LIA LOVES... THEATRE. DANCE. CULTURE. EVENTS.
Follow her adventures as Adelaide's premier theatre buff, arts contributor, educator and ambassador!
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 […]
February 13, 2026
‘A blistering, heart-shattering revival that proves The Normal Heart is not history – it’s a warning.’ Every now and then, a piece of theatre comes along that doesn’t simply move you, it collides with you. It lands like a slap to the face and leaves the sting long after you’ve left your seat. Larry Kramer’s The Normal Heart is that kind of play. And Sydney Theatre Company’s revival proves, once again, why it remains devastatingly urgent. Having seen a previous incarnation of this work, I arrived knowing the blows it delivers. I was not prepared, however, for how freshly, and frighteningly, they would land in 2026. Kramer, founder of Gay Men’s Health Crisis in 1981 and ACT UP in 1987, channelled his rage, grief and relentless advocacy into this largely autobiographical work. Premiering Off-Broadway in 1985 to acclaim and controversy, it charts the rise of the HIV/AIDS epidemic in New York between 1981 and 1984 through the eyes of writer and activist Alexander ‘Ned’ Weeks and the circle orbiting him. Under the stewardship of the […]
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 […]
January 26, 2026
Homegrown Musicals Australia’s Adelaide Things feels less like a showcase and more like a love letter to new Australian writing, to artists backing artists, and to the messy, funny, heartfelt act of making musical theatre right here, right now. It’s warm, generous, and bursting with creative intent, offering audiences a rare glimpse into works in development alongside songs already finding their feet in the wider world. Guiding us through the evening are Phoebe Rodger and Ryan Murphy, who strike a welcoming, playful balance as hosts. There’s an ease to their banter that sets the tone, relaxed, inclusive, and deeply invested in the stories being shared. They open the night with “Miss C”, a warmly observed and affectionate song about one of Rodger’s teachers, setting the spirit of the evening with humour, gratitude, and personal storytelling. Rodger returns in Act 2 with “Phoebs, You’re A Lesbian”, a sharp, self-aware number from her upcoming cabaret debuting at the Adelaide Fringe. It’s funny, honest, unapologetically specific, and emblematic of the voices Homegrown exists to amplify. The writing talent […]
January 24, 2026
Adelaide Youth Theatre tackling Les Misérables is no small feat, and under the thoughtful direction of Matt Smith, this production meets the challenge with heart, ambition, and a clear respect for the material. From the opening bars of “Look Down”, it’s evident this is a company unafraid to trust young performers with one of musical theatre’s most demanding scores and weightiest stories. At the centre of the production is Mat Monti as Jean Valjean, whose seasoned performance provides a strong and steady anchor for the cast. Their delivery of “What Have I Done?” establishes Valjean’s moral journey with clarity and restraint, while “Bring Him Home” is sung with controlled simplicity and emotional honesty. Monti’s professional assurance gives the production a sense of security, allowing the surrounding young performers to flourish. Opposite them, Andrew Crispe’s Javert is equally assured and disciplined. His vocal authority is immediately evident in “Stars”, where his unwavering tone and composure perfectly reflect Javert’s rigid worldview. Crispe’s experience brings weight and inevitability to the role, providing a strong dramatic counterpoint throughout, particularly […]
January 17, 2026
Pelican Productions has truly perfected the art of large-scale youth musical theatre, and MTC Rise Up is yet another triumphant showcase of what can be achieved when passion, discipline and opportunity collide. Each year, approximately 200 students from across South Australia give up two weeks of their summer holidays to immerse themselves in musical theatre, and the results are nothing short of extraordinary. In actual fact, the rehearsals span just 10 days, so park that thought as you read on… With an exceptional team of instructors and mentors at the helm, Pelican Productions directors Jen Frith and Kylie Green bring carefully curated excerpts from some of the most loved contemporary and classic musicals to the stage. This approach allows performers to stretch their skills across acting, singing and dance, and Rise Up delivers on every level. With multiple casts performing, I had the pleasure of watching West End, and from the opening moments it was clear just how much growth had taken place over the fortnight. The production moved seamlessly between senior and junior groups, […]
