A Pride-full Celebration Of Unprecedented Talent! Happy Pride!

Homo Grown

Homo Grown Rating

★★★★★

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Imagine crossing the rainbow street and walking into Qtopia on the first day of Pride month, only to be greeted by the one and only Kala Gare’s and Kala’s incredibly beautiful, smiling face! Well, I don’t have to imagine, because that’s how this year’s Homo Grown kicked off for me.

Home Grown Australia, are pioneers championing new theatre and musical theatre works in Australia. What started as a backyard pub meeting, now has the backing of MTIA and the Australian Government. Founded by Nick Hedger and Ben Nicholson, Home Grown have nurtured beloved Australian new works such as My Brilliant Career, FANGIRLS and A Trans Woman On The Internet, Crying.

Homo Grown is a Pride-full celebration of queer Aussie new works to be produced, to come and in progress. The queer celebration in the room was electric, not least of all because the multi-talented Kala Gare was guiding the ship.

Kala kicked us off with an original “Hello” that speaks to “Letting freedom flow”, which was a great set up for the night. Kala’s skillful piano along with an incredible voice and sharp, relatable lyrics had us strapped in for “a wild ride, to say the least.”

Next up was Phoebe Rodger with the title song from upcoming “Phoebs, You’re A Lesbian” on June 10th – 12th at QTopia. Described as “a letter to my younger self”, this song was earnest, clever, cute, hilarious and relatable. Much like Phoebe. The second song was from a “yet to come” musical, it took us on a humorous journey of Phoebe’s ideal career discovery through a career’s test.

Cassie Hamilton and Nic Prior then took to the stage for a snippet from Afterglow by Sheanna Parker Russon & Lillian M. Hearne which will be showing at the Belvoir and is described as a “Barbershop rom-com”. Lillian introduced the piece and began to play, while Nic tore us into their deep, tender and sombre beginning. Cassie joined in and the duet echoed the lyrics “With you I fit”. Nic’s tender fragility of emotion is in stark contrast to the power of their voice, while Cassie’s sombre moments are only magnified by the reality of her powerhouse vocals. Cassie took to a solo called “Normal Michael” in which we got more of that voice, and what I can only describe as four seasons in one face, as we join the emotional journey of the character Cassie is embodying.

Matt Hawke then took us into their song from upcoming “Beautiful Lies” on June 11th-14th at the Substation Qtopia. Described as one of the lies unpacked in therapy, we deep dive into Matt’s 20 year old identity exploration wrapped in self-deprecating humour. None of us saw the sharp turn from this jaunty piano-pleaser into an acoustic guitar heartwrenching homage to Matt’s deceased dog. It left the majority of the room in tears, and awe at its beauty.

 

 

Robbie Alexander and Alex Gonzales had to wipe away tears and reset for their performance from “Twenty-Something”. Alex played the character, Charlie’s Mum, deadpanning that “I’m wearing a cardigan so you know I’m a mum.” and meeting a lot of laughter. Alex performed “Long Story Short” with power, emotion and a lot of talent. Robbie performed “Delightfully Gay”, showing us the tug of war between Angel and devil on the shoulder and reinforcing the lyrics “There’s no such thing as ‘a little bit much’!”

Lincoln Elliot joined forces with Kala, Natalie Abbott, Gracie Rowland, Nead Cristaudo, Alex Gonzales, and friends for a snippet from the “yet to be announced” emo-rock heist. The performance of “Creativity Is An Island showcased exceptional musicianship and a palpable musical love and collaboration between the group.

Kurt Kansley and Oli Lidert were missing in action, enjoying their time in Moulin Rouge, but Katie Staddon did them proud and then some with “More Than Words On A Page”. Katie’s vocal range is beyond comprehension, the melodies sublime. The swift shift from deep soul to angelic was out of this world.

Meg Rob took us on a solemn and sincere ride with “Step Into Infinity”, showcasing an ability to embody the characteristics of an introvert grappling with personal trauma, while knocking our socks of with some big belts. Those who saw Meg in Jagged Little Pill will be familiar with this ability to take an audience on a wonderful and surprising ride. Catch Meg’s show “Make It Queer” 25th-26th June at Loading Dock, Qtopia.

