ODETTE ON THE WOMADELAIDE STAGE
Inside:
Dyson Stringer Cloher Breaking the Waves
Director Editor-in-Chief
George Sully Rosamund West
Co-editors Cover illustration
Laura Desmond & Ben Venables Katie Smith
Artworker Cover art direction
Phoebe Willison Rachael Hood
Digital manager
Alexander Smail
Sales and events executives
Ollie Marshall & Sarah Norris
Writing Team
Justin Boden, Lauren Butterworth, Alexis Buxton-Collins, Harriet Hay, Miranda Hay, Emma Heidenreich, Letti K-Ewing, Justin McArthur, Kylie Maslen, Esther Rivers, Edwina Sleigh
Radge Media
Commercial director General manager
Sandy Park Laurie Presswood
Acknowledgement of Country
Fest Magazine acknowledges that we are working on the traditional Country of the Kaurna people of the Adelaide Plains and we pay our respects to ancestors and Elders, past, present and emerging. We also acknowledge that the traditional Kaurna cultural and heritage beliefs are still important to the living Kaurna people today.
Fest is committed to honouring Australian Aboriginal and Torres Strait Islander peoples of this nation by respecting their unique cultural and spiritual relationships to the land, waters and sky and recognising their rich contribution to society. Contact fest-mag.com hello@fest-mag.com @festmag
Every effort has been made to check the accuracy of the information in
magazine, but we cannot accept liability for information which is inaccurate. Show times and prices are subject to changes – always check with the venue. All rights reserved. No part of this publication may be reproduced in whole or in part without the explicit permission of the publisher. The views and opinions expressed within this publication do not necessarily represent the views or opinions of the printer or the publisher. Printed by Finsbury Green Pty Ltd, 1-1A South Rd, Thebarton SA 5031. Distributed by poster-distribution.com.au
WOMAD Bingo
25 sights to tick off at WOMADelaide 2020
Dance-off
WOMAD Bingo
Band with 10+ members
Improvised flower accessories Selfies for the 'gram
Apocalyptic weather Planning huddle Mid-arvo snooze
New society comprised entirely of tents
Attempted mosh pit (preferably <10 members)
Henna foot tattoos
Endless donut queue Snake oil
Free space (we suggest 'endless percussion solo')
Tech issues (preferably arising from obscure instruments)
Cannabisthemed merch
Cheapskates only going to 'Taste the World' for free food
Cultural appropriation
Free-range children
Impromptu jam sesh
Indecision at the coloured bins ('bin-decision')
Song calling for a revolution Surprise onstage cameo Conservative that never leaves the beer stall
Performers waving national flag
Midday yoga
Spoken Words
Odette is not interested in being labelled
With two ARIA Music Award nominations by 18 thanks to her first album To a Stranger, Odette quickly marked herself as an artist to watch.
Signed to an agent at 14 she could easily have become overwhelmed by the attention. But she is assured yet down-to-earth. With influences ranging
from Carol King to Missy Higgins to Ryuichi Sakamoto, she refuses restriction – particularly when it comes to the innate gendering of music.
“I’m just really over it. I’m proud of being a woman, but I don’t want to lead the conversation with ‘Hi. I am a woman’. I just want to say exactly what I want to say and have it taken seriously. Every time I hear I am a female artist I often find it’s in a subgenre, instead of actually up at the forefront, instead of just saying ‘an artist’ or ‘a writer’. It’s just really condescending to be honest.”
This desire to break through boundaries has seen Odette find great partnerships with producers Damian Taylor (Björk, Florence + The Machine, The
Killers) and Paul Mac (Silverchair, The Dissociatives). “Paul and I worked together when I was very young, probably about 16 or 17,” she recalls. “I had just written ‘Pastel Walls’ and ‘Lotus Eaters’ so we went and did demos for those.
“I really enjoyed working with him because he just had this beautiful world in his brain that kind of fit perfectly with mine in that moment. We both just knew what we wanted to do. I really like those sessions where you can just go in [without] thinking about a style or an arrangement or certain sounds. It’s just about connecting with another person and then creating from there.”
She says her and Taylor (who produced the album) “are BFFs. He is amazing. We hit it off straight away. He is a lovely and talented person. It’s just nice to work with producers who don’t feel like you’re working with a producer. You don’t feel like you’re going into a studio to create a certain thing. You just have this freedom, which I think is very difficult to achieve.”
“It’s just about connecting with another person and then creating from there”
Odette’s lyrical style is greatly influenced by traditional poets such as John Keats, and she uses spoken word elements on tracks including ‘Watch Me Read You’. But her songwriting process is not one drawn from dusty leather-bound notebooks. “I like to write on my phone,” she says, “because it’s there. It’s temporary. You can just write a note; it doesn’t have to be a whole thing.”
In fact ‘Watch Me Read You’ burst out of her in a fury. She explains: “I was 18, I had just gone to London and I had some real bullshit going on. I was completely fragmented, I had no idea what was going on. Eventually I just kind of had this low-key breakdown. But I got into the studio, like, the next day and we just wrote it. I didn’t think about it at all. It was like it was already written in my head and it just came out on paper.”
Despite the emotional vulnerability of her lyrics, Odette is not hampered by sharing her experiences. “It’s not weird, nothing’s weird. Now that I’m 22 I don’t really connect with who that person was anymore. I hear all this pain and I remember how it
felt to feel these things but I’m a completely different person. I think it’s quite interesting to listen to my music now with this different perspective. It’s like a time capsule.”
Ahead of her performance at WOMADelaide, Odette reflects on the role her heritage has on her music. “Around the time of [creating To a Stranger] I was just realising what my ancestry even was. I had some family members do some research and heard songs that my family had passed on to me. It was really nice.”
Born in the UK before moving to Australia at three years old, Odette's mother is Zulu, the largest ethnic group in South Africa, and her father is British. Exploring Zulu music has had a profound effect on her. “There’s a lot of polyrhythms, and a lot of different major scales which I don’t really use a lot. So it was nice experimenting with that.”
With a new album in the works and a new single likely to grace the WOMADelaide stage, 2020 is looking to be an exciting one. “I’ve been working really hard. I’ve got my team with me, I’ve got the best people who I could possibly have surrounded myself with co-writing songs with me, so it’s beautiful. I had a beautiful time making it.” ✏︎ Kylie
Maslen
VENUE:
TIME: 7:30pm Sat 7 Mar, 4pm Mon 9 Mar
WOMADelaide, Botanic Park
Be sure to check fest-mag.com for more – including daily reviews and full
We have one more issue left this season...on this date:
Issue 3 - Tue 10 Mar
Ensembles, Assemble!
A talk with four of WOMADelaide’s (literally) biggest bands
KermesZ à l’Est
1pm Sun 8 Mar, 6:15pm Mon 9 Mar
Members: 8
At WOMADelaide 2020, acoustic Balkan metal act KermesZ à l’Est bring together eight of Brussels’ finest leather-clad anarcho punks –and a giant metal dinosaur.
A curious act, the octet have refined their musical identity over more than a decade of Belgian street festivals. “We started with traditional Balkan music, which is wonderful, because it has beautiful melodies and interesting rhythms, and we feel free to play them a different way,” says Maxime ‘the
Megaphonist’ Tirtiaux. “Then we added more rock sounds, and some very weird sounds coming from vintage electro and our street acts.
“Now we have reached this very original fusion between Balkan, electro, jazz, and metal – but I think that’s just a result of our curiosity for different kinds of music,” he says, who plays two kinds of mandolin (the banjolin and tamboura). “As musicians, everyone’s playing jazz, and rock, and many different styles. And with this band, we have a very clear goal of making very energetic music, full of the desire to party.
“Playing centimetres from the public, there is a lot of interaction and improvisation. I think we learn a lot from these experiences. We love playing street concerts, and amplifying our music with the huge metallic dinosaur that we’ve made. It looks amazing, it looks very crazy. And it’s even more crazy to play very loud acoustic metal as a brass band,” says Tirtiaux.
“Because we make this hybrid genre of music, we don’t really fit with many festivals. Rockers, I think, cannot conceive of a rock band without guitars, and with horns instead of amps; for traditional music, it’s too loud! So we find ourselves in very independent and very alternative networks, like WOMADelaide.”
KermesZ à l’Est
Dr Piffle & the Burlap Band
8pm Sat 7 Mar
Members: 11
Long before they started playing together, Dr Piffle & the Burlap Band were friends through skating and surfing around Adelaide. Like KermesZ à l’Est, their style came about through a combination of talent and improvisation. “Originally I played bass, but I went overseas and they picked up another bass player, because it’s kind of an essential instrument,” says Nick Dugmore. “So when I came back, I just started playing a piece of driftwood that was in the back of the ute. Then my mate came back from Canada with a trumpet he found in a second-hand shop, and I used to play trumpet in the school orchestra. So I picked that up again too.
“I’m really looking forward to just hanging out with the band, having everybody back together,” he says. “It’s pretty rare that we’re all together, even for a rehearsal. We’ll squeeze a few in before a big show like WOMADelaide, but one of us lives in Melbourne now, one in Sydney, and everybody’s got kids.”
Dr Piffle & the Burlap Band have been on a break since 2015, when multi-instrumentalist Jed Altschwager (accordion, vocals, tambourine, and didgeridoo) lost his lower right leg in a workplace accident. Reuniting for WOMADelaide might offer them more than one reason to celebrate. The morning of their performance, Altschwager will find out if he’ll be rowing for Australia in the Tokyo Paralympics. “If he makes the Paralympics, it’s going to be a huge celebration for us – it’ll be an incredible day and night,” says Dugmore. “If he makes it, we’ll take the band to Japan later in the year, to watch him and play together.”
Minyo Crusaders
6:15pm Sat 7 Mar, 4pm Mon 9 Mar
Members: 10
In the meantime, ten Tokyo locals will visit Adelaide as the Minyo Crusaders, whose music draws on the soft nostalgia of traditional Japanese folk songs, min’yō. Their songs emerge from extended jam sessions, where the band’s nine other members improvise (on guitar, bass, keyboards, trumpet, saxophone, timbales, congas, bongos, and melodica) around the vocals of founder Freddie Tsukamoto.
“We play danceable party music, but it comes from Japanese folk songs that have been sung for more than 100 years,” says Crusaders co-founder Katsumi Tanaka. “The ideas for the backing tracks come from various world music genres. Each member brings different world music rhythms and riffs, playing along with Freddie’s singing.”
Their crusade to revive min’yō has taken them across the globe, with the band recently completing their first tour of Europe – including a performance at Dutch festival Le Guess Who? on the same night as fellow folk vocalists (and WOMADelaide 2020 visitors) Aldous Harding and Ustad Naseeruddin Saami.
Tanaka says that travelling together has helped the Crusaders to bond. “The feeling of increasing teamwork is a very unique experience, spending time with members of various ages and different living environments (in Japan). “And of course, the most enjoyable things are the delicious local foods of the places we visit.”
Dr Piffle & the Burlap Band Minyo Crusaders
Public Opinion Afro Orchestra
6:15pm Sat 7 Mar, 4pm Mon 9 Mar
Members: 19
WOMADelaide’s biggest ensemble of all, the Public Opinion Afro Orchestra, perform an ever-evolving mix of funk, jazz, hip-hop, and highlife.
Born out of bands Musiki Manjaro, LABJACD, Alárìíyá, and The Bombay Royale, as well as the wider Melbourne musical community, the group have been together for 12 years with few changes to their epic lineup. The Afro Orchestra describe themselves as “a 21st century response to afrobeat,” incorporating elements from hip-hop as well as a host of pan-African rhythms.
“[Afrobeat pioneer] Fela Kuti said music is the weapon of the future, and that is an edict that we hold close to our hearts,” says trumpeter Tristan Ludowyk. “Our music is aimed at the dancers, but we always want to bring everyone together and make them think a little as well. We party with a consciousness.”
For all 19 members to write together, each song has to come from a different ‘seed’ – a theme from which they can all take musical and creative inspiration. From that seed, the guitarists, percussionists, and six-piece horn section will improvise slow, simmering grooves. These will become the skeleton of the song, around which the band’s vocalists will bring its message to life.
“A Public Opinion song will always take you on a musical journey,” Ludowyk says. “One of the great
things about our band is that we have members from all corners of the globe, with different interpretations of not only the music we play but the message we bring to our fans too.”
It helps that they enjoy each other’s company, as well as sharing in their musical passions. “Once we add soundies, partners and children, we often have a party of 30+ travelling together. And that’s what it is – a party!”
“We party with a consciousness”
- Tristan Ludowyk
A decade after they last played WOMADelaide in 2010, the Afro Orchestra are “excited beyond belief” to be returning. “It’s always a great time whether performing or not,” says Ludowyk. “It’s one of the best curated and run festivals in the country, and they treat all their artists really well and make them feel right at home. And the diversity of music and experiences on offer are incredible – almost all the performers are masters of their chosen craft.
“But the thing about WOMADelaide is that you always find your favourite performances come from acts you’ve never heard of before. There are just so many new things to explore and check out!”
✏︎ Justin McArthur
VENUE: WOMADelaide, Botanic Park
TIME: 6-9 Mar
Public Opinion Afro Orchestra
Homelands
Indigenous WOMADelaide performers discuss language, culture, and pride
When singer Deline Briscoe returns to WOMADelaide, she will be singing in the Yalanji language as both a celebration and protest.
“I love the festival anyway, but to be a part of the line-up and to bring some of my culture back to that stage – it’s really exciting to present that to a world audience, you know,” she says.
For Briscoe, who previously performed with the Mission Songs Project in 2018, and with the Briscoe Sisters in 2006, the Yalanji language both connects her to her ancestral home in the Daintree, and helps her to restore the cultural connections that were stolen from her mother.
“My mother comes from the Stolen Generation,” Briscoe says. “She was taken at the age of four, and went back at the age of 17 to find her family. She wasn’t able to speak her language growing up – she was severely punished for that.
“When I started learning more, I wanted to remember it. I wanted to preserve it and I wanted it to continue for the next generation, so if ever any Yalanji people are in the same situation as my Mum, where they don’t know anything, they’ve got a song
that they can hear, and that can link them to other families.”
Briscoe now performs around the world, but her songs transport her back to the Daintree. “When I sing in Yalanji, no matter where it is in the world, I feel like those words resonate with the natural surroundings. Every word is directly linked to something from my bubu, which is the homeland of my spirit. Every single word resonates with the tree, and the tree resonates with the branch – that’s the way our language is structured.”
Alongside performing her own songs, Briscoe works with communities throughout Queensland, Victoria and New South Wales, helping other people to revive their stories, songs and dances by helping them to compose songs in their own languages.
“For those that have had their languages taken from them, it’s a way of taking that back – bringing back the power of those languages for people like my mum, who were never able to speak it. Here I am, singing all over the world in Yalanji, with pride and with strength and with honour, for the culture that I represent.”
Deline Briscoe
Briggs returns to WOMADelaide as a solo act, after headlining the festival in 2017 as half of AB Original. “I remember it well. It was like, one of our biggest shows we’ve ever done,” says Briggs. “That’s how it was, back in the olden days of 2017.”
Briggs makes history in 2020, as the first Indigenous rapper to return to WOMADelaide. He’s only the fourth to play the festival at all, alongside Brothablack in 2003, Baker Boy in 2018, and AB Original collaborator Trials at their aforementioned 2017 gig. But he says it’s “not really something you think about”.
“That’s not how they present it to me, when they bring me the contract – ‘you’re the only returning Indigenous hip hop artist’. It’s some pub ammo, for sure. But I mean, hopefully we’ll have more, and that’s what it’s about. We killed it last time, why wouldn’t they have me back?
“It’s a real cool festival to do. One of the ones I really enjoy – off the top of my head, you have Meredith, WOMADelaide, Splendour, Woodford –these are the ones that are always a good time, always warm, run by really good people. You like working with them, so you would come back.”
A rapper, writer, actor, comedian, and record label owner, Briggs has a lot of careers for a guy in his early 30s. “It’s weird though, because I never had that in mind like ‘I’m gonna do that’. It’s always like ‘man, that’d be cool’. ‘Imagine doing that, that’d be sick. Imagine if you got to write TV shows, im-
agine if you got to be on TV doing comedy, imagine this and that. Yeah, that would be fun.’
“And I guess I just manifested it by doing things I love, and accessing the kind of opportunities that were able to present themselves. Run towards them, and do as much as I can. So long as it’s not brain surgery, and nobody’s life is in my hands, you can pretty much guarantee that I’ll give it a shot.”
From taking his family name as a stage name, to bearing Yorta Yorta tattoos on his arms, to rapping about #sheplife, pride in his culture and heritage have always informed Briggs’ choices as an artist.
“Our heritage, our culture is our values. You take that with you everywhere you go. So you know, it’s not always tangible, what people might think – it’s not always paintings and artifacts. It’s how we carry ourselves every day, in how we interact, and how we present to the world. You try to present, and lead with respect, and hopefully that’s what reflects back.”
Does he consider himself a leader? “I guess so, like in the sense of – if you’re looking at it on paper? But like, what constitutes a leader, I think, shifts every era, every generation,” he says. “There are different leaders at different levels. But you don’t get to award yourself that title – that has to come from everyone else around you.
“If you’re wondering if you’re a leader, or trying to put that on yourself, you’re probably not. Because you should be focusing on what a leader would do. And a leader would just get back to work.”
Briggs
New to the festival this year is Spinifex Gum, a collaboration between the Aboriginal and Torres Strait teenagers of the Marliya Choir and The Cat Empire co-founders Felix Riebl and Ollie McGill.
Soprano Grace Miller wanted to join the Marliya Choir after she saw her sister perform. “Most of us started off in the Cairns [Gondwana Indigenous Children’s] Choir, so we all had experience in singing in choirs, but there’s a change from typical choral music to Marliya’s stuff,” Miller says. “The energy in the performance, the stage presence, it felt like family. Everyone was friendly and kind, and really good performers, and people as well.”
“The way most of us were brought up in storytelling, we’re able to tell people’s stories not just from our community or people we know, but across Australia,” says alto Emily Iverach. “We were used to learning the island songs, and learning the island languages for them. And then we learnt the Yindjibarndi language from the Pilbara.”
Many of their lyrics are in Yindjibarndi, as well as the choir’s name, marliya, taken from the Yindjibarndi word for ‘bush honey’. One exception is the song ‘Dream Baby Dream’, a cover of a cover with a new chorus: “Voice, Treaty, Truth, Now”. The choir have used this song to call for an Indigenous voice in the Australian constitution, as recommended in the Uluru Statement from the Heart.
“The question should be: why don’t we already have a voice in the Constitution? There’s no reason that we shouldn’t have one,” says Miller. “We have
people to speak for us, but we want our own voice. You need a First Nations person to share what we need.”
“The question should be: why dont we already have a voice in the Constitution?”
- Grace Miller
“You need an Indigenous person that knows the stories,” says Iverach. “Not every community’s stories, but their own stories. They understand what each and every Indigenous person goes through on a daily basis.” Speaking truth to power is part of Marliya’s appeal, says Miller. “‘Yurala’ is my favourite song, because it’s got a real attitude to it. You can really express yourself and ask why, and call out people in the audience, call out people that have done us wrong. And it also has a big story, a very important story of Indigenous culture.
“When we perform, people can’t shut us down, people can’t tell us to stop talking. So when you’re performing onstage, you have to tell that story, because there’s not many opportunities to do it somewhere else – and who else is going to do it?”
✏︎ Justin McArthur
VENUE: WOMADelaide, Botanic Park
TIME: 6-9 Mar
Spinifex Gum
Focus on: Dyson Stringer Cloher
Jen Cloher goes back to her Adelaide youth ahead of her performance at WOMADelaide
Years before WOMADelaide began, a little Jen Cloher would scurry out of her house, across Hackney Road and into the parklands of Botanic Park to play beneath the Moreton Bay fig trees. “I’d cross that road, you know, and I’d be in nature –to some extent. So weirdly, I’m kind of going back to my old stomping ground.”
Cloher went on to spend her adolescent years along Henley Beach’s coastline, trekking into the city to bask in the grime of Adelaide’s grunge rock scene. In their track ‘Falling Clouds’, Cloher reminisces about seeing The Clouds and Falling Joys as a teen in Adelaide. “You kicked the door wide open so I could walk onto that stage.”
Dyson Stringer Cloher are now embarking on imparting the same inspiration Cloher found in Adelaide’s underground music scene to thousands at WOMADelaide in 2020.
It’s sublimely cyclical to have Cloher return to Botanic Park with Mia Dyson and Liz Stringer, who make up the trio. A group that enlivened a new wave of female and gender non-conforming artists.
