Adelaide Reviews
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- Nicholas Routley
So was the weekend a success? No, said Richard Tognetti, it was an abject failure – instead of Nothing we had an overabundance of Somethings.
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- Nicholas Routley
Brecht’s play enters the 1920s world of cabaret, an entry thoroughly cemented by Kurt Weill’s biting, acerbic score.
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- Nicholas Routley
His one hour program contained no fewer than 20 pieces, played without a break, mainly on piano but also on harpsichord and electric keyboard.
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- Nicholas Routley
This wordless play has the pace of a symphonic adagio, starting in what might be late afternoon, traversing the night with its nightmares, and ending the next morning.
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- Nicholas Routley
This show is delightful, touching, and expertly put together, and is a testament to the insight and skill of all involved.
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- Nicholas Routley
In the aftermath of the Voice debacle, it is more than ever significant that this year’s Adelaide Festival has begun with two contemporary Indigenous ceremonies.
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- Nicholas Routley
This show, devised by Robert Lepage in Canada fifteen years ago, forms the operatic centrepiece of the 2024 Adelaide Festival.
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- Peter Bleby
It is not moralistic, but brings us face-to-face with some of the biggest questions that face us in our complex society.
Most read Adelaide reviews
RBG: Of Many, One | State Theatre Company South Australia
There have been many single handers in recent years – all done excellently, with talent, creativity and salient messages. But this one stands out from them all.
There have been many single handers in recent years – all done excellently, with talent, creativity and salient messages. But this one stands out from them all.
There is no doubt that the three programs presented by the Ensemble Pygmalion were the sensation of this year’s Adelaide Festival.