The List's Adelaide Summer Festivals Guide 2026

ADELAIDE THE LIST SUMMER FESTIVALS

CABARET & CIRCUS

COMEDY KIDS

THEATRE & DANCE CITY GUIDE MUSIC OUT OF TOWN GUIDE

VISUAL ART & INTERACTIVE

ADELAIDE SUMMER FESTIVALS GUIDE 2026

CONTENTS

Welcome

Welcome to The List Adelaide Summer Festivals Guide. It’s a privilege to put the very best of festival season straight into your hands as we gear up for a month of laughs, gasps and good times.

This year, the road to Adelaide’s festivals hasn’t always been straightforward. The List stands with Randa Abdel-Fattah and all the principled writers who withdrew from Writers’ Week, leading to the event’s cancellation. As we go to press, we’re delighted to see some smaller, author-led events emerging; keep an eye on list.co.uk/adelaide-festivals for updates.

At heart, art and culture is built on sharing ideas. We don’t always have to agree with those ideas. We can, we should, sometimes be shocked, disturbed or challenged by the stories and points of view that will be shared in the weeks ahead. So seek out the stretch: book a new name, try a new genre or explore a new venue. Adelaide is a place for open minds and open hearts. Let’s make this the best season yet.

Jo Laidlaw EDITOR

PS Want even more fresh-out-the-box reviews? Of course you do. We’re partnering with InReview and InDaily this festival season, pooling our resources and working together to review more shows, support more artists and reach more festivalgoers. Go to list.co.uk/ adelaide-festivals or indailysa.com.au/inreview for our combined reviews.

Acknowledgement Of Country

We acknowledge and respect the Traditional Owners of Country as the first peoples, nations and storytellers of South Australia and pay our respects to Elders past and present. We acknowledge that they are the traditional owners and occupants of land and waters in South Australia and that their spiritual, social, cultural and economic practices come from their traditional lands and waters. We recognise that they maintain their cultural and heritage beliefs, languages and laws, which are of ongoing importance. We believe they have made, and continue to make, a unique and irreplaceable contribution to the State.

FESTIVAL DATES FOR YOUR DIARY

ADELAIDE FRINGE

20 February–22 March

adelaidefringe.com.au

ADELAIDE FESTIVAL

27 February–15 March

adelaidefestival.com.au

WOMADELAIDE 6–9 March

womadelaide.com.au

CONTRIBUTORS

CEO Sheri Friers

Editor Jo Laidlaw

Art Director and Design

Seonaid Rafferty

Subeditor

Paul McLean

Advertorial Designer

Bradley Southam

Writers

Annabel Fedcesin, Claire Sawers, Danny Munro, Fiona Shepherd, Hannah Homburg, Isha Juneja, Isy Santini, Jay Richardson, Jo Laidlaw, Lisa Woolford, Neil Cooper, Rachel Cronin, Tahlia Kozlovic

Plus special contributions from Bernie Dieter and Wright&Grainger

Eat, Drink & Explore

Katie Spain

Head Of Commercial Jayne Atkinson

Business Development Manager

Lachlan McMaster

Online News Editor

Kevin Fullerton

Print & Digital Content Editor

Murray Robertson

Head of Marketing & Events

Leah Bauer

Marketing & Events Executive

Eve Johnston

Clown

UAdelaide’s Fringe is the place where a new breed of clowns come to thrive. Jay Richardson delves into the discipline: no red nose required

nderpinning Mel McGlensey’s latest show, Normal, is frustration with the comedy industry’s failure to celebrate its ‘weirdos’. The clown/ comedian is ‘tired of seeing the same people on TV over and over, the same faces selling out massive stadiums.’

‘Other countries are much better at embracing the weird,’ she says. ‘Our true weirdos become streamers or TikTokers because they don’t get institutional recognition’.

the ectionately.’

By contrast, fringe festivals o er a welcome showcase of nonconformism and diversity. Adelaide, where the Melbournebased American scooped the Best Comedy Award in 2024 for debut clown show, Motorboat, has become McGlensey’s ‘heart home . . . one of the few places where weirdos and freaks get to reign supreme. And I mean that a ectionately.’

Certainly, this year’s Fringe re ects a global vogue for clowning. Welcoming back the US-based Kiwi mime superstar Tape Face, as well as internationally feted performers such as Garry Starr and Elf Lyons, McGlensey maintains it’s a golden age for the artform, supported by venues like The Courtyard Of Curiosities (co-founded by critically acclaimed clown Britt Plummer) and Fool’s Paradise.

Plummer) and Fool’s Paradise.

Adelaide Fringe has an exploratory purpose that showcases ‘stu that’s out of the ordinary’, suggests Ben Volchok. Volchok’s improvised clown show, The Ceremony, came to Adelaide in 2024 and 2025. He’ll premiere a more personal scripted theatre show this year, One Must Imagine The Boiling Frog Happy, set entirely in a hot tub.

Clowning’s popularity has grown steadily: Volchok traces a line from Slava’s Snowshow, which detached the artform from its circus associations in the early 1990s to become a theatrical spectacle, to the likes of Natalie Palamides landing a Net ix special and Julia Masli becoming the toast of New York.

line from spectacle, we’re

Volchok argues that clowning’s emphasis on inviting audiences to engage with the performer means, ‘there’s been huge uptake, possibly linked to a desire for human connection a er the pandemic. Or maybe we’re just sick of the same old kind of stu and clowning is inherently surprising, with its ethos based on being in the moment.’

Speed

Ozzy Algar enjoyed a cult hit at the Edinburgh Fringe with Queen, in which they portray Pet, the sage but unsettling otherworldly custodian of the last launderette on the Isle Of Wight. Algar is bringing this eccentric tale of island folk to Adelaide and,

town

while the show could be labelled niche, Algar points out that witnessing the de antly odd but abundantly empathetic Julia Masli’s success ‘has been so exciting. It shows that clowning can really travel’.

Speed Queen draws on Algar’s love of cabaret, their roots in character comedy and an eclectic training, including time on the unforgiving stand-up circuit, workshops with fellow British clowns Luke Rollason and Christian Brighty (since graduated to considerable mainstream recognition), as well as the almost-obligatory stint studying at the famous Ecole Philippe Gaulier in France.

‘As clowning becomes more and more popular, it’s going to have more and more voices making it better and more varied.’ Algar argues. ‘Now that Gaulier has retired, others are going to bring their slant to teaching it and carrying on the tradition. There’s going to be more mixing with other styles, especially character comedy.’

In Normal, McGlensey delegates the direction of her character Norm-Elle to the audience through a choose your own adventure-style videogame platform, designed by partner Douglas Wilson, with clowning’s traditions enabled by modern technology and an unfettered sense of play. ‘I’m at my best when I don’t know what’s going to happen next,’ she explains, ‘when I’m unbalanced and o -kilter but totally present, waiting to nd out where the show’s going. Just like the audience.’

Discovering her clown 13 years into a career that was shaped by sketch and improv, McGlensey was encouraged to develop a performance style that didn’t rely on speaking, when previously ‘words were my shield and favourite weapon’. She quickly arrived at the signature, bosomy routine that became Motorboat and has sustained this satirical blend of naivety and sexuality in her new show.

‘I had to look around and question what else I could use to make my art and the answer was my body,’ she explains. Encouraged to take up space, ‘no longer hiding behind witticisms, realising that the meatsack I walk around in could be an asset rather than a hindrance, was a big deal.’

Clown

Volchok experienced a similar epiphany. ‘I’ve always been quite verbal, word-focused and written,’ he reflects. ‘But there was something about clowning and its raw nature that really appealed. It was a way for me to get out of my mind and unlock something extra. It was freeing.’

Not that clown training is for every performer. At least, not the bits of being browbeaten and broken down by an elderly Frenchman, repeatedly told you’re shit, until something truthful emerges. ‘I’m in no way an evangelist for Philippe Gaulier,’ McGlensey says carefully. ‘That kind of direct, honest feedback could be damaging if you don’t want to hear it. But I so badly wanted to be told, without any kind of couching, what I did well, what I could do better and how to become myself more on stage. I craved it. The process necessarily forces a lot of introspection. But it had a profound, revelatory effect upon me.’

Algar, likewise, is reticent about dwelling on the brutalising aspects of clown teaching or even trying to define the artform’s more nebulous aspects. But they acknowledge the deeply personal scrabbling in darkness it provoked. ‘I’m loathe to keep the myths alive because there are plenty of people who’ve done it and come out of the other side great,’ they say. ‘But I was only ever funny when I cried at Gaulier; that was the only time I made people laugh. It’s become clear that melancholy is what makes me good at what I do. Not that I set out to make Speed Queen quite so emotional. It’s just that it felt good for me to feel a range of emotions that were kind of horrible . . . but also ethereal, hard to pin down.’

Mel McGlensey Is Normal, Gluttony Rymill Park, 20 February–1 March, 8pm.

One Must Imagine The Boiling Frog Happy, Arthur Arthouse, 20 February–8 March, 7.15pm.

Ozzy Algar: Speed Queen, 10–22 March, The Courtyard Of Curiosities (Migration Museum), 7.50pm.

3 To See clowns

CASEY FILIPS: VIRTUOSO

Filips reprises his delightful 2024 show, sendingup his profession with an extended audition from pompous, po-faced thespian Tobias Finlay-Fraser. One for anyone who has ever known an ac-tor, with plenty of audience participation to help you relive your trauma.

n Gluttony Rymill Park, 10–15 March, 8pm.

CHARLIE MULLINER: LOVE HUNT

Marrying clowning and character comedy, Love Hunt portrays yearning, desire and soul-searching in all its unbridled chaos. Principally focused on Amber, a privileged but pitiful young woman whose world is in freefall after her unfeeling, rugger-bugger boyfriend Rob kicks her to the kerb, other memorable creations in this eclectic hour include an uproarious nun, rooting out lustful thoughts in the crowd like a bloodhound.

n The Courtyard Of Curiosities (Migration Museum), 19 February–1 March, times vary.

JEROMAIA DETTO: GIUSEPPE’S LOVE QUEST

Few would make a defence for Detto’s sockeschewing alter ego Giuseppe Alfresco being anything but an exaggerated Italian stereotype. Yet in his pursuit of amore and other kinds of love (singing, flirting and inveigling the audience into his courtships), you can guarantee that the clownish improviser will 100% commit to the bit.

n Gluttony Rymill Park, 3–15 March, 9.15pm.

As Wright&Grainger, best mates Al and Phil create wild retellings of Ancient Greek myths. Returning to Fringe with three shows (Orpheus, Eurydice and Selene), we asked them for their top ten gods. They overdelivered . . .

When our pals at The List asked us to come up with our top ten Greek gods, we tried our best. But we’ve got a heap of favourite gods that aren’t Ancient Greek, so we’ve gone with them instead. In our previous show, The Gods The Gods The Gods, we talked about what happens when the ancient gods disband and disperse among all of us lot. The idea being that the gods retire and, while they’re not exactly normal, they’re a bit more normal. And once you start looking for them, you start to see them: those people with a twinkle in their eye, or those living a bit outside of the mainstream, or with something magic about them. So here’s some of our gods. Some you’ll know, some you won’t; there’s loads more but they only gave us two pages so . . .

JOINT GODS

MIKE SKINNER / THE STREETS

An All Time God. We wouldn’t do what we do without growing up listening to The Streets. A master of the beauty in the pedestrian, of the remarkable in the ordinary. And also of being an absolute wildcard. Absolutely love him. Absolutely wouldn’t wanna be him.

OTIS REDDING

The sheer soul in his art is astounding. How he knew all that, felt all that, expressed all that by the time he was 26 is impossible for a human. Listen to ‘Sitting On The Dock Of The Bay’ and think how he recorded that when he was 26, ten days before he died. He sang ‘Try A Little Tenderness’ aged 24!

GUY GARVEY

Right, if you don’t know the British band Elbow then get them in your ears. Guy Garvey is either a god or an angel. He’s magic. His lyrics and his voice: come on! The most uplifting melancholy. Pure gruff beauty.

JONI MITCHELL

I mean, enough said, surely. But . . . 100% god. 100% magic. 100% knows more about poetry and life and people than the rest of us. Also, arguably, she’s just pretty much come back to life, which is a pretty god-like move.

ALAN LANE

Alan Lane runs a theatre company called Slung Low. During covid it became the biggest food bank in the UK cos they chose to tell the story that no one goes hungry. So no one did. He’s a force of nature and the world is better for him being in it.

WRIGHT’S GODS

KAE TEMPEST

I’ve spent years being in absolute awe of how Kae Tempest puts words together and how he draws from ancient stories and weaves them into the every day. My writing is peppered with so much stuff I’ve learnt and stolen from him. He’s channelling something in poetry, music and prose that changes you.

ZOHRAN MAMDANI

Because he wants to change the story of a whole city and give the story to the people in that city. And that is brilliant. And so often the story needs to change. And quite often, in stories, a god turns up right when you need them the most.

GRAINGER’S GODS

NIGEL KENNEDY

A potential left-field choice here. But he’s channeling something that no one else is and has done it all his own way. I watched him play his version of The Four Seasons live and he’s such a god. An oddball brilliant god. He’s a complete rebel and punk who happens to be one of the world’s best violin players. What a combo.

NINA SIMONE

Of the people this world is lucky to have encountered, Simone is at the top of that list. The level of soul she holds, the level of activism in her music, the link between people and art and community and politics: it’s huge. She was a force for good, a force for change, and her medium was music.

Selene

Eurydice

We have not one, but two Megans as part of the Wright&Grainger family this year. We’ve had the absolute pleasure of making our brand-new show with Megan Drury (who performs it too) and we’re stoked to welcome Megan Shandley into : they gave us a god each.

MEGAN DRURY’S GOD

FRANCESCA ALBANESE

A god who recognises the unjust international power dynamics in our human world and stoutly toils to keep our stories (the information we know, understand, pass on) and, therefore, our lives directed toward truth, equity and egalitarianism. As an artist, I aspire to this.

MEGAN SHANDLEY’S GOD

MARY OLIVER

comfort

Poetry has always been a go-to comfort for me and when I read Mary Oliver’s poems, I’m always struck by her ability to reflect exactly how life feels in very specific moments. Almost like she’s peeking through a wee window into my soul. If that’s not godbehaviour, I don’t know what is!

Eurydice, Orpheus and Selene are all at The Courtyard Of Curiosities (State Library), see list. co.uk-adelaide-festivals for full listings information.

DELIVERING THE

GODS

Sister Act

With The Damage Is Done, Katherine Sortini takes on a new challenge. She talks to Jo Laidlaw about the pressures of a one-person show, the ongoing fight for queer acceptance and why not everyone has to love her work

After training as an actor at Flinders Drama Centre, Katherine Sortini soon moved into creating and producing her own work through self-founded company Deus Ex Femina. After a couple of years off, Sortini returns to Fringe with the world premiere of The Damage Is Done, continuing her dedication to telling queer stories. ‘I’ve been doing a lot of producing so this is like coming back, getting back into it,’ says the actor, playwright, producer and poet over Zoom. ‘This is my first ever one-person show that I’ve written too, so I’m excited.’

She follows a long line of young South Australian actors who’ve gone on to develop multi-strand careers. ‘When you go through drama school, they tell you it’s rare to come out and become a full-time actor straight away, or ever,’ says Sortini. ‘There’s a kind of theatre-maker skill you might need to develop if you want this to be a career . . . a lot of people find success in different veins, they might act in shows once or twice a year and then spend the rest of their time making work with other people, which is really exciting.’

She cites the UK’s theatre tradition of one-person shows as an inspiration, admitting most of her previous work has had a creative team running into double figures. ‘This is my first show where it’s just me and the director, which I really wanted to do. I want to see if I can tour something financially viable, rather than the bigger shows. It’s not how I work, I’m normally very collaborative, so it’s been challenging but in a good way.’

The Damage Is Done centres around a family secret, a coming-out story and two very different sisters; one the golden child, one queer. Darkly funny, the shifting statuses within the family unit parallel the way the world at large thinks about queerness. ‘Parents still disown their children and send them to conversion simply for being gay, at the same time as apologising for these really evil things like sexual assault: “He might have done it, but think about his scholarship”, you know? In some places, being queer, something you can’t choose, is as bad as being the most evil thing you can be.’

Sortini firmly believes coming-out stories will always remain part of the queer canon. ‘Queerness is not as accepted as we maybe think it is. Of course, it’s better than it was. But these stories are necessary to tell. I think also there’s an ownership of coming out, where you are saying “I am ready to let the people that I love know that I love this way.” That’s a sacred ritual. And yet there’s still a massive fear of being rejected for what you are, which is part of this character, Isadora’s, journey.’ It’s safe to say that Isadora picks her moments though, choosing the point when her sister Christina’s life is very much on the rocks to introduce her parents to her female partner. ‘Isadora isn’t delighted that her sister’s been shunned, but she does think “this is my time to shine”, which is pretty dark.‘

Sortini is building her reputation as a writer on gritty stories that glory in the complex. ‘Queer people deserve the gorgeous, rich characters. We need nuance and we need nicheness.’ She’s an advocate for theatre that challenges and queer characters that are allowed to be messy and plain unlikeable. Let’s face it, no one wants to go down the pub with Hedda Gabler, and Fleabag could be a bit of a cow, but no one complains that straight characters are too complicated. ‘Everyone is messy, whether you’re lesbian, whether you’re not, whether you’re gay, whether you’re queer, whether you’re not . . . gay people voted for Trump, after all.’

