festival Theatre [Adelaide Festival]

TIME: run ended

The Komische Oper Berlin production takes an innovative approach to Mozart’s 227-year-old opera. Performers enter the stage via multiple rotating doors on a large blank wall, onto which are projected animations by the production company 1927. The visual look of The Magic Flute is playful, and both the costuming and digital projections hark back to silent films and Weimar-era Germany. The projections execute several visual gags which breathe fresh life into a classic opera.

There are many superb performances in the production. Soprano

Aleksandra Olczyk plays the Queen of the Night, in a costume which makes her look like the lovechild of Divine and a black widow spider. She delivers the notoriously difficult coloratura aria Der Hölle Rache kocht in meinem Herzen to ecstatic applause. Another star of the show is baritone Tom Erik Lie,

who plays the comic relief character Papageno with vocal prowess and a flair for slapstick.

The lushness of The Magic Flute, combined with outstanding performances by singers and the Adelaide Symphony Orchestra, make this an unmissable show. / Emma O’Connell-Doherty

Credit: Tony Lewis

Out Of Chaos...

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VENUE: Scott Theatre [Adelaide Festival]

TIME: run ended

Stunning and synchronised chore ography juxtaposes with chaotic moments where people fly through the air. They land onto shoulders or drop into arms across the stage. This contrast of disarray and poise drives the show. The choreog raphy is fluid and an effective representation of the connection between people and our attempts to understand one another.

Musician Ekram Eli Phoenix is impeccably dressed. Onstage for the duration of the piece, he flits between the acrobats with his microphone sampling and looping their inner thoughts to ethereal melodies and choral blends.

at times, moving from the chaotic to disorienting.

Phoenix’s music is well suited to the work, if the spoken word looping becomes difficult to follow

Gravity & Other Myths have a particular style of choreography which focuses on the closeness of

Evangeline HHH

VENUE: Adelaide Convention Centre

TIME: run ended

Evangeline (Or, the grief that does not speak whispers the o’erfraught heart, and bids it break) is inspired by the journey of grief. Director Chenoeh Miller opens her piece with powerful words: “Grief comes at us from all directions, it can be totally overwhelming [and] only with time do we open up to the world again, see kind people who

remind us who we were before sadness seeped in.”

It is not an easy piece to sit through; at times overwhelming, unpredictable and frightening. It’s everything that grief is in reality. And in this way, Evangeline is brilliantly executed.

Clad in white body paint typical of Butoh, a style of Japanese dance and physical theatre, the dancers enter the stage from all directions, eventually surrounding us with grotesque, unsettling expressions. The block lighting contorts their faces further, allowing us to examine the extremes of the human condition perpetuated by grief – mental

the acrobats rather than relying on props. And it is this unique style which makes the interconnectedness message of Out Of Chaos so clear. / Laura Desmond

illness, atrophy, tangible distress.

Gradually, the dancers become static and make eye contact with us and we are invited to “please touch”, to interact, to be a healing balm for each wounded soul. Though, the audience’s interaction with the dancers offers them only momentary comfort, no final resolution. The audience walk away heavy and perhaps a little unsure of what help we could really offer, and this seems slightly antithetical to Miller’s original intention.

Evangeline is a powerful exploration of a very difficult topic – the ugliness of life and people’s decisions. / Emma Heidenreich

Credit: Darcy Grant

Laser Kiwi

HHH

VENUE: The Garden of Unearthly Delights

TIME: 9:30pm, 19 Feb – 17 Mar

TICKETS: $25 – $32

Laser Kiwi sets a fast pace through a battery of wacky circus skits and fooling around. Performers Imogen Stone, Zane Jarvie and Degge Jarvie from Colossal circus company are a talented group of proud kiwis here to fly their chosen ‘Laser Kiwi’ flag in front of the world – or Adelaide, close enough. Luckily the audience embraces the inane vibe and are quickly pulled into a stream of ridiculous hijinks.

This show only reinforces the impression that New Zealand is stuck in the 90s: a time when this writer

was still in primary school, where the stilted presentation style and activity sheets would make more sense. The occasional sincerity and preamble is out of place in a show that hinges on terrible puns and failed feats of stupidity.

Stone is the stand out in both circus skills and comedic style; her

aerial performance and acrobatics are masterful but not over-performed. Laser Kiwi isn’t so much ‘in development’ as it is just a list of ideas. Some are good, most are deliberately bad, but the audience is behind them anyway demanding that even the lamest gags go on.

/ Jess Martin

Hans: Like a German HHHH

VENUE: Gluttony

TIME: 6:30pm, 26 Feb – 17 Mar

TICKETS: $35 – $48

After a decade of entertaining Fringe goers, Hans is still very much a ‘man of the people’. So much so, that he arrives on stage riding the people’s choice of transport for 2019: the Lime scooter, with helmet to match.

Just one lap around the stage and Hans already has the entire audience joyously swinging from his coat tails – or in this case lederhosen straps – eager to devour an hour of ad-lib comedy.

For a show backboned by hit pop songs, Hans’ singing has minimal impact on the sweeping enjoyment of his performance. As he delves – sometimes groin first – into audience participation, we have to buckle up for the kind of intimacy and humiliation that’s generally re-

YUMMY DELUXE HHHH

VENUE: The Garden of Unearthly Delights

TIME: 9:30pm, 19 Feb – 17 Mar

TICKETS: $30 – $38

With enough sass to drown a drag queen, YUMMY DELUXE is a riotous night out celebrating all things femme. This extravaganza isn’t tied together with an overarching narrative, rather it is an open, safe space for the varied performers to

create and perform their own styles of feminine expression.

And there are some incredibly fierce acts in this spectacle. Jarred Dewey steals the show with his impeccable devil trapeze routine in the centre of the room. He is beautiful, he is raw and he is controlled. With stilettos as red as his lips he twists and falls again and again with ease and grace.

Hannie Helsden channels I Dream of Jeannie for her hoop routine which has some fumbles, but closes on an incredibly impressive split. She returns for a

off the sidewalk and roll on down to

golden pole routine which makes a nice tongue-in-cheek reference to the gender pay gap and female financial independence. Joni in the Moon brings a stillness with her sweeping vocals and message of intersectionality. She is a strong life force in the room with a motherly, safe air about her.

The hostess for the evening, Valerie Hex, undertakes multiple costume changes, brings her attitude along with her heels and can easily bring a crowd together to celebrate womanhood in all its forms. / Laura Desmond

Escape The Tiki Room!

HHHH

VENUE: Rob Roy Hotel

TIME: times vary, 11 Feb – 17 Mar

TICKETS: $28 – $35

Tiki bars can be a lot of fun. They’re also guilty of gross cultural appropriation. And, after entering this one, you’ll discover that your patronage has angered the gods of the South Pacific. To escape, you’ll need to solve a series of clues and learn a bit more about those gods on the way.

This is the fourth time that Escape Room Treasure Hunt has come to the Adelaide Fringe and it’s undoubtedly their best offering yet. While previous rooms have been plagued by some technical difficulties, Escape The Tiki Room! strikes the perfect balance between technological innovation and a good user experience.

The interior of the portable cabin looks great – gamesmaster Richard Maritzer has kitted it out with a range of pitch-perfect props – though any more than six participants would result in it being overly crowded.

Ingenious use of Bluetooth connectivity allows seemingly unconnected objects throughout the room to interact. The puzzles, while

The Violet Ballet HHH

VENUE: ACE Open [Adelaide Festival]

TIME: 2–17 Mar

TICKETS: FREE

There’s a moment of pause before the full breadth of Sally Smart’s The Violet Ballet exhibition is revealed at ACE Open gallery. The fleeting stillness comes courtesy of a sort of prologue to the exhibition that hangs in an antechamber of the gallery – a space separated from the rest of the room by a highly intricate and colourful textile artwork strung from the ceiling. Along the wall of

this confined area, a collection of collaged costumes are a soft introduction into Smart’s world. Within which, somehow, the depiction of a dismembered limb as part of a display of couture-like clothing is unsettling not because of its brutality, but because of its poetry.

The time and space offered by this initial part of the exhibition is essential. Smart’s work is overwhelming – the Australian artist is known around the world for artworks built using as many layers of meaning as layers of material. The quiet introduction is a much-needed opportunity for acclimatisation before the barrage of the main space is unleashed. Here, three

fiendishly difficult, are still soluble. A success rate of approximately 20% speaks to their complexity, but with an inquiring mind this room is far from impossible – our mixed group of old hands and first-timers managed with time to spare.

All that’s missing is a celebratory mai tai or navy grog on the menu at the adjoining Rob Roy Hotel.

/ Alexis Buxton-Collins

enormous screens cycle through the video installation components of The Violet Ballet. The moving images incorporate iconography related to the history of the Ballet Russes and traditional Indonesian puppetry and Smart uses these visuals to ruminate on ideas of colonialism and orientalism.