January 9, 2026
Cirque Alice, from the producers of The Illusionists, feels like tumbling headfirst down the rabbit hole and landing somewhere deliciously unhinged, beautifully precise, and joyfully theatrical, the kind of night that reminds you why live performance still has the power to astonish. At the centre of it all is Layla Schillert as Alice, wide-eyed, warm and wonderfully grounded. She anchors the chaos with a quiet confidence and sensational vocals, guiding us through this surreal world without ever overplaying it. Her Alice isn’t just a spectator; she’s our way in, our emotional compass as logic bends and spectacle takes over. If there’s one figure who threatens to steal the show entirely, it’s Paul Debek’s Mad Hatter; a magician of rare presence and comic timing. Every entrance lands, every trick is layered with character, and his mischievous rapport with the audience is irresistible. He doesn’t just perform magic; he inhabits it. The cast around him is stacked with delights. Darius Thompson’s White Rabbit, violin in hand, scurries and soars in equal measure, threading music through movement with […]
October 27, 2025
There’s something beautifully full-circle about watching the next generation of musical theatre artists take the stage. Wide-eyed, fearless, and ready to show us exactly what they see from here. Homegrown Musicals Australia, together with the third-year graduating cohort of ECMT, delivered just that; a heartfelt, vibrant, and joyously unpolished celebration of Australian storytelling and student artistry. From the very first note, the night felt authentic – a reminder that musical theatre at its best isn’t just about high kicks and big notes, but connection. Under the guidance of the Homegrown Musicals team of Ben Nicholson and Nick Hedger, the showcase gave each performer space to shine, and shine they did, performing original Australian songs from Australian composers. Joey Haenen’s performance of ‘Isolated’ from Tragic was a standout moment. Raw, introspective, and emotionally anchored, Haenen sang with a vulnerability that cut straight through. No showy tricks, no overreach – just truth. It was the kind of performance that makes you stop fidgeting in your seat and really listen. Then came Ellie Esdene McMahon, giving us her […]
October 17, 2025
William Finn’s Elegies: A Song Cycle is a tender, funny, and deeply human reflection on love, loss, and memory, and in what is possibly the first performance of this work since Finn’s passing, the 2nd Year Music Theatre students of the Elder Conservatorium (ECMT) honour his legacy with grace, intelligence, and heart. Under the thoughtful direction and choreography of Joseph Simons, and with musical direction by Nick Hedger, this production radiates authenticity and emotional maturity well beyond the students’ years. Housed in the Little Theatre, this intimate venue feels tailor-made for Finn’s song cycle – close enough for the audience to see every flicker of emotion, every breath between notes. The space itself becomes part of the storytelling, allowing the music and memories to wash over the audience with gentle immediacy. From the opening number, ‘Looking Up Quintet’, the company establishes a tone of candid joy and bittersweet nostalgia. Finn’s music is famously intricate, full of unexpected harmonies, complex transitions, and emotional turns, but under Hedger’s expert guidance, the ensemble moves through it with clarity […]
October 11, 2025
What if Juliet didn’t die? What if she grabbed the quill and rewrote her own story? Northern Light Theatre Company – Adelaide’s premier community theatre company – poses that very question with their bold, glitter-soaked, heart-thumping production of &Juliet. Under the direction of the ever-assured Ceri Hutton, this show bursts to life with energy, emotion, and empowerment in equal measure. Hutton’s direction is crisp and confident, marrying West End polish with the warmth and inclusivity that defines great community theatre. Every choice, from the neon-splashed visuals to the razor-sharp pacing, feels intentional and alive, celebrating individuality while keeping the audience grinning from start to finish. Musical Director Billy St John steers the pop powerhouse score with finesse. Every Max Martin hit lands with irresistible punch, and the band supports the vocals beautifully – propelling the show forward with rhythm, colour, and verve. The choreography, courtesy of the mother-daughter dream team Kerreanne Sarti and Shenayde Patterson, is a total show-stealer. Their routines are fresh, fearless, and flawlessly executed — blending fierce commercial edge with storytelling heart. […]