Queer theatre doesn’t just have to be joyous: showing a character’s internal struggles can lead to a richer experience. ‘That’s the core of why I make work and theatre does that so well,’ says Sortini. ‘There’s something about being live and watching someone in the moment, sharing a story and gaining empathy or understanding. You can be crying and still be entertained. Sometimes I’ve not laughed once during a show, but I’ve been riveted.’

As for who the show is aimed at, Sortini reflects: ‘I think there’s this parasocial thing now [led by social media] where we think we’re always the target audience . . . but sometimes, you’re just not. If you’re a straight white man, you might not like my show. I hope you do, but you’re not the target audience particularly. Queer people will watch the person on stage for 60 minutes and go “I see myself in that”. We can’t cater towards everyone, darling.’

The Damage Is Done, Goodwood Theatre And Studios, 11–15 March, 7.30pm.

‘A

delaide has a special place in my heart,’ says sultry singer and punk cabaret impresario, Bernie Dieter. ‘It’s where I catch up with all my Fringe family from all over the world. I’ve not been back for six years so I’m excited to return.’

Dieter (real name Jen Byrne) is the half German/half Australian diva who invites audiences in for 100 minutes of irreverent, saucy fun in Bernie Dieter’s Club Kabarett. Her troupe of circus and burlesque performers wow with contortionism, trapeze, fire, tap dance and drag. It’s Dieter’s job to weave it all together; she makes her way to the front row in stilettos and a bodysock, fluffs her crowd, teasing folks out of their shell and straight into her bosom. She’s followed by the likes of fire-breathing stripteaser Jacqueline Furey who combines flaming torches and burlesque sass, then the tall, elegant and neatly moustachioed Iva Rosebud, a drag queen in slippery pink silk. Contortionist extraordinare Soliana Ersie makes it look like no big deal as she casually wraps her legs around her ears. Jarred Dewey turns in a magnetic performance in porn heels while turning himself inside out on the aerial trapeze, and incredible tap dancer Caleb Cameron (fresh from the Crazy Horse club in Paris) melds seamlessly with the live band.

“

Dieter reminisces about being ‘a cabaret baby’, performing her late-night Little Death Club in The Garden Of Unearthly Delights back in the day. ‘I’d flyer four hours a night. We completely sold out which was amazing. We ate lots of pancakes: there’s a 24-hour pancake parlour in Adelaide. It’s beautiful summer weather and the Garden is such a chill place to hang out and meet artists that really inspire me, like Dr Brown, Frisky & Mannish, Abandoman.’ ‘Little Death Club has evolved and matured since then. The flow feels really right. It began as a variety show with naughty, absurd artists that I love, but Club Kabarett is in a different league. We create this world that people can come into, this Berlin cabaret club. The show has taken on important social and political commentary but retains that punk energy.’

Dieter prides herself on reading the room every night. ‘Meeting the crowd where they are; holding them, lifting them, bringing them in. It’s like good sex!’ she declares. ‘Everyone in the right place at the right time. Creating a mood, considering what’s come before: has it been a stressful day? That’s when the magic happens, right?’

Bernie Dieter’s Club Kabarett, The Garden Of Unearthly Delights, 21 February–22 March, times vary.

With her latest show, Bernie Dieter is bringing spills and plenty of filthy thrills to Adelaide. Claire Sawers chats to the cabaret queen about Fringe memories and getting her audience in the right mood

It’ s like good sex!

CABARET & CIRCUS

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Bernie Beauts

ELF LYONS: SWAN

Elf is a brilliant clown and her punk-fuelled rendition of Swan Lake promises ballet, violence, wrestling, nudity, an evil owl, magic, 45 bras and a very loose grasp of the French language. I can’t wait.

 The Courtyard Of Curiosities (State Library), 20 February–22 March, 7.30pm.

HISTORY OF HOUSE: GREATEST HITS

Australia’s original superstar DJ Groove Terminator and South Africa’s incredible Soweto Gospel Choir return to Adelaide with their greatest hits. I was lucky enough to see one of their shows in Sydney and the choir just absolutely blew me away. The vocals are powerhouse and you’ll want to dance all night.

 Gluttony Rymill Park, 20 & 21, 27 & 28 February, 1, 6–8, 12–15, 19–22 March, 8.30pm.

THE LADYBOYS OF BANGKOK

I had the privilege of sharing a tent with these gorgeous humans one year in Brighton and the show is so much fun! The girls are stunning, the costumes are incredible: it’s high camp at its very best.

 The Garden Of Unearthly Delights, 18 February–22 March, 9pm.

LASH

OUT

This is a world-class, all-female circus cabaret. With so many powerful women in one cast, this show is sure to be fierce, feminine and fabulous.

 Fool’s Paradise, 26–28 February, 1, 4–9 March, 8.50pm.

MADAME MARTHA’S PARISIAN CABARET

This is a powerhouse trio of performers fusing live vocals, dance, burlesque and drag in a decadent late-night escape. It stars the gorgeous Iva Rosebud (who is performing with us in Club Kabarett) and, as you’ll see, when you are with Iva, you are always in for one hell of a party.

 Gluttony Rymill Park, 27 & 28 February, 6–8 March, 10.20pm.

When a powerhouse of Australian cabaret calls with her top tips for your Adelaide viewing pleasure, you bet your boots we’re going to listen. Here’s the glorious Bernie Dieter’s pick of the Fringe

SKANK SINATRA: THE NAME ON EVERYBODY’S LIPS

Skank is Australia’s next drag superstar with killer vocals, looks and high heels to match. This show is bound to be a camp Broadway extravaganza with buckets of sass. Don’t miss it.

 Gluttony Rymill Park, 9–15 March, 6pm.

TASH YORK’S CHAOS CABARET

Tash is a diva of the highest order and this improvised variety gameshow is bound to be one of the wildest nights of your life. There will be wine, there will be nudity and there will most definitely be chaos.

 Gluttony Rymill Park, 3–9 March, 7.30pm.

TREVOR JONES: SING IT!

Trevor is my favourite piano man. Can play anything, can sing anything with so much energy and passion; it’s infectious. Guaranteed to have you belting showtunes from the top of the bar by the end of the night, and yes I do speak from personal experience!

 The Garden Of Unearthly Delights, 8, 15, 22 March, 3pm.

27 Club

bring you this high-energy rockumentary, bands covering songs by Bowie, Prince and Sharon Jones (just to name a few). This will be one of the best live music gigs at the Fringe. Gluttony Rymill Park, 19 February–9

with one of Australia’s hottest seven-piece March, 6.30pm.

EURYDICE

myth, a fusion of storytelling and soaring electronica. Wright&Grainger make beautiful theatre for the times when you want to be truly transported.

The Courtyard Of Curiosities (State

Library), 19 February–22 March, 8.30pm.

Smash up

It’s her seventh year at Adelaide Fringe and Millicent Sarre wants us to show a little more love to ourselves and each other. Lisa Woolford chats to her about the big issues: professional feminism, burnout and what to have for dinner

Hi Millicent, can you give me the elevator pitch for your show? It’s a comedy about burnout because it’s something that I struggle with frequently and I believe a lot of us are grappling with. I think that there are society-wide, systemic issues to blame. I think it’s a feminist issue. I think it’s a social justice issue. I think it is an issue of progress and change and I want to dissect that and empower my audience to believe that we do have the power to better take care of ourselves and the world around us.

Was there a particular moment that inspired the show? I’ve been wrestling with it for 18 months. I find when I’m going to write a new solo piece, there is something in the ether that’s been tugging at the edge of my brain, something that’s bothering me. I need to work through it, through my music.

Are you really the antidote to the exhaustion of having to decide what to have for dinner, as your blurb claims? Every. Single. Night? I can claim to do a lot of things, Lisa, but unfortunately, helping people decide what to have for dinner is not one of those things. That one, I think, is beyond me.

Fair enough. How about some light relief from the relentlessness of the daily grind? That is my aim. If people walk away feeling a little bit lighter, like they have a little bit more autonomy to make change, like there’s a bit more pep in their step, then I will have done my job.

You call yourself a professional feminist: please explain? It emerged from a gag in my show, Millicent Sarre Is Opinionated. It was my spiel, it was funny and it stuck. But when you work in the arts, you’re a multihyphenate with so many strings to your bow; you can’t really say ‘I’m a singer, a songwriter, cabaret artist’. It’s just easier to put it under one title. So professional feminist it is.

That show won Best Cabaret at Adelaide Fringe. Do awards add pressure? I have run myself into the ground a little bit with this pressure of ‘hey, you have a proven track record that the stu you create has been really well received. You better live up to that.’ Everything that I create, I want it to be better than the last thing. I de nitely put a lot of pressure on myself early in the writing process, to the point it was detrimental and I had to actively take that pressure o .

What can audiences expect? It’s a new original score and I’m expanding the musical output of the show. I was the very grateful recipient of an Adelaide Fringe Foundation grant which allowed me to invest in some equipment that is going to make the musical side of things very speccy.

You’re going to go Ed Sheeran and loop? I am literally going Ed Sheeran. I have a beautiful loop station and that means that with just one voice, I can make these lovely, lush vocal harmonies and arrangements. It’ll be me on the keys, and then my beautiful partner Cameron is going to play guitar. It will be a sonic treat.

There’s often audience interaction in your shows. Yes, my audience will be singing, consensually. They’ll have some little songs written about them. And I love that intimacy and direct relationship with the audience; because the audience is di erent every night, the show is di erent every night.

What do you hope they leave with? That they want to take better care of themselves, so that they can take better care of the people around them and the world around them, and that taking care of themselves doesn’t have to be perfect or picturesque. Even small acts for yourself and other people are meaningful and matter.

Like buying tickets to the Fringe? Exactly. Buy early and buy lots. But seriously, I encourage audiences to expand their Fringe viewership. Of course, you can go and see the names that you know and love but also taking a chance on new and emerging acts is always worthwhile. It gives you the opportunity to say ‘I saw them before they were famous’. I’m mentoring three young, fantastic emerging artists: Phoebs, You’re A Lesbian by Phoebe Rodger, Tayla In Oz by Tayla Alexander and Maybelline Is In Her Slut Era with Maybelline San Juan. Fresh ideas are awesome and people really should go see them.

Can you believe that you are now mentoring people? It is a little bit strange. It feels very full circley, and the circle didn’t take very long to close up.

Millicent Sarre Is Too Tired To Smash (Patriarchy), Gluttony Rymill Park, 20–22, 24–28 February, 1 March 8.40pm; Gluttony At Tandanya, 15 March, 5pm.

FRINGE: CIRCUS 3 TO SEE

Once again, the Fringe draws circus shows from every corner of the world to Adelaide, featuring gasp-inducing stunts that will test the limits of the human body. Returning after last year’s multi awardwinning Yoah, Cirquework’s new show Gasha aims to immerse audiences in a stunning contemporary spectacle. Blending a futuristic portrayal of Japan with audiovisual effects designed to keep viewers on the edge of their seats, it creates a new world that’s deeply rooted in Japanese cultural motifs. Recommended for those looking for a seamless blend of tradition, modernity and heart-stopping thrills. La Ronde premiered in Adelaide last year, where its blend of gender norm-defying skills and unbelievable stunts, all delivered with a cheeky nod and a wink, certainly got the city talking. Well, the good news is they’re back and doing it all over again. Expect an explosion of hooping, swinging and twirling, with plenty of jawdropping moments, all held together by gorgeous music. Oh, and fire. Lots of fire.

It’s not all about the amazing international acts coming to Adelaide though: South Australian Circus Centre’s show proves our own backyard is bursting with talent. The Pack features a young cast (who train weekly as part of Cirkidz) and combines circus arts with everyday objects to explore the complexities of adolescence. Their three performances (get booking) place the spotlight firmly on South Australia’s emerging circus stars, while portraying a thoughtprovoking narrative of youth and identity. (Tahlia Kozlovic)

 For full listings, see list.co.uk/adelaide-festivals

FRINGE: CABARET A STAN IS BORN!

Musical theatre performer Alexis Sakellaris is fresh to the world of comedy but his autobiographical cabaret show has already made a splash. A Stan Is Born! receives its Australian premiere at Adelaide: think Bo Burnham, but gay. They say write what you know and Sakellaris is a proud stan with a PhD in Stanology (if such a thing exists). So what does stan stand for? Super-duper-uberfan, specifically of the pop divas who sustained this New York-born, London-based artist through a childhood spent in rural Germany. We’re talking Celine and Mariah, Whitney and Beyoncé: lifesavers for a confused kid struggling to transition from an anything-goes metropolis to a conservative small town where they don’t speak the language, in any sense. Rather than a conventional coming-of-age confessional, Sakellaris homes in on the tweenager wilderness years when he struggled to fit in, leaning specifically on female role-models for safety and support. The show is replete with impersonations and playful stereotypes, hairography (gotta work that mane) and ten original songs written from a childhood perspective but with ample opportunity for diva riffing and a core takeaway message: ‘If you can’t stan yourself, how the hell you gonna stan somebody else?’ (Fiona Shepherd)

 The Garden Of Unearthly Delights, 15 February–22 March, 9.30pm. for safety and support. The show is replete with impersonations

SKINNY

Watch out. Skinny is back and so too is Skinny, Michelle Pearson’s devastating take-down of fatphobia and body prejudice told through humour, song and storytelling. Pearson doesn’t miss her targets, but her warmth and vulnerability ensures this is a moving and entertaining hour.

 Plant 4 Bowden, 22, 26 February, 1, 8, 17 March, times vary.

DUEL & DUAL

This innovative format brings together two master magicians, Mu-Syuan Chang and Tu Strange, to battle it out on stage, attempting to one-up each other. With plenty of humour, this show works for all audiences, from the youngest kids to the geekiest magic fans.

 The Garage International (Dom Polski), 27 & 28 February, 4–8, 11–14, 18, 20 & 21 March, times vary.

ROMANZA: A DIVA IN PARIS

Settle back and let Inès de las Sierras’ gorgeous voice transport you to the 18th arrondissement as she channels the golden age of French chanson. She wisely preserves the original French lyrics, alongside video and dance, live accompaniment and English subtitles.

 The Garage International (Adelaide Town Hall), 1–3, 10–14 March, times vary.

PHOEBS , YOU’RE A LESBIAN

Did you hear the one about the thespian and the keyboard who leapt out of the closet? Fresh out of the gate, Phoebe Rodger takes us for a wander down Lesbian Lane in her first ever solo show, with original songs and plenty of humour.

 The Mill, 8, 11–15, 20 & 21 March, times vary.

CHARLIE CAPER: THE FUTURE

Some magicians stuff their shows with fluff and chat, but Charlie Caper learned his trade on the street and it shows: there’s simply never a flat minute. This brand-new hour promises to deliver a different take on Caper’s super-smooth sleight of hand skills.

 The Garden Of Unearthly Delights, 13–15, 26–28 February, 1–22 March, times vary.

SMUT: THE SHOW

Burlesque finally finds its political edge with Smut. Built by sex workers, for sex workers, expect raw performances full of flesh and fury in this cult stripclub/theatre phenomenon that sold out last year’s run. Definitely not for the faint-hearted or under 18s.

 Fool’s Paradise, 26–28 February, 5–8, 12–14, 19–21 March, 10pm.

GEMMA CARUANA: RAGE BAIT

Gemma Caruana follows up her five-star debut Underwire with a deep dive into the stuff that pisses us off. Sharnema Nougar directs; believe us when we say this is a formidable duo of upand-coming talent. Get in quick to say you were there at the start.

 The Courtyard Of Curiosities (State Library), 20 February–1 March, times vary.

C I R Q U E & S I P AT

SATURDAY

14TH MARCH 7pm Circus Flair Meets CLINK Signature Pours

SUNDAY

15TH MARCH

1pm Fringe Sideshow Fun for Kids Big & Small

Woodville Town Hall is back as a Fringe Hub in 2026 with a bigger and more diverse program featuring live music, comedy, storytelling, dance and more!

63+ individual performances

7+ performances with Auslan interpretation thanks to Fringe Fund

Get your laughing gear around this: Claire Sawers powers her way through a packed Adelaide Fringe programme to bring you the cream of the comedy crop

You’re Joking!

STANDUP

CHRISTOPHER HALL: PIZZAZZ

Lily Allen was the latest diva to get Christopher Hall’s glorious backing singer treatment on the socials when he lip-synced ’Pussy Palace’ with his trademark moves. A born chorus boy, there may well be spontaneous dancing.

 The Garden Of Unearthly Delights, 17–22 March, 8pm.

ELOUISE EFTOS: AUSTRALIA’S FIRST ATTRACTIVE COMEDIAN  ENCORE

This feminist Perth comedian takes a high self-esteem approach to life in her show. So much so, she’s bringing it back for an encore while also debuting new work The Trophy

 The Garden Of Unearthly Delights, 17–22 February, 8.30pm.

GRIEF, LOVE AND LEAD BALLOONS

You’ll know Elaine Crombie from TV’s Top Of The Lake and documentary Crombie Crew. The Pitjantjatjara and Yankunytjatjara comedian blends sassy stand-up with singing and drama in this show.

 Gluttony At Tandanya, 7–9 March, 2.30pm.

KATE DOLAN: TROUT

For those who prefer their laughs a little unhinged. Expect a brash, surreal hour as the UK-based comedian ponders

whether river trout have an easier life than modern women.

 The Courtyard Of Curiosities (Migration Museum), 19 February–1 March, 9.20pm.

LIAM WITHNAIL: BIG STRONG BOY

Exploring masculinity in funny, heartfelt ways, this show follows one boy’s journey, via alcoholism, othering and depression. Beginning when he was 18, the story brings us to present-day Edinburgh, which Withnail now calls home.

 Rhino Room, 17–21 March, 5pm.

