What’s on at the 2026 Adelaide Fringe Festival, and what should you see this year?
With literally too many shows to see at this year’s Adelaide Fringe Festival and only so much time on which to write about them, our editor Justin has condensed his reviews in this one handy spot for you to read at leisure.
Adelaide has once more set up The Garden of Earthly Delights and Gluttony on Kaurna land to celebrate the whacky, the absurd, the funny, the daring and the decadent across the month of February and March. Whether this is your first Adelaide Fringe, you’re in town visiting, or making your annual journey, read about what we’ve seen and thought from a small slice of the Fringe below.
*These reviews are updating across the Fringe
Shows in this article:
- Maho Magic Bar
- Gabbi Bolt: Small Poppy
- Gasha
- Sh!t-Faced Shakespeare: Hamlet
- Japanese Liquor and Laughs
- Good Man
- Anisa Nandula – No Small Talk
- Wright&Grainger’s ORPHEUS
- Wright&Grainger’s EURYDICE
Maho Magic Bar
Wed, 18 Feb – Sun, 22 Mar
60 min
Maho Magic Bar at The Garden of Unearthly Delights
PG
$58.60 to $84.40
Tickets: https://adelaidefringe.com.au/fringetix/maho-magic-bar-af2026
4 STARS
Step into the returning Adelaide Fringe hit of the Maho Magic Bar for a mix of magic direct from Japan! Decorated with neon lights, the Maho Magic Bar is a beacon for the inquisitive, the quirky and the curious. Once you’re set up at your own personal bar – with new friend to chat to – an array of Japan’s finest trained magicians come to you to perform assortments of close up magic.
Most of this close up magic at play is slight of hand, masterfully done in some instances, with each magician bringing their own quirk to their act. Some will absolutely blow your mind in how its performed, whilst others are more simple and release a small smile of pleasure at its artistry. Lead by Erica Vanlee‘s roaming host, there’s Shirayuri‘s close-up cardistry, Kaori Kitazawa‘s wizardry in filling blank cards, Comet’s cocktail mixology, Shingo‘s clownlike balloon swallowing, and E.O. LEE‘s zany and mind-boggling mind reading
Throughout, order yourself some Japanese inspired cocktails to sip on while you’re entertained, or choose from the special menu and you’ll become the main act as each round is separated by a special variety performance. What’s more, this is fun for the whole family! There’s a good mix of humour to keep the adults in the room entertained, whilst the kids get to enjoy the goofy clowning acts that always end in surprise.
With varying times for you to enter this Japanese-inspired mix of magic artistry, there’s plenty of time for you to cut out your own slice of entertainment throughout the Fringe season.
Gabbi Bolt: Small Poppy
Thu, 19 Feb – Sun, 01 Mar
60 min
The Bally at Gluttony – Rymill Park
MA15+
$25 to $33
Tickets: https://adelaidefringe.com.au/fringetix/gabbi-bolt-small-poppy-af2026
4.5 STARS
The Australian connection with Tall Poppy Syndrome is as deeply ingrained as beach in summer, vegemite on toast, and referring to Kylie Minogue as “Our Kylie”. But, much like most other famously identifiable Australian icons (Pavlova, Russel Crowe), it’s stolen; Gabbi Bolt is here to explain how, and why success is important to her now more than ever.
Small Poppy is a journey through success both quiet and viral. Seeing Bolt’s journey from one award-winning hit comedy to the next, she’s most definitely consolidated her technique here, as well as her voice in both lyrics and soul. She enters the stage with a confidence in form, bouncing from piano to accordion and loop station with ease. But here, she also leans into her identity as a musical comedian, unafraid to remain behind each instrument or rely on powerpoint to grab our attention.
Throughout, Bolt’s incredible ability to write, play, and cross genres proves herself to be a true musical comedienne. Everything from Hamilton to Charlie XCX inflitrates each segment that journeys through the notions of success and fame, Bolt’s rapping Roman history lesson on the origin of the Tall Poppy Syndrome being a highlight. You’re right Gabbi, audiences with a white majority can only learn history this way now.
If there’s one thing that stumbles the journey, its the desire to walk the line between appealing to her returning audience as well as pleasing newcomers. Does this ruin the flow? Not necessarily. After all, Bolt’s discussion of the new age comedians constant journey for viral fame will ultimately bring fans from online into real life, and that’s showbiz baby.
