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15 YEAR OLD ELON MUSK the 90s karaoke musical

28/02/2026 Rob McKinnon🥉

15 YEAR OLD ELON MUSK the 90s karaoke musical Rating

★★★★★

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15 YEAR OLD ELON MUSK the 90s karaoke musical is being performed at Arthur Arthouse, an art-deco building on Currie Street with its ‘Avant-Garde Furnishings’ signage still attached (echoing its former function) which is known for housing innovative productions.

The intimate space of The Box Theatre contains about 30 seats and a black stage where, as we entered on opening night, a smiling St John Smith sat in a wheelchair dressed in an ill-fitting surgical gown with a bandage around his head, next to him were two seats with objects covered with black cloth – one was obviously a skeleton as foot bones poked out of the bottom. Behind St John Smith was a tv screen and books.

The very affable St John Smith (a forty something man) apologised for the lateness of the start and the handful of audience members smiled back accepting his apology. He further told us that they haven’t had time for a proper tech run of the show but assured us the tech ‘God’ (Oscar) the young man in the corner would help out. St John Smith left the stage that became black, we were handed fake microphones for the karaoke parts of the show and the performance began.

Set in the 1990’s, the narrative of the show is that 15 year old Elon Musk is recovering in hospital from a beating he received at school for a homophobic slur Elon had tormented a boy with. In the hospital room Elon is visited by the skeleton ghost of South African photojournalist Kevin Carter who became famous in 1993 by taking a Pulitzer Prize photo that depicts a starving emaciated Sudanese child who has collapsed in the dirt as a vulture waits in the background. Kevin tells Elon that he will become the richest man in the world and explains the things that this will bring. Kevin further tells Elon that there will be another famine in Sudan in 2026 and asks Elon to use a fraction of his future wealth to relieve the suffering the famine will create. Later, Elon is also visited by an apparition of his father and young Elon is perplexed about what he should do with his future wealth.

Interspersed throughout the show, audience members sing along karaoke style to hits of the 1990’s. There is a Spotify playlist that upcoming audience members can prepare with – 15 YEAR OLD ELON MUSK the 90’s karaoke musical – playlist by stjohnmckay.

The one-person show by writer, director and performer St John Smith is dark and on opening night contained a few glitches which would probably be ironed out along its run, if they were unintended, although they did add an extra appeal to the performance.

15 YEAR OLD ELON MUSK the 90s karaoke musical is a highly entertaining show (glitches included) ideal for the creative space of Arthur Arthouse and St John Smith’s performance is imperfectly charming.

Proceeds from the show will be donated to Sudanese famine relief.

Reviewed by Rob McKinnon
Rating; 4/5

15 YEAR OLD ELON MUSK the 90s karaoke musical
season is: Thu, 26 Feb – Tue, 10 Mar

Times: 8.30 pm

Venue: The Box at ARTHUR ARTHOUSE

For more information: 15 YEAR OLD ELON MUSK the 90s karaoke musical | Adelaide Fringe – 20 February – 22 March 2026

To book tickets to 15 YEAR OLD ELON MUSK the 90s karaoke musical, please visit https://adelaidefringe.com.au/fringetix/15-year-old-elon-musk-the-90s-karaoke-musical-af2026.

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Meteors

27/02/2026 Rob McKinnon🥉

Meteors Rating

★★★★★

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Meteors chronicles the journey of writer and performer Melissa Pullinger in dealing with the sickness and death of her mother from cancer. The writing cleverly entwines the narrative of the events of her life balancing humour against the darker aspects of the story. Pullinger’s performance is absorbing and connects the audience with her memories making Meteors one of the exceptional hours of this year’s Fringe.

Meteors begins with a funny anecdote of her obtaining glasses to watch an eclipse and the image of waiting to watch meteors in Tea Tree Gully becomes the connecting device of the script.

In a non-linear manner, Pullinger details other stories like a date she had at The Exeter Hotel where she tells her male companion that her mother is dead and how he relates to that in terms of the death of his cat for which she comforts him. Other stories detail how she and her mother had to speed home from a piercing Pullinger was having because her mother’s colostomy bag was full and another of her mother’s treatment of avoiding all light, so the family had to live in the dark. Pullinger further details her and her brother’s experience at her mother’s funeral, which is the first funeral they had attended, and how their neighbours tried to help the family with an overloading supply of lasagna filling their fridge and creating an abundance of still unclaimed Tupperware. She also relates her meeting with her Danny DeVito lookalike counsellor, and the effect counselling has had on her.

The single actor nature of Meteors means that there is nowhere to hide on stage and Pullinger’s performance is highly engaging and her skills as an actor are superb as she masterfully unfolds the narrative for the appreciative audience.
Connor Reidy directs Pullinger across the intimate space of The Breakout at The Mill incorporating Will Spartalis’s sound designs and compositions and signaling shifts in the script by using lighting changes. The stories exceptionally unfold on the minimalist stage with just a floor rug, a wooden chair, and a step to the stage. The other creative collaborators are Ren Williams and Pullinger’s brother Connor Pullinger.

Pullinger, Reidy and Williams are the co-founders of the Cram Collective and Meteors was developed through The Mill’s 2025 Centre Stage Residency in partnership with Adelaide Fringe through their Arts Industry Collaborations program and is their debut show at the Fringe serving as another important example why such programs are crucial for the development of young South Australian talent. While this is their Fringe debut, the Cram Collective have already created a growing list of well received productions.

Brilliantly written and performed, Meteors is an authentic story of a young person’s passage with grief through a series of deftly entwined anecdotes and a show that should be included in everyone’s Fringe program this year no matter how large or small that schedule is.

