March 25, 2019
All the reviews of AF19 shows
What do the critics have to say about Adelaide Festival 2019? Get a second opinion on your favourite shows with these media reviews:
A Brief History of Time: Chamber Landscapes
"This program showed a deep commitment to innovative artistic programming, and to use a hackneyed but appropriate phrase, really did take the audience on a journey through an expanding musical universe." The Advertiser, 9 March 2019
"It is a mark of the strength of the Chamber Landscapes programs, and the trust audiences place in the curators year by year, that a recital with just a single familiar piece could be both sold out, and so utterly satisfying." The Advertiser, 11 March 2019
"The final result is an ample demonstration that ‘less is more’: music scored for and produced on fewer instruments can sound so much more satisfying than much larger ensembles." The Barefoot Review, 10 March 2019
★★★★★ "the program was sheer magic and an enviable way to spend an afternoon looking out on the beautiful scenery." GLAMAdelaide, 10 March 2019 - Aquilonis
"The pleasure of hearing such a carefully thought-out and brilliantly executed series of concerts in the unique setting of Ukaria is something it is impossible to experience elsewhere in this country." Australian Stage, 10 March 2019
A Man of Good Hope
"as the play itself drives home, it is also just one man’s story, and we need to hear more of them." The Adelaide Review, 6 March 2019
★★★★ "Isango and A Man of Good Hope are inspiring, shocking, amusing, tragic and intensely, universally musical. Unlike anything you might have seen before and you won’t forget them in a hurry." Stage Noise, 7 March 2019
★★★★ "Part up-beat musical, part theatrical opera, part fable, part epic Hollywood drama – A Man of Good Hope brings to the stage the unimaginable story of an impoverished Somalian refugee in a confronting, yet truly beautiful tale of survival, strength and resilience." GLAMAdelaide, 8 March 2019
"this is a memorable, challenging, high-octane piece of theatre." The Conversation, March 2019
★★★★ "For all its life-affirming verve, A Man of Good Hope is a work of more ambivalence than its title would suggest, and is all the more humane as a result." Australian Book Review, 8 March 2019
"The strong cast of 22 performers presents a musical odyssey with a host of characters highlighting the struggle to maintain family ties, outrun adversity and defy despair." The Australian, 7 March 2019
"It all adds up to the kind of experience that should solidly satisfy Festival fans." Theatre Guide, March 2019
"It is raw, bold, always engaging, and challenging. A story about the vital importance of hope as told by the magnificent Insango Ensemble." Stage Whispers, March 2019
"Part agit prop,but without the harsh edge of didactic judgement, A Man of Good Hope upholds the tradition of Brecht’s Epic Theatre, a plea for change and a call to action." Canberra Critics Circle, 7 March 2019
"A Man of Good Hope is a singular and considered inclusion in this 2019 Adelaide Festival." Theatre Travels, 8 March 2019
"Incorporating traditional African songs, opera, modern folk-rock, dance and theatre, A Man of Good Hope shows both the best and worst of human behaviour, but also has its audience whooping and cheering with delight." INDaily, 6 March 2019
Baba Yaga
"the heart of the production is Hay, a delightful comic force whose portrayal of Vaselina’s tightly-wound repression, and inevitable release, is incredibly entertaining. Her double act rapport with Johnston is enough to make anyone wish for their own f̶a̶i̶r̶y̶ scary godmother." The Adelaide Review, 28 February 2019
★★★★★ "a terrific modern version of the Russian folk tale" GLAMAdelaide, 4 March 2019
"It seems Windmill’s imagination is without boundaries. Lucky us!" Stage Whispers, March 2019
" A fabulous fusion of live performance, animation and installation combine to create a fantasy world of strange characters, pop up jungles of plants and animals and a superbly synchronized soundscape." Canberra Critics Circle, 3 March 2019
"A faultless production to excite and fascinate" Theatre Travels, March 2019
★★★★ "Baba Yaga delivers an imaginative recalibration of a well-worn story, as well as a rousing message about marching to the beat of your own drum." Fest Mag, 4 March 2019
Blaas
"Blaas is a trip through space and time. Enter with an open mind, allow yourself to be coaxed out of your comfort zone and go with the flow." INDaily, 4 March 2019
"I love a performance that has such differing effects on an audience. Some emerged at the end in silence, awed at what they had witnessed. Others were laughing and full of chat. Everyone was clearly moved by something completely unexpected." Stage Whispers, March 2019
