After a bumpy start, the festival is on track to its biggest year yet thanks to blockbuster international shows — but Australian artists and quieter moments shone through in opening week.
Whatever you think of the material, the performances are excellent.
This month, Van Hove will premiere an English-language version of his production, with a British cast, on the West End; but the opportunity to see his original Dutch ensemble at Adelaide Festival was, for many theatre lovers, one worth seizing.Adelaide Festival has a reputation for programming international works of scale — and within Armfield and Healy's seven-year tenure, there's been a particular focus on European work.
Neither Windmill nor Slingsby call themselves children's theatre — and the success of their productions is partly due to their ability to pitch to a broad audience. They don't 'talk down' to anyone.For Adelaide Festival, Windmill premiered its latest fairytale adaptation: Hans and Gret, written by Los Angeles-based Australian expat Lally Katz . By opening weekend, the run of shows had sold out.
Windmill ratchetted up their typical level of ambition by collaborating with Adelaide-based "creative technology company" Sandpit on this show, taking the story in an interactive direction. But the 'choose your own adventure' format means that certain scenes had to be left open-ended, or more ambiguous. It gives a dreamlike — or more accurately, nightmare-like — quality to the narrative.
Slingsby are known for coming-of-age tales that utilise shadow play, storytelling, live music and song, and miniatures .
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