Reviewed by Rob McKinnon
Rating; 5/5

Meteors season is:
Thu, 19 Feb – Sat, 07 Mar

Times: 6.00 pm

Venue: The Breakout at The Mill

For more information: https://adelaidefringe.com.au/fringetix/meteors-af2026

To book tickets to Meteors, please visit https://adelaidefringe.com.au/fringetix/meteors-af2026.

Photographer: Daniel Marks

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Moving, Off-Beat, And Deeply Tender

27/02/2026 Chantal Harrison Writer🥉

Tonsils + Tweezers Rating

★★★★★

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As we enter the theatre, an actor in boxers, a singlet, and a sleeveless tuxedo top is already on stage, catching our attention with a scientific riddle and collecting our answers as we take our seats. When the lights focus on them, the show officially begins, the riddle now in the hands of two figures we come to know as Lewis (Tweezers) and Tonsils, our excitable and endearing narrator.

The set, designed by Bella Saltearn, is deceptively simple; vintage wallpaper, a small corner kitchenette, two chairs off to the side. It grounds us in a space that slips gently through times, ages, and memories.

Early on, we’re warned something terrible will happen in eight minutes, setting an urgent emotional pace for Tonsils as they try to save Lewis from whatever fate lies ahead.

Max and Beth enter as narrative threads of their own. Their present-day scenes (preparing to perform Macbeth) become a vehicle for reflecting on the past. Gradually, it’s revealed that Max was one of the “Fountain Boys,” childhood bullies of Lewis and Tonsils.

Matthew Phillips’ tightly orchestrated sound design, paired with Poppy Townsend’s nuanced lighting, adds immense texture. What seems simple at first quickly reveals itself to be intricately timed, every shadow and flicker purposeful, especially as moments of puppetry and shadowplay appear.

Lia T’s delicate compositions, together with handmade props and playful visual touches, bring a sense of whimsy that keeps us laughing even as the story edges toward heartbreak.

This is part of the emotional rollercoaster of this piece; you go from belly laughs to a shocked silence, or deep tenderness in moments. This is the show’s quiet brilliance, sustained by an exceptional ensemble. Ariyan Sharma, as Tonsils, fills every inch of the space with captivating energy, never losing the thread even through unexpected moments (a broken glass in the audience doesn’t faze Ariyan for a second). Caitlin Green and Toby Carey offer depth and grounded humour, while Victor Y Z Xu’s performance as Lewis is a slow-build ache, leaving more than a few of us wiping away tears by their powerful performance in the final moments of the play.

Lucy Rossen’s direction is thoughtful, playful, and deeply human. Lucy navigates Will O’Mahony’s script with care, finding the humour within the heaviness and the truth within the surreal. Tonsils + Tweezers is a darkly funny and haunting exploration of friendship, grief, and the fragile membrane between imagination and reality.

There is a reference to how Macbeth is known as “A tragedy of the imagination…” and this is clearly drawing a correlation between Macbeth and Tonsils + Tweezers. We are seeing what happens when the veil between reality and imagination is held together by the flimsiest thread.

It’s deep themes, and hard subjects are not for everyone but it was truly enjoyable from start to finish, and relatable on so many levels (some you wouldn’t want to share with most people). It was light, painful and incredibly touching all at once. It will leave you tender but grateful.

To book tickets to Tonsils + Tweezers, please visit https://www.oldfitztheatre.com.au/tonsils-tweezers.

Photographer: Nicholas Warrand

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Pokélesque: The Uproarious Drag And Burlesque Parody Play

26/02/2026 Aunty Kylie xo

Pokélesque Rating

★★★★★

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One would not be out of place saying, WTF Rosie Roulette, writer and director of Pokélesque, performing 24-28 Feb 2026 at Ackland Street Theatre. What goes on in that fierce silly nerd head of yours?

Pokélesque tells the tale of a young trainer, wanting to be the best, beginning their pocket mon journey. Lucy May Knight’s star shines brightly as the young trainer. Their quick wit and improv reactions are hilariously fun. Adam White is equally matched as the Rival. There was no censoring of the rival’s name volunteered by the audience unlike the game. This was the beginning stages of the shocks and excitement ahead. Various stages of undress mean this is not a kid’s show.

We are cleverly welcomed, with the audience lights on, to three pink eared acapella singers, with words slightly changed for the Pocket monster theme, as people take their seats. As the lights dim and the story starts, we are taken on a weird psychedelic trip. The Professor, Darin Casler, cleverly comforts us for the road ahead. That road included fight scenes where we the audience clapped along and roared laughing.

There was MX Lucy Furr, whose stunning performance as Lickitung in hot pink tongue boa and pink sequined cap which made them a vagina in certain poses and strip teasing pocket mon. Rosie Roulette dazzled us with her beautiful version of “Never Enough”, what an exceptionally multi-talented weirdo. Sy Quinn’s performance in multiple roles with strange unrecognisable accents and many hat changes brought well deserved cheers and whoops from the audience every time they came on stage and played up directly with the audience.

Driving and begging for reactions seamlessly within the storyline. Rasputtin as Mr. Mime was a highlight. Their mimed strip tease was comically sensual and had audience members catching and returning their imaginary clothes with glee. The fabulous dancing Theresa Problem and Izzy Inyette play the villainous team Red Rockets. Were there a couple of sound issues and a troublesome microphone on opening night? Sure, but this talented crew added it to the interaction with us the audience. Improv and a non-existent fourth wall included us at every turn of this parody style play.

This all-inclusive, minus kids, show really is one for the pocket monster fans with many hidden and some not so hidden Pokemon puns. However, no prior knowledge is needed. Get along to the mischievous, totally camp, frivolous Pokélesque. Presented by GEEK OUT Nerdlesque. You will have a great time.

To book tickets to Pokélesque, please visit https://www.theatreworks.org.au/2026/pokelesque.

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