Review: POV (re:group performance collective)
The unpredictability of POV is its undoing on this occasion, but it's also the show's superpower.
The unpredictability of POV is its undoing on this occasion, but it's also the show's superpower.
The brilliance of Dylan Van Den Berg’s writing lies in its ability to humanise the impact of colonisation in a way that resonates with a broad audience.
A round-up of our recent news reports.
A three-course feast of early music and a star-powered production by the late Robert Wilson are among the banner events for Adelaide Festival 2026.
We're celebrating our 250th issue this month. Rather than look back, we've asked leaders in the field to imagine what Australian theatremakers might be presenting when we publish Limelight #500.
Julian Hobba joins Adelaide Festival after stints as Executive Director of State Theatre Company South Australia and The Blue Room Theatre, Perth.
A round-up of our recent news reports.
Pina Bausch's works are still remarkable, but the distance between the late choreographer and the company bearing her name is palpable.
Forced Entertainment throws everything under the kitchen sink at Shakespeare to create a rich, strange and illuminating experience.
An evening of highs and lows at Adelaide Festival. Sometimes, writes Deborah Jones, things just don't work out.
Theatre and opera director Matthew Lutton "thrilled" as he makes the leap from Melbourne's Malthouse to Adelaide Festival.
Bringing together 1,000 volunteers, Stephanie Lake’s one-off, site-specific happening is a hypnotic celebration of community and the joy of dance.
Irish actor Stephen Rea delicately explores the nooks and crannies of Samuel Beckett's rueful monodrama.