"It is a wonderful, immersive experience, and suitable for young theatregoers who will see their own inquisitive and playful natures reflected in the creature’s behaviour." The Advertiser, 2 March 2019
★★★★ "On one hand it is a multi-sensory exploration of space, on the other a highly affecting portrayal of the migration crisis. Either way, the audience leaves amazed that so much is possible from seemingly so little." Fest Mag, 4 March 2019
★★★★★ "a transcendent experience" Hi-Fi Way: The Pop Chronicles, March 2019
"All I can say is, succumb to the bubble, throw caution to the wind and immerse yourself in the unknown. Your senses will thank you for it." Theatre Travels, 4 March 2019
★★★★★ "This is about heart. About storytelling. About memory. And about books. It is theatre boiled down to a powerful essence. It is one of the most gently, simply, complex pieces of work you will ever see. And all of it delivered with warmth, exuberance and much humour." GLAMAdelaide, March 2019
★★★★ "From Shakespeare to Ray Bradbury, this refreshing take on modern day theatre is an ode to the power of memory. And to the notion that even if freedom, books and your body are stripped away, nothing and nobody can take from you the words stowed within your heart." Fest Mag, 7 March 2019
"tender, delicious, funny, intimate and pleasing" Stage Whispers, March 2019
"there are periods when the entire audience is holding its breath" The Adelaide Review, 7 March 2019
"a love ode to books and the profound importance — in this world of disintegrating truths — of keeping what is contained within them alive." INDaily, 6 March 2019
"A tender and passionate call to arms to keep poetry alive in our minds and in our hearts, By Heart is a delight and a true gift to theatre audiences. Don’t miss out." Radio Adelaide, 6 March 2019
"Simple in its conceit, gentle in its message, unpretentious in performance, By Heart reminds us all of what we hold most important in our lives. It is a valuable lesson to digest." Canberra Critics Circle, 9 March 2019
"I have not seen a performance like this and I urge everyone to go and see this beautiful and completely unique show, and the consummate performer that Rodrigues is. Truly stunning!" Theatre Travels, 8 March 2019
Camille O'Sullivan
"This was truly a memorable experience." The Music, 16 March 2019
★★★★★ "Thank you Camille O’Sullivan for gracing us with your presence" Hi-Fi Way: The Pop Chronicles, 17 March 2019
"It was a commanding display, full of passion, from a singer who is also a dramatist." The Advertiser, 16 March 2019
"Once in a blue moon you happen across a performance so astonishing in concept, so perfectly executed that it fills you with wonder and makes you look at the world with fresh eyes. Welcome to Semperoper Ballett’s Carmen." INDaily, 9 March 2019
"you know you are experiencing really extraordinary dance – little wonder Inger won the Benoit de la Danse for the work." The Advertiser, 9 March 2019
★★★★ "breathtaking" The Clothesline, 9 March 2019
"Semperoper Ballett’s Carmen defines a new and invigorating experiment in corporeal interpretation of myth and motive." Canberra Critics Circle, 10 March 2019
★★★★★ "Mesmerising from the first note to the inevitable death this is a spectacular production. Another festival success." GLAMAdelaide, 10 March 2019
"seductive and expressive" On Dit Magazine, 9 March 2019
"This is a Carmen that won’t be forgotten." The Australian, 11 March 2019
★★★★★ "Whether you are a first-time ballet goer or a veteran you are sure to experience a purging of emotion and be rendered speechless by its sheer vulnerability and candid beauty" Hi-fi Way: The Pop Chronicles, 10 March 2019
"This work, [...], is marked by a fierce athleticism, with dancers exhibiting superb control over every muscle of their bodies. Every movement, every gesture, is held only for a micro-moment, never in repose." The Conversation, 12 March 2019
"fantastically inventive." The Adelaide Review, 5 March 2019
★★★★☆ "A marvellous production of an epic, exhilarating and deeply moving play." Artshub, March 2019
★★★★★ "a joy to experience" GLAMAdelaide, 4 March 2019
"a profoundly affecting play" Australian Stage, 9 March 2019
★★★★★ "…at what has to be among the worst of times in modern Australian history (see also Manus) there is hope as well as warnings in Counting and Cracking. Redemption and love are its foundations and what’s built upon them is spectacularly uplifting." Stage Noise, 9 March 2019
"a diverse, multicultural delight" The Advertiser, 5 March 2019
★★★★★ "This is theatre that has the power to change lives. It is a rare privilege, and one that I highly recommend." Hi-Fi Way: The Pop Chronicles, 5 March 2019