October 6, 2025
The graduating class of the Elder Conservatorium Music Theatre program have delivered a slick, razor-sharp and joyously self-aware production of How to Succeed in Business Without Really Trying – a show that’s as much about ambition and charm as it is about perfect comic timing. Under the assured direction of Erin James, this 2025 cohort proves they’re more than ready to trade the classroom for the main stage of Australia’s musical theatre industry. From the moment Matt Hawke’s J. Pierrepont Finch steps into the spotlight, book in hand and gleam in eye, it’s clear we’re in capable hands. Hawke’s Finch is a magnetic blend of guile and good humour; he balances the character’s opportunistic edge with irresistible charisma, making every scheme feel like a song-and-dance masterclass. Opposite him, Ellie Esdene McMahon’s Rosemary is a picture of poised sincerity. Her voice glows with warmth and clarity, grounding the satire with heart and hope, especially in ‘Happy to Keep His Dinner Warm.’ Billie-Rose Russell’s Smitty brings comic brilliance and quick wit to every moment, her chemistry with […]
September 27, 2025
Opening night of Cats the Musical at Her Majesty’s Theatre Adelaide was always going to be a moment of high anticipation. For some in the audience, this show carries four decades of memories, while for others, it was the first encounter with Andrew Lloyd Webber’s musical built on the whimsical verses of T. S. Eliot. This 40th Anniversary Australian tour did not set out to reinvent the show, but rather to celebrate it with respect, polish and a touch of feline daring, and on Thursday night, the company delivered a production that was both nostalgic and alive with energy. The transformation of Her Majesty’s Theatre into a moonlit junkyard was immediately effective. John Napier’s original design gave the Adelaide stage a sense of vast scale, filled with scaffolding, nooks and mysterious corners where cats could emerge, vanish and prowl. The lighting, credited to Howard Eaton with associate Matthew Tunchon, often deepened the mystery with smoky pools and sudden shafts of illumination, though at times the dimness veiled the performers’ faces a little too much, swallowing […]
August 31, 2025
If you thought We Will Rock You was just a jukebox musical stitched together with Queen’s greatest hits, think again. Pelican Productions have supercharged this cult favourite with a rebellious spark, creating a show that felt like a rock concert colliding headlong with polished youth theatre. Director Vanessa Lee Shirley led with a clear vision, balancing Ben Elton’s playful script with genuine emotion and an abundance of spectacle. Pelican has long been a powerhouse in Adelaide’s youth theatre community, known for staging musicals that rival professional companies. This production proved exactly why, delivering a polished and exhilarating night that showcased the extraordinary depth of local talent. From the opening thunderclap under the musical direction of Michael Griffiths, who was in the original Australian touring show, the music roared with precision and drive. Griffiths ensured Queen’s anthems retained their grandeur without ever overwhelming the singers. Carla Papa’s choreography pulsed with vitality, matching the rhythms of the score while weaving in clever details that gave the ensemble moments of individuality. The movement was bold, expressive and constantly […]
August 9, 2025
If there’s one thing that can brighten a winter’s night faster than a spoonful of sugar, it’s Scotch College’s utterly charming production of Disney’s Mary Poppins the Musical. Directed with a mix of polish and playfulness by Melissa Sheldon and Stephanie Thompson (who also brought her signature flair to the choreography), this was a show that floated into the audience’s hearts with a twinkle in its eye and a skip in its step. From the moment the orchestra struck the first chord under the assured baton of music director Martin Cheney, we knew we were in good hands. Cheney drew out all the richness and sparkle in the Sherman brothers’ iconic score, balancing lush, full-company numbers with moments of gentle intimacy. Lucy Stirling was Mary Poppins – practically perfect in every way. With crystal-clear vocals, razor-sharp timing, and a poise that never faltered, she sailed through the Banks family’s troubles with the grace of a kite on a breezy day. Her chemistry with Asher Gordon’s endlessly likeable Bert was delightful; Gordon charmed the audience with […]
July 12, 2025
