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Adelaide’s True Crime Tour

31/08/202631/08/2026 Rob McKinnon🌟🎭

Adelaide’s True Crime Tour Rating

★★★★★

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Meeting outside the Adelaide Railway Station, our very engaging and knowledgeable tour guide, Sarah, led us on a 90-minute tour around the CBD walking to the actual scenes of nine notorious local crimes.

The tour begins at the Railway Station with a fascinating crime dating back to the building’s construction in the 1920s, before moving along North Terrace to Government House for one of the oldest stories featured on the tour.

From there, we made our way through familiar Adelaide landmarks including Rundle Mall, Hindmarsh Square and Grenfell Street. It is fascinating to discover the darker history hidden behind places that thousands of people pass every day, often without any idea of the dramatic events that once occurred there.

At the Mall’s Balls, officially called The Spheres as Sarah pointed out, we heard the tragic story of a crime that occurred in the area in the early twentieth century, including an eerie detail about the victim that is best left for Sarah to reveal.

The tour also moves into more recent history, including a shocking murder connected with Hindmarsh Square, before continuing through the city for several other stories involving Adelaide characters and crimes from different periods.

One of the strengths of the tour is the variety of cases covered. Some are relatively well known, while others reveal extraordinary episodes from Adelaide’s past that many locals may never have encountered.

The tour culminates around Gouger Street with the engrossing story of John Balaban, one of Adelaide’s most notorious murderers, and the dramatic circumstances surrounding his eventual arrest.

The tour is a gentle walk suitable for most fitness levels, with plenty of opportunities for resting on public seats if needed. It takes place mostly over flat ground that is readily traversable by wheelchairs. As the tour operates through public areas of the CBD, there is naturally also some variability in public interaction along the way.

Adelaide’s True Crime Tour provides a very interesting insight into the notorious historic happenings hidden behind what are often considered the quiet streets of Adelaide. Sarah was an engaging and knowledgeable guide, and the tour is highly recommended for visitors to Adelaide and locals alike.

Venue: Starts at the Adelaide Railway Station

To book tickets to Adelaide’s True Crime Tour, please visit https://darkstories.com.au/adelaide-true-crime-tour/.

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Dying To Live: Harlots At The Old Fitz

30/08/202629/08/2026 Kirsty Dale🥉

Harlots Rating

★★★★★

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Last night I had the pleasure of witnessing Harlots by the New Ghosts Theatre Company at the intimate Old Fitz Theatre in Woolloomooloo. It was a fantastic production by an all-female and non-binary team and cast. The show was an immersive experience, taking place in and around the audience, with the stage utilised to its maximum capacity. Directed by Janine Watson, the play sucked me into its world and spat me out again 90 minutes later.

The denigrating term ‘harlots’ has been reclaimed by writer and producer Emma Wright in this critique and love letter to Shakespeare. Having studied one Shakespeare play per year throughout my six years of high school, I was excited to see the women from his work get more time in the spotlight. The work explores what happened in the time between his female characters faking their deaths and re-emerging with their names cleared (Hermione in The Winter’s Tale and Hero in Much Ado About Nothing)… The play depicts freedom in the form of an underground society of women whose values were love and healing. How ironic that these women had to “die to live” and a hole in the ground provided more freedom than society’s shackles. The characters explore the healing powers of psychedelics and working through trauma in a supported environment. Madness and the role of violence in society are called into question, can these things be escaped or are they inherent?

Each and every one of the cast played their role sublimely. They were all equally impressive and distinct. Jo Downing’s portrayal of Beatrice was a marvel. Ella Prince was a powerful Helena; I loved their abrasive mannerisms that boycotted the idea of traditional femininity. Hannah Waterman and Megan O’Connell had incredibly complex chemistry on stage as Paulina and Hermione. ‘Ana Ika was a dreamy Ophelia and Madeleine Li’s monologue at the end of the play as Hero will be something that stays with me for a long time.

