How do you pay homage to the late David Bowie? How do you put all of his greatness in a box? The answer: with a roller-skating trapeze artist and literal fire, that’s how.

I sincerely hope that you get the absolute pleasure of seeing the ultimate David Bowie tribute show, Rebel. The performance was theatrical beyond words, just like Bowie himself.

With an exceptionally multi-talented cast, you’ll be blown away by the amazing visual effects and beautifully done covers of Bowie’s music. The spectacular performance takes you out of your seat and on a journey through the decades. The stunning costumes range from patterns and elegance to space age and metallic, perfectly capturing the multi-faceted nature of Bowie’s many personas.

Release your inner rebel with the cast and sing along with the iconic Bowie songs throughout the ages. Looking through the crowd, there can be so many generations under one roof. The performance is for people of all ages, and there’s something for everyone to watch and enjoy. Who wouldn’t want to go and see a show so colourful and kaleidoscopic!

With high boots and high spirits, join the crew of Rebel and lose yourself for an hour in good music and good company.

Five stars from me.

Words by Sarah Ingham

You can catch Rebel at Wonderland Spiegeltent at Gluttony up until the 17th of March. Tickets and details 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.


‘So Long, Sixteen’ by Sean Crawley

The last of the ham and pudding is given to the chickens. You think how disgusted Jesus would be at the waste generated in honour of his birthday. Now there’s just the New Year to get through. The thought of resolutions and reflections on the year that was is sickening. Maybe January will bring peace. Lazy summer days are holiday novels, stone fruit, salty skin, sleep inducing televised sport, no work, no commitments.

Yet the truth is that you want it darker. You scour the internet to find threats of war, financial collapse, political scandal and broken celebrity marriages. You polish off gifts of beer, wine and spirits not for the euphoria, but to relish in the hangovers. It’s a slow and tortuous suicide – a coward’s exit for sure. Care factor zero. Watching and waiting for some real drama, no bullshit day to day histrionics, but the real deal. And not over there somewhere, but right here right now, on our doorstep, with an ineluctable battering ram. Something to wake you up from the nightmare that this is as good as it gets.

From the ashes of the desire for violent revolution, you dream up the required treaty. It is only words, yes that is true. Words are all we have to define ourselves and our place in this cosmic mix. The human world is built of words. Words are everything. Perhaps an anthem and a flag will accompany your attempt to articulate a fresh, more eloquent expression of the human condition. A complete package to keep us vigilant against the blinding glare of shiny new gadgets made by the third world slaves to sedate the first world sheep for the sole benefit of the one percent in their gaudy gated palaces. Yes, we need a treaty.


Darling, the Joneses have invited us over to watch the fireworks from their terrace.’

You despise the Joneses and their terrace, their phony friends and the whole concept of fireworks. YThe fact you’ll have to take something even though they said to bring nothing, and what you bring will be placed to one side and ignored. You may as well go down to the yard, shoo away the chooks, retrieve the ham and pudding, wrap it in recycled gift paper and let Richard Jones deal with it on January One. That would be being on the level. But you say yes to the invite and will spend your dwindling holiday pay on an acceptable bottle of wine that won’t be acceptable at all.

Your submission, born from a fear of saying no despite an irrefutable right to decline, eats away at the pathetic remains of your once healthy identity and integrity. You pray for Armageddon and then remember you’re an atheist.

Your family and friends can see that you’re leaving the table. They don’t understand. They are searching for a label to describe your condition, the spectrums of autism, anxiety and depression are discussed in your absence. Yet you hear every word; it is written on their eyes.

Even the vibrant colours of the rainbow, when mixed haphazardly, will make a dull brown. The only sensible response is to discard the old, worn-out palette and start again with charcoal on white paper. Can’t they see that? Can’t they see that ‘brown’ won’t do? Or grey, for that matter. Everything is so grey these days. Nothing is right or wrong; relativism gone mad. And everyone can feel the nausea, if they listen to their gut that is.


Where are you, lover?’ she asks.

I am lost,’ you manage to reply.

Talk to me,’ she offers.

I can’t tell you what it’s like, only that if I didn’t have your love I think I would simply disappear and be nothing.’

She lets you be lost. Just like she let you change your career mid-stream, like she let you buy that guitar and let you stop the number of kids at two. Letting you be is her greatest gift. Even after her affair there was no thought of going solo. Your imaginings of her naked and wild with Richard Jones hurt like nothing else, not even the ruptured duodenal ulcer compared. The revenge infidelity – a seedy ménage à trois with Mrs Jones and her maid – only added trauma.

Time and brutal honesty did the healing. And you can’t help but think that the whole sordid affair, the absolute violations of marriage vows made in the maelstrom and ignorance of passion and youth, was needed to set things right. Your love has never been stronger. You are lost in the world, not lost from her.

After years of accumulation there were years of shedding, and now you’re travelling light. No God, no philosophy, no goals, no desire for unnecessary stuff. For a while it seemed the better way. Now, doubt with a capital D has struck again. Existential terror. Uncertainty running feral, indecision rife, January looming. Waiting for it all to break, for cracks to let the light through.

A reluctant man with a deep and rich voice strums simple chords to ask the universe for guidance. We dare to call him spiritual and he backs away again. This time for good. We cling to an idea that if we steer your way, Mr Cohen, we will be delivered from all pain and suffering. And yet we know that is a lie, like all the lies that weather us down to dust.


On New Year’s Eve you pick up your one remaining guitar and strum F#minor – your very own string reprise treaty.

It’s nice to hear you play again, lover,’ she says.

Hallelujah, Suzanne,’ you cry with a smile.

Words by Sean Crawley

Art by Rhianna Carr

Sean Crawley Headshot.jpgSean Crawley writes short stories, songs, non-fiction and the odd angry letter. He has been published online and in anthologies. He has worked in education, mental health and once owned a video shop in a dying town. Sean’s desk is currently located somewhere on the east coast of Australia. His website is at