Formosa Viva

Formosa Viva

Formosa Viva Rating

★★★★★

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8

As you enter the hall you can see the dancers already on stage, connected in a circle as they move their bodies in a wave. The lights brighten, the sound of rolling waves reaches a crescendo, and history begins.

The lights are simple but effective, rotating from the blue ocean, to a deep red pain, to lighter moments in time. Not missing any queues, the lighting boosts the emotional element, but also grounds the audience in the moment, expertly weaving itself in amongst the story. The costumes are simple; each dancer is wearing a white outfit, and each one unique to the dancer. This didn’t detract from the story, it showed the individuality of the dancers and their unique strengths throughout the performance.

The six performers take their audience on a historic journey, showcasing the battles, oppressions, and struggles, as well as the strength and resilience of Taiwan and its people. The dancers take turns stepping into the spotlight, showing their dancing prowess and skills, and work together seamlessly, their work, training, and teamwork obvious in the way they move with and around each other. They also work with the music, ensuring it is not a separate entity, but another element to the story they are telling.

 

 

Music can have the power to engage or overwhelm the audience. For Formosa Viva, the music guides the story along, but it never overpowers the dancers or the story. It adds depth and serves as a solid foundation to the visual aspect of the story. It complements the visuals projected onto the back wall behind the girls, showing the audience when in history they are visiting, but never distracting from their movements for long. The minimalistic set assists with ensuring the audience’s focus on the dancers, the visuals, and the emotions boiling from the stage.

Because even if you are not familiar with Taiwan’s history, at no point will you find yourself questioning what emotions the dancers are portraying. Whether it be through their dancing, their expressions, or interactions with one another, their grief, pain, joy, and everything in between shines through them with ease. The girls manipulate and control their bodies with the strength and prowess of seasoned, hard-working dancers, never tiring or missing a beat. The choreography is planned to within an inch of its life, with feet stepping where hands were a moment ago, bodies brushing past each other, and lifts made to look easy. Their movements and where they’re going next might keep you guessing, but you’ll be utterly enraptured the entire time.

To book tickets to Formosa Viva, please visit https://adelaidefringe.com.au/fringetix/formosa-viva-af2026.

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CVNT

Sophie Power: CVNT

Sophie Power: CVNT Rating

★★★★★

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2

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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