LIA LOVES... THEATRE. DANCE. CULTURE. EVENTS.
Follow her adventures as Adelaide's premier theatre buff, arts contributor, educator and ambassador!
August 27, 2026
“I wish…” And with those two little words, Stephen Sondheim and James Lapine open the door to one of musical theatre’s most extraordinary explorations of desire, consequence, family and the deceptively complicated notion of happily ever after. Into the Woods has always been so much more than Cinderella finding her prince, Jack climbing a beanstalk or Little Red Riding Hood skipping through the forest. Stephen Sondheim and James Lapine take those stories we think we know and ask the much more interesting question: what happens after happily ever after? In this ambitious new production from State Opera South Australia, those familiar tales become darker, funnier, sexier and considerably more complicated, and under the artistic leadership of Dane Lam, State Opera is proving that opera companies can absolutely own the musical theatre space too. The decision to pair Into the Woods with Hansel & Gretel across the same week is particularly inspired, creating two very different journeys into the forest. Under the baton of Anthony Hunt, Sondheim’s famously intricate score is delivered with precision, energy and […]
August 26, 2026
Who gets to tell the story? And, perhaps more importantly, who gets to control it? That question sits at the heart of Ash Flanders’ Commentary, the latest production from State Theatre Company South Australia, a darkly comic, cleverly constructed work that becomes increasingly uncomfortable as its layers are peeled back. At its centre is Nick (Gyton Grantley), a once-promising filmmaker turned university lecturer whose controversial debut film Low is being resurrected for a retrospective screening. Made with his former best friend Hamish, the film has long been surrounded by allegations of abuse and exploitation. Now Nick is preparing to record a director’s commentary and appear publicly to discuss the work. But as the past begins to intrude, so too do the women whose stories have largely been absent from Nick’s version of events; Gen, his former student and lover; Mish, his wife; Saskia, his former muse; and Frankie, whose reappearance threatens to unravel everything. It is a deliciously loaded premise for Flanders because what better metaphor for controlling a narrative than a director’s commentary? The […]
August 14, 2026
“Intelligent, unsettling and utterly compelling.” “Two extraordinary performances. One deeply unsettling story.” “Beautifully restrained, deeply intelligent and impossible to shake.” There is something unsettling about being drawn into a story by the person living it, especially when you aren’t completely sure how much of what you hear is true. In The Sound Inside, Bella Baird serves as both the main character and narrator. She takes us through a personal and disturbing tale where storytelling, obsession, and reality become difficult to separate. Adam Rapp’s Tony Award-nominated psychological drama has premiered in a striking new Australian production directed and designed by Nick Fagan. From the moment Bella begins her story, we enter a world shaped by books, isolation, intellectual curiosity, and a growing fascination with Christopher Dunn, a brilliant and mysterious student who enters her life and changes its course. Bella (Michelle Nightingale) is a celebrated author and university professor. Her carefully controlled life is disrupted by Christopher, played by Benji Riggs, a gifted young man whose intelligence and unpredictability catch her attention. What starts as an […]
August 7, 2026
“A breathtaking theatrical journey filled with romance, wonder and pure musical magic. Anastasia is musical theatre at its most spectacular.” “A dazzling production that sweeps you from Imperial Russia to the streets of Paris and leaves your heart soaring.” Anastasia does something rare, it immerses you in a world so rich, romantic and captivating that, for nearly two and a half hours, reality fades away. Opening night at Adelaide’s Festival Theatre was magical. From the haunting beginning to the triumphant finale, this stunning Australian production reminds us why live theatre moves audiences in ways no other art form can. Directed with elegance by Darko Tresnjak, Anastasia unfolds with cinematic beauty. Each scene flows effortlessly into the next, balancing the grand scale of Imperial Russia and Paris with intimate moments of humour, heartbreak and hope. Associate Director Sarah Hartmann preserves this vision with remarkable care, ensuring every moment feels sincere and every transition is seamless. One highlight of the evening comes from 11-year-old Audrey Burnett as Little Anastasia. Possessing extraordinary poise and stage presence for her […]
August 5, 2026