"It has been some time since I have seen an audience rise to their feet as ‘one’" Theatre Guide, March 2019
"This is an artistic collaboration like no other in recent Australian theatre and is something to be celebrated, cherished, and praised to the highest – truly groundbreaking and magnificent theatre." Stage Whispers, March 2019
"A brilliant production that speaks with resounding relevance to all Australians." Canberra Critics Circle, 13 March 2019
"warms and breaks our hearts" Theatre Travels, 7 March 2019
"an exploding kaleidoscope of emotional colour and tension, despair and hope, simultaneously on an epic and personal scale. Unbelievably, it’s Shakthidharan’s first play. Double bravo!" The Barefoot Review, 3 March 2019
Foehn
"Foehn is breathless, flawless and an artistic masterpiece" Stage Whispers, March 2019
"a wordless, enchanting, improvised performance" Theatre Travels, 14 March 2019
"There were several young children in the theatre, and all seemed utterly transfixed with the performance that neither they, nor the adults in the audience, are likely to forget." INDaily, 14 March 2019
★★★★☆ "This is truly a spectacular show that feels as though some magic is at play." The AU Review, 14 March 2019
★★★★★ "With so many gleeful sounds coming from the audience made up mostly of children it was invigorating to see that a show with no talking and no audience interaction could captivate them so intensely and expose them to the beauty of classical music." GLAMAdelaide, 16 March 2019
"The “plastic bag show” is puppetry as you’ve never seen it before — bin night will never be the same again." The Advertiser, 14 March 2019
Forces of Nature
"Tognetti and Helyard’s performances were consistently controlled, subtle and airy yet full of energy." The Advertiser, 12 March 2019
Grand Finale
★★★★ "Sprinkled liberally with humour and warmth Grand Finale is one of the kindest rebukes against humanity's selfishness and indulgence in escapsim from personal responsibility." Fest Mag, 17 March 2019
"The ensemble of dancers is immensely strong, focussed and totally in the moment." Stage Whispers, March 2019
★★★★★ "Grand Finale was a fitting finale to a successful Festival and if this reviewer had to choose a way to leave this earth, this would be the ultimate way to go." The AU Review, 19 March 2019
"If ever the world needed a mirror to reflect back the complex and troubled state of humanity in our dystopian world, it is now. With the wild and ecstatic physical poetry of Grand Finale, Hofesh Shechter Company delivers to powerful effect." INDaily, March 16 2019
"When the dancers are in motion, all is fluid and there is no rest. Everything and anything could happen. Nothing can be predicted." The Conversation, 18 March 2019
"Shechter’s work brilliantly portrays the absurdity, pathos, and renewal of our very existence… Grand Finale is a representation of fluid movement art and ‘of being in the moment’!" Global Media Post, 17 March 2019
★★★★☆ "Shechter has created a deeply moving work that will inevitably be read differently according to the time and place in which it is performed. But as long as there is hope, as well as loss, Grand Finale will demand its relevance." Limelight, 17 March 2019
"Grand Finale is a stunning paean to the end of the world, danced with the utmost abandon and commitment by the company. It marked a fitting end to a truly fabulous Festival program." Dance Australia, 19 March 2019
Hippo Campus
"Reminiscent of bands such as Vampire Weekend, Hippo Campus’ infectiously upbeat indie rock has the crowd in tow as they move between songs new and old." Fest Mag, 13 March 2019
★★★★ "the audience is left spellbound by his performance" Fest Mag, 13 March 2019
La Reprise
"This is La Reprise’s ultimate invocation: the call to feel something for someone no longer there, but who should be." The Conversation, 6 March 2019
"a powerful, utterly compelling and highly distinctive work" The Advertiser, 5 March 2019
"This is realism at its most flexible and courageous" INDaily, 7 March 2019
★★★★☆ "powerful and gripping theatre" The Clothesline, 7 March 2019
★★★★☆ "new, fresh and endlessly thought-provoking. Brilliant." Stage Noise, 6 March 2019
"It is a brilliant, gruelling, disturbing work. It is the stuff of which good Festivals are made." The Barefoot Review, 5 March 2019
"a fascinating piece of theatre. It is mechanical yet moving, confronting yet captivating" Radio Adelaide, 6 March 2019
"This is not conventional theatre; instead, it is a challenge to those conventions, in a deeply complex exploration of what happens when seemingly ordinary people commit a heinous crime, and how we then tell those stories." Theatre Guide, March 2019
★★★★☆ "La Reprise is a crucial and meaningful work" Collage Adelaide, 6 March 2019
