ADELAIDE FESTIVAL
28 FEBRUARY – 15 MARCH 2020 
adelaidefestival.com.au

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WELCOME
THE HON STEVEN MARSHALL MP
Premier of South Australia

Every year, in the month of March, Adelaide takes on a whole new persona as the very best of the arts from around the world, across the country and from our own community, enlivens this wonderful city.

Adelaide Festival and Adelaide Writers’ Week have built a world-wide reputation for providing great and memorable experiences for those who visit our State and provide a fantastic opportunity to showcase all that this festival city offers.

2020 represents a major milestone for our iconic Australian arts festival which started in March 1960. 60 years on, we celebrate this happy anniversary by warmly welcoming artists from all corners of the globe.

I congratulate our Festival Directors, Neil Armfield and Rachel Healy, on once again creating and delivering this superb 60th anniversary program.

Happy Birthday, Adelaide Festival!

JUDY POTTER 
Chair, Adelaide Festival

It is with great pleasure that we bring you Neil Armfield and Rachel Healy’s 2020 Adelaide Festival in our 60th anniversary year.

Since 1960, the Festival has played host to events that have since defined us as a city of artistic pilgrimage, whether it be the innocent pleasures of the floral carpet displays of early Festivals, the darkness and trauma of Tadeuz Kantor’s The Dead Class in 1978, or Peter Brook’s 1988 Indian epic The Mahabharata in the Anstey Hill Quarry and then The Secret River in the same space 29 years later. Extraordinary events such as these have gone down as key moments in this country’s cultural development.

We sincerely thank the South Australian Government, the City of Adelaide and our ever-increasing group of enthusiastic corporate supporters. We are also hugely grateful for the philanthropic support we receive from our dedicated benefactors locally, nationally and internationally. I’d like to thank all who have given so generously, particularly the Chairman’s Circle which this year passed the $1 million mark in funds contributed over its five-year history.

I’d also like to thank our dedicated Adelaide Festival Board along with Executive Director Rob Brookman, Deputy Executive Director Rachael Azzopardi, and the entire Festival team. We are proud to be custodians of this remarkable Festival and I congratulate Neil and Rachel on delivering a wonderful Festival program – the best possible way we can celebrate our 60th birthday.

NEIL ARMFIELD & RACHEL HEALY
Artistic Directors

We welcome you to Adelaide Festival 2020.

We have scoured the globe for works of great scale and delicate, human intimacy. Works that engage the heart and the mind, that suggest ways forward for both the art form and the species.

Because that, after all, is what art can do.

Through art, through story, we play in the unconscious. We rehearse alternatives. We enact ceremony by which, through pattern and rhythm, image and sound, our imagination is released and with it the fundamental power of empathy.

There is so much in our world that is dysfunctional and broken. Where our social systems are failing and we search for solutions to a future that narrows before us. Art not only gives us respite, pleasure and joy, it gives us the unexpected gift of reimagining. It provides tools for the future. It enables us to rebuild.

These are ancient truths. 

One of the core works of 2020, 150 Psalms, a massive choral project, takes thousand year old texts of consolation and contemplation as anthems for our world – this performance, like so many in the pages of this book, will wrap its arms around our city and hold us tight in wonder and awe.

Around the world we are asked what makes the Adelaide Festival so special. Because its reputation precedes us. It’s known as one of those festivals that set the standard. And we say that for those 17 days in March the weather is glorious and there is a buzz and a palpable ambition that you can taste in the air around you. The whole city is alive with hope and pleasure and possibility.

And in 2020 it is our 35th Adelaide Festival, and we celebrate all 60 years of its beautiful life.

Come and join us as we play and think and dance and sing this March.
FREE OPENING EVENT
60th Birthday Concert with Tim Minchin
Last time he played Adelaide, five Thebarton Theatre’s worth of tickets flew out the door within days, leaving thousands of fans disappointed so…

As a gift to the city on the occasion of the Adelaide Festival’s 60th anniversary we will welcome to the Elder Park stage the legendary Tim Minchin and his band, absolutely free of charge!

Rally your mates, pack a picnic, bring the kids (you know the words, you can choose to cover their ears at judicious moments), stake your patch of Torrens-side grass and enjoy hits from the King of Kohl’s brilliantly acerbic songbook under the remaining visible stars.

Tim’s prodigious talent as a songwriter, lyricist and creator of intelligent art with mass appeal can tend to make you forget what dynamite he is live. Without a doubt this will be one of the greatest AF open-air-open-to-all-opening night gigs. 