LIZZY HOO: SAYS, HOO?

Continuing her string of surname-based pun titles (see Hoo Am I?, Woo Hoo! and Amazon Prime special, Hoo Cares!?), the Brisbane-born comedian is back with a short hairdo and a new show. Expect material on co-parenting a rescue greyhound and embracing her new golf era.

 The Howling Owl, 24 February–1 March, 6pm.

ZOË COOMBS MARR: THE SPLASH ZONE

The popular Australian comedian (and former Best Show winner at Melbourne Comedy Festival) returns to Adelaide. This time she’s juggling having ADHD while working in the highly distracting business we call show.

 The Howling Owl, 3–8 March, 7.45pm. >>

CHARACTER COMEDY

CASEY FILIPS: WHAT A CHARACTER

Melbourne-based actor and clown Casey Filips studied at the world-famous Ecole Philippe Gaulier and went on to win the Take A Chance Adelaide Award for his debut solo show, Virtuoso. He’s back with more buffoonery and sketch comedy.

 The Howling Owl, 3–8 March, 8.30pm.

FOUNTAIN LAKES: Y2K

Kath And Kim fans rejoice: it’s a drag tribute pacifically focusing on your favourite foxy morons. The followup to sell-out show Fountain Lakes In Lockdown is here horndogs, and this month-long run may just sell out too. Noice.

 The Garden Of Unearthly Delights, 21 February–22 March, 6.30pm.

HANNAH CAMILLERI: DINNER HANNAH SHOW

Daniel Kitson is a fan of this Australian performer’s absurd character comedy. Camilleri trained at the Gaulier clown school and her 2023 one-woman sketch show Lolly Bag went down very well at Melbourne International Comedy Festival and Edinburgh Fringe.

 The Courtyard Of Curiosities (Migration Museum), 3–8 March, 7.50pm.

SIBLINGS: DREAMWEAVERS

Real-life sisters Maddy and Marina Bye take a deep dive into the surreal subconscious with this unhinged, anarchic character show. Parental comedy talent has clearly been passed down: their mum is brash TV joker Ruby Wax and their dad is Red Dwarf director Ed Bye. Expect warm chemistry and daft style.

 The Courtyard Of Curiosities (Migration Museum), 10–22 March, 9.30pm.

SEZ: SORRY, WHAT?

This chirpy performer regularly explores her quarter-life crisis online, where she’s built up a healthy following. This is your chance to see the tiny comedian irl, where she uses a combination of standup and songs to explore the world around her.

 Rhino Room, 3–8 March, 7.45pm.

TAPE FACE: 20

The Las Vegas-headlining mime artist graces Adelaide with a three-week run. New Zealand-born comedian Sam Wills started out 20 years ago as The Boy With Tape On His Face and has popped up more recently on America’s Got Talent and Canada’s Got Talent

The Garden Of Unearthly Delights, 2–22 March, 7pm.

WELCOME TO DOLPHIN WORLD

Despite being set in a water park, there is no actual splash zone at this multimedia sketch show. Aping the enthusiastic marine park presenters from the 1990s, the dolphinarium delivers absurd lols plus original music.

Arthur Arthouse, 19–21 March, 6pm.

DRAG AND CABARET

BEAT BOYZ: BEST HOUSE PARTY EVER

Roxie Halley and Michele Owen present their drag king alter egos, the Beat Boyz (aka party boys Big Mike and DJ JayJay). Meet them in 2008, where they’re throwing a house party to rival all house parties. Expect chaotic improv and feral fun.

 Gluttony Rymill Park, 24 February–1 March, 10pm.

JONI: PLAY (LIKE) A MAN

Just after softcore sports romance Heated Rivalry hits the small screen, Susanna Pukkila presents this sweaty solo comedy show about a Finnish hockey bro. Expect fake blood and real sweat onstage, brilliantly sponsored by ‘internalised misogyny’.

 The Courtyard Of Curiosities (State Library), 10–22 March, times vary.

KATHY MANIURA: THE CYCLING MAN

Roll up, roll up for a Lycra-fuelled middle-aged meltdown. Character comedian Kathy Maniura was shortlisted for the BBC New Comedian prize and has portrayed electric scooters and paper straws in the past. This time she’s in drag king mode as a flawed, wealthy, emotionally unintelligent cycling man, inspired by reallife London cyclists.

 The Mill, 18–22 March, times vary.

REUBEN KAYE: HARD TO SWALLOW

The tattooed, slick-haired superstar is an absolute icon, back to spray glitter over the city once more. Sharp as a tack, this time Kaye’s giving us a musical, political, Swarovski-studded revolt against an increasingly conservative world.

 Hindley Street Music Hall, 18–21 March, times vary.

TIM COLLINS & HANNAH CONDA: BROTHERS IN WIGS

These OTT siblings bring the family drama for one week only and are as outrageous as only they can be. Drag queen Hannah Conda, aka Chris Collins (RuPaul’s Drag Race Down Under runner-up) takes musical brother Tim, plus many fine hairpieces, on tour.

 The Garden Of Unearthly Delights, 16–22 March, 8.15pm.

TITS & TEETH

Spend an hour in the dazzling presence of Dolly Diamond, Australian drag queen and glamour puss. She’ll interview guests in her own razor-witted way, shoehorning in juicy gossip and innuendo wherever she can (that’s all the time).

 Plant 4 Bowden, 12, 14 & 15 March, times vary.

Stand-Up

Feb 20th, 21st, 27th & 28th @ 10pm

Feb 26th @ 8:30pm

March 4th & 5th @ 8:30pm

March 6th & 7th @ 10pm

Duke of York Hotel

82 Currie St, Adelaide South Australia 5000

FRINGE: COMEDY SUGAR BITS ARE: FEMINIST TRASH

Some might consider feminism and fun to be polar opposites, but Sugar Bits are here to throw that idea straight in the bin with Feminist Trash, a cabaret show validating the feminist experience through ridiculous comedy, absurd sketches and a few songs. ‘Instead of shoving feminism down your throat like a Ted Talk on crack, we explore the different concepts of feminism through being idiot sandwiches,’ laughs Nicola Pohl. ‘Women can be anything, including being gloriously, shamelessly stupid!’

Returning to the Fringe for six shows only after 2025’s award-winning run, Feminist Trash is as outrageous as ever, including songs like ‘The Feminism Left My Body When . . . ’, sketches about Gregorian monks and bacterial vaginosis, and even a pro-life barbershop quartet. ‘It throws people offguard seeing us play such bigoted characters,’ says Tess Luminati. ‘I play a pentecostal priest’s daughter who thinks she’s helping. Do we judge her? We’re trying not to, but we do. It highlights all the gaping holes that these people have in their arguments. They, too, are just as silly.’

The trio describe themselves as ‘highly trained thespians’ and their close friendship and sense of cheeky fun permeate the show, with each bringing their own unique skills to the mix. ‘Steph [Beza] is a powerhouse singer, Nic has an incredible range of facial expressions and Tess can hold a squat for like seven minutes: it’s insane. Feminist Trash showcases the very best of us as an ensemble.’ (Isy Santini)

n Gluttony Rymill Park, 17–22 March, 9.15pm.

FRINGE: COMEDY NURSE GEORGIE CAROLL: INFECTIOUS

Nurse Georgie Carroll came to comedy late, after a 20-year career in healthcare. But she’s made up for lost time as an internationally touring stand-up and former Fringe Best Comedy award winner who’s currently developing a loosely autobiographical sitcom for ABC. Naturally gregarious, indiscreet and an assured storyteller, UK-born Carroll attributes her skills to life experience and innate relatability.

‘I have the right amount of ego for a 50-year-old woman that has saved lives, made humans and been on telly,’ she states. ‘This level of ego is usually found in teen boys or world leaders. But I think it’s more at home in me. It suits my stories because I want the audience to celebrate themselves and a lot of my audience is me.’

Notwithstanding some ‘survivor’s guilt’ about having left nursing at a time when the vocation has become ‘harder and harder’, Carroll reckons her audiences are up to 70% healthcare professionals. And, in creating new show Infectious about ‘people being people, and how enjoyable they are, especially the freaky bits’, she wouldn’t have it any other way. Medics, she adds, ‘hunt in packs, love a laugh, are good sorts and have no idea what day it is, so weekdays sell like weekends.’ (Jay Richardson)

n The Garden Of Unearthly Delights, 13 February–22 March, times vary.

FRINGE: COMEDY THEATRE SMILE: THE STORY OF CHARLIE CHAPLIN

One of the breakout hits of last year’s Fringe (and winner in Edinburgh of our very own List Award for Best Fringe Show From Adelaide), Marcel Cole’s solo homage to Hollywood’s great silent movie clown Charlie Chaplin returns for 2026. Telling Chaplin’s story through a mix of mime-based routines drawn from his films, biographical material taken from his memoir and audience interaction, the result brings the prevailing image of the little guy in the baggy suit with the moustache, hat and umbrella to vital new life.

‘I was already a Chaplin fan after seeing his films and I loved his book,’ Cole says, discussing the show’s roots. ‘I never knew he had made talkie films and full-length feature films as well as the silent movies; I was very inspired by that.’ Cole came to Chaplin after training as a ballet dancer, before switching to mime-based comic performance. Smile follows his first self-penned show, The Ukulele Man, about English music hall star George Formby. His fascination with comedy icons looks set to continue, with plans for a new character-based work influenced by the likes of Barry Humphries and Andy Kaufman. Meanwhile, Smile’s sell-out success looks set to introduce The Little Tramp to new audiences for some time.

‘It’s taking something that I really love and trying to share that and make it accessible to everyone,’ says Cole, ‘because the show’s not written for fans. It’s written for people who know nothing about Charlie Chaplin.’ (Neil Cooper) n The Courtyard Of Curiosities (Migration Museum), 19 February–8 March, 6.20pm.

FRINGE: COMEDY ELF LYONS: SWAN

How soon is it permissible to return to your greatest hits? English comedian Elf Lyons has produced solo work at a rate of knots for the past decade, with a cabinet of awards to show for it. But her decision to revive Swan, her 2017 comic reimagining of Swan Lake, is more influenced by her evolution as a performer. The Ecole Philippe Gaulier-trained clown now describes herself as more physically confident, resilient and ferocious than the 26-year-old who created the original version.

‘The show was made in response to a frustration of being made to do autobiographical work and my desire to make something just for me,’ says Lyons. ‘I was so depressed that I did something that was purposefully opposed to what I was being advised to do for my career. And then, ironically, this was the show that blew up.’ Since then, she’s gone bird crazy with Chiffchaff, her solo musical about the economy (well, her dad is famous economist Gerard Lyons), with slasher-clown horror Raven completing her bird trilogy. Swan, she reckons, remains the silliest. ‘With age, the show has become much more politically charged. None of the set pieces have changed but still the show feels like a completely different beast and the comedy hits so different. I love that.’ (Fiona Shepherd)

n The Courtyard Of Curiosities (State Library), 20 February–22 March, 7.30pm

STEPHEN

HR THE MUSICAL

A cathartic hour for anyone who’s ever worked anywhere with HR. This musical sketch-comedy takes on the modern workplace, with all the buzzwords included. Get ready to over-deliver on expectations, it’s time for your performance review. Maybe don’t buy a ticket for your boss though.

n Gluttony Rymill Park, 19 February–8 March, times vary.

ANDREW & CARRIE: A NIGHT OF COMEDY, VIOLINS AND VIOLENCE

Being on the road is hard for standup comics; Andrew Cornelius’ solution is to bring real-life partner Carrie Nagy along for the ride, combining their skills to create an hour of comedy/violin/storytelling that promises to be unique, if nothing else. Onya mates.

n Arthur Arthouse, 12–15 March, 6pm.

JESUS CHRIST SUMA STAR

A new hour from one of stand-up’s OG daddies is always something to look forward to. Amos is one of the most experienced comedians on the circuit and it always shows: expect brilliant timing and lots of laughs as he shares what gives him the ick.

n The Garden Of Unearthly Delights, 6–11, 14 March, times vary; Woodville Town Hall, 12 March, 7pm; Plant 4 Bowden, 15 March, 7pm.

MURDER VILLAGE:

An Agatha Christie mystery to solve, through the medium of full-on improv? Sign us up. With a multitude of sold-out runs across Australia to their credit, the pace (and the laughs) never flag, while actually solving the murder is the cherry on top.

n The Courtyard Of Curiosities (State Library), 10–22 March, 6pm.

ANITH MUKHERJEE: WASTING TIME

Anith Mukherjee is a writer and filmmaker based on Gadigal land. More storyteller than joke slinger, expect a lyrical hour that’s full of tiny details, with a hefty emotional punch on the side.

n The Mercury, 4–8, 11–15 March, 8.30pm.

Behold the queer messiah. Suma Iyer has a strong eye for a title, as well as for detail, in this eye-roll at the idiocy of modern life: amen to that. An Australian premiere from a rising star of the stand-up scene.

n Gluttony Rymill Park, 20 February–1 March, 6.15pm.

FUCCBOIS: LIVE IN CONCERT

The world’s biggest boyband have broken up, but naturally the label is demanding one last tour. Join Brendan, Brandon, Tyler and Also Brendan for one last march through their back catalogue, if they don’t fall apart first. Excellent tunes too.

n Gluttony Rymill Park, 10–22 March, 8.40pm.

REUBEN SOLO: SOMEONE

IN THIS CROWD WILL BETRAY ME

Once described as ‘indescribable’ (by this very publication, and we stand by it). Reuben Solo is possibly trolling us all, but just go with it. Full of in-jokes, catchphrases and little rituals, this is one you’ll be talking about for weeks to come, even if you can’t quite find the words.

n The Howling Owl, 3–8 March, 9.45pm.

ROCKY STALLONE

A new clown comedy show from Sam Dugmore, the co-creator of hit Manbo Rocky Stallone yearns to be a true Australian hero; is this his last chance to become the champ? What does it mean to be a man in 2026?

n Gluttony Rymill Park, 10–22 March, 7.20pm.

WHY HAVEN’T YOU LISTENED TO THAT SONG I SENT YOU?

One for anyone who’s ever made a mixtape, or whatever it is the kids do in this digital age. Maren May presents a love letter to music through a neurodivergent lens that’s sure to strike a chord with anyone who’s ever spent a whole weekend hitting repeat on that song.

n Rhino Room, 17–21 March, 9.30pm.

ADI PARMAR: SUNNY BOY

Is fatherhood real or a lie made up by Big Childhood to sell more therapy? Queer Indian-Dutch comedian Adi Parmar’s debut hour explores queerness and accidental fatherhood, hitting all the chuckle buttons along the way.

n Gluttony Rymill Park, 20 February–1 March, 8.25pm.

I CAN TELL

Chris McAllister capitalises on their viral trans allyship moment with I Can Tell. Don’t be deceived by McAllister’s laid-back and genial delivery style: there is plenty of punch from a smart comedian who knows how to let the writing do the talking.

n The Mercury, 4–8 March, 7.30pm.

THE BAKERS

The Latebloomers find plenty of comedy gold to mine in this completely non-verbal show set in a French bakery. You’ll still baguette the jokes though, thanks to a combination of mime, slapstick and clown that explores the impact of the modern world on artisan traditions. Suitable for all ages.

n Gluttony Rymill Park, 24 February–8 March, 7.20pm.

You might not think biology and comedy are natural bedfellows, until you consider the funny side of STDs, duck penises and cats. Biology teacher turned comedian Zoltan Illes brings his twin passions together to create an engaging hour where you might just learn a couple of facts, too.

n Duke Of York Hotel, 20 & 21, 26–28 February, 4–7 March, times vary.

KIDS

As Monica Corduff

a

Gonzalez brings her two Monski Mouse baby shows back to Adelaide alongside a new more grown-up affair, Annabel Fedcesin finds common threads run through all three

Back at the festival where it all started, Monski Mouse’s Baby Disco Dance Hall and Baby Cabaret Deluxe return for their 14th and 8th show anniversaries, respectively. A veritable staple of the Adelaide Fringe, grown-ups and tinies can expect the usual positive energy, alongside a few new faces and sounds. Creator Monica Corduff Gonzalez (the Monski Mouse persona was developed in 1992 when she was at art school) has clearly refined her craft, paying close attention to what needs updating and adjusting, adding ‘a few little tweaks and extra sparkles’ to keep things fresh.

‘Since time began, people have gathered around the re and sang and danced together,’ says Gonzalez. ‘It’s an essential human need. This is how we communicate.’ Her Monski Mouse performances aim to create a safe space for families to explore music, dance and other forms of self-expression together. As a mother of two herself, while she remembers early mornings and sleepless nights, her more vivid memories are of the responses her own children had to music and dance. And Gonzalez is clear on the purpose of her shows: ‘My aim is very much to make something that is there for the parents and the kids . . . being able to make a space where the two can come together in a joyful, playful way is what it’s all about.’

She also continues to create new work, debuting her folk music show, Moko Kodo & The Pursuits: I’m Not Going To Marry You! for just two performances. Combining the work of some of music’s most proli c and emotive writers (think Leonard Cohen and George Michael) as well as new songs, it’s pitched at adults and tries to create a haven to celebrate and unravel from the tougher aspects of life. It’s not hard to spot the parallels between Moko Kodo and Monski Mouse though: whatever show you choose, it’s time to dance away those blues, express yourself, connect and simply have fun.

Monski Mouse’s Baby Cabaret Deluxe, 7, 14, 21 March, 10.30am.

Monski Mouse’s Baby Disco Dance Hall, 14 & 15, 21 & 22, 28 February, 1, 8 & 9, 15, 22 March, 10.30am.

