South Australia Meets An Expressionist Masterpiece

Feature-MACHINAL

Red Phoenix Theatre presents the South Australian premiere of Sophie Treadwell’s MACHINAL at Goodwood Theatre & Studios, 21–30 May 2026.

Nearly a century after Sophie Treadwell wrote it, MACHINAL will be staged in Adelaide for the first time. Red Phoenix Theatre presents the South Australian premiere of this globally recognised Expressionist masterpiece at Goodwood Theatre & Studios from 21 to 30 May 2026.

Inspired by one of the most sensational true crime cases of the 1920s, Machinal follows one ordinary woman ground down to breaking point by the relentless machinery of work, marriage and expectation. Treadwell drew from the 1927 murder trial of Ruth Snyder but transformed tabloid sensation into something far more searching, a nine-episode portrait of a woman being squeezed into shapes she was never meant to hold. Nearly a hundred years have passed. What makes Machinal so unsettling is not how distant Treadwell’s world feels from our own, but how close.

Time Out New York called it “stingingly fresh and provocative”. West End Theatre described it as “cleverly inventive, chillingly modern”. Adelaide audiences will now have the chance to decide for themselves.

A VISION IN BLACK AND SHADOW

Director Michael Eustice brings an expressionist production design to the work that bends the physical world of the play around the inner experience of the Young Woman at its centre. The stage is constructed almost entirely from black drama blocks and stools, reconfigured between each of the nine episodes by the ensemble, in movements that are themselves choreographed with mechanical precision. The physical world of the production is bold, precise and thrilling to watch.

While deliberately sparse in its physical design, the production draws on the visual language of German Expressionist cinema, a soundscape layering 1920s jazz and blues with contemporary minimalism, and chiaroscuro lighting that makes shadows as important as light. This is theatre that enters through the eye and takes up residence somewhere deeper.

DIRECTOR QUOTE – I saw MACHINAL at the National Theatre in 1993 and it marked me in ways I am still discovering. There is something in Treadwell’s design – the fragmented language, the expressionist distortion of a world that is grinding one woman to nothing, that is both technically extraordinary and completely, uncomfortably human. Three decades on, bringing this South Australian premiere to Red Phoenix feels less like a directorial choice and more like an obligation. This is what theatre is for. To make the walls close in. To make the air thin. And then, briefly, to let the light in.

Michael Eustice, Director

THE CAST

Machinal features an outstanding ensemble: Trevor Anderson, Laura Antoniazzi, Nic Betts, James Grosser, Matt Houston, Lisa Lanzi, Sophie Livingston-Pearce, Sharon Malujlo, Steve Marvanek, Stuart Pearce, Kate van der Horst, and Leighton Vogt.

PERFORMANCE DETAILS

Title: MACHINAL
Company: Red Phoenix Theatre
Venue: Goodwood Theatre & Studios, Goodwood
Format: Two hours including one interval
Dates & Times: May 21, 22, 23, 27, 28, 29 & 30 @ 7.30pm and Sunday May 24 @ 2.00pm
Tickets: $29 full, $23 concession, $26 group booking (6+)
Tickets at the door subject to availability
Bookings: www.trybooking.com/DCUKY

 

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Australia Day – Therry Theatre

Australia Day

Australia Day Rating

★★★★★

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Australia Day is Jonathan Biggins’ satirical look at the workings of rural councils and in particular an Australia Day organising committee. While the cast do their best with the script, Biggins wrote it in 2012, it now feels worn and the characters hollow. Some of the attempted humour is offensive (which seems to be the point) but if audience members can get past that, Australia Day is funny in parts if a little passed its use by date.

Set in 2016 in the fictional rural town of Makarrata, the play begins in the town’s scout hall as the members of the local Australia Day organising committee arrive to begin the planning for the following year’s Australia Day celebrations. The committee is composed of Brian Harrigan (Stephen Bills) the town’s Mayor and Liberal party member who is also seeking pre-selection for the local federal seat and Robert Wilson (Adam Schultz) the Deputy Mayor who is Liberal leaning but not a party member. Joining them are long standing committee members, Maree Bucknell (Kristina Kidd) the President of the Country Women’s Association and bigoted Wally Stewart (Steve Kidd OAM) who is a local builder. There are also newer members of the committee, Helen McInnes (Michele Kelsey) who has relocated from the city and a member of the Greens and Chester Lee (Ollie Xu) who is an Australian-born son of Vietnamese refugees and a new schoolteacher.

 

 

As the committee meetings unfold and Australia Day approaches disagreements develop ranging from the choice of sausages for the BBQ through to just plainly intolerant views. Political power plays and personal agendas also unfold.

Local place names are substituted into the script to add a local flavour. The whole cast perform admirably, and the play is directed competently by Jude Hines, however the limits of the script only ever allows them to develop shallow caricatures. As normal for Therry Theatre, their excellent production crew do an outstanding job in bringing the production into being.

Warning: a deeply offensive name for Aboriginal people is used in the play as well as an equally offensive name for disabled people.

Therry Theatre has a long history of brilliant productions. Their production last year of Come from Away was an absolute stand out. Compared to that, Australia Day feels like a bit of a misstep (although humorous in parts) as they are capable of much greater things and we eagerly anticipate their production of Jesus Christ Superstar in July.

