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.
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.
Can a 21st century take on a Chekhov classic with an all-South Korean cast help Adelaide Festival reach new – and younger – audiences?
Windmill Production Company artistic director Clare Watson brings the rough and tumble world of roller derby into Adelaide Festival – along with a mother-daughter story that’s both deeply personal, and proudly complicated.
Nearly a quarter century since his own tenure as Adelaide Festival artistic director was controversially cut short, Peter Sellars reflects on his onetime home and the timely body of work he is bringing to the 2026 festival.
With her new book Pearls and Fringe production Who Killed Gough Whitlam? set to land within days of each other, Tracy Crisp talks about adapting her acclaimed stage shows for readers, and launching new work in a disrupted festival season.
Master clown Damien Warren-Smith reprises his alter ego Garry Starr in a highly revealing journey through the canon of western literature. ★★★★★
Part-seance, part-soliloquy, PSYCHOPOMP depicts a woman grappling with forces outside this realm, cutting to our anxious cores. ★★★★
All the men and women are merely players in Francis Greenslade’s artfully constructed tragicomedy that explores the roles we perform in the high drama of our relationships. ★★★★
In Horses, Elf Lyons enables you to see something you’ve never seen before: a real live horse onstage. ★★★★
Darkly funny and brilliantly delivered, Scout Boxhall’s wild night of medication withdrawal is masterclass in comedic writing. ★★★★½
Local folk artist Loren Kate brings a golden voice, beautiful range and faithful yet fresh arrangements to her renditions of primarily early-period Leonard Cohen favourites. ★★★★
Comedian Claire Robin’s debut solo show delivers a biting satire that pierces the veil between sensuality and spirituality. ★★★★
Documentary maker and writer John Safran’s hilarious show strikes the right balance between reading from his recent book and screening the satirical footage he’s known for. ★★★★½
Self-professed ‘shamanic healer’ Veronica Osorio has graciously travelled across oceans to heal our deepest wounds, both inside and out. ★★★★
The Routine evokes the classic practitioners of mime to tackle the mundane, as Canadian artist Joylyn Secunda seeks to revive a long-parodied art form. ★★★½
Two years after their award-winning Adelaide Fringe debut, South Australian creatives Nu Article and Sound of Circus Australia have returned with a flawless tribute to the importance of art, self-compassion, and resilience. ★★★★★
Sweeney Preston brings a comical crossover of his public works as a journalist and his private exploits with past lovers to Arthur Arthouse. ★★★★1/2
Complex and challenging in its subject matter, Innocence is an opera that makes us question profoundly the phenomenon of mass killings, from their causes to their repercussions.
Feeling Afraid As If Something Terrible Is Going To Happen offers us stand-up comedy, threatens us with devastation, but in the end, rouses hope. Hopefully you won’t swipe past.
In a meticulously staged production of a Samuel Beckett classic, Irish actor Stephen Rea gives a touchingly human account of a man in old age slowly revisiting and rewinding a life of disenchantment and missed opportunities.
From techno dreamscapes to heavy electronica, Hania Rani is unique among keyboard artists for the multiplicity of skills she possesses.
In his search to communicate about the genocide perpetrated against the Tutsi – an event of almost unspeakable horror — Dorcy Rugamba brings to bear artistic tools that remind us about the strength of love, connection, and remembrance.
Flamenco star Rocío Molina balanced controlled fury and balletic poise in an innovative celebration of the form’s history and possibilities.
Camille O’Sullivan’s Loveletter is an Irish toast to absent friends. Singers Sinead O’Connor and Shane MacGowan, along with David Bowie, are both mourned, and splendidly celebrated, in this mercurial musical tribute.
An iron fist in a padded boxing glove, Rhoda Roberts delivers a powerful tale of family strength and resilience with the phenomenal life story of her cousin, Francis Roberts, the first Aboriginal Olympian.
The acclaimed Cat Power takes on an unparalleled collection of Bob Dylan’s early songbook, and despite many musical highlights, this disconcerting performance left both singer and audience frequently on edge.
Forced Entertainment brings Shakespeare to the kitchen table, brilliantly retelling the Bard’s plays using pantry items and adding fresh spice to the great stories of the canon.
Peerless as a musical innovator, David Harrington stepped outside his usual role as first violinist of the Kronos Quartet to curate a series of exploratory concerts in UKARIA’s Chamber Landscapes. It could not have been more stimulating.
This complete rendering of Shakespeare, without actors and speeches, but instead storytellers using a cast of performers from the kitchen cupboard, not only intrigues us but shows us how an audience works.
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 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, My Chérie talks about building genuine connection ahead of her WOMADelaide appearance.
WOMADelaide Festival organisers have released details of first acts for 2026, including iconic Australian band Yothu Yindi – who will celebrate 35 years of their ARIA-award winning album Tribal Voice.
