Bin Laden: The One Man Show

Every year during the Fringe, Holden Street Theatres house a range of high quality and often compelling pieces of theatre. This year is no exception, particularly when it comes to Knaïve Theatre’s one-man show Bin Laden.

Any piece of art centered around such timely and delicate subject matter – terrorism, and more specifically the attack of the Twin Towers – can either help or hinder the way we perceive wider issues. There is always a risk when discussing such themes, but Bin Laden gets the biscuit. Sam Redway, who plays Osama Bin Laden, and Tyrell Jones, the co-creator and director, do a marvelous job in portraying the life of the West’s most infamous enemy. The depth, nuance, and delivery of this work are of the highest standard. I guarantee that this production sits outside any expectations you form prior to seeing it.

Bin Laden will move you in a variety of ways. In the same scene, you will laugh and be overcome with a unique kind of sadness – one that is slightly removed but still vivid. References to our pop culture icons such as Aladdin, Harry Potter, and Braveheart draw us in, allowing us to feel a true familiarity with the production, even though Bin Laden’s world is far from what we know. Redway’s engaging interaction with the audience makes the character of Bin Laden appear personable, and the use of cliché American victory music – the patriotic kind that is used to romanticise the idea of war and war-torn victory – when Bin Laden is triumphant confuses our pre-set alliances and understandings of good and evil.

The casting is initially the most surprising aspect of this piece of theatre. The role of Bin Laden is filled by Redway, a very fair Anglo-Saxon man: this instantly distances us for our stereotypical profiling of the ‘terrorist’ character. This casting decision dissolves some resistance Western audiences may have in receiving and properly processing Bin Laden’s story; even though we may not like to acknowledge it, the casting made the subject matter more comfortable, allowing us to feel ‘ok’ about sympathising with the character of Bin Laden. Redway’s spectacular performance in this role makes us painfully aware of our assumptions and perspectives, particularly towards physical profiling, and how this influences our reception of a story.

The play was structured so that Bin Laden is giving the audience a lecture on his life, almost like a seminar for success. The set was familiar, as it was simply a white man standing in a suit, with a board and markers to his right, and a tea and coffee station to his left. This space was non-threatening, though the props and costumes that appeared as the production progressed – such as a gun or a headscarf – served as key symbols that draw on the West’s indicators of terror, slowly transporting audiences away from the safety of the seminar space.

It is important to note that this production is written with immense sensitivity and with the aid of thorough research. This work does not support Bin Laden’s actions, nor does it condone his extremist viewpoints: it simply provides a platform for us to see Bin Laden as a complete human – as a student, a husband, a father, a freedom fighter and a terrorist. This encourages us to acknowledge that rebellions and extremist viewpoints are not born from nothing, but are a reaction, and not always the correct one, to tensions and experiences.

Bin Laden provides an exploration that is complex and stimulating. The fact that audiences can sympathise with Bin Laden’s character, and then walk away from this production without feeling judgment, offense or anger proves the quality and balance in this show.

At the show’s conclusion, when the lights come up, and Sinatra’s ‘Come Fly With Me’ starts playing in the background, you realise that this exquisite and intelligent piece of theatre subtly worked its way under your skin, leaving you with chills and a deeper understanding of the world we live in.

5 stars

Words by Michelle Wakim

You can catch Bin Laden: The One Man Show at Holden Street Theatres from the 12th-17th of March. You can find more information and buy tickets here.

Galactic Trek: The Search for Zork

The cast of Giant Nerd Australia’s improv comedy Galactic Trek, returned to Fringe this year at the Rob Roy Hotel, this time with their show The Search for Zork. This show had the crew of the USS ImproCity visit a planet full of the undead, which they must try to stop from spreading across the galaxy. For an hour, they presented a story that was both fun and evoked a feeling of Star Trek: The Original Series.

A highlight of Galactic Trek is how it pays homage to low budget sci-fi films and TV shows. This was clear in their descriptions and sound effects. The doors would almost never open on time, the transporter sound would take some time to appear and the bridge is described as being held together by tape. For Star Trek fans, there were references galore, the Kirk vs. Spock battle music being a notable one. Being a fan of sci-fi myself, I found all these little references well done. Even with few props, the actors were able to convey everything effectively.

