Type: Fringe Theatre, Immersive, Queer
If You Liked: Wright&Grainger, A Funny Thing Happened On The Way To The Forum, Karaoke Bars
Greek mythology and legend have been well picked over by fringe artists for reinvention and reimagining for decades, so much so, one is left assuming there was nothing left to pull into the contemporary and breathe new life into for another audience to feast upon. Canadian based Panic Theatre, however, has done just that with Cyclops: A Satyr Play, and what a triumph it is. Part Karaoke, part rave, part immersive comedy show, the final product is deeply engaging and very rewarding. The piece is rich, filled with hedonistic glut, and varnished in a 90s neon gleam.
Writer and performer Griffin Hewitt is deeply endearing as a queer and conflicted satyr Silenus, with just enough costuming to allude to their part goat form. Hewitt has more than enough clear charisma to manipulate the audience’s emotions towards the others unseen characters around him.
The original source material, Euripides’ Cyclops, is mostly broken text or untranslated. So to compensate for that, Hewitt has the show framed through the eyes of the monster’s semi loyal, drunken companion/slave/house-goat who is trying to piece together the blanks in the material. In the process, he’s helping us, and himself, understand what has happened in the prior evening between Cyclops (voiced largely by the audience, individually or collectively), Odysseus (played by projected images of Brad Pitt in Troy), and Silenus themselves and a large purple phallic silicone object left strewn amongst the party clutter on the floor.
Grecian verse is replaced with musical numbers which feel equal parts music theatre pop and karaoke dive bar banger, the engagement with the audience feels natural and not a bit uncomfortable. The added element of allowing the audience to shape moments of the material in a choose your own adventure style gives the viewer the sense of being part of the hero’s journey, or the downfall of the ‘beast’, which are a unique standout in this year’s festival.
The lighting is evocative of a karaoke machine that’s just taken a bump of acid, and the choice to allow all facial light to be provided by the numerous projected retro designs allowing the image to fall upon and map Hewitt’s skin is genius.
Nestled in Holden Street Theatre’s “Judy’s” this feels like a quintessential fringe piece that will easily float from festival to festival for many years picking up awards and glowing reviews, much like this one. At the time of publishing the show has concluded its Adelaide Fringe 2026 run, but capped out the season with a win of the prestigious ‘Take a Chance on Adelaide Award’.
If Panic Theatre’s Cyclops is playing a tiny fringe venue, karaoke bar, or living room near you any time soon, warm up your vocal cords, smear on some glitter and book a ticket!
See our other reviews from the Adelaide Fringe Festival in the link below
Panic Theatre and Joanne Hartstone Presents, supported by Talk Is Free Theatre (TIFT), Judy’s Holden Street Theatre (as part of Adelaide Fringe)
Tue, 24 Feb – Sun, 22 Mar, Season Concluded