The experience of being in the main gallery is affecting, but more a result of confusion than comprehension. It will take a viewer with a strong knowledge of art history and theory to fully decode Smart’s work. For everyone else, there are hints of meaning and a lingering, non-specific feeling of disquiet.  / Farrin Foster

Credit: Richard Maritzer

Adelaide Festival

Adelaide Town Hall

Art Gallery of South Australia

Elder Park

Pioneer Women’s Memorial Garden

The Palais

Queen’s Theatre

Scott Theatre - used by RCC Fringe and Adelaide Festival

GAGPROJECTS

00:00

Her Majesty’s Secret Circus Show

Online Only, 13–17 Mar, FREE

11:00

Good Morning Comedy Mercury Cinema, 13 Mar, $12

13:00

Boogie Shoes

Silent Disco

Walking Tour With a Scottish Twist Beehive, 16–17 Mar, $20

14:45

Late Night Party Boyz - Rebel Without Applause

Live From Tandanya, 16–17 Mar, $20

15:00

The Ashes: Comedy Showdown

Belgian Beer Cafe ‘Oostende’, 16 Mar, $25

16:00

Peter Powers - UK’s Most Outrageous Hypnotist

The National Wine Centre, 16 Mar, $30

Sir David and his Animals

Bakehouse Theatre, 12–16 Mar, $20–$25

Daniel Connell: Piece of Piss Gluttony - Masonic Lodge, 16 Mar, $24

16:30

Best of Edinburgh Comedy

The Austral Hotel, 16–17 Mar, $20

Nik Coppin: Shark

The Griffins Hotel, 16 Mar, $10

17:00

Australia: A Whinging Poms Guide

Belgian Beer Cafe ‘Oostende’, 15–16 Mar, $25

Darius Davies: Persian of Interest

The Austral Hotel, 12–17 Mar, $15–$25

Boogie Shoes

Silent Disco Walking Tour With a Scottish Twist Beehive, 13–17 Mar, $20–$25

Improv Attacks

Humanity

Live From Tandanya, 16–17 Mar, $20

Mick Neven: Charm Offensive Gluttony - Masonic Lodge, 16 Mar, $20

17:30

Jimeoin - Result! Arts Theatre, 17 Mar, $44

ANNE EDMONDS – WHAT’S WRONG WITH YOU?

The Garden of Unearthly Delights, 16–17 Mar, $35 17:45

Right-Wing Comedian

The Austral Hotel, 12–17 Mar, $20

18:00

BEN KNIGHT: Back Too School

The National Wine Centre, 12–17 Mar, $20

Nick O’Connell - The Pinnacle of Average

The Howling Owl, 12–16 Mar, $10–$15

ShowkoAbsolutely Normal

The National Wine Centre, 12 Mar, 13 Mar, 15 Mar, 16 Mar, 17 Mar, $20–$25

Boogie Shoes

Silent Disco Walking Tour With a Scottish Twist

Beehive, 12 Mar, 15 Mar, 16 Mar, 17 Mar, $18–$25

Ambispectrous Ayers House Events, 12 Mar, 15 Mar, $20

Circle of Wife

Rhino Room, 12–16 Mar, $20

Liam Withnail: Homeboy

Gluttony - Masonic Lodge, 12–16 Mar, $10–$25

Anna Nicholson: Woman of the Year

The National Wine Centre, 12–17 Mar, $16–$20

18:10

Chris Henry : Around the World in 80 Dates

Gluttony, 12–17 Mar, $20–$25

18:15

Battle of the Superheroes: The Great Superhero Debate

The Griffins Hotel, 12–17 Mar, $14–$23

Jeromaia

Detto: Canapes & Cocktails

Live From Tandanya, 13–17 Mar, $13–$20

Domestic Disaster HHH

The Austral Hotel, 12 Mar, 14 Mar, 15 Mar, 16 Mar, 17 Mar, $15–$25

Best Of Fringe: Early Show

Belgian Beer Cafe ‘Oostende’, 12–17 Mar, $10–$15

18:30

AdeLOL - A ‘Heaps Good History’ Live Podcast

The Crown and Sceptre Hotel, 16 Mar, $15

Sammy J’s Major Party Royalty Theatre, 12 Jul, $47.95

18:45

Grown Ass Woman and Peter the Sober Vampire

Live From Tandanya, 13–17 Mar, $20

Gameshow of Thrones

Gluttony - Masonic Lodge, 12–16 Mar, $25–$28

LANO & WOODLEY - FLY

The Garden of Unearthly Delights, 12–17 Mar, $48–$55

Best of Adelaide Fringe: The International Comedy Show

The Historian Hotel, 14–16 Mar, $19–$23

19:00

Baby Wants Candy, The Completely Improvised Full Band Musical

The Garden of Unearthly Delights, 12–17 Mar, $30–$38

If You Laugh It’s Comedy And If You Don’t Laugh It’s Art Nineteen Ten, 15–16 Mar, $20

Suren Jayemanne: I’m Here, All Weak

The National Wine Centre, 12–17 Mar, $15–$18

Sleeping Trees: World Tour

The Garden of Unearthly Delights, 12–17 Mar, $25–$32

Eric’s Tales of the Sea - A Submariner’s Yarn

Tuxedo Cat @ Arthur’s Place, 12–16 Mar, $17–$20

Neel Kolhatkar: Live

Rhino Room, 12–16 Mar, $20–$32

Jimeoin - Result!

Arts Theatre, 13–16 Mar, $44–$49

Comedy Pub Crawl

The Austral Hotel, 14–16 Mar, $20–$35

Shad Wicka: Not Great (But Not Sh*t)

Hotel Richmond, 12–17 Mar, $13–$20

Josh Glanc: Glance you for having me

The Garden of Unearthly Delights, 12–17 Mar, $25–$29

The 13th Best Amateur Sketch Comedy Troupe of 2039!

La Bohème, 16 Mar, $15

Boogie Shoes

Silent Disco Walking Tour With a Scottish Twist Beehive, 13–14 Mar, $20

NIKKI BRITTONONCE BITTEN

The Garden of Unearthly Delights, 12–17 Mar, $22–$28

DAVE THORNTON - LEAN INTO IT

The Garden of Unearthly Delights, 12 Mar, 13 Mar, 14 Mar, 16 Mar, 17 Mar, $25–$35

Daniel Connell: Piece of Piss

Gluttony - Masonic Lodge, 12–16 Mar, $24

ANNE EDMONDS – WHAT’S WRONG WITH YOU?

The Garden of Unearthly Delights, 15 Mar, $35 Cabaret Pub Crawl

Sugar, 15–16 Mar, $35

Chalk & Cheese

Live At The Cumby, 14 Mar, $20

Tales from a Comedian

Astor Hotel, 14–16 Mar, $12–$15

19:15

Scotland!

The National Wine Centre, 12–17 Mar, $20–$25

Comedy Pub Crawl

Belgian Beer Cafe ‘Oostende’, 15–16 Mar, $35

Aborigi-LOL - 100% Aussie Laughs

The National Wine Centre, 12 Mar, 13 Mar, 15 Mar, 16 Mar, 17 Mar, $20–$25

Greek Comedian of The Year

The Howling Owl, 12–16 Mar, $15–$25

Jacob JackmanNeeds Work Rhino Room, 12–16 Mar, $10–$20

Aaaaaaaargh! It’s

The Best of Fringe Comedy From The UK!

The Griffins Hotel, 12 Mar, 14 Mar, 15 Mar, 16 Mar, 17 Mar, $14–$23

LUKE HEGGIEHAVE THAT Rhino Room, 12–16 Mar, $20–$28

19:20

BOO DWYER : GINVINCIBLE Gluttony, 12–17 Mar, $15–$25

19:30

Christian Elderfield: Suited and Rooted

The Griffins Hotel, 12–17 Mar, $12–$20

Tim Ferguson: A Fast Life On Wheels

The National Wine Centre, 12–17 Mar, $28–$32

Australia: A Whinging Poms Guide

Belgian Beer Cafe ‘Oostende’, 12 Mar, 14 Mar, 17 Mar, $15–$20

Matt Byrne’s Married At First Fight

Maxim’s Wine Bar, 13–16 Mar, $18–$28

Alex Williamson: Sin On My Face

Arkaba Hotel, 14–15 Mar, $34.90

GRANNY FLAPS - These Lips

Don’t Lie

The Hotel Metropolitan, 13 Mar, $25

Boogie Shoes

Silent Disco Walking Tour With a Scottish Twist Beehive, 15–17 Mar, $25

Lindsay Webb “Good Plan”

Belgian Beer Cafe ‘Oostende’, 13 Mar, $25

19:40

Cristina Lark: CautionDeadline Ahead (A Comedy About Procrastination)

A Club Adelaide, 12–16 Mar, $10–$15

19:45

Andrew Lee and Sandeep Totlani Are Here for the Privilege

The Griffins Hotel, 12–17 Mar, $10–$19

Late Night Party Boyz - Rebel Without Applause

Live From Tandanya, 13–17 Mar, $23

SAM SIMMONS - 26 THINGS YOU’VE BEEN DOING WRONG WITH SAN SIMMONS

The Garden of Unearthly Delights, 12–17 Mar, $28–$42

20:00

Rhys Nicholson - Nice People Nice Things Nice Situations

Gluttony - Masonic Lodge, 12–16 Mar, $22–$30 So Aussie, It’s Irish!

Gluttony - Masonic Lodge, 12–16 Mar, $13–$23

All the Best from Edinburgh... To Adelaide

The Historian Hotel, 14–16 Mar, $19–$23

Mambo Jambo

Distill Cocktail Bar, 15 Mar, $17

Best of Edinburgh Comedy

The Austral Hotel, 12–17 Mar, $15–$25

Best of the Adelaide Fringe Comedy:The Fringe Arts Centre Port Noarlunga, 16 Mar, $25

GRANNY FLAPS - These Lips

Don’t Lie

Hotel Victor, 15 Mar, $25

Living in a Rich Naberhood

various venues, 14–16 Mar, $20 Homegrown SA Comedy Showcase

Marion Cultural Centre, 12 Mar, $29

Amos Gill: Almost Famos

Rhino Room, 12–16 Mar, $20–$29.90

Peter Powers - UK’s Most Outrageous Hypnotist

Star Theatres, 15 Mar, $33

#bunnypastards

- Hardly Trivial Trivia

South Australian Jockey ClubMorphettville Racecourse, 14–15 Mar, $28

Ross NobleHumournoid

Thebarton Theatre, 12 Mar, 15 Mar, 16 Mar, $42–$45 Improvised Improv

La Bohème, 14 Mar, $20

Bogan BingoBack in Dacks!