The three formed Dyson Stringer Cloher on a whim in 2013. They played 40 gigs across the country, leaving people aching for more of their music, before diverging down the different paths of their individual careers.
Six solo albums later, a stack of trophies, and some seriously inked-up passports, Dyson Stringer Cloher have released their self-titled debut album. And it is a jewel. It’s rock with sensitivity, simplicity and a natural fierceness.
The three pioneers aren’t doing this the old fashioned rock’n’roll way, but with an enviable zen swagger. “None of us drink,” Cloher says. “We just like sipping our kombucha and dandelion tea.” And as far as in-house fighting goes, it’s pretty tame. “Probably the biggest argument we would have is what milk we would put in our coffee. It’s actually quite embarrassing. Quality problems though.”
There’s no denying Adelaide’s impact on Cloher’s formative years. From Carclew to Flinders Drama Centre and the Adelaide Fringe, her trajectory as an artist began on these streets. It’s something she hasn’t forgotten. “I love Adelaide. And the thing I really love about it is that it’s not a big bustling city. Particularly as an artist growing up, there’s enough of a sense of that isolation and loneliness you need as an artist to sort of really have that time on your own to imagine and create.” ✏︎ Edwina Sleigh
VENUE: WOMADelaide - Botanic Park
TIME: 10:30pm Sat 7 Mar
Finding Your Voice
Kieran Hurley talks about his acclaimed play
Mouthpiece
There are many individuals who challenge social inequality. At times, though, discussions about poverty seem reserved for those with wealth and influence, whose benevolence comes from their own fortunate circumstances.
This idea is one that Kieran Hurley’s Mouthpiece unravels. “In a sense, Mouthpiece is a way of me trying to work out my own class baggage,” says Hurley.
The play’s plot stems from an unlikely connection between 17-year-old, unemployed Declan and a middle-class playwright, Libby. Declan is accustomed to violence and futility; Libby is disgruntled by the artistic community in which she is yet to find favour. Although saddened to hear Declan’s story, she quickly identifies the value in telling it. It also doesn’t hurt that such a story may kickstart her waning career.
“It is an unconventional love story,” says Hurley. “It’s two people who are both lost in their own different ways. They are desperately and catastrophically alone… [this is] the hook that opens the initial bond in their relationship. They may not recognise it initially, but they both have a need for connection.
Libby and Declan’s experiences of being rejected by the world are very different but just as acute as each other.”
Hurley acknowledges that the discussions between Declan and Libby mirror many of his childhood experiences. “The arc of the story is specific to my own experience,” says Hurley.
The play is set in Edinburgh, Hurley’s hometown. “I grew up in a normal working-class, mixed-class community called Restalrig. In terms of my economic and class background, this is ultimately what the play is about.
“I went to a state primary school in Edinburgh and grew up around many ‘Declans’. But at the same time, I grew up in a middle-class context, where I was encouraged to do things, like go to university, or have the belief in myself that I could grow up to be a writer.”
Exposure to both worlds at a young age may give Hurley a unique perspective. “There is a structural problem in the industry,” says Hurley. “The current structure keeps people from being able to participate and to share their own stories… Most of it is related
Credit: Lara Capelli
to money. To break through enough to imagine a steady income in the arts in the first place, you need financial support. So oftentimes the arts and artists themselves are supported by that steady wave of income which comes from those who are able to participate with free labour. And that is a problem, not just because of who gets paid for what, but because it impacts massively who is able to participate.”
“It is an unconventional love story”
He adds: “If there is one simple way that you could change that, it would change people’s access to arts both on the level of the audience but also on the level of the maker and creator and contributor.”
Despite Mouthpiece’s success, Hurley acknowledges that it was not a straightforward process to write the play. “Initially, [the play] was pretty shit,” he says. “There were so many drafts.”
And here lies what Hurley has identified as one of the most vital problems with the industry. “There
is also a very important thing which is giving artists the right to fail, artists need organisations and institutions that will back them, even when they fail.” Hurley is also careful to make a disclaimer here, “Of course, I don’t want people who have paid money and given my work time and attention to be disappointed, I want my work to kick ass!”
The issue may not only be about money though, it is more cyclic and dangerously subtle. “The arts are intertwined with middle-class production and consumption and values. It’s really culturally embedded… You can have all these diversity drivers, policies and panels, but as long as the industry is held afloat and held together by free labour, then there is only a small cross-section of society who are able to take that risk, who are able to participate,” he says. “This prevents people from being able to tell their own stories, just like Declan is unable to tell his. ✏︎ Emma Heidenreich
VENUE: Odeon Theatre [Adelaide Festival]
TIME: times vary, 6–14 Mar, not 11
TICKETS: $30
Angus Taylor and Shona Macdonald in Mouthpiece
Focus on: Craigslist Allstars
Finnish-born filmmaker
Samira Elagoz
explores truth, intimacy and human connection while filming unscripted first
meetings
Your techniques in film have been described as candid and transparent. Do you believe your work has been able to capture a true depiction of two strangers getting to know each other? Is this truth important to the work?
I definitely have an aesthetic of depicting the average, imperfect human body without trying to make it more or less than it is. Especially as we live in an artificial world full of idealised images.
The reality in my films is born from the interaction – an interaction that wouldn’t be there if the camera was not present. So of course the ‘real’ of the camera and the ‘real’ of the situation are different. It’s not that the film is showing us the truth, it provokes its own kind of truth, a focused truth. Social connection and intimacy is often said to be waning in the presence of sophisticated online platforms for meeting and conversation. Is Craigslist Allstars a testament to the decline, or the increase, of social connections in this highly online life?
It’s interesting that the section of ‘Personals’ for meeting people doesn’t exist anymore on Craigslist. So if not a testament, then at least the movie is a relic of time. I have always been a kind of digital romanticist. I think online platforms give you the chance to redefine yourself. There is an instinct to be less private with online strangers, more honest. I think that sexuality and romanticism online are as real as they can be in real life. In fact I believe that online we get to connect in a more honest way, at least honest to ourselves.
The disconnect or superficiality people often project onto online interaction has always existed in my opinion, perhaps even more so. You have said before that you noticed there was a missing element online of women portraying men. How important is this balance of portrayal to you in your work?
I think not only online but in the whole of art history. There is this assumption that women’s sexuality is existing for others to use, not for herself. It is seen as self-destructive and shameful. For the longest time it was frowned upon when women would use their bodies or sexuality in their art, even though male artists could use women’s bodies. I wanted to make films where I have agency, and don’t justify being sexual, or present myself in a manner others might find uncomfortable. The efforts to escape the male gaze became a bit fruitless. So I decided to kind of court it – to fuck with it.
How have these interactions changed the way you view human interactions and experiences?
I did learn that anyone, with the right amount of attention, can become a film star. ✏︎ Laura Desmond
VENUE: AC Arts
TIME: 2pm & 6pm, 1 Mar & 3 Mar
TICKETS: $15
Deep Waters
Missy Mazzoli’s operatic adaptation breathes new life into Lars von Trier’s film, as actor Duncan Rock explains
“Why turn something into an opera?” laughs Duncan Rock, the male lead bass-baritone in Breaking the Waves “It’s very expensive, there are significant limitations and film is a much easier medium. And yet, [Breaking the Waves] is so worth seeing as entirely separate from the film.” He adds: “Because opera allows us to tell a story in a more abstract way, allows the story to answer to itself in a more interpretive space.”
Rock is the male lead bass-baritone in Missy Mazzoli’s adaptation of Lars von Trier’s heartbreaking 1996 film Breaking the Waves. Rock plays Jan McNeill, the masculine, charming husband to Bess.
Bess, played by Sydney Mancasola, is beautiful, enigmatic and naïve. Qualities which put her in danger. After Jan suffers an injury, he urges Bess to take carnal risks.
There is an agonising inevitability to the original film. Breaking the Waves is akin to an ancient Greek tragedy. Wrought with dramatic irony, the story seems to position protagonists that are totally blinded to the tragedy of their own decisions, while the remaining characters sit powerless – hopelessly watching the story unfold.
“There is one beautifully written scene in the middle of the piece,” says Rock. “[Jan] is completely
Credit: James Glossop
static throughout it, but it’s where all the characters who love Bess, and have her best interests at heart, are trying to get through to her and she’s just resisting every single one of their attempts at helping her. And that’s when you know this is going to end badly… She’s just closed herself to all attempts at reason. I think that’s entirely powerful and the rest of the opera flows from there.”
Scenes like these give us a sense of Mazzoli’s intention to focus on themes such as futility, naïvety and control. Given the shocking nature of it, the audience is not given as much time to reflect on these elements in the film. Bess’ experience and development is tousled by the religiosity of her church and upbringing. “[Jan] fails to see Bess’ emotional stuntedness for what it actually is,” says Rock. “He sees it as a beauty, a playfulness and innocence… [not] a lack of maturity. It is unintentional, but he fails to see it.”
Rock’s perspective makes it clear why Breaking the Waves is a story so well-suited to the medium of opera. “There have been operas that you see and think ‘that didn’t add anything to the story’, but that is certainly not what you will feel with this piece.” The sense of futility is exacerbated through the operatic chorus and choral score. This is what lends the story so well to the dramatism of opera.
“The music is like another character”
Mazzoli seeks to homage the harsh coolness of the film’s location of the Scottish Highlands through stage design and lighting. “We are somewhat limited to what is possible on stage versus in film, so Mazzoli emulates coldness through slightly different means,” says Rock. “The oil rig that Jan works on is more prominent in the opera, it looms forebodingly over the entire set.”
Mazzoli works to highlight coldness partly through the characters, but also through the score. In the film, the loveless response of Bess’ church elders and family contrasts with the protectiveness from her friend Jojo and the Doctor. In comparison, Mazzoli’s adaptation features “a chorus of men who both represent the men in the town but also the oppressive, religiosity… not hyper-masculine but certainly misogynistic attitude of the clergy,” says Rock. “There is no chorus of women in this opera, so you don’t get that sort of feminine warmth, because even the mother is quite a cold character.”
Von Trier’s original film is broken into chapters.
Credit: James Glossop
Each chapter is introduced via oddly calming songs by Elton John, Leonard Cohen and Bob Dylan. In Mazzoli’s adaptation, the audience has no such relief. “The music leans into the intensity much more than the film. The score hugely influences the content, music is almost like another character,” says Rock. “Breaking the Waves is quite unique in that it unashamedly leans into the intensity of it. I actually quite love that about the piece – the opera is really rather incredible in that it tells the story through these snapshots in time. It doesn’t mean they are all heavy and depressing, but each one is entirely essential to the plot. There is no fat on this opera.”
✏︎
Emma Heidenreich
VENUE: Festival Theatre [Adelaide Festival]
TIME: times vary, 13 Mar, 15 Mar
TICKETS: $40
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Shifting Sands
Tyson Yunkaporta talks about challenging assumptions and Indigenous thinking
In Sand Talk: How Indigenous Thinking Can Save the World, Tyson Yunkaporta asks how can we make sense of the contemporary world through Indigenous thinking? And how might this lens bring humanity and sustainability to a fractured world in crisis?
In each chapter, Yunkaporta shares an image to accompany his collection of yarns with experts who help to examine how we as a society have the potential to change for the better by listening to First Nations people.
The result is a book that challenges us to think differently, read differently and see differently: even the very practice of storytelling is questioned. From an oral tradition into a book written by an academic, Yunkaporta still struggles with the idea of a didactic tangible object, describing the final result as “sporadic. Messy. Dangerous. Partially successful”. He explains: “It’s so ephemeral. Everyone who reads it is experiencing a different yarn. It’s just a translation of
a fragment, but the pattern is there and I guess anybody glimpsing that pattern of creation will find it unfolding all around them in their own unique way.
“The focus of the yarns is already shifting to people far more qualified than me to talk about these things, and I’m really enjoying listening to them. It’s funny because the marketplace is always trying to do the opposite. The messenger is the product, the brand. But the yarns are their own thing, and they’re taking off because their time is now.”
Yunkaporta’s attendance at Adelaide Writers’ Week while the climate catastrophe embroils the country seems incredibly poignant. The tie between the disrespect colonisers have for the land and Aboriginal Australia’s spiritual connection to it feels more graphically violent than ever.
“When I wrote [Sand Talk...],” says Yunkaporta, “I was looking at all the signs and thinking forward, continues >
Credit: James Henry
Tyson Yunkaporta
seeing it all starting up. People didn’t want to hear warnings though and they got angry at the time when I talked like that. I thought it was too late to try convince people to stop it, but maybe just in time to get people thinking about how to survive the transition to a very different reality, and begin the ten thousand year process of cleaning up.”
“There are lots of assumptions about gender and culture and these are dangerous things to challenge”
He often writes of social fragmentation and individual greed that is fuelled by neoliberalism. While the bushfires and other disasters this summer have seen incredible acts of community, kinship and charity, he says we have a long way to go: “These are our biologically encoded social structures and we only see them emerge now in times of crisis when the civilising structures are disrupted. It’s not the crisis that causes it, but the temporary disruption to control systems. You see it in Africa all the time, when there is a war or a coup and the state falls apart, community marketplaces and economies emerge with a more human paradigm, and they work. They are always eradicated when the state reemerges, though.”
Part of this mass restructure in order to build a more cohesive and caring society requires some important challenging of assumptions and long-held beliefs. Some of those explored in Sand Talk... make for difficult reading for the privileged reader; others require further exploration as to how those without privilege can be protected.
“There are a lot of assumptions about gender and culture and these are dangerous things to challenge,” Yunkaporta says. “Hopefully it’s humour and connection that underpins the book, and the provocations that may help people challenge assumptions just slide through underneath that.”
Yunkaporta will speak at Adelaide Writers’ Week’s opening event addressing the idea that ‘The Only Constant’ in our lives is change. And while sometimes events such as this can often feel akin to “preaching to the choir”, they also offer “opportunities to expand notions of our community as having a living culture rather than a static collection of artefacts” – a chance to allow for a greater understanding of Indigenous Australia’s evolving customs and thought patterns and what we might all learn from them. ✏︎ Kylie Maslen
SHOW: Adelaide Writers' Week Opening Event: The Only Constant
VENUE: Adelaide Festival Centre
TIME: 6:15pm, 27 Feb
TICKETS: $15-25
Writers' Week Forum
Dismantling White Feminism
Authors Dr Aileen MoretonRobinson and Ruby Hamad join Writers' Week to discuss their books which critique whiteness and feminism twenty years apart
Dr Aileen Moreton-Robinson wrote Talkin’ Up to the White Woman in the year 2000. It was the first piece of literature from an Indigenous woman’s perspective that interrogated white womanhood and the functionality of racism within feminism. A Goenpul woman from Quandamooka First Nation and Distinguished Professor of Indigenous Research and Engagement at The Queensland University of Technology, Moreton-Robinson is recognised for her seminal works examining race, whiteness and colonialism, and Aboriginal land rights and sovereignty.
“I don’t ever claim to be a feminist and I don’t know where the Indigenous feminisms are... I think as Aboriginal and Torres Strait Islander women, the womanhood that we have is about who we are in relation to the land and our countrymen,” says Moreton-Robinson.
“The way in which I think gender is configured culturally is not necessarily the same as the way in which gender is taught within feminism. White women invented feminism, why do you want to be at their party? You know, we’ve always had our own power as women - Women of Colour and Indigenous women and Black women – but to me that is not configured the same way in which gender is configured through whiteness and capitalism.”
Moreton-Robinson says newfound interest in Talkin’ Up to the White Woman 20 years after its publication comes as no surprise because “racism is still one of those dirty words.”
Her response is evidenced by author Ruby Hamad’s 2019 book White Tears/Brown Scars, which critiques the ways in which white women subjugate Women of Colour by weaponising their privilege as the historical exemple of ‘true womanhood.’ A free-
Ruby Hamad
lance journalist for some of Australia’s leading news publications, Hamad wrote White Tears/Brown Scars after her article for the Guardian, ‘How White Women Use Strategic Tears To Silence Women of Colour’ received unexpected global attention.
Hamad says in 2018, Women of Colour from all over the world contacted her with personal accounts of being silenced by white women in various social contexts. What really stood out were the similarities across different demographics of Women of Colour.
“No matter their racial background or what they did for work, their experiences were quite similar, which was the expectation of being grateful and agreeable,” says Hamad.
“For me, what was important in this book was to focus on these personal interactions as a way of showing how they mirror the bigger picture. So, that same dynamic of colonising and invading and labelling [people] as just angry and violent… picture that in the workplace, how would that manifest? It would manifest as always having to be agreeable. ‘Always do what you’re asked, never really expect anything back.’
“And finally you can’t handle it anymore so you’re like, ‘Hell, hang on.’ And they say ‘Oh, why are you so angry? Why are you attacking us?’ Can you see how the broad political plays out into interpersonal interaction?” ✏︎ Letti K-Ewing
VENUE: Writers' Week, Pioneer Women’s Memorial Garden
TIME: 9:30am - 8:30pm, 29 Feb - 5 Mar
TICKETS: FREE
It’s Complicated
Dr Hannah Critchlow and Dr Robert Elliott-Smith discuss the importance of science communication amid new technologies and heightened public anxiety
This is a golden age of cognitive science. Artificial intelligence (AI) technology can make predictions based on ‘deep learning’ capabilities. And neuroscientists have developed ways to predetermine brain conditions in unborn babies.
At a time of revolutionary scientific and technological breakthroughs, communicating these findings clearly is imperative to public understanding. Otherwise complex technologies are left shrouded in mystery.
“We’re living in a genomics revolution,” says Dr Hannah Critchlow, neuroscientist and science outreach fellow at the University of Cambridge. “All of this information is coming online about how a genome, this very individual and personalised genome, can give us a hereditary predisposition towards aspects of our life.
“20 weeks before birth, researchers and scientists are able to see the brain being built. They’re able to peer into the brain and see the different anatomical changes in neural circuitry that are related to really complex conditions of the brain like autism or ADHD (Attention Deficit Hyperactivity Disorder), or even symptoms that might not emerge for decades, like major depressive disorder, bipolar, or even schizophrenia.”
Critchlow says these studies currently focus on medical conditions. But her 2019 book, The Science of Fate, considers how personality, behaviour and temperament could be predetermined using the same technology.
It is a fearful thought. Any notion of free will could be scientifically contested. However, she has resolved that public conversations need to be had now more than ever, particularly around the ethics and morality of gene editing: “I think now is a good time for us as a society to decide how we want to start using this information. Do we want to start to appreciate neurodiversity rather than create a
Dr Hannah Critchlow
more homogenous society? We really need to all get involved in this discussion to try and think about the future of our species.
“There are a lot of scientists out there who are talking about their research and going to festivals like [Writers' Week], which is a wonderful way for people to exchange thoughts and ideas to help enrich all of our lives. It keeps our brains healthy by being able to learn new things and think in different ways. I get a huge sense of reward and pleasure from going out and talking about the brain with other people. I learn something from the public and I also feel it’s almost a duty really, that scientists go out and do this kind of work,” says Critchlow.
Dr Robert Elliott-Smith is a Senior Research Fellow of Computer Science at University College London. He’s an expert in AI and evolutionary algorithms. His 2019 book, Rage Inside the Machine, explains how the internet exposes users to bigotry within online information bubbles, and seeks to reveal the prejudices within algorithms.
Dr Robert Elliott-Smith
“I think now is a good time for us as a society to decide how we want to start using this information. Do we want to start to appreciate neurodiversity rather than create a more homogenous society?”
— Dr Hannah Critchlow
“I use ‘prejudice’ very specifically because what prejudice means is to prejudge, and you prejudge by
basically making simplifications by effectively not looking at the entirety of evidence,” says Elliott-Smith.
“What algorithms quite literally do is simplify and generalise, that really is the goal of an algorithm. So the simplification and generalisation in algorithms is the same process as [humans] being prejudiced. The way algorithms work is they are effectively driven by some sort of incentive and usually that’s an economic incentive, and therefore their tendencies line up fairly closely with existing social biases.”
The answer about why algorithms have racist and sexist biases is complex. Elliott Smith says we must take an historical look at data, information gathering processes and the cultural contexts of the past: “[Algorithms] are a feedback loop and factors that influence it are certainly things like the fact that in Silicon Valley, representation is certainly not diversified and fair. It’s unfortunately a white male community that are creating most of the algorithms.
“However, it also has to do with the data we provide the algorithms. When you take the algorithms that are learning to read and understand speech – in order to learn they’re being fed past documents and of course past documents carry all the prejudices of the past, including linguistic prejudices.”
Unlike most science communication in the media – which Critchlow says has seen a vast improvement in coverage and literacy – Elliott-Smith says the media is “terrible” at accurately reporting on AI.