We can’t wait.
Where Elder Park
When Sat 29 Feb, 8pm
Tickets FREE
Note Outdoor event. Concert plays rain or shine. In the case of severe weather, please refer to adelaidefestival.com.au at 4pm on the day of the performance for final weather arrangements. Large crowds anticipated. Low beach chairs (without legs) permitted. Catering on site. No BYO alcohol.

Access The event is wheel chair accessible

Presenting Partners City of Adelaide, 9 News, The Advertiser, SA Power Networks and Novatech.

60 years of Adelaide Festival
Exhibition
The Performing Arts Collection opens the vault for the very first time on all things Adelaide Festival. From costumes to set designs – don’t miss this display of amazing memorabilia in the Festival Theatre Foyer for the duration of the Festival.
OPERA / FRANCE AND AUSTRALIA
Requiem
By Wolfgang Amadeus Mozart
Directed by Romeo Castellucci
A Festival d’Aix-en-Provence and Adelaide Festival co- production
The world's greatest directors can make classical texts shine like they were new. One goes further. Romeo Castellucci effectively gives birth to them again as contemporary masterworks.
The colossal imagination of this pioneering writer/director/designer has astonished audiences the world over. His hallucinatory imagery provokes almost visceral responses, and, like music itself, manages to be revelatory and ineffable. When the house lights return it's like waking from a powerful dream.
This production features the original Aix-en-Provence cast of internationally acclaimed soloists – Sara Mingardo (alto), Martin Mitterrutzner (tenor), Luca Tittoto (bass), alongside Australia's rising global star Siobhan Stagg (soprano). Together with the ASO led by Rory Macdonald, a chorus of 36 including Adelaide Chamber Singers and dancers from Adelaide's own Australian Dance Theatre, they create a deeply moving ritual of life and death, extinction and the possibility of rebirth.
Mozart raced the grim reaper to complete the incomparable Requiem that he knew was to be his own. The music will take your breath away. The searing images you will encounter, some universally recognisable, some utterly unearthly, will reach deep into your unconscious.
Profound, primal and never to be forgotten.
 “A revelation” Financial Times		 “Magnifique” Le Monde
Australian Premiere / Australia Exclusive
Where Festival Theatre, Adelaide Festival Centre
When  Fri 28 Feb, 7.30pm , Sun 1 Mar, 5pm , Tue 3 Mar, 7.30pm , Wed 4 Mar, 6pm
Duration 1hr 30mins, no interval
Tickets 	Premium $289, Friends $249
A Res $219, Friends $185, Conc $175
B Res $189, Friends $160, Conc $152, U30 $90, Student $80
C Res $149, Friends $127, Conc $120, U30 $70, Student $60 
Note Performed in Latin and German with English surtitles. Contains nudity.
Access Wheelchair accessible, fully surtitled, sound amplification systems available.
A co-production between Festival d’Aix-en-Provence and Adelaide Festival presented by the Adelaide Festival in association with Adelaide Symphony Orchestra and Adelaide Festival Centre. The presentation of Requiem has been made possible by the Adelaide Festival Chairman’s Circle, the Adelaide Festival Opera Donor Circle (Leading Patrons Maureen Wheeler AO, David McKee AO and Pam McKee) and MM Electrical Merchandising.

DANCE / FRANCE
Lyon Opera Ballet
Trois Grandes Fugues
Choreographed by Lucinda Childs, Anne Teresa De Keersmaeker and Maguy Marin
The work of three women, all seminal figures in contemporary dance, converges on a single piece of music in this unique program directed by Yorgos Loukos that has wowed critics and audiences worldwide.
American Lucinda Childs and Belgian Anne Teresa De Keersmaeker established their reputations in the 1970s with their uncanny ability to visually match the music of minimalists like Glass and Reich. Maguy Marin may now be the Grande Dame of French dance but the fierce radicalism of her early '80s work remains undimmed. She is the only choreographer ever to have directly collaborated with Samuel Beckett.
Over the years each has taken on the same fearsome musical challenge: The Great Fugue for strings – that enigmatic and everconfronting masterwork by Beethoven, which Glenn Gould dubbed “the most astonishing piece in musical literature". Here, their interpretations are performed back to back by the Lyon Opera Ballet with stunning virtuosity.
The three works – each to a different recording – couldn’t be more varied. Childs: elegant and mathematically precise, De Keersmaeker: wild and free-spirited (small wonder Beyoncé gave in to the temptation to rip her off!), Marin: an earthy, reckless, blood-red rage against death.
Miraculously, each not only makes the bafflingly complex counterpoint crystal clear but also brings us closer to its mysterious and profound human heart. What would elude you in a concert becomes attainable through dance.
As we celebrate 250 years since Beethoven’s birth, this thrilling riposte to River Phoenix’s assertion that “You can’t dance to Beethoven” is unmissable.
 “The three pieces shared nothing but their music, yet seen back to back it amounted to a dazzling display of dance at its most inventive and transporting... an unforgettable evening.” The Times
“...one of the most exhilarating, uncompromising evenings of dance I’ve seen in ages.” The Guardian