Rob Roy Hotel, 12 Mar, $16

Matt StewartBone Dry

The National Wine Centre, 12–17 Mar, $18–$25

Atten-borrow, the lecture tour

Ayers House Events, 12 Mar, 15 Mar, 16 Mar, $15–$25

Giggles at Ancient World: Comedy Mayhem Ancient World, 13 Mar, $10

GREG BYRON in POETIC LICENCE

Treasury 1860, 12 Mar, 13 Mar, 14 Mar, 16 Mar, 17 Mar, $20–$25

20:10

Kathy Lette’s Big Night Out Gluttony, 12–16 Mar, $30–$38

20:15

Paul Foot - Image Conscious

The Garden of Unearthly Delights, 12–17 Mar, $32–$39

Stephen K Amos - The Story So Far...

Arts Theatre, 12–16 Mar, $35–$45

Miles Munn - i love comedy

Tuxedo Cat @ Arthur’s Place, 12–16 Mar, $25

JAMES HANCOX: SPORTS FOR THE UNSPORTY

The Garden of Unearthly Delights, 12–17 Mar, $25–$30

Strassman: The Chocolate Diet

The Garden of Unearthly Delights, 12–17 Mar, $39–$45

Two Sharp Teeth

The Garden of Unearthly Delights, 12 Mar, 14 Mar, 15 Mar, 16 Mar, 17 Mar, $25–$30

Best of the Edinburgh Fest

The Garden of Unearthly Delights, 12–17 Mar, $26–$35

Nurse Georgie Carroll: Treat Yourself

The Garden of Unearthly Delights, 12–17 Mar, $25–$35

Ivan Aristeguieta

- The Fourth Floor

The Garden of Unearthly Delights, 12–17 Mar, $25–$35

TOMMY LITTLESELF-DIAGNOSED GENIUS

The Garden of Unearthly Delights, 12–16 Mar, $28–$39

DAMIEN POWER

- MAN PUTS HIS DREAMS IN A SOCK

The Garden of Unearthly Delights, 12–17 Mar, $24–$32

Clare Morgan and Richo

Hotel Richmond, 12–17 Mar, $10–$20

20:30

Jon Brooks: The Evil Dad

Rhino Room, 12–16 Mar, $20

Jarred Fell “Hack”

The Howling Owl, 12–16 Mar, $18–$25

Time Out with Ross Voss Astor Hotel, 14–16 Mar, $12–$15

Benny Darsow Ad Lib

The National Wine Centre, 12 Mar, 13 Mar, 15 Mar, 16 Mar, 17 Mar, $25

All Around The World: The International Comedy Show

The Griffins Hotel, 12 Mar, 14 Mar, 15 Mar, 16 Mar, 17 Mar, $14–$23

Danny Bhoy - Age Of Fools

Royalty Theatre, 12–17 Mar, $49.90

Rose Callaghan “12 Rules for Life” Rhino Room, 12–16 Mar, $20–$27

Bogan BingoBack in Dacks!

Rob Roy Hotel, 15–16 Mar, $21

Thomas Green: BOOM

Gluttony, 12–17 Mar, $20–$25

The Establishment: Le Bureau de Strange

The National Wine Centre, 12–17 Mar, $23–$26

20:40

The Stevenson Experience: Takes One To Know One Gluttony, 12–17 Mar, $20–$30

Comedians Against Humanity, hosted by Yianni Agisilaou Gluttony, 12–17 Mar, $18–$25

20:45

ELEANOR

CONWAY: Walk Of Shame 2 (Reality Bites)

The Griffins Hotel, 12–17 Mar, $18–$28

GLORIA’S G-SPOT GAMESHOW

The National Wine Centre, 12–17 Mar, $18–$25

Best Of British Belgian Beer Cafe ‘Oostende’, 12–17 Mar, $15–$25

hour-by-hour

21:00

Completely CANdid

Gluttony - Masonic Lodge, 12–16 Mar, FREE

Kuah

Jenhan - Electric Butterflies

The National Wine Centre, 12–17 Mar, $22–$25

ABANDOMANPIRATE RADIO

The Garden of Unearthly Delights, 12–17 Mar, $30–$35

Peter James: Word Person. Bakehouse Theatre, 12–16 Mar, $15–$20

21:15

Shaggers

The Historian Hotel, 14–16 Mar, $19–$23

10,000 Decisions

The Griffins Hotel, 12–17 Mar, $13–$20

Lords Of Strut: Release The Freak

Gluttony - Masonic Lodge, 12–16 Mar, $20–$28

21:30

Thrones! The Musical Parody HHHH Gluttony, 12–17 Mar, $30–$45

Eddie

Ifft - Walking On Eggshells

The Garden of Unearthly Delights, 12–17 Mar, $26–$35

Tahir - You Had ONE job!

Arts Theatre, 15–16 Mar, $39

Séayoncé

The Garden of Unearthly Delights, 12–17 Mar, $25–$32

Jack Tucker: Comedy Standup Hour HHH

The Garden of Unearthly Delights, 12–17 Mar, $20–$26

Scientology The Musical

Live From Tandanya, 13–17 Mar, $25–$30

Shit-Faced

Shakespeare: A Midsummer Night’s Dream Gluttony, 12–17 Mar, $25–$34.90

Fern BradyPower and Chaos

The Garden of Unearthly Delights, 12 Mar, 14 Mar, 15 Mar, 16 Mar, 17 Mar, $25–$34

Alex Williamson: Sin On My Face Arkaba Hotel, 14–15 Mar, $34.90

Daniel Sloss - X Gluttony, 15–16 Mar, $37

#01 The Boy Loves Adelaide Hotel Richmond, 12–17 Mar, $10–$16

TOM WALKERVERY VERY

The Garden of Unearthly Delights, 12–17 Mar, $24–$30

Demi LardnerDitch Witch 800 Gluttony - Masonic Lodge, 12–16 Mar, $20–$28

TOM GLEESON - JOY

The Garden of Unearthly Delights, 12–17 Mar, $30–$45

Kentucky Fried God Murder broadcast bar, 12–17 Mar, $10–$20

AKMAL - Open for Renovations

The Garden of Unearthly Delights, 12–17 Mar, $30–$39

21:40

Marc Ryan

The Beautiful Bogan in Honey; I Shrunk The Bogan Gluttony, 12–17 Mar, $18–$29

21:45

Girls Night

The Howling Owl, 12–16 Mar, $20–$25

Arielle Conversi and Mariam T’s Big Obnoxious Variety Show

The National Wine Centre, 12–17 Mar, $15–$20

Best of Edinburgh Comedy Late Show

The Austral Hotel, 12 Mar, 13 Mar, 14 Mar, 17 Mar, $18 Improv Attacks Humanity

Live From Tandanya, 13–17 Mar, $28

Odette: Baby Daddy!

The National Wine Centre, 12 Mar, 13 Mar, 15 Mar, 16 Mar, 17 Mar, $15–$21

Best of Adelaide Fringe: The Late Show

The Griffins Hotel, 15–16 Mar, $23

Nick Skeer in “SKEEZUS”