Moko Kodo & The Pursuits: I’m Not Going To Marry You!, 24 & 25 February, 7pm; all shows at The Garden Of Unearthly Delights.

Big cheese

FRINGE: KIDS QUEST FOR THE COOLEST ANIMAL IN THE WORLD

What do disco-dancing dolphins, ninja octopuses and glow-in-the-dark jellyfish have in common? They’re all battling it out for the ultimate title of coolest animal in the world in this high-energy, interactive science-comedy show where curiosity, comedy and chaos collide. Through outrageous animal facts, games and musical moments (plus fast-paced challenges and live audience votes), you’ll learn about genius crows who crack codes, sharks with secret senses and deep-sea creatures that glow like disco balls.

Guided by real-life marine biologist, comedian and Fringe veteran Robyn Perkins, the show thrives on shared discovery. ‘My favourite bit of the show is not only sharing all the weird and unbelievable facts about animals that I have learned but also learning new facts from the kids as well,’ she explains. ‘And, while the show is for children, there’s a particular joy in watching adults laugh along and get caught up in the games.’ As the final Coolest crown is awarded, expect lively debate to spill into the outside world, as families passionately defend their favourites, swap facts and relive the chaos. You’ll never look at animals the same way again.

(Isha Juneja)

 Gluttony Rymill Park, 21 & 22, 28 February, 1, 7–9, 14 & 15 March, 2pm.

FRINGE: KIDS KAPUT

What would happen if Mr Bean ran away to join the circus? In Kaput, the answer is one glorious, giggle-filled mess. Tom Flanagan plays a loveably elegant buffoon; a clumsy Mr Fix-It who just wants everything to work properly, but somehow makes every ladder wobble, every prop malfunction and every tiny job turn into a giant disaster.

Armed with ladders, suitcases and very untrustworthy tools, Kaput dives into a world of teetering towers, flying buckets and spectacular tumbles. One moment Flanagan’s carefully lining things up, the next he’s slipping, sliding and flapping about as the stage falls apart around him. Kids get all the joy of big, bold slapstick and silly faces, while adults catch the clever details and perfectly timed mishaps that make the chaos feel like a magic trick.

Expect flips, tricks and surprise circus skills as Flanagan somersaults and scrambles his way through the mess. With hardly any dialogue, even the littlest audience members can follow the story just by watching things go whoosh, crash and oops in an hour of non-stop, high-energy silliness, packed with pratfalls and delicious ‘uh-oh’ moments. It’s a show for children and grownups to share, designed to have you stomping your feet, clapping along and secretly hoping that this hopeless handyman never quite manages to fix anything at all. (Isha Juneja)

 Fool’s Paradise, 21 & 22, 28 February, 1, 7–9, 14 & 15, 21 & 22 March, 2pm.

MR SNOTBOTTOM: P.GEE!

Struggling to get older kids to come to Fringe with you?

Mr Snotbottom’s impressive style of comedy is edgy but innocent; safe enough to not shock grandma but chaotic enough to get even the most jaded high-schooler laughing. A brand-new show.

 Woodville Town Hall, 28 February, 1, 6–9 March, times vary.

JOSH STALEY: WACKY WIZARDRY GOES WRONG

Who doesn’t love to watch their kid bounce between helpless giggles and proper ‘how did he do that’ wonder? Josh Staley brings the goods, thanks to a rare combination of razor-sharp magic skills, comedy chops and a great way with the little ones.

 Gluttony Rymill Park, 21 & 22, 28 February, 1, 7–9, 14 & 15, 21 & 22 March, 2.30pm.

BASKETBALLMAN CAN FLY

Expect tricks for days from 360 Allstars alumni BasketballMan, who is still to be found drawing the crowds with his legendary street performances. That means the skills are as sharp as the patter in an actionfilled show full of genuinely impressive moments.

 The Garage International (Adelaide Town Hall), 21 & 22, 28 February, 1, 7–9 March, times vary.

KIDS HIGHLIGHTS

DR HUBBLE’S BRILLIANT BUBBLES

This show manages to entrance younger children and adults alike: there’s something about the transient fragility of bubbles that manages to hit you squarely in the feels every time. It’s fun too, so a pretty perfect way to start the morning.

 Fool’s Paradise, 14 & 15, 20–22 March, 10am.

TCHOCOLATL

Clowns and chocolate? Sign us up. Explore the origins of everyone’s favourite little treat with Pa The Traveller Clown, who’ll take the little ones across the world (in their imaginations, at least) in their quest to find some chocolate.

 Fool’s Paradise, 6–9, 14 & 15 March, times vary.

DREAM SPACE

Creative Group SSAK are a Korean company who specialise in visual theatre and non-verbal puppetry. Dream Space is a real treat of a show, full of music and movement, where younger viewers are encouraged to explore their imagination. Beautiful stuff.

 Gluttony Rymill Park, 21 & 22, 28 February, 1 March, 3.45pm.

THE FRITZ MAGIC(ISH) SHOW

Don’t believe a bunny can do magic? Then check yourself before you wreck yourself, because Fritz knows better. Expect tricks, puppetry, clowning and all sorts of nonsense in this fun-packed show aimed at the 5–13 age bracket.

 The Garden Of Unearthly Delights, 20–22, 26–28 February, 1, 5–9 March, times vary.

Whether you want to laugh or cry, sing and dance, or simply marvel at the wonders of the human body, you’ll always find the perfect show at Adelaide Fringe. Explore our showcase and get booking!

adelaide showcase

THE ROUTINE

THEATRE/PHYSICAL THEATRE

Goodwood Theatre And Studios 21 & 22, 27 & 28 Feb; 1, 6–8, 13–15 Mar, times vary joylynsecunda.ca

Death Of A Salesman meets Mr Bean . . . a lonely of ce worker squeezes through a portal in their bathroom mirror and goes on a quest for the meaning of life in this surreal physical comedy. The mundane becomes extraordinary as each vignette and dance takes you deeper into a whimsical world of illusion. The Routine will leave you in stitches and remind you of the magic within.

AAAAA ‘Pure magic’ The List

AAAAA ‘To watch Joylyn Secunda in action is to breathe the same air as an utter master’ Edmonton Journal

FULL OF GRACE

COMEDY/ABSURDIST

Arthur Arthouse, 5–10 Mar, 8.30pm | The Courtyard Of Curiosities (Migration Museum), 13 & 14, 20 & 21 Mar, 10.50pm instagram.com/algobaruch

Father Andrea is here to administer a worship service but his idea of a service is not what you expect. With hose-downs of holy water and parishioners caught between a Hail Mary and a Macarena, this padre clearly grew up Catholic in the most Catholic country. He can’t get you to Italy but he might help get you to heaven. Repent of your sins! From the creator of award-winning Tonight! A Clown Who Wanted To Be Loved? (AAAA ‘A little spa break for the soul’ The List), a charming, absurd and slightly disturbing new character.

RAILWAY BOB: THE GREATEST DOG STORY EVER TOLD

THEATRE/PHYSICAL THEATRE/STORYTELLING

Gluttony Rymill Park, Victa Cinemas and Tickle Belly Hill | 3–8, 22 Mar, times vary railwaybob-theshow.godaddysites.com

‘A truly compelling show . . . masterful puppetry, enchanting narration, enthralling narrative’ On The Record AAAAA

The amazing true story of the celebrity dog Railway Bob, who travelled the railways of Australia ‘just like a person’. A theatrical celebration of dogs, steam trains, the outback and the city, humanity, humour and storytelling. Audiences just love Railway Bob.

UPSIDE DOWN FANTASYLAND

THEATRE/PHYSICAL THEATRE/POETRY

The Jade, Holden Street Theatres and Arthur Arthouse | 20 Feb–15 Mar, times vary instagram.com/troypattersonrogers

A raw and poetic exploration of Troy Rogers’ history as a survivor of drug-addicted parents. Through heartfelt poetry, powerful songs and evocative prose, Troy vulnerably takes the stage to share his experiences of living in out-of-home care and the realities of growing up with a grandmother due to parental substance abuse. He delves into the complexities of his past with honesty and courage, while balancing the heavy material with humour and love. An un inching look at resilience, healing and the bittersweet nature of growing up in a world turned upside down.

ASSIGNED MAGICIAN AT BIRTH

COMEDY/MAGIC

Gluttony Rymill Park | 17–22 Mar, 8.40pm instagram.com/ LocalComedianTricksyCollins

A hilarious and spellbinding magic show from Melbourne’s best queer femme comedian. Join Tricksy on a my-cheeks-are-sore-fromsmiling journey through mind-freaking stage illusions, quick-witted sketches and a shocking nal act. A side-splitting, eye-opening look into the world of magic, from Tricksy’s unique perspective. Also there are puppets. AAAAA ‘Collins is a polymath’ The Age

PIIP AND TUUT AT CONCERT

KIDS AND FAMILY / CLOWN Fool’s Paradise | 9, 11–15, 18–22 Mar, times vary piipjatuut.ee/en

World-famous clown-duo from Estonia performing for the rst time in Australia at Adelaide Fringe. State-awarded, loved by kids and adults, Piip and Tuut are heartwarming characters that you do not want to miss! In the show two clowns go to a concert hall for a funlled night of slapstick, songs, and acrobatic mischief. This world-class clown-duo appear in the lights and put on a show unlike anything you’ve ever seen. A physical comedy full of unique clown tricks: the laughter is contagious!

CADEL: LUNGS ON LEGS

THEATRE/PHYSICAL THEATRE

Goodwood Theatre And Studios | 19 Feb–21 Mar, times vary cadeltheplay.com

From down under to the top of the podium, experience the riveting true story of Cadel Evans, the rst and only Australian to win the Tour de France. Fresh from a sold-out, award-winning season at the 2025 Edinburgh Fringe, Connor Delves delivers a powerhouse solo performance that places audiences in the cycling saddle. Pedalling live on the actual bike Evans rode to victory, Delves fuses grit, gripping storytelling and heart-pounding energy in a breathtaking theatrical ride. This high-octane production is a thrilling tribute to endurance, ambition and the indomitable spirit of Australian sport.

PETER

KIDS AND FAMILY/MUSICAL THEATRE

The Garden Of Unearthly Delights | 7–9, 14 & 15, 21 & 22 Mar, 2pm (1pm Sun) petercombe.com.au

Peter Combe sings all his favourite songs including ‘Newspaper Mama’, ‘Wash Your Face In Orange Juice’, ‘Juicy Juicy Green Grass’, ‘Spaghetti Bolognaise’, ‘Tadpole Blues’, ‘Toffee Apple’, ‘Jack & the Beanstalk’ and some new songs, too.

IN HER WORDS AND IN HER WORDS:

ELIZABETH’S STORY

WORKSHOPS AND TALKS / HISTORICAL

Adelaide Gaol | 6–8, 13–15 Mar, 11am (Elizabeth’s Story) & 1.30pm lockedupwithhistory.com.au

Step into the darkest corner of our past with In Her Words, uncovering the stories of the 25 women executed across Australia between 1789 and 1951. Learn about their lives, their trials and their nal moments. Delve deeper with In Her Words: Elizabeth’s Story, relating the story of the only woman executed in South Australia. At Adelaide Fringe, experience history that demands to be heard, and stories that will stay with you long after you leave your seat!

TONIGHT! A CLOWN WHO WANTED TO BE LOVED?

COMEDY/THEATRE/KIDS AND FAMILY

The Courtyard Of Curiosities (State Library) | 11–15 Mar, 5.40pm instagram.com/algobaruch

BOB DYLAN REBORN: ROLLING THUNDER REVUE

MUSIC/TRIBUTE/COVER BAND

Woodville Town Hall | 7 Mar, 7.30pm adelaidefringe.com.au/fringetix/bobdylan-reborn-rolling-thunder-revue-af202

Face paint, owered hats and a ragtag rambling of runaways in tow. Dylan was at his best. Every word cut through the night like a razor-sharp knife. Every note from Scarlet’s violin hung in the rafters of theatres across America. And every interaction between Dylan’s mystical minstrels oozed from the stage. Fifty years on, Bob Dylan’s Rolling Thunder Revue is reborn. Don’t miss this immersive experience, sure to transport you right back to where it all happened: Autumn 1975, New England, USA. Encapsulated for one night only.

ROB CARLTON: VIRGIN IN A KNIFE FIGHT

THEATRE/PHYSICAL THEATRE/COMEDY

The Garden Of Unearthly Delights | 13 Feb–8 Mar, 6pm (5pm Sun) instagram.com/robbyjcarlton

adelaide showcase

Slow-motion boxing, tape measure tangles, wild pizza dancing. In a playful and absurd crescendo, a hopelessly romantic man tries everything to get the only thing he wants. To be loved? Tonight! confronts one of the most classic challenges faced by every human: the urge to nd love. In a whirlwind of comic absurdity, the audience is carried joyfully through this bizarre quest. Winner of A Moontagna Fest Award, Catania Fringe 2024.

AAAA ‘A little spa break for the soul’ The List

AAAA ‘Classical European clowning at its best’ The Clothesline

Logie-winner Rob Carlton returns to Adelaide Fringe with Virgin In A Knife Fight, a sharp, funny storytelling show about life’s surprises. It hurtles from a Salzburg knife ght to a courtroom farce about a meat tray, looks at lying making you a better man, and the quiet terror of parenthood. Carlton is the hero and the idiot at the same time. Fresh from major Fringe awards, he brings intimate, electric storytelling that audiences love. With $25 tickets for under25s, it’s one of those rare shows every age group (above 15!) can enjoy together, sparking great conversations afterwards!

adelaide showcase

B48Y CRASH LANDS ON EARTH!

COMEDY/CLOWN

Arthur Arthouse | 12–17, 19–22 Mar, 8.30pm mainkeys.biz

Adelaide locals were shaken last night after a UFO ploughed straight into the infamous gay nightclub [redacted] on Synagogue Place. Clubgoers thought it was part of a drag show gone horribly wrong until a single being emerged from the wreckage, with one witness describing it as ‘kind of messed up but in c***y way’. Local drag queen Shirley Knot alleges the being stole two of her wigs and her vape, but this cannot be con rmed. An extraterrestrial clown show from Lukas Meintjes that asks - can YOU teach this alien how to be human?

Best Comedy nominee, Melbourne Fringe

NAUGHTIES

CIRCUS/COMEDY

The Garden Of Unearthly Delights 18 Feb–1 Mar, 7pm (6pm on Sun) adelaidefringe.com.au/fringetix/ naughties-af2026

Quit partying like it’s 1999: it’s time to celebrate all things Y2K. Fringe-favourites YUCK are back with a totally hot, totally bitchin’ brandnew show. It’s giving Backstreet Boys, Britney and big throwback energy.

Winners of Fringe World Martin Sims Award, Best Circus at both Melbourne and Sydney Fringe and Best Emerging Artist at Adelaide Fringe. Get ready for a big night out with the best of the early 00s. Fire up the group chat, give a spin of the So Fresh CD and get your tickets now.

SMILE: THE STORY OF CHARLIE CHAPLIN

THEATRE/PHYSICAL THEATRE/COMEDY

The Courtyard Of Curiosities (Migration Museum) | 19 Feb–8 Mar, 6.20pm instagram.com/theatremarcel

A physical comedy about the life and lms of Charlie Chaplin using mime, music, audience interaction, clowning and physical storytelling. Written and performed by Marcel Cole.

AAAAA The List

AAAAA Glam Adelaide AAAAA AU Review

TRACY CRISP: WHO KILLED GOUGH WHITLAM?

THEATRE/PHYSICAL THEATRE/COMEDY Goodwood Theatre And Studios 21 & 22, 28 Feb; 1, 4 & 5, 14 & 15 Mar, times vary instagram.com/tracycrisps

A brand new comic mystery from one of Adelaide’s favourite storytellers. The stitch and bitch group is back, and a message has dropped in the group chat: Gough Whitlam, the Bichon Frisé has been kidnapped! As the clues unravel, so do their relationships, and their unlikely investigation reveals more than just who took the dog.

‘Storytelling relies on two things Tracy Crisp has nailed: entertainment and believability.’ InDaily Written and performed by Tracy Crisp, winner of the Spirit Of The Fringe, Artform Shaker and Frank Ford Awards.

CONFESSIONS CLUB VOL.III

CABARET/THEATRE

Nexus Arts Venue | 21, 28 Feb, 6 & 7 Mar, 10pm (9pm on 6 Mar) instagram.com/confessionsclub_adl

Confessions Club is where your deepest, darkest desires come to life. Exploring the themes of sex, love, arousal and asking the question, what really turns us on? Featuring a saucy company of creatives from cabaret, burlesque, dance, fashion, comedy and beyond, nothing is off limits. Sexuality, gender, love, intimacy and sin . . . after all, why should we be ashamed of the things that bring us pleasure?

AAAAA SeeDoEat Review

COMEDY/STANDUP

PSYCH WARD FAMOUS

Adelaide Gaol | 6–8, 13–15, 20–22 Mar, 8.30pm instagram.com/siansmythcomic

‘Sian Smyth could single-handedly tear down some heavy walls, shut some pretentious mouths and change a lot of what is thought of as marketable.’ Doug Stanhope Join us for a night of fearless dark comedy with Sian Smyth! A Raw Comedy national nalist and regular on ABC and SBS, Sian delves into her experiences from the sex industry, bipolar disorder and overcoming drug addiction. Her show, Psych Ward Famous, is an unapologetic exploration of life’s darker moments. Don’t miss this electrifying performance at Adelaide Gaol: get your tickets now!