Laugh-out-loud one moment, heartbreakingly beautiful the next – Kimberly Akimbo is pure magic. This Australian premiere of Kimberly Akimbo is proof that some stories have no boundaries – and, if they land in the right hands, they take hold and become something new, yet deeply moving. Under the inspired direction of Mitchell Butel, this offbeat treasure unfolds with a pitch-perfect balance of tenderness, surprise, emotional richness and a touch of lovely chaos that couldn’t be more at home on an Australian stage. At the centre of it is Marina Prior as Kimberly – a casting choice that delights and surprises at every turn. Prior brings to Kimberly the warmth, mischief and painful vulnerability that make this improbable teenage hero so indelible. Seeing her navigate the craziness of a life lived too quickly – first love, lousy parents, an actually criminal aunt – is by turns hilarious and heartbreaking. She’s aided by a great ensemble who balance out the show’s goofy humour with genuine pathos. Darcy Wain is adorably awkward, earnest and incredible as Seth, Kimberly’s […]
June 22, 2025
A Quarter-Century of Camp, Class and Cabaret Chaos – Sharp enough to cut a corset! The Adelaide Cabaret Festival turned 25 – and like any true cabaret queen hitting a milestone, she threw a party bursting with sequins, sass, and sentimental swan songs. Held at the Festival Theatre, the silver jubilee celebration wasn’t just a showcase – it was a glitterbomb of gratitude, cheek, and community spirit. Who better to host than the indefatigably fabulous Virginia Gay, who tore into the evening with her signature blend of literary sharpness and musical mischief. Part emcee, part birthday cake with legs, Gay commanded the stage in a strappy number dripping with sensuality and self-aware smut. With that, she lit the fuse, and the party exploded into full gear. Gillian Cosgriff, armed with her piano, wickedly clever lyrics and dressed as a self-described grown up, goth Madeline, delivered a song so funny and frighteningly relatable, the audience laughed in guilty recognition. Her wit hits like a velvet sledgehammer – charming you first, then knocking you over. A ‘guess […]
June 22, 2025
A Show So Big, It Needs Its Own Safety Warning If cabaret were a weapon, Reuben Kaye would be a fully loaded glitter cannon aimed squarely at your expectations, your politics, and your heterosexual comfort zone. With enGORGEd XXL, he doesn’t so much break the fourth wall as kick it down in $4,000 six-inch heels and kiss the rubble. This isn’t a show – it’s a feast of ferocity: oversized, outrageous, and pulsing with charisma. The title doesn’t pull any punches, neither does Kaye. The moment he walks onstage before an 18-piece orchestra worthy of a Marvel finale, helmed by composer and music director extraordinaire Shanon Whitelock, you know you’re in for big band, big personality, and even bigger truths. Reuben performs like a drag queen fired from a confetti cannon – glam, loud, and striking its target dead-on. Nothing, from systemic oppression to Elon Musk’s cosmetic catastrophes, is off-limits and no punchline over-dressed. Meow… Among the emotional highlight reels is a tale of his childhood bully, reimagined with wicked humour as a monologue that […]
June 16, 2025
Late nights at the Adelaide Cabaret Festival have always held the promise of a little mischief and a lot of magic – and this year, Gillian Cosgriff has brought both in spades with There is Nothing Like a Game!. Equal parts game show, variety hour, and cheeky party, Cosgriff’s newest late-night foray is the perfect way to keep festival vibes buzzing well after bedtime. From the second she leaps on stage, Cosgriff reminds us all why she’s a festival favourite. Her sharp wit, relaxed charm and infectious silliness have the audience in the palm of her hand. She takes a straightforward idea – grown-ups playing silly games for the sheer fun of it – and turns it into a hilarious 90 minutes of laughter, nostalgia and surprise celebrity antics. Audience participation is the show’s lifeblood, and Cosgriff is a genius at encouraging even the shyest punter to shout out answers and barrack for their mates. Opening night highlights involved a desperate free-for-all to recall the birth order of the Von Trapp kids and a side-splittingly […]
June 16, 2025