Another highlight was the characters. Captain Bill Jamieson, one of the main characters, had a very Captain Kirk essence to him, in both appearance and acting. The character of Zork had a very ’80s sci-fi appearance, particularly with his green head and horns. The standout character though was a red shirt called Jones Jonesy. Jonesy is how I imagine Blackadder’s Baldric would be if he were in outer space.

The show wasn’t without its shortcomings. While it did have a lot of funny moments, a lot of these were based on sci-fi references. This did not affect me as I already knew the jokes, but not everyone would understand them. For a show about searching for Zork, there was little actual searching for him. The actual search for Zork was minor to the plot, which made me wonder why they would call it the search for Zork. It should also be noted that Zork’s actor’s pants ripped during the performance, which was by no means the actor’s fault but did detract from the experience slightly.

Galactic Trek: The Search for Zork is a whole lot of improv sci-fi fun. It had many great references and a very Original Series plot. While there were a few shortcomings, it was still a fun time. Fans of sci-fi would really enjoy this show and its unique spin on Star Trek.


Words by Cameron Lowe

You can catch Galactic Trek: The Search for Zork at Rob Roy Hotel until the 10th of March. For ticketing and more click here.

Peter Goers in Look Ma, No Hans!

On an impressively hot day in the middle of Adelaide’s latest heat wave, Peter Goers took to the stage to tell the audience a series of inter-linking stories that prove amusing, moving, and always engaging.
Goers is a master storyteller with an almost unrivalled ability when it comes to stories that feel intrinsically Adelaide-focused. There’s no show at the Adelaide Fringe this year that is more fulfilling of the ‘Adelaide’ part of the name.
The show feels fundamentally like sitting down to hear the yarns of a friend over a coffee or a beer. There’s something very engaging, and very personal about the way Goers goes about his show that feels essentially inviting. It feels more like an hour of sharing than a performance as Goers tells stories of first- and second-hand experiences.
It’s a simple format, built of a number of stories Goers moves effortlessly between and it benefits from that. It doesn’t need anything additional. This is an audience with Peter Goers and if you know anything about Goers’s radio show and other appearances, an additions would an unwelcome distraction.
Anyone who can hold an audience’s interest across one hour in the punishing Adelaide heat is clearly a master of their craft. We’re treated to stories about books, about a swimming pool in Turkey, and he takes time to add a discussion of war and those who have to endure it.
The show skews towards the older generations, as Goers makes mention of, but it never does so in a way that would alienate younger audiences. People of all ages should appreciate this.
At the performance’s conclusion, Goers greeted everyone as they left. It goes further to make clear how much a consummate professional he is. It also reinforces the feeling that we have been treated to an intimate hour of story-telling by a welcome friend. Look Ma, No Hans is a rewarding, generous offering from a very Adelaidean performer.


Words by Liam McNally

4.5 stars.

Peter Goers in ‘Look Ma, No Hans’ is playing at the Holden Street Theatres every Saturday and Sunday until the end of the Adelaide Fringe. Tickets available here.

The Raw Shakespeare Project: Comedy of Errors

Comedy of Errors

Raw Shakespeare Project

11th January 2019

McLaren Vale Visitor’s Centre

The Raw Shakespeare Project, previously Little Fish, opened their Summer Season on the 11th of January, with a performance of Comedy of Errors at the McLaren Vale Visitor’s centre. If you haven’t seen a show here, it’s certainly something to put on your bucket list. A Shakespeare company often found out of doors, The Raw Shakespeare Project, with director Damien White, has brought a number of the bard’s plays to life over recent years, showcasing the acting of a number of local and talented actors each sharing a passion for Shakespeare.

The McLaren Vale Visitors Centre is one of four venues to host this performance, three of which are located in the iconic wine region forty minutes from Adelaide. Stage-less, The Raw Shakespeare Project makes use of the open grass at the rear of the building, using the beautiful backdrop of local vineyards, hills, and forestry to contrast with the varied and vibrant settings of various Shakespearean works.

Beginning at seven, the show was designed to take place as dusk fell, fairy-lights and “stage” lights prepared for the evening to come. With one twenty-minute interval in the show, audience members were given the opportunity not only to refresh their drinks, but also to marvel at the changing sky behind the centre as the sun set.