‘Catherine Alcorn is a firecracker. Funny, fearless and fuelled by boundless charisma’ She turns Ginger’s into a cabaret playground where world-class musicianship, heartfelt storytelling and perfectly orchestrated chaos collide. Supported by the incomparable Michael Griffiths, the effortlessly charming Drew Weston and the exciting Charlie Watt, this is a night that celebrates everything cabaret should be; spontaneous, intimate, moving and outrageously entertaining. Some performers walk onto a stage. Catherine Alcorn detonates onto it! The moment she bursts into Ginger’s, belting When You’re Good to Catherine, the room belongs entirely to her. Alcorn is a powerhouse singer, comedian and storyteller who possesses the rare gift of making a room full of strangers feel like old friends. Gloriously unpredictable, hilariously inappropriate and utterly captivating, there is simply no other way to describe her. Alcorn’s vocal style sits proudly within the same spirit as Bette Midler’s. It is powerful, soulful and richly coloured, effortlessly moving from delivering a breathtaking ballad to landing a perfectly timed comedic punchline. It is no surprise that she has become so closely associated with […]
July 17, 2026
Welcome to Westerberg High, where popularity is a blood sport, scrunchies are weapons of mass destruction, and the only thing sharper than the shoulder pads are the one-liners. Heathers has always walked a dangerous tightrope between outrageous comedy and uncomfortable truth, and this new Australian and New Zealand staging struts across it in red croquet heels without ever missing a step. It’s wickedly funny, gleefully irreverent and just the right amount of unhinged. But beneath the acerbic satire, blue slushies and body count lies a surprisingly poignant tale about belonging, identity and the desperate need to be seen. This fresh interpretation understands that balance perfectly, delivering all the dark humour audiences crave while never losing sight of the humanity beating beneath the blazer. Directed by Andy Fickman, this staging knows exactly what it wants to be. Every scene moves with confidence, never allowing the frenetic pace to overwhelm the emotional moments. The comedy lands with sniper-like precision, but what impresses most is the willingness to let the quieter scenes breathe. The show hurtles along at […]
July 12, 2026
There’s something wonderfully comforting about a classic comedy when it’s in the hands of a company who clearly relish the opportunity to bring it to life. Adelaide Repertory Theatre’s production of The Man Who Came to Dinner proves exactly that, delivering an evening filled with sharp wit, larger-than-life characters and plenty of laughter. Written by the legendary Broadway partnership of George S. Kaufman and Moss Hart, The Man Who Came to Dinner premiered in 1939 and remains one of the great American drawing-room comedies. Inspired by the famously acerbic critic Alexander Woollcott, the play follows the tyrannical Sheridan Whiteside, a celebrated radio personality who slips on an icy doorstep while visiting the affluent Stanley family in Ohio. Confined to their home while he recuperates, Whiteside swiftly takes over the household, manipulates everyone around him and creates complete chaos as an eccentric parade of celebrities, hangers-on and unexpected visitors come and go. Director Sue Whylie understands the rhythm of this classic beautifully, allowing the comedy to build naturally while giving each of the colourful characters their […]
June 27, 2026
Some stories don’t demand your attention; they quietly invite you in. As Rose Grey prepares to say her final goodbye to The Lark, the small inner-city pub that has been her home since childhood, she opens the door to a lifetime of memories. Raised there by her father and now in her seventies, Rose returns one last time before the building is demolished, piecing together a journey shaped by love, loss, resilience and belonging. It is a beautifully observed premise that becomes far richer than nostalgia, offering a poignant reflection on the places that shape us and the people who leave their mark. Written by Daniel Keene and directed with remarkable sensitivity by Matt Scholten, The Lark is moving, stirring and quietly thought-provoking. It is quintessentially Australian; unassuming on the surface, yet profoundly affecting in the way it uncovers the beauty within ordinary lives. At its heart is Noni Hazlehurst, delivering a performance of extraordinary honesty and grace. There is a quiet confidence to her work that comes only from an artist who completely trusts […]
June 14, 2026
“A bold, beautifully realised new Australian musical that brings Miles Franklin vividly to life.” STELLA – A New Australian Musical finally brings Australian literary icon Miles Franklin to centre stage, illuminating the remarkable woman behind My Brilliant Career, the Miles Franklin Literary Award, and a legacy that has profoundly shaped Australian culture for over a century. Created over seven years by writer, composer and lyricist Monique diMattina, this ambitious new work is part biography, part celebration, and entirely Australian in spirit. Under the assured direction of Julia Robertson, STELLA unfolds as a vivid portrait of a woman determined to carve her own path in a world intent on limiting her ambition. Leading the cast is the exceptional Geraldine Hakewill, whose portrayal captures both the intellect and vulnerability of Franklin. Hakewill delivers a performance full of warmth, resolve and a quietly burning intensity, allowing audiences to connect deeply with the woman behind the legend. She is joined by an outstanding ensemble, each performer taking on multiple roles with impressive dexterity. Johanna Allen is a standout from […]