MID LIFE CATHARSIS

COMEDY/STANDUP

Gluttony Rymill Park | 17–21 Mar, 8.25pm instagram.com/iamcamknight

Cam Knight is back with a hilarious new show, staring down the barrel of a midlife crisis he can’t afford while raising two kids and daydreaming about the survivalist series Alone Cam’s unbothered, moisturised, happy, in his lane, focused and ourishing, thinking ‘everything’s ne’ and ‘this too shall pass’ through gritted teeth. Or is he? As seen on JFL, Drunk History and Last King Of The Cross AAAAA ‘Knight will have you in stitches from the rst minute right until the last.’ The Advertiser AAAAA ‘A natural storyteller . . . charming and hilarious.’ Scenestr

GEORGE

ORWELL’S ANIMAL FARM BY VAN BADHAM

THEATRE/PHYSICAL THEATRE/ADAPTATION

The Garage International @ Adelaide Town Hall | 18–22 Feb, times vary whataconundrum.com/projects

A blistering, high-octane reimagining of Orwell’s classic. A savage satire on power, propaganda and politics in the age of social media and Trumpian authoritarianism. MAKE ANIMAL FARM GREAT!

HOLOGRAPHIC CHARIZARD

COMEDY/MUSIC

The Howling Owl | 17–21 Mar, 9.45pm linktr.ee/charizardcomedy

This high-energy, cult-comedy music show is pure chaos for Pokémon fans, with every song devoted to the re-breathing icon himself. Expect acoustic guitar anthems, booster packs, moments of magic and ridiculous spectacles, stitched together with stories of love, betrayal, hardship and joy. Sing along to nostalgic classics, witness a Dangdut Charizard anthem, and brace for playful crowd banter. Last year at Adelaide Fringe, they pulled a Holographic Charizard live on stage. Now they’re back to tempt fate again. Pokémon knowledge optional, enthusiasm mandatory.

TWENTY SIXTEEN

MUSIC/POP

Gluttony Rymill Park | 19 Feb–9 Mar, 6.30pm (8.30pm on 19 Feb) instagram.com/twenty_sixteen_show

Featuring an all-star eight-piece band including Kylie Auldist (The Bamboos), Jaron Jay and Dusty Lee Stephensen (27 Club), this new live rockumentary (from the creators of 27 Club) will reclaim the year the music died. In 2016, we felt the loss of music icons David Bowie, George Michael, Prince, Leonard Cohen, Maurice White (Earth Wind & Fire), Sharon Jones, Leon Russell and many more. Amid major global events, the year became a cultural turning point. Ten years on, it’s time to celebrate these artists and revel in their music that became the soundtrack to our lives.

LIVING IN THE ‘70S BY THE 60 FOUR

TRIBUTE/COVER BAND

Gluttony Rymill Park | 20 Feb–1 Mar, 6.30pm the60four.com

It was the talk of the town in 2025: now it’s back, bigger, bolder and ready to party.

The 60 Four return to Gluttony with Living In The ’70s, a high-octane celebration of the decade that de ned cool.

From the disco heat of ‘Staying Alive’ and ‘Dancing In The Moonlight’ to the rock-and-roll punch of ‘Eagle Rock’, ‘Don’t Stop Me Now’, and ‘I Was Made for Lovin’ You’, this is the ultimate party playlist, powered by powerhouse vocals, slick choreography and full Las Vegas energy.

A NIGHT OF JAZZ WITH THE SPOC BIG BAND

MUSIC/JAZZ

Norwood Live At Norwood Hotel | 2 Mar, 7.30pm instagram.com/spoc_music

Celebrate the SPOC Big Band’s rst birthday with a night of jazz! This 18-piece ensemble makes its Fringe debut with a mix of styles, soloists and a stage bursting with energy.

The St Peter’s Old Collegians (SPOC) Music Program unites young musicians, providing space to rehearse, perform and grow. Over the past year, the ensemble has developed repertoire and community, and is ready to deliver a one-night-only show.

Feel the pulse of a new generation keeping big band music alive, and come to A Night Of Jazz With The SPOC Big Band!

adelaide showcase

There’s no better way to start this year’s Adelaide Festival than in the warm and slightly naughty embrace of Pulp, says Fiona Shepherd

Back for

Pulp return to Adelaide the same but different, as the beloved UK-based indie veterans headline the return of the free Festival opening concert bash in Elder Park/ Tarntanya Wama. Frontman Jarvis Cocker is as crumpled and comforting, sardonic and perceptive as ever, still looking from the outside in on rave culture, as evidenced by the band’s 2025 comeback single ‘Spike Island’. This impressionistic take on the legendary Stone Roses concert he didn’t attend is a testament to his enduring talent for capturing the spirit of a time or even just bottling a fleeting memory.

Cocker has always been expert at marshalling nostalgia, whether evoking the twitching curtains of 1970s British suburbia in cherished Pulp tracks such as ‘Babies’ and ‘Disco 2000’ or honouring the band’s own back catalogue of Britpop standards from ‘Common People’ to ‘Do You Remember the First Time?’. Now he embraces ageing without apology in the company of longtime compadres Nick Banks (drums), Candida Doyle (keyboards) and Mark Webber (guitar), ever ready with a droll anecdote or a dad dancing pose.

Absent from the line-up of this latest band reunion is bassist Steve Mackey, Cocker’s charismatic wingman, who passed away, aged 56, in 2023. He leaves a gulf which has been tempered by the addition of a host of touring musicians. Rather than honing in on the original members, Pulp now manifest as a ragtag collective, harnessing the power of the five additional players who have turbo-charged performances on their Here Comes More tour, including star violinist Emma Smith and percussionist

more

Jason Buckle. Buckle is Cocker’s longstanding friend, associate and collaborator in side band Relaxed Muscle (and the one who actually made it to the Spike Island show). 2026’s Pulp present themselves on a graduated stage like a jazz big band, with a central staircase for Cocker’s delectation. The sound is bigger, the visuals are ravishing, drawing on the retro patterns and graphics of past record sleeves. Best of all, their current show has been boosted by a widely welcomed new album, More, which seductively builds on their legacy rather than apes their Britpop bangers. New tracks are slipped seamlessly into the set, from unrequited love odyssey ‘Tina’ to ‘Farmers Market’, Cocker’s concession to a middle-class love affair. Such is their confidence that they (semi-spoiler alert) typically close the whole show with a sweet and intimate new track; about as far from the rabblerousing ‘Common People’ as they get.

In this spirit of giving the people what they want but not quite how they might expect it, there is also more from More, with a new limited EP gathering up their sultry cover of Johnny Cash’s ‘The Man Comes Around’ and two previously unreleased tracks from the album sessions, Banks’ ‘Marrying For Love’ and Doyle’s ‘Cold Call On The Hot Line’, ready to drop around the time of their Festival headline appearance. Get set for surprises and ready to party hard.

Pulp, Elder Park/Tarntanya Wama, 27 February, 8.30pm.

3 To See music

LIRIX IS HERE

Lirix, aka Dr Richard Fejo, launches his music career at Adelaide Fringe, with a series of intimate concerts and original songs. The Larrakia elder promises a memorable evening featuring tracks from his new album.

 Carclew House, 25 February–1 March, 6pm.

MUSIC & MAYHEM: REBELLION

An almost uncategorisable cabaret that blends punk, burlesque, drag and circus, all performed live to queer punk band Nonbinarycode from Canberra. This has all the ingredients for a Fringe night you’ll be talking about for months.

 Gluttony Rymill Park, 10–15, 17–22 March, 10pm.

SOWETO GOSPEL CHOIR

This massed South African choir have been global festival favourites for the past two decades, but there is no bad time to become acquainted or reacquainted with their soul power, uplifting energy and soaring solo and harmony singing. This latest show draws an emotional line from the freedom songs of apartheid-era South Africa to the US civil rights anthems of the 1960s and beyond.

 Gluttony Rymill Park, 24 February, 1, 3, 8 & 9, 13, 15, 20 March, times vary.

ANDREW & CARRIE: A

NIGHT OF COMEDY, VIOLINS & VIOLENCE!

12-15 March

Arthur Arthouse • 6-7 pm

“We hope to give this duo a big welcome back in future performances around Australia!"

-Oliva Moon, Sydney Theatre Reviews ‘25

“Get to this show for a unique, true fringe experience. Funny, engaging and some fabulous violin to mix in!”

-Scott McKenzie, Edinburgh Fringe ‘25

MUSIC WOMADELAIDE

Adelaide dives head-first into world music over the March long weekend, with some of the planet’s top acts appearing at Botanic Park/Tainmuntilla as part of WOMADelaide. Friday sets the tone with pumping house sets from Zeitgeist Freedom Energy Exchange and Crazy P, while Australian legends The Necks present a genre-defying improvised set. Headlining is Italy’s Jovanotti, who combines lyrics in his mother tongue with familiar yet recognisably Italian sounds.

On Saturday, prepare for Barkaa, the powerhouse matriarch of Australian rap, as well as Yothu Yindi, part of Australia’s unique musical identity, playing classics including poignant anthem ‘Treaty’. From closer to home comes Any Young Mechanic’s tall folk tales while Jalen Ngonda’s revival of soul should be a soothing intermission before headliner and all-round icon, Grace Jones, storms the stage.

The line-up for Sunday is stacked with local artists, including Baker Boy’s vibrant, energetic hip-hop vibes, the luscious yet raw vocals of My Chérie, and the captivating artistry of Kaiit. Experience Obongjayar’s effortless blend of driving beats and smooth vocals, before finishing with headliner Oumou Sangaré’s charisma and femme-forward message.

Don’t forget Monday’s a holiday. Chill with dynamic beats from Blinky Bill and BadBadNotGood or, for classic WOMAD vibes, get your final fix with Roberto Fonseca’s Cuban jazz before Arrested Development close the weekend with hip-hop classics.

(Hannah Homburg)

n Botanic Park/Tainmuntilla, 6–9 March, womadelaide.com.au

FRINGE: MUSIC GIGS AT GLUTTONY

Celebrating their sweet 16th year at Adelaide, the Gluttony gang’s Gigs At Gluttony series is equally sweet news for your ears. Their new venue, Tandanya Theatre, hosted in collaboration with Tandanya National Aboriginal Cultural Institute, will see some stunning sets from acclaimed First Nations artists. That includes Blak Country, a Nancy Bates-led celebration of stories, songs and Country, backed by a full band.

Twenty Sixteen is a brand-new show from the voices behind the much-loved 27 Club. This rockumentary will take us back to 2016 to honour the many artists lost that year. David Bowie, George Michael, Prince and Sharon Jones will be celebrated by a powerhouse eight-piece band including Kylie Auldist and Dusty Lee Stephensen.

The sell-out California Crooners Club also make a longawaited return to Adelaide, bringing their mix of classic jazz, pop, R&B and extremely sharp tailoring to a new and adoring audience. The Rat Pack are back, in other words, and this time they’ve come to croon. Finally, Gigs At Gluttony also includes 13 one-off performances from the likes of Furnace And The Fundamentals, The Beards, Example and Young Franco. Get the group chat warmed up and don’t miss out. (Jo Laidlaw) n Full line-up at gluttony.net.au

FLOP! THE BEST SONGS FROM THE WORST MUSICALS

Last year’s debut (and Emerging Artist award winner) from Arthur Hull makes another trip around the block, featuring fabulous songs from terrible musicals. Every flop has at least one bop: Hull brings them to life with charm and aplomb.

n The Garden Of Unearthly Delights, 13 February–8 March, 8.15pm.

ACCORDION RYAN’S POP BANGERS

Just a boy and his squeeze box . . . this is a bring-your-mates party vibe of a show, including all the classics as you’ve (probably) never heard them before. If you haven’t experienced Ryan’s accordion version of Cardi B’s ‘WAP’, then you haven’t lived.

n Gluttony At Tandanya, 24 February–8 March, 9.30pm.

LIANA PERILLO (QUARTET)

The multi-hyphenate harpist, vocalist and composer Liana Perillo certainly has many strings to her bow. Quartet brings her latest contemporary EP, Impressions, to life, accompanied by Fabian Aravalés and strings. Lush and resonant.

n Nexus Arts Venue, 3 & 4 March, 9pm.

MUSIC HIGHLIGHTS

ALL THESE PRETTY THINGS

Tracey Yarad’s deeply personal story of love, betrayal and self-discovery, told through song, is a tour de force. Her storytelling and voice fill every corner of the room as she takes us on an emotionpacked journey of learning to let go.

n Arthur Arthouse, 5–10 March, 7.15pm.

THE GARDEN SESSIONS

Celebrate First Nations music and culture at a series of laid-back Saturday afternoon sessions at the Garden, with the likes of Eddie Peters, The Flash Blacks, Tilly Tjala Thomas, Nathan May (pictured), Jirrah and Caitlyn Walker. Chilled, sunshiney good times.

n The Garden Of Unearthly Delights, 14, 21, 28 February, 7,14, 21 March, 2.30pm.

KATE BUSH UNMOORED

There’s always something fresh to find in Kate Bush’s music, no matter how well you know it. Eklektika bring together choral soundscapes, harmonies, video and physical theatre to create a distinctive, layered sound around 14 of Bush’s most iconic songs.

n The Parks Theatres, 20–22, 24–26 February, times vary.

LINDSEY KRAFT

After a 20-year career as an actor, Kraft knew she had songs inside her. Four years later, she’s learned piano, opened for Ben Folds (who also directs this show) and written this one-woman musical, Lindsey Kraft + Piano Present: We’ve Been Here Before.

n Ayers House, 6–8 March, times vary; The Garage International (Adelaide Town Hall), 9–11 March, times vary.

THEATRE & DANCE

Ready to roll

It’s time to get your skates on as Mama Does Derby is unleashed. Co-creators Clare Watson and Virginia Gay give Lisa Woolford the lowdown on this rollicking motherdaughter tale

After a decade in development, Mama Does Derby doesn’t skate around emotional issues, intricately weaving the intimate conversations at its core with comedy, a touch of horror and the thrill of high-octane sport.

Loosely based on Windmill artistic director Clare Watson’s experience of being a single mum to her daughter Ivy, it’s also inspired by her favourite sport: roller derby. While she’s had quite the life, Watson laughs and stresses that the pair did not, unlike their ctional counterparts, live on a Tibetan mountain and drink yak milk. That extra sauce was added by ‘total polymath’ actor, singer, writer and close friend Virginia Gay, who has known the pair since Ivy was little. As frequent collaborators (including on Cyrano which won a slew of awards at the Edinburgh Fringe), Watson trusted Gay both as an artist and with sharing their personal story.

Gay relished writing this love letter to the ‘twisty-turny excellence and agonies’ of mother-daughter relationships. ‘I’ve taken the energetic vibe between [Clare and Ivy] and then pulled out threads,’ she says. ‘I was like “oh, I see that Ivy is the one who is quiet and paying the bills and getting them to places on time while Clare’s this beautiful, wild, energetic, creative force”. We don’t see enough of that dynamic: really cool moms in their 40s who have raised awesome kids.’

The show sits somewhere between theatre, sport and a rock concert, a huge production set on a circular roller derby track with moving set pieces, designed by Jonathan Oxlade. There’s Adelaide Roller Derby League athletes, a live punk band and a cast which includes Amber McMahon, as mum Maxine, and Elvy-Lee Quici who plays 16-year-old Billie.

‘I love live theatre so much, so we wanted to make sure if we could get people to live theatre that we’re going to have the thrill of live music,’ Gay says. ‘We’re going to have the thrill of jokes and we are going to have the thrill of being at a sports game.’

In the 90-minute production, Billie has just moved to a regional town where she and her mum have to make their own fun. It’s always been just the two of them and now they’ve settled somewhere, Billie feels like she can nally put down some roots. Only she’s at that age where she feels like she must decide who she wants to be, and the pressure is weighing on her.

Speaking with teenagers, including Ivy and her partner, Gay discovered a generation very much feeling that pressure. ‘Not “let’s rebel! Let’s go out!” It was almost like they had no optimism: “what are we going to do with this burning planet that you’ve le us? And

are we expected to x it? Is that our job?”,’ she says.

Speaking of burning planets, it’s a ercely hot summer’s day as we chat over Zoom. Both Gay and Watson are grateful for the air conditioning at SA Film Corporation’s Adelaide Studios where rehearsals are underway. They’re both eager to experience audience reactions to their show, which will premiere at Sydney Festival, before heading to Adelaide and then on to Brisbane.

Watson hopes audiences will walk out of Adelaide Entertainment Centre not only entertained but recognising the strength in community. ‘The fundamental theme is about community and connectedness to other people and recognising that if you’re having struggles, or even if you’re having great joys, that connecting with other people, sharing your worries, leaning on community, is actually bene cial for all.’

She also hopes crowds will fall for roller derby. She’s signed up to repeat the beginners’ training course that her single-parent life kept her from completing a decade ago, worried about the high likelihood of injury. Now, she’s eyeing the possibility of joining the sport’s referee ranks, too.

Gay, meanwhile, is adamant she will not be donning skates anytime soon, despite clearly being enamoured with the sport’s inclusivity, queerness, feminism and grassroots energy. ‘I am accident prone in the extreme, covered in bruises when I’m just standing up wearing ats,’ she exclaims. ‘I must never put on skates. I will crack my skull.’

Mama Does Derby, Adelaide Entertainment Centre, 27 February–8 March, times vary.

A CEREMONY FOR PEOPLE WHO NEVER GOT THEIR CEREMONY

“THIS SHOW IS POWERFUL. IT IS THOUGHT-PROVOKING, CHALLENGING, AND VITAL. IT DESERVES TO BE SHOWN AGAIN AND AGAIN.”