“The thing I’m concerned about more than anything else is the media promotes the idea that machines can do doctor’s jobs. What I strongly believe will happen in the future is that we’re going to have a two-tier system, where people are going to get increasing services provided by machines that are not as good as services provided by human beings but are good enough for ‘plebs.’ And then people who have money in their pockets are going to get real doctors and real lawyers and real justice and everybody else is going to get machine mediated services like those.”
The future may seem dystopian but with science communicators committed to accurately informing the media and lay public about their research, new light is being shed on what was once the dark.
✏︎ Letti K-Ewing
VENUE: Writers' Week, Pioneer Women’s Memorial Garden
TIME: 9.30am - 8.30pm, 29 Feb - 5 Mar
TICKETS: FREE
Focus on: Azadeh Moaveni
The author chats about her remarkable work of journalism and how her book speaks to Adelaide Writers’ Week’s 2020 theme:
Being Human
In Guest House for Young Widows: Among the Women of ISIS, author Azadeh Moaveni takes us onto the streets of Syria where many young Muslim women – seemingly Westernised and with university educations – have been entangled in the brutal terrorist regime’s fight.
Your book does a remarkable job of dispelling some of the myths that Western media creates around the rise of the Islamic State. What role does the West have in protecting the vulnerable in respect to the Middle East?
Ideally, the West would simply avoid fueling conflicts in the Middle East by stopping its military interventions and invasions, cutting its export of massive amounts of arms (which militarise societies), and ceasing to actively support corrupt, repressive governments that fail their people. Hands off would go a long, long way, but there are many political and economic forces in the West that actively seek or benefit from perpetual conflict in the region.
The women you report on in Guest House for Young Widows... are so relatable, particularly how social media gives them a sense of connection when they are vulnerable or at a young age. What is the role of Facebook in the Islamic State’s recruitment and mobilisation?
The Islamic State and Facebook are a bit inseparable in my mind. Facebook enabled a great many women in conservative societies to become jihadist militants without leaving their living rooms. I would argue that it simply reflected existing pathologies and chaos, it did not create them, and there is only small and partial truth in that.
Your book is a perfect example of how seeing someone’s life through their experience makes their
choices seem so much more human and understandable. How important was it for you to tell this story through people rather than through historical reportage?
The story of the women of ISIS couldn’t have been told any other way. They are the most demonised, vilified group of humans on this earth, and only the power of human storytelling could have persuaded anyone to read about or reconsider them. ✏︎
Kylie Maslen
VENUE: Writers' Week, Pioneer Women’s Memorial Garden
TIME: 9.30am - 8.30pm, 29 Feb - 5 Mar
TICKETS: FREE
Comedy Reviews
The Kagools: Cirque du Kagool
VENUE: The Garden of Unearthly Delights
TIME: 7pm, 14 Feb – 15 Mar, not 17 Feb, 2 Mar
TICKETS: $24 – $30
The Kagools, award-winning UK imports Nicky Wilkinson and Claire Ford, bring their silent comedy prowess in an hour of brilliant mime and physical comedy. The pair exude the chaotic energy of children who got into
the magic box and decided to treat their parents to a show. And, like the proudest of parents, the audience are only too happy to oblige. As they attempt cup tricks, hula hoops and acrobatics, they blunder and fall and pick themselves up with radiance and joy. If you sit in the front row, you might get hit in the face with a flying tooth, but really, nowhere is safe. The two pluck their willing victims for impromptu strong-man competitions, orches-
tral concerts and cleaning duties from everywhere.
While they seem intent to pursue only absurdity at first, what emerges is a strange narrative of friendship, love and jealousy. That might be taking things too seriously, but communicated entirely through mime, physical comedy and astutely chosen songs, it’s hard not to feel the pathos that comes with only the best of clowns. ✏︎ Lauren Butterworth
Frank Woodley: *@#!king Clown
VENUE: The Garden of Unearthly Delights
TIME: 8.15pm, 14 Feb - 1 Mar
TICKETS: $29 – $42
Frank Woodley is no stranger to the Fringe, he’s more like a quirky, unhinged blood relative who’s entertained hordes of punters in
Bella Green is Charging For It HHHHH
VENUE: Gluttony - Masonic Lodge
TIME: 9:10pm, 18 Feb – 1 Mar, not 24 Feb
TICKETS: $20 – $25
From her experiences as a fledgling stripper in a peep show, to her time as a dungeon dominatrix, to her forays into gentrifying outer suburban brothels, Bella Green has seen – and done – it all.
In an hour of cheeky and startlingly educational standup, she dives into the everyday life of a sex worker, revealing the answers to questions you may not realise you have.
She is endearing, if slightly stilted in her delivery, with a glint in her eye and a swagger in her stance. Some punchlines build more organically than others, but considering she has only been performing standup for two years, Green shows an astute eye for some of the common absurdities and everyday weirdness of her profession.
Adelaide for more than 30 years.
This time round, he’s taking us to Marseilles, an iconic port city in southern France that juts out of the Mediterranean coastline. Here, he was to teach a three day masterclass for students who had come from all over the world. Only, he never did this because an infamous and aggressive 80-year-old Russian clown ended up taking the class, and Woodley ended up becoming a student.
This show is an earnest and joyful dive into the peculiar and somewhat cruel world of clowning.
It’s a well constructed comedic narrative that has the audience invested in its final outcome. Where the show falls short is in its execution. Tonight, Woodley is hindered by technical difficulties at the start which halt his momentum and it was difficult for him to find his feet after that, not to mention coherent sentences.
Once he irons out these creases, there’s no doubt this will improve as he refines a complicated show that’s filled with whimsical costumes, props and singing.
✏︎
Edwina Sleigh
From stories of unexpected client text exchanges to her scatological adventures, she brings a frank and lighthearted candidness to what can be a taboo subject for many. But it’s an important topic of conversation, as she makes clear in
her closing remarks. Sex workers and their clients continue to face discrimination and prosecution, but it is work as valid as any other. And that’s exactly what Green’s comedy demonstrates.
✏︎ Lauren Butterworth
You’re a Good Man, Dr Pirate HHHHH
VENUE: Rhino Room
TIME: run ended
In You’re a Good Man, Dr Pirate Gillian English looks at all she’s been told in her life: from the books she read when she was young, to the religious education she was
denied by her parents, to the one she made up for as a bible studies camp counselor herself. But the centre of this show is a prophecy delivered to English on her 30th birthday by an astrologer: that she would meet the man of her dreams and that he would appear under very specific circumstances.
English is an incredibly vivacious presence on stage. At one point she jokes that she has three degrees in Shakespeare and it fits: English very much has the
presence of a drama teacher who’d smoke during lunch breaks. But her energy is incredibly motivating and it’s hard not to get swept up in her frenetic storytelling as she takes the audience down some extremely dorky but adorable paths.
This is a highly scripted show – to a fault at times, which sees it go off the rails a little whenever it needs to organically detour. But ultimately this is a rapid fire rom-com worth believing in. ✏︎
Kylie Maslen
Amy Hetherington and Danielle Andrews: Dynamic Duo HHHHH
VENUE: Rhino Room
TIME: run ended
Amy Hetherington and Danielle Andrews will make you feel at home as soon as you walk into The Comedy Cupboard (Rhino Room’s intimate Alley Cat venue). It’s an admirable skill to relax a group of strangers in a confined space but both comics are just so happy to be here. At least they’re not playing in a servo – anymore.
In this double bill the style of the two comics differs slightly: Hetherington begins with her laconic tales of Darwin life and tales of a woman over thirty. Andrews is more physical, using her body to emphasise stories of body positivity and what really happens in women’s bathrooms.
Both comics can come off a little stilted or self-conscious in their delivery of written material; more stage time to loosen their delivery would help progress their craft.
Yet they each clearly love to banter back and forth with the audience and welcome interaction
without ever singling out audience members. While they each talk about similar material, nothing feels like it’s been overdone or crossed over. This is comedy with a feminist bent. ✏︎ Kylie Maslen
Being Dead (Don Quixote)
VENUE: RCC
TIME: 7:30pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar
TICKETS: $18 – $33
In Miguel de Cervantes’ novels, Don Quixote was a lesser Spanish noble who became obsessed with romantic tales of chivalry. His literary obsession turned to self-delusion, as he came to imagine himself an old-fashioned knight, heart full
Grounded HHHHH
VENUE: Holden Street Theatres
TIME: times vary, various dates between 5-8 Mar
TICKETS: $20 – $28
A fighter pilot returns after an unexpected pregnancy to discover that, in her absence, the game has completely changed. There is no more use for F-16 pilots and she is reassigned to remotely pilot a military drone. But when a high-profile target comes up on her radar, she is drawn into an all-consuming, high-stakes game of cat and mouse.
Grounded has the feel of a sci-fi dystopia, which is all the more unsettling in that it details not a distant future or an alternate reality but the very world we currently inhabit. It’s well-served by George Brant’s air-tight script: through judicious use of foreshadowing and metaphorical use of colour, he is able to draw clever parallels between surveillance and the surveilled, and the cold calculus of
with pure intentions in a world that had become weary and cynical. This makes him a curious and somewhat tragic hero to aspire to, as Kerith Manderson-Galvin does in Being Dead (Don Quixote). In a consciously-unpolished performance, Manderson-Galvin is variously in character as Sancho the peasant-squire, Rocinante the nag of a horse, and, of course, as Don Quixote. And as these characters, Manderson-Galvin presents us with objects: references, quotes, memories and dreams. They weave them together into a larger presentation of clearly-articulated
intentionality, candid and forthright honesty, and hard-won self-realisations.
Taken as a whole, the show is rich in layers. It is alternately funny, sweet, heartbreaking and triumphant.
Manderson-Galvin is a disarming host, and slowly builds a rapport with the audience. A rapport that becomes increasingly powerful by the end. The result is a memorable experience in which Cervantes, the Wizard of Oz, and cardboard cutouts are re-appropriated in service of a surreal, lovinglycrafted miasma. ✏︎ Justin Boden
performance that steals the show. Lott is a familiar face at Holden Street Theatres, but she is almost
completely unrecognisable in the flight suit. In a demanding role, which requires that she make us sympathetic with a brash and somewhat unlikeable anti-hero, she offers a stunning, heartfelt performance. ✏︎ Justin Boden
Marvelous Mechanical Musical Maiden
VENUE: Ayers House Events
TIME: times vary, various dates between 19 Feb and 6 Mar
TICKETS: $28
Marvelous Mechanical Musical
Maiden is a whimsical and enchanting storytelling experience. With rouged cheeks and wide eyes, performer and creative producer Carmel Clavin is utterly entrancing as the Maiden, a woman once flesh and blood but entrapped as an automaton after losing her voice to the father of the technological age, Thomas Edison.
Surprised to find herself waking in Adelaide in the year 2020, the Maiden shares her journey from fin de siècle through to the 21st century, touching on the sparks she loved and lost and longed for
Review: Boys Taste Better with Nutella
VENUE: The Mill
TIME: run ended
Aggy and Frederick are two second-best friends who are trying their best to improve. Through a series of identical jumps, they flash between past relationships and the present moment to prove their progress. Without much of a fourth wall, performers Caitlin Hill and Peter Wood comically differentiate between these jumps to get the crowd up to speed.
along the way. The whimsy soon gives way to something deeper as the Maiden’s experiences reveal the cycles of inequality, ecological catastrophe and disconnection which, despite great technological innovations, have haunted humans for a century.
In a bespoke, handmade steampunk dress, the Maiden is truly a technological marvel. A walking, talking one-woman theatre-caba-
Hill is engaging as Aggy, with an over-exaggerated series of facial expressions and a tendency to allow herself to get messy. Her story is one of failed relationships, and a loss of self through struggling to fall in love. A relatable enough story is compounded with her severe lack of healthy coping mechanisms, choosing instead to jam her mouth (and her arms, and her dress) full of Nutella and Passion Pop (“Just five bucks at Dan’s! Cheap!”) Wood as Frederick is delightfully camp and has a beautiful tenderness to him. He searches for validation online through meokbang videos – a Korean trend of filming oneself eating alone. His constant struggle with his weight and search for validation is quite
ret, she wears software coded into the seams of her dress and speakers hidden in the paniers beneath her bustle.
As music emits at the touch of her finger, her haunting voice breathes mechanical life into Regina Spektor, Ella Fitzgerald and David Bowie. There is a powerful intimacy in her performance as she connects with each member of her audience. ✏︎ Lauren Butterworth
heartbreaking, and his dependency on food as comfort is both gross and endearing.
The exploration of seeking validation in a modern world is an empathetic story. The script is jammed with modern references, which can at times feel quite forced. And although the show is tightly presented, the dance offs between Wood and Hill take away slightly from the feel of the dramatic.
In a beautifully tender closing moment, the nature of Aggy and Frederick’s friendship is highlighted, proving that even the flawed are deserving of love and respect. ✏︎ Laura Desmond
THE GODS, THE GODS, THE GODS
VENUE: Black Box Theatre
TIME: times vary, various dates between 14 Feb and 14 Mar
TICKETS: $28
The Greek gods, like so many pantheons, are fascinating. Not because of their supernatural abilities but because of their fallibility. For all their powers, they are as prone to envy, avarice and lust as any mortal. Perhaps even more so, given their abundant leisure time.
The Flanagan Collective & Gobbledigook Theatre’s ORPHEUS and EURYDICE explored that human side of the gods, bringing them into the modern world with a mix of spoken word and song that was at times hauntingly beautiful.
This megamix promises the same, but on a larger scale. 14 songs. Four intertwining stories. It should be (an) epic.
Instead, the gods appear only as an anonymous mass while the main stories follow humans so bland they’re hard to separate. Instead of gods with richly rounded lives, we follow clichéd lovers who invoke and implore higher powers with platitudes fit for motivational posters.
It’s a shame, because the setting is conducive to a rapturous experi-
ence. Black Box Theatre is turned into a sweaty, low roofed club, the audience huddled in the middle of the room as performers swap instruments and jump between stages arrayed around the room. Blues, rock and electronic club music alternate with spoken word and rap, and the performers venture into the audience as they deliver impassioned monologues. They know how to capture a crowd’s attention; unfortunately they couldn’t hold it.
✏︎ Alexis Buxton-Collins
Blunderland
VENUE: Gluttony at Rymill Park
TIME: 9:40pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar
TICKETS: $15 – $30
From New York’s notorious club scene comes Blunderland. Featuring kitschy cabaret, burlesque and acrobatics, the night is vibrant, shocking and uproarious.
Eric Schmalenberger, ringlead er of this strange circus, brings an adorkable charm to his queer cabaret, leading his collection of high-flying clowns and sensual sirens to outrageous heights. From quirky trapeze to jaw-dropping aerial pole dancing and stunning hoops, the acrobatics of the show bring a sense of stillness and awe.
The three clowns, collectively known as Fou York, are a particular highlight and in their luminous French wigs and white aristocratic
makeup, they echo old-school foolery. The burlesque queens are both glamorous and outrageous, with a few cheeky surprises. Contrasted against all the colour and vibrancy is the crooning goth, Ruby Wednesday, who, side by side with Schmalenberger, adds Weimar cabaret glam to the ensemble.
Blunderland is an outrageous and subversive celebration of all that is weird, queer and extravagant.
✏︎ Lauren Butterworth
WERK IT
VENUE: The Garden of Unearthly Delights
TIME: 10:15pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar
TICKETS: $28 – $36
Find a job you love, and you’ll never work a day in your life. That’s Confucius, supposedly, though many would attest it’s also probably bullshit. Turning anything into work usually saps the fun out of it, no matter how much you love it. Unless, of course, you’re with Circus Trick Tease, who have managed to
turn the whole idea of work into a goddamn riot.
From 80s workout videos, to the cigarette addictions of high-powered office workers, to a religious take on tradies, WERK IT parodies work culture with affectionate reverence. And that’s to say nothing of the top-tier circus skills being employed to live out these parodies, nor the genuine comedic talent that the five-strong cast have in spades. Few circus shows are this funny; WERK IT could go toe-to-toe with some of the best comedy shows at the Fringe, without – well, technically, with – breaking a sweat.
And we have Malia Walsh to thank. The mastermind behind
Circus Trick Tease, and therefore the company’s growing rap sheet of festival-smashing shows (Can’t Face, Children Are Stinky, Brass Monkeys), Walsh has assembled a crew of new and familiar bodies for this latest lycra-clad spectacular. Without spoiling the feats here, WERK IT is packed with high-energy stunts, many of which are twists on old favourites, playing to the skillsets of Walsh and the team. And all backed by a party-starting soundtrack. Energetic, hilarious, and smartly put together; what a way to make a living. ✏︎ George Sully
industrialised scaffolding is paired with a contemporary soundtrack and plenty of bare skin can be seen through ripped and jagged clothing.
juggling routine is impressive, as is the innovative part tightrope walk/part parkour display of female strength.
VENUE: Gluttony - Rymill Park
TIME: 8:40pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar
TICKETS: $30 – $35
With a set that wouldn’t look out of place on the next Mad Max film, Barbaroi touts itself as the ‘underbelly of circus’. Highly
There is no real narrative to the show, but each of the acrobats carry on as brooding, sauntering characters throughout. This overly serious demeanour unfortunately gets tired and draws away from the pacing of the show, with slow steps between every act.
There are, however, a number of highlights. An unusual percussive
The Barbaroi tend to overuse their glacial pace to shapeshift into characters which seem not to add much to the show. Although the acts are solid and hit their marks consistently, a quicker pace between may make for a more engaging piece. ✏︎ Laura Desmond
Mummy’s Milk
VENUE: The Garden of Unearthly Delights
TIME: times vary, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar
TICKETS: $20
From the outside this installation looks like a fake brick pop up stall next to a toilet block. Inside, it’s an oasis of tranquiity where vulnerability is rewarded with a memorable performance.
Escape Room –Great White Killer
VENUE: Adelaide Escape Hunt: Escape Rooms & Bar
TIME: times vary, various dates between 18 Feb and 13 Mar
TICKETS: $32
A ticking clock holds remarkable power. Deadlines can elevate the most trivial tasks to high priorities, and escape rooms appeal to the deadline-driven part of our nature. With one hour to solve a series of puzzles, there’s no time to dwell on
with an unusual waiver form. 'Do you agree to surrender your ego on the doorway to Mummy’s living room?' it asks. Ego checked and consent granted, I enter and am greeted by a woman with bright red hair in curlers and a dressing gown tied loosely together. Mummy is comfortable in her living room, and she wants me to be at ease too.
It’s just the two of us, and she tells me that the direction we take will be determined by how open I am to the experience. What follows is an intimate 15 minute interac-
late night drunken philosophy with genuine tenderness. When she offers to channel the aforementioned deity and share her wisdom, the question is as important as the answer.
“Come in with an open mind and she’ll reciprocate,” Daddy told me on my way in. It was apt advice. Presumably each performance of this deeply personal work will be different; mine was gentle, reflective and lingered long after it was over. ✏︎ Alexis Buxton-Collins
thoughts of work, relationships or anything else – all our energies are focused on escaping the room.
Except we’re not escaping. Rather, we’re investigating a series of murders. Escape Hunt’s use of local themes for their escape rooms, while commendable, appears to be wearing a bit thin at this point. The background exists more as a theme than a compelling narrative, propelling us forward through a series of puzzles that are too disconnected to allow for the suspension of disbelief.
At their best, escape rooms are not just about successfully completing a challenge. They should also offer an hour of escapism, and
this one (which has us tracking a nefarious sea captain’s misadventures off the coast of Port Lincoln) doesn’t quite nail it.
The puzzles themselves are interesting, though limited in range. Too often we find ourselves looking for yet another three or four digit code, and choke points mean that a single missed clue can make it impossible to advance. It’s a frustrating experience for five people crowded into a small room, while a door left mistakenly unlocked further ruins the illusion. Some escape rooms are so entertaining that it’s a shame when they end. This is one makes you happy to leave. ✏︎ Alexis Buxton-Collins
Prehysterical
Head First Acrobats’ latest children’s adventure follows three Neanderthals – Grok, Urgh and Ow – in search of food and friendship. We ask Miranda (aged 11) and Harriet (aged eight) if they dig it
Let’s talk about the show. Did you like the music?
Miranda: It WAS a great soundtrack! I knew… two of those songs! It was a very good show.
What did you like about the show?
M: All the acrobatics. They were very extravagant. It was very funny
Harriet: I loved the funniness of it! It was like, “I am… Krug!”
M: Skrug? Grunt?
H: Grunt! Whatever her name was.
M: And they’re like, “Ow!”
H: No, no, it’s “Wow!”
Did it make sense to you?
H: (immediately) No.
M: Pre-hysterical, prehistorical, that made sense.