June 7, 2026
There are concerts, there are cabaret shows, and then there are evenings that remind you why live performance remains one of our most powerful art forms. What’s The Buzz?, presented as part of the Adelaide Cabaret Festival, delivered exactly what its title promised, and more. Part concert, part conversation and part backstage pass into one of Australia’s biggest musical theatre productions, this intimate gathering of cast members from the recent tour of Jesus Christ Superstar proved that exceptional talent needs very little embellishment. Under the expert guidance of the festival’s Artistic Director, Reuben Kaye, the evening unfolded like a reunion among friends. Equal parts irreverent, insightful and heartfelt, Kaye steered the conversation with trademark wit while giving each performer space to share the stories, challenges and joys behind bringing such an iconic work to life. And the voices. Michael Paynter, who has earned widespread acclaim for his portrayal of Jesus, once again demonstrated why audiences have been so captivated. His rendition of Gethsemane was breathtaking. Stripped of spectacle, the song became even more intimate and […]
June 4, 2026
‘Missing this musical would be a big mistake. Huge!’ “Samantha Jade and Ben Hall are pure magic together.” “A dazzling Australian production packed with scene-stealing talent.” Well, if your dream is to spend two-and-a-half hours grinning from ear to ear while being swept away by powerhouse vocals, irresistible chemistry, dazzling choreography and more charisma than Rodeo Drive can handle, then the new Australian production of Pretty Woman the Musical has arrived right on time. Based on the iconic 1990 film, this stage adaptation takes the beloved fairy tale and gives it a rock-infused makeover, featuring music and lyrics by Bryan Adams and Jim Vallance. While audiences know the destination, it’s the journey, and the extraordinary cast bringing it to life, that makes this production shine brighter than Vivian’s ruby necklace. Leading the charge is Samantha Jade as Vivian Ward, and what a debut this is. Possessing the star quality required to step into Julia Roberts’ famous thigh-high boots, Jade effortlessly balances Vivian’s infectious charm, vulnerability and determination. Her vocals soar throughout the score, particularly in […]
May 29, 2026
Pulteney Grammar School’s production of How to Succeed in Business Without Really Trying is exactly why school musical theatre matters. Joyful, polished, wildly entertaining and bursting with heart, this production proves what can happen when a school community truly invests in the arts, and in its young people. From the moment the show began, it was obvious that these students absolutely adore being on stage, and that passion spilled into every corner of the theatre. Under the expert direction of Jo Casson, the show moved with confidence and clarity, balancing the satirical humour of this classic musical with genuine warmth and energy. Casson’s excellent use of projections created a slick and vibrant world for the story to live in, giving the production a professional edge while still allowing the performers to shine. Musically, Jonathon Rice led a terrific (school) band and vocal team, with harmonies that soared and a cast that clearly understood the style and wit of the score. Rosanna Dobre’s choreography was another standout, with a dance ensemble that attacked every number, especially […]
April 17, 2026
‘Xanadu is glitter-soaked, joy filled chaos – and it absolutely works!’ ‘A roller skating burst of pure theatrical dopamine’ In the hands of the third-year ECMT students, this knowingly ridiculous, joy-soaked musical Xanadu becomes something even more satisfying; a celebration of commitment. Because Xanadu only works if everyone involved leans all the way in, and here, they absolutely do. It’s also worth acknowledging the sheer technical feat on display; this cast had to sing, act, dance and roller skate simultaneously, and they do so with impressive expertise, confidence, and very little visible fear. Based on the cult 1980 film, the story follows struggling artist Sonny Malone, whose mural dreams are interrupted by the sudden appearance of Kira, who is, of course, not just a muse, but Clio, a Greek goddess sent to inspire him. What follows is a gloriously chaotic collision of mythology, roller disco, forbidden love, and just enough self-awareness to keep the whole thing buoyant rather than baffling. Director and choreographer Michael Ralph understands the assignment. There is no attempt to ‘ground’ the […]
April 12, 2026