KARA-LYNNE ENARI, THEATRE REVIEW NZ

KURAMANUNYA

The Wonder Stuff

Rachel Cronin finds South Australian theatre company Slingsby are not only going out with a bang, but with a message of hope

The epic three-part world premiere which ends 20-odd years of Slingsby’s bold and environmentally aware theatre productions is guaranteed to grip young minds. A Concise Compendium Of Wonder is no run-ofthe-mill trio of fairytale adaptations. Rather, it reflects humanity’s descent from connection to nature into the disjointed urban dystopias of our modern world.

And as the internationally renowned company’s founder and artistic director Andy Packer explains, looking into the murkier parts of humanity can often lead to a brighter future.

‘We sort of lean into the darkness and the challenges of human experience’, says Packer. ‘But always our stories lead us back to a sense of hope for the future. We’re very focused through those stories on the wonder, beauty and infinite possibility of our universe.’ Many fairytale adaptations in kids’ and young people’s theatre include a sleeping princess or gold-guarding dragon. But the tales we see retold in this enchanting triptych (audiences can watch them individually or take in all three) include Hansel And Gretel (reborn as The Childhood Of The World), The Selfish Giant (renamed The Giant’s Garden) and The Little Match Girl (rewritten as The Tree Of Light).

‘We read a lot of fairytales and we found that these stories all have a connection to

trees or to forests,’ Packer explains. The team crafted an epic tale around them, linking each together to send a powerful message about the planet’s descent into environmental emergency. ‘It tells a very long timescale story of humanity’s slow distancing from nature, from being part of it to thinking of ourselves as exceptional and separate from nature,’ he says. ‘That’s the story that we wanted to tell, but each show stands as its own production.’ And in true ‘practice what you preach’ fashion, the production uses just one cast of actors which will decrease its air miles and carbon footprint when A Concise Compendium Of Wonder tours internationally.

After cuts to federal funding which have been felt throughout Australia’s arts world, Slingsby has chosen to ‘go out with a bang’ with this final production, rather than rationing out its remaining funds over the next few years. After touring around Australia and globally, the final curtain will fall for the company in 2027. ‘We’ve decided to just say “not all things need to last forever”,’ Packer concludes. ‘Instead of working under financial stress, we’ve decided to spend all of our money that we’ve raised over the years on a final, beautiful thing.’

A Concise Compendium Of Wonder, 18 February–15 March, Adelaide Botanic Garden, times vary.

Yoz Mensch chats to Jo Laidlaw about the epic adventure that inspired their latest show and the pain of hiding your true self from the people you love

Tell me about your new show, My Grandpa Doesn’t Follow Me On Instagram: A Guide To Trans-generational Road-tripping. This show began while I was on this road trip with my grandfather, which was very weird and funny. I thought ‘I need to tell everyone about this,’ then slowly realised it was actually about being in the closet while travelling with a loved one: how do you hold both versions of yourself for such a sustained period of time, in such intimate conditions?

Where did you go? We went the whole length of the UK. My grandfather drove from Bournemouth to Rogart [a tiny village in the far north of Scotland], where my grandmother’s ashes are. Her name was Joy, so there is this element of looking for joy, as well as seeking queer joy, within the con nes of the quite restricting circumstances I was in: some moments where I could feel like myself. And because those moments were so small, they needed to be really concentrated to get through to the next opportunity.

That was a long trip on some not great roads. There was a bit of him looking at a six-hour driving day and saying, ‘oh, that’s nothing.’ We did things like drive from the Lake District to Oban in one day which was a wild, wild day. As we drove into Oban, it started bucketing down and it was awful.

Of course it did. Was it intense? There were tense moments, but that maybe comes from anyone sitting next to anyone making annoying mouth noises. But again, so much joy just exploded out of nowhere, like when you build injokes with the person you’ve spent two weeks with and know a certain

phrase will make both of you laugh because it’s tied to a place and a memory.

Were you still closeted by the end of the trip? To him I was, yeah. It’s sort of a not coming-out story. He’ll know when he sees the show. I don’t know why I’m doing it this way, but it’s fun and dramatic. I hope it can deliver the message to him in a way that shows how much love I have for him. I didn’t tell him, not because I think he’s a bad guy; for some reason, telling the world is easier than telling your closest loved ones.

This feels very different to your previous show, No Babies In The Sauna. It’s a precise show. No Babies was loosey-goosey and sort of feeling the room, but this is very intentional. Every single person will see the same show, because I’ve not done that in a long time and I want to show that I can. We include the Instagram stories and posts I made during the trip too. I feel so lucky to be able to make a show like this, a er a decade of making Fringe shows in Adelaide. I’ve been very lucky to receive a residency and grant from The Mill and Fringe, which gave me the space to do it. The Mill have a loyal audience base that come and see the work, there are 70 artists’ studios there, so it feels like you’re in the heart of the arts community just walking into the kitchen. It feels like I’m in the right spot, doing the right stu .

The right spot being Oban? Not Oban, Jo. Never again.

My Grandpa Doesn’t Follow Me On Instagram: A Guide To Transgenerational Road-tripping, The Mill, 19–21, 25–28 February, 1, 4, 7 March, times vary.

Joy

FRINGE: THEATRE EAT THE RICH (BUT MAYBE NOT ME MATES X)

Jade Franks led two lives: by day, the Scouser attempted to blend in with the Tarquins and Tillys lining the halls of Cambridge University in the UK. By night, she worked as a cleaner, something she kept strictly secret from her undergraduate peers. In this searing takedown of the destructive class divide still present in some of Britain’s most famed institutions, Franks lays bare her experience of being one of Oxbridge’s odd ones out. ‘It’s about class, shame, ambition, money and the weird codeswitching you do when you’re moving between worlds that were never built for you,’ she explains.

A hot ticket at the 2025 Edinburgh Fringe, the show struck a chord with audiences. ‘People stayed to talk, cried, told me their own stories. It felt like it gave people the chance to talk about things they’d carried quietly for years,’ says Franks. She’s confident this will translate to an Australian crowd. ‘Festivals like Adelaide Fringe are public spaces where big ideas meet large audiences. When the wealth gap is widening and social mobility is becoming more myth than reality, telling stories about class isn’t niche or political for the sake of it; it’s reflective of people’s actual lives.’ Also, says Franks: ‘Margot Robbie saw it in London and was very kind . . . I’m just hoping she speaks for all Australians.’ (Danny Munro)

 Holden Street Theatres, 17 February–22 March, times vary.

FRINGE: THEATRE THE WILD UNFEELING WORLD

‘This is an incredibly unreliable retelling of Moby-Dick,’ explains writer and storyteller Casey Jay Andrews. Winner of the Best Theatre Weekly Award at its first Adelaide Fringe run in 2020, Andrews’ take on the fabled classic asks audiences to reserve judgement and listen to the whale’s side of the story. Set in contemporary London, Herman Melville’s antagonistic whale is replaced by Dylan, a woman enduring the worst morning of her life. ‘Dylan is consumed by feeling that she’s responsible for how awful her last week, month, year has been. She feels guilty, she’s begun to blame herself, and she wants to escape that,’ says Andrews of her protagonist. ‘So often in society, but particularly as women, there’s so many situations where even the slightest mistake means you view yourself as monstrous and awful and unforgivable,’ she continues. ‘I really enjoy the informality of trying to get everyone on side and feel sorry for this woman who frankly is just a bit of a mess at the point that we meet her.’

Andrews believes Melville’s poetic outlook means this story is worth retelling in 2026. ‘The quote that I love most from Moby-Dick is: “If you should write a fable for little fishes, you would surely make them speak like great whales.” I think that’s why it’s so beautiful to zoom in on this one person’s little crisis . . . that one individual story is, for that person, the biggest thing in the world.’ (Danny Munro)

 The Courtyard Of Curiosities (Migration Museum), 3–8, 10, 12–14 March, 6.30pm.

FESTIVAL & FRINGE: DANCE 3 TO SEE

There’s a smorgasbord of dance to enjoy this Mad March. World-renowned choreographer Hofesh Shechter returns with Theatre Of Dreams, a dynamic deep-dive into the subconscious that’s bagged a serious number of five-star reviews on its way to Adelaide. Twelve dancers bring this dreamscape to life, embodying the hopes, desires and fears of the human mind to a cinematic score of Shechter’s own composition.

Is it possible to be both a mother and an independent artist? For You To Know And Me To Find Out poses the question with flair, employing an assortment of genres in its honest exploration of motherhood. Based on actress Liv Tennet’s own experiences, the show has picked up awards left and right, including Best In Fringe at last year’s New Zealand Fringe Festival.

Fairytales may conjure up images of perfect princesses and chirpy woodland creatures, but in Faraway, choreographer Jenni Large seeks to reveal and revel in the dark side of escapism. Known for her unique choreography and physically extreme works, Large’s new collaboration with the multi award-winning and always watchable Australian Dance Theatre sees nostalgic fantasy turn sinister. A world premiere that’s probably not aimed at the Disney princess in your life. (Isy Santini) n For full listings, see list.co.uk/adelaide-festivals

FESTIVAL: THEATRE

MARY SAID WHAT SHE SAID

The arrival in Adelaide of French acting legend Isabelle Huppert’s solo performance as Mary, Queen of Scots in American visionary Robert Wilson’s production of Mary Said What She Said is a major event. Touring intermittently since 2019, Wilson’s production taps into the doomed Scottish monarch’s inner world via a remarkable fusion of word, image, movement and music.

‘The feeling is comparable to being in Mary’s head in the moments before she was beheaded,’ explains Charles Chemin, the show’s dramaturg, codirector and Wilson’s long-term collaborator. ‘One can witness a whirlpool of thoughts and memories in a very direct and immediate way. The experience is then focused on the intensity of the emotions, rather than on their theatricality. It allows a freedom to Isabelle to also act as herself, while being traversed by the poetics, a process that Wilson was particularly fond of, maybe with Isabelle even more than with other actors.’

The show’s Adelaide dates continue a collaboration between Wilson, Huppert and writer Darryl Pinckney that began back in 1991 with Wilson’s production of Orlando. Chemin has been with the production since the start, and while Wilson’s death in 2025 leaves a huge hole in world theatre culture, this short Festival run shows his work lives on. ‘When the piece ends, I always feel like my neighbours have held their breath for an hour and a half,’ Chemin says. ‘The chemistry between Wilson’s magic and Huppert’s magnetic presence is at an all-time peak. I would not trade working on this piece for any other.’ (Neil Cooper)

n Festival Theatre, 6 March, 8pm; 7 March, 3 & 8 pm; 8 March, 2pm.

EVA SEYMOUR AS THE UNDERSTUDY

Always ready but rarely needed, the life of the understudy is a little strange, to say the least. Eva Seymour’s deep dive into the wonderful world of the swing is full of affection as well as important questions, like how far would you go to actually get the gig?

 Dom Polski Centre, 20 February–1 March, times vary.

PSYCHO OR PSYCHIC

To be fair, it’s a question we’ve all asked ourselves, isn’t it? Luna invites us to accompany her to the edge of madness while she’s working out if true love really can conquer all in Sarah Francis’ show. Bring the tarot cards.

 Ayers House, 6, 12, 14, 18 March, times vary; Fool’s Paradise, 7–9 March, 5.30pm; Duke Of York Hotel, 19–22 March, 8.30pm.

DON’T GET CARRIED AWAY

The inimitable (and multi-credited) Roy Barker’s self-penned solo show mixes storytelling, parody and memoir to take audiences on a rollercoaster ride from migrant kid to late-bloomer actor. If you’ve ever been told off for getting carried away with yourself, this one’s for you.

 Star Theatres, 12–15 March, 6pm; 19–22 March, 7.30pm.

MAX SHARAM IS MEZZO CUCKOO!

After a string of hits in the 90s, Max Sharam walked away from the commercial music scene but she never stopped singing. Subtitled ‘diva gone dada’, this operacomedy has plenty to say about women, culture and resistance. Three performances only.

 Star Theatres, 20–22 February, 5.55pm.

KOWAW | EAGLE

In traditional Taiwanese belief systems, kowaw (or eagle) symbolises the soul’s flight from bondage towards eventual freedom. This ascendant dance piece aims to embody that flight, escaping the limits of the human body to soar.

 The Garage International (Dom Polski), 25–28 February, 4–7 March, 4pm.

HYPERFANTASIA

It’s easy to dismiss the flapper girls of the 1920s, but perhaps it’s time for a re-evaluation of these iconic trailblazers. Hyperfantasia pays homage to the feminist pioneers who used dance to embrace their sexuality and their freedom.

 Ayers House, 13 & 14 March, 9.15pm.

SMOKO

A show for anyone who’s ever tried to style out a hi-vis vest, Smoko follows the adventures of Beccy, an outback landfill worker. Jasmine Story blends puppetry with theatre to explore how the things we discard can affect our relationships in a world where over-consumption is the norm.

 Goodwood Theatre And Studios, 12–15, 20 & 21 March, 7pm.

QUEER, LOUD AND WORTH LEAVING THE HOUSE FOR

For more than two decades, I’ve worked at the intersection of education, live performance and community-building, designing experiences that entertain and land. From classrooms to cabaret stages, from grassroots fundraisers to Mardi Gras-level spectacles, I’ve seen what works, what flops, and what quietly becomes legendary.

At this moment in history, queer storytelling matters more than it has in decades. Across the globe, LGBTQIA+ lives are being debated, restricted, erased and legislated against with a confidence that should alarm us all. Even from the relative safety of Australian shores, it would be naïve to think we’re untouchable; cultural tides do not respect borders. In times like these, telling queer stories becomes an act of preservation and resistance, but also of care.

If your Fringe line-up is looking like a beige bucket of theatre classics and interpretative mime, Villains: A Dizney In Drag Parody is the double espresso shot you need. This ain’t Sunday matinée Disney; it’s wicked, witty, and wrapped in glittercovered insanity that slaps nostalgia right on its satin bowtie. If you do dig subversive theatre that roasts the classics with love and twirls its moustache while doing it, this is exactly the kind of mess you want on your Fringe itinerary.

Skank Sinatra, meanwhile, is the boozy, belting and beautifully feral cabaret you didn’t know your soul was craving. This is lounge singer glamour dragged through a queer late-night bar and given emotional depth, filthy charm, and vocals that hit you square in the chest. Skank Sinatra doesn’t scream for attention, they command it, wrapping comedy, storytelling and jaw-dropping musicality into a show that feels intimate, dangerous and oddly cathartic.

Slip into Madame Martha’s Parisian Cabaret. This is old-world glamour with a razor blade tucked inside its garter. Think smoky Parisian salons, exquisite costuming, and performers who understand that seduction is an art form, not a gimmick. It’s the perfect counterpoint to the chaos of Fringe, acting as proof that elegance, when done properly, can be as filthy and far more powerful.

Faulty Towers and Confetti & Chaos, the perfect palate-cleansing double hit of pure and joyful disorder. Faulty Towers is controlled mayhem, packed with razor-sharp improvisation, impeccable comic timing and the kind of audience involvement that makes even the shy feel brave (or at least only mildly terrified). Then Confetti & Chaos blows the doors clean off, offering high-energy, absurd and gloriously unpredictable jet-fuel from performers who thrive on mess, momentum and manic delight. Together, they remind you that Fringe isn’t just about polish or provocation; it’s about surrendering to the ridiculous, laughing till your face hurts and embracing the kind of chaos that leaves you lighter and louder.

Burton Brothers. These two turn physical comedy into an art form; think slapstick, acrobatics, and stunts executed with jaw-dropping precision and just enough audacity to make you gasp. If you’ve ever wanted to see chaos meet genius on stage, this is it: part circus, part vaudeville, part ‘how did they even think of that?’ It’s fast, funny and utterly fearless, the kind of show that makes you cheer, cringe and laugh all at once.

Blues And Burlesque, where sultry meets cheeky in a heady cocktail of live music and teasing performance. This isn’t only a show, but an atmosphere, thick with smoky vocals, slow-burning grooves and performers who know exactly how to work every note, every glance and every inch of the stage. It’s sexy without being vulgar, playful without losing sophistication, and hypnotically fun.

No matter where your 2026 Fringe journey takes you — whether you arrive curious, loud, cautious, fabulous, straight, queer or still figuring it out — this is your invitation to sit in a packed room and feel something real. These stories don’t ask who you sleep with; they ask if you’re paying attention. They’re bold, funny, confronting, and human in ways that cut across labels and land right in the gut. Miss it, and you’ll hear about it later. Be there, and you’ll understand why.

Brendon Ludlow, CEO PureLifePlus Productions

FORGOTTEN TRIBUTARY

2025’s The Art Of Storm Whistling (running again this year) was a confident debut from Curious Storm Collective, an emerging Adelaide theatre company. New solo show Forgotten Tributary aims to cement their reputation, with a story of adventure, history and love.

 The Courtyard Of Curiosities (Migration Museum), 17–22 March, 6.25pm.

WIESENTHAL

This true story of a Holocaust survivor and Nazi hunter feels more important than ever. It’s ultimately a celebration of humanity and a powerful reminder of our shared history, masterfully performed as an act of remembrance.

 Ayers House, 25–28 February, 4–8 March, times vary.

KURAMANUNYA

Presented by Karul, who aim to increase First Nations voices through dance, Kuramanunya is a hard-hitting and thought-provoking piece that remembers the stories that remain unwritten and unspoken. Thomas ES Kelly choreographs and performs.

 Holden Street Theatres, 14 & 15, 20–22 March, times vary.

TRACY CRISP: WHO KILLED GOUGH WHITLAM?

No one epitomises Adelaide Fringe more than Tracy Crisp (in fact, she’s even won the Spirit Of The Fringe Award). This year’s premiere (yep, there’s a fresh show every year) kicks off new comedy series, The Stitch And Bitch Mysteries, where we watch the mystery unravel alongside the group chat.