We finished with the cast and creatives from Nails 25th-27th June at The Eternity Playhouse. Created by Sophie Davis and Laura McDonald, and composer Harry Collins. This netball based comedic musical has a lot of balls (see what I did there?). Nead Cristaudo had us captivated as the coach, mixing brilliant comedic timing with powerful vocals.

Then the large ensemble cast and creatives from Nails finished us off on a high with Natalie’s gorgeous voice and some epic harmonies being the highlights of this final piece. It was an incredible finish to a night of unprecedented talents and not-to-be-missed new works! Make sure you catch these and as many Pridefest shows as you can this month. More than ever, we need to join together and support each other. Happy Pride!

To book tickets to Homo Grown, please visit https://tickets.qtopiasydney.com.au/Events/Homo-Grown.

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The Infinity Mirror

The Infinity Mirror

The Infinity Mirror Rating

★★★★★

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Have you Googled your own name recently? Have you ever Googled your own name to find yourself the main subject of hundreds of deepfakes? Hundreds upon hundreds of adult movies you definitely didn’t make, or consent to.

This is what happened to Lily.

We follow along as Lily takes us on a journey starting on the day her friend called to tell her Google yourself. Now. Lily guides us through her story, elegantly weaving together moments from her past until they culminate at the turning point of her monologue. It’s at this moment in the show that you may find yourself simultaneously offended and intrigued by the efficiency of AI.

With a monologue that feels akin to having a coffee with your best friend and swapping embarrassing stories of your younger self, The Infinity Mirror is a thought-provoking performance where you won’t be able to look away. Lily is engaging and funny as she regales her audience with her misadventures in handling (or not handling) not only the explosion of AI, but the internet as a tool for unsavoury actions.

 

 

Lily uses the space of the Gallery to her full advantage, masterfully guiding her audience by placing herself at either end to represent where she is in the story. If you find yourself a little confused by the players in Lily’s story don’t worry, she will bring the story back around and connect the dots as the story nears its finale. Lily is an excellent storyteller, not only ensuring that her audience is paying attention but reacting positively when anyone from the crowd reacts to the story – particularly to the admission of the embarrassing YouTube channel which hasn’t been updated in over a decade.

For any Fringe goers concerned about sound levels, there is some music and sound effects, but they are in short bursts and used with care to enhance the performance. Lily also uses a microphone on occasion, but with her controlled voice skills, the sound is not overwhelming. The use of technology within a story about AI is appropriately used and serves as a visual aid to add depth to the story.

No matter your stance on AI The Infinity Mirror tells a cautionary tale about using AI, in a format that doesn’t feel as though you’re being shoved towards one opinion or another. Be prepared to laugh, groan, reminisce on your multiple awkward teenage phases, and walk away feeling both impressed and a little scared of AI.

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

Photographer: Clare Hawley

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PleaseDon’tCatchMeWhenIFall.

PleaseDon'tCatchMeWhenIFall.

PleaseDon’tCatchMeWhenIFall. Rating

★★★★★

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PleaseDon’tCatchMeWhenIFall is a contemporary dance which invites its audience to pause, take a breath, and allow your mind to consider what is happening in and around your life while you absorb the show. There are information pamphlets provided before the show begins – I highly recommend reading it before the lights go down, or you won’t be able to enjoy the show to its fullest extent.

With lighting that is simple, smooth, and effective for what they were doing, each new lighting change is one of the few clues into the next movement. It was unobtrusive and moody, perfectly setting the scene and gently guiding your eyes where to look. Paired with music that was loud but not overwhelming, the lighting and sound entwined with one another to create an ethereal atmosphere that melded with their movements. If you are a person sensitive to louder noises in smaller spaces earplugs were being offered at the door to anyone who wanted or needed them.

The costumes and set design were simple in colour and design, and appropriate for their movements. Blue ribbons were carefully placed to hold together a dress, hold up long pants, and create an artfully draped backdrop to bring together the dancers and the set. The subtle but well-executed connection between dancers and set provided minimal distraction for the audience, allowing for their full focus to be on each moment and the two performers.