"La Reprise is innovative, intricate, beautifully judged, an unforgettable pizza indeed." The Australian, 6 March 2019
"An unforgettable experience" Theatre Travels, 8 March 2019
★★★★★ "The orchestra’s ensemble playing is a wonder to behold." The Clothesline, 9 March 2019
★★★★★ "Performances of this calibre are few and far between" Limelight, 11 March 2019
"The Mahler Chamber Orchestra is like a wolf pack, achieving a rare unanimity of group purpose with playing of remarkable expressivity." The Advertiser, 11 March 2019
"effortless" The Adelaide Review, 12 March 2019
★★★★★ "If you did not hear this orchestra you missed possibly a once in a lifetime chance to hear their perfection." GLAMAdelaide, 10 March 2019
★★★★★ "The Adelaide Festival has a long tradition of presenting international performers of the highest calibre. Two of this year’s Festival highlights showcase the work of Wolfgang Amadeus Mozart: Barrie Kosky’s audacious Magic Flute and this concert by the Mahler Chamber Orchestra (MCO)." Artshub, 12 March 2019
"The Mahler Chamber Orchestra are an outfit unlike any other orchestra. The two concerts, taken together, were a remarkable experience, which expanded my understanding of the possibilities inherent in orchestral performance." Australian Stage, 12 March 2019
Man With the Iron Neck
★★★★★ "The message of keeping going in the face of obstacles is strong. The Man With The Iron Neck is an important and brave show that is a starting point for further conversation on healing." The AU Review, 9 March 2019
"So often meetings between theatre and circus go astray, but here the characters are strong and the youths, played by Tibian Wyles, Kyle Shilling and Caleena Sansbury, are fully realised." The Advertiser, 9 March 2019
"Thoroughly recommended." Stage Whispers, March 2019
★★★★☆ "This isn’t just a show you should see, but really one that every Australian needs to see. It addresses important taboo topics within our society including youth suicide, racism and the hardships that Indigenous Australians face on a daily basis when simply trying to live. Man With the Iron Neck will stay with you long after the curtain goes down." GLAMAdelaide, 10 March 2019
★★★★★ "This is not an easy play to watch, but is crafted and performed skillfully with a message of hope for the future." The AU Review, 8 March 2019
★★★★★ "Man With the Iron Neck provides the stage to examine confronting and often unspoken topics, successfully blending physical theatre in gripping scenes of surrealism" Hi-Fi Way: The Pop Chronicles, 11 March 2019
"Bravo Legs on the Wall : a courageous and truth-telling performance" Theatre Travels, 10 March 2019
"The production, for all its pain, hums with vital life, and some scenes stay in the mind long after the curtain has set" The Guardian, 10 March 2019
"This is stark, matter-of-fact and shaming theatre." The Australian, 11 March 2019
"The tension is rarely at anything less than breaking point. […] You won’t leave the theatre unchanged, but nor should you." The Advertiser, 8 March 2019
"Manus is a particularly powerful production that needs to be seen and will have a great impact on Australian audiences." INDaily, 8 March 2019
"In Manus, theatre delivers home truths that can’t be dodge" The Conversation, 13 March 2019
★★★★ "“Audiences won’t laugh. They won’t walk out humming the tunes. They may be shocked, they may be angry, but they won’t be complacent and they may be inspired. These are stories of human resilience that must be told – and heard”. And we must bear witness. Recommended without reservation." Stage Noise, 8 March 2019
"But as an audience member, I felt that watching was the least I could do: an hour’s psychic discomfort in a theatre is nowhere near the misery that’s inflicted in our name." Witness, 11 March 2019
"This is not an easy piece of theatre, it is not for a light evening’s entertainment, but it is also one you should not miss." Theatre Travels, 12 March 2019
"Harrowing and heart-wrenching, Manus provokes debate. Let us hope it has the power to provoke just and compassionate action." Canberra Critics Circle, 8 March 2019
"with passionate performances and engaging stage craft Manus is challenging work tackling a subject matter with which every Australian, and indeed every global citizen, should engage." Radio Adelaide, 10 March 2019
Natalie Clein
"a remarkable evening of music" INDaily, 8 March 2019
"riveting, high octane recital." The Advertiser, March 2019
★★★★★ "a varied but beautifully balanced program" The Clothesline, 8 March 2019
"The interplay between Clein and Apekisheva, who must have a wicked sense of humour, was a delight from start to finish." Australian Stage, 9 March 2019
Out Of Chaos...