But underneath it all, there’s a sharp tongue targeting the wealthy. Billionaires beware, Gabbi Bolt is coming for you. Beyond the “undiagnosed, but definitely peer reviewed” tangents, there’s a true depth and soul to Bolt’s words. She is a comedian whose trajectory is ever journeying skywards, with this new work being a Fringe Must.
Gasha
Fri, 20 Feb – Sun, 22 Mar
60 min
The Moa at Gluttony – Rymill Park
PG
$30 to $65
Tickets: https://adelaidefringe.com.au/fringetix/gasha-af2026
3.5 STARS
Precision and control are the definining features of this gorgeous array of circus and acrobatics in Gasha. From the creators of Yoah, Cirquework unveils its latest that explroes the possibility of the world becoming one through Japanese culture.
Spectacular audiovisuals seeping from the screen backstage of the Moa tent in Rymill Park create gorgeous shadows in space of Japanese imagery and spirit. The word Gasha draws inspiration from the gashapon capsule-toy machines found across Japan. These offer unknowing surprises and chance, which is imbued into the spirit of Gasha itself.
Featuring an international cast, the imagined world of Gasha dissolves separation of nationality, skin colour and language, instead focusing on a shared art form to transform and give birth to incredible feats of strength, agility and balance.
From live electric shamisen to aerial acrobatics, there’s a beauty in Gasha where some performances will quite literally take your breath away. Other acts, if you’ve seen circus or cabaret before in your Fringe journey, will be more or less familiar, though the feats of physicality remain undeniable.
Going into Gasha, I was hoping for more Japanese culture woven into the performance, rather than relying on aesthetic. Whilst some acts focused on authenticity, others felt more of the same. Gasha wows you undeniably, but doesn’t leave you with much in the way of a cultural imprint when you leave.
Sh!t-faced Shakespeare – Hamlet
Fri, 20 Feb – Sun, 22 Mar
60 min
The Vagabond at The Garden of Unearthly Delights
MA15+
$42.90 to $49.90
Tickets: https://adelaidefringe.com.au/fringetix/sh-t-faced-shakespeare-hamlet-af2026
5 STARS
If there’s one ritual I have when attending a Fringe or Comedy Festival, it’s to see the latest iteration of Sh!t-Faced Shakespeare. I’ve seen that many now that I’m constantly seeking the next high for perfection in their well-crafted drunken Shakespearean ploy. So when they chose to stage my favourite of the Shakespeares, Hamlet, I knew that this was going to set the bar high for me.
Thankfully, as always, Sh!t-Faced Shakespeare meets the bar with hilarious drunken stupor.
It may read as though I have a bias here – and yeah, okay I may – but the show on the first Saturday of Adelaide Fringe proved that it’s not just me who loves this returning favourite. The Vagabond theatre in the Garden of Earthly Delights was absolutely packed with an audience eager to see the cast drunkenly stumble through the Bard’s famed work.
Okay, so, if you’re new then here’s the gist. This is entirely serious Shakespeare featuring an entirely shit-faced actor*. With the rest of the cast – all trained Shakespearen actors mind you – attempting to keep the show on track. They have to get to the end of the play without it all going completely tits up, or needing the use of the bucket held by one unlucky audience member.
For Hamlet, the inebriated actor has to be the Dane, right? For this evening it was. This kind of took out the guessing of which actor it would be in the drunken state for the evening, but it offers return value to see if it is indeed the same each evening or if they switch actors each night, lest their livers fail most Shakespearean-like.
Led by the show’s host that attempts to keep the show (and drunken actor in question) running smoothly, anything could happen throughout. And…well, let’s just say things most definitely don’t go according to plan. Have you ever seen a Hamlet where Ophelia’s coffin is passed around the room in a crowd surf? Ever wanted to see Hamlet do a shoey? Then this is the show for your Fringe list.
After having seen a bunch of the Sh!t-Faced‘s canon across Fringe seasons, this was undoubtedly my favourite. Bias be damned.
*Please drink responsibly.
