CVNT

Sophie Power: CVNT

Sophie Power: CVNT Rating

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Do you think you know your way around a cvnt? Do you know a cvnt? Have you ever had a cvnt walk around on stage in front of you and encourage you to please her?

After this show you’ll be able to confidently answer yes to all of those questions.

The stage is set, the lights are pulsing purple and red, the music is playing, everyone’s in their seats, and you’re serenaded by a glove that’s appeared from behind the curtain. Follow the glove, meet the cvnt, and be prepared to be taken on a seemingly nonsensical journey. You won’t be able to tear your eyes away from the cvnt in a frilly robe as she flounces around the stage, sharing her stories and building a rapport with her audience.

Cvnt has a high level of consensual audience participation – if you don’t want to participate, you can give the signal and the cvnt won’t interact with you, but you can still expect some heavy eye contact, the cvnt leaves no audience member feeling uninvolved. Participation involves laughter, growing self-confidence, and telling those cvnts in your life where to stick it. The cvnt is very attuned to her audience, and will lovingly tease out the answers to your life you were too scared to face before seeing the cvnt. There’s a level of participation for everyone, with some audience members on the stage, some answering questions, and some losing their voice amongst the stomping and yelling which was stimulated by the cvnt, of course.

 

 

The progression of the performance focuses on one topic: the cvnt. There isn’t one story, but more of a vibe for the cvnt to follow and enjoy, while attempting to figure out who in her audience appreciates a good cvnt, who is a cvnt, and who needs to yell at a cvnt. The audience steers the progression of the performance in a unique way, and the cvnt is more than happy to go along for the ride and maintain order.

The cvnt herself dances, stomps, twirls, and slides around the stage, completely in her comfort zone as she educates and encourages the cvnt’s in her audience to fully embrace the cvnt. With a powerful voice and amazing vocal control, the cvnt is hypnotising, engaging, pleasurable, and just a little silly. Be prepared to be serenaded just as much as you’re made a little uncomfortable with how comfortable she is. Embrace the cvnt.

To book tickets to Sophie Power: CVNT, please visit https://adelaidefringe.com.au/fringetix/cvnt-af2026.

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Hannah Maxwell: I, AmDram

I, AmDram

I, AmDram Rating

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Set in a small outdoor space, Hannah Maxwell is larger than life as she takes you through her traumatic, amusing, and relatable mis/adventures with her thespian theatre family. Up close and personal with Hannah means seeing every minute facial change, being meditated through set changes, and if you’re lucky, shoes will exit stage left right by your head (no offence taken, it was a terrific throw).

Hannah sheds a lighthearted approach to her coming out story to share with her audience. Connecting with everyone in the audience as she regales us with her tale set in the year 2010, it feels less of a theatre show and more of a gossip session with your friend. You will find yourself leaning forward in your seat to listen more closely, not because of how she is speaking, but because you want to hear what she has to say next. The story isn’t difficult to follow, but it’s very real, and you won’t want to miss a single word or dance move.

 

 

With minimal lighting that was outshone by the setting sun, a stage floor of bricks, props that have been with Hannah for years, the performance gives a raw, homey feel … but with the masterful story manipulation of a seasoned thespian who isn’t afraid of having people staring at her without the safety net of the curtains. “I, AmDram” doesn’t need to indulge in complex sets and overly complicated props. There is a small TV and sound system to add layers of backstory, depth, and extra sounds effects while Hannah bounces around the stage; they only deter from the show when the remote decides it doesn’t want to work, but Hannah takes it all in her stride and makes it feel a part of the show. Hannah is captivating as she dances you through her story in a whirlwind of songs, nostalgia, and that one song she can play on the piano with two hands.

Hannah will encourage you to talk back and sing along, and if you’re very lucky, you may even get to assist with holding props. Just as you think you know where the story is going, Hannah takes a breath and throws a new obstacle or belts a musical number. Expect the unexpected, be prepared to ball change and laugh your way through.

Theatre kids, anyone who’s come out of the closet, and everyone in between should have “I, AmDram” on their 2026 Adelaide Fringe to-watch list, and be prepared to laugh, sing, tap your feet, and participate.