The set design (by Kate Beere) was simple yet effective, inviting us into the women’s underground world of mushrooms and rest. The costumes (by Aloma Barnes Siraswar) were beautiful and thoughtful. I loved the attention to detail of the mushrooms growing on Hero and Hermione’s dresses for their underground lives. The lighting (designed by Luna Yuet Yee Ng) and music (composed by Clare Hennessy) helped indicate villainy and different states of consciousness.

Being a Shakespeare inspired work, I was worried that I would find it hard to follow (especially after a day at work). However, the script was intelligent and engaging without being too much hard work for our 21st century technology addled brains. True to form, the script dipped between verse and prose, masterfully using iambic pentameter to challenge status. I loved the references to other canonic literature and the idea that the women that Shakespeare wrote would be well-read and learned.

The audience was captivated, with the occasional giggle at a provocative line and well-deserved, sustained applause resonating long after the cast had left the stage. I highly recommend seeing Harlots, it was an entertaining, provocative and thought-provoking exploration of some of Shakespeare’s lesser known heroines. Showing until 6 September in Sydney.

To book tickets to Harlots, please visit https://www.oldfitztheatre.com.au/.

Photographer: Phil Erbacher

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FABLES by Siren Heels Company

16/08/202616/08/2026 Debra Campbell🥇🔥🦉🎭🎶

Fables Rating

★★★★★

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The introduction over the mic for FABLES by the Siren Heels Company is “you’ll be hearing loud music so loud cheering please” and they got it!

This was my second time to see this now 2-years-in-production dance company specializing in high heels, founded by Peyton Leete, and how far she has successfully taken her vision since their inaugural performance in July 2024. New company members have joined and past favourites remain, all with tip top athletic artistry talent.

Act I ‘CULT’ opens with gothic ambience; perfect red lighting, candles and black hooded capes that flip back from covering the dancers’ faces untouched in one fast flick of their head. The costuming is immediately therefore impressive to say the least. If the cast chose their own black attire of mesh, lace, tops, tights, shorts, pants, skirts, in individual combos, they were then woven into complementary placements by the choreographer to create one of the best outfitted teams I’ve seen ever! The triangle formation was sheer brilliance and I didn’t see one dancer out of place in a lot of hard hitting beats.

There is an edgy sharp solo, a creative flowing white dress contemporary, Bollywood style moments and groups of three to ten engaging us appropriately ‘spellbound’ with Fables’ mythical themes and more, until a well-executed doom fall into the back curtain causes a bit of a gasp from our unsuspecting audience. We don’t need to worry, they are back swishing their scarves and the fallen dancer re-appears re-costumed in quick time. I love fun surprises like that in any show.

Act II – FAIREES has equally great costuming including floaty loose hair styles, pretty netting, pastel frills, pale flowers and petal throws.

Amazing acrobatics is combined into the storytelling and we simply dare not look away in case we miss something else spectacular!

Act III – SIRENS in their signature call and lead by Peyton herself, after an interval including a ‘witches’ drink on offer for all of us, has me recognize quite a few dancers I know and a couple my friend who is with me has also seen grow up on stage into the mature skilled performers they are today. We CONGRATULATE EVERYONE on their hard work!

Featuring live vocals into this dance collaborative by Hannah Canon, owner of Canon Dance House, and English-born Grace Kayll, brings the company’s show to a new level of entertainment. By adding Hannah’s breathtaking belt out and a soft sweetness from Grace, all bases were covered in them singing completely different styles of songs and they both had quite a few fans in the audience obviously.

This show is SSSSSsizzling, sultry, sexy, smooth and super strong from the screams to the silence. There were so many good items on the program that I literally cannot pick an absolute favourite, but I do love a maypole.

The finale with everyone on stage at the same time struck gold in precision on many aspects and having that many dancers about rolling into change of place lines was exceptional use of space and very well done, followed up with a fun chance to take a solo bow and a cheeky wink, kick, spin and smile.

