Adelaide Reviews
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- Nicholas Routley
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.
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- Peter Bleby
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.
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- Nicholas Routley
The 150 Psalms project mounted by the Adelaide Festival is unlike any other I’ve ever seen.
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- Nicholas Routley
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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- Nicholas Routley
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.
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- Nicholas Routley
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.
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- Peter Bleby
150 Psalms by 150 composers, collected into twelve themes, and presented in twelve concerts by four a-capella choirs was the vision of Tido Visser, the Managing Director of The Netherlands Chamber Choir, and this concert was number 6 in that series, with the theme of Gratitude.
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