Was it... hysterical?
H: Yes, it was hysterically funny!
M: It was so funny I couldn’t laugh, because otherwise I wouldn’t have stopped.
H: I loved it when she was in the trap, and she was like, “Help… Me...!”
M: That was really well done. And I liked the narrator.
H: Yeah! He was like, “No you idiots, I’ll just do it myself!”
M: And I feel like the word “friction” made me go, “Uh oh, I’m gonna learn something now”. If that’s the way my school day went I would be so happy. I would learn SO much more!
You mean if your school used circus?
M. Uh huh. Wait? Do [Prehysterical] do classes? Because if they did, I would join.
Describe the show in five words.
M: Funny, not-very-educational (with a bunch of hyphens), hysterical, historical, extravangant.
H: Extravagan-ZA!
M: Yeah, okay, change it to that. Extravaganza.
H: Amazing, stupid, funny, inspiring, aaaand… (slaps leg while thinking) Ow!
M: And ‘ow’? That’s a good word.
H: No, my word’s not ‘ow!’. It’s caveman-ish.
✏︎ Laura Desmond with Harriet and Miranda Hay
VENUE Gluttony - Rymill Park
TIME: 5pm, various dates between 22 Feb and 15 Mar
TICKETS: $25
11:00
Good Morning Comedy
Mercury Cinema, 4 Mar, 11 Mar, $15
Matt Byrne’s The True Story of Dad
Norwood Concert Hall, 27 Feb–13 Mar, not 29 Feb, 1 Mar, 2 Mar, 4 Mar, 7 Mar, 8 Mar, 9 Mar, 11 Mar, $18–$22
13:00
Adelaide Comedy Gala
Arkaba Hotel, 1 Mar, $50
Nothing But Dad
Jokes: The First Sequel
The Joinery on Franklin, 1 Mar, $20
14:00
HarleQueen
The Mill, 7 Mar, $28
14:45
LARRIKIN LAUGHS with ME ‘N ME MATES
Murray Bridge Town Hall, 1 Mar, $25
15:00
Sean Quinn - Cognitive Behavioural Terrorist
Gluttony - Rymill Park, 29 Feb, 1 Mar, 7 Mar, 8 Mar, $23
Ashes: A Comedy Showdown
Belgian Beer Cafe ‘Oostende’, 29 Feb, 1 Mar, 7 Mar, 8 Mar, 14 Mar, $30
UnPlotted Potter
Black Box Theatre, 29 Feb–1 Mar, $25
15:15
Stephen K AmosTalk Show
Arts Theatre, 8 Mar, $25
15:30
Cherry Farrow
Comedy Hypnosis Sparkke at The Whitmore, 29 Feb–1 Mar, $25
Nothing But Dad
Jokes: The First Sequel
The Joinery on Franklin, 8 Mar, 14 Mar, $20
Mind Blowing Magic
The Jade, 28 Feb, 1 Mar, $25
16th Theatresports(TM) Clash of the Titans
The Garden of Unearthly Delights, 1 Mar, 8 Mar, $35
16:00
Conspiracy Theory: A Lizard’s Tale HHH various venues, 29 Feb, 1 Mar, 14 Mar, 15 Mar, $27
The Four Fringemen various venues, 1 Mar, 8 Mar, 15 Mar, $30
Simon Caine: Every Room Becomes a Panic Room When You Overthink Enough
Gluttony - Rymill Park, 29 Feb–1 Mar, $20
Marion Hotel Sunday Sessions
Marion Hotel, 1 Mar, 8 Mar, $30
MICKEY D FOR PM (*FOUR)
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $25
16:30
Daniel ConnellCheers Big Ears
Gluttony - Rymill Park, 14–15 Mar, $24
Surviving the Circus
Gluttony - Rymill Park, 7–8 Mar, $25
Andrew Silverwood: Call Me Janice
Gluttony - Rymill Park, 29 Feb–1 Mar, $20
Kel Balnaves - Righto Murray Bridge Town Hall, 1 Mar, $18
Family Friendly
Comedy Hour
Flinders University, Bedford Park, 14 Mar, $20
17:00
Best in Fringe Comedy and Chat... with Vladimir McTavish
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $20
Stephen K AmosTalk Show
Arts Theatre, 14 Mar, $25
Arj Barker Comes Clean
Arts Theatre, 1 Mar, 8 Mar, $38
Australia: A Whinging Poms Guide
Belgian Beer Cafe ‘Oostende’, 28 Feb–15 Mar, not 2 Mar, 3 Mar, 4 Mar, 5 Mar, 10 Mar, 11 Mar, 12 Mar, $25
Jimmy McGhie - BA (Hons)
The Garden of Unearthly Delights, 29 Feb, 7 Mar, 14 Mar, $29
LARRIKIN LAUGHS with ME ‘N ME MATES
Goodwood Institute Theatre, 8 Mar, $25
Best of the Edinburgh Fest
The Garden of Unearthly Delights, 1 Mar, 8 Mar, 15 Mar, $26
17:15
Nik Coppin
The Griffins Hotel, 1 Mar, $10
17:30
VR Comedy: The Best of the Bendigo Comedy Festival various venues, 27 Feb–1 Mar, $27.50 Boats and Bogans various venues, 6–8 Mar, $18
A Full English
Breakfast with Clive Palmer HHH
Ayers House Events, 29 Feb, $28
Bonanza of Comedy: Festival Line-Up
The Historian Hotel, 29 Feb, 7 Mar, 14 Mar, $20
Innuendo
Everywhere: Becky Blake and Steve Davis do it
The Duke of Brunswick, 1 Mar, $25
James VeitchTentative
The Garden of Unearthly Delights, 13–15 Mar, $31–$33.50
Keep The Change
The Hindley, 6–7 Mar, $20
DAVE HUGHESRIDICULOUS
The Garden of Unearthly Delights, 29 Feb, $45
The Hilary Duff Film Re-Enactment Festival
Ayers House Events, 7 Mar, 14 Mar, $25
17:45
Men With Coconuts HHH
Rhino Room, 27–29 Feb, $22–$25
18:00
HarleQueen
The Mill, 3–8 Mar, $23–$28
Daniel ConnellCheers Big Ears
Gluttony - Rymill Park, 9–15 Mar, $18–$24
Doggie in the Window
The Jade, 27 Feb, $20
Fringe of the Fringe Comedy
Hilton Hotel, 6 Mar, $10
PLASTICA
FANTASTICA
The Mill, 29 Feb, $20
An Evening with George Kapiniaris Morphettville Racecourse, 1 Mar, $30
Surviving the Circus
Gluttony - Rymill Park, 3–8 Mar, $19–$25
Benson’s Brexit (tbc)
Gluttony - Rymill Park, 27 Feb–1 Mar, $25
UnPlotted Potter
Black Box Theatre, 27 Feb–1 Mar, $25
Catherine McClintock: Please and Thank Yous
Rhino Room, 10–14 Mar, $18–$22
Best of The Fringe Comedy Superstars
Flinders University, Bedford Park, 14 Mar, $35
I See Dead People
Gluttony - Rymill Park, 27 Feb–1 Mar, $20
Chris Henry: FLAIR
The Howling Owl, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $15–$25
Clone-a-patra
Star Theatres, 12–15 Mar, $27
DON’T SHOOT! I’m a vegan
The Jade, 1 Mar, 10 Mar, $20
THE OFFICIAL GLUTTONY VARIETY SHOWCASE - Best of CIRCUS, MAGIC, COMEDY
Gluttony - Rymill Park, 5–15 Mar, not 10, 11, $25–$30
Nick O’Connell - Those Who Can, Those Who Can’t Rhino Room, 3–7 Mar, $15–$20
Liam Withnail: Homecoming
Gluttony - Rymill Park, 3–15 Mar, $10–$25
With Two Dots HHH
Rhino Room, 27–29 Feb, $25
Amazing Adventures of Her Majesty at 90+
The Warehouse Theatre, 27 Feb–8 Mar, not 29 Feb, 7 Mar, $10–$14
Completely Improvised
Shakespeare
Gluttony - Rymill Park, 27 Feb–1 Mar, $30
The Fax Machine Goes Corporate Hotel Royal, 6–15 Mar, not 9, $25
Lucy & Me
The Mill, 27–28 Feb, $20
Men With Coconuts HHH
Stirling Fringe, 1 Mar, $28
Tiramisu
Rhino Room, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $22–$28
18:15
Zack Adams: Love Songs For Future Girl Rhino Room, 3–7 Mar, $15–$23
2 Englishmen and an Aussie
The Griffins Hotel, 27 Feb–1 Mar, $25
Best Of Fringe: Early Show
Belgian Beer Cafe ‘Oostende’, 27 Feb–15 Mar, $15–$20
Adelaide Comedy’s Next Generation 2020
Rhino Room, 27–29 Feb, $20
Transgressive
The Griffins Hotel, 3–15 Mar, not 9, $20–$25
18:30
Conspiracy Theory: A Lizard’s Tale HHH various venues, 27 Feb–15 Mar, not 2 Mar, 3 Mar, 4 Mar, 5 Mar, 6 Mar, 7 Mar, 8 Mar, 9 Mar, $27
Australian Open Mic Challenge Final Ayers House Events, 28 Feb, $20
A Full English Breakfast with Clive Palmer HHH
Ayers House Events, 7 Mar, $28
Blake Everettdeb(u)t
Ayers House Events, 12–14 Mar, $20
The Hilary Duff Film Re-Enactment Festival
Ayers House Events, 4 Mar, 5 Mar, 6 Mar, 11 Mar, $15–$25
18:45
The Final Hours Hour
Holden Street Theatres, 3–15 Mar, not 8, 9, $15–$28
Best of Adelaide Fringe: The International Comedy Show
The Historian Hotel, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 3 Mar, 4 Mar, 8 Mar, 9 Mar, 10 Mar, 11 Mar, $20–$25
19:00
PETER HELLIARLOOPY
The Garden of Unearthly Delights, 12–15 Mar, $39–$45
AdeLoL Stories
The Crown and Sceptre Hotel, 5–7 Mar, $20
Kevin Kropinyeri Goes Talkabout
Tandanya National Aboriginal Cultural Institute, 27 Feb–1 Mar, $30
The Kagools: Cirque du Kagool
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $24–$30
Lawrence Mooney: Beauty Royalty Theatre, 13–15 Mar, $49
5th Maestro Improvised National Games
The Duke of Brunswick, 28–29 Feb, $25 WIL ANDERSONWIL-INFORMED
The Garden of Unearthly Delights, 3–15 Mar, not 9, $35–$48
Unexpected Inheritance
The Duke of Brunswick, 6–8 Mar, $18
Masterpiece Improv
The Duke of Brunswick, 27 Feb, 5 Mar, 12 Mar, $20
A NIGHT AT THE WOPERA
Rhino Room, 8 Mar, $35
Steph Tisdell “Baby Beryl”
The Garden of Unearthly Delights, 27 Feb–1 Mar, $25–$30
Persian of Interest
The Griffins Hotel, 3–15 Mar, not 9, $17–$25
Anna Nicholson: Get Happy
Hotel Richmond, 29 Feb–5 Mar, $18–$22
Leigh Qurban - Crate Expectations
Gluttony - Rymill Park, 27 Feb–1 Mar, $20–$23
Eddie Ifft - Dr. Google
The Garden of Unearthly Delights, 27 Feb–8 Mar, $27.90–$35
Stand Up at Little Bang
Little Bang Brewing Company, 4 Mar, 11 Mar, FREE
Jimeoin - Ramble On!
The Garden of Unearthly Delights, 5–15 Mar, not 9, $37–$45
Stephen K AmosEveryman
Arts Theatre, 29 Feb–14 Mar, not 2 Mar, 7 Mar, 9 Mar, $35–$45
A collection of dad jokes no one asked to hear.
Bunnik Tours ballroom, 28 Feb, $28 Scotland!
The Garden of Unearthly Delights, 27 Feb, 28 Feb, 1 Mar, $32
Corporate Social Irresponsibility
The Hindley, 5–9 Mar, $12–$15
Sammy J - Symphony in J Minor
The Garden of Unearthly Delights, 12–13 Mar, $42
FRIEND (The One With Gunther)
The Garden of Unearthly Delights, 27 Feb–1 Mar, $29–$33
The Four Fringemen
Salisbury RSL SUBBRANCH, 5 Mar, $30
Lloyd Langford - My Name Is Lloyd
The Garden of Unearthly Delights, 2–15 Mar, not 11, $22–$32
Michael ShafarGetting Better
Gluttony - Rymill Park, 3–15 Mar, $15–$27
TOMMY LITTLE - I’LL SEE MYSELF OUT
The Garden of Unearthly Delights, 27–29 Feb, $34–$39 Effie in Love Me
Tinder
The Garden of Unearthly Delights, 29 Feb, $45 Graduate Performance
Astor Hotel, 14 Mar, $20
Backfired
The Griffins Hotel, 27 Feb–1 Mar, $20
Nick Cody & Luke Heggie - Future Classics
Rhino Room, 27 Feb–7 Mar, not 1 Mar, 2 Mar, $20–$28
19:10
Marcus Ryan - Walk This Qué Gluttony - Rymill Park, 9–15 Mar, $20–$25
19:15
Baz McCulloch: Surfacing Now! Rhino Room, 3–7 Mar, $10–$20
Rocking The Boat with Rick Sextant
Rhino Room, 10–15 Mar, $15–$20
Nicholas Huntley’s Hommus Sapien
Rhino Room, 27–29 Feb, $20
Aaaaaaaargh! It’s the Best of Fringe Comedy from the UK
The Griffins Hotel, 27 Feb–15 Mar, not 2 Mar, 4 Mar, 9 Mar, 11 Mar, $15–$25
Joshua Warrior Comedy Show
Rhino Room, 27–29 Feb, $23
Marcel Blanch- de Wilt: Pancakes
Rhino Room, 10–14 Mar, $15–$21
2020 Greek Comedian of The Year
The Howling Owl, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $15–$25
Jacob JackmanFrom Bad To Worse Rhino Room, 3–7 Mar, $10–$20
Eric’s Tales of the Sea - A Submariner’s Yarn
Treasury 1860, 5–15 Mar, $10–$22
19:20
Andy Saunders - The Black Gluttony - Masonic Lodge, 27 Feb–1 Mar, $32
Joel Ozborn - The Madman & Me Gluttony - Masonic Lodge, 3–15 Mar, not 9, $25–$32
19:30
Star Crossed Clowns
Star Theatres, 9–15 Mar, $25
Alex Williamson: Oi Mate!
Arkaba Hotel, 13 Mar, $34.90
A NIGHT AT THE WOPERA
Rhino Room, 3–13 Mar, not 7, 8, 9, $23–$39
The Best Of The Historian Hotel, Various dates from 2 Mar to 11 Mar, $23
A Bookish Comedy Show
Cafe Outside The Square, 2–4 Mar, $24
Aborigi-LOL: The Return
Murray Bridge Town Hall, 28 Feb, $25
Stood Up!
Ayers House Events, Various dates from 4 Mar to 14 Mar, $25
The Four Fringemen
Sourc’d Aldinga, 10 Mar, $30
Grassroots Variety Challenge: Final
Ayers House Events, 7 Mar, $17
Home Boys Log On Star Theatres, 27–29 Feb, $20
Nick Cody & Luke Heggie - Future Classics
Stirling Fringe, 1 Mar, $28
Dreamgun: Film Reads
Stirling Fringe, 29 Feb, $28
Becky Lucas - My neck, my back Rhino Room, 27–29 Feb, $25–$28
The Adelaide International Comedy Gala Thebarton Theatre [Adelaide Festival], 6 Mar, $20
Absolutely Irish
The Griffins Hotel, 27 Feb–1 Mar, $20–$25
Adeladies - Best of the Fringe’s Funny Women
The Griffins Hotel, 3–15 Mar, not 4, 9, 11, $15–$25
Lindsay Webb “Relentlessly Correct”
Belgian Beer Cafe ‘Oostende’, 27 Feb–12 Mar, not 28 Feb, 29 Feb, 6 Mar, 7 Mar, $15–$30
19:45
(Please) Validate Me by Benjamin Maio Mackay various venues, 10–14 Mar, $20–$25
Boats and Bogans various venues, 27 Feb–1 Mar, $18
Abandoman - The Road to Coachella
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $30–$38
19:50
The Eulogy Gluttony - Masonic Lodge, 3–8 Mar, $24–$30
20:00
3 Imports
Shangri-La Nightclub, 27–29 Feb, $15
The Four Fringemen various venues, Various dates from 28 Feb to 13 Mar, $30
All The Best From Edinburgh... To Adelaide
The Historian Hotel, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 3 Mar, 4 Mar, 8 Mar, 9 Mar, 10 Mar, 11 Mar, $20–$25
Cherry Farrow Comedy Hypnosis
Sparkke at The Whitmore, 27–28 Feb, $25
Adelaide Fringe Comedy Gala: Bringing The Best of The Fringe To Marion Marion Cultural Centre, 6 Mar, $33
Best of the Adelaide Fringe Comedy - The Fringe comes to Port Noarlunga
Arts Centre Port Noarlunga, 7 Mar, $30
Matt Byrne’s Vegans Norwood Concert Hall, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 3 Mar, 8 Mar, 9 Mar, 10 Mar, $28
Best of The Fringe Comedy Superstars
Flinders University, Bedford Park, 14 Mar, $35
Ben & Charlie’s Variety Hour (45 minutes)
House of Spaghetti, 28 Feb, 7 Mar, $15
An Evening With Fiona O’Loughlin
Gluttony - Rymill Park, 3–15 Mar, not 9, $28–$35
Conspiracy Theory: A Lizard’s Tale HHH
Marion Cultural Centre, 9 Mar, $27
Akmal - Open for Renovations Encore Performance
Gluttony - Rymill Park, 27 Feb–1 Mar, $35–$39
Arj Barker Comes Clean
Arts Theatre, 27 Feb, $38
FRIEND (The One With Gunther)
The Garden of Unearthly Delights, 3–15 Mar, not 9, $26–$33
Amazing Adventures of Her Majesty at 90+
The Warehouse Theatre, 29 Feb, 7 Mar, $14
The Fax Machine Goes Corporate Hotel Royal, 10 Mar, $20
Nick Capper: Tuxedo Traveller
Gluttony - Rymill Park, 3–8 Mar, $15–$20
Kel Balnaves - Righto Gluttony - Rymill Park, 27 Feb–1 Mar, $20–$25
Apocalypse Comedy Club featuring Mick Neven
Gluttony - Rymill Park, 10–15 Mar, $15–$20
Granny Flaps - Show Us Your Best Bits! various venues, 29 Feb, 6 Mar, $28
tim&TIM!’s FrEaKy fRiDaY!
House of Spaghetti, 6 Mar, $15
20:10
The Stevenson Experience: Stranger Twins
Gluttony - Rymill Park, 3–15 Mar, not 7, 9, $20–$30
20:15
Nurse Georgie Carroll: Off The Charts
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $25–$35
Andrew HansenSolo Show
The Garden of Unearthly Delights, 27 Feb–1 Mar, $32–$36
PETER HELLIARLOOPY
The Garden of Unearthly Delights, 5–8 Mar, $35–$45
TOD Talks
Scots Church Adelaide, 27 Feb, $20
DILRUK JAYASINHAVICTORIOUS LION
The Garden of Unearthly Delights, 27 Feb–1 Mar, $28–$32
SAM TAUNTONROOSTER
The Garden of Unearthly Delights, 3–15 Mar, not 9, $22–$30
CAL WILSON - OPEN BOOK
The Garden of Unearthly Delights, 9–15 Mar, $28–$38
Nick O’Connell - Those Who Can, Those Who Can’t
The Griffins Hotel, 27–29 Feb, $20
Amos Gill: Ruins Rhino Room, 28 Feb–13 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $20–$34.90
ZOË COOMBS MARRAGONY! MISERY!
The Garden of Unearthly Delights, 2–8 Mar, $24–$32
Best of the Edinburgh Fest
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $28.50–$35
TOM BALLARDENOUGH
The Garden of Unearthly Delights, 3–15 Mar, not 9, $25–$35
FRANK WOODLEY*@#!KING CLOWN
The Garden of Unearthly Delights, 27 Feb–1 Mar, $34–$42
Jimmy McGhie - BA (Hons)
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $26–$34.90
Joel Creasey - Messy Bitch
The Garden of Unearthly Delights, 9–15 Mar, $28–$40
NATH VALVOCHATTY CATHY
The Garden of Unearthly Delights, 2–15 Mar, not 9, $25–$35
NIKKI BRITTON - ONE SMALL STEP
The Garden of Unearthly Delights, 27 Feb–1 Mar, $28–$32
DAVE HUGHESRIDICULOUS
The Garden of Unearthly Delights, 27–29 Feb, $37–$45
BRETT BLAKE - GO HARD OR GO HOME
The Garden of Unearthly Delights, 27 Feb–1 Mar, $24–$29
20:20
Thomas Green: Yeah, nah!