 Goodwood Theatre And Studios, 21 & 22, 28 February, 1, 4 & 5, 14 & 15 March, times vary.

. . . EARNEST?

This sounds delicious: a take on Oscar Wilde’s classic play, with improv, audience participation, slapstick, a director losing their actual mind, all the stuff that could go wrong, total silliness and, allegedly, muffins. Who knew missing your cues could be this much fun?

 Gluttony Rymill Park, 19 February–22 March, 8pm.

FORMOSA VIVA

If history lessons never worked for you at school, try this. Formosa Viva uses dance, physical theatre and storytelling to tell the story of 500 years of Taiwan’s history, tracing a path through the country’s indigenous peoples via colonial struggles and eventual democracy.

 The Garage International (Adelaide Town Hall), 23

THE PERFECT LIFE (A MUSICAL BY AMITY DRY)

A world premiere of a new musical about modern womanhood, celebrating the imperfect stories behind the Insta feed. With a cast list that reads like a who’s who of Australian musical theatre, above all this is a tribute to the lifelong endurance of women’s friendships.

 Arts Theatre, 12–15, 18–21 March, times vary.

As Ellie Buttrose prepares to launch her curation of the 2026 Adelaide Biennial Of Australian Art, she tells Neil Cooper why the show embraces a state of flux

Something so strong

Y‘VISUAL ART & INTERACTIVE

ield strength’ is an engineering term that defines the amount of stress a material can take before it is permanently changed. It is also the name given to the 2026 Adelaide Biennial Of Australian Art by curator Ellie Buttrose. But rather than impose a theme from the outset, the name was chosen after the 24 artists who make up the showcase were selected.

With the Biennial spread across the Art Gallery Of South Australia, Samstag Museum Of Art and Adelaide Botanic Garden, the name aims to capture the spirit of Buttrose’s discoveries. ‘As I was travelling, I noticed that there was a return to artists really playing with materials,’ she explains. ‘There seemed to be a lot of push and pull going on in the work; this sense that things cannot go back to the way they were a er you’ve pushed past that point becomes a metaphor for the way some artists are pushing parameters, but also for others who are thinking about how things have changed and can’t go back.’

This is captured in very di erent ways by the work of two Yield Strength artists, Robert Andrew and Emmaline Zanelli. Andrew fuses elements of the natural and digital worlds to create works that evolve and erode over time in a way that explores hidden histories of Australia’s First Nations communities. In contrast, Zanelli presents a new video piece that explores the worlds of teenagers at work as they take on their rst job.

‘I was interested in kids joining the workforce and the sense of independence that can facilitate, but also going from a dependent to being someone who is an independent consumer,’ Zanelli says of ‘Pocket Money’ (2025), which combines footage of young people with poetic text and a youth drum corps soundtrack. ‘I feel we really over-romanticise our memory of what we rst bought and I was kind of tentative about painting this picture of it being this awesome

experience because it’s also a life sentence to get your first job. I think there’s two sides to that coin.’

Andrew’s works appear in two venues. At the Art Gallery Of South Australia, ‘New Eyes – Old Country’ digs deep into his roots, using a moving television screen that charts the Yawuru Country coastline as it appears in the video, with charcoal dragging behind to trace its path of travel. At Adelaide Botanic Garden, monolithic structures made from compacted soil unearth hidden histories as they evolve and decay.

‘Part of the idea is to erode back or scrape back to show a non-western indigenous view of history,’ Andrew explains. ‘My mum’s people, Yawuru people, have been on that particular part of the Country for tens of thousands of years, developing language and a slowly evolving, but never static, culture, which was sort of locked-off. I suppose the work is trying to show a sense of time that, when you first see it, is barely perceivable. You have to stand there and then start to see the detail of the movement and how things are working.’

Through her day job as curator of contemporary Australian art at Queensland Art Gallery and the Gallery Of Modern Art

in Brisbane, Buttrose is well versed in the disparate state of Australian art. Yield Strength embraces a state of flux. ‘I hope audiences aren’t only looking at the works through a thematic bubble,’ she says. ‘There are different types of practices and different threads that come out in the different spaces, and that starts to make you see the work through a different lens. What would it mean to have a figurative painter alongside other figurative painters, but then see them alongside more abstract work?’

Buttrose continues: ‘I didn’t want to be thinking about artists in a bubble and wanted to ask what it means to think about practices in relation to one another. If artists are drawing out the materiality of their work, I wanted the curatorial process to become obvious to people. If that’s what artists are doing, then it should also be reflected in the curatorial methodology.’

2026 Adelaide Biennial Of Australian Art: Yield Strength, Art Gallery Of South Australia, Adelaide Botanic Garden and Samstag Museum Of Art, 27 February–6 June.

LIST

FESTIVAL THE

MONDAY 23 FEB

8PM–MIDNIGHT

THE COURTYARD OF CURIOSITIES AT THE MIGRATION MUSEUM

PREVIEW MORE THAN 15 OF THE BEST SHOWS FROM ACROSS THE FRINGE, PLUS A SPECIAL GUEST DJ GET YOUR TICKETS HERE VISIT OUR WEBSITE FOLLOW US ON INSTAGRAM

$30 + $4.80 TRANSACTION FEE INCLUDES TWO FREE G&T’S FROM HENDRICK’S GIN

FRINGE: EVENTS THE LIST FESTIVAL PARTY

Time for the tiniest bit of horn-tooting because, for one night only, The List Festival Party is back. We’re taking over the beautiful Courtyard Of Curiosities at the Migration Museum for an action-packed, fun-filled celebration of all things Adelaide: where else would you rather be on the very first Monday of Fringe 2026?

Across a packed night of mini-performances, dancing and drinks, partygoers will get a sneak peek of more than 15 acts, hand-selected from the very best of local and international cabaret, drag, comedy, circus and more. With performances in the Chapel, Yurt and Gallery, alongside roaming acts out in the crowd, it’s the best possible way to plan your shows across Mad March.

Ticket holders will also be able to enjoy two complimentary gin and tonics, courtesy of Hendrick’s Gin, as well as dancing the night away to the irrepressible sounds of guest DJ Tania Smith, aka Choonz & Moovs. There really is no better way to welcome in the season, so grab your tickets (the event sold out last year), grab your mates, grab your dancing shoes and celebrate with some of the very best entertainment that the Fringe has to offer. (Jo Laidlaw)

n The Courtyard Of Curiosities (Migration Museum), 23 February, 8pm. Over 18s only. Supported by Hendrick’s Gin and Pure Life Plus, which fosters and develops small productions for Australian and international stages.

FRINGE: VISUAL ART COLLEEN RAVEN STRANGWAYS

Powerful and captivating, Colleen Raven Strangways’ photography is celebrated in exhibitions across two venues this year. A proud Arabana, Mudbura, Gurindji and Warlpiri woman, Strangways combats stereotypes with strength and poignance, portraying her community with dignity.

At Adelaide Town Hall, Wathlu Anthunda (My World) combines Strangways’ recent commissions with community-led pieces, shifting focus from ownership to perspective and belonging. ‘It’s about the world I am part of,’ Strangways says. ‘My Country and my place: the world as I know it.’ Artworks from the show, made in Mparntwe (Alice Springs), depict prominent community leaders, Strangways’ family members and First Nations musicians through portraits of strength, resilience and pride. Strangways also presents a complementary exhibition at Art Pod, titled UV Songlines: Illuminating Ancestral Roots. The striking visuals of her UV-reactive portraits commemorate her respect for Elders and the wealth of stories they share, in her role of ‘caring for culture through my lens’. Visually stunning and culturally engaging, Strangways’ works are not to be missed. (Hannah Homburg)

n Wathlu Anthunda (My World), Adelaide Town Hall, 12 February–14 July; UV Songlines: Illuminating Ancestral Roots, Art Pod, 13 February–22 March.

SINK OR SING! AN INTERACTIVE CABARET

If you’ve been known to belt out your favourite numbers into a hairbrush under cover of darkness, this interactive singing party might just be your pick of the Fringe. Amelie Peters’ safe hands mean you’ll feel relaxed enough to let loose and let the good times roll.

n Gluttony Rymill Park, 20 February–1 March, 8.50pm.

PALMER SCULPTURE BIENNIAL

If you want to escape the hubbub, Palmer Sculpture Biennial is worth the trip out of the city. All outdoors, with the ever-changing sky as a backdrop, it’s a stunningly beautiful setting for the best of Australian and international contemporary sculpture.

n Palmer Sculpture Landscape, Palmer, 14 & 15, 18, 21 & 22 March.

FEAST OF WORDS

This one will feed your heart as well as your tummy. A supper club celebrating storytelling, music and delicious food, led by the gorgeous spirit that is Casey Jay Andrews, with music from Jack Brett and food from the Treasury 1860 team.

n Treasury 1860, 28 February, 5, 11, 15, 19 & 20 March, times vary.

CONFETTI & CHAOS

Will and Stacey are getting married: what could go wrong? Plenty, it turns out. This fully interactive show, where the audience becomes another cast member, manages to be meticulously plotted yet always hilariously unpredictable. As a bonus, you get fed too.

n Adelaide Royal Coach, 24 February–8 March, 7pm.

SIP & SPILL: KATIE SPAIN’S NOT

YOUR

NORMAL WINE CONVERSATIONS

Our very own Katie Spain celebrates South Australian wine, in conversation with some of the very best local winemakers. Her genius for making wine accessible will be in full flow, alongside plenty of audience interaction and, of course, lots to taste.

n The Courtyard Of Curiosities (Migration Museum), 19–22 February, times vary.

SING EASY WORKSHOP WITH BRIAN GILBERTSON

There are lots of opportunities for communal singing this Fringe, but none offer as many tips, teaching moments and straightforward wisdom as Brian Gilbertson’s Sing Easy workshops. Have fun, make music and improve your voice in a supportive environment.

n Wassail Wine Bar, 21 & 22 March, 2pm.

This exhibition reflects on how people respond to events that have the potential to transform our sense of identity. Presented by Squish Squash, an illustration and animation-focused community for emerging artists, it’s also a great chance to have a nose around the beautiful National Wine Centre.

n The National Wine Centre Of Australia, 1–15 March.

hot shots: virtual reality

1 2 3

The Great Kimberley Wilderness With Luke Hemsworth This virtual reality experience allows viewers to cross the stunning coastline and majestic gorges of one of the last great wildernesses, guided by traditional owners and Luke Hemsworth’s dulcet tones. The Mercury, 20 February–22 March, times vary.

In The Mist Chou Tung-Yen transports viewers to and through a gay sauna, a rarely seen place of ritual between dreaming and waking in this VR experience that is set in individual cells. The Courtyard Of Curiosities (Migration Museum), 20 February–22 March, times vary.

Monsieur Vincent See Van Gogh’s world as you’ve never seen it before. Drenched with colour and set to Liszt’s piano transcriptions of Wagner’s operas (a favourite of the artist), it’s an unforgettable virtual experience. Olympic House, 18 February–22 March, times vary.

n Explore Immersive Worlds at adelaidefringe.com.au/immersive-worlds

Adelaide Hills’ proximity to the city means you can rest your head in the city and be tucking into scrambled eggs in Hahndorf for breakfast. Ernest Delicatessen is a hit for brunch: the continental breakfast (cured meat, coddled egg, pickles, cheese and housemade focaccia) is excellent.

Set a bit of time aside to explore some of South Australia’s regional food and wine hubs. Katie Spain shares some of her favourite places to eat, drink, play and stay, all within an hour of the city

ADELAIDE HILLS

Cool climate wines grown and made in a leafy setting, with little towns that are home to lovely community markets, fresh produce, and great eateries. It feels like a world away, but it’s just a 30-minute drive from the CBD.

ON THE PLATE OUT OF TOWN GUIDE

Nearby, Sidewood cellar door is a great place for a long lunch surrounded by art. A picnic hamper at The Lane cellar door is always a good idea (book ahead), or for something fancy and unforgettable you can’t go past Woodside’s LVN Restaurant on Bird In Hand’s leafy property. Here, executive chef Jacob Davey (ex-Restaurant Botanic) serves fine dining inspired by a bountiful kitchen garden. Or a leisurely lunch at new restaurant Ondeen might just be the ticket: there’s a no-waste attitude to the menu, served in a beautifully refurbished 1850s homestead. Hilltop cellar door Mount Lofty Ranges Vineyard also serves meals surrounded by spectacular landscape, while European style bistro Thelma is a lunch destination famed for chef and co-owner Tom Campbell’s wholesome, local produce-driven menu and natural wine list. Walk it off later at nearby Mount Lofty Botanic Garden or explore the Hills on horseback via Petaluma’s new Horse Trail Ride And Tasting Experience

For a pub dinner (which Hills folk do so well), hit The Scenic Hotel, The Crafers Hotel, Uraidla Hotel, Aldgate Pump Hotel or Stanley Bridge Tavern. It’s also hard to go past the fried chicken and a Bloody Mary at Dirty Doris Diner in Aldgate. After all the excitement, rest your head at CABN’s eco tiny houses or Pavilions At Lenswood’s luxury hideaways with Swiss alpine chalet, Japanese onsen and art deco aesthetics. Then there’s historic hilltop manor Mount Lofty House, home to Hardy’s Verandah Restaurant. Or turn things up a notch and opt for luxurious Sequoia Lodge and its spring-fed hot pools and Gatekeeper’s Day Spa. Treat yourself.

IN THE GLASS

Cellar doors, distilleries, bars and breweries

Ambleside Distillery

1 Ambleside Road, Hahndorf, amblesidedistillers.com

It’s always gin o’clock at this distillery, which sits at the gateway to the little German settlement of Hahndorf. Let the team lead you through a tasting or learn to make a cocktail or two.

Ashton Hills Vineyard

126 Tregarthen Road, Ashton, ashtonhills.com.au

Piccadilly Valley is home to this corrugated iron-clad cellar door known for world class pinot noir, chardonnay and riesling. Look out over the beautiful vineyard as you enjoy a ‘build-your-own’ platter.

Bottle Shock

24 Victoria Street, Gumeracha, bottleshock.tv

The team behind Unico Zelo, Applewood Distillery and the popular Bottle Shock YouTube channel serve fun wine flights in a relaxed setting, with over 150 wines spanning the globe and snacks by chef Jeff Trotter. There’s zero pomp here.

CRFT Wines

45 Rangeview Drive, Carey Gully, crftwines.com.au

Good things come in small packages, especially cellar doors. This charming tasting room has backyard-shed vibes, with winemakers Candice Helbig and Frewin Ries on hand to pour their small batch, certified organic, minimal intervention drops.

Deviation Road

207 Scott Creek Road, Longwood, deviationroad.com

Winemaker Kate Laurie mastered the art of making premium sparkling wine in France; she and husband Hamish run this familyowned boutique winery and cellar door with love. Kick back with a regional platter and exceptional wine to toast their hard work.

Jauma NEW

677 Mawson Road, Lenswood, jauma.com

This brand-new, wholesome little tasting space is a dream come true for Jauma winemakers Sophie and James Erskine who serve natural wines in a farm setting. Look out over chooks scratching for grubs, butterflies flitting through the garden and an orchard of organic cherries ripening.

Shaw + Smith

136 Jones Road, Balhannah, shawandsmith.com

This Hills icon was founded by cousins and wine legends Martin Shaw and Michael Hill Smith. Looking out over rolling hills, expect globally renowned wines. The sauvignon blanc is a fresh white winner, but a glass of M3 chardonnay, pinot noir or awardwinning Balhannah Vineyard shiraz also goes down a treat.

Simon Tolley Wines

278 Bird In Hand Road, Woodside, simontolley.com.au

This family-run gem rose from the ashes after a 2019 bushfire ripped through the property. There’s accommodation and sweeping lawns that beg for lazy afternoons in the sun. Try their recently

released smoked brandy, made using smoke-tainted grapes.

Vinteloper

589 Cudlee Creek Road, Lobethal, vinteloper.com.au

Family-owned and operated wine brand Vinteloper’s beautiful new home is located in the lovingly reimagined ruins of a 1920s farmhouse tragically destroyed in the Cudlee Creek bushfire. An architectural marvel embracing history and modernity, it’s a welcoming spot for seasonal shared plates and grazing boards.

Watkins Wine

59 Grants Gully Road, Chandlers Hill, watkinswine.com.au

This cellar door on the edge of the Hills is run by a dynamic trio of lovely siblings who love what they do. You can feel it in the rustic surrounds and the food and wine events they regularly host (the monthly Friday night social is great fun) as well as in the wine. Equally acceptable is a casual glass with a platter while taking in the views towards Langhorne Creek.

GETTING THERE

A TrailHopper bus is the easiest way to get to the Hills or catch the bus in Hahndorf (trailhopper.com. au). Taxis/Uber can be difficult to find, so plan ahead. Tours available.

MCLAREN VALE

A 45-minute drive is all it takes to reach this wine region with ocean views. Known for its creativity and laid-back beach energy, McLaren Vale feels like a holiday, every day of the week.

IN THE GLASS

Cellar doors, distilleries, bars and breweries

Aphelion Wine Co

67 Kays Road, McLaren Vale, aphelionwine.com.au

Winemakers Rob and Louise Mack have won many awards for their creations and this new hilltop cellar door is the perfect place to enjoy them. Book a tasting at a sun-soaked table on the private deck and simply enjoy a world-class grenache.

Bekkers

212–220 Seaview Road, McLaren Vale, bekkerswine.com

Exquisite McLaren Vale cabernet sauvignon from the historic Clarendon Vineyard Estate is just one of Bekkers’ wines of presence and place (their syrah is stunning too). Power, precision and disarming elegance, wrapped up in an intimate cellar door setting.