"circus with a big, pounding heart and an honest, earthy soul" INDaily, 2 March 2019
★★★★★ "an absolute joy to watch" GLAMAdelaide, 3 March 2019
★★★★☆ "The effortless way in which this fuss-free drama in three movements unfolds is something to behold." Limelight, 6 March 2019
"the sinuous, flowing, never ending movement of bodies through and past and over other bodies is breathtaking" The Advertiser, 2 March 2019
★★★★★ "Out of Chaos… is an outstanding production, and aptly demonstrates why Gravity & Other Myths are in such high demand on the international stage." Artshub, March 2019
★★★★★ "Wow! Just wow!" The Clothesline, 27 Feb 2019
"You will gasp and applaud with admiration." The Barefoot Review, 1 March 2019
"a brilliant piece of contemporary circus from this home-grown group" Stage Whispers, March 2019
"marvelously performed physical theatre" Canberra Critics Circle, 4 March 2019
"Excitement, pathos, humour and tenderness are evoked with truthfulness and panache and it is impossible to take one’s eyes away from the spectacle" Theatre Travels, 28 February 2019
"Their bodies slide and bounce off each other, scale to dizzying heights on waiting shoulders, balance on heads or a single hand, whirl from one pair of arms to another … and it all looks entirely natural. Fabulous." The Sydney Morning Herald, 4 March 2019
Palmyra
"anarchic, pitch-black, absurdist comedy" The Advertiser, 2 March 2019
★★★★ "Humorous and terrifying, Palmyra doesn’t so much invite the audience to challenge their perceptions about cultural superiority and complicity as it does force them to acknowledge it – at the business end of a claw hammer." Limelight, 4 March 2019
★★★★★ "the play’s climax is deeply sinister, disturbing and moving" GLAMAdelaide, 4 March 2019
"this is theatre of the intellect, challenging opinion, and provoking thought." Canberra Critics Circle, 4 March 2019
"a clever and uncomfortable study of physical and psychological violence." The Adelaide Review, 4 March 2019
"An incredible hour of raw dramaturgy, that will excite, confront, provoke and unsettle even the most hardened of theatre critics." Lia Loves, 4 March 2019
"The Cabaret Queen has returned home to Adelaide!" Global Media Post, 11 March 2019
"The whole experience is richly entertaining and informed by Archer’s sharp, bright, kind mind." The Advertiser, 11 March 2019
"Picaresque is as delightful, surprising and satisfying as an exquisite pop-up picture book." Stage Whispers, March 2019
"a journey of delightful stopovers in the company of a travel guide extraordinaire" Canberra Critics Circle, 11 March 2019
Quilty
"It’s a wonderfully curated oeuvre of Quilty’s works." Fest Mag, 8 March 2019
"Quilty is free to the public, so go: this is a show that, decades from now, you’ll be telling people you had the privilege to see." The Advertiser, 4 March 2019
★★★★☆ "If we, as an arts community, cannot support artists with the courage to speak through their art beyond the silos of our own sector, then we have little to be proud of. And simply, this work speaks volumes." Artshub, March 2019
Rhye
"On a smokey hazed stage overlooking the beautiful backdrop that is the Torrens River and the Adelaide Convention Centre lights once again the Palais delivers a magical atmosphere for the Adelaide Festival’s music acts. For one night only the sensual and melodic Rhye performed in what he described our “sweet city.”" Hi-Fi Way: The Pop Chronicles, 10 March 2019
Rolling Blackouts Coastal Fever
"With an impressive live presence, Rolling Blackouts Coastal Fever continue to prove themselves as a great guitar band – they should be on your must-see list." The Music, 16 March 2019
"Rolling Blackouts Coastal Fever are the real deal, get on board!" Hi-Fi Way: The Pop Chronicles, 18 March 2019
Sarah Blasko
"Tonight, Sarah Blasko reminded us that the Adelaide Festival’s floating performance venue The Palais is a fantastic venue for live music (and not just an 11-month-of-the-year eyesore). The stunning riverbank cityscape was the perfect backdrop for this special musical event and the enthusiastic crowd and perfect weather all did their part to make this the ideal night to be ‘outdoors’ enjoying live music." The Music, 7 March 2019
★★★★★ "Her stage presence is phenomenal; channelling Kate Bush and Florence Welch into a purely Australian aesthetic, Blasko is mesmerising and compelling to watch...The Palais added to the atmosphere of the evening, with the lit-up riverbank precinct offering a stunning backdrop to the stage, and when the mirror ball spun during We Won’t Run there was a magical glitter to the space that created a moment of pure enchantment." The Clothesline, 8 March 2019
"The Palais has a beautiful atmosphere — with the sun setting over the river and the lights from the city skyline setting a backdrop to this indie-rock artist...Her voice is absolutely stunning, feminine and passionate, reaching high notes that convey honesty." The Advertiser, March 2019
Schuldfabrik
"We looked at each other with wonder and couldn’t stop talking about it." The Barefoot Review, 7 March 2019