Japanese Liquor and Laughs: A Comedy Tasting Show
Sat, 21 Feb – Sun, 22 Mar
55 min
The Maple Room at Dom Polski Centre
R18+
$40 to $48.50
Tickets: https://adelaidefringe.com.au/fringetix/japanese-liquor-and-laughs-a-comedy-tasting-show-af2026
2.5 STARS
Umeshu, Shochu, Sake Junmai, Sake Junmai Daiginjo, Nigori & Yuzu, these are a few of Dave’s favourite things.
Over the course of an hour, stand up comedian and former Japanese correspondent Dave Crisante takes us on a journey through Japanese liquor. This is for those of you interested in learning more about Japanese liquor and culture as told through Dave’s experiences living and working in Japan.
The show delivers on its promise of tasting Japanese liquor, but the “non-stop laughs” section needs a bit more refining. As a midday piece of entertainment, it was great getting to delve into the finer details of sake making and the what makes this rice liquor so unique, but I wouldn’t particularly call it a stand-up show.
If you’re new to Japanese liquour and want to learn more about its brewing process, tasting six to seven offerings throughout, or if you just want to take a small journey back through your trip to Japan – aka. “the new Bali” – then Japanese Liquor and Laughs will deliver. If you’re looking for more non-stop laughs over drinks with friends, there’s plenty of other opportunities for that throughout the Adelaide Fringe.
Good Man
Fringe Fund Recipient
Fri, 20 Feb – Sun, 01 Mar
60 min
The Hetzel Room at The Courtyard of Curiosities at the State Library
MA15+
$25 to $33
Tickets: https://adelaidefringe.com.au/fringetix/good-man-af2026
4 STARS
Intimate storytelling backed by a refined rock monologue defines writer and performer Connor Morel‘s (Lord of the Rings: A Musical Tale, Elvis: A Musical Revolution) new show Good Man.
Drawing an unmistakeable inspiration from Jonathan Larson’s tick, tick…BOOM!, Morel presents a seamless flow to his story about meeting his father for the first time at 17 when his dad turned up unannounced to one of his gigs. The “tick, tick” here is the tense countdown that breaks up Morel’s story leading up to this fateful meeting, and the BOOM! lands when the two come face to face.
Morel’s vocals are gorgeous to listen to. From soft falsetto to soaring rock, there’s a range on display here. Think the tone of Andrew Lloyd Webber‘s Jesus Christ Superstar in quality. Backed by a live band with Ben Cook on bass, Xena on guitar and Jake Pickering on drums, Good Man explores the importance of choices. The choices we make and those we don’t. To live is to choose, and to choose is to live, Morel tells us.
When it comes to the climactic meeting, the culmination in choices doesn’t quite come full circle as anticipated. The dialogue about choices and paths found in moments in his story can feel a bit stunted, but there’s also a refreshing honesty and reflection to his former naivity in youth.
There’s a beautiful comfortability to Good Man; though the piece is new, it feels lived in. Direction by Sarah Frencham and Casey Gould sees Morel move in and around the instruments, cleverly placing two guitars either side of the space for him to pick up and play as he creates spaces in the story with ease. His words create images with clarity that truly draws you into the piece.
Good Man runs for a short season throughout the Adelaide Fringe, but as a testing ground for this new work, it’s definitely one pop onto your list for new Fringe shows to see.
Anisa Nandula – No Small Talk
Fri, 20 Feb – Sat, 28 Feb
60 min
2 venues
M
$25 to $30
Tickets: https://adelaidefringe.com.au/fringetix/anisa-nandaula-no-small-talk-af2026
4 STARS
Anisa Nandaula is one of those comedians who makes you feel like you’re at a house party, chatting to a friend about the chaos of their life. Like those friends who return from vacation with the most hilarious travel stories and have workplace stories that you can’t wait to break down when you see them.
She makes the audience feel comfortable and at ease in a small space. But she’s also armed with the sharp Australian tongue of banter which makes for some great laughs. Upon entering the Drama Lama space in the Rhino Room, she calls out the audience for opting not to see in the intimately close front row – “You bitches”, she cries.
After starting with some crowd work – cleverly using this to call upon later throughout the set, making running gags fluently as she goes – Nandaula dives into a journey of workplace dramas, feuding with next-door neighbours, and visiting Kenya on an African safari. She’s not here to make small talk, just deliver plenty of laughs.
Throughout, Nandaula touches on topics of generational African culture, current politics (One Nation being the current hot topic one this Fringe season), the too-laid back Australian culture, and how racist stereotypes don’t just belong to white people.
