English theatremaker Hannah Maxwell brought two shows to this year’s Adelaide Fringe. While BABYFLEAREINDEERBAG satirises the creative and commercial pressures of the Fringe circuit, the more personal My Gay Lady is experiencing them firsthand.
Wright&Grainger’s contemporary updates of ancient Greek myths have made them Adelaide Fringe mainstays. This year, they’re bidding farewell with their most ambitious productions yet.
Review: Thousands turned out to see Sheffield’s finest Britpop exports kick off this year’s Adelaide Festival with a euphoric free set – and a pointed rebuke to censorship.
EXCLUSIVE: Back from overseas, artistic director Matthew Lutton speaks to InReview about the Adelaide Writers’ Week controversy that threatened to engulf his first Adelaide Festival program – starting next week.
As Slingsby Theatre readies its three-part curtain-call A Concise Compendium of Wonder, artistic director Andy Packer reflects on the company’s history, and their ecological ambitions for sustainable touring theatre.
Ahead of the Adelaide Festival premiere of Mary Said What She Said, the French cinema great reflects on playing a condemned queen, a murderous countess, and a billionaire – and her collaboration with the late Robert Wilson.
Enneagon Movement’s show dazzles with 1920s Hollywood flair. ★★★★★
A blend of quick-fire comedy, musical chaos and classic 1950s intrigue. ★★★
In this warm and wry solo show, Joann Condon unpacks a lifetime of labels, offering humour, honesty and hard-won perspective on identity, ageing and self-worth. ★★★½
The duelling duo turn family chaos into joyous drag mayhem, blending music, mischief and heart. ★★★★
Katherine Sortini’s raw and darkly funny solo show unpacks family trauma. ★★★★★
A launderette provides a space for profound revelation in this funny and engaging performance. ★★★★★
Mastering dance and whimsy in a perfect package, Lyons continues to ride high. ★★★★★
Blending workshop, conversation and performance, audiences are invited to break down barriers and reflect on trust. ★★★
A riot of bold, cheeky and electrifying variety. ★★★★★
With a little tightening of the sermon and a few more rehearsals at the altar, this church of cabaret could very well turn into a revival worth preaching about. ★★★
Estonian clown duo Piip and Tuut bring playful mayhem, music and gentle audience mischief to a family-friendly show that celebrates silliness over scares. ★★★
The magician delivers a slick, high-energy show packed with cheeky charm, rapid-fire tricks and baffling sleight of hand. ★★★★★
Hofesh Schechter Company’s latest masterpiece breaches boundaries between waking and dreaming worlds, between audience and performer to reveal exhilarating and at times unsettling glimpses into the surreal dream landscapes of the subconscious mind.
This year’s Adelaide Festival ended on an unusually introspective note in a partnership of discipline, warmth and empathy. Krylov and Shamray are two extremely complementary musicians.
Curiously and successfully blending narration with performance, Gatz brings an American classic into fresh perspective.
Stephanie Lake Company elicits all the superlatives once again with an unforgettably compelling, beautifully human work, consummately performed.
Adelaide photographer Alex Frayne takes us on a road trip through an empire in decline, with snapshots taken across three years touring the no-tell motels and downtown districts of the United States.
Despite some last-minute flight reshuffling, this year’s WOMADelaide made it look easy with jubilant sets from Grace Jones, Arrested Development and Yothu Yindi – and more standout performances away from the mainstages.
With Works and Days, Belgian theatre company FC Bergman set – and destroyed – the stage in an exceptional, in-motion illustration of what human progress means.
Isabelle Huppert is superb as Mary Queen of Scots in an unorthodox monologue that explores the woman who would be queen. And Adelaide finally has a chance to see the theatrical vision of the late Robert Wilson.
One could only marvel at the precision, intensity and beauty of Pygmalion’s performances of Monteverdi’s Vespers and Rossi’s Orfeo. This French team sets a phenomenally high standard.
The cult legends spin dark Soho tales with virtuoso musicianship and eerie theatrical flair. ★★★★★
A meta-layering of perspectives and storytelling mediums gives re:group performance collective’s POV a bubbly charm, even as the show delves into the serious territory of how parental mental health affects children.
Violinist Anthony Marwood’s musicianship seemed to know no bounds in this year’s Adelaide Festival, especially when he teamed up with pianist Olly Mustonen in Elder Hall’s final all-Russian program.
How does an Adelaide band that hasn’t released any music end up playing some of the biggest festivals in the world? Any Young Mechanic tells CityMag how it happened.
Kankawa Nagarra was 80 years old when she won the $50,000 Australian Music Prize. Ahead of her WOMADelaide debut, the Walmatjarri Elder, Stolen Generations survivor, and singer songwriter reflects on her “extraordinary journey”.
Jalen Ngonda’s first album might deliver the classic soul sounds you’d expect from the Daptone Records stable, but ahead of his first WOMADelaide experience the singer songwriter says he just sounds like himself.
WOMADelaide director Ian Scobie and associate director Annette Tripodi share their highlights for the 2026 program and reflect on the festival’s “secret sauce”.
Returning to Australia for the first time in eight years, Iron & Wine singer songwriter Sam Beam reflects on the ‘endless joy’ and ‘human experience’ of making music – even when it means learning to let go.
In 2026, the Adelaide Fringe guide is an intimidating 176-pages long. Who has the time? Dear reader, certainly not you. Instead, let social media star Tilly Oddy-Black guide you through the festival season, with her must-stop places in Adelaide.
In our regular Q&A column What’s My Scene, InReview speaks to emerging and established local artists to get their take on the South Australian creative scene and their place within it. This week, artist and filmmaker Allison Chhorn shares how memory and family inform her new exhibition, Fruit Tree Sun.
In 2026, the Adelaide Fringe guide is an intimidating 176-pages long. Who has the time? Dear reader, certainly not you. Instead, let comedian Jenny Tian guide you through the festival season, with her must-stop places in Adelaide.
Theatre-maker, trained clown, and producer Britt Plummer explains how The Courtyard of Curiosities has snowballed from a yurt in a museum courtyard to an international artists’ hub.
In our regular Q&A column What’s My Scene, InReview speaks to emerging and established local artists to get their take on the South Australian creative scene and their place within it. This week, unmothered composer and Dead Darling Theatre co-founder Amelia Rooney shares her journey to the Adelaide Fringe.
In 2026, the Adelaide Fringe guide is an intimidating 176-pages long. Who has the time? Dear reader, certainly not you. Instead, let the co-creator of RocKwiz, Brian Nankervis, guide you through the festival season, with his must-stop places in Adelaide.