Comedy of Errors follow the story of two identical sets of twins whose lives have been spent apart. Antipholus of Syracuse (Jabez Retallick) and Antipholus of Ephesus (Ognjen ‘Oggy’ Trisic) and their servants Dromio of Syracuse (Phoebe Shaw) and Dromio of Ephesus (Isabella Shaw) are interchangeably mistaken after Antipholus of Syracuse and his servant arrives in Ephesus. As the hilarity of mistaken identity ensues, is becomes “clear” to Adriana (Kate van der Horst) that her husband has gone mad. With the help of her sister Luciana (Heather Crawford) and the Duke Solinous (Damien White), Adriana intends to help her husband overcome his madness. But will Amelia (Shannon Gray) have something to say about that?

With the ready dynamic of the Shaw sisters as the Dromio sisters, and the cheerful antics of White as Solinous, Comedy of Errors was in set in motion. The similarities between the Shaw sisters gave the comedy a feeling of authenticity it might have otherwise lacked.

Despite a few extremely minor hiccups, the show was certainly entertaining and engaging. With much of the audience entranced, the Raw Shakespeare Project certainly paid tribute to the bard. I would recommend experiencing the Raw Shakespeare Company if not for their performance, then for the rich value of the experience: watching talented actors convey stories that aren’t just familiar but ingrained into our culture.

Comedy of Errors will be showing on Saturday January 18th at Beach Road Wines, Saturday 2nd and Sunday 3rd of February at Marion RSL, and concluding on Saturday 9th February at Fox Creek Wines.

Tickets for this limited time only show can be purchased online through their website:


Words by Kayla Gaskell20181009_105310

Kayla Gaskell is one of the managing editors of Tulpa Magazine. She has a Creative Arts and Honours degree in Creative Writing from Flinders University. As well as working on Tulpa, Kayla writes for Fest, The Eye Creative, Readplus, and more.


Macbeth – The Raw Shakespeare Project

On the chilly night of the 1st of September, I journeyed to see the RAW Shakespeare Project’s production of Macbeth. It was everything you want in a play; passionate, intense, and transporting. The basic materials and the minimalist set made the actors the prime focus of the play. With the small room, close-set seats and nothing between the audience and the performers, it felt like you were right there in 9th century Scotland.

Despite the word ‘raw’ in the name, I didn’t expect the small and intimate set. However, I was pleasantly surprised at the effects that could be produced by good acting, a few set pieces and a couple of lights. The set consisted of a few benches and a centrepiece that looked like a fountain on one side and a garden wall on the other. The show was directed around this minimalist set, creating an atmosphere of no distractions between the audience and the actors.

The acting in the show was superb. The actors had an incredible aptitude for conveying the darkness and the emotional turmoil of the tragic play. There were a few points where the characters broke down and cried whilst addressing the audience: moments such as when Macduff’s wife finds out she is going to die, when Macduff finds out his wife has been murdered by Macbeth, and Macbeth’s slow descent into madness. The eye contact and the mascara running down bare cheeks charged the performance in a breathtaking way. The acting was so exquisite that these bare, emotional parts of the performance had the hairs standing up on the backs of my arms.

One fact that I was particularly interested by was that, besides Macbeth himself, the cast was entirely women. This cast a layer of feminism and female empowerment over the play. This appealed to me, especially in these times where female empowerment is such a political and social forefront of our society. The original lines were changed slightly so that the women were still female characters. For example, Macduff is a strong female warrior with a beautiful wife and the previously ‘King Duncan’ character was matriarch Queen Duncan. In this sense, the show had been adapted to reflect the modern, open-mindedness of our age, which was very uplifting both to myself, and to members of the LGBTQA+ identification.

The 17th century words of Shakespeare remained unchanged from the mouths of 21st century actors. Although a bit hard to follow because of Shakespeare’s overtly floral language and the dialect of Old English, the acting brought a slice of that time into that small room.

In conclusion, this was a great show that was intimate, emotional and capture the spirit of Shakespeare’s Macbeth perfectly. It was raw. It was Shakespeare. Why would you go and see anything else?


Words by Sarah Ingham.

Photo from The Raw Shakespeare Project website.

Keep up to date with the Raw Shakespeare Project via their Facebook page. Their next event is the Shakespeare’s Lovers Spring Fling Festival.

Myth, Propaganda and Disaster in Nazi Germany and Contemporary America

‘What does this all mean?’ I’d love to tell you, but I have no flaming idea.


