Go Down, Moses is challenging, abstract theatre that demands something of the viewer, leaving us with much to puzzle over. It’s not an easy experience and it won’t be to everybody’s tastes, but the Adelaide Festival isn’t doing its job if it doesn’t try to expand our minds and push a few boundaries.
Beowulf: The Blockbuster is a wonderfully engaging piece of theatre reflecting on the intersection between literature and real life, about how we use story-telling to make sense of the world. It’s universal myth-making at its best.
With so much in the Fringe tailored exclusively to either adults or children, it’s great to have a show that appeals equally to both.
Zach and Tom are best friends; they are also two very funny guys who present an entertaining hour of comedy and theatre through a series of scenes loosely based around the theme of friendship.
Le Gateau Chocolat and Jonny Woo are onto a real winner with A Night at the Musicals. It’s a simple but highly effective concept: two hugely entertaining performers in drag (bathing suits mostly) presenting highlights from the musicals.
It’s rare to find a children’s show that is so densely packed with ideas, while also remaining accessible, but Duckie manages to pull this off.
Late night at the Fringe is a strange, crazy time and thankfully there are an increasing number of acts that take advantage of this unique atmosphere. The well-lubricated audiences of 11 pm are up for a good time and Cult delivers just that.
Directed by Matthew Vecchio, ‘That Siege in Adelaide’ is loosely based around events like the 2014 Rodney Clavell saga and similar newsworthy happenings.
It’s an honest, edgy recording, delivered with fat riffs, tight grooves and a whole lot of soul. Listening to Mara feels like a late night juke-joint with a bourbon in your hand.
Along the Way makes for great summer listening in the chilled out, Jack Johnson vein.