To book tickets to I, AmDram, please visit https://adelaidefringe.com.au/fringetix/hannah-maxwell-i-amdram-af2026.

Photographer: Daisy King, David Schwab

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Meet The Performer – Lily Hayman

Feature-The Infinity Mirror

Brace yourselves, theatre enthusiasts! We sat down with the multifaceted creative powerhouse behind The Infinity Mirror. From a passionate young actor to an accomplished writer and director, Lily is stepping back under the spotlight with The Infinity Mirror in Adelaide Fringe 2026.

About Lily Hayman

Why do you want to be an actor?

When I was growing up all that I ever wanted to be was an actor. I jumped at any chance to perform. I loved it because it made me feel like I was good at something. Like I had something I could really contribute to and belong to. I also made some of my best friends performing, and they helped shape me into who I am.

Then when I went to university, I realised there was so much more to making theatre. Suddenly I just wanted to make stuff. I started writing and directing and my love for that overtook my love for performing. But I still found moments when I wanted to be on stage. The exciting thing about The Infinity Mirror is it’s a chance for me to do all those things at once. Don’t get me wrong I have an incredible team helping me make this show, but I’ve been working as a director for a few years now, and I’m really excited to get back on stage.

What do you enjoy most about acting?

The connection with an audience is my favourite part. I’m not necessarily an “actors actor” that enjoys crafting a character. Instead I want that moment, when you’re speaking with a room of people, and together you’re creating a story.

What productions have you acted in before?

It’s been a while since I have been on stage. The last show I performed in was in 2022, in a group ensemble work called ‘Where Shall We Meet?’ – which featured artists with and without Disability and was a really fun show about what it means to be human, and how we connect. I’ve been in a few shows with that ensemble (Harness Ensemble at Shopfront Arts Co-Op) and loved it. I’ve also been in a few new plays, my favourite thing to do is create New Work so I haven’t been in anything like ‘The Cherry Orchard’ since Uni!

Do you want to work in film, live theatre or both?

Live Theatre is my favourite thing on the planet. I find Film really interesting, and I obviously love to watch and take inspiration from movies/TV but I think I will always work in theatre. In a world of screens, there is something about a truly ‘live’ room that can’t be repeated. We don’t always manage it, but when a theatre is alive it’s magic.

What has been your favourite role so far in your career?

I played Elvis Presley in a Checkhov show once. It was a bonkers adaptation, but it was really wonderful to be a part of. And the sideburns suited me!

What do you think makes a performance most believable?

Some of the most “believable” work I have seen does away with some of the artifice of theatre. Fringe is a great example of it. You often find a show which is just someone telling a good story, and it moves you beyond belief. That being said, the best actors can take you there with all the artifice still in place just cleverly hidden.

How would you react if you received a negative review of a performance?

The last negative review a show I worked on got, I took the two stars and some of the worst quotes and made big instagram graphics out of them. I was the producer of that one not a performer to be fair, but all of us as a team had a great time owning the bad review with pride. Not everyone is going to like our work all the time, and we try to make work that has a strong aesthetic and point of view. Some people won’t like it, and that makes me really happy. I’d rather make something divisive than dull.

How do you maintain your physical and emotional health while working on demanding projects?

I am no one’s role model in this regard.

Are there any particular genres or types of roles that you prefer or feel most comfortable in?

I grew up in a world of contemporary performance, so I find myself at home in non-traditional theatre. Whether it be storytelling, a bit dislocated, or completely bonkers – if there is a bit of a distancing effect at play I am more in more element. I want theatre to work as a form, not just as a vessel for story, so when some of the cogs are on display I have fun showing them to the audience.

Have you ever had to improvise during a performance? If so, can you share an example?

I once had to jump into a performance that I was the Assistant Director of, because a performer couldn’t go on. Luckily I have a knack for lines and knew a lot of the show just from being in the room during rehearsals, but there were some really improvised moments that night as I made my way through the show!

Are you comfortable with performing stunts or action scenes? If so, what kind of training have you had?

Not trained at all but I love to do the worm. It’s my best stunt.

Where can patrons purchase tickets to this production?

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

Thank you for sitting down with us and sharing your insights. We can’t wait to see the magic you bring to The Infinity Mirror. Break a leg and enjoy every moment under the spotlight!