Bondar Wines

148 McMurtrie Road, McLaren Vale, bondarwines.com.au

This cute house formerly belonged to Jack Sparrow (not the

pirate) and now is home to three boutique wine brands. Bondar, Lino Ramble and Sherrah Wines are small, family-run businesses and there’s a lovely outdoor area in which to try their adventurous, high-quality wines.

Dandelion Vineyards

191 Chaffeys Road, McLaren Vale, dandelionvineyards.com.au

Winemaker Elena Brooks is one of the Vale’s leading lights and Dandelion’s glorious Wonder Room is the perfect introduction to modern winemaking. With delicious wines and Vale views for days, a picnic lunch on the sprawling sunny lawn is the perfect way to enjoy both.

d’Arenberg

Osborn Road, McLaren Vale, darenberg.com.au

Chester Osborn’s creativity infuses every inch of d’Arenberg, from its landmark cube cellar door to the art that lines the walls (and the loos), the sensorytickling menu and the Dali sculptures upstairs. The wine is pretty special too; a quick tasting can easily turn into a whole day of exploration and fun.

Inkwell Wines

377 California Road, Tatachilla, inkwellwines.com

Exciting small-batch wines served in a cellar door constructed from 20 old shipping containers. Friendly dog Daisy shows visitors around an interior crafted from recycled, reclaimed and repurposed materials, including mid-20th century German school chairs and hardwood floors. Highend accommodation completes the package.

Samuel’s Gorge

193 Chaffeys Road, McLaren Vale, gorge.com.au

This cellar door in an 1853 farm shed sits atop a ridge, with spectacular views over the Onkaparinga River National Park. Service is genuinely friendly and the wines are so good you’ll want to order a dozen. Pure rustic soul.

Shadow Creek NEW 314 Rifle Range Road, McLaren Vale, shadowcreek.com.au

A new cellar door with a working farm backdrop, constructed using recycled beams and mud bricks. Sitting above Turraparri Creek, it’s surrounded by stunning old gum trees, stables, grazing stock and vineyards. Enjoy a tasting: just you, nature and birdsong.

Under The Sun NEW 22 Old Coach Road, Aldinga, underthesunwine.com

Collaborative cellar door and wine bar where artisanal brands Brash Higgins, Golden Child and Poppelvej pour lo-fi, high-quality drops. Take a snap in front of the large mural inspired by the nearby coast and chat to the globetrotting lads about their paths into wine.

GETTING THERE

McLaren Vale is a 40-minute drive from Adelaide. The Route 31 Coastal Drive hugs the coastline from O’Sullivan Beach to Sellicks Beach (mclarenvaleandfleurieucoast.com. au). Metro rail services operate between Adelaide and Seaford and there are bus services between Adelaide and the area’s towns (adelaidemetro.com.au).

ON THE PLATE

Saturday breakfast? Don’t go past Willunga Farmers’ Market for a Little Acre toastie or firelicked scallops (caught that very morning). Willunga General Store serves lovely pastries, sausage rolls, and coffee, while Dawn Patrol masters caffeine in all its glorious forms. It is also home to Neighbours (creators of the famous sourdough crumpets) and a micro-bakery serving Frenchstyle desserts.

Lunch at the iconic Salopian Inn is a must. Frequented by local winemakers, the menu is informed by the edible garden framing the building; they recently announced a move to an Australian-only drinks menu. For views, Coriole’s restaurant looks out over vineyards and a beautiful garden as do lunch spots The Currant Shed, Harry’s Deli and award-winning winery restaurant Maxwell’s

New additions to McLaren Vale’s main street include Joe’s At Sabella, for Italian-inspired dishes in a beautiful old church, and adjacent taqueria Taco José for your taco and Mexican cocktail needs. Vigna Bottin Cellar Door & Osteria, Mitolo’s Little Wolf Osteria and Fiore At Down The Rabbit Hole also nod to the region’s Italian influence; Down The Rabbit Hole is also an excellent winery in its own right. For dinner, book ahead for an Asian-inspired feed-me at The Little Rickshaw and stellar wine and dishes by chef Jimmy Toone at Fall From Grace. Dining with a sea view is one of the region’s drawcards, best achieved at Star Of Greece (no, it’s not Greek food), Pearl or Silver Sands Beach Club. A seaside treasure in Indian form is the relaxed Aldinga Bay Café or try Heard It On The Grapevine or Pizzateca for pizza feasts. For fun in the sun, head to Clink At Tintara, an outdoor, family-friendly, food and wine hub brought to you by the good people of McLaren Vale Hotel.

BAROSSA

Just an hour north-east of Adelaide, the Barossa is synonymous with quality red wine. Yet, among the classics, a world of exciting new producers, styles and flavours waits.

IN THE GLASS

IN THE GLASS

feel life slow down as you raise a toast to vineyard views and great people making great booze.

Eperosa

Lot 552 Krondorf Road, Tanunda, eperosa.com.au

Cellar doors, distilleries, bars and breweries

Cellar doors, breweries

Alkina Wines

41 Victor Road, Greenock, alkinawine.com

A must for anyone interested in what goes on below the vineyard, especially in the world of organics and biodynamics. Enjoy a gourmet toastie or platter in the courtyard; you can stay in the luxe onsite accommodation, too.

Bethany Wines

378 Bethany Road, Tanunda, bethany.com.au

A wine label can express a thousand words or, in the case of Bethany Wines’ First Village labels, a lifetime of memories and a story that weaves its way from Silesia to the beautiful town (and vineyards) of Bethany. A real-life fairytale.

Brothers At War

58 Murray Street, Tanunda, brothersatwar.com.au

Brothers Angus and Sam Wardlaw (with their close-knit team) pour their wines in a historic old cottage on the town’s main street. Cute as a button, it transforms into a bar by night.

Corryton Burge NEW Corner Krondrof and Lilyfarm Roads, Krondorf, corrytonburge.com

A sun-kissed grenache vineyard frames Corryton Burge’s new cellar door, while memories dot the horizon. Named after the family’s 1845 Corryton Park Homestead and the 1851 Corryton Park Vineyard, this is a picturesque spot to try Trent Burge’s creations.

David Franz

94 Stelzer Road, Tanunda, david-franz.com

Arguably the cutest cellar door in the region. Dave Lehmann and daughter Georgie make thrilling and forward-thinking wines here. Build your own platter and

On Friday, Saturday and Sunday you’ll find sixth-generation Barossan Brett Grocke pouring wine at this off-grid winery. The organic wines speak volumes about the regenerative-focused family and the cellar door dog is a delight, too.

Gibson Wines

190 Willows Road, Light Pass, gibsonwines.com.au

This off the beaten track familyowned winery celebrates German heritage dating back to the 1840s. Visitors are welcomed into a modern tasting room behind a historic cottage where they are treated to wines crafted by founder Rob ‘The Dirtman’ Gibson.

Poonawatta

1227 Eden Valley Road, Flaxman Valley, poonawatta.com.au

Poonawatta’s cellar door is just 70

paces from the Holt family home. It’s full of small, meaningful details like outdoor décor made from a rescued century-old cedar tree, a firepit for winter gatherings, comfy sofas and gorgeous art. A rooftop garden crowns the cellar, looking out over their dam.

Rieslingfreak NEW

25 St Hallett Road, Rowland Flat, rieslingfreak.com

Winemakers John and Belinda Hughes are unashamedly devoted to riesling and their new cellar door is the best place to try their exceptional range. Expect lots of storytelling from one of the nicest couples in the business.

GETTING THERE

It takes around an hour to drive to Barossa Valley from Adelaide. You’ll be hard pressed to get a taxi or Uber from the CBD, but once in Barossa there are local taxis. The Metro train serves Gawler Central, then there are buses to Nuriootpa via Lyndoch and Tanunda (adelaidemetro.com.au).

ON THE PLATE

Food is an important part of Barossan life, so there’s plenty of choice. First stop, Barossa Farmers’ Market is on Saturday mornings, filling bellies with local produce. Tanunda’s Darling’s Café is a small but beautiful coffee spot, while sister venue Vino Lokal also does a great breakfast. Fleur Social doubles as a florist and Hive Barossa also boasts a lovely gift store. Folk travel far and wide to get a taste of chef Matteo Carboni’s kitchen creations at Casa Carboni Enoteca (go early as them pastries sell out fast, for good reason). For a quick bite, Apex Bakery has a long and much-loved baking history while Browns Barossa Donuts has what can only be described as a cult following.

In Marananga, chef Clare Falzon’s new restaurant Staguni is located in the old village school and has turned heads with soulpacked dishes inspired by her Maltese heritage. Other lunch heroes include Essen at Artisans Of Barossa in Tanunda and Fino Seppeltsfield which is open seven days a week. It wouldn’t be a visit to the Barossa without popping in to Maggie Beer’s The Farm Eatery on a real-life pheasant farm. The winery restaurant at St Hugo serves modern Australian fare, while Hentley Farm Restaurant needs a bit of time to savour a fancy multi-course dining experience. If you want to feel like a local, the treasured Vintners Bar & Grill is an old (but ever-thrilling) dinner favourite. Otherness in Angaston is more than a wine bar; much like the vino, local produce is put on a pedestal here. Finally, for the ultimate luxury night’s sleep, Le Mas whispers French sweet nothings and offers one of the best breakfast experiences in SA.

Festival-going is hungry (and thirsty) work, but Katie Spain has you covered with her pick of new and established CBD pitstops. Eat in or graband-go at these excellent venues and be back in time for your next show

A Prayer For The Wild At Heart

44 Hurtle Square, aprayerforthewildatheart.com.au

This lovely little French restaurant recently won the title of Australia’s Best Wine List at the prestigious 2025 Australian Wine List Of The Year Awards. Bravo to a team that quietly gets on with it; chef Stéphane Brizard serves the flavours of his homeland across breakfast, lunch and dinner.

Adelaide Central Market 44–60 Gouger Street, adelaidecentralmarket.com.au

The heartbeat of Adelaide’s food culture. Make it quick with takeaway porchetta rolls from Porchetta e Cannoli Bar, or quick bites at Lucia’s Pizza & Spaghetti Bar (the first pizza bar in Adelaide).

A signature Sarawak laksa at Asian Gourmet or bowl of Eyre Peninsula wok-fried mussels from SiSea are just a few other options at this bustling produce market.

Adelaide Pho 199 Waymouth Street, facebook.com/adelaidepho

There’s no better hangover cure than a perfect bowl of Vietnamese soup, which arrives with a healthy serving of herbs and condiments. It’s not fancy and all the more enjoyable for it. This humble, oldschool space at the relatively quiet end of Waymouth Street is great for pre-show dining in the city’s west.

Angry Penguin

Adelaide Festival Centre, King William Road, adelaidefestivalcentre.com.au

Nothing screams festival season more than a restaurant paying tribute to South Australia’s art history, specifically the rebellious modernist movement led by poet Max Harris. Executive chef Alex Katsman leads the kitchen team with a menu inspired by art and local produce. Opens February.

Aurora At ILA 63 Light Square, auroraadl.com.au

Executive chef Robin Wagner is a talented sort and Aurora combines fine-dining style with a burst of fun. Part of ILA, the space also ignites the senses. You’ll need more time for their degustation menus, so this is maybe one for the end of the evening, although à la carte is also available.

Aunty Meg’s Kitchen 7 Ebenezer Place, instagram.com/ aunty_megs_kitchen

Meg Barathlall serves the South African flavours of her homeland for breakfast, lunch and dinner,

Wednesday to Sunday. Think breyani (a mixed rice dish), vetkoek (crispy deep-fried bun filled with mince or curry) and bunny chow (fresh white bread full of lamb, beef, chicken or beans). It’s casual, relaxed and full of soul.

Bank Street Burger NEW 48 Hindley Street, instagram.com/bankstreetburger

Sometimes all you need is a smash burger to end the perfect night. This new Bank Street joint serves burgers until 3am on Friday and

Saturday and there’s a queue for a reason. Two hands required and hash brown versions available for breakfast, too.

Bar Bar NEW 78a Pirie Street, instagram.com/barbar.adl

A tiny bar serving agave, beer, wine and top-notch cocktails from 3pm until late. Start the week right with their Mezcal Monday specials.

A perch at the bar with a Fringe program in hand is a great spot to plan your show-going schedule.

Canopy Bar NEW

188 Hindley Street, canopybar.com.au

What was once Stem is now Canopy, a cocktail and wine bar offering some seriously impressive drops by the glass. There’s a small but beautiful snack menu, too. Think caviar, tapas-style skewers, and kimchi and mozzarella toasties.

Crafty Robot Brewing NEW

180/188 Grote Street, craftyrobot.beer

Detroit-style pizza is the order of the day at this West End eatery. That, and a frothy in the beer garden. The thick, cheesy crust pizza is the handiwork of Lost In A Forest co-founder Charlie Lawrence who really knows his dough. Go full-frontal fromage with the Suzi Quattro’s four-cheese topping.

Fino Vino

82 Flinders Street, finovino.net.au

The feelgood factor (and amaro collection) at this top-notch Italian haunt is unbeatable. The express menu includes three courses and a glass of wine for around $55 per person which leaves you time and hard-earned money to spend on festival shows.

Hey Jupiter

11 Ebenezer Place, heyjupiter.com.au

This petite French bistro serves hit after hit; from breakfast (available late in the afternoon on weekends) to snacks (like freshly shucked oysters served with a glass of Louis Roederer champagne), lunch to dinner. C’est délicieux.

Honeydripper NEW

11 Frome Street, honeydripper.com.au

This new Japanese-style listening

lounge in the East End has good chat at heart. Head straight for the conversation pits or simply kick back and soak up the 3000-strong vinyl library. The 70s vibe is strong and the reuben bagel is a day-saver.

Kiin

73 Angas Street, kiinrestaurant.com.au

This warehouse-style space welcomes bar seating with a kitchen view, quick lunches or long, lazy feasts. The Thai-inspired menu ranges from inventive small bites to punchy salads and hearty curries cooked over fire. Dine in or simply enjoy a creative cocktail at a window seat.

Longplay Bistro

131 Pirie Street, longplaybistro.com.au

Atmosphere is everything and, as dream teams go, the crew behind Clever Little Tailor, Pink Moon Saloon and Brighter Later gin have the magic touch. The bistro serves European classics with a modern twist and an epic global wine and spirit list. A carefully curated vinyl soundtrack adds to the laid-back vibe here.

Meli On Hutt NEW

Shop 1/242 Hutt Street, melionhutt.square.site

A new Greek eatery with a focus on sandwiches. The spanakopita with xorta, feta, dill and lemon on toasted sourdough is vegetarian heaven and the crispy chips topped with crumbled feta and herbs are the stuff of chippy dreams. From January, it’s open until 8.30pm Thursday and Friday nights for gyros and ABs.

Mr Mario’s NEW

242 Pulteney Street, loucasseafoodrestaurant.com.au/ mr-marios-takeaway

A new but delightfully old-skool

takeaway joint serving burgers and fish’n’chips. Not a white tablecloth or upturned nose to be seen, it’s by the team at Louca’s. Don’t go easy on the hot chips: they’re great.

Paper Tiger

285 Rundle Street, papertiger.com.au

Paper Tiger (by Malaysian-born Benjamin Liew) recently released a new menu, just in time for festival season. Its south-east Asian fusion is a hit, especially once the DJ decks and dancefloor fire up. Open for lunch, dinner and late-night drinks.

Pinco Italo NEW 50 Exchange Place, pinco.com.au

A modern Italian joint serving zero-fuss, all-flavour pasta and hits from the homeland. Open for lunch (when sandwiches are the hero) and dinner. Easy walking distance from The Garden Of Unearthly Delights, Gluttony and other East End hotspots.

Roma NEW 11 Waymouth Street, romaadelaide.com.au

There’s lots to love about this bright new spark near the Marriott Hotel: modern Italian food, cocktails and casual vibes, from breakfast until late, with quick lunch options from the deli in their Roman-inspired piazza. On Saturdays, they fire up the Italian charcoal barbecue, serving slow-cooked porchetta and Italian sausages (a porchetta roll and a Peroni for $15 is quite the deal).

Soi 38

74 Pirie Street, soi38.com.au

Soi 38’s co-owner and executive chef

Terry Intarakhamhaeng champions regional Thai flavours, with an emphasis on dishes that capture lesser-known regions and ethnic groups. It’s a great place for a quick but wholesome curry with a side of South Australian wine.

Some Where House NEW

258 Pulteney Street, instagram.com/some_where_house This is more than just a bar. It’s a hidden venue with a focus on open mics, art events, pop-ups and café hangs. The thoughtful wine list champions small SA producers and it’s also home to Pie Square’s test kitchen, featuring deep-dish pies, rotating specials and flavour experiments.

Star House

31 Gouger Street, starhouseadelaide.com

Gouger Street is full of restaurants dotted with lazy susans begging to be piled with BYO wine and an assortment of authentic Asian dishes. You can’t go wrong here and it’s always busy thanks to shareable hits. Fast, fun and delicious. The Chinese restaurant is also close to Her Majesty’s Theatre and Victoria Square venues.

Yuku Dō NEW

252 Hindley Street, instagram.com/yukudo_adl Japanese-to-go in a café setting. Expect shokupan sandos, onigiri (rice balls), speciality coffee and matcha in all forms. The signature hojicha with Japanese pastries is great or try the strawberry and cream sando for something sweet.

EXHIBITION NEXT TO d

Now open until 26 April 2026

d’Arenberg, Osborn Road McLaren Vale