Rhino Room, 12–16 Mar, $15–$18

Tom Cashman - XYZ

Rhino Room, 12–16 Mar, $15–$20

21:55

Rob Kemp: The Elvis Dead

The National Wine Centre, 12–17 Mar, $22–$28

The Great British Hate Off Belgian Beer Cafe ‘Oostende’, 14 Mar, $12

22:00

Late Night

Comedy

Astor Hotel, 15–16 Mar, $20

ADELAIDE FRINGE COMEDY SHOW CASE

The Griffins Hotel, 15–16 Mar, $20

Best of the Best Comedy

The Austral Hotel, 12 Mar, 15 Mar, 16 Mar, $10–$20

Mick Neven: Charm Offensive Gluttony - Masonic Lodge, 12–16 Mar, $14–$20

22:20

A Bedtime Story with DPR

A Club Adelaide, 12–16 Mar, $15–$20

22:30

Adelaide Comedy Podcast Live

Rhino Room, 13 Mar, $20

Rhino Room Late Show

Rhino Room, 14–16 Mar, $20–$28

Anya Anastasia: The Show

Gluttony - Masonic Lodge, 12 Mar, 14 Mar, 15 Mar, 16 Mar, $20–$30

22:40

Isabella Valette: How Far I’ll Go Gluttony - Masonic Lodge, 12–16 Mar, $25

22:45

The Great British Hate Off Belgian Beer Cafe ‘Oostende’, 15–16 Mar, $15

Best of the Edinburgh Fest

The Garden of Unearthly Delights, 15–16 Mar, $25

Zach & Viggo: Thunderflop

The Garden of Unearthly Delights, 15–17 Mar, $35

22:50

[Late Night] Panel Show

Gluttony, 15–16 Mar, $25

23:00

Completely CANdid

Gluttony - Masonic Lodge, 15–16 Mar, FREE

Stamptown Comedy Night HHHH

The Garden of Unearthly Delights, 14 Mar, $20

THE STAND UP SHOW

The Garden of Unearthly Delights, 15–16 Mar, $25

Late Night Comedy at The Wine Centre

The National Wine Centre, 15–16 Mar, $20

Best of Edinburgh Comedy Late Show

The Austral Hotel, 15–16 Mar, $20

23:20

CANCELLED_Rufus & Vendetta’s Never Have I Ever Gluttony, 15–16 Mar, $25

23:30

George Glass Proves The Existence of God

Gluttony, 14–16 Mar, $26–$28

Phatcave - Late Night Stand Up Gluttony, 15–16 Mar, $26

10:45

Games by Henry Naylor Holden Street Theatres, 13–14 Mar, $28

11:00

Ulster American Dunstan Playhouse [Adelaide Festival], 14 Mar, $40

12:00

The Boy, George Holden Street Theatres, 17 Mar, $25

12:30

After You

Live From Tandanya, 16 Mar, $24

13:00

Naked Truth HHH

Gluttony, 16–17 Mar, $20

Barnum Goodwood Institute Theatre, 17 Mar, $20

Games by Henry Naylor Holden Street Theatres, 16 Mar, $28

13:30

Naked Truth HHH

Gluttony, 16–17 Mar, $20

The Poet’s Guide to Science: A sceptic think tank Rob Roy Hotel, 16–17 Mar, $25

¤ Build a Rocket HHHH Holden Street Theatres, 16–17 Mar, $28

14:00

Naked Truth HHH

Gluttony, 16–17 Mar, $20

Barnum Goodwood Institute Theatre, 16 Mar, $20

Orpheus

Holden Street Theatres, 16 Mar, $25 because there was fire by Jamie Hornsby

The Mill, 16 Mar, $26

Crikey! Australian Conspiracy Theories! Burnside Ballroom, 17 Mar, FREE

Inner Journey State Library of South Australia, 17 Mar, FREE

14:30

Naked Truth HHH

Gluttony, 16–17 Mar, $20

Grounded

Holden Street Theatres, 16 Mar, $28

15:00

Bin Laden: The One Man Show

Holden Street Theatres, 16–17 Mar, $28

The Cocoon

Adina Apartment Hotel Adelaide Treasury, 16–17 Mar, $30

Naked Truth HHH

Gluttony, 15 Mar, $20

15:15

OLD JACK meets Banjo Paterson The National Wine Centre, 17 Mar, $25

15:30

¤ The Archive of Educated Hearts HHHH

Holden Street Theatres, 16 Mar, $23

Naked Truth HHH

Gluttony, 15 Mar, $20

16:00

Naked Truth HHH

Gluttony, 15–17 Mar, $20

Uncle Vanya

The Cedars [Adelaide Festival], 13 Mar, 15 Mar, $90 Rosencrantz and Guildenstern Are The Mill, 16 Mar, $20

Ulster American Dunstan Playhouse [Adelaide Festival], 16 Mar, $40

‘Flood’ by Chris Isaacs

Noel Lothian Hall

- Adelaide Botanic Garden, 16–17 Mar, $26

16:30

Naked Truth HHH

Gluttony, 13–17 Mar, $20

¤ The Archive of Educated Hearts HHHH

Holden Street Theatres, 16 Mar, $23

The Boy, George Holden Street Theatres, 16 Mar, $25

16:45

Peter Goers in ‘Look Ma, No Hans!’

Holden Street Theatres, 16–17 Mar, $20

17:00

Naked Truth HHH

Gluttony, 13 Mar, 14 Mar, 16 Mar, 17 Mar, $20

HOMER’S ODYSSEY THE MUSICAL

Hilton Hotel, 15–16 Mar, $25

A GREEK TRAGEDY ‘OEDIPUS REX - THE KING’ THE MUSICAL Hilton Hotel, 17 Mar, $25

A Solo Commedia dell’ Arte Show

The National Wine Centre, 16–17 Mar, $20

SÉANCE

The Garden of Unearthly Delights, 15–17 Mar, $20 Pirates of Penzance

MV Dolphin Explorer, 17 Mar, $35

Ulster American Dunstan Playhouse [Adelaide Festival], 17 Mar, $40

Party Snake

Adina Apartment

Hotel Adelaide Treasury, 16–17 Mar, $30

17:30

Naked Truth HHH

Gluttony, 13 Mar, 14 Mar, 16 Mar, 17 Mar, $20

¤ The Archive of Educated Hearts HHHH Holden Street Theatres, 16 Mar, $23

The HandleBards: Twelfth Night Gluttony, 12–17 Mar, $30

18:00

That Daring

Australian Girl

Noel Lothian Hall

- Adelaide Botanic Garden, 12–17 Mar, $20–$26

Barnum Goodwood Institute Theatre, 17 Mar, $20

Rosencrantz and Guildenstern Are

The Mill, 14–15

Mar, $20

¤ Build a Rocket

HHHH

Holden Street Theatres, 12–17

Mar, $20–$28

FLIGHT HH

The Garden of Unearthly Delights, 16–17 Mar, $25

Last Year’s Eve

Bakehouse Theatre, 12–16 Mar, $20–$25

Oysters

Bakehouse Theatre, 12–16 Mar, $20–$25

Archetype

MakeSpace, 15–16

Mar, $20

Ulster American Dunstan Playhouse [Adelaide Festival], 15 Mar, $40

SÉANCE

The Garden of Unearthly Delights, 16–17 Mar, $20

Naked Truth

HHH

Gluttony, 13–15

Mar, $20

18:15

Tragedy! (A New Comedy)

The National Wine Centre, 12–17 Mar, $15–$25

The Poet’s Guide to Science: A sceptic think tank

Rob Roy Hotel, 15–16 Mar, $25

¤ The Archive of Educated Hearts HHHH

Holden Street Theatres, 12–15 Mar, $18–$23

18:30

Games by Henry Naylor

Holden Street

Theatres, 12–16 Mar, $20–$28

FLIGHT HH

The Garden of Unearthly Delights, 12–15 Mar, $25

Out To Lunch

MixedCreative, 13 Mar, 14 Mar, 16 Mar, $20

The Long Pigs Live From Tandanya, 13–17 Mar, $30

Naked Truth HHH

Gluttony, 15 Mar, $20

18:40

SÉANCE

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

19:00

Barnum Goodwood Institute Theatre, 14–16 Mar, $20

Nikola and I Dream Well, 12–15 Mar, $13–$25

Kreepy Kensington Streets and Parks of Kensington, 13–14 Mar, $20

FLIGHT HH

The Garden of Unearthly Delights, 12–17 Mar, $25

post: ICH NIBBER

DIBBER

RCC Fringe, 12–17 Mar, $20–$40

#nofilter

Marion Cultural Centre, 14 Mar, $63

Raw & Reel

The Libertine by Louis, 12–13 Mar, $40

SÉANCE

The Garden of Unearthly Delights, 12–17 Mar, $20

The Cocoon

Adina Apartment Hotel Adelaide Treasury, 13–16 Mar, $30

Hugh Hughes presents Shôn Dale-Jones in THE LADDER

RCC Fringe, 12–17 Mar, $25

CANCELLED- 1

Night

broadcast bar, 15 Mar, $20

Joyous Depression

Cafe Outside The Square, 15 Mar, $28

Naked Truth HHH

Gluttony, 13–15 Mar, $20

19:15

¤ The Archive of Educated Hearts HHHH

Holden Street

Theatres, 12–15 Mar, $18–$23

19:30

The Mark Drama

St Barnabas Croydon, 16–17 Mar, $15

SEPTEM

Bakehouse Theatre, 12–16 Mar, $20

Bin Laden: The One Man Show Holden Street Theatres, 12–17 Mar, $20–$28

Kokoda

Stirling Community Theatre, 14–16 Mar, $24.50

It’s Not Too Late (until you’re dead)

Star Theatres, 14–16 Mar, $25

Ulster American Dunstan Playhouse [Adelaide Festival], 13 Mar, $40

The Maze

CBD Location TBA, 12–16 Mar, $25 because there was fire by Jamie Hornsby The Mill, 12 Mar, $15

Pamela’s Palace

A Club Adelaide, 12–16 Mar, $25

Joyous Depression

Cafe Outside The Square, 12 Mar, 14 Mar, 16 Mar, $23–$28

JUDAS

Bakehouse Theatre, 12–16 Mar, $20–$25

Naked Truth HHH

Gluttony, 13–15 Mar, $20

19:45

¤ Dietrich: Natural Duty HHHHH

Noel Lothian Hall - Adelaide Botanic Garden, 12–17 Mar, $22–$28

20:00

Grounded

Holden Street Theatres, 12–16 Mar, $20–$28

FLIGHT HH

The Garden of Unearthly Delights, 12–17 Mar, $25

#nofilter

Marion Cultural Centre, 15–16 Mar, $33 Chekhov at the Pub Kings Head Hotel, 12–14 Mar, $15–$20

