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15 YEAR OLD ELON MUSK the 90s karaoke musical

28/02/2026 Rob McKinnon🥉

15 YEAR OLD ELON MUSK the 90s karaoke musical Rating

★★★★★

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15 YEAR OLD ELON MUSK the 90s karaoke musical is being performed at Arthur Arthouse, an art-deco building on Currie Street with its ‘Avant-Garde Furnishings’ signage still attached (echoing its former function) which is known for housing innovative productions.

The intimate space of The Box Theatre contains about 30 seats and a black stage where, as we entered on opening night, a smiling St John Smith sat in a wheelchair dressed in an ill-fitting surgical gown with a bandage around his head, next to him were two seats with objects covered with black cloth – one was obviously a skeleton as foot bones poked out of the bottom. Behind St John Smith was a tv screen and books.

The very affable St John Smith (a forty something man) apologised for the lateness of the start and the handful of audience members smiled back accepting his apology. He further told us that they haven’t had time for a proper tech run of the show but assured us the tech ‘God’ (Oscar) the young man in the corner would help out. St John Smith left the stage that became black, we were handed fake microphones for the karaoke parts of the show and the performance began.

Set in the 1990’s, the narrative of the show is that 15 year old Elon Musk is recovering in hospital from a beating he received at school for a homophobic slur Elon had tormented a boy with. In the hospital room Elon is visited by the skeleton ghost of South African photojournalist Kevin Carter who became famous in 1993 by taking a Pulitzer Prize photo that depicts a starving emaciated Sudanese child who has collapsed in the dirt as a vulture waits in the background. Kevin tells Elon that he will become the richest man in the world and explains the things that this will bring. Kevin further tells Elon that there will be another famine in Sudan in 2026 and asks Elon to use a fraction of his future wealth to relieve the suffering the famine will create. Later, Elon is also visited by an apparition of his father and young Elon is perplexed about what he should do with his future wealth.

Interspersed throughout the show, audience members sing along karaoke style to hits of the 1990’s. There is a Spotify playlist that upcoming audience members can prepare with – 15 YEAR OLD ELON MUSK the 90’s karaoke musical – playlist by stjohnmckay.

The one-person show by writer, director and performer St John Smith is dark and on opening night contained a few glitches which would probably be ironed out along its run, if they were unintended, although they did add an extra appeal to the performance.

15 YEAR OLD ELON MUSK the 90s karaoke musical is a highly entertaining show (glitches included) ideal for the creative space of Arthur Arthouse and St John Smith’s performance is imperfectly charming.

Proceeds from the show will be donated to Sudanese famine relief.

Reviewed by Rob McKinnon
Rating; 4/5

15 YEAR OLD ELON MUSK the 90s karaoke musical
season is: Thu, 26 Feb – Tue, 10 Mar

Times: 8.30 pm

Venue: The Box at ARTHUR ARTHOUSE

For more information: 15 YEAR OLD ELON MUSK the 90s karaoke musical | Adelaide Fringe – 20 February – 22 March 2026

To book tickets to 15 YEAR OLD ELON MUSK the 90s karaoke musical, please visit https://adelaidefringe.com.au/fringetix/15-year-old-elon-musk-the-90s-karaoke-musical-af2026.

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Meteors

27/02/2026 Rob McKinnon🥉

Meteors Rating

★★★★★

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Meteors chronicles the journey of writer and performer Melissa Pullinger in dealing with the sickness and death of her mother from cancer. The writing cleverly entwines the narrative of the events of her life balancing humour against the darker aspects of the story. Pullinger’s performance is absorbing and connects the audience with her memories making Meteors one of the exceptional hours of this year’s Fringe.

Meteors begins with a funny anecdote of her obtaining glasses to watch an eclipse and the image of waiting to watch meteors in Tea Tree Gully becomes the connecting device of the script.

In a non-linear manner, Pullinger details other stories like a date she had at The Exeter Hotel where she tells her male companion that her mother is dead and how he relates to that in terms of the death of his cat for which she comforts him. Other stories detail how she and her mother had to speed home from a piercing Pullinger was having because her mother’s colostomy bag was full and another of her mother’s treatment of avoiding all light, so the family had to live in the dark. Pullinger further details her and her brother’s experience at her mother’s funeral, which is the first funeral they had attended, and how their neighbours tried to help the family with an overloading supply of lasagna filling their fridge and creating an abundance of still unclaimed Tupperware. She also relates her meeting with her Danny DeVito lookalike counsellor, and the effect counselling has had on her.