Last Friday night, while everyone else was gearing up to hit the town, some friends and I found ourselves at Adelaide University’s Little Theatre, ready for a wholesome, thought-provoking theatrical experience to round off our week. The play on offer was Stephen Sewell’s Myth, Propaganda and Disaster in Nazi Germany and Contemporary America. Did it fulfil our hopes for the evening? Let me just say this: it was a lot to take in.

We followed the character of Talbot, played by Nick Fagan, an Australian man working at an Ivy League college in America as a Liberal Arts lecturer. The audience watches him go off his rocker as he falls victim to societal questions about terror, ignorance, and the line between patriotism and nationalism. First produced in 2003, this ‘drama in 30 scenes’ deals with the carnage left behind after September 11. Sewell is renowned for his award-winning work, with this baby being one of his big ones.

The director, Erik Strauts, expresses a strong connection with the idea that society should, but never does, learn from history – this production was an active choice to explore how this concept applies to our modern world. The discussion that this play raises remains timely; it’s been kept in the spotlight by Trump’s rise to power in recent years.

As far as the set was concerned, designer Brittany Daw managed to reflect the vibe of an exceptionally uncomfortable merge between Nazi Germany and contemporary America: the colour scheme was red and black, spotted with white and blue finishes. During scene changes, the audience’s eyes would be directed up to a projection of an imposing American flag. As the play progresses the flag takes on another dimension, subtly fading to make way for an imposing icon – so keep your eyes peeled!

From where I was sitting, there were some stand out performances. The first one that comes to mind is that of James Black, who plays Max, the Aussie best friend of our poor mad-man, Talbot. Until a sneaky twist at the end, Max served as much needed comic relief – he was the familiar Australian perspective, uttering the word ‘mate’ here and there to dilute the sea of everything American.

And then there were Stan and Jack. Jack and Stan. Jarrod Chave and Tim Edhouse were highly convincing in their roles as staff members at the college and had an appealing chemistry on stage. Chave and Edhouse’s accents were also consistent and well-established.

There was one character which, for the life of me, I could not entirely wrap my head around. If any of you figure him out, please, get in touch. Halfway through the second act we are introduced to ‘The Man’ – yes, all I can think of is the Killers song. ‘The Man’ proves to be exceedingly problematic for our protagonist. He appears to resemble someone out of the Matrix: the big black coat, the white gloves, the wrap around sunnies. A 2000s icon if there ever was one.

I’m going to say that this University of Adelaide Theatre Guild production is not for the light hearted or impatient. It’s saturated with swearing and soaked with political and philosophical lingo.

Little Theatre pic

When you ask, ‘what am I in for?’ Well, it’s dense. It’s distressing. And it’s heavy in concept. It will challenge each and every one of its viewers. Without a doubt, it appeals to an elitist audience and, unfortunately, excludes the masses – in order to get the most out of this show, you need a thorough understanding of political and societal structures, as well as familiarity with influential writers and philosophers. Otherwise, you might find yourself in struggle-town. Perhaps this is a statement from the playwright about our ignorance. Or perhaps not.

In hindsight, I find it rather peculiar that I was sitting in the theatre at Adelaide Uni, watching a play, written by an Australian playwright, which picks apart the intricacies of the American dilemma. And within this play, Australia is spoken of as a ‘pretend country’ which really drills home how America seem to define us.

The movements of America – our so called ‘big brother’ – have become part of our everyday news headlines, absorbing our constant attention, and now occupying our theatrical spaces. Do we keep feeding the American ego by granting it all this attention? Or at the other end of the spectrum, are we becoming desensitised to the U. S. of A. because we are just hearing too damn much about it? Dare I say, we should now be looking a little closer to home, starting by centring our conversations around our own country. Because I would like to think that out nation is just as great, our issues just as urgent, and what we have to offer is equally as appealing.

Some things to think about between the many questions that will be left on your conscience after this doozy of a production.


Showing times: 17-19 May 2018, 7:30pm.

Venue: Little Theatre, University of Adelaide.

Tickets: $28 Full/ $23 Concession

Follow the link to secure your tickets.


Words by Michelle Wakim

Tulpa Looks Back Over A Month of Fringe

Another year and another Fringe has passed us by. Hundreds of acts, some of which we at Tulpa were lucky enough to go and see. A festival of passionate creatives, wonderful venues, and great celebrations of art – the Fringe is a month in which the arts take over the city. After all of this, the Tulpa team got together to enjoy and share our memories of a remarkable series of arts events.