Bobby Fox, or ‘Mr Kicks’ as he affectionately calls himself, delivered a masterclass in rhythm, charm, and sheer talent in Mr Entertainment. Supported by a dynamic eight-piece band, he burst onto the stage with a five-minute tap extravaganza, immediately pulling the audience into his world. From the start, it was clear – this wasn’t just a performance; it was a celebration of rhythm and storytelling. Fox’s second number, a rumba-infused rendition of ‘I Could Have Danced All Night’, was a standout, showcasing his jazz sensibilities and leading into an electrifying tap trade-off with the pianist. He later paid tribute to the legendary Sammy Davis Jr. with ‘Song and Dance Man’, delivering an emotionally charged combination of tap and vocals that resonated deeply. ‘Mr Bojangles’ followed, with a stellar arrangement by James Earl and the band, further solidifying Fox’s ability to captivate through movement. His smooth vocals shone in ‘My Eyes Adore You’, presenting a personal interpretation of the classic, but it was his heartfelt dedication of ‘Danny Boy’ to his ailing father that became one […]
June 7, 2025
St Peter’s Girls’ School took on Newsies the Musical with enthusiasm, heart, and a clear sense of purpose. Based on the 1992 Disney film and inspired by the real-life Newsboys Strike of 1899 in New York City, Newsies follows Jack Kelly, a charismatic newsboy who dreams of a better life beyond the city streets. When publishing giants Joseph Pulitzer and William Randolph Hearst raise distribution prices at the newsboys’ expense, Jack rallies a group of young workers to take a stand. With help from aspiring journalist Katherine Plumber, the newsies band together in a strike for justice. Filled with rousing anthems, spirited choreography, and themes of unity and resilience, the musical celebrates the power of young voices to ignite change. Directed and produced by Katherine Kitching, this production balanced large ensemble numbers with more intimate character moments, allowing space for both storytelling and spectacle. Kate Burnett’s choreography injected vitality into the show, with group numbers like “Seize the Day” and “King of New York” performed with spirit and commitment. While there were some timing inconsistencies […]
January 26, 2026
Homegrown Musicals Australia’s Adelaide Things feels less like a showcase and more like a love letter to new Australian writing, to artists backing artists, and to the messy, funny, heartfelt act of making musical theatre right here, right now. It’s warm, generous, and bursting with creative intent, offering audiences a rare glimpse into works in development alongside songs already finding their feet in the wider world. Guiding us through the evening are Phoebe Rodger and Ryan Murphy, who strike a welcoming, playful balance as hosts. There’s an ease to their banter that sets the tone, relaxed, inclusive, and deeply invested in the stories being shared. They open the night with “Miss C”, a warmly observed and affectionate song about one of Rodger’s teachers, setting the spirit of the evening with humour, gratitude, and personal storytelling. Rodger returns in Act 2 with “Phoebs, You’re A Lesbian”, a sharp, self-aware number from her upcoming cabaret debuting at the Adelaide Fringe. It’s funny, honest, unapologetically specific, and emblematic of the voices Homegrown exists to amplify. The writing talent […]
January 24, 2026
Adelaide Youth Theatre tackling Les Misérables is no small feat, and under the thoughtful direction of Matt Smith, this production meets the challenge with heart, ambition, and a clear respect for the material. From the opening bars of “Look Down”, it’s evident this is a company unafraid to trust young performers with one of musical theatre’s most demanding scores and weightiest stories. At the centre of the production is Mat Monti as Jean Valjean, whose seasoned performance provides a strong and steady anchor for the cast. Their delivery of “What Have I Done?” establishes Valjean’s moral journey with clarity and restraint, while “Bring Him Home” is sung with controlled simplicity and emotional honesty. Monti’s professional assurance gives the production a sense of security, allowing the surrounding young performers to flourish. Opposite them, Andrew Crispe’s Javert is equally assured and disciplined. His vocal authority is immediately evident in “Stars”, where his unwavering tone and composure perfectly reflect Javert’s rigid worldview. Crispe’s experience brings weight and inevitability to the role, providing a strong dramatic counterpoint throughout, particularly […]
January 17, 2026