“This is theatre that does not ask to be watched; it demands to be considered.” “Mitchell doesn’t imitate Ruth Bader Ginsburg – she embodies her, with breathtaking precision.” RBG: Of Many, One carries the weight of history while remaining firmly tethered to the urgency of the present. Anchored in the formidable legacy of Ruth Bader Ginsburg, it unfolds with a disquieting immediacy that feels both charged and essential. First premiered in 2022, the work quickly established itself as more than a conventional biographical drama. In the years since, its relevance has only sharpened. What may have initially read as a portrait of a singular legal mind now lands as a broader meditation on power, progress, and the fragility of hard-won rights. In this current staging, a Sydney Theatre Company production, presented by State Theatre Company, that impact is unmistakable, this is a production that feels even more assured, refined, and vital in its moment. Written by the extraordinary Suzie Miller and directed by Priscilla Jackman, the production resists straightforward biography, instead emerging as a theatrical […]
March 23, 2026
“A fast, furious, and fabulously funny whodunnit—this Cluedo is to die for.” This new Australian production of Cluedo, adapted from the cult 1985 film Clue (itself based on the iconic board game), leans hard into the film’s chaotic spirit; doors slam, secrets spill, and alibis unravel faster than a poorly tied cravat. Like the movie, it delights in absurdity, revelling in multiple twists, rapid-fire dialogue, and the kind of farce that would make even Tim Curry raise an approving eyebrow. Under the whip-smart direction of Luke Joslin, and adapted by Sandy Rustin (with additional material by Hunter Foster and Eric Price from Jonathan Lynn’s screenplay), the production barrels along with precision-timed chaos. James Browne’s set and costume design deserves its own round of applause, an ingenious, sliding, many-doored manor that feels like a life-sized board game brought thrillingly to life. This is matched by Sean Peter’s crisp, cinematic sound design, which punctuates every gag and gunshot with razor-sharp clarity, and Jasmine Rizk’s lighting, which heightens the tension and guides the eye through the show’s increasingly […]
March 14, 2026
‘The Perfect Life is a musical that laughs, aches, and sings its way through the beautifully imperfect reality of modern womanhood.’ Some musicals sweep you away with spectacle. Others quietly hold up a mirror to the messy, contradictory, deeply human parts of our lives. The Perfect Life does the latter, offering a funny, heartfelt, and sharply observed exploration of modern womanhood, friendship, and the pressure we place on ourselves to have everything figured out. Written by Amity Dry, and a new incarnation of her earlier work, the musical follows four women whose lives intersect through friendship, circumstance, and the uncomfortable realisation that the “perfect life” they imagined might not look the way they expected. It’s a story that balances humour with vulnerability, creating space for audiences to laugh, wince in recognition, and perhaps feel a little less alone in the chaos of adulthood. Under the thoughtful direction of Jo Casson, the production leans into the intimacy of the material. Casson allows the relationships to breathe, giving each character room to unfold in a way that […]
March 9, 2026
Some shows come to the Adelaide Fringe with polish and spectacle. Others bring something more meaningful: a sincere story, sharp humour, and the courage to share a personal journey. Phoebs, You’re a Lesbian falls into the latter category, blending a coming-out narrative, a musical theatre homage, and a celebration of chaotic queer joy. Phoebe Rodger steps onto the stage with infectious nervous energy in her intro titular song, immediately setting the tone for the evening. It feels confessional, witty, and refreshingly honest. The unpredictability adds to the intimate, late-night cabaret vibe that Fringe audiences love. Music is the backbone of Phoebs’ storytelling, and the selections cleverly chart the emotional rollercoaster of identity discovery. My First Kiss arrives with delightful awkwardness as Phoebs recounts her first kiss, not in a sweeping teenage romance, but at nineteen, at university, during a carefully choreographed acting scene. The retelling is wonderfully self-aware, leaning into the humour of the moment while capturing the vulnerability of navigating intimacy a little later than expected. Drug Lord delivers one of the evening’s most […]
February 26, 2026