For anyone with an interest in learning ‘heels’ dancing of various genres, I would definitely suggest checking out the opportunities Siren Heels Company offer and if you hang out to go to see a show with a difference keep an eye on their Instagram @sirenheelscompany

CAST
Peyton Leete (Creative Director)
Hannah Canon (Vocalist)
Grace Kayll (Vocalist)
Alex Som
Amanda Kour
Liam Sheppard
Jordan Spencer
Belle Dray
Jamie Unmack
Marisa Zapantis
Lily Kudeweh
Isabelle Walterfang
Britney Unmack
Rose Brennan
Beatrice Chiew
Tran Le
Nagisa Kenako
Adele Joan
Shenae Tenace
Eileen Zhou
Casia Vickery
Patti Chibi
Thanh Nguyen

Acknowledgement to @zil_visualmedia for promotions.

For more information on the Siren Heels Company, please visit @sirenheelscompany

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So Good To Be Alive

17/08/202616/08/2026 Linda Nathaniel🥉

New Now 2026 Rating

★★★★★

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Omega Ensemble’s NEW NOW 2026 at The Neilson, further enhanced that reputation. The Neilson is a start-of-the-art performance space, nestled into the Walsh Bay Arts Precinct. Drinks in the foyer with the Sydney Harbour, in full view, make it a stunning experience. There’s something magical about having composers ‘alive’ and onstage, introducing their works and mingling with patrons. Yes, we will always yearn for the Mozarts and the Mendelssohns, but contemporary music ensures that the arts will continue to thrive. New composers must have forums to showcase their work.

The program opens with Robert McIntyre’s Solastalgia. Robert introduces his work by acknowledging Australian Environmental Philosopher, Glenn Albrecht. Solastalgia symbolises feeling a sense of homesickness whilst still being at home. Musically, the work is in two parts, Nostalgia and Solastalgia. Both parts have poetic qualities, via collaboration with Savanna Wegman. Nostalgia has an eerie beginning and then builds, ‘as steady arms of wind brush open’. Our environment is under threat, we mystically reflect. Solastalgia evokes a sense of urgency, ‘stretch the wingspan as spiralised skies hide in sandcastles’. McIntyre wants us to awaken our senses and connect with the world around us. Omega Ensemble beautifully captures the atmospherics of the music.

The second work, ‘a map to nowhere’, is by Jessie Leov. Jessie spoke about being inspired, after going for a walk in the forest with best friend Avalon and her toddler. Leov pondered the impact of the forest, with all it’s whimsical qualities, on a toddler’s senses. There’s a real playfulness to the tonality of the piece, capturing a toddler’s perceptions of a seemingly surreal world. A map to nowhere explores the concept of journey and where that journey might lead. It flows beautifully from Solastalgia. David Rowden on clarinet, truly excels in this piece.

The third work, The Cicerone Suite by Thomas Misson, is in four parts, Hefeweizen, Belgian-Style Blond, Dry Irish Stout, West Coast IPA. Yes, it’s a cheeky reference to beer styles and how there’s a correlation between the bitterness of beer and contemporary music. As the titles suggest, there’s a sense of fun and beguiling bewilderment. The reference to beer is an obvious attempt to breakdown an elitism that encapsulates classical music. Mark Ingwersen (Violin), Neil Thompson (in my opinion, the most impressive Violist in Australia) and Paul Stender (Cello) ensure these pieces soar.

Beth Roche’s The Lambton Worm, spectacularly rounds out the NEW NOW 2026 program. The Lambton Worm is a fourteen century legend from County Durham in North-East London, that details a battle between John Lambton and a giant worm (archaic term for dragon). John wins the battle, but the victory is a pyrrhic one, as a nine-generation curse is bestowed on his family. This work has a fable-like quality to it. It’s crushing crescendo beautifully closes the evening. Pianist, Vatche Jambazian, expertly delivers. The audience is on the edge of their seats with his assured dexterity. The Lambton Worm has potential to be a full-blown opera. Speaking to Roche in the foyer afterwards, she told me that the thirteen minute work took months and months to compose. The passion to the project, clearly evident.

The Omega Ensemble prove that they are a world-class company. The Neilson is an intimate space which is perfect for Omega Ensemble, because their performances always connect with the audience.

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