Big Glittery Sh!tshow

Big Glittery Sh!tshow… What can I say? The name says it all.

A perfect show for a night out with friends, and definitely not a night out with family, Big Glittery Sh!tshow is a cacophony of lights, glitter, singing, and drinking.

Set against the background of The Parlour in Gluttony, Big Glittery Sh!tshow is a show that just doesn’t make sense. Awkward laughs, in your face attitude, and the sculling of various liquors will be thrust upon the audience in this late-night show.

Starting with fluffy dressing gowns and a lunch box, the show quickly progresses to sexy skipping rope jumping, potato throwing, aggressive trampolining and more. Incorporating classic Fringe staples such as ladder tricks and hula hoops with groovy music and dildos in a strange and enjoyable cocktail of fun. There might even be a fight to the death with members of the audience in a strange saga involving rubber ducks.

Continuously drinking between each act, the show gets more and more ridiculous as the night goes on. At the Fringe, you’ve got to be different to be noticed, and the masterminds behind Big Glittery Sh!ishow were successful in this; creating an atmosphere of reckless abandon. For one hour, I was sitting inside a world of shiny, gold, alcohol-soaked antics with absolutely no consequences.

Almost a cabaret show on crack; this dark and stupidly funny show is like a vodka aunt back in her glory days: inappropriate, nonsensical, outrageous and just plain sexy.

This show is for people wanting to forget about their lives and be swept away into a riot of colour and gold unitards. Recommended for an 18+ audience, preferably without a parent in tow, it might get a tad awkward.

I give this show a four and a half stars for its unapologetic approach to Fringe entertainment.


4.5 / 5 stars

Words by Sarah Ingham

Big Glittery Sh!tshow is on at Gluttony until February 29

For more information and to book tickets click here


Circolombia: Acelere

Forget conventionally mundane circuses with animal acts, cheesy showmanship and striped leotards. The stylings of Circolombia and their show ACELERE are all you need!

Hailing from Colombia, these group of artists bring many a jaw-dropping spectacle to the stage along with a refreshing injection of richly energetic culture. South-American musicality is on full display through the group’s exceptional vocalists and their collectively raw and kinetic style of dance. No matter the backing track (whether it be eerily atmospheric or full of Colombian flavour) ACELERE has a great balance and sense of unison with its sound and visuals. With the aforementioned vocal and dance performances serving as interludes or introductions to the next act, they work well to build audience anticipation.

Now, on to what everyone hopes for when seeing a circus act. Outstanding acrobatics and stunts. ACELERE manages to deliver these desires in droves. You may see limited potential in what can be achieved with a beam, a plank, wires, or large rings but Circolombia certainly doesn’t. Their approach to each of these obstacles/tools is so out of the box and inventively creative. Their rope and wire work is hypnotising as a result of their ability to use whatever they hold an extension of themselves.

Without a doubt, you’ll be sucked into sudden trances of movement before being slapped across the face with yet another dramatic manoeuvre. A large seesaw style plank serves as fuel on the fire for the performers to escalate their antics and constantly one-up each other. The giant ring is also a daring art for the performance, proving the strength, agility, and balance of the artists ten-fold.

ACELERE even manages to work its set up in a new way. Rather than just setting up mats or apparatuses in the background, they are interacted with as the performers find their place on stage. Circolombia flip, slide and vault around them as they seamlessly begin to transition into the conquering of their next stunt.

It’s unconventional, passionate, and successfully brings new life into the circus.

4 / 5 stars

Words and photography by Isaac Freeman

Circolumbia: Acelere is on until March 15

For more information and to book tickets, click here

Under the Covers

Under the Covers is presented by our home-grown adult circus school Zigzag Circus. The performers were met with an enthusiastic and supportive audience, contributing to the warm vibe of the Empyrean, a charming circus tent.

I am always truly fascinated by physical theatre and I have a great deal of respect for those with the skills and capabilities to perform in remarkable ways with their bodies. This applies to Under the Covers as students from Zigzag displayed raw talent with dances, ribbon routines, balancing atcs, and aerial arts. The individual showcases of talent were impressive and entertaining, and the students had appeared to be granted artistic license and freedom over their work, resulting in a show full of integrity.

