Adelaide Theatre Festival

The viewing of this show was Hannah’s preview show, and there were moments where the technology refused to cooperate and the projection decided the audience didn’t need to see Hannah’s social media handles (you can find her on Instagram, Facebook, X, and Substack). But Hannah took all of this in stride, explaining what the audience missed, and never losing her place in the script. Her vision for the performance is clear and elegant, and well worth the time.

Hannah brings forth an electric energy and undeniable desire for storytelling. As she says, she has taken her shows around some of the globe, “delighting tens of people around the world” and moments later compares live performance to a seemingly masochistic game of survivor, Hannah seeks to give her audience a show worth remembering.

Right from the beginning you realise this isn’t your typical Fringe show when Hannah encourages her audience into groups, and each group is to nominate a group scribe. While gently corralling everyone into said groups, the vibe from Hannah is supportive and encouraging, and the group work is not nearly as bad as you remember from those nightmarish group projects at school – you will want to participate. A Health and Safety officer is nominated from the crowd, and the lights drop. The pitch has begun.

Hannah begins her focus group meeting with an explanation of the difference between quantitative and qualitative feedback, and how we (the audience) are going to help her write her next show with our feedback throughout this focus group. Hannah showcases her actor profile on the projector, her height, her heterochromia (which is still up for debate), and her age. Because at the same age as she is, there are a few notable characters of literature and history who have accomplished great feats, and so she’s come to us with a desire to do more.

More being, a fresh show! Provided with introductory monologues and context for each idea for a new show, Hannah asks each group to note down ideas and feedback after each performance. With karaoke, graphs, and post it notes on a whiteboard, BABYFLEAREINDEERBAG feels more like a shared experience than that of a theatre performance. But as soon as Hannah shows us an inkling of an idea for a new show, performs a small scene, concept, or monologue, her performance is captivating, and the emotions she evokes are real. Especially when she makes eye contact with you mid-monologue.

Hannah is clearly in her happy place when she is performing, providing us with a heart-wrenching story of love, only to end with a one-line finish which will have you in stitches. Her stories she shares – all of which are up on the chopping board as potential future theatre shows – range from family to week-long romances, and all of them will give you something to think about once you’ve caught your breath from laughing.

The use of the microphone is sparing, but it adds a layer of emphasis and drama to otherwise simple lines. The lighting is simple but perfectly effective for each moment, and Hannah captivates with her use of the stage, the walkway, and round. No audience member is left forgotten, no space of the room left unused or underutilised, and no emotion left unchecked.

Be prepared when Hannah is ready to wrap up the show, as the real world may suddenly slap you in the face. But don’t let it deter you from seeing such an amazing performer doing what she loves – storytelling.

To book tickets to Babyfleareindeerbag, please visit https://adelaidefringe.com.au/fringetix/hannah-maxwell-babyfleareindeerbag-af2026.

Photographer: Lucasz Izdebski

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