Pelican Productions has truly perfected the art of large-scale youth musical theatre, and MTC Rise Up is yet another triumphant showcase of what can be achieved when passion, discipline and opportunity collide. Each year, approximately 200 students from across South Australia give up two weeks of their summer holidays to immerse themselves in musical theatre, and the results are nothing short of extraordinary. In actual fact, the rehearsals span just 10 days, so park that thought as you read on… With an exceptional team of instructors and mentors at the helm, Pelican Productions directors Jen Frith and Kylie Green bring carefully curated excerpts from some of the most loved contemporary and classic musicals to the stage. This approach allows performers to stretch their skills across acting, singing and dance, and Rise Up delivers on every level. With multiple casts performing, I had the pleasure of watching West End, and from the opening moments it was clear just how much growth had taken place over the fortnight. The production moved seamlessly between senior and junior groups, […]
January 9, 2026
Cirque Alice, from the producers of The Illusionists, feels like tumbling headfirst down the rabbit hole and landing somewhere deliciously unhinged, beautifully precise, and joyfully theatrical, the kind of night that reminds you why live performance still has the power to astonish. At the centre of it all is Layla Schillert as Alice, wide-eyed, warm and wonderfully grounded. She anchors the chaos with a quiet confidence and sensational vocals, guiding us through this surreal world without ever overplaying it. Her Alice isn’t just a spectator; she’s our way in, our emotional compass as logic bends and spectacle takes over. If there’s one figure who threatens to steal the show entirely, it’s Paul Debek’s Mad Hatter; a magician of rare presence and comic timing. Every entrance lands, every trick is layered with character, and his mischievous rapport with the audience is irresistible. He doesn’t just perform magic; he inhabits it. The cast around him is stacked with delights. Darius Thompson’s White Rabbit, violin in hand, scurries and soars in equal measure, threading music through movement with […]
October 27, 2025
There’s something beautifully full-circle about watching the next generation of musical theatre artists take the stage. Wide-eyed, fearless, and ready to show us exactly what they see from here. Homegrown Musicals Australia, together with the third-year graduating cohort of ECMT, delivered just that; a heartfelt, vibrant, and joyously unpolished celebration of Australian storytelling and student artistry. From the very first note, the night felt authentic – a reminder that musical theatre at its best isn’t just about high kicks and big notes, but connection. Under the guidance of the Homegrown Musicals team of Ben Nicholson and Nick Hedger, the showcase gave each performer space to shine, and shine they did, performing original Australian songs from Australian composers. Joey Haenen’s performance of ‘Isolated’ from Tragic was a standout moment. Raw, introspective, and emotionally anchored, Haenen sang with a vulnerability that cut straight through. No showy tricks, no overreach – just truth. It was the kind of performance that makes you stop fidgeting in your seat and really listen. Then came Ellie Esdene McMahon, giving us her […]
October 17, 2025
William Finn’s Elegies: A Song Cycle is a tender, funny, and deeply human reflection on love, loss, and memory, and in what is possibly the first performance of this work since Finn’s passing, the 2nd Year Music Theatre students of the Elder Conservatorium (ECMT) honour his legacy with grace, intelligence, and heart. Under the thoughtful direction and choreography of Joseph Simons, and with musical direction by Nick Hedger, this production radiates authenticity and emotional maturity well beyond the students’ years. Housed in the Little Theatre, this intimate venue feels tailor-made for Finn’s song cycle – close enough for the audience to see every flicker of emotion, every breath between notes. The space itself becomes part of the storytelling, allowing the music and memories to wash over the audience with gentle immediacy. From the opening number, ‘Looking Up Quintet’, the company establishes a tone of candid joy and bittersweet nostalgia. Finn’s music is famously intricate, full of unexpected harmonies, complex transitions, and emotional turns, but under Hedger’s expert guidance, the ensemble moves through it with clarity […]
October 11, 2025
What if Juliet didn’t die? What if she grabbed the quill and rewrote her own story? Northern Light Theatre Company – Adelaide’s premier community theatre company – poses that very question with their bold, glitter-soaked, heart-thumping production of &Juliet. Under the direction of the ever-assured Ceri Hutton, this show bursts to life with energy, emotion, and empowerment in equal measure. Hutton’s direction is crisp and confident, marrying West End polish with the warmth and inclusivity that defines great community theatre. Every choice, from the neon-splashed visuals to the razor-sharp pacing, feels intentional and alive, celebrating individuality while keeping the audience grinning from start to finish. Musical Director Billy St John steers the pop powerhouse score with finesse. Every Max Martin hit lands with irresistible punch, and the band supports the vocals beautifully – propelling the show forward with rhythm, colour, and verve. The choreography, courtesy of the mother-daughter dream team Kerreanne Sarti and Shenayde Patterson, is a total show-stealer. Their routines are fresh, fearless, and flawlessly executed — blending fierce commercial edge with storytelling heart. […]
