Diary of a Magician: Year One performing at The Garage International @ Adelaide Town Hall as part of The Adelaide Festival Fringe is not just a magic show – it is an entertaining blend of magic, physical theatre, performance art, Chinese poetry and verse intertwined with engaging storytelling.
The journey that Taiwanese magician Mu-Syuan Chang takes the audience on begins as he contemplates an entry in his diary, opening the audience’s imagination to the possibilities that unfold before them.
Chang’s incredible dexterity is mesmerising as the audience is captivated by his nimble sleight of hand magic work enhanced by an enchanting soundtrack that complements each section of this magician’s year long journey in search of inspiration.
Classical Chinese poetry appears as cross-cultural dialogue at the back of the black box styled stage setting, which looks to have been constructed intentionally simply so as not to distract from the mastery of skill that Chang displays seemingly with ease.
His ability to wordlessly tell the story of a journey over time through mime held the audience’s intrigue for the fifty-minute performance which included Chang’s unique blend of physicality and clear technical skill that was thoughtfully choreographed and gracefully executed to the accompanying music.
Chang’s performance of Diary of a Magician: Year One was almost seamless. It was certainly captivating, unique, cleverly constructed and entertaining. For lovers of magic, it is a must see; however, even if you are not a lover of this artform, Diary of a Magician: Year One is a uniquely entertaining night out.
One man. Hundreds of sound cues. A time-traveling plot. That’s all you really need to know before stepping into Con 2077. That, and that Con Coutis is easily one of the funniest performers you’ll see this Fringe season.
The premise? Delightfully ridiculous. In 2027, a meteor strikes Earth, wiping out every comedian—except one. Fast forward to 2077, when an Arctic researcher stumbles upon the lost art of comedy and resurrects the world’s last comedian from cryosleep: Con Coutis. Now, humanity’s fate rests on one man’s ability to rediscover the joke. No pressure.
From the moment Con springs out from behind the red curtain, he commands the stage with an infectious energy that never lets up. Armed with a few props and an impossible number of sound cues, he masterfully blends stand-up, sketch comedy, and physical performance into a high-octane, laugh-out-loud spectacle. His physicality is next-level—flinging himself across the tent, weaving through the audience, dodging invisible ninja spikes, and racing against time to answer a phantom phone call. Very impressive, and the ease at which he moves in and out is a true skill.
Coutis’s ability to balance the absurd with razor-sharp comedic timing is born from natural talent, creativity and dedication to his craft. His deadpan delivery of high-concept sci-fi lunacy—interwoven with spot-on stand-up about everyday life—creates a perfect contrast. One moment, he’s breaking down the price of safes at Bunnings; the next, he’s deciphering cryptic voice recordings left by past Con for future Con. It’s chaotic, it’s clever, and it’s utterly hilarious.
The show’s technical elements are equally as impressive. The precision of its lighting, sound design, and audio effects make Con 2077 feel like a full-blown theatrical production disguised as stand-up. And when the occasional technical hiccup occurs, Coutis rolls with it so smoothly that the audience is left wondering whether it was planned all along.
The real magic, though, is how effortlessly he connects with his audience. The playful participation feels like goofing around with a friend rather than a spotlight interrogation. It’s a testament to Coutis’ warmth and natural charisma—he makes the ridiculous feel relatable and the surreal feel strangely familiar.
So, can Con save the world with comedy? No spoilers here. But one thing’s for sure: Con 2077 is a wildly original, utterly bonkers, and unmissable ride that will have you laughing out loud and leave you in awe. Coutis delivers innovative, fresh, and thoroughly entertaining content. It needs to be seen to be believed, and I encourage you to get yourself to the BankSA Theatre this week.
NOW Productions continue to demonstrate their commitment to developing the next generation of theatre stars—both on stage and behind the scenes! This time, they took on a brand-new challenge a full-blown Musical Revue. Thoroughly entertaining and a fantastic way to spend an evening watching the young cast do what they love.
What a brilliant way to let young performers and tech crews shine by giving them the creative freedom to bring some of the most iconic musicals to life. With such a selection of incredible musicals to choose from, it must’ve been a challenge to narrow it down, the selection allowed for a mix of large ensemble numbers and solo performances, which gave those with more experience and/or confidence, the opportunity to showcase their talents, whilst making it a safe and enjoyable show for those that are perhaps just stepping out.
Split into two acts featuring four musicals each, the show was the result of months of hard work. The show was put together in a relatively short intense rehearsal period, with rehearsals lasting little over a month, demonstrating the commitment and hard work to execute such an outstanding show.
The cast was a fantastic mix of ages and experience levels, and their energy was absolutely contagious! Everyone gave it their all, and the enthusiasm was undeniable. There were some standout performances, of course, but every single performer brought something special to the stage. With just a little more refinement in mic work and vocal blending, those already impressive group numbers will be even stronger in the future.
The costumes and props were simple yet effective, and you could tell the cast was having an absolute blast stepping into such a variety of roles. The show was cleverly structured so that each “Item” featured a selection of songs from a particular musical, with every performer taking on multiple roles throughout the night.