Under the Covers as a title holds double meaning, as it is not only reference to the show’s description as a ‘late night pyjama party’, but it is making comment on the fact that the routines are performed to the best and worst cover songs of our time. This is an appealing idea, but if audiences had not read up on the show and had no prior recognition of the connection between cover songs and performance acts, this cheeky layer of Under the Covers may have been lost. It would have been good to have a reference to the covers within the performance.

As a collective production Under the Covers could have been smoother and more refined as there was the occasional technical hiccup or display of nerves. But credit should be given to the performers’ commitment to their artistic endeavours. This was also the ensembles’ first Fringe show, yet they generally handled themselves with control and composure. I take my hat off to Zigzag Circus; they are made up of a group of performers who rehearse once a week on top of life’s other commitments. We need to keep supporting these local acts as with greater experience and exposure in festivals like the Fringe, these already enjoyable shows with continue to grow, the fine-tuning and polishing will become more prominent, and the professionalism will be enhanced.

Overall, Under the Covers is an amusing show to add to your Fringe calendar.

Three stars

Under the Covers is playing at Gluttony until March 3.

Words by Michelle Wakim

By a Thread

By a Thread is a beautiful acrobatic show that emphasises the importance of teamwork with an elegance that I’ve never seen before. For an hour-long show, the performers captivate the entire audience with just one very long rope and two pulleys. Having the rope suspended with two sides of the rope dangling from the roof, it echoes simple symmetry that is aesthetically pleasing and easy to watch.

I was drawn in by the playful nature of the team, how they all worked together to create such anxiety-inducing acrobatic acts. Fun, sharp and comedic at times, you can see the pleasure and adrenaline on the gymnast’s faces as they fly, scurry, and fall around the stage. I was lucky to be sitting close enough to see the sweat on their backs and the concentration on their faces.

From young to experienced, the seven performers put their lives on the line and in the trust of one another to show off their skills on the rope. The show is an incredible testament to the human body and the feats that it can accomplish.

With music varying from orchestral masterpieces to modern techno along with a mesmerising light show, the seasoned professionals play the rope like second nature.

Overall, an entertaining act nestled back of Gluttony in an airconditioned tent. Absolutely anyone can go and see this wholesome show and leave with a full heart and a smile on your face.

Four stars from me!

Words by Sarah Ingham

By a Thread is showing at Gluttony until March 17.

The Talents of Darkness

The Loft in The A Club on Waymouth Street was turned into a room full of magical acts, drag, and fire by the team behind The Talents of Darkness. For an hour, they treated attendees to a variety of acts from many different performers. It was a show which was both entertaining and thrilling.

One of the best performances of the evening came from the main presenter, Bebe Trixc. For one of their acts, Trixc got a volunteer from the audience to give them $50 which would then be sealed in an envelope. A set of envelopes were put into a paper shredder, narrowing down to the one with the money in it. The tension built as each envelope was shredded, wondering if they’d shredded the wrong one or not. This was made even tenser when they told another volunteer to check the shredder.

Other great acts included the hip-hop hula hoop by performer Phoenix and a fire-breathing act by Murder Clown the Sane. All the costumes were also very well done and evoked a classic circus and cabaret feeling, from mime to dancer.

Another thrilling act was fire-spinning, performed by Abyss. Even if they were thrilling, the fire acts didn’t seem to break new ground. My enjoyment was also dampened by the confinements of the room itself. These fire acts made the room hot and at one stage it was difficult to breathe. The room also concerned me, safety wise, especially when one of the acts accidentally dropped their fire stick. If it was more of an open area then I would have enjoyed these fire acts a lot more.

The Talents of Darkness is a show full of fun and thrilling acts. All the performers did well and made for an entertaining evening. The only real let-downs were the fire acts and the room itself, but these were only minor issues. It was an enjoyable show with a lot of thrilling action and tension. Definitely go check it out if you can. They will be playing until March 3 at the A Club.


Click here for more on The Talents of Darkness, including ticketing information.