The single actor nature of Meteors means that there is nowhere to hide on stage and Pullinger’s performance is highly engaging and her skills as an actor are superb as she masterfully unfolds the narrative for the appreciative audience.
Connor Reidy directs Pullinger across the intimate space of The Breakout at The Mill incorporating Will Spartalis’s sound designs and compositions and signaling shifts in the script by using lighting changes. The stories exceptionally unfold on the minimalist stage with just a floor rug, a wooden chair, and a step to the stage. The other creative collaborators are Ren Williams and Pullinger’s brother Connor Pullinger.

Pullinger, Reidy and Williams are the co-founders of the Cram Collective and Meteors was developed through The Mill’s 2025 Centre Stage Residency in partnership with Adelaide Fringe through their Arts Industry Collaborations program and is their debut show at the Fringe serving as another important example why such programs are crucial for the development of young South Australian talent. While this is their Fringe debut, the Cram Collective have already created a growing list of well received productions.

Brilliantly written and performed, Meteors is an authentic story of a young person’s passage with grief through a series of deftly entwined anecdotes and a show that should be included in everyone’s Fringe program this year no matter how large or small that schedule is.

Reviewed by Rob McKinnon
Rating; 5/5

Meteors season is:
Thu, 19 Feb – Sat, 07 Mar

Times: 6.00 pm

Venue: The Breakout at The Mill

For more information: https://adelaidefringe.com.au/fringetix/meteors-af2026

To book tickets to Meteors, please visit https://adelaidefringe.com.au/fringetix/meteors-af2026.

Photographer: Daniel Marks

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A Promenade of Shorts – The Red Phoenix Theatre Company

17/01/2026 Rob McKinnon🥉

A Promenade of Shorts Rating

★★★★★

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The concept of A Promenade of Shorts was born out of COVID restrictions in April 2020 when crowd sizes had to be limited to a small number. Due to the previous success of the concept, in 2026 the Red Phoenix Theatre Company presents season 3 of A Promenade of Shorts now at the Goodwood Theatre whereby 29 actors perform in 9 plays each of 10 minutes. They are performed in different areas of the theatre with great success. The plays are expertly executed over 3 sessions with 2 breaks and provide a highly entertaining experience.

Over the course of the evening, Tour Guides (Anne Doherty, Kate Prescott and Olivia Jan Parker) lead 3 groups of audience members through the distinct performance spaces where 3 plays are performed at each space.

In the Main Theatre the following are performed:

1. In Farce (written by Steven Bucko, directed by Norm Caddick)

Cast:
Front Desk Staff Jo Coventry
Man Matt Chapman
Husband Adam Tuominen
Wife Anita Zamberlan Canala
Plot Device Krystal Cave

2. Chilled Wine (written by Dorothy Lambert, directed by Alicia Zorkovic)

Cast:
Charlotte Jessica Corrie
Louise Laura Tregloan
Gemma Monika Lapka

3. Go to the Light (written by Laurie Allen, directed by Alicia Zorkovic)

Cast:
Roxie Peta Shannon
Sophie Cheryl Douglas
Dad Malcolm Walton
Will Tom Tassone

In The Bar the following are performed:

4. Bottle for a Special Occasion (written by William Kovacsik, directed by Hayley Horton)

Cast:
Martin Stuart Perce
Judith Lyn Wilson

5. On Queue (written by Morey Norkin, directed by Hayley Horton)

Cast:
Man 1 Jack Robins
Man 2 Jethro Pidd

6. Choices (written by James McLindon, directed by Hayley Horton)

Cast:
Debt Counselor Rebecca Kemp
Prospective Client Laura Lines

In The Studio the following are performed:

7. Road Trip (written by Jan Probst, directed by Libby Drake)

Cast:
Allen Lindsay Dunn
Mary Joanne St Clair
Aunt Pat Katie Packer
Uncle Joe John Rosen
Jack Jai Pearce
Michael Charlie Butler

8. When I Fall in Love it Will Be … (written by Susan Middaugh, directed by Libby Drake)

Cast:
Florence Campbell Lisa Lanzi
Ed Ferris Adrian Barnes

9. Mrs Thrale Lays On … Tea! (written by Rob Taylor, directed by Libby Drake)

Cast:
Mrs Thrale Sharon Malujlo
Polly Zoe Battersby
Dr Johnson Michael Eustice

Over the 9 plays the audience learns the ordinances in the town of Farce, not to trust a man working his way through the alphabet, how many Facebook likes you could get on your death bed, what’s the best wines for a cheating husband, how 2 men can make a queue, how to repay your student loan, how to plan a family road trip, how to cope with spouses who have dementia in residential care and what Mrs Thrale and Dr Johnson do after tea – very naughty!