Reviewing over thirty shows, and going to several more, we at Tulpa were able to enjoy a busy and thrilling few weeks. Recently, in the wash-up from the several weeks of late nights and enjoyable oddities, we decided to discuss what we thought of the famed Mad March.

Just a selection of Fringe tix.

We nominated our favourite shows of the Fringe. For Taeghan Buggy, it was The Displaced of which ‘the comedic strangeness, attention to space, and skill of the performers was top notch’. For Liam McNally, How to Drink Wine Like a Wanker, a unique performance running a broad and deep range of experiences. Kayla Gaskell recalls her favourite shows as ‘a toss-up between the sexy-circus of Fuego Carnal (which I saw independent of reviewing), the classy cabaret of Anya Anastasia (which will be showcased at the Port Noarlunga Arts Centre in August), and of course, the magical musical theatre production, Little Shop of Horrors.’ Simone Corletto elects The Adelaide Office Live as her own personal favourite show.


The Fringe brings with it a lot of interesting shows that offer unique experiences. Where else would one have the opportunity to stroke would a 17th century man get you to stroke their sword, as was Lisandra Linde’s experience at Deviant Women: Julie d’Aubigny? Or perhaps at The Bacchae, where as Teaghan Buggy recalls, they ‘got all the men to leave the room for the final scene because they “did not have permission to see it”’, to which Taeghan adds, ‘It was so odd because that’s never happened in a play before but it was also a really great moment with the play.’ Simone notes as one of the more remarkable events of the 2018 Adelaide Fringe as when the city got its Seymour Skinner on with North Terrace’s ‘lights installation and basking under the aurora borealis, at this time of year, in this part of the country, located entirely in our museum courtyard’.

A month-long series of remarkable shows and special oddities that very certainly did not disappoint with well over one thousand shows, the Fringe was an event we all got some remarkable experiences from. Shows aplenty, Adelaide utterly transformed into the global arts hub for a city, we looked back on our shared and separate memories with fondness and another eleven months to wait until our city is once again transformed. Taking in a host of comedy, cabaret, theatre, arts installations and other thought-provoking events, the Fringe opened up a wonderful host of local and imported artists to bring their respective stories to Adelaide to share. Where else would you find a velvet-clad Shakespeare, a nun-burning pirate, and The Office come to Adelaide?


Words by Liam McNally with Simone Corletto, Taeghan Buggy, Kayla Gaskell, and Lisandra Linde.

The Bacchae

When you enter the lavish French Room at the Benjamin on Franklin, there are five women lying, arms akimbo, on the floor. They wake to find themselves trapped inside the room with you. They don’t know how they got there and they panic; trying the door handles, asking if they’re being sold, wondering what they’re being sold for. I felt almost complicit in their entrapment even though I was not. From this, you might think you know what The Bacchae is about, but this is not, however, the show you think it is.

It’s an arresting, confronting piece of theatre. It deals with women’s experiences of gendered-violence and micro-aggressions, but it also is an unflinching reclamation of space. Through a combination of the character’s trying to uncover why they’re in the room and a channelling of the Maenad’s from Euripides’ The Bacchae, the play is a bold examination of women’s stories and women’s anger. It is full of spine-twisting and unearthly powerful scenes that the actors pull out through a combination of physical theatre, light and sound effects, melodic-vocals, and dialogue pulled directly from classical text. The switch between the play’s contemporary text and the ‘channelling’ of the Maenad’s was masterfully smooth – at one point I forgot I was supposed to be reviewing the play entirely and for good reason.

The best theatre often comes from a place of innate truth – and there’s much of it within this play. Some of this is inherently due to the themes of women’s inequality, gendered-oppression, and gendered-violence. There is a very careful line that needs to be trod when attempting to unpack such themes; there’s a risk that the ideas are either too ambiguous or too didactic. In this sense, some of the roots of The Bacchae as a graduating piece shows itself. But it’s also incredibly hard to try and meld the personal experience with the statistically shared one that The Bacchae opens itself up to, and they manage it with very few stumbles considering this fact. The personal stories the characters retell, however, contain a deep resonance to the experiences of women I know personally, and it was hard to not get caught up in the lived reality of their dialogue.

