Adelaide Reviews

Details: Nicholas Routley; 03 March 2021

The cast of one is Robyn Nevin, and it was no surprise that her performance was riveting.

Details: Nicholas Routley; 01 March 2021

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.

Details: Peter Bleby; 15 January 2021

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

Details: Peter Bleby; 09 September 2020

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.

Details: Nicholas Routley; 09 March 2020

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.

Details: Nicholas Routley; 09 March 2020

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.

Details: Peter Bleby; 07 March 2020

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.