★★★★ "Schuldfabrik explores first-world guilt and how it can be remedied to provide a positive result for those in need while creating a distinctive artistic process and product which you can actually take home with you." GLAMAdelaide, 2 March 2019
★★★★★ "After immersion in this strange world, I leave remembering how privileged I am. Schuldfabrik has continued to weigh heavy in my chest." Collage Adelaide, 2 March 2019
★★★★ "Schuldfabrik is a bold, challenging and provocative artwork executed with dexterity and flair."Artshub, March 2019
"At turns dreamlike, bizarre, quasi-religious and even beautiful — confess your sins, and you shall be cleansed of your guilt — Hetzel delivers an unforgettable message in this engaging, shocking and immersive art performance." The Advertiser, 3 March 2019
"As for the product, it’s surprisingly lovely – almost a soap and a moisturiser rolled into one, leaving your hands soft and smelling like, well, human skin." Sydney Morning Herald, 5 March 2019
"With the input from a team of remarkable collaborators, the realisation of this astounding installation work is simply exceptional. An immersive experience worthy of inclusion in a world class Festival that will linger in my thoughts for some time." Theatre Travels, 2 March 2019
Sretensky Monastery Choir
★★★★☆ "a sound as powerful and beautiful as anything you’ll ever hear" The Clothesline, 4 March 2019
★★★★☆ "the audience kept the choir on stage for no fewer than four encores" Limelight, 4 March 2019
"A rare and heartwarming Festival treat." Stage Noise, 4 March 2019
★★★★★ "The music pours over the audience and the rest of the world melts away." GLAMAdelaide, 4 March 2019
"the bass parts hitting such low frequencies they seem to test the boundaries of tone and sheer vibration." The Adelaide Review, 4 March 2019
"it was impossible not to be swept up in the waves of emotion — yearning, sadness, nostalgia — so beautifully and powerfully projected" The Advertiser, 4 March 2019
★★★★ "At the end of each movement, the audience sigh in unison, before an enrapturing applause." Fest Mag, 5 March 2019
The Magic Flute
★★★★ "musically and visually gorgeous" "It’s incredibly dashing and never loses a playful sense of fairytale, for all the darkness it admits" The Sydney Morning Herald, 2 March 2019
"This lavish spectacle is the result of an incredible amount of work and makes 'The Magic Flute' even more accessible to audiences." Scenestr, 6 Wednesday 2019
★★★★ "The lushness of The Magic Flute, combined with outstanding performances by singers and the Adelaide Symphony Orchestra, make this an unmissable show." Fest Mag, 5 March 2019
"See it for the dazzling animations, charming costumes and dreamy, timeless (if sometimes bizarre) storyline. Or see it simply for the thrill of hearing ‘The Queen of the Night’ sung live (by a giant matriarch-spider, no less)." KIDDO Mag, 4 March 2019
★★★★★ "This Magic Flute is crazy, beautiful, simple, dazzling, clever and gloriously satisfying." Stage Noise, 2 March 2019
"This is a tightly bound production with split second timing, mesmerising projections, stunning vocals and magnificent orchestral accompaniment." Stage Whispers, 2 March 2019
"Just when the wow factor is about to wear off, the narrative commands a whole new ravishing scenario." The Barefoot Review, 2 March 2019
"They played magic." The Advertiser, 2 March 2019
"The Magic Flute melds fresh ideas with a venerable piece of art in a way which, in the end, makes something both new and enduring" INDaily, 2 March 2019
★★★★★ "This is opera as you have never seen it before" GLAMAdelaide, 3 March 2019
"What a coup for the Festival to provide Adelaide with such a stunning production." Adelaide Theatre Guide, March 2019
"Kosky and 1927’s inspirational production of Mozart’s The Magic Flute is one of those rare and unforgettable nights at the opera to be cherished forever." Canberra Critics Circle, March 2019
★★★★★ "Many superlatives have been used to describe this show; it’s truly one not to be missed!" The Clothesline, 2 March 2019
"Is it jazz? Is it rock? Is it art music (whatever that is)? It’s simply The Necks." The Advertiser, 10 March 2019
The Others
"Morrison’s glorious subtleties of tone, Kram’s brilliant intensity and Grabowsky’s commanding elegance of phrase enable the flow of intelligent, viscerally-satisfying music with an enormous breadth of reference. The Others is greater than the sum of its parts." The Advertiser, 11 March 2019
The Paper Kites
"With a backdrop of the pretty lights of the Adelaide Convention Centre performing on a floating “boat” as described by lead singer Sam Bentley of the brilliant Melbourne band The Paper Kites, could you even have a better venue for a intimate concert? The setting is perfectly pretty. Adelaide knows how to through [sic] a Festival!" Hi-Fi Way: The Pop Chronicles, 9 March 2019
The Second Woman
"Unforgettable." The Advertiser, 12 March 2019
Both a feat of artistic and physical endurance, and an intricate examination of gender and vulnerability, The Second Woman was a compulsive 24 hours of intriguing theatre." INDaily, 12 March 2019
"One wants to tell the world. One wants everyone to have seen it.
