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.

Cock Cock... Who’s There? | Adelaide Festival

Cock Cock..Who’s There? is a documentary show, devised and acted by Finnish-Egyptian filmmaker Samira Elagoz, in which she confronts her own experiences of rape.

Garrick Ohlsson

When Ohlsson’s gigantic figure strode onto the stage and sat down at the piano, he made it look like a toy. It reminded me of Schroder in the Peanuts cartoons. And sure enough, he played Beethoven.

Most read Adelaide reviews

Gaslight is an entertaining, non-convoluted, engaging and superbly written piece, so that it...