I took a punt on a new name, and I’m so glad I did. I encourage you to do the same this Fringe season and maybe you’ll also find the next name to watch on your Fringe Festival journey.
Wright & Grainger’s ORPHEUS & EURYDICE
Thu, 19 Feb – Sun, 22 MarÂ
70 min each
The Mortlock Library at The Courtyard of Curiosities at the State LibraryÂ
PGÂ
$33 to $40
Orpheus Tickets: https://adelaidefringe.com.au/fringetix/wright-grainger-s-orpheus-af2026
Eurydice Tickets: https://adelaidefringe.com.au/fringetix/wright-grainger-s-eurydice-af2026
Orpheus – 5 STARS
Eurydice – 4.5 STARS
Surrounded by thousands of books, all with their own stories to tell, Wright & Grainger’s ORPHEUS & EURYDICE are my top pick of the Adelaide Fringe Festival, best seen in tandem. Both ORPHEUS & EURYDICE is Greek Mythology at its best, told with such reverance, heart and soul that you’ll believe in the impossibilties of love.
With ORPHEUS performed by Alexander Wright and EURYDICE performed by Megan Shandley, both feature Phil Clive Grainger on instrumentals. Wright’s words are a poetic tapestry of ideas. He weaves storytelling of the Greek tale of Orpheus and Eurydice fluently into the everyday, creating a realm of existence that is modern and timeless in the same moment. In this staging, both shows are supported by a string quartet and choir, with Michael O’Donnell, Mae Napier-Traeger/Hannah Pelka-Caven on violin, Jenny Thomas on viola and Allye Sinclair on cello.
Within the Mortlock Chamber in the State Library of South Australia, the storytellers perform in traverse. They stride up and down the stage opposite each other, crossing each other and, at time, stepping off-stage to highlight key moments.
In ORPHEUS, Grainger lays a foundation of music on guitar, strumming instrumentals throughout with the soul of Bruce Springsteen. Reading out of a well-loved journal, Wright tells the tale of Dave, a young man who sees the world in black and white (literally). He’s lost in life, stuck in a void of rounds of beers with mates at the pub, always the outsider. He has a gift, a gift for song. And one fateful night at karaoke in the middle of a blackout, his acapella singing of ‘Dancing in the Dark’ draws light into his world: Eurydice. From here, the tale flows. They fall in love and marry, she dies and her body crosses to the Underworld, leading the Gods to bless Dave on his journey to save Eurydice whose loss breaks the world through Dave’s mourning.
ORPHEUS is the closest you’ll get to church at the Fringe Festival. Or at least a version of it. We’re not just onlookers in this tale, but at times we’re the Gods looking on mournfully, we are the lost souls of Hades, we are the chorus singing Springsteen. As the quartet move down from their parapet on the second floor of the library, the sounds of strings and chorus envelope us. This is music therapy.
The sister show, EURYDICE tells the tragic Greek tale from the perspective of the heroine and Orpheus’ other half. In history we only know one perspective, that of Orpheus. But who is Eurydice before their life-changing encounter? Shandler reads out of her own well-loved journal as we learn of a girl who wanted to be a superhero, dressing as Superman from a young age, full of light and colour. She knows of the fate of her tale, this Orpheus, a boy who plays the lyre who she is meant to meet and will define her life. But she refuses this.
Instead, we follow her passionate love story with Aristaeus, the God of bees and agriculture, who sings his own songs and constructs his own tale with her. But, this is the tale of Eurydice and Orpheus, not Eurydice and Aristaeus, and so her tale journeys onwards guided by fate.
In comparison to ORPHEUS, this second act isn’t as freeflowing, but this purely rests on experience and repetition. Whereas Wright has the words of ORPHEUS ingrained into his very bones by now (being their longest performed show), Shandler is more performative, though breathakingly beautfil nonetheless.
Connecting the two, Grainger’s vocals are a performance unto themselves. Sounding like a mix between Jack Johnson and Bruce Springsteen, he uses vocal fry to astonishing effect. Jumping between acoustic guitar in ORPHEUS to looping soundboard in EURYDICE, you can do a whole thesis on the use of music within the piece itself.
I cannot recommend these shows highly enough. They are the definition of a must see. Do the double bill, laugh, cry and journey into the intertwining worlds of love and fate.