A Total Cop Out The Duke of Brunswick Hotel, 15–17 Mar, $18 Portraits in Motion

RCC Fringe, 12–17 Mar, $20–$33

SÉANCE

The Garden of Unearthly Delights, 12–17 Mar, $20

20:15

After You

Live From Tandanya, 13–17 Mar, $24

Safety Banana Tuxedo Cat @ Arthur’s Place, 12–16 Mar, $15–$24

20:30

CANCELLED

Cepacia: Love Takes His Breath Away

South Australian Jockey ClubMorphettville Racecourse, 14–15 Mar, $30

The Poet’s Guide to Science: A sceptic think tank

Rob Roy Hotel, 14 Mar, $25

Ulster American Dunstan Playhouse [Adelaide Festival], 14 Mar, $40

Eurydice

Holden Street Theatres, 12–16

Mar, $20–$25

The Maze

CBD Location TBA, 12–16 Mar, $25

20:45

CANCELLED

Cepacia: Love Takes His Breath Away

South Australian Jockey ClubMorphettville

Racecourse, 13 Mar, $30

21:00

FLIGHT HH

The Garden of Unearthly Delights, 12–17 Mar, $25

The Boy, George Holden Street

Theatres, 12–17 Mar, $20–$25

SÉANCE

The Garden of Unearthly Delights, 12–17 Mar, $20 ¤ 30,000 Notes

HHHH

nthspace Adelaide, 12–16 Mar, $20–$30

Party Snake

Adina Apartment

Hotel Adelaide Treasury, 13–16 Mar, $30

21:30

Ulster American Dunstan Playhouse [Adelaide Festival], 16 Mar, $40

The Works of William Shakespeare by Chicks

Tuxedo Cat @ Arthur’s Place, 13–16 Mar, $30

The Maze

CBD Location TBA, 12–16 Mar, $25

Undertow Holden Street Theatres, 12–16 Mar, $15–$20

22:00

FLIGHT HH

The Garden of Unearthly Delights, 15–16 Mar, $25 because there was fire by Jamie Hornsby The Mill, 13–14 Mar, $26

SÉANCE

The Garden of Unearthly Delights, 15–16 Mar, $20

Dr Selflove or: How I Learned to Stop Worrying and Love My Thighs

The National Wine Centre, 12–17 Mar, $15–$18

22:30

because there was fire by Jamie Hornsby The Mill, 15–16 Mar, $26

23:00

FLIGHT HH

The Garden of Unearthly Delights, 15–16 Mar, $25

¤ Bitch On Heat

HHHH

The Garden of Unearthly Delights, 15–16 Mar, $25

SÉANCE

The Garden of Unearthly Delights, 15–16 Mar, $20

10:00

Wriggle Around the World Burnside Library, 14 Mar, $20

10:45

Mythic Mermaids

Gluttony, 16–17 Mar, $7.50

Amelia Ryan’s 80’s Baby!

The Garden of Unearthly Delights, 16–17 Mar, $20

11:00

Bubble Show:

Milkshake and the Winter Bubble

The Jade, 15–16 Mar, $18

Monski Mouse’s Baby Disco Dance Hall

The Garden of Unearthly Delights, 16–17 Mar, $17

Silly Galahs

Glenelg North Community Centre, 17 Mar, $20

Wriggle Around the World

Norwood Concert Hall, 13 Mar, 15 Mar, $20

Amazing Drumming Monkeys

The Garden of Unearthly Delights, 16–17 Mar, $18

Inside the Walls: A Giant Pop-Up Book

Ghost Story

Gluttony, 16–17 Mar, $19

Foehn

AC Arts [Adelaide Festival], 13 Mar, 15 Mar, 16 Mar, 17 Mar, $25

WISH- Bullying No Way!

MacKillop Arts Theatre, 12 Mar, $8

Cosmo The Clown Comedy Magic Show

Nexus Arts, 16 Mar, $15

_cancelled_The Tales of Beatrix Potter

South Australian Jockey Club - Morphettville Racecourse, 12–13 Mar, $28

11:30

Wriggle Around the World

Gluttony, 16–17 Mar, $20

This Show is NOT Rubbish!

Gluttony, 16–17 Mar, $18

Splash Test Dummies

The Garden of Unearthly Delights, 16–17 Mar, $25

11:45

_cancelled_The Tales of Beatrix

Potter

South Australian Jockey Club - Morphettville Racecourse, 14–15 Mar, $28

12:00

Grumpy Pants

Gluttony, 16–17 Mar, $18

Mythic Mermaids

Gluttony, 16–17 Mar, $7.50

Cinderella - the Untold Story

Live From Tandanya, 16–17 Mar, $20

12:30

Wriggle Around the World

Gluttony, 16–17 Mar, $20

FunnyHappyStuff presents; Stringy Thingy

Gluttony, 16–17 Mar, $17

12:45

Children are Stinky

The Garden of Unearthly Delights, 16 Mar, $24

13:00

Opera Mouse

South Australian Jockey Club - Morphettville Racecourse, 13 Mar, $24

Mickster’s Magic Gadgets

Gluttony, 16–17 Mar, $25

Wriggle Around the World

Burnside Library, 14 Mar, $20

13:15

Mythic Mermaids

Gluttony, 16–17 Mar, $7.50

Captain Cauliflower and Marvin The Mischievous Moose

The Garden of Unearthly Delights, 16–17 Mar, $20

13:30

Grossed Out Game Show

Gluttony, 16–17 Mar, $20

Wriggle Around the World

Gluttony, 16–17 Mar, $20

Big Tops & Tiny Tots

Circus Show

Gluttony, 16–17 Mar, $19

14:00

Cinderella - the Untold Story

Live From Tandanya, 16–17 Mar, $20

The Scientific Bubble Show

Burnside Community Centre, 16 Mar, $18

Dinosaur Time Machine

Gluttony, 16–17 Mar, $26

Amazing Drumming Monkeys

The Garden of Unearthly Delights, 16–17 Mar, $18

Wriggle Around the World Holden Street Theatres, 13 Mar, 15 Mar, $20

Foehn

AC Arts [Adelaide Festival], 16–17 Mar, $25

Mr Snot bottom’s Horrible Terrible Really Really Bad Bad Show

The Garden of Unearthly Delights, 16–17 Mar, $20

The Adventure Party Woodville Town Hall, 16 Mar, $17

14:30

Science Magic Gluttony, 16–17 Mar, $16

Peter Combe in Live It Up and Fry An Egg On a Slippery Dip!!

The Garden of Unearthly Delights, 16–17 Mar, $24

Best Of Kids Fringe Gluttony, 16–17 Mar, $18

15:00

Balloonatics 2: Get Pumped Gluttony, 16–17 Mar, $17

Brat Kids Carnival RCC Fringe, 16 Mar, $20

The Circus Firemen Gluttony, 16–17 Mar, $20

15:15

Best of Edinburgh Kids Comedy

The Austral Hotel, 16–17 Mar, $13

Huggers - The Best of Adelaide Fringe Kids & Family Selection

The Griffins Hotel, 16–17 Mar, $19

15:30

The Disney Diaries: A Comic Princess Tribute

Live From Tandanya, 16–17 Mar, $27

Le Petit Circus Gluttony, 15–17 Mar, $19–$26

The Best Worst Kids Birthday Party!

The Griffins Hotel, 16–17 Mar, $20

15:45

Mythic Mermaids Gluttony, 16–17 Mar, $7.50

16:00

Mythic Mermaids Gluttony, 15 Mar, $7.50 Game On 2.0 Gluttony, 16–17 Mar, $18

Peter Combe in Live It Up and Fry An Egg On a Slippery Dip!!

The Garden of Unearthly Delights, 16–17 Mar, $24

16:15

Amazing Drumming Monkeys

The Garden of Unearthly Delights, 16–17 Mar, $18

16:30

Mythic Mermaids Gluttony, 12–14 Mar, $7.50

Comedians Against Humanity (FAMILY EDITION) Hosted by Yianni Agisilaou Gluttony, 16 Mar, $15

The Alphabet of Awesome Science Gluttony, 16–17 Mar, $20

17:00

Mythic Mermaids

Gluttony, 16–17 Mar, $7.50

Particle B

RCC Fringe, 12–17 Mar, $20

Foehn AC Arts [Adelaide Festival], 16–17 Mar, $25

17:15

Mythic Mermaids Gluttony, 15 Mar, $7.50

17:30

Children are Stinky The Garden of Unearthly Delights, 14–17 Mar, $24

18:00

Mythic Mermaids

Gluttony, 12–14 Mar, $7.50

18:15

Mythic Mermaids

Gluttony, 16–17 Mar, $7.50

18:30

Mythic Mermaids Gluttony, 15 Mar, $7.50

Splash Test Dummies

The Garden of Unearthly Delights, 13–17 Mar, $25

Foehn AC Arts [Adelaide Festival], 13 Mar, 15 Mar, $25

_cancelled_The Famous Five South Australian Jockey Club - Morphettville Racecourse, 12–15 Mar, $30

19:30

Mythic Mermaids

Gluttony, 16–17 Mar, $7.50

20:00

Mythic Mermaids

Gluttony, 15 Mar, $7.50

20:45

Mythic Mermaids

Gluttony, 16–17 Mar, $7.50

11:00

Shake, Rattle & Roll

Marion Cultural Centre, 12 Mar, $18

CANCELLEDBach’s Coffee Cantata

various venues, 14–16 Mar, $30

Dogapalooza Orphanage Park, 17 Mar, $18

13:00

AMBIENT ORCHESTRA

Presents

David Bowie’s BLACKSTAR FEATURING MAYA BEISER/EVAN ZIPORYN

RCC Fringe, 17 Mar, $55

Pipe Organ recitals - free lunch time concerts

St Francis Xavier’s Cathedral, 13 Mar, FREE

A Stitch In Time: A Knitting Cabaret

South Australian Jockey ClubMorphettville Racecourse, 14 Mar, $32

Big Fish Little Fish

Gluttony, 16 Mar, $30

Ingrid James - Jazz Singers Workshop and Jam

The Gilbert Street Hotel, 16 Mar, $45

13:30

All Of These Lines..... Fly Bird Fly Studio, 16 Mar, $24

Bublé

Arkaba Hotel, 17 Mar, $45

14:00

Karkoo Jungle Jams

Karkoo Nursery, 16–17 Mar, FREE

Piaf & Brel: The Impossible Concert

South Australian Jockey ClubMorphettville Racecourse, 15 Mar, $32

AN AFTERNOON OF WINE, WOMAN AND SONG

Sinclair’s Gully Winery, 17 Mar, $19.50

The Choir of Man Gluttony, 17 Mar, $45

MC ME - My Inner Monoloop

Nexus Arts, 16 Mar, $20

15:00

HIPLIFE GHANA

Ancient World, 15 Mar, $25

Swampy Blues & Swingin’ Cats

The Wheatsheaf Hotel, 17 Mar, $25

15:30

The MagnetsNaked 80s Gluttony, 16 Mar, $40

Louise Adams Unplugged Gluttony, 17 Mar, $30

16:00

Jackson Vs Jackson Gluttony, 17 Mar, $45

Ted Nettelbeck: Jazz piano reflections

Nexus Arts, 12 Mar, $20

In Transience Elder Conservatorium, 16 Mar, $20

Ukulele Death Squad - “Fifty

Shades of Uke”

Regal Theatre, 16 Mar, $25

Pleasure and Pain!