 

 

There were only two performers on the small stage, working as both the leads and the ensemble their comfort and teamwork were evident as they worked around and with each other through each act. Working together and against each other, they showcased their individual dance strengths and skill sets. Each dancer has their own strengths, dance background, and style that they bring to the stage, but this is a contemporary stylised performance (classically trained dancers in the audience will wince at the bent legs and flexed toes), and the dancing may not be what you would expect, even if you are prepared for a contemporary dance. Be prepared to expect the unexpected, watch for the smallest of inflections in body language, and appreciate the strength that can be found in repetitive movements.

There is some audience engagement in the final act of the show, but it is optional, and those who chose to participate enjoyed themselves and what they created together. The final act is an act of childlike joy, and a beautiful ending to what can only be described as a thought-provoking show.

Guaranteed to provoke different emotions, thoughts, and experiences from the audience, there are very few shows like PleaseDon’tCatchMeWhenIFall to see at the Fringe. Its originality and unique take on the interconnectedness between contemporary dance and relationships between both people and gravity will leave you somewhere between “that was powerful” and “what was that?”

To book tickets to PleaseDon’tCatchMeWhenIFall., please visit https://adelaidefringe.com.au/fringetix/pleasedon-tcatchmewhenifall-af2026.

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A Heartfelt Focus Group For Theatre Lovers

Babyfleareindeerbag

Babyfleareindeerbag Rating

★★★★★

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The viewing of this show was Hannah’s preview show, and there were moments where the technology refused to cooperate and the projection decided the audience didn’t need to see Hannah’s social media handles (you can find her on Instagram, Facebook, X, and Substack). But Hannah took all of this in stride, explaining what the audience missed, and never losing her place in the script. Her vision for the performance is clear and elegant, and well worth the time.

Hannah brings forth an electric energy and undeniable desire for storytelling. As she says, she has taken her shows around some of the globe, “delighting tens of people around the world” and moments later compares live performance to a seemingly masochistic game of survivor, Hannah seeks to give her audience a show worth remembering.

Right from the beginning you realise this isn’t your typical Fringe show when Hannah encourages her audience into groups, and each group is to nominate a group scribe. While gently corralling everyone into said groups, the vibe from Hannah is supportive and encouraging, and the group work is not nearly as bad as you remember from those nightmarish group projects at school – you will want to participate. A Health and Safety officer is nominated from the crowd, and the lights drop. The pitch has begun.

Hannah begins her focus group meeting with an explanation of the difference between quantitative and qualitative feedback, and how we (the audience) are going to help her write her next show with our feedback throughout this focus group. Hannah showcases her actor profile on the projector, her height, her heterochromia (which is still up for debate), and her age. Because at the same age as she is, there are a few notable characters of literature and history who have accomplished great feats, and so she’s come to us with a desire to do more.

 

 

More being, a fresh show! Provided with introductory monologues and context for each idea for a new show, Hannah asks each group to note down ideas and feedback after each performance. With karaoke, graphs, and post it notes on a whiteboard, BABYFLEAREINDEERBAG feels more like a shared experience than that of a theatre performance. But as soon as Hannah shows us an inkling of an idea for a new show, performs a small scene, concept, or monologue, her performance is captivating, and the emotions she evokes are real. Especially when she makes eye contact with you mid-monologue.

Hannah is clearly in her happy place when she is performing, providing us with a heart-wrenching story of love, only to end with a one-line finish which will have you in stitches. Her stories she shares – all of which are up on the chopping board as potential future theatre shows – range from family to week-long romances, and all of them will give you something to think about once you’ve caught your breath from laughing.

The use of the microphone is sparing, but it adds a layer of emphasis and drama to otherwise simple lines. The lighting is simple but perfectly effective for each moment, and Hannah captivates with her use of the stage, the walkway, and round. No audience member is left forgotten, no space of the room left unused or underutilised, and no emotion left unchecked.

Be prepared when Hannah is ready to wrap up the show, as the real world may suddenly slap you in the face. But don’t let it deter you from seeing such an amazing performer doing what she loves – storytelling.

To book tickets to Babyfleareindeerbag, please visit https://adelaidefringe.com.au/fringetix/hannah-maxwell-babyfleareindeerbag-af2026.

Photographer: Lucasz Izdebski

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