Gluttony - Rymill Park, 3–15 Mar, not 9, $15–$25
Tom Skelton: 2020
Visions (What if I hadn’t gone blind?)
The Griffins Hotel, Various dates from 7 Mar to 14 Mar, $15–$20
Love Hurts
Gluttony - Rymill Park, 27 Feb–1 Mar, $25
20:30
All Around the World: The International Comedy Show
The Griffins Hotel, 27 Feb–15 Mar, not 2 Mar, 4 Mar, 9 Mar, 11 Mar, $15–$25
Peter Berner –Compassion Pie Rhino Room, 27–29 Feb, $25
Adelaide Fringe Comedy Show Case
The Vines Golf Club of Reynella, 7 Mar, 14 Mar, $30
Welcome to Japan Hotel Richmond, 1–5 Mar, $15–$20
Billy D’ArcyAnxiously Arrogant Rhino Room, 10–14 Mar, $18–$22
Sean Conway 100% Rhino Room, 3–7 Mar, $7–$15
A Full English Breakfast with Clive Palmer HHH
Ayers House Events, 14 Mar, $28
Granny Flaps - Show
Us Your Best Bits! Chiton Rocks Surf Life Saving Club, 13 Mar, $26
Anna Nicholson: Get Happy
Hotel Richmond, 27 Feb, $22
Innuendo
Everywhere: Becky Blake and Steve Davis do it
The Duke of Brunswick, 27–28 Feb, $25
Battery Operated Boyfriend
The Duke of Brunswick, 27 Feb–1 Mar, $20
DON’T SHOOT! I’m a vegan
The Jade, 2 Mar, $20 Talk Dirty, Stay Classy
Ayers House Events, 27 Feb, 5 Mar, 12 Mar, $25
The Four Fringemen Mount Compass Tavern, 14 Mar, $30
Arj Barker Comes Clean Arts Theatre, 28 Feb–14 Mar, not 1 Mar, 2 Mar, 8 Mar, 9 Mar, $35–$45
A Class Act
Hotel Richmond, 11–12 Mar, $20
Mind Blowing Magic
The Jade, 27 Feb, $25
Giggles Comedy
Rhino Room, 2 Mar, $10
BEN KOCHAN THROWS A STOOL AT THE AUDIENCE
Rhino Room, 3–14 Mar, not 8, 9, $20–$25
Marty Sheargold Royalty Theatre, 13–15 Mar, $49
The Marvellous Snake Boy
Ayers House Events, 27 Feb–13 Mar, not 1 Mar, 2 Mar, 3 Mar, 8 Mar, 9 Mar, 10 Mar, $20
Aborigi-LOL: The Return
Tandanya National Aboriginal Cultural Institute, 4–8 Mar, $20–$25
Gene Louis presents Jokes
Rhino Room, 27–29 Feb, $15
20:40
Impromptunes
- The Completely Improvised Musical Gluttony - Rymill Park, 27 Feb–1 Mar, $28–$30
TAHIR - Pick of the Comedians. 6 stars
Gluttony - Rymill Park, 3–15 Mar, not 9, $30–$39
Completely Improvised Potter
Gluttony - Rymill Park, 27 Feb–1 Mar, $30
20:45
Zack Adams: Love Songs For Future Girl Rhino Room, 10–14 Mar, $15–$23
michael hingdressed as a lobster for a portion of the evening
Rhino Room, 3–7 Mar, $25–$29
Best Of British Belgian Beer Cafe ‘Oostende’, 27 Feb–14 Mar, $15–$25
Eric in Tinkerland
The Griffins Hotel, 5–7 Mar, $14–$20
Cornish Comedians Showcase
The Griffins Hotel, 12–15 Mar, $20
Eh Canadian Comedy Dream!
The Griffins Hotel, 27 Feb–1 Mar, $20
21:00
SUNS of FRED - The Greatest Showmen & Another Guy Gluttony - Rymill Park, 27 Feb–1 Mar, $25
PLASTICA
FANTASTICA
The Mill, 27 Feb, $20
John Spillane: Irish Comedian of the Millenium various venues, 27 Feb–8 Mar, not 2 Mar, $12–$22
The WTF?! Show
The Mill, 28–29 Feb, $24.95
Eddie Ray - Leader of the Resistance
The Mill, 4–7 Mar, $20–$25
Memo Fukin White City FC, 8 Mar, $40
Dreamgun: Film Reads
Stirling Fringe, 1 Mar, $28
ADELAIDE’S MOST WANTED!
Gluttony - Rymill Park, 3–15 Mar, not 9, $18–$23
The Four Fringemen Gaza Sports and Community Club, 27 Feb, $30
Shad and Pete Save the World (maybe) Ancient World, 27 Feb, $15
Jess McKenzieSwingin’ With My Eyes Closed!
Cafe Outside The Square, 28–29 Feb, $22
Late Night Comedy
Astor Hotel, Various dates from 28 Feb to 14 Mar, $20
“There’s a Bit in That”
The Big Slapple at the Adelaide Convention Centre, 6 Mar, $23
21:10
Bella Green is Charging For It
Gluttony - Masonic Lodge, 27 Feb–1 Mar, $25
Elizabeth DavieApex Predator
Gluttony - Masonic Lodge, 3–15 Mar, not 9, $20–$26
21:15
TOM WALKER IS TIM WALTER
The Garden of Unearthly Delights, 3–15 Mar, not 9, $24–$30
Shaggers
The Historian Hotel, 27 Feb–14 Mar, not 1 Mar, 2 Mar, 3 Mar, 4 Mar, 8 Mar, 9 Mar, 10 Mar, 11 Mar, $20–$25
21:30
TOM GLEESONLIGHTEN UP
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $35–$45
Puppetry of the Penis
Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $33–$44
Bald Man Sings
Rihanna
The Griffins Hotel, 27 Feb–1 Mar, $20
Shit- Faced Shakespeare: Hamlet
Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $25–$34.90
Ivan Aristeguieta - Piñata
The Garden of Unearthly Delights, 2–15 Mar, not 9, $25–$36
AJ Holmes: Yeah, But Not Right Now
Gluttony - Rymill Park, 3–15 Mar, not 9, $25–$30
Talk Dirty, Stay Classy
Ayers House Events, 6 Mar, 7 Mar, 13 Mar, 14 Mar, $25
SINGLE
Gluttony - Rymill Park, 3–8 Mar, $19–$25
LEWIS GARNHAM - THE WORST TRAIN I’VE EVER BUILT
The Garden of Unearthly Delights, 3–15 Mar, not 9, $20–$25
Doggie in the Window
Ayers House Events, 28–29 Feb, $20
Two Little Dickheads: KAPOW!
Gluttony - Rymill Park, 10–15 Mar, $20–$25
Ben & Charlie’s Variety Hour (45 minutes)
House of Spaghetti, 6 Mar, $15
Nina Oyama Is ‘Doing Me’ Right Now
The Garden of Unearthly Delights, 27 Feb–1 Mar, $25–$28
Christian Elderfield: Happy Pom
The Griffins Hotel, 3–15 Mar, not 9, $10–$12
George Glass Proves
The Existence of God RCC, 7 Mar, $15
JUSTIN HAMILTON… AND HAMMO WAS HIS NAME-O!
Rhino Room, 3–7 Mar, $25–$29
Thomas Green: Yeah, nah!
Stirling Fringe, 27 Feb, $25
Aboriginal Comedy Allstars
The Garden of Unearthly Delights, 27 Feb–1 Mar, $39–$42
Read The Room
Gluttony - Rymill Park, 27 Feb–1 Mar, $23
SAM SIMMONS - FUNT
The Garden of Unearthly Delights, 9–15 Mar, $30–$42
Blake Everettdeb(u)t
Ayers House Events, 27 Feb, $20
Simon Taylor is a Super Funny Boy
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 4 Mar, 11 Mar, $22–$32
Heath Franklin’s Chopper - The Silencer
The Garden of Unearthly Delights, 27 Feb–1 Mar, $36.95–$39.95
Rosie Waterland: Kid Chameleon
Rhino Room, 27–29 Feb, $39.90
Kieran Bullock
Builds IKEA Furniture and Talks To The Audience
Ayers House Events, Various dates from 4 Mar to 14 Mar, $23
Dreamgun: Film
Reads
The Garden of Unearthly Delights, 2–15 Mar, $22–$32
tim&TIM!’s FrEaKy fRiDaY!
House of Spaghetti, 29 Feb, 7 Mar, $15
Larry Dean - Fudnut
The Garden of Unearthly Delights, 2–15 Mar, not 11, $25–$34
Nazeem HussainHussain That?
The Garden of Unearthly Delights, 27 Feb–1 Mar, $30
A Night in at the House of Spaghetti House of Spaghetti, 28 Feb, $15
David Quirk - Astonishing Obscurity
The Garden of Unearthly Delights, 27 Feb–1 Mar, $28–$30
21:45
3 is a crowd (so bring 2 friends)
Rhino Room, 10–14 Mar, $10
Best of Adelaide Fringe: The Late Show
The Griffins Hotel, Various dates from 28 Feb to 14 Mar, $25
James BustarCaught in the Act
The Howling Owl, 3–14 Mar, not 8, 9, $15–$25
Amos Gill: Ruins Arkaba Hotel, 13 Mar, $34.90
Shark Heist
Rhino Room, 10–14 Mar, $17–$25
James Donald Forbes McCann: Devil’s Advocate
The Howling Owl, 27–29 Feb, $24.50–$27.50
Oliver Coleman: The Prawning
Rhino Room, 27–29 Feb, $25
Geoff Stone - Almost Rhino Room, 27–29 Feb, $20
22:00
AJ Holmes: Yeah, But Not Right Now Gluttony - Rymill Park, 27 Feb–1 Mar, $25–$27
Welcome to Japan Hotel Richmond, 29 Feb, $24
Dirty Tattooed Circus Bastards - The Prison Years
Gluttony - Rymill Park, 27 Feb–1 Mar, $25
Adelaide Fringe Comedy Show Case
The Griffins Hotel, Various dates from 28 Feb to 14 Mar, $25
Evan Desmarais: Pizza & Ice Cream HHH
Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $17–$23
Aidan Jones - Taco
Gluttony - Rymill Park, 3–14 Mar, not 4, 8, 9, 11, $19–$25
Aborigi-LOL: The Return
Tandanya National Aboriginal Cultural Institute, 11–15 Mar, $25
The Highlight Reel Hotel Richmond, 11 Mar, 12 Mar, 14 Mar, $20
22:20
TAHIR - Pick of the Comedians. 6 stars
Gluttony - Rymill Park, 8 Mar, $35
22:30
Blake Everettdeb(u)t
Ayers House Events, 28–29 Feb, $20
Welcome to Japan Hotel Richmond, 28 Feb, $24
All Up Late - The Historian Late Show
The Historian Hotel, 6 Mar, 7 Mar, 13 Mar, 14 Mar, $20
Alcohol is good for you
The Historian Hotel, 28–29 Feb, $21
The Hilary Duff Film Re-Enactment Festival
Ayers House Events, 6 Mar, 7 Mar, 13 Mar, 14 Mar, $25
The Highlight Reel Hotel Richmond, 13 Mar, $20
22:40
Stand Up - Smack Down
Gluttony - Rymill Park, Various dates from 28 Feb to 14 Mar, $17–$20
22:45
Demi Lardner & Tom Walker: We Mustn’t Rhino Room, 12–14 Mar, $25–$28
Rhino’s Tuesday Night Flyer
Rhino Room, 3 Mar, $15
Best of the Edinburgh Fest
The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $26
22:50
The Great British Hate Off
Gluttony - Rymill Park, 6 Mar, 7 Mar, 8 Mar, 13 Mar, 14 Mar, $25
22:55
Andrew Silverwood’s [Late Night] Panel Show
Gluttony - Rymill Park, Various dates from 28 Feb to 14 Mar, $25
23:00
THE STAND UP SHOW
The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $25
Rhino Room Late Show
Rhino Room, Various dates from 28 Feb to 14 Mar, $30
23:15
Heath Franklin’s Chopper - The Line Up
The Garden of Unearthly Delights, 28 Feb, $30
23:20
TAHIR - Pick of the Comedians. 6 stars Gluttony - Rymill Park, 7 Mar, 14 Mar, $39
The Great British Hate Off
Gluttony - Rymill Park, 28–29 Feb, $25
23:30
PHATCAVE
Gluttony - Rymill Park, Various dates from 28 Feb to 14 Mar, $27
10:00
Atomic - The New Rock Musical Nexus Arts, 11–12 Mar, $18
Stepping Out
The Parks Theatres, 10 Mar, $20
10:30
Fear (Not)
The Garden of Unearthly Delights, 13 Mar, $28
ATLANTIS UNTOLD
GU Film House Glenelg, 3–4 Mar, $20
11:00
The Witching Hour Forge Theatre, 5 Mar, FREE
Mouthpiece
Odeon Theatre [Adelaide Festival], 10 Mar, 12 Mar, $30
Dimanche Space Theatre [Adelaide Festival], 3 Mar, 5 Mar, $20
The Iliad - Out
Loud Scott Theatre [Adelaide Festival], 14–15 Mar, $20
Aleppo. A Portrait of Absence
Queen’s Theatre [Adelaide Festival], 12 Mar, 14 Mar, $25
Princessez
Marion Cultural Centre, 12 Mar, $22
Dance Nation Scott Theatre [Adelaide Festival], 27–28 Feb, $39
Peter Pan Norwood Concert Hall, 7 Mar, $25
A Thousand Cranes
Adelaide City Parkland 18, 29 Feb–1 Mar, $15
The Loneliest Woman
Star Theatres, 28 Feb, 6 Mar, $19.50–$24.50
11:30
The Doctor Dunstan Playhouse [Adelaide Festival], 5 Mar, $45
12:00
Aleppo. A Portrait of Absence
Queen’s Theatre [Adelaide Festival], 12 Mar, 14 Mar, $25
Children of an Idle Brain
Bakehouse Theatre, 2–7 Mar, $10–$25
❤ Tartuffe HHHH
Holden Street Theatres, 14–15 Mar, $28
12:30
Atomic - The New Rock Musical Nexus Arts, 11–12 Mar, $18
Dimanche Space Theatre [Adelaide Festival], 7 Mar, $20
❤ Tartuffe HHHH
Holden Street Theatres, 7 Mar, $28
The King Holden Street Theatres, 29 Feb–1 Mar, $25
13:00
I Hate Shakespeare! Salisbury Institute, 27 Feb, FREE
The Doctor Dunstan Playhouse [Adelaide Festival], 7 Mar, $45
Mouthpiece
Odeon Theatre [Adelaide Festival], 14 Mar, $30
Dimanche Space Theatre [Adelaide Festival], 29 Feb, $20
Fear (Not)
The Garden of Unearthly Delights, 13–15 Mar, $28
Aleppo. A Portrait of Absence
Queen’s Theatre [Adelaide Festival], 12 Mar, 14 Mar, $25
I Forgot to Register for Adelaide Fringe!
The Parks Theatres, 29 Feb, $10
Faulty Towers The Dining Experience Stamford Plaza
Adelaide, Various dates from 29 Feb to 15 Mar, $85
A Midsummer Livestream Bakehouse Theatre, 2–7 Mar, $15–$25
Eleanor’s Story: An American Girl In Hitler’s Germany various venues, 27–28 Feb, $33
13:30
Atomic - The New Rock Musical Nexus Arts, 14 Mar, $18
Eleanor’s Story: An American Girl In Hitler’s Germany Largs Bay RSL, 29 Feb, $33
The King Holden Street Theatres, 14–15 Mar, $25
14:00
Inner Journey State Library of South Australia, 1 Mar, 8 Mar, 15 Mar, FREE
Sh!t Theatre Drink Rum With Expats Holden Street Theatres, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $20–$28
On the Couch with Tammy Anderson Tandanya National Aboriginal Cultural Institute, 15 Mar, $20
The Doctor Dunstan Playhouse [Adelaide Festival], 29 Feb–1 Mar, $45
Cold Blood
Ridley Centre, Adelaide Showgrounds [Adelaide Festival], 7–8 Mar, $30
Mouthpiece
Odeon Theatre [Adelaide Festival], 8–9 Mar, $30
Princessez
Marion Cultural Centre, 15 Mar, $22
Aleppo. A Portrait of Absence
Queen’s Theatre [Adelaide Festival], 15 Mar, $25
I Forgot to Register for Adelaide Fringe!
The Parks Theatres, 29 Feb, $10
Dance Nation
Scott Theatre [Adelaide Festival], 29 Feb, 7 Mar, $39
Stepping Out
The Parks Theatres, 4 Mar, 5 Mar, 7 Mar, 11 Mar, $12–$20
The Daly River Girl
Tandanya National Aboriginal Cultural Institute, 1 Mar, $20
Fracture
RUMPUS, 7 Mar, $20
Ragnarøkkr
Holden Street Theatres, 1 Mar, $28
I Don’t Wanna Play House
Tandanya National Aboriginal Cultural Institute, 13 Mar, $20
Moof’s Adventures
The Mill, 1 Mar, 15 Mar, $22
Adelaide Short Play Festival Fulham Community Centre, 29 Feb, $25
A Thousand Cranes
Adelaide City Parkland 18, 29 Feb–1 Mar, $15
Craigslist Allstars
Main Theatre, AC Arts [Adelaide Festival], 1 Mar, $15
Kafka’s Ape
Holden Street Theatres, 29 Feb, $25
Beautiful - The Carole King
Musical
Star Theatres, 29 Feb, $44
Only Human RUMPUS, 29 Feb, $30
The Nights by Henry Naylor Holden Street Theatres, 29 Feb, 1 Mar, 7 Mar, 8 Mar, $28
14:30
❤ Josephine HHHH
Stirling Fringe, 27 Feb, $30
Peter Pan Norwood Concert Hall, 8 Mar, $25
15:00
FLIGHT
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25
Dimanche Space Theatre [Adelaide Festival], 1 Mar, $20
SÉANCE
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $20
Cock Cock…Who’s There?
Main Theatre, AC Arts [Adelaide Festival], 29 Feb, $20
Aleppo. A Portrait of Absence
Queen’s Theatre [Adelaide Festival], 15 Mar, $25
I Forgot to Register for Adelaide Fringe!
The Parks Theatres, 29 Feb, $10 COMA
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25
The Nights by Henry Naylor Holden Street Theatres, 14–15 Mar, $28
15:15
Peter Pan Norwood Concert Hall, 7 Mar, $25
15:30
Abattoir Noir
The Mill, 1 Mar, $20
The Iliad - Out Loud
Scott Theatre [Adelaide Festival], 14–15 Mar, $20
Dead Gorgeous: A True Crime Clown Show
RUMPUS, 7 Mar, 14 Mar, $25
Queer House Rules!
RUMPUS, 29 Feb, $25
UnderLyingSkins
The Mill, 8 Mar, $18
16:00
FLIGHT
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25
How To Drink Wine Like A Wanker
Treasury 1860, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $25
The Doctor Dunstan Playhouse [Adelaide Festival], 8 Mar, $45
SÉANCE
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $20
Aleppo. A Portrait of Absence
Queen’s Theatre [Adelaide Festival], 15 Mar, $25
COMA
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25
A Thousand Cranes
Adelaide City Parkland 18, 29 Feb–1 Mar, $15
16:30
Writer / 20 세기작가 Black Box Theatre, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $28
Attenborough and his Animals
Stirling Fringe, 27 Feb, $25
Ragnarøkkr
Holden Street Theatres, 29 Feb, $28
16:45
Peter Goers in Best
We Forget Holden Street
Theatres, 29 Feb, 1
Mar, 8 Mar, 14 Mar, 15 Mar, $20
17:00
FLIGHT
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25
MEDEA AND JASON
- A MINI MUSICAL WITH LOUCAS LOIZOU
Hilton Hotel, 13–15 Mar, $25
SÉANCE
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $20
Cock Cock…Who’s There?