Nexus Arts, 16–17 Mar, $28

GLOW

The Lion, 16 Mar, $35

17:00

Susan Graham

Adelaide Town Hall [Adelaide Festival], 17 Mar, $35

#Retro Refit

Treasury 1860, 17 Mar, $25

17:15

DYLANesque presents - the Bob Dylan Tom Petty show - True Confessions

Revisited

The Garden of Unearthly Delights, 16–17 Mar, $35

17:30

A Stitch In Time: A Knitting Cabaret

South Australian Jockey ClubMorphettville

Racecourse, 14 Mar, $32

Ceberano + Co.

The Garden of Unearthly Delights, 17 Mar, $55

Picaresque

Banquet Room [Adelaide Festival], 16 Mar, $30 “PRELUDE”

Chopin, Debussy, Jazz with pianist

Tim Barton

The Jade, 15 Mar, $22

18:00

Storyteller

The Jade, 13 Mar, $20

A Tribute To

Michael

Nexus Arts, 17 Mar, $30

JACOB CHRIS

ROCK DRUMS

Gluttony - Masonic Lodge, 12 Mar, 14 Mar, 15 Mar, 16 Mar, 17 Mar, $18–$28

Picaresque

Banquet Room

[Adelaide Festival], 12 Mar, 14 Mar, $30

Eclectic

Stirling Community Theatre, 14–16 Mar, $25

More Than A Woman

South Australian Jockey ClubMorphettville

Racecourse, 15 Mar, $30

Eva Cassidy

Tribute; A Soulful Journey

La Bohème, 14 Mar, $26

The Sound Ceremony

The Jade, 12 Mar, 14 Mar, $26

Swampy Blues & Swingin’ Cats

The Wheatsheaf Hotel, 17 Mar, $25

18:30

Jay Hoad

Barossa Valley Brewing, 15 Mar, FREE

19:00

The Carole King Story

The Garage International @ Adelaide Town Hall, 12–16 Mar, $25–$35

Sycamore Road

- A Night with the Jacobites

Scots Church Adelaide, 15 Mar, $20

Gaby Moreno

The Garden of Unearthly Delights, 12 Mar, $45

Russell Morris

The Garden of Unearthly Delights, 14 Mar, $50

JAY - LARYEA AND THE LEOPARD HUNTERS

The British Hotel

Port Adelaide, 13 Mar, $20

Mambo Italiano

B. Social Restaurant, 16 Mar, $59

My Leonard Cohen

The GC - Grand Central on Angas Street, 15–16 Mar, $59

Picaresque

Banquet Room

[Adelaide Festival], 17 Mar, $30

Turn Up Your Radio - Rock

Arena

The Alley, 17 Mar, $39.50

Elton Show: Your Song - A Love Story

The GC - Grand Central on Angas Street, 17 Mar, $35

The Sisters of Invention meet

The Hackkets

Hall of Possibility, 15–16 Mar, $25

MICK THOMAS & THE ROVING COMMISSION - “COLDWATER (DFU)” ALBUM LAUNCH

The Garden of Unearthly Delights, 15 Mar, $35

A Night in New Orleans

NOLA Adelaide, 14 Mar, FREE

Wallis Bird in Concert (IRE)

The Garden of Unearthly Delights, 13 Mar, $25

Adam Page and Tim Bennett

The Wheatsheaf Hotel, 13 Mar, $20

Renée Geyer

The Garden of Unearthly Delights, 16 Mar, $50

19:30

Ralph McTell Church of the Trinity, 13–14 Mar, $55

Ingrid James Quartet - Love and other fiascos

The Gilbert Street Hotel, 15 Mar, $27.50

Jason Stacey and the Moonlight Shadows

Ancient World, 16 Mar, $20

The 60 Four various venues, 16 Mar, 30 Mar, $35–$54.95

Piaf & Brel: The Impossible Concert

South Australian Jockey ClubMorphettville Racecourse, 15 Mar, $32

All Of These Lines..... Fly Bird Fly Studio, 15 Mar, $24

Aretha - RESPECT

The Gov, 14 Mar, $38

Sound & Silence

The Mill, 15 Mar, $15

THE WHEATSHEAF UKULELE COLLECTIVE presents: UKE-ALADIES!

The Wheatsheaf Hotel, 14–16 Mar, $25

In Transience Elder Conservatorium, 14 Mar, $20

Ukulele Death Squad - “Fifty Shades of Uke” Regal Theatre, 16 Mar, $25

ANDREW LLOYD WEBBER.

PHANTOM IN THE FOREST

Sinclair’s Gully Winery, 15–16 Mar, $27.50

Sound BathPlant Song

Black Diamond Gallery, 15–16

Mar, $33

Turn Up Your Radio - Rock Arena

The Alley, 15–16 Mar, $39.50

Ingrid James - Jazz Singers Workshop and Jam

The Gilbert Street Hotel, 16 Mar, $27.50

“Come Sail Your Ships” - A Nick Cave and the Bad Seeds Tribute Grace Emily Hotel, 12–14 Mar, $30

19:50

The MagnetsNaked 80s Gluttony, 12–17 Mar, $30–$45

20:00

AMBIENT ORCHESTRA Presents David Bowie’s BLACKSTAR FEATURING MAYA BEISER/EVAN ZIPORYN

RCC Fringe, 16 Mar, $55

Augie March

The Palais [Adelaide Festival], 13 Mar, $59

Camille

O’Sullivan

The Palais [Adelaide Festival], 15–16 Mar, $59

Emma Donovan & The Putbacks

The Palais [Adelaide Festival], 14 Mar, $49

Jackson Vs Jackson Gluttony, 12–17 Mar, $35–$45

LARAAJI

RCC Fringe, 17 Mar, $50

Rohan & Polly

Present

South Australian Jockey ClubMorphettville Racecourse, 15 Mar, $30

The Sheridan Show

The Oxford Hotel, 15 Mar, 22 Mar, $20

Natural Woman Classics of the 50’s, 60’s, & 70’s Cafe Outside The Square, 15 Mar, $25

Ted Nettelbeck: Jazz piano reflections Nexus Arts, 13 Mar, $20

AMBIENT ORCHESTRA Presents FRIPP/ ENO, LARAAJI & SATIE: AN AMBIENT PRIMER

RCC Fringe, 15 Mar, $55

Totally TOTO Norwood Hotel, 13 Mar, $35

Forces of Nature

Adelaide Town Hall [Adelaide Festival], 12 Mar, $40

Jason Stacey and the Moonlight Shadows

Nexus Arts, 14 Mar, $20

MC ME - My Inner Monoloop Nexus Arts, 17 Mar, $30

Bublé Arkaba Hotel, 16 Mar, $45

The James Taylor Story

The Garage International @ Adelaide Town Hall, 12–16 Mar, $25–$35

The Clare Valley Concert Band do the Blues Brothers

The Rising Sun Hotel, 16 Mar, $25

CANCELLED - Tea for Two: An Evening Tea Party

South Australian Jockey ClubMorphettville Racecourse, 13 Mar, $28

GLOW

The Lion, 13–16 Mar, $35–$38

MICK HARVEY: “INTOXICATED MAN” - Presenting the Songs of Serge Gainsbourg

RCC Fringe, 14 Mar, $49

The Tears of Saint Peter

St Peter’s Cathedral [Adelaide Festival], 13 Mar, $30

20:10

The Choir of Man Gluttony, 12–17 Mar, $32–$45

20:30

100% Pure 90s

Happy Sally, 15 Mar, $35

Ella at Zardi’s

The Jade, 12–14 Mar, $31

Natural Woman Classics of the 50’s, 60’s, & 70’s Cafe Outside The Square, 16 Mar, $25

1965 Masters

ApprenticesHands Of Time

The GC - Grand Central on Angas Street, 14 Mar, $35 1965 Masters Apprentices at McCracken McCracken Country Club, 16 Mar, $35

Ceberano + Co.

