End Game: A Thought-Provoking Theatre Journey

End Game

End Game Rating

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2

Katie Reddin-Clancy’s Australian premiere of End Game is a bold and original dramedy that seamlessly blends theatre, comedy, and philosophical musings into an engaging experience at Adelaide Fringe in Victoria Park.

With her wit, impeccable accent work, and commanding stage presence, Reddin-Clancy takes audiences on an introspective yet often humorous journey through the afterlife, asking big existential questions: Why are we here? What truly matters in life?

At the heart of End Game is Joanie, an eccentric cabaret performer who arrives in the afterlife for her soul review. The stakes? Determining whether she’s learned the lessons of Earth School or simply gotten lost along the way. But the real mystery revolves around Eva—an unknown woman whose life was profoundly shaped by Joanie’s choices.

Reddin-Clancy, a seasoned global voiceover artist, brings each character to life with remarkable authenticity. While some British cultural references seemed to fly over the heads of the Australian audience, her commitment to character and storytelling kept the crowd engaged.

 

The script is cleverly written, balancing humour with deeper reflections on the ripple effects of our choices.

That said, End Game did face some external challenges. The venue’s lack of a microphone, combined with intrusive background noise from traffic and sirens, occasionally made it difficult to catch every word. Despite this, Reddin-Clancy’s stage presence remained captivating, and her storytelling prowess ensured that the emotional weight of the narrative was not lost.

Overall, End Game is a compelling and imaginative piece of theatre that invites audiences to reflect on their own life choices while being thoroughly entertained. As the show continues through the season, it may find an even more receptive audience ready to dive into its mix of humour, drama, and existential exploration.

To book tickets to End Game, please visit https://adelaidefringe.com.au/fringetix/end-game-af2025

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The importance of being fruit

Fruition

Fruition Rating

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Well, this is an interesting, fun show. It’s comedy clowning at its best. It’s a rollicking, frolicking comedy about fruit, its position in society, and its relevance to the main character, Cherese.

We learn why fruit is fun, why she loves all fruit, and why she also loves us, the audience. The show consists of a variety of sketches that flow smoothly from one to another.

For Cherese Sonkkila, this is her debut Fringe show. She has plenty of energy, and it keeps flowing. Hopefully, we will see more work from she/her in the future.

The sketches have a variety of styles, from song and dance to monologues. There are costume changes off stage, although in a couple of places, the performances are a fraction too long. But it was opening night.

This is a show worth seeing. It is a fun event with some audience participation, which I normally don’t like, but I enjoyed it. So, get a ticket or several and take yourself to the Mill on Angas Street.

To book tickets to Fruition, please visit https://adelaidefringe.com.au/fringetix/fruition-af2025

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Trawled

Trawled

Trawled Rating

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3

A one-man biography of an adventure that went sour. Eoin Ryan presents this version of survival on the high seas.

This is his story as a backpacker in Australia wanting to embark on an amazing adventure, by a little white lie about his skills on a fishing boat. The adventure turns into a nightmare as Eoin realizes how hard the fishermen are. He regrets his decision in the end.

It is a fascinating tale but marred by a voice that disappears into the dark reaches of the venue, making it difficult to hear some of the quieter dialogue. Also, some of the technical elements were a bit rough. This could be attributed to first night jitters.

I am sure that it will improve as the season settles into the venue. The only other issue is mainly a venue problem, that is if the performer steps down to the same level as the seating, the audience do have a struggle to see the performer.

Eoin used the stylised set to good use. The narrative flows smoothly and you get a sense of the emotions he felt on the fishing trip. Which included drinking, fighting and the occasional storm. The toxic surroundings he has found himself in, has become violent. He needs to survive the sea and the crew.

The story is good, and Eoin knows it well as he lived it. Just a bit more volume and energy would make it really sail. Overall the audience seemed to enjoy it.

All sessions are followed by a Q and A, so you get the chance to ask questions. It is worth going along to see, I am sure the kinks have been sorted.

To book tickets to Trawled, please visit https://adelaidefringe.com.au/fringetix/trawled-when-adventure-becomes-survival-af2025

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Robin Hood: A New Family Musical

Robin Hood

Robin Hood Rating

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If you turn the corner in Malvern’s Central Park in the late morning, you’re greeted by winding ropes cordoning off islands to seat picnic blankets or chairs. You’ll also see set pieces straight from a primary school play: a tiny wooden island and cajón drum, green and brown paint-spattered cloths tied to trees, and details like fake rocks and a shelf of plastic food with the sign SHERIFFS PANTRY.

The team behind Melbourne Shakespeare Company’s Robin Hood uses this sequestered woody space to its fullest to craft a whimsical, ramshackle and original take on a classic story.

Robin (Billy Thomas), Dame Tuck (Jackson Cross) and Little Joan (Lucy May Knight) are going about their usual business of robbing the rich to feed the poor. But when they are caught stealing from the Sheriff of Nottingham (Kaia Reyes), he devises a new punishment: shipping them off to Australia.

There, the merry men, with the help of Bushranger Bruce (Daniel Hillman), must acclimatize to a strange new world and find their way back home. The beginning feels slow and the different scenes are somewhat disconnected and potentially difficult for a child audience to follow, but it was a pleasant surprise to see a slightly different narrative in a panto show.

 

The ensemble is charming and navigates their stage perfectly. Every line is audible, every slapstick gag is visible and tight, and every spectator gets close-up moments with the characters. Lucy May Knight as Little Joan stands out with a bubbly yet sharp physicality that’s perfect for panto.

The world-building was also fantastic at blending a familiar and fun Aussie context into a classic story. The adorable Australian animal puppets were a highlight, while all the pop culture references and self-referential jokes landed well with the adult audience.

Maxwell Simon’s (Muriel’s Wedding) original score is fun and full of laugh-out-loud lines, but there was only one song where the children were directly encouraged to play along. It felt like the whole show missed out on many opportunities for audience participation, and this led to some clear confusion and lost attention among the kids at some points.

While Robin Hood has its moments of missed potential, it’s definitely a worthwhile and unique experience for the theatre-loving family. It’s a scrappy, feel-good show that keeps the much-loved traditions of panto alive in a timeless yet modern story for an audience of all ages.

To book tickets to Robin Hood, please visit https://www.melbourneshakespeare.com/robinhood

Photography: Sare Clarke Photography

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