Act I kicked things off with numbers from Matilda the Musical, The Pirates of Penzance, Dear Evan Hansen, and Mary Poppins.
Act II brought even more magic with Come From Away, The Sound of Music, Into the Woods, and Les Misérables. And oh, that finale—One Day More from Les Misérables was breathtaking, showcasing the sheer talent and passion of this group. It was a goosebumps-inducing, heart-soaring moment!
So often, curtain calls feel like an afterthought, but not here. The cast came out in their respective musical groups, each with a uniquely choreographed moment that gave the audience a final glimpse of the show’s incredible range. It was such a clever way to ensure that all cast members were given their moment to receive applause.
With effective lighting, a well-planned (and quick-changing!) set, and a cast that clearly loved every second of being on stage, this Musical Revue was an absolute triumph. Bravo to all involved.
The Holden Street Theatre is in full swing, hosting numerous shows in this year’s Adelaide Fringe(running from 21st Feb to 23rd March), and we were very privileged to be granted the opportunity to review three distinct but high-quality shows in one day.
Shellshocked Shellshocked has its Australian Premiere at Holden Street Theatre for the Adelaide Fringe 2025. This play is by Phillip Stokes, an award-winning playwright from Leeds. The British Library recognises him as a culturally significant playwright of the 21st Century.
This production stars Jack Stokes and Lee Bainbridge as Wesley and Mr. Lupin (Sir). It opens with Mr. Lupin on stage, staring at a blank canvas on a large easel. The rest of the settings are a desk, a table, a solitary chair, a coat stand, a carafe of whisky, and two glasses.
Wesley has returned from serving in the military in WW2 and needs a job to support his single mum and three sisters. So, he applies to the local portrait painter for an apprenticeship, and his mother delivers his portfolio.
Wesley suffers from PTSD, but he is happy to get the position at a very decent wage. As Wesley gets to know Mr. Lupin, or Sir as he sometimes likes to be called, you start to notice that something is not right in their relationship. You sense that Mr. Lupin, who had polio as a young lad, feels that he has been deprived of the war experience and all it entails.
Wesley is taunted by Sir quite a few times through the course of the play. We begin to see why there is a blank canvas on stage and no other completed artwork. And we begin to wonder who the better artist is.
It becomes evident that Lupin is a bully. Slowly, this story builds up to an interesting climax, which you need to see to know the outcome. Jack Stokes as Welsey is brilliant; his character development is intense. He is certain to be an actor to watch out for in the future. He is cast well against Lee Bainbridge, who is a very accomplished actor.
This show is a must-see at the Adelaide Fringe before it goes to Broadway. A 4.5 out of 5 stars.
Dear Diary For about 75 minutes, Kay Proudlove entertains us with a collection of stories and a few well-crafted songs. This entertaining production is a look at Kay’s adolescent life. It starts with Kay being called back to the family home to empty her childhood bedroom, as her mother wants a sewing room. This is well represented with three costume racks filled with her clothes.
A key element is the diary from which her memories spring. Here, we hear her stories of being a teenager and all the issues that entails. It starts with Kay having a night off from work and a gig being cancelled, and therefore, she is at her family home going through the detritus of teenage years.
The delivery is nice and gentle—it is like chatting with an old friend. Kay draws the audience in with her humour in her stories and songs. We hear about boyfriends, girl power, and lost music gigs. The whole story is very relatable to the audience.
The audience appreciated this show’s gentle storytelling approach, effectively conveying the narrative without being overly forceful.
So, join the journey of self-discovery, and you will enjoy the show.
4.5 out of 5
Why I Stuck a Flare Up My Arse For England This rollicking production well portrays the decline of a footy (round ball) fan. Alex Hill plays Billy and is directed by Sean Turner. Alex uses the full stage at Holden Street. Alex plays multiple characters, with Billy being the main one.
This is a very physical one-man show that leads us through the story of Billy, a shy, introverted lad who is introduced to football.
Football helps him overcome his shyness and takes his mind off his job. His interest in football leads him to a gang of football hooligans. This is all set against the Euro 2020 competition at Wembley, and for the first time in a long time, England is in the comps with a chance to win.
The title of the production is based on a true incident that involved a flare and someone’s posterior. His life becomes more aggressive as he follows the gang of football fans. He feels he is fitting in and belongs to a crowd of like-minded people.
He becomes intoxicated by the stupid stunts and violence that is part of the culture of football thugs. He is introduced to cocaine, and that releases him from his cocoon, and he meets a girl. Now he must juggle a more complex lifestyle, between a girlfriend or football and mates. There is a theme of fascism in the football gang as you are expected to join in, whether you like it or not.
This production gives you an insight into the football hooligan mentality but in a wonderfully humorous way. It is a worthwhile production. Alex is an amazing talent. He holds your attention for over 75 minutes, leaving the audience feeling nearly as exhausted as Alex. 5 out of 5 stars from me.
These shows alone are well worth getting out to see, but by all means, we recommend getting down to see as many Adelaide Fringe shows as you can. To book tickets to any of the upcoming Adelaide Fringe shows at the Holden Street Theatres, please visit:- https://www.holdenstreettheatres.com/