The Garden of Unearthly Delights, 17 Mar, $55

Nirvana MTV Unplugged

The Parks

Theatres, 15–16 Mar, $33

The Original West Enders

Live At The Cumby, 15 Mar, $15

21:00

BACK IN BLACK AND EAST LIVE

The GC - Grand Central on Angas Street, 15 Mar, $30

RCC Fringe: Dusk till Dawn HHH

RCC Fringe, 15–17 Mar, FREE

Luke Swinburne

Treasury 1860, 16 Mar, $16

Sound & Silence

The Mill, 15 Mar, $15

Maison De Danse

The Hindley, 15 Mar, $25

Rotten Apples - A Smashing Pumpkins Tribute Show

Grace Emily Hotel, 16 Mar, $23

That 90’s Show

The HWY, 16 Mar, $25

21:30

Ingrid James Quartet - Love and other fiascos

The Gilbert Street Hotel, 15 Mar, $27.50

ONE HIT WONDERLAND

Norwood Hotel, 15 Mar, $25

Cat, Neil and Captain Fantastic

The GC - Grand Central on Angas Street, 15–16 Mar, $28

22:00

Big Smoke Fauna

La Bohème, 16 Mar, $20

Picaresque

Banquet Room [Adelaide Festival], 15 Mar, $30

The Tears of Saint Peter

St Peter’s Cathedral [Adelaide Festival], 15 Mar, $30

22:30

Rolling Blackout Coastal Fever

The Palais [Adelaide Festival], 16 Mar, $39

Washington

The Palais [Adelaide Festival], 15 Mar, $39

22:45

The Sex Cult Cousins LIVE! LIVE! LIVE!

The Garden of Unearthly Delights, 14–16 Mar, $25

23:00

Alex Rossi & Friends: The After Party HHH

The Garden of Unearthly Delights, 14–17 Mar, $20–$25

Massaoke Mixtape

The Garden of Unearthly Delights, 15–16 Mar, $27

00:00

Tianna the Traveller: Adventure stunt show

Online Only, 15–17 Mar, FREE

09:30

Adelaide Spectacular Ballroom Dance Championship

2019

Wonderland Ballroom, 17 Mar, $55

10:00

Life on the Line

Adelaide Botanic Garden, 17 Mar, FREE

11:30

Zizanie Space Theatre [Adelaide Festival], 15 Mar, $25

13:30

EBONY

CIRQUE AFRICA

BIG TOP, 16–17 Mar, $39

14:00

I Am Basketball Man

Tuxedo Cat @ Arthur’s Place, 16–17 Mar, $20

Life on the Line

Adelaide Botanic Garden, 16–17 Mar, $15

Grand Finale Festival Theatre [Adelaide Festival], 17 Mar, $35

FEMME HHH

The Mill, 13–14 Mar, $25

Retro Dance Workshop

The Parks Theatres, 17 Mar, $12 Zizanie Space Theatre

[Adelaide Festival], 16 Mar, $25

15:00

¤ FINALE HHHHH

Gluttony, 16 Mar, $35

CIRQUE AFRICA

CIRQUE AFRICA

BIG TOP, 16–17 Mar, $39

Circus Abyssinia: Ethiopian Dreams HHH

Gluttony, 17 Mar, $35

¤ LIFE - the show HHHH

The Garden of Unearthly Delights, 16–17 Mar, $35

15:30

Zizanie Space Theatre [Adelaide Festival], 17 Mar, $25

16:00

Life on the Line

Adelaide Botanic Garden, 16–17 Mar, $15 BOUNCE IN Payneham Youth Centre, 16 Mar, $15

360 ALLSTARS

Gluttony, 16–17 Mar, $35

16:30

EBONY CIRQUE AFRICA

BIG TOP, 16–17 Mar, $39

¤ By a Thread HHHH

Gluttony, 16–17 Mar, $35

Idris Stanton - WHAM GLAM CIRCUS MAN! Gluttony, 17 Mar, $22

17:00 Rouge Gluttony, 16 Mar, $39

17:30

Life on the Line

Adelaide Botanic Garden, 16 Mar, $15

18:00

Casting Off

Gluttony, 12 Mar, 14 Mar, 15 Mar, 16 Mar, 17 Mar, $15–$25

Seasons of Love

Gluttony, 13 Mar, $25.50

CIRQUE AFRICA

CIRQUE AFRICA

BIG TOP, 16–17 Mar, $39

Social Staples Gluttony, 12–17

Mar, $20–$25

18:30

EBONY

CIRQUE AFRICA

BIG TOP, 12–15

Mar, $26–$39 BOUNCE IN Payneham Youth Centre, 16 Mar, $25

Circus Abyssinia: Ethiopian Dreams HHH

Gluttony, 12–17

Mar, $29–$39

360 ALLSTARS

Gluttony, 14–17 Mar, $35

Guru Dudu’s Silent Disco Walking Tours Mall’s Balls, 14–17 Mar, $24

Rebel HHH

Gluttony, 12–17 Mar, $28–$39

19:00

I Am Basketball Man

Tuxedo Cat @ Arthur’s Place, 14–15 Mar, $20 Hand in Hand

Gluttony, 12–17 Mar, $18–$25

Grand Finale Festival Theatre [Adelaide Festival], 16 Mar, $35

Djuki Mala

The Garden of Unearthly Delights, 12–17 Mar, $35–$45

FEMME HHH

The Mill, 16 Mar, $25

Zizanie Space Theatre [Adelaide Festival], 14 Mar, $25

19:20

You & I

Gluttony, 12–17

Mar, $22–$28

Idris Stanton

- WHAM GLAM CIRCUS MAN! Gluttony, 12–17

Mar, $20–$25

19:30

Zizanie Space Theatre [Adelaide Festival], 15–16

Mar, $25

19:45

Cirque Alfonse: TABARNAK

RCC Fringe, 12–17

Mar, $40–$55

20:00

SINNERS

Ambassadors Hotel, 15–16 Mar, $30

¤ FINALE HHHHH

Gluttony, 12–17

Mar, $29–$48

CIRQUE AFRICA

CIRQUE AFRICA

BIG TOP, 12–16

Mar, $26–$39

BOSS SQUAD

Live From Tandanya, 13–17 Mar, $24

Rouge Gluttony, 12–17

Mar, $35–$46

Grand Finale

Festival Theatre

[Adelaide Festival], 15 Mar, $35

Guru Dudu’s Silent Disco Walking Tours

Mall’s Balls, 15–17

Mar, $24

FEMME HHH

The Mill, 13–14

Mar, $25

20:30

Fuego Carnal

Gluttony, 12–17

Mar, $40–$55

¤ LIFE - the show HHHH

The Garden of Unearthly Delights, 12–16 Mar, $35

21:00

Dangerously obsolete the sequel

Vintage Vulture, 15 Mar, $15

Crystal Club Bakehouse Theatre, 12–16

Mar, $25

FEMME HHH

The Mill, 16 Mar, $25

21:30

¤ RAILED HHHH

Gluttony, 12–17

Mar, $30–$39

¤ By a Thread HHHH

Gluttony, 12 Mar, 14 Mar, 15 Mar, 16

Mar, $20–$35

CLUB BRIEFS

RCC Fringe, 17

Mar, $40

Briefs: Close Encounters

RCC Fringe, 12–16 Mar, $55

Laser Kiwi

The Garden of Unearthly Delights, 12–17 Mar, $25–$32

Lovefool

Tuxedo Cat @ Arthur’s Place, 12–16 Mar, $15–$20

21:50

Fuego Carnal

Gluttony, 14–16

Mar, $49–$55

22:00

DIRTY TATTOOED CIRCUS BASTARDS HHH

Gluttony, 12 Mar, 14 Mar, 15 Mar, 16 Mar, 17 Mar, $23

23:00

Circus’Cision

Gluttony, 15–16

Mar, $35

23:20

The Otherworld Gluttony, 15–16

Mar, $25

00:00

Uniquely Bowden

BOWDEN, 13–17 Mar, FREE

07:00

dARbism

Pane e Latte, 12–15 Mar, FREE

08:00

From Nature West Torrens Auditorium Gallery, 13 Mar, FREE Into the Sea... You and Me

Folklore Cafe, 12 Mar, 13 Mar, 15 Mar, 16 Mar, 17 Mar, FREE Paint, Draw, Stitch.