Reviewed by Rob McKinnon
Rating; 3/5

Production Details
Venue: The Arts Theatre, Angas Street, Adelaide
Performance Dates: to Saturday 18 April 2026.
Times: 2.00pm / 7.30pm
Tickets: https://www.trybooking.com/DHTFT

To book tickets to Australia Day, please visit https://therry.org.au/.

Photographer: Andrew Trimmings

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The Infinity Mirror

The Infinity Mirror

The Infinity Mirror Rating

★★★★★

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Have you Googled your own name recently? Have you ever Googled your own name to find yourself the main subject of hundreds of deepfakes? Hundreds upon hundreds of adult movies you definitely didn’t make, or consent to.

This is what happened to Lily.

We follow along as Lily takes us on a journey starting on the day her friend called to tell her Google yourself. Now. Lily guides us through her story, elegantly weaving together moments from her past until they culminate at the turning point of her monologue. It’s at this moment in the show that you may find yourself simultaneously offended and intrigued by the efficiency of AI.

With a monologue that feels akin to having a coffee with your best friend and swapping embarrassing stories of your younger self, The Infinity Mirror is a thought-provoking performance where you won’t be able to look away. Lily is engaging and funny as she regales her audience with her misadventures in handling (or not handling) not only the explosion of AI, but the internet as a tool for unsavoury actions.

 

 

Lily uses the space of the Gallery to her full advantage, masterfully guiding her audience by placing herself at either end to represent where she is in the story. If you find yourself a little confused by the players in Lily’s story don’t worry, she will bring the story back around and connect the dots as the story nears its finale. Lily is an excellent storyteller, not only ensuring that her audience is paying attention but reacting positively when anyone from the crowd reacts to the story – particularly to the admission of the embarrassing YouTube channel which hasn’t been updated in over a decade.

For any Fringe goers concerned about sound levels, there is some music and sound effects, but they are in short bursts and used with care to enhance the performance. Lily also uses a microphone on occasion, but with her controlled voice skills, the sound is not overwhelming. The use of technology within a story about AI is appropriately used and serves as a visual aid to add depth to the story.

No matter your stance on AI The Infinity Mirror tells a cautionary tale about using AI, in a format that doesn’t feel as though you’re being shoved towards one opinion or another. Be prepared to laugh, groan, reminisce on your multiple awkward teenage phases, and walk away feeling both impressed and a little scared of AI.

To book tickets to The Infinity Mirror, please visit https://adelaidefringe.com.au/fringetix/the-infinity-mirror-af2026.

Photographer: Clare Hawley

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PleaseDon’tCatchMeWhenIFall.

PleaseDon'tCatchMeWhenIFall.

PleaseDon’tCatchMeWhenIFall. Rating

★★★★★

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PleaseDon’tCatchMeWhenIFall is a contemporary dance which invites its audience to pause, take a breath, and allow your mind to consider what is happening in and around your life while you absorb the show. There are information pamphlets provided before the show begins – I highly recommend reading it before the lights go down, or you won’t be able to enjoy the show to its fullest extent.

With lighting that is simple, smooth, and effective for what they were doing, each new lighting change is one of the few clues into the next movement. It was unobtrusive and moody, perfectly setting the scene and gently guiding your eyes where to look. Paired with music that was loud but not overwhelming, the lighting and sound entwined with one another to create an ethereal atmosphere that melded with their movements. If you are a person sensitive to louder noises in smaller spaces earplugs were being offered at the door to anyone who wanted or needed them.

The costumes and set design were simple in colour and design, and appropriate for their movements. Blue ribbons were carefully placed to hold together a dress, hold up long pants, and create an artfully draped backdrop to bring together the dancers and the set. The subtle but well-executed connection between dancers and set provided minimal distraction for the audience, allowing for their full focus to be on each moment and the two performers.

 

 

There were only two performers on the small stage, working as both the leads and the ensemble their comfort and teamwork were evident as they worked around and with each other through each act. Working together and against each other, they showcased their individual dance strengths and skill sets. Each dancer has their own strengths, dance background, and style that they bring to the stage, but this is a contemporary stylised performance (classically trained dancers in the audience will wince at the bent legs and flexed toes), and the dancing may not be what you would expect, even if you are prepared for a contemporary dance. Be prepared to expect the unexpected, watch for the smallest of inflections in body language, and appreciate the strength that can be found in repetitive movements.

There is some audience engagement in the final act of the show, but it is optional, and those who chose to participate enjoyed themselves and what they created together. The final act is an act of childlike joy, and a beautiful ending to what can only be described as a thought-provoking show.

Guaranteed to provoke different emotions, thoughts, and experiences from the audience, there are very few shows like PleaseDon’tCatchMeWhenIFall to see at the Fringe. Its originality and unique take on the interconnectedness between contemporary dance and relationships between both people and gravity will leave you somewhere between “that was powerful” and “what was that?”

To book tickets to PleaseDon’tCatchMeWhenIFall., please visit https://adelaidefringe.com.au/fringetix/pleasedon-tcatchmewhenifall-af2026.

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