Main Theatre, AC Arts [Adelaide Festival], 1 Mar, $20
Dead Gorgeous: A True Crime Clown Show
RUMPUS, 8 Mar, 15 Mar, $25
Frankie Foxstone
A.K.A. The Profit:
Walking Tour HHH
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $20
COMA
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25
Eleanor’s Story: Life After War Gluttony - Masonic Lodge, 1 Mar, $33
Eleanor’s Story: An American Girl In Hitler’s Germany Gluttony - Masonic Lodge, 29 Feb, $33
The Loneliest Woman
Star Theatres, 29 Feb, 1 Mar, 7 Mar, 8 Mar, $24.50
Only Human RUMPUS, 1 Mar, $30
Translation Goodwood Studio, 6 Mar, $20
17:20
The Tempest Gluttony - Rymill Park, 3–15 Mar, $19.50–$27.50
17:30
The Wild Unfeeling World Stirling Fringe, 1 Mar, $25
18:00
Cassie and the Lights RCC, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $20–$26
‘For Both Resting and Breeding’ by Adam Meisner
The Bus Stop, 27–29 Feb, $28
Gratiano
Bakehouse Theatre, 4 Mar, 9 Mar, 13 Mar, $25
FLIGHT
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
The Doctor Dunstan Playhouse [Adelaide Festival], 3 Mar, 4 Mar, 5 Mar, 7 Mar, $45
Breaking the Waves
Festival Theatre [Adelaide Festival], 15 Mar, $40
Mouthpiece
Odeon Theatre [Adelaide Festival], 7–8 Mar, $30
SÉANCE
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20
The Ballad of Mulan
Bakehouse Theatre,
3 Mar, 7 Mar, 12 Mar, $15–$25
Rich Bitch - A Parody of Law Of Attraction Gurus
The Griffins Hotel, 3–15 Mar, not 9, $10–$20
Dimanche Space Theatre [Adelaide Festival], 28–29 Feb, $20
The Daughters of Róisín
The Mill, 13–14 Mar, $26
Spitfire Solo Bakehouse Theatre, 27 Feb–7 Mar, not 1 Mar, $18–$26
I, AmDram
Treasury 1860, 5–15 Mar, not 9, $18–$25
ME
The Garage International @ Adelaide Town Hall, 11–13 Mar, $28
Train Lord Bakehouse Theatre, 27–29 Feb, $20
The Book Of Faz
Astor Hotel, 27–29 Feb, $20
COMA
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
Mengele
The Garage International @ Adelaide Town Hall, 3–7 Mar, $23–$29
Gone Girls
Holden Street Theatres, 10–14 Mar, $22–$27
Stepping Out
The Parks Theatres, 6 Mar, $20
Moby Dick Bakehouse Theatre, 2 Mar, 6 Mar, 11 Mar, $25
TABOO
Treasury 1860, Various dates from 27 Feb to 4 Mar, $18–$25
Girl Shut Your Mouth
Bakehouse Theatre, 10–14 Mar, $23–$28
Kafka’s Ape
Holden Street Theatres, 27 Feb–8 Mar, not 2 Mar, $20–$25
Craigslist Allstars
Main Theatre, AC Arts [Adelaide Festival], 3 Mar, $15
Dietrich: Natural Duty
Black Box Theatre, 3–15 Mar, $23–$30
Renfield: In the Shadow of the Vampire Bakehouse Theatre, 5 Mar, 10 Mar, 14 Mar, $15–$25
UnderLyingSkins
The Mill, 15 Mar, $20
18:10
❤ EURYDICE
HHHH
Open Air Theatre, Various dates from 27 Feb to 11 Mar, $22–$28
ORPHEUS HHH
Open Air Theatre, 3–5 Mar, $22–$28
18:15
‘Tales of an Urban Indian’ by Darrell Dennis
The Bus Stop, 27 Feb–1 Mar, $28
18:20
SÉANCE
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20
Far Far Away
The Garage International @ Pilgrim Uniting Church, 3 Mar, 4 Mar, 6 Mar, 7 Mar, $18–$23
Promise and Promiscuity: A New Musical by Jane Austen and Penny Ashton
Gluttony - Masonic Lodge, 27 Feb–1 Mar, $26–$28
18:25
Bleach various venues, 5 Mar, $28
18:30
Frankenstein: How to Make a Monster
RCC, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $25–$35
FLIGHT
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
Mouthpiece
Odeon Theatre [Adelaide Festival], 14 Mar, $30
Dimanche Space Theatre [Adelaide Festival], 3–6 Mar, $20
Aleppo. A Portrait of Absence Queen’s Theatre [Adelaide Festival], 11–14 Mar, $25 COMA
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
Bleach various venues, 6–7 Mar, $28
Marvelous Mechanical Musical Maiden Ayers House Events, 4–6 Mar, $28
Dance Nation
Scott Theatre [Adelaide Festival], 27–28 Feb, $39
The People’s Festival: 60 years of Adelaide Fringe Mercury Cinema, 10 Mar, $8
Queer House Rules!
RUMPUS, 1 Mar, $25
Gone Girls
Holden Street Theatres, 15 Mar, $27
Fracture
RUMPUS, 8 Mar, $23
Eleanor’s Story: An American Girl In Hitler’s Germany Victor Harbor Town Hall, 27 Feb, $33 ❤ Tartuffe HHHH
Holden Street
Theatres, 27 Feb–8 Mar, not 2 Mar, $20–$28
Only Human RUMPUS, 27–29 Feb, $30
Enterprise Stirling Fringe, 28 Feb, $28
The King Holden Street
Theatres, 10–14 Mar, $15–$25
18:45
Josh Mensch: Abomination
Holden Street
Theatres, 28 Feb–1 Mar, $13–$16
Attenborough and his Animals
The Garden of Unearthly Delights, 2–15 Mar, not 9, $25–$30
Thunderstruck
The Garden of Unearthly Delights, 2–15 Mar, $20–$30
18:50
Gobby
Gluttony - Rymill Park, 3–15 Mar, $22–$28
19:00
FLIGHT
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
I Hate Shakespeare!
Salisbury Institute, 27 Feb, $20
The Doctor
Dunstan Playhouse [Adelaide Festival],
28 Feb, 29 Feb, 6 Mar, $45
Schapelle, Schapelle
The Parks Theatres, 12–15 Mar, $32
Cold Blood Ridley Centre, Adelaide Showgrounds [Adelaide Festival], 6–7 Mar, $30
Mouthpiece
Odeon Theatre [Adelaide Festival], 6 Mar, 12 Mar, $30
SÉANCE
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20
Our Solar System
Holden Street Theatres, 28 Feb–14 Mar, not 2 Mar, 9 Mar, $20–$25
Dead Gorgeous: A True Crime Clown Show
RUMPUS, 4 Mar, 5 Mar, 11 Mar, 12 Mar, $17–$25
The Hipster- A musical for people who don’t like musicals
Little Bang Brewing Company, Various dates from 8 Mar to 17 Mar, $35
COMA
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
Frankie Foxstone
A.K.A. The Profit:
Walking Tour
HHH
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 3 Mar, 4 Mar, 9 Mar, 10 Mar, 11 Mar, $20
Snapshots from Home
The Parks Theatres, 27–28 Feb, $20
Faulty Towers The Dining Experience
Stamford Plaza Adelaide, 27 Feb–15 Mar, not 4 Mar, 11 Mar, $85–$110
The Good WordSpoken
MixedCreative, 6 Mar, $5
Fracture
RUMPUS, 6–7 Mar, $23
Your Best American Girl Woodville Town Hall, 27 Feb, $20
Adelaide Short Play Festival
Fulham Community Centre, 28–29 Feb, $25
Table for Two?
Holden Street Theatres, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $17–$20
Floral Peroxide
Nexus Arts, 11 Mar, $30
Bordertown St Aloysius College, 27–29 Feb, $25
Dirty People Hotel Richmond, 27 Feb, $27
Passengers
RCC, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $20–$35
Open Heart
The Duke of Brunswick, 3–4 Mar, $25–$32
Translation Ancient World, 29 Feb, $20
CAN ART STOP A BULLET: William Kelly’s Big Picture Mercury Cinema, 5 Mar, $25
19:15
I, AmDram Treasury 1860, 3–4 Mar, $18
19:20
SÉANCE
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20
19:25
❤ Josephine
HHHH
Black Box Theatre, 27 Feb–1 Mar, $30
19:30
Being Dead (Don Quixote)
RCC, 27 Feb–15
Mar, not 2 Mar, 9 Mar, $18–$33
The Witching Hour Forge Theatre, 5–6 Mar, $10
Sh!t Theatre Drink
Rum With Expats
Holden Street
Theatres, 27 Feb–8 Mar, not 2 Mar, 3 Mar, $28
An Evening with the Vegetarian Librarian
Bakehouse Theatre, 27–29 Feb, $28
FLIGHT
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
The Mark Drama various venues, 29 Feb, 1 Mar, 3 Mar, $8
Marvelous
Mechanical
Musical Maiden
Ayers House Events, 27 Feb, 29 Feb, $28
Imposter
Cafe Outside The Square, 7 Mar, $25
Cold Blood Ridley Centre, Adelaide Showgrounds [Adelaide Festival], 5 Mar, $30
Audio Book - LIVE MixedCreative, 28 Feb, 7 Mar, 13 Mar, $20
Aleppo. A Portrait of Absence
Queen’s Theatre [Adelaide Festival], 11–14 Mar, $25
Autoeulogy
The Mill, 3–5 Mar, $20
COMA
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
Zombie Zoo Bakehouse Theatre, 9–14 Mar, $15–$25
Don’t Hate The Player
Star Theatres, 6–8 Mar, $30
Gone Girls
Holden Street Theatres, 3 Mar, $15
Mengele
The Garage International @ Adelaide Town Hall, 27 Feb–13 Mar, not 1 Mar, 2 Mar, 3 Mar, 4 Mar, 5 Mar, 6 Mar, 7 Mar, 8 Mar, $23–$29
Voices Of Joan
The Mill, 6–8 Mar, $20–$25
The Daly River Girl
Tandanya National Aboriginal Cultural Institute, 29 Feb–1 Mar, $20
Moof’s Adventures
The Mill, Various dates from 27 Feb to 15 Mar, $22
Peter Pan
Norwood Concert Hall, 6–8 Mar, $25 Enterprise
Black Box Theatre, 3–15 Mar, $22–$30
Kafka’s Ape
Holden Street Theatres, 10–14
Mar, $20–$25
The Terminator Star Theatres, 1 Mar, $27
Beautiful - The Carole King
Musical
Star Theatres, 27–29 Feb, $44
The Will To Be Bakehouse Theatre, 2–7 Mar, $24–$27
UnderLyingSkins
The Mill, 10–12 Mar, $18–$20
BOND - AN UNAUTHORISED PARODY!
Bakehouse Theatre, 27 Feb–7 Mar, not 1 Mar, $26
The Ides of March
Bakehouse Theatre, 9–14 Mar, $20–$27
The Loneliest Woman
Star Theatres, 4–5 Mar, $24.50
Peach Cobbler
The Living Room, 12–13 Mar, $15
19:40
❤ EURYDICE
HHHH
Open Air Theatre, 3–5 Mar, $22–$28
19:45
Dr Selflove or: How I Learned to Stop Worrying and Love
My Thighs various venues, 3–7 Mar, $15–$18
ORPHEUS HHH
Open Air Theatre, Various dates from 27 Feb to 11 Mar, $22–$28
19:50
Safety Banana Gluttony - Masonic Lodge, 10–15 Mar, $20–$25
20:00
Gobby Stirling Fringe, 27 Feb, $28
FLIGHT
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
The Doctor Dunstan Playhouse [Adelaide Festival], 27 Feb, $45
Breaking the Waves Festival Theatre [Adelaide Festival], 13 Mar, $40
Mouthpiece
Odeon Theatre [Adelaide Festival], 10 Mar, $30
SÉANCE
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20
Cock Cock…Who’s There?
Main Theatre, AC Arts [Adelaide Festival], 2–3 Mar, $20
The Iliad - Out Loud Scott Theatre [Adelaide Festival], 14–15 Mar, $20
COMA
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
Dance Nation Scott Theatre [Adelaide Festival], 28 Feb–7 Mar, not 1 Mar, $39
THE ITCH
RUMPUS, 1 Mar, 8 Mar, 15 Mar, $10
Queer House Rules!
RUMPUS, 27–29 Feb, $25
The Daughters of Róisín
HAT’s Courthouse Cultural Centre Auburn, 7 Mar, $30
Kafka’s Ape
Holden Street Theatres, 15 Mar, $25
Pinter at the Pub
Kings Head Hotel, Various dates from 3 Mar to 12 Mar, $15–$20
The Nights by Henry Naylor
Holden Street Theatres, 3–14 Mar, not 9, $20–$28
The King Holden Street Theatres, 27 Feb–1 Mar, $25
Laurie Anderson - All The Things I Lost In The Flood RCC, 14–15 Mar, $55
20:15
The Wild Side RCC, 28 Feb–15 Mar, not 2 Mar, 9 Mar, $25–$35
Josh Mensch: Abomination Holden Street Theatres, 3–15 Mar, not 9, $13–$16
I Don’t Wanna Play House
Tandanya National Aboriginal Cultural Institute, 13–14 Mar, $20
Far Far Away
The Garage International @ Adelaide Town Hall, 1 Mar, 8 Mar, $18–$23
20:20
SÉANCE
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20
20:30
FLIGHT
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
Forbidden Broadway
The Parks Theatres, 27–28 Feb, $25
Mouthpiece Odeon Theatre [Adelaide Festival], 13 Mar, $30
Dead Gorgeous: A True Crime Clown Show
RUMPUS, 6 Mar, 7 Mar, 13 Mar, 14 Mar, $25
Aleppo. A Portrait of Absence
Queen’s Theatre [Adelaide Festival], 11–14 Mar, $25
COMA
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
Fracture
RUMPUS, 4–5 Mar, $23
The Wild Unfeeling World Holden Street Theatres, 3–14 Mar, not 9, $19–$25
Dirty People
Hotel Richmond, 29 Feb, $27
Open Heart
The Duke of Brunswick, 5–7 Mar, $32
20:40
Happily Ever Poofter
Gluttony - Rymill Park, 27 Feb–1 Mar, $25–$28
21:00
FLIGHT
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
Imposter
Cafe Outside The Square, 5 Mar, 12 Mar, 14 Mar, $20–$25
Sh!t Theatre Drink Rum With Expats Holden Street Theatres, 11–14 Mar, $28
The Punter’s Siren Bakehouse Theatre, 2–14 Mar, not 8, $18–$27
SÉANCE
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $20
COLD WAR HH
RCC, 27 Feb–15
Mar, not 2 Mar, 9 Mar, $18–$33
Nikola and I
Dream Well, Various dates from 27 Feb to 17 Mar, $15–$20
No Coming Back Bakehouse Theatre, 27 Feb–7 Mar, not 1 Mar, $15–$25
COMA
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, $25
Don’t Hate The Player
Star Theatres, 5 Mar, $25
Far Far Away
The Garage International @ Adelaide Town Hall, 9–10 Mar, $18–$23
Numinous Asylum
Holden Street Theatres, 10 Mar, $25
A SPECIAL DAY
Black Box Theatre, 27 Feb–15 Mar, not 2 Mar, $25–$28
The Terminator Star Theatres, 27–29 Feb, $27
Dirty People Hotel Richmond, 28 Feb, $27
The Will To Be Bakehouse Theatre, 27–29 Feb, $27
21:15
Gone Girls
Holden Street Theatres, 4–8 Mar, $27
Ragnarøkkr
Holden Street
Theatres, 27 Feb–1 Mar, $28
21:30
Grounded
Holden Street
Theatres, 3–8 Mar, $20–$28
Cock Cock…Who’s There?
Main Theatre, AC Arts [Adelaide Festival], 28–29 Feb, $20
The Nights by Henry Naylor Holden Street Theatres, 27 Feb–1 Mar, $28
❤ Tartuffe
HHHH
Holden Street Theatres, 10–14 Mar, $20–$28
21:40
Mullygrubs
Treasury 1860, 7–15 Mar, not 9, $18–$25
22:00
FLIGHT
The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $25
SÉANCE
The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $20
COMA
The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $25
22:30
THE GODS, THE GODS, THE GODS
Black Box Theatre, Various dates from 28 Feb to 14 Mar, $28
Safety Banana
Gluttony - Masonic Lodge, 6–7 Mar, $20 Abattoir Noir
The Mill, 27–29 Feb, $20–$25
UnderLyingSkins
The Mill, 14 Mar, $20
23:00
FLIGHT
The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $25
SÉANCE
The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $20
COMA
The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $25
09:00
CLG and ASMS present
STEMTacular
Australian Science and Mathematics School, 29 Feb, $20
10:00
Foals
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, FREE
Teeny Tiny Stevies
The Garden of Unearthly Delights, 29 Feb, $33
10:30
Opera Mouse
The Jade, 1 Mar, $20
Inamojo - Children’s Wellbeing Workshops
Singing Gazebo Clarendon, 29 Feb, $26
Toddler Bop
The Parks Theatres, 4 Mar, $12
Once Upon a Circus CircoBats, 12–13 Mar, $15
MR BADGER tells the story of The Wind in the Willows
Carrick Hill, 7 Mar, 14 Mar, $15
Juggling vs Magic Marion Cultural Centre, 7–8 Mar, $12
Do the Hibble Hop various venues, 29 Feb, 3 Mar, 4 Mar, $0–$12
When the Mirror Bird Sings
Marion Cultural Centre, 27–29 Feb, $15
Multicultural Storytime
Hutt Street Library, 3 Mar, FREE
Buzzy and Bumbles’ Bee School
Carrick Hill, 29 Feb, $15
11:00
Bubba-Licious
Gluttony - Rymill Park, 29 Feb–1 Mar, $15
Monski Mouse’s Baby Cabaret
The Garden of Unearthly Delights, 7 Mar, 14 Mar, $17
Ordinary Ed Bakehouse Theatre, 2–7 Mar, $10–$15
Amazing Drumming Monkeys
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $18
Monski Mouse’s Baby Disco Dance Hall
The Garden of Unearthly Delights, 1 Mar, 8 Mar, 9 Mar, 15 Mar, $17
What’s in the Box?
Marion Cultural Centre, 1 Mar, $13
The Bureau Of Untold Stories various venues, 29 Feb–15 Mar, not 2 Mar, 3 Mar, 4 Mar, 5 Mar, 9 Mar, 10 Mar, 11 Mar, 12 Mar, $20
The Circus Firemen
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $20
MR BADGER tells the story of The Wind in the Willows Carrick Hill, 8 Mar, 15 Mar, $15
Once Upon a Circus CircoBats, 14 Mar, $15
A Princess Party Morphettville Racecourse, 27 Feb, $10
Do the Hibble Hop Glenunga Hub, 1 Mar, 7 Mar, 8 Mar, $12
Wilbur the Optical Whale
The Big Slapple at the Adelaide Convention Centre, Various dates from 27 Feb to 4 Mar, $12–$20
The Alphabet of Awesome Science Gluttony - Rymill Park, 10–11 Mar, FREE
The Artist
Main Theatre, AC Arts [Adelaide Festival], 11 Mar, 13 Mar, $20
Switch Witchetty’s Almanac of Everything
Holden Street Theatres, Various dates from 7 Mar to 15 Mar, $19–$20
11:15
Bubble Show with Dr Bubble and Milkshake
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $19
11:30
Brass Monkeys
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $24
‘80s Baby: A Kids Disco
Stirling Fringe, 29 Feb–1 Mar, $20
Do the Hibble Hop Glenunga Hub, 29 Feb, $12
11:45
MR BADGER tells the story of The Wind in the Willows
Carrick Hill, 7 Mar, 14 Mar, $15
12:00
Bubba-Licious
Gluttony - Rymill Park, 29 Feb–1 Mar, $15
Erth’s Dinosaur Zoo
RCC, 29 Feb, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $20
The Artist
Main Theatre, AC Arts [Adelaide Festival], 14 Mar, $20 Petit Circus
Murray Bridge Town Hall, 29 Feb, $26
12:30
Don’t Mess With the Dummies
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $25
The African Elephant Of My Heart: Dance Extravaganza
Holden Street
Theatres, Various dates from 29 Feb to 15 Mar, $20
Big Tops & Tiny Tots Circus Show
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $19
12:45
Grossed Out Game Show
Gluttony - Rymill Park, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $20
Good is the New Bad
Gluttony - Rymill Park, 29 Feb–1 Mar, $20
13:00
Monski Mouse’s Baby Cabaret
The Garden of Unearthly Delights, 29 Feb, $17
Balloonatics
Belgian Beer Cafe
‘Oostende’, Various dates from 29 Feb to 15 Mar, $20
What’s in the Box?
