Book and lyrics by Eric Idle. Music by John Du Prez and Eric Idle. Directed by Richard Carroll. HOTA 5th-7th March, 2020. Touring Parramatta, Wyong, and Arts Centre Melbourne in 2020.

Let’s be honest, for committed lovers of musical theatre Spamalot is, perhaps, a steaming crock of Idle-ness (the Eric kind); whereas to true believers it is an homage to the ‘genius’ that is Monty Python and all things kitsch.

Don’t Hate the Player

Adelaide Fringe. Star Theatres, Adelaide. 5-8 March 2020

What’s the difference between actual and virtual realities? Not much, according to Laura McDonald’s play on being both trapped and liberated by technology.

Madeleine Osborne is Darcy, a young woman who spends much of her time living in a virtual reality headset, the game setting her challenges that distract her from the real world. Rhiannon Watson is, like, her ‘cool sister’, who has a job and a string of ex-boyfriends, reluctantly drawn into the game after her breakdown about her break-up.

Between Tiny Cities

Adelaide Festival. (Australia and Cambodia). Lion Arts Theatre. 28 February - 4 March, 2020

Between Tiny Cities is an exciting and thrilling hip-hop dance piece, created by Australian hip-hop choreographer Nick Power. It is the result of a wonderful collaboration over four years between hip-hop groups in Darwin and Cambodia.


By Julie Tenret, Sicaire Durieux and Sandrine Heyraud. Cie Chaliwate & Cie Focus (Belgium). Adelaide Festival. Space Theatre, Adelaide Festival Centre. February 28 – March 7, 2020

Dimanche, presented by Cie Chaliwate & Cie Focus from Belgium is an extraordinary piece of ‘family theatre’, and is a welcomed addition to this year’s Adelaide Festival. We journey through inter-related sketches involving a small group of people facing apocalyptic change. Whilst never directly stated, this apocalypse is the result of severe climate change. Subsequently, whilst relatively harrowing and tragic, it is also extremely topical and relevant at this time.

The Winter’s Tale

By William Shakespeare. Presented as part of Asia Topia. Directed by Bob Pavlich. La Mama Courthouse 349 Drummond Street Carlton. 4-8 March, 2020.

This is an interesting and accomplished co-production between Hong Kong Shax Theatre Group and La Trobe Student Theatre that explores the plays themes well.


Adelaide Fringe. Black Box Theatre, Noel Lothian Hall, Adelaide. 3-15 March 2020

Four business colleagues try to save their company from the brink of collapse in this express comedy from American writer Brian Parks – and this corporate satire finds new laughs in familiar places.

Vivaldi’s Venice

Australian Brandenburg Orchestra. Artistic Director: Paul Dyer. Harp Soloist: Xavier de Maistre. ABO, Concert Hall, QPAC. 3 March 2020

At the completion of last night’s program, Xavier de Maistre quipped at how incongruous it was playing “Winter” in Summer as a reference to Brisbane’s currently sticky heat. But the piece, which comes from Vivaldi’s “The Four Seasons”, was one of the highlights of Vivaldi’s Venice, a concert of baroque music by Venetian composers with the Australian Brandenburg Orchestra and guest artist French harp poster-boy Xavier de Maistre.

Dietrich: Natural Duty

Adelaide Fringe Festival 2020. Black Box Theatre – Adelaide Botanic Gardens March 3 – 15, 2020

Marlene Dietrich was one of the most glamorous leading ladies of the 1930s and 1940s. She will always be remembered for her smouldering sex appeal and distinctive voice. Her long career spanned from the 1910s to the 1980s and during this time she continually reinvented herself.


Adelaide Fringe. The Piglet at Gluttony. Mar 3 – 8, 2020

One thing I learned about this fast-paced, 60-minute, highly interactive show is not to put your hand up and answer questions. Such is the nature of late night comedy on the topic of relationships, mating and the depressing facts of divorce. Whatever you do, do not offer advice on the secrets of a long relationship, or you become part of this zany show.

Children of an Idle Brain

Devised and directed by cast, with George Franklin. Adelaide Fringe. Scrambled Prince Theatre Company. Bakehouse Theatre. 2-7 March, 2020.

It feels entirely appropriate that a playwright whose canon contained multiple instances of gender-based deception from various characters – and whose female roles could initially be played only by men – has inspired Scrambled Prince to devise and present a rethinking of perhaps his most iconic tale - Romeo and Juliet - that features not just a number of female cast members playing traditionally male characters, but also more than one romantic relationship that – certainly in the Elizabethan era - could be considered ‘unconventional’.

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