October 6, 2025
The graduating class of the Elder Conservatorium Music Theatre program have delivered a slick, razor-sharp and joyously self-aware production of How to Succeed in Business Without Really Trying – a show that’s as much about ambition and charm as it is about perfect comic timing. Under the assured direction of Erin James, this 2025 cohort proves they’re more than ready to trade the classroom for the main stage of Australia’s musical theatre industry. From the moment Matt Hawke’s J. Pierrepont Finch steps into the spotlight, book in hand and gleam in eye, it’s clear we’re in capable hands. Hawke’s Finch is a magnetic blend of guile and good humour; he balances the character’s opportunistic edge with irresistible charisma, making every scheme feel like a song-and-dance masterclass. Opposite him, Ellie Esdene McMahon’s Rosemary is a picture of poised sincerity. Her voice glows with warmth and clarity, grounding the satire with heart and hope, especially in ‘Happy to Keep His Dinner Warm.’ Billie-Rose Russell’s Smitty brings comic brilliance and quick wit to every moment, her chemistry with […]
September 27, 2025
Opening night of Cats the Musical at Her Majesty’s Theatre Adelaide was always going to be a moment of high anticipation. For some in the audience, this show carries four decades of memories, while for others, it was the first encounter with Andrew Lloyd Webber’s musical built on the whimsical verses of T. S. Eliot. This 40th Anniversary Australian tour did not set out to reinvent the show, but rather to celebrate it with respect, polish and a touch of feline daring, and on Thursday night, the company delivered a production that was both nostalgic and alive with energy. The transformation of Her Majesty’s Theatre into a moonlit junkyard was immediately effective. John Napier’s original design gave the Adelaide stage a sense of vast scale, filled with scaffolding, nooks and mysterious corners where cats could emerge, vanish and prowl. The lighting, credited to Howard Eaton with associate Matthew Tunchon, often deepened the mystery with smoky pools and sudden shafts of illumination, though at times the dimness veiled the performers’ faces a little too much, swallowing […]
August 31, 2025
If you thought We Will Rock You was just a jukebox musical stitched together with Queen’s greatest hits, think again. Pelican Productions have supercharged this cult favourite with a rebellious spark, creating a show that felt like a rock concert colliding headlong with polished youth theatre. Director Vanessa Lee Shirley led with a clear vision, balancing Ben Elton’s playful script with genuine emotion and an abundance of spectacle. Pelican has long been a powerhouse in Adelaide’s youth theatre community, known for staging musicals that rival professional companies. This production proved exactly why, delivering a polished and exhilarating night that showcased the extraordinary depth of local talent. From the opening thunderclap under the musical direction of Michael Griffiths, who was in the original Australian touring show, the music roared with precision and drive. Griffiths ensured Queen’s anthems retained their grandeur without ever overwhelming the singers. Carla Papa’s choreography pulsed with vitality, matching the rhythms of the score while weaving in clever details that gave the ensemble moments of individuality. The movement was bold, expressive and constantly […]
August 9, 2025
If there’s one thing that can brighten a winter’s night faster than a spoonful of sugar, it’s Scotch College’s utterly charming production of Disney’s Mary Poppins the Musical. Directed with a mix of polish and playfulness by Melissa Sheldon and Stephanie Thompson (who also brought her signature flair to the choreography), this was a show that floated into the audience’s hearts with a twinkle in its eye and a skip in its step. From the moment the orchestra struck the first chord under the assured baton of music director Martin Cheney, we knew we were in good hands. Cheney drew out all the richness and sparkle in the Sherman brothers’ iconic score, balancing lush, full-company numbers with moments of gentle intimacy. Lucy Stirling was Mary Poppins – practically perfect in every way. With crystal-clear vocals, razor-sharp timing, and a poise that never faltered, she sailed through the Banks family’s troubles with the grace of a kite on a breezy day. Her chemistry with Asher Gordon’s endlessly likeable Bert was delightful; Gordon charmed the audience with […]