But Randall has said it will not be done again.
We who were there consider ourselves very fortunate.
And, once again, we thank our Festival of Arts for delivering such rare jewels of theatre." The Barefoot Review, 12 March 2019
"I can’t rave enough about this performance, I wish I could give it more than 5 out of 5 stars." Collage Adelaide, 11 March 2019
They Might be Giants
"They Really Are Giants." The Adelaide Review, 5 March 2019
"Istanbul (Not Constantinople) transforms the Palais into some kind arts grant-funded pirate ship, Don’t Let’s Start is a revelation and Birdhouse In Your Soul is still a song that’s guaranteed to make even the grumpiest of gig-goers grin." The Advertiser, 4 March 2019
I love The Palais on the Torrens. It’s a bit like a riverboat, where you enter via the gangplank and have the river under your feet. John Flansbourgh is enjoying the open space behind the stage ‘At last,’ he quips, ‘..after thirty years of having it in our rider. Get rid of the back wall completely, we always ask. They never do it. But here in Adelaide at last – no back wall!’ " Hi-Fi Way: The Pop Chronicles, 6 March 2019
Thirteen Ways to Look at Birds
"gorgeous orchestrations" The Adelaide Review, 5 March 2019
★★★★☆ "Turns out musically interpreting poems about different kinds of birds is a brilliant idea." Hi-Fi Way: The Pop Chronicles, 3 March 2019
★★★★☆ "We need more of these imaginative incursions into the natural world than ever before." The Guardian, 3 March 3019
★★★★ "the performance not only succeeds in celebrating the joy of nature and its importance to people, it also manages to remind us of the beauty, lyricism and power of prose and the connection it can create with the natural living world." Fest Mag, 4 March 2019
"it was by turns profoundly moving, playful and darkly atmospheric – and something the rest of Australia will hotly anticipate." The Canberra Times, 5 March 2019
Tribute to Ruby Hunter: Emma Donovan and The Putbacks
"one of the most memorable nights of this year’s Adelaide Festival." Hi-Fi Way: The Pop Chronicles, 18 March 2019
Trio Mediaeval
"Henriksen’s muted trumpet lends tremendous atmosphere, hovering beautifully in wisp-like notes in the cathedral air, at times shifting form and mimicking other instruments." Adelaide Review, 7 March 2019
★★★★☆ "brilliant quartet" Limelight, 7 March 2019
"Their flowing line, immaculate intonation and generosity of spirit are simply unmatched by any comparable group." The Australian, 12 March 2019
★★★★★ "To hear this “old” music beautifully sung and blended with trumpet, pocket trumpet and wooden flute was a joy to behold." 5mbs, 6 March 2019
★★★★★ "It was the first event of the Adelaide Festival to put up “sold out” signs" Stage Noise, 3 March 2019
"Put together three geniuses of dance, one long gone, two very much alive, and you can achieve something spectacular." The Adelaide Review, 4 March 2019
"Two Feet offers a fragmented but captivating portrayal of the true cost of a dance career and the lengths travelled by those who seek to achieve greatness." INDaily, 2 March 2019
★★★★ "Two Feet showcases the impressive singular talent of Osipova, bringing the audience to a roaring applause and standing ovation." GLAMAdelaide, 4 March 2019
★★★★★ "Two Feet was always a remarkable achievement by Meryl Tankard, as dancer-creator, and she’s refashioned it beyond imagining through this partnership with the marvellous Natalia Osipova." Limelight, 4 March 2019
"Two Feet displays her [Osipova's] great versatility (even to placing her left heel behind her right ear), portraying the child Mepsie through to the mind-broken Olga." The Australian, 5 March 2019
Two Jews walk into a theatre...