‘Joyful, chaotic and irresistibly fun – Sink or Sing turns life’s mess into a full-blown singalong.’ When life throws you mess, don’t sink – sing! That joyful mantra sits at the heart of Sink or Sing, an interactive cabaret that wears its chaos proudly and invites the audience to do the same. Created and performed by local vocal coach and cabaret darling Amelia Peters, this show is buoyant, self-aware and unapologetically fun, the kind of cabaret that feels like a pep talk disguised as a party. Fresh from a season at the Edinburgh Festival Fringe, Peters brings a confident, road-tested energy to the stage. She’s a natural host; warm, quick-witted and deeply comfortable inviting the audience into her world. This is cabaret as conversation, where participation isn’t a gimmick but a genuine extension of the show’s spirit. The evening opens with an Overture featuring voiceover, immediately setting a playful, tongue-in-cheek tone, before launching into Guilty Pleasures, which establishes Peters’ gift for saying the quiet thoughts out loud. From there, the set list unfolds like a […]
February 25, 2026
‘Electrifying performances, a killer band, and wall-to-wall iconic songs. Twenty Sixteen celebrates the music that never left us.’ Some years refuse to be forgotten, because of the extraordinary music they left behind. Twenty Sixteen, presented by Amplified House, takes a year synonymous with cultural loss and reframes it as a celebration of legacy, joy, and the artists who continue to shape how we listen, dance, and connect. This is not a sombre memorial. It’s a high-energy, deeply affectionate tribute to the music that endures. Anchored by the work of Prince, David Bowie and Maurice White, the show pulses with groove, colour and confidence. The inclusion of George Michael, Sharon Jones, Leon Russell and Leonard Cohen broadens the musical scope, creating a night that feels expansive and also reflective. The cast bring enormous presence and personality to the stage. Dusty Lee Stephensen delivers swagger, grit and effortless cool, shifting seamlessly between styles and brings the house down in the finale. Jaron Jay offers charm and musical intelligence, grounding the show with generosity. Kylie Auldist is a […]
February 22, 2026
‘A thrilling celebration of musical theatre’s most iconic moments – Philippa Lynas is polished, powerful and pure joy.’ There’s a particular thrill that comes with an eleven o’clock number, that electric moment just before the curtain falls when everything lands emotionally, vocally, and theatrically. 11 O’Clock on the Dot understands this instinctively, building an exuberant, big-hearted celebration around the songs that define revelation, resilience, and release. Presented as part of the Adelaide Fringe, this cabaret is created and led by Philippa Lynas, a performer with the vocal firepower, charisma and storytelling instinct to command the room from the first note. Directed and co-written by Amelia Ryan, the show balances polish with playfulness, leaning fully into the joy of shared musical theatre knowledge, and inviting the audience along for the ride. Lynas launches into the night with 42nd Street, immediately showcasing jazzy, belt-forward vocals underpinned by classical technique. An opening medley, weaving together Another Op’nin, Another Show, A Musical, Don’t Rain on My Parade and I Could Have Danced All Night, sets the tone beautifully. It’s […]
August 7, 2026
“A breathtaking theatrical journey filled with romance, wonder and pure musical magic. Anastasia is musical theatre at its most spectacular.” “A dazzling production that sweeps you from Imperial Russia to the streets of Paris and leaves your heart soaring.” Anastasia does something rare, it immerses you in a world so rich, romantic and captivating that, for nearly two and a half hours, reality fades away. Opening night at Adelaide’s Festival Theatre was magical. From the haunting beginning to the triumphant finale, this stunning Australian production reminds us why live theatre moves audiences in ways no other art form can. Directed with elegance by Darko Tresnjak, Anastasia unfolds with cinematic beauty. Each scene flows effortlessly into the next, balancing the grand scale of Imperial Russia and Paris with intimate moments of humour, heartbreak and hope. Associate Director Sarah Hartmann preserves this vision with remarkable care, ensuring every moment feels sincere and every transition is seamless. One highlight of the evening comes from 11-year-old Audrey Burnett as Little Anastasia. Possessing extraordinary poise and stage presence for her […]
August 5, 2026
‘Catherine Alcorn is a firecracker. Funny, fearless and fuelled by boundless charisma’ She turns Ginger’s into a cabaret playground where world-class musicianship, heartfelt storytelling and perfectly orchestrated chaos collide. Supported by the incomparable Michael Griffiths, the effortlessly charming Drew Weston and the exciting Charlie Watt, this is a night that celebrates everything cabaret should be; spontaneous, intimate, moving and outrageously entertaining. Some performers walk onto a stage. Catherine Alcorn detonates onto it! The moment she bursts into Ginger’s, belting When You’re Good to Catherine, the room belongs entirely to her. Alcorn is a powerhouse singer, comedian and storyteller who possesses the rare gift of making a room full of strangers feel like old friends. Gloriously unpredictable, hilariously inappropriate and utterly captivating, there is simply no other way to describe her. Alcorn’s vocal style sits proudly within the same spirit as Bette Midler’s. It is powerful, soulful and richly coloured, effortlessly moving from delivering a breathtaking ballad to landing a perfectly timed comedic punchline. It is no surprise that she has become so closely associated with […]