July 12, 2025
Laugh-out-loud one moment, heartbreakingly beautiful the next – Kimberly Akimbo is pure magic. This Australian premiere of Kimberly Akimbo is proof that some stories have no boundaries – and, if they land in the right hands, they take hold and become something new, yet deeply moving. Under the inspired direction of Mitchell Butel, this offbeat treasure unfolds with a pitch-perfect balance of tenderness, surprise, emotional richness and a touch of lovely chaos that couldn’t be more at home on an Australian stage. At the centre of it is Marina Prior as Kimberly – a casting choice that delights and surprises at every turn. Prior brings to Kimberly the warmth, mischief and painful vulnerability that make this improbable teenage hero so indelible. Seeing her navigate the craziness of a life lived too quickly – first love, lousy parents, an actually criminal aunt – is by turns hilarious and heartbreaking. She’s aided by a great ensemble who balance out the show’s goofy humour with genuine pathos. Darcy Wain is adorably awkward, earnest and incredible as Seth, Kimberly’s […]
June 22, 2025
A Quarter-Century of Camp, Class and Cabaret Chaos – Sharp enough to cut a corset! The Adelaide Cabaret Festival turned 25 – and like any true cabaret queen hitting a milestone, she threw a party bursting with sequins, sass, and sentimental swan songs. Held at the Festival Theatre, the silver jubilee celebration wasn’t just a showcase – it was a glitterbomb of gratitude, cheek, and community spirit. Who better to host than the indefatigably fabulous Virginia Gay, who tore into the evening with her signature blend of literary sharpness and musical mischief. Part emcee, part birthday cake with legs, Gay commanded the stage in a strappy number dripping with sensuality and self-aware smut. With that, she lit the fuse, and the party exploded into full gear. Gillian Cosgriff, armed with her piano, wickedly clever lyrics and dressed as a self-described grown up, goth Madeline, delivered a song so funny and frighteningly relatable, the audience laughed in guilty recognition. Her wit hits like a velvet sledgehammer – charming you first, then knocking you over. A ‘guess […]
June 22, 2025
A Show So Big, It Needs Its Own Safety Warning If cabaret were a weapon, Reuben Kaye would be a fully loaded glitter cannon aimed squarely at your expectations, your politics, and your heterosexual comfort zone. With enGORGEd XXL, he doesn’t so much break the fourth wall as kick it down in $4,000 six-inch heels and kiss the rubble. This isn’t a show – it’s a feast of ferocity: oversized, outrageous, and pulsing with charisma. The title doesn’t pull any punches, neither does Kaye. The moment he walks onstage before an 18-piece orchestra worthy of a Marvel finale, helmed by composer and music director extraordinaire Shanon Whitelock, you know you’re in for big band, big personality, and even bigger truths. Reuben performs like a drag queen fired from a confetti cannon – glam, loud, and striking its target dead-on. Nothing, from systemic oppression to Elon Musk’s cosmetic catastrophes, is off-limits and no punchline over-dressed. Meow… Among the emotional highlight reels is a tale of his childhood bully, reimagined with wicked humour as a monologue that […]
June 16, 2025
Late nights at the Adelaide Cabaret Festival have always held the promise of a little mischief and a lot of magic – and this year, Gillian Cosgriff has brought both in spades with There is Nothing Like a Game!. Equal parts game show, variety hour, and cheeky party, Cosgriff’s newest late-night foray is the perfect way to keep festival vibes buzzing well after bedtime. From the second she leaps on stage, Cosgriff reminds us all why she’s a festival favourite. Her sharp wit, relaxed charm and infectious silliness have the audience in the palm of her hand. She takes a straightforward idea – grown-ups playing silly games for the sheer fun of it – and turns it into a hilarious 90 minutes of laughter, nostalgia and surprise celebrity antics. Audience participation is the show’s lifeblood, and Cosgriff is a genius at encouraging even the shyest punter to shout out answers and barrack for their mates. Opening night highlights involved a desperate free-for-all to recall the birth order of the Von Trapp kids and a side-splittingly […]