The plays are often funny, sometimes hilariously, but there is also a mixture of sadness, and all are expertly acted. Each performance space presents its own demands which are adeptly and seamlessly resolved by the company’s crew members. Each audience member will have their favourite play of the evening and is also required to vote for it which is a difficult task due to the high-quality of all of them.

The Red Phoenix Theatre Company is to be congratulated for providing a magnificent evening of entertainment with season 3 of A Promenade of Shorts, with something for all audience members, it is in every respect a triumph deserving full houses.

Reviewed by Rob McKinnon
Rating; 5/5

A Promenade of Shorts remaining sessions are:
January 17, 21, 22, 23 & 24 @ 7.30pm. Sunday January 18 @ 2.00pm

Venue: Goodwood Theatre
166 Goodwood Road, Goodwood SA 5034

Tickets: https://www.trybooking.com/events/landing/1419827

To book tickets to A Promenade of Shorts, please visit https://www.redphoenixtheatre.com/nextplay/.

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Kitchen Witches: Stirring the Pot

03/10/202503/10/2025 Genevieve Hudson🥉

Kitchen Witches Rating

★★★★★

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Tea Tree Player’s debut production of Kitchen Witches, directed by Lachie Blackwell and written by Caroline Smith, opens behind the scenes of a basic white kitchen film set for supposedly the last time. During the completion of Dolly Biddle’s final ‘Baking with Babcha’ episode, she is interrupted by longtime frenemy and chef Isobel Lomax while on air. The heated barbs that fly somehow inspire an opportunity to co-host a show, to be produced by Stephen Biddle, Dolly’s son. From there the ensuing arguments and revelations both on and off the air challenge them all to consider a more flexible definition of family, however dysfunctional it may appear.

The small cast worked well together to create a colourful palate of flavours that mixed seamlessly. Dolly Biddle, played by Michelle Hrvatin, was domineering from the beginning as she demonstrated changes in accents, costumes, and relationship dynamics throughout. Also with great comic timing, Hrvartin’s much louder persona was a fantastic contrast to her castmates. Jo-Anne Davis’s portrayal of Isobel Lomax began as delightfully simpering and superficial in comparison and growing into something floaty and gentle later. The unpredictability and hostility between the two women, despite often being in close quarters, is quite entertaining.

Often a mediator between the two witches (“with a ‘B’”) is Matt Bryker-Oman as Stephen Biddle, the long-suffering producer and son of Dolly, and is often stressed due to spiteful shenanigans. Bryker-Oman’s first stage appearance since school, his performance provided grounding and relatability amongst the tumult of the kitchen set, particularly in the second act where his character is challenged from a variety of ways. Torin Hill, as Rob the Camera Guy, provides a stable yet mostly silent presence throughout the show as he assists in setting up and operating the camera within the studio atmosphere. Hill’s few lines, despite ample stage time, certainly prove that quality over quantity can prove to be particularly memorable.

The inclusion of the audience as part of the live studio experience was a clever device, complete with handpicking ‘celebrity’ taste-testers, prompted reactions, and the sounds of genuine laughter instead of canned tracks. While some of the specific mentions of ‘audience’ names sounded a little rehearsed at the beginning, this became much more natural as it went along. Similarly, while the initial dynamics on stage felt a little hesitant, momentum was quickly gained and maintained as the show progressed.

The set itself was also impressive despite its simplicity. As all cooking shows need food to work with, even staged ones, with a working fridge/freezer being used for edible props and a sink with running water to always “wash your hands”. The amount and variety of aprons used throughout was quite amusing and were always complementary to the character that was wearing them, as did the rest of their costumes. Rather than the use of traditional wings, dressing room doors are used to further create an intimacy with the audience with proximity, and moving from the back of the stage. Lighting changes were also used sparingly but particularly to signal being on air with a brighter white light and a warmer tone for off air.

Without being indicative of a particular era, Kitchen Witches is a fun and surprisingly heartwarming show that carries some relatability in each of the characters. An enjoyable night out for some witchy cackling, a brew, and a show.

To book tickets to Kitchen Witches, please visit https://teatreeplayers.com/production/kitchen-witches/.

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