Australian Premiere / Australia Exclusive
Where Festival Theatre, Adelaide Festival Centre
When Fri 6 Mar, 8pm, Sat 7 Mar, 2pm & 8.30pm 
Duration 1hr 25mins, including interval
Tickets 	Premium $139, Friends $118
A Res $129, Friends $110, Conc $103, U30 $65
B Res $119, Friends $101, Conc $95, U30 $60, Student $50
C Res $99, Friends $84, Conc $79, U30 $50, Student $40
Access Wheelchair accessible, sound amplification systems available
Presenting Partner Emirates

SPECIAL EVENT / FRANCE
Fire Gardens
Compagnie Carabosse
French artistic collective Compagnie Carabosse are renowned for their spellbinding illuminations of public sites all over the world, from Stonehenge in England to Moscow's Kremlin Square, from Hue Bridge in Vietnam to Pont du Gard in the south of France. For the last 20 years, Compagnie Carabosse has transformed these extraordinary landscapes into mesmerising wonderlands of firelight, kinetic sculptures and live music. Their show at the 2018 Melbourne Festival sold out weeks prior and attracted over 30,000 visitors with a waiting list almost as long.
Now it's Adelaide's turn.
Over four magical nights the city's Botanic Garden, already a charmed space once the sun has set, will become a dreamspace of mystery and revelation fashioned from thousands of individual flames. Carabosse paint with the palette of fire – its colour, warmth, sound and scent; the stuff of our dreams and rituals for millennia. Their luminary alchemists create site-specific sculptured landscapes from nearly 7000 handcrafted giant candles. Strolling through them is a feast for the senses: mammoth spheres of leaping flames, sculptures that flicker and dance, fiery urns that cause shadows to play and a soundtrack every bit as brilliant as the garden itself. Making your way through this dense and wondrous garden is both a personal journey full of surprises and a shared experience of elemental forces in full effect.
Come and wander the Adelaide Botanic Garden in the firelight this March.
 ★ ★ ★ ★ ★  “Fire Gardens delivers a primal experience, a respectful celebration of the beauty and power of the elements: there is fire of course, but also air and water. It’s a truly beautiful sight to behold this holy trinity” Arts Hub
Where Adelaide Botanic Garden – entrance from North Terrace gate only
When Thu 12 – Sun 15 Mar, 8pm, 8.30pm, 9pm, 9.30pm
Duration allow 1hr
Tickets $29, Friends $25. Children two years and under are admitted free of charge with a paying adult.
Access 70% of the site is wheelchair accessible, minimal dialogue, background music and sound. Audio described performance available on Friday 13 March, 8:30pm
Presenting Partner AAMI
Presented by Adelaide Festival and Arts Projects Australia in association with Botanic Gardens and State Herbarium.