July 17, 2026
Welcome to Westerberg High, where popularity is a blood sport, scrunchies are weapons of mass destruction, and the only thing sharper than the shoulder pads are the one-liners. Heathers has always walked a dangerous tightrope between outrageous comedy and uncomfortable truth, and this new Australian and New Zealand staging struts across it in red croquet heels without ever missing a step. It’s wickedly funny, gleefully irreverent and just the right amount of unhinged. But beneath the acerbic satire, blue slushies and body count lies a surprisingly poignant tale about belonging, identity and the desperate need to be seen. This fresh interpretation understands that balance perfectly, delivering all the dark humour audiences crave while never losing sight of the humanity beating beneath the blazer. Directed by Andy Fickman, this staging knows exactly what it wants to be. Every scene moves with confidence, never allowing the frenetic pace to overwhelm the emotional moments. The comedy lands with sniper-like precision, but what impresses most is the willingness to let the quieter scenes breathe. The show hurtles along at […]
July 12, 2026
There’s something wonderfully comforting about a classic comedy when it’s in the hands of a company who clearly relish the opportunity to bring it to life. Adelaide Repertory Theatre’s production of The Man Who Came to Dinner proves exactly that, delivering an evening filled with sharp wit, larger-than-life characters and plenty of laughter. Written by the legendary Broadway partnership of George S. Kaufman and Moss Hart, The Man Who Came to Dinner premiered in 1939 and remains one of the great American drawing-room comedies. Inspired by the famously acerbic critic Alexander Woollcott, the play follows the tyrannical Sheridan Whiteside, a celebrated radio personality who slips on an icy doorstep while visiting the affluent Stanley family in Ohio. Confined to their home while he recuperates, Whiteside swiftly takes over the household, manipulates everyone around him and creates complete chaos as an eccentric parade of celebrities, hangers-on and unexpected visitors come and go. Director Sue Whylie understands the rhythm of this classic beautifully, allowing the comedy to build naturally while giving each of the colourful characters their […]
June 4, 2026
‘Missing this musical would be a big mistake. Huge!’ “Samantha Jade and Ben Hall are pure magic together.” “A dazzling Australian production packed with scene-stealing talent.” Well, if your dream is to spend two-and-a-half hours grinning from ear to ear while being swept away by powerhouse vocals, irresistible chemistry, dazzling choreography and more charisma than Rodeo Drive can handle, then the new Australian production of Pretty Woman the Musical has arrived right on time. Based on the iconic 1990 film, this stage adaptation takes the beloved fairy tale and gives it a rock-infused makeover, featuring music and lyrics by Bryan Adams and Jim Vallance. While audiences know the destination, it’s the journey, and the extraordinary cast bringing it to life, that makes this production shine brighter than Vivian’s ruby necklace. Leading the charge is Samantha Jade as Vivian Ward, and what a debut this is. Possessing the star quality required to step into Julia Roberts’ famous thigh-high boots, Jade effortlessly balances Vivian’s infectious charm, vulnerability and determination. Her vocals soar throughout the score, particularly in […]
May 29, 2026
Pulteney Grammar School’s production of How to Succeed in Business Without Really Trying is exactly why school musical theatre matters. Joyful, polished, wildly entertaining and bursting with heart, this production proves what can happen when a school community truly invests in the arts, and in its young people. From the moment the show began, it was obvious that these students absolutely adore being on stage, and that passion spilled into every corner of the theatre. Under the expert direction of Jo Casson, the show moved with confidence and clarity, balancing the satirical humour of this classic musical with genuine warmth and energy. Casson’s excellent use of projections created a slick and vibrant world for the story to live in, giving the production a professional edge while still allowing the performers to shine. Musically, Jonathon Rice led a terrific (school) band and vocal team, with harmonies that soared and a cast that clearly understood the style and wit of the score. Rosanna Dobre’s choreography was another standout, with a dance ensemble that attacked every number, especially […]
April 17, 2026