Other interviews can be viewed in our Meet The Performer Series.

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About The Musical – Maytide’s It Is Well with My Soul: The Musical

Feature-Maytide's It Is Well with My Soul: The Musical

Prepare to be enchanted and deeply moved by Maytide Theatre Company’s latest production, “It Is Well with My Soul: The Musical.” Today, we have the pleasure of speaking with Andrew Broadbent, the Production Manager and Co-Author behind this powerful adaptation of the heartrending true story of Anna and Horatio Spafford.

About Maytide’s It Is Well with My Soul: The Musical

What is this Production about?

This beautiful tale of tragedy and faith is based on the true story of Anna and Horatio Spafford. It follows Anna’s journey from her Norwegian roots to 19th-century Chicago and later Jerusalem, capturing the couple’s faith and resilience after losing their four daughters in the S.S. Ville du Havre shipwreck. The narrative explores themes of grief, hope, redemption, and spiritual transformation, brought to life through original music, heartfelt performances, and rich historical context. The famous hymn “It Is Well with My Soul,” written by Horatio Spafford, has inspired our stage musical.

What’s challenging about bringing this script to life?

Co-writing this adaptation of the story, it was challenging not only in the discovery of the many historical details needed to ensure accuracy, but also in ensuring it conveyed a captivating story across the stage for audiences. We have created more than just a retelling of a story – it’s a healing hymn in theatrical form.

Why did you want to be involved in this production?

I got a message from Director and Owner of Maytide Theatre Company, Ally Gum, about this play that was spoken about in a radio interview that had piqued her interest, and after she was done telling me about it, I was also hooked. I had always wanted to be involved in an Adelaide Fringe production, and I think the stars really aligned with this project

What sort of person is going to love this show?

In a Fringe festival that is full of short acts, and one-acts, It Is Well with Our Soul is a production that audiences can sink their teeth into, ingest something gritty for their brain to absorb.
This story is also inspired by a hymn that is now 153 years old, and well known across the globe in varying christian circles and churches, so parishioners will be keen to get their tickets too

What will the audience be thinking about in the car as they drive home after this show?

Hopefully the audience will be reflecting on any comparisons in their life – if they’re going through a hard time, struggling with issues – they’ll be able to find the courage to reach out to their communities and seek assistance in their faith. Or maybe they’ll even find a new creative they want to follow on social media…

What’s going to surprise people about this show?

This show isn’t a comedy. When I think about the Fringe, keywords such as comedy, cabaret, experimental come to mind. But this is a historical drama that has been fleshed out by actors passionate in their craft that want to give their best to audiences

Who has the best costume?

We’ve had a sneak peek at the costumes already – Anna and her daughters in Act One have matching red/maroon costumes that look amazing together. Horatio’s early costume while he’s still young is also pretty schmick.

Is there anything else you’d like to add?

In 2026, people face many struggles in their lives – the economic crisis, homelessness, unemployment, discrimination… the list goes on. Through this story, we learn, and want our audiences to learn that we not only survive but prosper through our communities and our faith.

In the 1800s, the Spafford family faced many struggles themselves – the Great Chicago Fire, leaving ⅓ of the population homeless; the Ville du Havre shipwreck, losing their four daughters. They were surrounded by disaster, and even losing a child to scarlet fever and were lost until they found their community and focussed on their faith.

By penning the lyrics to It Is Well with My Soul, Horatio has helped and given comfort and guidance to many people over the last 150 years.

It Is Well inspires reflection and compassion, reminding viewers that sorrow need not define a life, and that love, service, and faith can chart a path forward. It offers not just a retelling—but a healing hymn in theatrical form. We are blessed for the chance to be sharing this story.

Where can patrons purchase tickets to this production?

To book tickets to Maytide’s It Is Well with My Soul: The Musical, please visit https://adelaidefringe.com.au/fringetix/maytide-s-it-is-well-with-my-soul-the-musical-af2026.

Thank you so much for sharing your incredible journey and insights with us. We wish you all the best for “Maytide’s It Is Well with My Soul: The Musical” at the Adelaide Fringe. May your performances continue to inspire and move audiences with the powerful story of the Spafford family. Break a leg!

Other production interviews can be viewed in our About The Production Series.

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