THEATRE / UK 
The Doctor
Almeida Theatre
Robert Icke has been described as “the brightest directing talent British theatre has produced in a generation”. This, his final production for the Almeida Theatre as Associate Director, is a brilliantly skilful update of Arthur Schnitzler’s 1912 Viennese drama Professor Bernhardi, which has just been performed to packed houses and uniformly rave reviews in London.
The original play’s male protagonist is now Dr. Ruth Wolff (in a towering performance by British stage and screen legend, Olivier-award winning Juliet Stevenson). On an ordinary day, at a private hospital, a 14-year old fights for her life. A priest arrives to save her soul. Dr. Wolff refuses him entry. In a divisive time, in a divided nation, a society takes sides.
Icke’s production, gripping as a thriller, navigates the contemporary minefield of freedom of religion issues, identity politics, medical ethics, gender and class with remarkable eloquence, fairness and humour, constantly upending our perspectives and sympathies.
As the debate charts its catastrophic course through, The Doctor reveals itself as a major and urgent contemporary tragedy.
Exclusive to the Adelaide Festival, don’t miss the most talked-about theatre event of the year.
★ ★ ★ ★ ★  “the air positively crackles… It is a play entirely made up of ethical argument, yet it is so tense there are moments when you stop breathing… It's an astonishing, gripping evening – and a testimony to Icke's unparalleled ability to make theatre that you can't turn away from.” WhatsOnStage
★ ★ ★ ★ ★  “Icke’s production yields a performance by Juliet Stevenson that is one of the peaks of the theatrical year.” The Guardian
★ ★ ★ ★ ★  “Intellectually dazzling… the result is a piece of theatre of the highest calibre.” The Telegraph
Australian Premiere / Australia Exclusive
Where Dunstan Playhouse, Adelaide Festival Centre 
When Thu 27 Feb – Sun 8 Mar. See website for details 
Duration 2hr 45 mins, including interval 
Tickets 	A Res $129, Friends $110, Conc $103, U30 $65, Student $55
B Res $109, Friends $93, Conc $87, U30 $55, Student $45
Note Contains references to suicide and utilises strobe effects.
Access wheelchair accessible, sound amplification systems available. School prices and teachers educational resources available.
Presented by Adelaide Festival by arrangement with Ambassador Theatre Group and Almeida Theatre.
CLASSICAL MUSIC / THE NETHERLANDS, NORWAY, UK AND AUSTRALIA
150 Psalms
The Tallis Scholars, Netherlands Chamber Choir, The Song Company, The Norwegian Solists’ Choir
3000 years ago, 150 songs were gathered together to become the Hebrew Bible’s Tehillim, then the Old Testament’s Book of Psalms. Songs about justice, humanity, compassion, liberation and power. Of people struggling with leadership or passing on responsibility; humans using and exploiting the environment; refugees desperately looking for a safe haven.
In March 2020, Adelaide Festival presents 150 Psalms, the fourth incarnation of a remarkable choral event with three of the world’s greatest choral ensembles: The Tallis Scholars from England; Netherlands Chamber Choir (Nederlands Kamerkoor), Norwegian Soloists' Choir (Det Norske Solistkor) and Australia’s finest vocal group, The Song Company.
Over four days, in four sacred spaces and one secular space, 12 concerts will encompass all 150 psalms in musical settings by 150 different composers spanning 10 centuries of choral tradition. From Gregorian chant to Ockeghem, from Monteverdi to Bach, from Brahms to Britten and beyond. Many Australian premieres, and world premieres of newly commissioned works by Elena Kats-Chernin, Clare Maclean, Cathy Milliken and Kate Moore. In the final concert all the voices converge in the Adelaide Town Hall for Tallis’ mighty motet in 40 individual parts, Spem in alium.
Conceived in 2017 by Netherlands Chamber Choir, this is much more than a banquet for lovers of choral music as audiences discovered in Amsterdam, Brussels and New York. It's a symposium for the spirit and the intellect.
Each concert is introduced by a noted writer or contemporary thought-leader focusing on one of twelve identified themes running through this ancient songbook. Further insights are provided by an exhibition of work by renowned Australian photojournalists that pairs each psalm with a powerful image.
These poems are etched on humanity’s psyche and their concerns still burn hot. They represent not the word of God, but of humankind; shouting or whispering its fears, its worries, its anger, its sorrows, its thanksgiving and joy to the universe.
Attend one concert or all twelve; it will never be forgotten.
Australian Premiere / Australia Exclusive
Tickets Buy four concerts or more to save 20%. For individual concert pricing, see individual events in the next pages
Access All events are wheelchair accessible
Presenting Partner The Australian
Supported by Amnesty International.
Commissioned work supported by the Commissioning Circle.

1.	A Mirror For Today’s Society
NETHERLANDS CHAMBER CHOIR

Songs of praise, justice and liberation featuring intricate motets by J S Bach, Schütz and Tallis, re-imaginings by young American Mohammed Fairouz, Swedish prog-rock pioneer Bo Hansson and ground breaking composer Michel van der Aa, with an ecstatic blast from the Monteverdi Vespers of 1610 to conclude.