‘Xanadu is glitter-soaked, joy filled chaos – and it absolutely works!’ ‘A roller skating burst of pure theatrical dopamine’ In the hands of the third-year ECMT students, this knowingly ridiculous, joy-soaked musical Xanadu becomes something even more satisfying; a celebration of commitment. Because Xanadu only works if everyone involved leans all the way in, and here, they absolutely do. It’s also worth acknowledging the sheer technical feat on display; this cast had to sing, act, dance and roller skate simultaneously, and they do so with impressive expertise, confidence, and very little visible fear. Based on the cult 1980 film, the story follows struggling artist Sonny Malone, whose mural dreams are interrupted by the sudden appearance of Kira, who is, of course, not just a muse, but Clio, a Greek goddess sent to inspire him. What follows is a gloriously chaotic collision of mythology, roller disco, forbidden love, and just enough self-awareness to keep the whole thing buoyant rather than baffling. Director and choreographer Michael Ralph understands the assignment. There is no attempt to ‘ground’ the […]
March 23, 2026
“A fast, furious, and fabulously funny whodunnit—this Cluedo is to die for.” This new Australian production of Cluedo, adapted from the cult 1985 film Clue (itself based on the iconic board game), leans hard into the film’s chaotic spirit; doors slam, secrets spill, and alibis unravel faster than a poorly tied cravat. Like the movie, it delights in absurdity, revelling in multiple twists, rapid-fire dialogue, and the kind of farce that would make even Tim Curry raise an approving eyebrow. Under the whip-smart direction of Luke Joslin, and adapted by Sandy Rustin (with additional material by Hunter Foster and Eric Price from Jonathan Lynn’s screenplay), the production barrels along with precision-timed chaos. James Browne’s set and costume design deserves its own round of applause, an ingenious, sliding, many-doored manor that feels like a life-sized board game brought thrillingly to life. This is matched by Sean Peter’s crisp, cinematic sound design, which punctuates every gag and gunshot with razor-sharp clarity, and Jasmine Rizk’s lighting, which heightens the tension and guides the eye through the show’s increasingly […]
March 14, 2026
‘The Perfect Life is a musical that laughs, aches, and sings its way through the beautifully imperfect reality of modern womanhood.’ Some musicals sweep you away with spectacle. Others quietly hold up a mirror to the messy, contradictory, deeply human parts of our lives. The Perfect Life does the latter, offering a funny, heartfelt, and sharply observed exploration of modern womanhood, friendship, and the pressure we place on ourselves to have everything figured out. Written by Amity Dry, and a new incarnation of her earlier work, the musical follows four women whose lives intersect through friendship, circumstance, and the uncomfortable realisation that the “perfect life” they imagined might not look the way they expected. It’s a story that balances humour with vulnerability, creating space for audiences to laugh, wince in recognition, and perhaps feel a little less alone in the chaos of adulthood. Under the thoughtful direction of Jo Casson, the production leans into the intimacy of the material. Casson allows the relationships to breathe, giving each character room to unfold in a way that […]
March 9, 2026
Some shows come to the Adelaide Fringe with polish and spectacle. Others bring something more meaningful: a sincere story, sharp humour, and the courage to share a personal journey. Phoebs, You’re a Lesbian falls into the latter category, blending a coming-out narrative, a musical theatre homage, and a celebration of chaotic queer joy. Phoebe Rodger steps onto the stage with infectious nervous energy in her intro titular song, immediately setting the tone for the evening. It feels confessional, witty, and refreshingly honest. The unpredictability adds to the intimate, late-night cabaret vibe that Fringe audiences love. Music is the backbone of Phoebs’ storytelling, and the selections cleverly chart the emotional rollercoaster of identity discovery. My First Kiss arrives with delightful awkwardness as Phoebs recounts her first kiss, not in a sweeping teenage romance, but at nineteen, at university, during a carefully choreographed acting scene. The retelling is wonderfully self-aware, leaning into the humour of the moment while capturing the vulnerability of navigating intimacy a little later than expected. Drug Lord delivers one of the evening’s most […]
February 26, 2026
‘Joyful, chaotic and irresistibly fun – Sink or Sing turns life’s mess into a full-blown singalong.’ When life throws you mess, don’t sink – sing! That joyful mantra sits at the heart of Sink or Sing, an interactive cabaret that wears its chaos proudly and invites the audience to do the same. Created and performed by local vocal coach and cabaret darling Amelia Peters, this show is buoyant, self-aware and unapologetically fun, the kind of cabaret that feels like a pep talk disguised as a party. Fresh from a season at the Edinburgh Festival Fringe, Peters brings a confident, road-tested energy to the stage. She’s a natural host; warm, quick-witted and deeply comfortable inviting the audience into her world. This is cabaret as conversation, where participation isn’t a gimmick but a genuine extension of the show’s spirit. The evening opens with an Overture featuring voiceover, immediately setting a playful, tongue-in-cheek tone, before launching into Guilty Pleasures, which establishes Peters’ gift for saying the quiet thoughts out loud. From there, the set list unfolds like a […]