Brick+Mortar, 12–17 Mar, FREE

08:30

dARbism

Pane e Latte, 16–17 Mar, FREE Peeps

Joan’s Pantry, 12–17 Mar, FREE

09:00

Lupercalia

Adelaide Central Gallery, 12–15 Mar, FREE

Wine and Wallabies Fisher Jeffries, 12–15 Mar, FREE Bush Foods

DreamingCountry and the Place I Call Home

Red Poles, 13–17 Mar, FREE On The Fringe - RAH Art Exhibitions

Royal Adelaide Hospital, 12–15 Mar, FREE

s.il.hou.ette Nexus Arts, 12–15 Mar, FREE

I Spy (All Shapes And Sizes) a Farrago Project by Anna Cherkasova and André Lawrence

Women’s & Children’s Hospital Foundation, 12–17 Mar, FREE Sanaa Exhibition

The Bob Hawke

Prime Ministerial Centre, 12–15 Mar, FREE African Marangi - The Second Trek

The Parks Theatres, 12–17 Mar, FREE For Art Sake Art Prize

Atkins Photo Lab Gallery, 12–13 Mar, FREE

Deck Heads

Black Diamond Tattoo Studio, 12–15 Mar, FREE Clock Paper Scissors

The Green Room Organic Cafe, 12–16 Mar, FREE

The Lucky Country-If Only Sarah’s Sister’s Sustainable Cafe, 12–17 Mar, FREE The Art of Being Human

Various sites around Adelaide, 12–17 Mar, FREE Art Moments by Marie Jonsson-Harrison

Women’s & Children’s Hospital Foundation, 12–17 Mar, FREE Street Art Explosion Various sites around Adelaide, 12–17 Mar, FREE Napalm Jane and The Martian Hammers from Nowhere

Prospect Gallery, 16 Mar, FREE

2019 Marden

Senior College Photography Exhibition

Burnside Civic Centre, 12–15

Mar, FREE

My Kilimanjaro “A Tell of two stories”

Mitcham Cinemas, 12–17 Mar, FREE Substance That Promotes Healing by Laura Wills

Flinders Medical Centre, 12–17 Mar, FREE

09:30

Showing Up Presence, 12–15 Mar, FREE

My Kilimanjaro “A Tell of two stories” Immersion Gallery, 13–15 Mar, FREE ARTS AND CRAFTS

Pilgrim Uniting Church, 12–15 Mar, FREE

10:00

Church Of Dog

The Bakery Gallery, 17 Mar, FREE

From Nature West Torrens Auditorium Gallery, 12 Mar, 14 Mar, 15 Mar, 16 Mar, FREE

About Time-Brief Retrospectives of six artists Signal Point Gallery, 12–15 Mar, FREE

The Inner Life of Arts... Hutt Street Library, 12–16 Mar, FREE

Still Life at the Buckingham Arms Hotel Buckingham Arms HotelFringe Lodge, 12–17 Mar, FREE Heysen Sculpture Biennial 2019 The Cedars Hahndorf, 12–17 Mar, FREE

Imagine

North Adelaide Community Centre, 12–15 Mar, FREE

Things of Nature

Unley Museum, 12–14 Mar, FREE Showing Up Presence, 16 Mar, FREE

Greetings from... the power of souvenirs

Migration Museum, 12–17 Mar, FREE

Contrapasso Hahndorf Academy, 12–17 Mar, FREE

A Little Nonsense

Colonel Light Books, 12–16 Mar, FREE

In Our Own Voices

Migration Museum, 12–17 Mar, FREE

The Nature of Things

Pepper Street Arts Centre, 12–15 Mar, FREE

Cancelled_The Land

MixedCreative, 13 Mar, 14 Mar, 15 Mar, 17 Mar, FREE

10:15

Napalm Jane and The Martian Hammers from Nowhere

Prospect Gallery, 12–15 Mar, FREE

10:30

Outburst RSASA Gallery, 12–15 Mar, FREE

11:00

About Time-Brief Retrospectives of six artists

Signal Point Gallery, 16–17 Mar, FREE

An Art EGGxibition by Janet Milera Red Rhino Room

Exhibition Space & Studio, 15–17 Mar, FREE

Dreamlights

Chancery Lane Gallery, 13–15 Mar, FREE

Dawn to Twilight Glenelg Art Gallery, 12–17 Mar, FREE

My Kilimanjaro “A Tell of two stories”

Immersion Gallery, 16 Mar, FREE

Contemporary Allegiance: attentiveness to an existing cause

DogRidge Cellar Door & Gallery, 12–17 Mar, FREE

Plant Songs: The Secret Sounds of Plants

Black Diamond Gallery, 14–17 Mar, FREE

Connected by Thread

Mrs Harris’ Shop, 16–17 Mar, FREE Gardens of the Heart

Lobethal Woollen Mill, 16–17 Mar, FREE

12:00

Church Of Dog

The Bakery Gallery, 16 Mar, FREE

All in the detail!! Pottery on Fourth, 13 Mar, 16 Mar, 17 Mar, FREE

An Art EGGxibition by Janet Milera Red Rhino Room

Exhibition Space & Studio, 14 Mar, FREE

Décalage Gallery 1855, 13–16 Mar, FREE

Radeladians! A Rare Notion, 12–16 Mar, FREE ‘Avid’

Adelaide Potters Gallery, 16–17 Mar, FREE Showing Up Presence, 17 Mar, FREE

In Partnership With The Gov, 12–16 Mar, FREE Oratunga

Studio Bowden, 16–17 Mar, FREE

Dying Art

Mixed Spice

Creative Studios, 14–16 Mar, FREE

Deck Heads

Black Diamond Tattoo Studio, 16 Mar, FREE

Alive and on Stage

Campbelltown ArtHouse, 16–17 Mar, FREE

A Little Nonsense Colonel Light Books, 17 Mar, FREE

All The Small Things

Cru Tapas Bar & Kitchen, 15 Mar, FREE

The Nature of Things

Pepper Street Arts Centre, 16 Mar, FREE

The Passage Sparkke at The Whitmore, 12–17 Mar, FREE

Because she could KORKED, 17 Mar, FREE

13:00

From Nature West Torrens Auditorium Gallery, 17 Mar, FREE Outburst

RSASA Gallery, 16–17 Mar, FREE Art and Mind Fontanelle Gallery & Studios, 12–13 Mar, FREE Dreamlights

Chancery Lane Gallery, 16 Mar, FREE

Even More Notes nthspace Adelaide, 15–16 Mar, FREE

Royal Society Portraits Go To Burra Burra Regional Art Gallery, 12–17 Mar, FREE

Who Gives A Crap? HH nthspace Adelaide, 15–16 Mar, FREE

4000 stories

FELTspace, 13–16 Mar, FREE

Summer Paintin’ Fontanelle Gallery & Studios, 14–17 Mar, FREE

14:00

Things of Nature Unley Museum, 17 Mar, FREE Live Art Fashion Sparkke at The Whitmore, 16 Mar, $35

Napalm Jane and The Martian Hammers from Nowhere Prospect Gallery, 17 Mar, FREE Captured Moments

The Rising Sun Inn, 14–16 Mar, FREE

15:00

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 16–17 Mar, $29

15:20

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 16–17 Mar, $29

15:40

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 16–17 Mar, $29

16:00

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 16–17 Mar, $29

Because she could KORKED, 15 Mar, FREE Captured Moments

The Rising Sun Inn, 12–13 Mar, FREE

16:20

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 16–17 Mar, $29

16:40

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 16–17 Mar, $29

17:00

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–15 Mar, $29

All The Small Things

Cru Tapas Bar & Kitchen, 14 Mar, 16 Mar, FREE

hour-by-hour

Because she could KORKED, 16 Mar, FREE

17:20

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–15 Mar, $29

17:40

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–15 Mar, $29

18:00

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–17 Mar, $29 Oratunga Studio Bowden, 14 Mar, FREE

18:20

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–17 Mar, $29

18:40

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 16–17 Mar, $29

19:00

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–17 Mar, $29

Plant Songs: The Secret Sounds of Plants

Black Diamond Gallery, 13 Mar, FREE

19:20

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–17 Mar, $29

19:40

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–15 Mar, $29

20:00

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–17 Mar, $29

20:20

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–17 Mar, $29

20:40

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–17 Mar, $29

21:00

Schuldfabrik

Mystery CBD Location [Adelaide Festival], 13–17 Mar, $29

Outside Light

New Local Eatery, 12–17 Mar, FREE

Bare Facts

Baby Got Back’s love affair with the riotous nude

“You don’t have to do it if you don’t want to.”

I’d just pitched the concept of a naked jump-roping act to my long time friend and co-performer, Jane. The other women in the show were on board with it, wiggly bits and all. But they were seasoned strippers. They’d been whipping their kits off for years. Jane, a formidable burlesque star and no stranger to striptease, hadn’t publicly gone the whole hog.

She nodded furiously. “I want to. I WANT TO.”

Rehearsals were a riot. We skipped and jumped and laughed about the way our tits seemed to hit our chins. The way our thighs thundered and our skin folds flapped about in the air. The way the ropes would sting those vulnerable body parts with a mistimed jump.

“There’s a kind of threshold you pass through when you’re coming to terms with being nude in public for the first time”

That first opening night Jane was restless. There’s a kind of threshold you pass through when you’re coming to terms with being nude in public for the first time. It’s a mental rollercoaster that rockets past every memory of being taught to clothe yourself, to cover up. But as the ropes smacked the stage floorboards, Jane transformed into this joyful, jiggling wild woman; kissing her bicep and leaping with glee. She emerged backstage from a cheering audience, fists in the air, minge in the breeze, utterly victorious.

And so faithfully, every night, we pulled on naught but our sneakers, clobbered some glitter on each other’s fleshiness and sprinted around the front of the spiegeltent to await our music cue. We upped the stakes and presented a seven-woman jump-rope naked spectacular to several hundred people at the Artist’s Bar. We orchestrated a nude commandeering of The Garden of Unearthly Delights’ dodgem cars

Credit: Alexis D. Lea

with well-known Fringe nudeys (paging Adrienne Truscott, Marcel Lucont), their stage technicians and two astonished strangers (it’s ok, they were French).

Our stark bods flitting about the Fringe space have always rustled feathers. The inherent belief that nudity equates to sex has seen us blocked from advertising on digital media or written off as ‘raincoat brigade’ fodder by male reviewers. Elsewhere, public presentations of the female body continue to be policed, shamed and censored. Even with #freethenipple, #normalisebreastfeeding, #stillnotaskingforit we still have a long way to go.

So this Fringe, try something new. There is ambitious, rule-breaking work happening nightly, beyond the major attractions. Watch out for nude bodies sprinting around a Gluttony tent. You’re welcome to jump with us too. / Vesper White

VENUE: Gluttony

TIME: 8:40pm, 5–17 Mar

TICKETS: $24 – $34