"funny, painfully honest and unclassifiable" Witness Performance, 9 March 2019
★★★★★ "fascinating" GLAMAdelaide, 10 March 2019
★★★★ "a very enjoyable performance" Collage Adelaide, March 2019
"Anyone who has or had a son or father will see themselves in the mirror that this show cleverly holds up to us all." Stage Whispers, March 2019
"an intriguing theatrical conversation" Canberra Critics Circle, 11 March 2019
★★★★☆"a show that manages to reconcile many seemingly opposite elements about life" The Clothesline, 8 March 2019
Ulster American
"Honestly and truthfully, one of the most brilliant, unnerving, intoxicating and engaging plays I’ve ever seen." Theatre Travels, 14 March 2019
"This play pushes the boundaries until you are teetering on the abyss, but it is that kind of storytelling that is so satisfying." Stage Whispers, March 2019
★★★★☆ "Ulster American is distasteful, hilarious, politically astute and incorrect. The actors are scintillating and it’s a wonderfully clever, frequently brilliant night out. Hang on to your corsets and trusses, Adelaide: you’re in for an outrageous ride!" Stage Noise, 14 March 2019
★★★★★ "Quality theatre is always a great experience, and the buzz of expectation that filled the theatre before the curtain went up was justified in the standing ovation this talented group of individuals received from a very amused, challenged and very entertained audience." GLAMAdelaide, 15 March 2019
★★★★★ "I doubt whether a funnier, more caustic, brilliantly acted satire will be seen on Australian stages this year, or maybe even next – unless, of course, other Australian companies take it up." Australian Book Review, 18 March 2019
"anything but tame" Witness, 18 March 2019
★★★★★ "Ulster American is a contemporary black comedy with an engaging plot that is not afraid to offend." Hi-Fi Way: The Pop Chronicles, 17 March 2019
Un Poyo Rojo
"utterly wonderful...Go to every performance, just to see what happens." The Advertiser, 2 March 2019
★★★★☆ "there’s a sub-textural tenderness at play thanks to the chemistry between the two that pays off in a genuinely charming finale." Artshub, March 2019
★★★★ "this free flowing show is a joy to watch" GLAMAdelaide, 3 March 2019
★★★★☆ "great to watch, very funny and deliciously naughty." The Sydney Morning Herald, 4 March 2019
"An hour of unrelenting fun and delight. Bravo!" The Barefoot Review, March 2019
"well paced, full of energy and humour." Stage Whispers, March 2019
"This is dance-up comedy extraordinaire" Canberra Critics Circle, 6 March 2019
★★★★★ "Unrushed to the point of feeling time-warped, this Chekhov has been “slow cooked” and the result is mouth-watering. Uncle Vanya at The Cedars is a magical, intense and extraordinarily special experience." Limelight, 4 March 2019
"as an audience member, you become totally immersed in this world, which is thrilling and pleasurable." The Advertiser, 3 March 2019
Washington
"A sublime and enjoyable performance from a talented musician." The AU Review, 16 March 2019
"Last night’s event was a precursor to what looks to be a feisty festival – even Dyer’s acknowledgement of the land we were meeting on was proof of this, as she more or less issued a call to action following the traditional statement we’re so used to hearing." INDaily, 1 March 2019
Zizanie
★★★★★ "Meryl Tankard and Restless Dance Theatre’s Zizanie is an intoxicating, utterly delightful visual and aural cornucopia of pure, unadulterated joy." Limelight, 17 March 2019
"Zizanie is a kaleidoscope of joy, whilst making a strong social comment." Stage Whispers, March 2019
"A delightful theatrical experience, this is a show for all the family, connecting the audience with the performers in a way that brings out the best in us." INDaily, 15 March 2019
"Zizanie is a whole lot of vivid zaniness, full of good spirit, lively imagination, warm heart, and sweet hope." The Barefoot Review, March 2019
"A show of beauty and perfection." The Advertiser, 15 March 2019
"a timely reminder of the power of opening doors rather than building walls." Fest Magazine, 16 March 2019
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