February 25, 2026
‘Electrifying performances, a killer band, and wall-to-wall iconic songs. Twenty Sixteen celebrates the music that never left us.’ Some years refuse to be forgotten, because of the extraordinary music they left behind. Twenty Sixteen, presented by Amplified House, takes a year synonymous with cultural loss and reframes it as a celebration of legacy, joy, and the artists who continue to shape how we listen, dance, and connect. This is not a sombre memorial. It’s a high-energy, deeply affectionate tribute to the music that endures. Anchored by the work of Prince, David Bowie and Maurice White, the show pulses with groove, colour and confidence. The inclusion of George Michael, Sharon Jones, Leon Russell and Leonard Cohen broadens the musical scope, creating a night that feels expansive and also reflective. The cast bring enormous presence and personality to the stage. Dusty Lee Stephensen delivers swagger, grit and effortless cool, shifting seamlessly between styles and brings the house down in the finale. Jaron Jay offers charm and musical intelligence, grounding the show with generosity. Kylie Auldist is a […]
February 22, 2026
‘A thrilling celebration of musical theatre’s most iconic moments – Philippa Lynas is polished, powerful and pure joy.’ There’s a particular thrill that comes with an eleven o’clock number, that electric moment just before the curtain falls when everything lands emotionally, vocally, and theatrically. 11 O’Clock on the Dot understands this instinctively, building an exuberant, big-hearted celebration around the songs that define revelation, resilience, and release. Presented as part of the Adelaide Fringe, this cabaret is created and led by Philippa Lynas, a performer with the vocal firepower, charisma and storytelling instinct to command the room from the first note. Directed and co-written by Amelia Ryan, the show balances polish with playfulness, leaning fully into the joy of shared musical theatre knowledge, and inviting the audience along for the ride. Lynas launches into the night with 42nd Street, immediately showcasing jazzy, belt-forward vocals underpinned by classical technique. An opening medley, weaving together Another Op’nin, Another Show, A Musical, Don’t Rain on My Parade and I Could Have Danced All Night, sets the tone beautifully. It’s […]
February 21, 2026
‘Funny, furious and quietly tender – Too Tired to Smash (Patriarchy) is the show for anyone who cares deeply and is absolutely exhausted by it’ ‘Millicent Sarre turns modern exhaustion into sharp, disarming comedy – equal parts manifesto, meltdown and much-needed exhale.’ There’s something deeply comforting about a show that doesn’t pretend to have all the answers and Millicent Sarre’s Too Tired to Smash (Patriarchy) wears that uncertainty proudly. This is comedy-cabaret for the quietly furious, the chronically online, the politically aware but emotionally spent. And honestly? It hits right where it hurts. Presented as part of the Adelaide Fringe, Sarre’s show unfolds like a late-night voice memo sent to the group chat; candid, clever, and slightly unhinged in the best way. The premise is refreshingly simple: the patriarchy is still standing, dismantling it feels overwhelming, and sometimes you’re just… tired. From there, Sarre builds a tightly structured, emotionally intelligent hour that balances satire, sincerity, and a surprising amount of heart. Musically, the show is smart, sharp, and deliberately off-kilter, mirroring the experience of moving […]
January 31, 2026
There’s something quietly thrilling about watching a company find its feet, and then realise it can run. With The 25th Annual Putnam County Spelling Bee, Funk Soul Productions confirm that their early works were no fluke. Following the buzzy success of The Guy Who Didn’t Like Musicals, it’s clear this team is building something special: smart, joyful, actor-driven theatre with heart to spare. Gracie Greenrod’s direction leans into the musical’s greatest strength and its ability to be riotously funny one moment and unexpectedly tender the next. The tone is deftly handled, allowing the show’s improv-friendly chaos to bubble while still grounding each character in emotional truth. Under Immi Beattie’s musical direction, the score is crisp, playful and beautifully balanced, with lyrics landing cleanly and harmonies glowing. Allycia Angeles’ choreography is light on its feet and character-specific, enhancing the storytelling rather than overpowering it; exactly as this show demands. As Rona Lisa Peretti (and Olive’s mum), Ruby Pinkerton brings warmth and polish, delivering “The 25th Annual Putnam County Spelling Bee” and “My Favourite Moment of the […]