What this play does – and does well – is spur a conversation, literally. The ending of The Bacchae is striking, and more so for the fact I’ve never experienced one like it. Without any spoilers, it once again re-affirms the takeover of the space by these women (for all women) and the power they’ve gained by doing so. Make sure you stay for the after-play discussion between audience, actors, director, and dramaturge as it is a rare thing when it comes to fringe-theatre.

I left The Bacchae wanting to have my sister, my mother, the women and men of my life watch it; it’s a timely piece of theatre that desperately needs to be seen. The Bacchae hit at places I didn’t even know hurt and I loved it for doing so.


Words by Taeghan Buggy

4.5 stars.

The Bacchae is playing at 6:30 pm and 9pm every night from the 7th to the 10th of March in the French Room at Benjamin on Franklin. Tickets available here.

That Daring Australian Girl

Directed by Nicholas Collett, That Daring Australian Girl certainly sounds daring, if not a little mad. Joanne Hartstone’s performance of Muriel Matters, the South Australian suffragette, was not only captivating but inspiring. Telling the story of a ‘new woman’ and the fight for women’s rights in England, Harstone crams into one hour a breadth of history and knowledge that has taken years to collect.


A one-woman-act, Hartstone demonstrated her skills at elocution and, like Muriel Matters, her strong belief and support for women’s rights both then, and now. It was amazing to see the entire audience beholden to this one intense woman as she delivered us into the past and carried us along Muriel Matters’s journey not only from Australia to England, but to joining the Women’s Freedom League, her lecturing tours of Australia, and her bid for office.


The versatile costumes of Nikki Fort were well suited to the performance and era, cleverly using a variety of hats and coats to dictate a change of place or situation. The production design of Tom Kitney ensured that Hartstone was not just using her voice and her expression but her surroundings to draw us into her tale as her trunk becomes not just a trunk, but a horse and carriage and a flying dirigible.


The story of the suffragettes is not as well known as it should be and it is likely that the names of women such as Muriel Matters will one day be lost. What we do know of her though, is that she certainly is one daring Australian woman.


One of the greatest parts of any show at Fringe is the moment when the artist realises their show has been a success. We were not cheated of this moment tonight as Hartstone received a well-earned standing ovation for her endeavours. I am always amazed at how a single person can perform solo and achieve such a level of engagement from their audience as Hartstone did tonight, it is awe-inspiring and a wonderful reminder of the power of the spoken word.


Words by Kayla Gaskell

Five stars.

That Daring Australian Girl is playing at Holden Street Theatres from the 7th-11th, 13th-15th, and 17th-18th of March as well as appearing at Stirling Fringe on the 9th and 12th. Tickets are available here.



Katie Reddin-Clancy’s Grace is a unique experience this Fringe. Filing into the performance space of Tuxedo Cat at the Broadcast Bar (a place you could so easily walk past without noticing), Reddin-Clancy was already on the stage, ready for the audience. With a sizable selection of costumes to choose from, the audience is treated to Reddin-Clancy adopting a number of personas throughout the show. The transition is smooth and the commitment to each character is absolute.

One is not necessarily furnished with the full information of what is going on immediately, but through the course of the performance, the picture becomes clear. Set around a performance and the individuals attached to it, the story is filled out by Reddin-Clancy’s varied stable of well-realised characters.

Through humour, thought-provoking discussion, and character development, Grace slowly uncovers its core: a story about identity and love. It explores quite intrinsic elements of humanity while maintaining humour and wit throughout.

As you scan through the Fringe’s massive schedule, it could be easy to miss  this enigmatically titled performance, just as it could be easy to walk past the door of its venue without noticing, but it would be a mistake. Charming, funny, and witty, Grace is perfectly pitched to elicit the audience’s responses at every moment. Mixing humour, seriousness, and irreverence, the blend of the performance is something that almost should not work – yet somehow, by the skill of Reddin-Clancy as a performer, it works.

In its short 60-minute duration, Grace poses an enigma to the audience, solves it, and takes the audience on an engaging run through a series of characters brought together around a performance as the nexus by which they mutually connect.

Remarkable in its originality and daring, Grace is an excellent performance showcasing a talented performer’s ability to adopt new and distinct personas deftly.


Words by Liam McNally

4 stars.

Grace is playing at Tuxedo Cat at the Broadcast Bar every night until March 18. Tickets available here.