Marion Cultural Centre, 8 Mar, $13
The Fairy Wonderland Show
Gluttony - Rymill
Park, Various dates from 29 Feb to 15 Mar, $25
Once Upon a Circus CircoBats, 12–13 Mar, $15
The Bureau Of Untold Stories
Marion Cultural Centre, 2 Mar, 9 Mar, 16 Mar, $20
When the Mirror Bird Sings
Marion Cultural Centre, 27–29 Feb, $15
Mr Snot bottom’s Horrible, Terrible, Really, Really, Bad, Bad, Show
The Garden of Unearthly Delights, 8 Mar, $22
Boomstars 4Kids: ‘Shake It Up’ Concert
Marion Cultural Centre, 7 Mar, $18
The Alphabet of Awesome Science
Gluttony - Rymill Park, 10–11 Mar, FREE
The Beach Party Woodville Town Hall, 14 Mar, $16
Kids’ Director’s Cut
Stirling Fringe, 29 Feb–1 Mar, $20
13:15
Science Magic
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $16
13:30
CLG and ASMS present
STEMTacular
Australian Science and Mathematics School, 29 Feb, $20
14:00
Peter Combe in Brush Your Hair with a Toothbrush!!
The Garden of Unearthly Delights, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $26
Erth’s Dinosaur Zoo
RCC, 29 Feb, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $20
Amazing Drumming Monkeys
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $18
‘Aladdin and the Genie of Unlimited Wishes’ Star Theatres, 14–15 Mar, $20
Jack & Jill and the Beanstalk - An Environmental Tale
Mount Barker
Waldorf Living Arts Centre, 1 Mar, $28
Once Upon a Circus CircoBats, 14 Mar, $15
BEST OF KIDS
FRINGE
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $19
Adam Page - For Kids... and their Adults
The Wheatsheaf Hotel, 29 Feb, $15
THE SCIENTIFIC BUBBLE SHOW
Brighton Performing Arts Centre, 7 Mar, $18
14:15
The Alphabet of Awesome Science
Gluttony - Rymill Park, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $17–$20
14:30
SCARY STORIES FOR BRAVE KIDS
(in the dark & light)
Goodwood Institute Theatre, 29 Feb, 7 Mar, 9 Mar, 14 Mar, 15 Mar, $15
Mr Snot bottom’s Horrible, Terrible, Really, Really, Bad, Bad, Show
The Garden of Unearthly Delights, 7 Mar, 9 Mar, 14 Mar, 15 Mar, $18–$22
A Dinosaur Safari Burnside Community Centre, 1 Mar, $20
MR SNOT
BOTTOM’S STINKY SILLY SHOW AT STIRLING FRINGE
Stirling Fringe, 29 Feb–1 Mar, $20
14:45
Mickster’s Magic Gadgets
Gluttony - Rymill Park, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $15–$25
Circus SONAS Family Show
Gluttony - Rymill Park, 29 Feb–1 Mar, $18
15:00
Do the Hibble Hop Glenunga Hub, 1 Mar, 7 Mar, 8 Mar, $12
Tony Roberts: I’m a Magician Get Me Out of Here
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $20
Juggling vs Magic
Murray Bridge Town Hall, 29 Feb, $12
15:15
The Stevenson Experience Sing Silly Songs for Kids
Flinders University, Bedford Park, 14 Mar, $18
A Dinosaur Safari Burnside Community Centre, 7 Mar, 14 Mar, $20
15:30
Peter Combe in Brush Your Hair with a Toothbrush!!
The Garden of Unearthly Delights, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $26
Petit Circus Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $26
15:45
The Greatest Magic Show
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $25
16:00
Big Tops & Tiny Tots Circus Show
Stirling Fringe, 29 Feb–1 Mar, $20
SCARY STORIES FOR BRAVE KIDS
(in the dark & light)
Goodwood Institute Theatre, 29 Feb, 7 Mar, 14 Mar, 15 Mar, $15
Erth’s Dinosaur Zoo
RCC, 29 Feb, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $20
‘Aladdin and the Genie of Unlimited Wishes’
Star Theatres, 14–15 Mar, $20
Ann-Droid-The Wonderful Adventures of a Robot Girl
The Garden of Unearthly Delights, 11–15 Mar, $20
Cosmo the Clown Comedy Magic Show
Ayers House Events, 29 Feb, 7 Mar, 14 Mar, $15
Children are Stinky
The Garden of Unearthly Delights, 28 Feb–1 Mar, $20–$24
Best of Adelaide Fringe: Kids and Family Selection
The Historian Hotel, 29 Feb, 7 Mar, 14 Mar, $18
‘Enchantments’ by Pierre Ulric
Gluttony - Rymill Park, 7 Mar, 8 Mar, 9 Mar, 14 Mar, 15 Mar, $23
16:15
Amazing Drumming Monkeys
The Garden of Unearthly Delights, Various dates from 29 Feb to 15 Mar, $18
Absolutely Bestest Kids Show to Ever Happen... SERIOUSLY!
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $18
16:30
Mickster’s Magic Gadgets
Stirling Fringe, 28 Feb, $20
Stuart Reid’s Fantastic Flatulence
The Griffins Hotel, 29 Feb–1 Mar, $20
Do the Hibble Hop Glenunga Hub, 28 Feb, 6 Mar, $12
The African Elephant Of My Heart: Dance Extravaganza
Holden Street Theatres, 6 Mar, $20
Kids’ Director’s Cut
Stirling Fringe, 28 Feb, $20
Switch Witchetty’s Almanac of Everything
Holden Street
Theatres, 7 Mar, 8 Mar, 14 Mar, $19
17:00
Foals
The Garden of Unearthly Delights, 27 Feb–13 Mar, not 29 Feb, 1 Mar, 7 Mar, 8 Mar, 9 Mar, FREE Prehysterical
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $25
The Artist Main Theatre, AC Arts [Adelaide Festival], 9 Mar, $20
17:30
Brass Monkeys
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 3 Mar, 4 Mar, 10 Mar, 11 Mar, $24
18:00
THE SCIENTIFIC BUBBLE SHOW
Stirling Fringe, 29 Feb, $20
The Artist Main Theatre, AC Arts [Adelaide Festival], 10 Mar, 14 Mar, $20
18:15
Don’t Mess With the Dummies
The Garden of Unearthly Delights, 27 Feb–15 Mar, not 2 Mar, 3 Mar, 9 Mar, 10 Mar, $25
19:00
Once Upon a Circus CircoBats, 13–14 Mar, $15
The Artist
Main Theatre, AC Arts [Adelaide Festival], 12–13 Mar, $20
19:30
The Artist
Main Theatre, AC Arts [Adelaide Festival], 11 Mar, $20
10:00
Daytime Sing
A-Long
The Parks Theatres, 28 Feb, 6 Mar, $12
11:00
An Austen Affair Urrbrae House, 5 Mar, $28
A Wandering Minstrel - Keith Potger
Marion Cultural Centre, 10 Mar, $20
Dogapalooza
Orphanage Park, 15 Mar, $18
150 PsalmsAbandonment
Adelaide Hebrew Congregation [Adelaide Festival], 1 Mar, $30
Open Mic with Greg Coombes
Lake Albert Caravan Park, 7 Mar, FREE
Bu ŋ gul
Gurrumul’s Mother’s Bu ŋ gul
Gurrumul’s Grandmother’s Bu ŋ gul
Gurrumul’s Manikay
Thebarton Theatre [Adelaide Festival], 3 Mar, $35
11:30
Roomful of Teeth (Composer & Citizen: Chamber Landscapes)
Ukaria Cultural Centre [Adelaide Festival], 7 Mar, $47
The Female Voice (Composer & Citizen: Chamber Landscapes)
Ukaria Cultural Centre [Adelaide Festival], 8 Mar, $47
Hidden Secrets (Composer & Citizen: Chamber Landscapes)
Ukaria Cultural Centre [Adelaide Festival], 9 Mar, $47
12:00
150 Psalms - A Mirror for Today’s Society
St Peter’s Cathedral [Adelaide Festival], 29 Feb, $30
12:45
BESSIE * BILLIE * DINAH ~ Empress, Lady & Queen of the Blues
Murray Bridge Town Hall, 1 Mar, $33
13:00
Heartbeat of Japan
Brighton Performing Arts Centre, 8 Mar, $35
Lunchtime recitals
St Francis Xavier’s Cathedral [Adelaide Festival], 4 Mar, 11 Mar, FREE Weimarian Revolution: Stories from the Shadows of 1920s Berlin
The Jade, 15 Mar, $22.50 Eolia
The Jade, 8 Mar, $20
150 PsalmsLeadership Pilgrim Uniting Church [Adelaide Festival], 2 Mar, $30
150 Psalms - Power and Oppression Pilgrim Uniting Church [Adelaide Festival], 3 Mar, $30
13:30
The Real Housewives Choir
Black Box Theatre, 1 Mar, $35
14:00
A New Gilbert and Sullivan Concert various venues, 29 Feb, 8 Mar, $28
“TOO GOOD TO BE TRUE!”
various venues, 1 Mar, 8 Mar, $28
An Austen Affair
Urrbrae House, 15 Mar, $28
A Class of Brass –Flying High Burnside Ballroom, 1 Mar, $20
Satisfaction play the Hits of The Rolling Stones
The Kentish Hotel, 1 Mar, $30
1960 Rock ‘n’ Rollin Jukebox
Journey– Celebrating the 60th Fringe Anniversary
various venues, 1 Mar, 8 Mar, $23
Feelin’ Groovy - The Songs of Simon & Garfunkel
Arkaba Hotel, 15 Mar, $30
The Revolution ‘Drive that Funky Soul’
Nexus Arts, 29 Feb, $25
Diamond in Unley Fullarton Park
Community Centre, 6 Mar, FREE
Two Different Paths
Nexus Arts, 1 Mar, $40
Weimarian Revolution: Stories from the Shadows of 1920s
Berlin
Sinclair’s Gully Winery, 7 Mar, 14 Mar, $22.50
All That Matters. Fly Bird Fly Studio, 29 Feb–1 Mar, $20
The Georgia Horgan Show
Cafe Outside The Square, 29 Feb–1 Mar, $20
AN AFTERNOON OF WINE, WOMAN AND SONG
Sinclair’s Gully Winery, 8 Mar, 9 Mar, 15 Mar, $22.50
Jungle Jams
Karkoo Nursery, Various dates from 29 Feb to 15 Mar, FREE
150 PsalmsGratitude
Adelaide Hebrew Congregation [Adelaide Festival], 1 Mar, $30
Classic Harmony Hits
Victor Harbor Town Hall, 29 Feb, $27
Acoustic Country And Other Classics
Sinclair’s Gully Winery, 1 Mar, $19.50
14:20
Groove Terminator and the Soweto Gospel Choir’s History of House Gluttony - Rymill Park, 14 Mar, $35
14:30
The Garden Sessions
The Garden of Unearthly Delights, 29 Feb, 7 Mar, 14 Mar, FREE Broadway to Hollywood
Hungarian Club of SA, 1 Mar, 15 Mar, $23
BESSIE * BILLIE * DINAH ~ Empress, Lady & Queen of the Blues
Stirling Fringe, 28 Feb, $33
Two Of Us
Gluttony - Rymill
Park, 7 Mar, 8 Mar, 9 Mar, 14 Mar, $27
Composer & Citizen 1 (Composer & Citizen: Chamber Landscapes)
Ukaria Cultural Centre [Adelaide Festival], 7 Mar, $47
Composer & Citizen 2 (Composer & Citizen: Chamber Landscapes)
Ukaria Cultural Centre [Adelaide Festival], 8 Mar, $47
Composer & Citizen 3 (Composer & Citizen: Chamber Landscapes)
Ukaria Cultural Centre [Adelaide Festival], 9 Mar, $47
Footloose and Fancy
Goodwood Institute Theatre, 29 Feb, $28
14:45
Hugh Sheridan Unplugged
Gluttony - Rymill Park, 14 Mar, $52
Jukebox
Chorus - The Ultimate Australian Playlist
Gluttony - Rymill Park, 8 Mar, 9 Mar, 15 Mar, $49.50
15:00
Hugh Sheridan Unplugged
Gluttony - Rymill Park, 1 Mar, $52
España El Vito the Spirit of Spain & Tango - Piano and Guitar Concert
Scots Church Adelaide, 14–15 Mar, $33
Scotland in Australia
The Anne Jolly Hall, 29 Feb, $18
Pianist Tim Barton various venues, 8 Mar, 15 Mar, $22
The Carpenters Songbook Regal Theatre, 1 Mar, $45
The 60 Four Norwood Concert Hall, 15 Mar, $55.95
A History of Early Blues Part 1
The Wheatsheaf Hotel, 1 Mar, $25
Kacey Stephensen
Port Adelaide Visitor Information Centre Courtyard, 8 Mar, $20
Irish Concert Songs of Luke Kelly & The Dubliners with Dave Clark
Singing Gazebo Clarendon, 1 Mar, $25
You’ve Got a Friend - Stories of Carole King’s Tapestry Urrbrae House, 8 Mar, $45
A Medieval and Renaissance Showcase
Barr Smith Library, 29 Feb, $30
Sunshine, Lollipops and Rainbows
Star Theatres, 1 Mar, $30
150 PsalmsTrust
St Peter’s Cathedral [Adelaide Festival], 29 Feb, $30
The Furball Express - Pure Swamp Blues
The Wheatsheaf Hotel, 15 Mar, $20
Mahler / Adès
Adelaide Town Hall [Adelaide Festival], 15 Mar, $35
Californian Legends
Regal Theatre, 8 Mar, 15 Mar, $45
15:20
Tribute to MTV
Unplugged with Louise Adams
Gluttony - Rymill Park, 1 Mar, $30
The Magnets90s Rewind
Gluttony - Rymill Park, 29 Feb, 7 Mar, 9 Mar, 14 Mar, $35
15:30
Ingenue: Deanna Durbin, Judy Garland and the Golden Age of Hollywood
The Jade, 27 Feb, 6 Mar, $29
Marvellous Music at Mary Mags
St Mary Magdalene’s Anglican Church, 1 Mar, 8 Mar, $23
Piaf and Brel: The Impossible Concert
The Jade, 3–5 Mar, $20–$29
A TRIBUTE TO THE SHADOWS - THE SHADOWCASTERS (Ft: DION ERMEN)
The Jade, 8 Mar, $24
16:00
Mitchell River
The Anne Jolly Hall, 6–8 Mar, $19 Sufi Music Highway
Nexus Arts, 29 Feb–1 Mar, $25
A Norah Jones
Tribute
Saint John’s Anglican Church, 1 Mar, $30
MC ME - Guilt, Fame, Love. Nexus Arts, 14 Mar, $30
The Stag Balcony Bar
The Stag Public House, 29 Feb, 7 Mar, 14 Mar, FREE
Ukulele Death Squad: The Squad
Father Regal Theatre, 14 Mar, $25
ELECTRIC DELTA: Blues Hits Big Town
The Wheatsheaf Hotel, 8 Mar, $25 27 G&Ts @ The Prohibition Prohibition Distillery, 1 Mar, $30 Plant Based Disgrace
Brompton Hotel, 14 Mar, $33
16:20
The Choir of Man
Gluttony - Rymill Park, Various dates from 29 Feb to 15 Mar, $45
16:30
Hugh Sheridan Unplugged
Gluttony - Rymill Park, 29 Feb, $52
Sax to the Max Clayton Wesley Uniting ChurchThe Spire Community, 1 Mar, 8 Mar, 15 Mar, $15
Mugenkyo Taiko Drummers
The Garage International @ Adelaide Town Hall, 1 Mar, 8 Mar, $35
16:40
Jukebox
Chorus - The Ultimate Australian Playlist
Gluttony - Rymill Park, 7 Mar, 14 Mar, $49.50
16:45
Koto Music Concert “SOU MA TOU”
The Garage International @ Adelaide Town Hall, 29 Feb, $28
17:00
The Sound Ceremony
Gluttony - Masonic Lodge, 7 Mar, 8 Mar, 14 Mar, 15 Mar, $26
Pink Floyd
Orchestral
Masterpieces by Eclipse
Deviation Road Winery, 29 Feb, $48
#PopJazz
Treasury 1860, 15 Mar, $25
150 PsalmsPowerlessness
Adelaide Hebrew Congregation [Adelaide Festival], 1 Mar, $30
Siobhan Stagg in Recital (Composer & Citizen: Chamber Landscapes)
Ukaria Cultural Centre [Adelaide Festival], 7 Mar, $47
One Among Many (Composer & Citizen: Chamber Landscapes)
Ukaria Cultural Centre [Adelaide Festival], 8 Mar, $47
Requiem Festival Theatre [Adelaide Festival], 1 Mar, $60
The Beatles and Beyond Burnside Ballroom, 7 Mar, $20
17:30
A History of Early Blues Part 2
The Wheatsheaf Hotel, 1 Mar, $25
Ceberano + Co.
The Garden of Unearthly Delights, 15 Mar, $60
17:45
Koto Music Concert “SOU MA TOU”
The Garage International @ Adelaide Town Hall, 27–28 Feb, $28
18:00
Happy SadSongs of Tim Buckley
The Wheatsheaf Hotel, 27–29 Feb, $25
2020 Twilight Sessions
Prospect Memorial Gardens, 28 Feb, FREE
Lenka
The Mill, 10 Mar, $33
The Cameramen take over the Left Barrel
Left Barrel Brewing, 7 Mar, $15
Sweet As Swing: Aussie Classics Re-Imagined
Nexus Arts, 7 Mar, 13 Mar, $30
Kuko
Nexus Arts, 14 Mar, $15
Music With Motion: End Game
Marion Cultural Centre, 1 Mar, $20
From Paris with Love
Saint John’s Anglican Church, 1 Mar, $30
The Deer Johns: COMA EP Launch Norwood Hotel, 15 Mar, $18
MC ME - Guilt, Fame, Love. Nexus Arts, 15 Mar, $30
We’ll Meet Again:
Vera Lynn, the Forces’ Sweetheart
The Jade, 28 Feb, $25
Ingenue: Deanna Durbin, Judy Garland and the Golden Age of Hollywood
The Jade, 2–5 Mar, $20–$29
The Mixed Bag Boomers On The Beach, 29 Feb, $18
Weimarian Revolution: Stories from the Shadows of 1920s
Berlin
The Jade, 11–12 Mar, $22.50
The Music of Disney feat Adam Hall and the Velvet Playboys
The Jade, 6 Mar, 8 Mar, $30
Eolia
The Jade, 15 Mar, $20
Mugenkyo Taiko Drummers
The Garage International @ Adelaide Town Hall, 9–10 Mar, $30–$35
A TRIBUTE TO THE SHADOWS - THE SHADOWCASTERS (Ft: DION ERMEN)
The Jade, 13 Mar, $24
A New Gilbert and Sullivan Concert
Walkerville Town Hall, 6 Mar, $28
The Finns Tribute Band- Celebrating the songs of Tim & Neil Finn
LION ARTS FACTORY [Adelaide Festival], 13 Mar, $25
The Paul Simon Experience
Gluttony - Masonic Lodge, 27 Feb–1 Mar, $45
The Carole King & James Taylor Story
Gluttony - Masonic Lodge, 3–15 Mar, not 9, $35–$45
150 PsalmsSafety
St Peter’s Cathedral [Adelaide Festival], 29 Feb, $30
Words and Music for Iris
Flinders St Baptist Church, 13 Mar, $20
The Furball Express - Pure Swamp Blues
The Wheatsheaf Hotel, 15 Mar, $20
Sun Songs
The Wheatsheaf Hotel, 5–6 Mar, $25
Requiem Festival Theatre [Adelaide Festival], 4 Mar, $60
The Ironing Maidens - A Soap Opera Nexus Arts, 28–29 Feb, $30
18:10
Back to Black: The Music of Amy Winehouse
Gluttony - Rymill Park, 3–15 Mar, $35–$45
Amity Dry: Highway Superstar
Gluttony - Rymill Park, 27 Feb–1 Mar, $35
18:20
Rebel
Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 10 Mar, $28–$39
18:30
Soweto Gospel Choir
Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, $29–$42
From Paris with Love
Stirling Fringe, 27 Feb, $30
Sing Australia: Songs of Australia
Cleland Wildlife Park, 1 Mar, 6 Mar, $15
HIT ZE ROAD
JACQUES
The Wheatsheaf Hotel, 7 Mar, $25
19:00
Fascinating Fifties
Hilton Hotel, 7 Mar, $25
JOHN SMITH IN CONCERT
The Garden of Unearthly Delights, 11 Mar, $30
Midnite Kiss presents ‘Bittersweet Delirium’ Hotel Richmond, 7–8 Mar, $20
The Nashville Story
Regal Theatre, 28 Feb, $45
“TOO GOOD TO BE TRUE!”
