The bewildering confusion between dream and reality begins before one takes one’s seat in the theatre. You have to negotiate a building site and enter the Adelaide Festival Theatre by a side entrance (how like slipping into dream that is!), and put on a mask, so that it seems that the audience is itself on stage.

This is a production of which any director, cast and theatre company should be proud.

Gaslight is an entertaining, non-convoluted, engaging and superbly written piece, so that it stands up well after 80 years, especially when its traditional strength is imaginatively blended with some non- traditional contemporary casting.

Composer & Citizen: Chamber Landscapes

I declare that the weekend at Ukaria in the Adelaide Festival is a unique jewel in the musical calendar of Australia, where venue, audience, and performers, embraced by the curators of the weekend, combine to produce an experience as close to ideal as can be imagined.

Trois Grande Fugues | Lyon Opera Ballet

An evening when three different ballets are danced to a single score is a remarkable event. When that score is the inscrutable, un-danceable-to score that is Beethoven’s string quartet “Grosse Fuge” op 133, it becomes extraordinary.

Mouthpiece | Traverse Theatre Company

Fresh from last year’s Edinburgh Fringe Festival, this gripping and candid Australian Premiere is a most fitting exclusive addition to this year’s Adelaide Festival.

150 Psalms | Adelaide Festival

The 150 Psalms project mounted by the Adelaide Festival is unlike any other I’ve ever seen.

The Doctor | Almeida Theatre

You might not think that the ethics of the Hippocratic oath would provide a stimulating plot for the theatre, but the way Robert Icke’s drama interweaves this with all kinds of race, gender, and class prejudices makes this work a classic document of contemporary England.

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This is a production of which any director, cast and theatre company should be proud.


The bewildering confusion between dream and reality begins before one takes one’s seat in the...