Review by Cameron Lowe

Djuki Mala

On a bustling Friday night, I had the pleasure of witnessing the legendary Australian Djuki Mala, or Chooky Dancers. The seats were all filled to the brim, and although we were squished in like sardines, the audience soon forgot as they were transported only by a stage, music, and four energetic men. From the moment the show began, I was absolutely spellbound by their grace and rhythm.

Trying to think of phrases or words throughout the performance was completely hopeless because I was so ensorcelled by these four men. The team pays a beautiful homage to past and present Aboriginal tradition. Right from the start, they educate the audience with a multitude of reasons as to why bringing their culture around the world is so important to them. I witnessed expressive dances interspersed with short clips of video explaining the history of the Djuki Mala group and their roots.

The show was vivaciously cheeky and spiritually moving all at the same time. Blending traditional Aboriginal culture with modern dance, the energetic performance left me with a full heart and a greater knowledge of Aboriginal culture. The elation that I experienced was akin to no other, and a smile was permanently glued to my face throughout the entire performance. The absolute openness and effervescent attitude of the dancers was reflected in the audience’s joyful atmosphere.

Going 12 years strong and travelling all over the world, Djuki Mala are obviously doing something right. The independent company thrives on locals and tourists alike taking time out of their day, so why not come and see for yourself this Fringe season and help them make a big difference in their community. Take everyone you know; you won’t be disappointed.

Go and see this heart-warming show and remember your own roots. Anyone can enjoy this masterpiece of movement, no matter what their age. Come down and embrace the story of the Djuki Mala, and they’ll embrace you back.


Words by Sarah Ingham

4.5 stars.

Djuki Mala is playing Umbrella Revolution at the Garden of Unearthly Delights nightly (except Mondays) until March 17. Tickets available here.

The Displaced

Rhythm, space, physicality, and connection are some of the defining features of The Displaced, a physical theatre collaboration between seven circus and physical-theatre artists. The Time in Space Circus, who’ve performed at the Adelaide Fringe in 2016 and 2017, have been previously awarded for past performances and it is clear to see why.

Physical theatre is always a careful blend of space and the body – in the case of The Displaced, it’s the spaces between the bodies and how those spaces are maintained or alternately disregarded. From the opening act, we see their careful consideration of this as the performers move together and apart; they and audience are always aware of the distances between all things at all times. It makes it all the more striking when these boundaries are deliberately disregarded within the performance. Part of this ‘play’ of connections lies within the development of the work. In a conversation with some of the performers afterward, they explained these moments evolved through them saying ‘no, let’s do this instead’ within the physicality of working together. This tension of demands plays out in the performance to an evocative effect.

Alongside physical connection, there’s also a strong presence of rhythm and repetition within the performance. The effect is a mixture of hypnotic moments that draw the audience in and purposeful arrhythmic contrast. Again, this strong emphasis on rhythm makes the audience exceedingly aware of those moments when the rhythm jars, the connections alter, and the space is disregarded. Small note: the music within the performance can get very high and loud, so bring earplugs if you’re sensitive.

The performance is 50 minutes long, but at no point does it drag. Moments of singular action are interspersed with explosive acrobatic group pieces. Similarly, intense acts are broken up with a very specific brand of physical humour. It edges into the bizarrely absurd as the comedic ‘rule of three’ is trespassed by repetitive actions that become inexplicably – engagingly – funny.  The parts of the show where this humour works to a fine degree are the off key, off tone, off beat moments –  the best being a comedically excellent rendition of ‘Don’t Worry, Be Happy’.

There’s no overarching ‘narrative’ to the performance. Instead, small stories play out between each disparate performer and their relation to one another. The performance doesn’t answer the questions it evokes, instead leading the audiences to wonder how their personal interactions mirror the ones happening before them. Again, according to the performers, this is due to how the individual acts grew organically from the collaborative process. Whilst the show began development around issues like connection and technology, they puzzle through these questions with physicality rather than a narrative. The strands of connection and disconnection come to a close in the final act with a full troupe acrobatic set. There the disconnect is gone, the displacement is gone, and it’s a gut swooping delight to watch.

Words by Taeghan Buggy.

4.5/5 stars

The Displaced is playing at the Tandanya Theatre every day (except Mondays & Tuesdays) until March 4. Tickets available here.