Burnside City Uniting Church, 28 Feb, $28
Singalong to the Songs of Scotland Arkaba Hotel, 27 Feb, $29
A Norah Jones Tribute
Nexus Arts, 4 Mar, $30
From Paris with Love
Nexus Arts, 12 Mar, $30
Music With Motion: End Game
Woodville Town Hall, 28–29 Feb, $20
Mambo Italiano
B. Social Restaurant, 14 Mar, $59
Rock Orchestra By The River
Par 3 North Adelaide Golf Course, 14 Mar, $35
Get Back: 75 Minutes of Beatles
Murray Bridge Town Hall, 1 Mar, $20
Ballads By Candlelight
St Peter’s Cathedral [Adelaide Festival], 14 Mar, $37
Diana Rouvas
The Garden of Unearthly Delights, 4 Mar, $52.50
The Black Sorrows
The Garden of Unearthly Delights, 5 Mar, $52
MC ME - Guilt, Fame, Love. Nexus Arts, 3 Mar, $20
Things Of Stone And Wood
The Garden of Unearthly Delights, 14 Mar, $45
Dream Boat - Party on the Popeye
The Popeye Boat, 27 Feb, 28 Feb, 6 Mar, 12 Mar, 13 Mar, $20 Heartbeat of Japan
Brighton Performing Arts Centre, 7 Mar, $35
Carl Christensen Once & Again Book Cafe, 1 Mar, FREE COPACABANA & ALL THAT SAMBA - Juliana Areias and Marvio Ciribelli Band
The Garden of Unearthly Delights, 3 Mar, $35
Mi Cuba
Nexus Arts, 27 Feb, $30
The Real
Housewives Choir
The Garden of Unearthly Delights, 6 Mar, $35
Ceberano + Co.
The Garden of Unearthly Delights, 15 Mar, $60
Country Halls Tour - A Night with Fanny Lumsden
The Garden of Unearthly Delights, 8 Mar, $25
The Guitar Music of South America and Spain
Nexus Arts, 5 Mar, $25
All That Matters. Fly Bird Fly Studio, 29 Feb, $20
Pianist Tim
Barton various venues, 7 Mar, 14 Mar, $22
Bakers Daughter aka Alyce Platt
The Garden of Unearthly Delights, 1 Mar, $35
SPIRAL Presents: Metalworks
The Joinery on Franklin, 7 Mar, $15
Renee Geyer
The Garden of Unearthly Delights, 28 Feb, $50
The Southern Pop Express + TRex Oz + CouZins Ink
Astor Hotel, 8 Mar, $25
Tex Perkins & Matt Walker
The Garden of Unearthly Delights, 27 Feb, $55
Bu ŋ gul
Gurrumul’s Mother’s Bu ŋ gul
Gurrumul’s Grandmother’s Bu ŋ gul
Gurrumul’s Manikay
Thebarton Theatre
[Adelaide Festival], 2 Mar, $35
Audrey in the Sky with Diamonds
Latvian Hall, 29 Feb, $30
The Baker Suite and friends celebrate the songs of John Baker
Woodville Town Hall, 5 Mar, $30
Eves in Autumn
St Mary’s College, 5 Mar, $15
The East Pointers ‘Yours to Break’ Tour
The Garden of Unearthly Delights, 10 Mar, $35
19:15
Lennon Live Morphettville Racecourse, 28 Feb, $28
19:20
BANDALUZIA FLAMENCO
Gluttony - Rymill Park, 10–15 Mar, $23–$32
19:30
THE WHEATSHEAF UKULELE COLLECTIVE PRESENTS: LIGHTS, CAMERA, UKULELE!
The Wheatsheaf Hotel, 12–14 Mar, $25
An Austen Affair Urrbrae House, 13 Mar, $28
The Real Housewives Choir Arkaba Hotel, 4 Mar, $35
España El Vito the Spirit of Spain & Tango - Piano and Guitar Concert
Scots Church Adelaide, 13 Mar, $33
The Collectables tribute show to Cat Stevens Boomers On The Beach, 6 Mar, 13 Mar, $20
80 years of Frank - Läther play the music of Frank Zappa Norwood Hotel, 27 Feb, $30
Mike, Dave and Dave do Tarantino
Rhino Room, 7 Mar, 14 Mar, $18 Martini Hour
The Lion, 27–28 Feb, $42
Musical Moments Morphettville Racecourse, 27 Feb, $30
Turn Up Your Radio - Rock Arena
The Alley, 6 Mar, 7 Mar, 13 Mar, 14 Mar, 15 Mar, $39.50
The 60 Four various venues, 29 Feb, 1 Mar, 7 Mar, 8 Mar, 14 Mar, $40–$55.95
Alaska String Band Down under Church of the Trinity, 15 Mar, $30 Weimarian Revolution: Stories from the Shadows of 1920s
Berlin Sinclair’s Gully Winery, 13 Mar, $22.50
The Georgia Horgan Show
Cafe Outside The Square, 5–6 Mar, $20
Ukulele Death Squad: The Squad
Father
Regal Theatre, 14 Mar, $25
DISCO INFERNO 70’s & 80’s FANCY DRESS at NORWOOD LIVE
Norwood Hotel, 29 Feb, 14 Mar, $23
Acoustic Tull
The Duke of Brunswick, 27 Feb, $23
Mugenkyo Taiko
Drummers
The Garage International @ Adelaide Town Hall, 3–7 Mar, $30–$35
Garrick Ohlsson
Adelaide Town Hall [Adelaide Festival], 2 Mar, $40
Mahler / Adès
Adelaide Town Hall [Adelaide Festival], 14 Mar, $35
ANDREW LLOYD WEBBER AND OTHER CLASSIC FAVOURITES
Sinclair’s Gully Winery, 6–8 Mar, $29.50
FULL TILT JANIS - Janis Joplin Tribute Show
Arkaba Hotel, 5 Mar, $23
Evenings at Treasury 1860 Treasury 1860, 27 Feb, 5 Mar, FREE 27 G&Ts @ The Prohibition Prohibition Distillery, 1 Mar, $30
Hidden Secrets (Composer & Citizen: Chamber Landscapes)
Ukaria Cultural Centre [Adelaide Festival], 6 Mar, $47
Pianist Tim Barton
Red Door Utopia community centre, 13 Mar, $22
Requiem Festival Theatre [Adelaide Festival], 28 Feb, 3 Mar, $60
Footloose and Fancy
Goodwood Institute Theatre, 28 Feb, $28
DIVA AT DUSK
Sinclair’s Gully Winery, 29 Feb, 14 Mar, $29.50
The Other Side Carclew, 7 Mar, $15
19:40
THE GREAT AMPONG BAND
The Garage International @ Pilgrim Uniting Church, 6–7 Mar, $25
19:45
Plant Based Disgrace Brompton Hotel, 11–14 Mar, $33
19:50
The Magnets90s Rewind
Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $30–$45
20:00
Shakerfaker: The Ultimate Oasis Tribute
LION ARTS FACTORY, 7 Mar, $25
The Clashing Pumpkins
LION ARTS FACTORY, 28 Feb, $27
Along Comes Mary - Let The Sunshine In St Joseph’s Brighton Parish Activity Centre, 28–29 Feb, $32
Just One LookThe songs and sounds of Linda Rondstadt
Marion Cultural Centre, 14 Mar, $32.50
A Night in Paris Marion Cultural Centre, 2 Mar, $32
STEREOLAB RCC, 5 Mar, $55
Adelaide Aurals House of Spaghetti, 29 Feb, $22
Sweet Bad Lizzy - The Best of The Sweet-Bad Company Thin Lizzy plus more Brit Rock!
Marion Cultural Centre, 7 Mar, $33
The Big 60s Show
Arkaba Hotel, 28 Feb, $28
ELTON SHOW - Your Song Regal Theatre, 29 Feb, $40
Alaska String Band Down under HAT’s Courthouse Cultural Centre Auburn, 14 Mar, $30
Aghaani Zamaan (Traditional Arabic Songs)
Nexus Arts, 14 Mar, $25
Mi Cuba
Stirling Fringe, 28 Feb, $30
UKE SPRINGSTEEN
grace emily hotel, 3 Mar, 10 Mar, $15
Far Beyond Nexus Arts, 29 Feb–1 Mar, $25
Radiohead - A Tribute
grace emily hotel, 28 Feb, 6 Mar, $25
Sufi Music Highway HAT’s Courthouse Cultural Centre Auburn, 28 Feb, $25
Pianist Tim Barton
The Jade, 12 Mar, $22
Welcome to the Nightmare - A tribute to Alice Cooper
Marion Cultural Centre, 27 Feb, $35
Tusk!FM a Tribute to the music of Fleetwood Mac
The Police Club, 6 Mar, $30
Night Fever - The Ultimate Bee Gees Tribute Arkaba Hotel, 6 Mar, $35
‘The Three Crooners’ a Tribute to THE RAT PACK
Marion Cultural Centre, 29 Feb, $30
Satisfaction play the Hits of The Rolling Stones Norwood Hotel, 6 Mar, $30
NOLA Live
NOLA Adelaide, 27 Feb, 5 Mar, 12 Mar, FREE
The Real Housewives Choir
Marion Cultural Centre, 5 Mar, $35
Jukebox
Chorus - The Ultimate Australian Playlist
Gluttony - Rymill Park, 27 Feb–14 Mar, not 2 Mar, 9 Mar, $35–$49.50
Elton John - He’s Still Standing
The Highway, 28–29 Feb, $35
On My Skin Halls of Wesley Uniting Church, Kent Town, 3–5 Mar, $30
Steve Reich Music for 18 Musicians RCC, 13 Mar, $40
1965 Masters
Apprentices McCracken
Country Club, 14 Mar, $35
Cat, Neil and Captain Fantastic Goodwood Institute Theatre, 27 Feb, 29 Feb, $25–$28
Hot 6 - Hot Jazz from New Orleans
The Jade, 8 Mar, $30
Echoes of Pink Floyd Presents: The Very Best of Pink Floyd
LION ARTS FACTORY , 29 Feb, $40
Unplugged - The Acoustic Sessions
Marion Cultural Centre, 12 Mar, $22
Ashley Hribar plays Dr Caligari: musical rebirth of a silent film legend
Mercury Cinema, 27–28 Feb, $30
Graham Howle “Man with a story”
HAT’s Courthouse Cultural Centre Auburn, 13 Mar, $28
Singalong to the Songs of Ireland Marion Cultural Centre, 13 Mar, $29
150 PsalmsSuffering
St Francis Xavier’s Cathedral [Adelaide Festival], 1 Mar, $30
150 Psalms - Path of Life
St Francis Xavier’s Cathedral [Adelaide Festival], 2 Mar, $30
NO COUNTRY FOR OLD MEN + TROPICAL F*CK STORM
RCC, 28–29 Feb, $45
150 PsalmsCelebration of Life
Adelaide Town Hall [Adelaide Festival], 3 Mar, $35
BESSIE * BILLIE * DINAH ~ Empress, Lady & Queen of the Blues
Treasury 1860, 29 Feb, 14 Mar, $33
The Sound of History: Beethoven, Napoleon and Revolution
Adelaide Town Hall [Adelaide Festival], 7 Mar, $35
Aretha - RESPECT
The Gov, 12 Mar, $38
The New Pornographers
The Workshop, Adelaide Festival Centre [Adelaide Festival], 1 Mar, $59
Tribute to MTV
Unplugged with Louise Adams Robe Institute, 28 Feb, $30
FurnapaloozaFurnace and the Fundamentals
Adelaide Entertainment Centre, 29 Feb, $39.50
Mike, Dave and Dave do Tarantino
The Wheatsheaf Hotel, 4 Mar, 11 Mar, $18
An Evening of Tom Waits Songs
The Gov, 8 Mar, $45
20:30
FACE TO FACE - The ELTON & BILLY Experience
Bridgeway Hotel, 14 Mar, $45
Caledonian Castaways
The Wheatsheaf Hotel, 5–6 Mar, $25
90’s to NOW
The Crown and Sceptre Hotel, 27–29 Feb, $20
Plant Based Disgrace
Hotel Richmond, 7–8 Mar, $33
Chunky Custard’s Countdown V MTV Classics
Arkaba Hotel, 7 Mar, $28
The Merindas
Tandanya National Aboriginal Cultural Institute, 12 Mar, $25
T.REX vs David Bowie
The Jade, 4 Mar, 11 Mar, $20
The Choir of Man
Gluttony - Rymill Park, 27 Feb–15 Mar, not 2 Mar, 9 Mar, $35–$58
You’ve Got a Friend - Stories of Carole King’s Tapestry
Urrbrae House, 7 Mar, $45
A TRIBUTE TO THE SHADOWS - THE SHADOWCASTERS (Ft: DION ERMEN)
The Jade, 3 Mar, 10 Mar, $17
Boogie On Down To SOUL TRAIN
Arkaba Hotel, 29 Feb, $40
Kate Tempest
LION ARTS FACTORY [Adelaide Festival], 27 Feb, $47
Clare Bowditch
The Workshop, Adelaide Festival Centre [Adelaide Festival], 11 Mar, $49
ICOSA Sound Bath
Flour Shed, 29 Feb–2 Mar, $33
Kinda Groovy
The Jade, 5 Mar, $30
Hitsville USAThe Motown Story
The Gov, 7 Mar, $40
20:40
The Dolly Parton Story
Gluttony - Masonic Lodge, 3–15 Mar, not 9, $30–$45
20:50
Simply The Best: The Music of Tina Turner
Gluttony - Rymill Park, 3–15 Mar, not 9, $35–$45
The Aretha Franklin Songbook
Gluttony - Rymill Park, 27 Feb–1 Mar, $45
21:00
Never Been To Me Cafe Outside The Square, 6 Mar, 13 Mar, $25
Midnite Kiss presents ‘Bittersweet
Delirium’
Hotel Richmond, 6 Mar, $20
Karen J White: My Tribute to Kirsty MacColl
The Garage International @ Adelaide Town Hall, 3–7 Mar, $20–$25
Lenka
The Mill, 10 Mar, $33
BLOW
Vintage Vulture, 28 Feb, $25
Adam Page - 4 Saxophones and a Beat Machine
The Wheatsheaf Hotel, 27–29 Feb, $20
Bono Vs Bolan Clovercrest Hotel, 7 Mar, $25
That 90’s ShowSlumber Party!
Norwood Hotel, 13 Mar, $25
T.REX vs David Bowie
Tonsley Hotel, 29 Feb, $25
EMERALD (The Australian Gary Moore Tribute) plus FREECO (A tribute to Free and Bad Company)
Clovercrest Hotel, 6 Mar, $18
Whole Lotta Zepp
Adelaide: Led Zeppelin II
Tonsley Hotel, 14 Mar, $23
Radio Americana Norwood Hotel, 28 Feb, $23
RCC CULT
RCC, Various dates from 28 Feb to 14 Mar, $100
Bon Jovi Forever Port Lincoln Hotel, 8 Mar, $35
The Georgia Horgan Show
Cafe Outside The Square, 7 Mar, $20
UTOPIA
RCC, Various dates from 28 Feb to 14
Mar, $20
Mugenkyo Taiko Drummers
The Garage International @ Adelaide Town Hall, Various dates from 27 Feb to 13 Mar, $35
Nirvana: MTV Unplugged in New York Tribute
Arkaba Hotel, 14 Mar, $28
The Rock Doctors ‘Prescribing Happiness’ Henley SLSC, 14 Mar, $20
Zooma Zooma
Nexus Arts, 3 Mar, 10 Mar, $40
150 PsalmsJustice
St Peter’s Cathedral [Adelaide Festival], 29 Feb, $30
THE VELVET UNDERGROUND:
Live at the Grace Emily Hotel grace emily hotel, 29 Feb, $15
HIT ZE ROAD JACQUES
The Wheatsheaf Hotel, 7 Mar, $25
The Monster
The Mill, 11–14 Mar, $30
Kevin Morby
The Workshop, Adelaide Festival Centre [Adelaide Festival], 4 Mar, $39
Weyes Blood
The Workshop, Adelaide Festival Centre [Adelaide Festival], 5 Mar, $49
Vince Jones & The Heavy Hitters
The Workshop, Adelaide Festival Centre [Adelaide Festival], 7 Mar, $69
E^ST
The Workshop, Adelaide Festival Centre [Adelaide Festival], 8 Mar, $39
Lisa Gerrard & Paul Grabowsky
The Workshop, Adelaide Festival Centre [Adelaide Festival], 13 Mar, $69
Come to Brazil
Nexus Arts, 27 Feb, 5 Mar, $30
21:30
Tokyo Jet Daze: A Japanese Punk Weekender RCC, 28–29 Feb, $35
Truckload of SkyThe Lost Songs of David McComb RCC, 12 Mar, $35 Paris, LA, Rio! Ayers House Events, 28–29 Feb, $28
Indiago Murray Bridge Town Hall, 28 Feb, $15
Ross WilsonBoppin’ With The Boss
The Gov, 29 Feb, $55
ONE WILD NIGHTTHE AUSTRALIAN BON JOVI TRIBUTE SHOW
Arkaba Hotel, 8 Mar, $24
Nineties vs Noughties
Murray Bridge Town Hall, 29 Feb, $13
Richard ClaptonLive at the Gov
The Gov, 28 Feb, $59.95
Carl Christensen
Ayers House Events, 27 Feb, FREE
Amyl and The Sniffers
RCC, 5 Mar, $35
Lydia Lunch Retrovirus RCC, 27 Feb, $45
22:00
The Dolly Parton Story
Gluttony - Masonic Lodge, 28–29 Feb, $45
Joep Beving
The Workshop, Adelaide Festival Centre [Adelaide Festival], 12 Mar, $49
Didirri
The Workshop, Adelaide Festival Centre [Adelaide Festival], 14 Mar, $39
22:10
Up Late with The Boys Club Gluttony - Masonic Lodge, 8 Mar, 13 Mar, 14 Mar, FREE
22:20
Groove Terminator and the Soweto Gospel Choir’s History of House Gluttony - Rymill Park, 29 Feb, 7 Mar, 8 Mar, 14 Mar, $35–$45
HELLO - Erin Jae’s Tribute to ADELE Gluttony - Rymill Park, 13 Mar, $35
22:30
Plant Based Disgrace Hotel Richmond, 6 Mar, $33
Rumours - The Fleetwood Mac Show
Gluttony - Rymill Park, 6 Mar, $35
Tiggy VivaciousMADDOLLS
VICE BAR, 6–7 Mar, $20
The Parov Stelar Band
The Workshop, Adelaide Festival Centre [Adelaide Festival], 28 Feb, $79
Mad Max and The Shaolin Afronauts
The Workshop, Adelaide Festival Centre [Adelaide Festival], 29 Feb–1 Mar, $39
Robin Fox
The Workshop, Adelaide Festival Centre [Adelaide Festival], 6 Mar, $39
22:45
Hottest 100 Dance Party
Gluttony - Rymill
Park, Various dates from 28 Feb to 14 Mar, $30
23:00
Hugh Sheridan Unplugged Gluttony - Rymill Park, 28 Feb, 29 Feb, 13 Mar, 14 Mar, $52
FIFA - The Biggest Banger LION ARTS FACTORY, 29 Feb, $20
Massaoke Mixtape Vol. 2
The Garden of Unearthly Delights, Various dates from 28 Feb to 14 Mar, $28–$30
Tony Hawk’s Pro Skater - The Biggest Banger LION ARTS FACTORY, 14 Mar, $20
23:30
Science Fiction
Double FeatureThe Rocky Horror Tribute Show
Capri Theatre, 13 Mar, $28
Kidnapping: Blunderland
CASE FILE
Destination Maslin ‘Unclad’ Beach
Playlist Don’t Speak - No Doubt
Mr Brightside - The Killers
I’m Not OkayMy Chemical Romance
CaliforniaPhantom Planet
Pre-10am, we wait for 12 of Blunderland’s circus crew to caffeinate and pile into our hired bus. Streaks of last night’s glitter adorn ringleader Eric Schmalenberger’s face, while Piper arrives with a flawless face behind oversized sunnies.
Despite this being our first meeting with most of the Blunderland cast, they welcome us into their world immediately. A couple of singalongs in the car later, and we’re well and truly out of the city and on the stunning coast.
We could not have asked for more perfect beach weather. As we get onto the sand, clothes come off, ciders come out and we set up our beach plot. Over the next few hours, we have photo shoots, talk performance and be ourselves. Ruby Wednesday reads a book hidden under an enormous black hat, and Darlinda wanders further down the coast.
After sufficient sunburn, we head to Oscar’s in McLaren Vale for a late lunch before napping all the way home. ✏︎ Laura Desmond
VENUE: Gluttony - Rymill Park
TIME: 9:40pm, 14 Feb – 15 Mar, not 17, 24 Feb, 2, 9 Mar
TICKETS: $15 – $30
