LIA LOVES... THEATRE. DANCE. CULTURE. EVENTS.
Follow her adventures as Adelaide's premier theatre buff, arts contributor, educator and ambassador!
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 […]
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 […]
February 3, 2020
It’s no secret I’m a big fan of Adelaide Youth Theatre. In it’s tenth year, founders and producers Emma Riggs and Kerreane Sarti have created an incredible platform and learning ground for Adelaide’s young musical theatre talent; fostering the craft and building the foundations for a potential professional career. This summer school holiday show, Seussical, was put together in 2 ½ weeks with a cast from the ages of 12 to 21. Just read that again… Two and a half weeks. The incredible music of Stephen Flaherty and lyrics of Lynn Ahrens, based on the works of the formidable Dr. Seuss, was brought to life by the AMAZING production team of dual Director and Musical Directors Serena Martino-Williams and Jesse Budel and fabulous choreographer Nina Richi. Seussical takes us into the world of Dr Seuss, where we visit his beloved characters including The Cat in the Hat, Horton the Elephant, Gertrude McFuzz, Lazy Mayzie and JoJo. The Cat in the Hat guides us into the Jungle of Nool where we meet Horton, the kind hearted […]