When Sat 29 Feb, 12pm
Where St Peter's Cathedral
Duration 1hr 15mins, no interval
Tickets $79, Friends $67, Conc $64, U30 $35, Student $30
2.	Trust
THE NORWEGIAN SOLOISTS' CHOIR
From touchingly pure Sephardic Jewish prayer to the grandeur of Elgar and Rachmaninov via heaven-resounding paeons by Gabrieli, Pachelbel and Charpentier. This concert opens with Telemann’s rousing motet on Luther’s A Mighty Fortress and features Beethoven’s wonderful setting of The Heavens are Telling.
When Sat 29 Feb, 3pm
Where St Peter's Cathedral
Duration 1hr 15mins, no interval
Tickets $79, Friends $67, Conc $64, U30 $35, Student $30

3.	Safety
THE TALLIS SCHOLARS
Pleas for protection in classic High Renaissance style (from Gesualdo, Croce and others), then refracted through a modern prism (Paul Schoenfield’s Psalm 86 in Hebrew). Features the beautiful anthem “One thing I have desired” by great and underrated British composer Herbert Howells and a serene Psalm 23 from Denmark's Carl Nielsen.
When Sat 29 Feb, 6pm
Where St Peter's Cathedral
Duration 1hr 15mins, no interval
Tickets $79, Friends $67, Conc $64, U30 $35, Student $30

4.	Justice
THE SONG COMPANY

Pondering how to do good in the face of so much bad, featuring premieres by Clare Maclean (who writes some of the world’s finest choral music from her base in Sydney’s western suburbs) and Cathy Milliken (Adelaide Symphony Orchestra's composer-in-association). Framed by 16th century motets are works by Bang on a Can’s David Lang, Ned Rorem’s exquisite Mercy and Truth and Bruckner’s deeply moving Os Justi. Oh, and Delalande’s Grand Motet for the court of Louis XIV to a text later engraved on US guns.

When Sat 29 Feb, 9pm
Where St Peter's Cathedral
Duration 1hr 15mins, no interval
Tickets $79, Friends $67, Conc $64, U30 $35, Student $30

5.	Abandonment
THE NORWEGIAN SOLOISTS' CHOIR

“You caused the land to quake. You have shown your people harshness; You have given those who fear You trials with which to be tested, in order to beautify Your behaviour forever”. 
Words of desolation, hurt and bewilderment inspire music of sublime beauty from Penderecki (his unearthly Song of Cherubim), Per Nørgård, John Blow, Luca Marenzio, Lebanese composer Zad Moultaka together with traditional Arabic, Armenian and Gaelic chant.

When Sun 1 Mar, 11am
Where Adelaide Hebrew Congregation, Glenside
Duration 1hr 15mins, no interval
Tickets $69, Friends $59, Conc $55, U30 $35, Student $30

6.	Gratitude
THE TALLIS SCHOLARS

Songs of thanksgiving to the Lord who “sets the prisoners free/ cares for the stranger/ sustains the orphan and widow". 
Including a new song by celebrated American classical composer Nico Muhly, and works by Jewish high renaissance composer Salamone Rossi, late 15th century masters de la Rue and Mouton, Gibbons, Haydn and a stunning setting of Psalm 92 in the original Hebrew written by Schubert in his final year.

When Sun 1 Mar, 2pm
Where Adelaide Hebrew Congregation, Glenside
Duration 1hr 15mins, no interval
Tickets $69, Friends $59, Conc $55, U30 $35, Student $30

7.	Powerlessness
THE SONG COMPANY

“I have become weary from calling out/ my throat has become parched/ my eyes fail while I wait for my God.” 
Songs from the depths of faith-testing adversity including Rameau’s masterful Psalm 69, Britten’s rarely heard Deus in adjutorium from the war years, sombre and beautiful works by Ockeghem, Josquin and Di Lasso and the late Sven-David Sandström’s hair-raising Hear my prayer (after Purcell) which alone is worth the ticket price.

When Sun 1 Mar, 5pm
Where Adelaide Hebrew Congregation, Glenside
Duration 1hr 15mins, no interval
Tickets $69, Friends $59, Conc $55, U30 $35, Student $30

8.	Suffering
NETHERLANDS CHAMBER CHOIR

The dark night of the soul is explored in a fascinating and diverse programme including new settings by Elena Kats-Chernin and Kate Moore, Jean Berger’s gorgeous The eyes of all wait upon thee, Claudin de Sermisy’s psalm adapted from a chanson of jilted love, works by Mendelssohn, Albéniz, Huygens (the scientist’s son), and the poignant swansong, written at the height of WWI, by Hubert Parry, composer of Jerusalem.

When Sun 1 Mar, 8pm
Where St Francis Xavier Cathedral
Duration 1hr 15mins, no interval
Tickets $79, Friends $67, Conc $64, U30 $35, Student $30

9.	Leadership
THE SONG COMPANY

"With restless and ungovern’d rage/why do the heathen storm?”, asks Thomas Arne (the composer of God Save the Queen) at the start of this concert which proves that threatening your Godless enemies with annihilation is a far from new diplomatic ploy. Polyphony from Byrd, Praetorius and de Wert, Wagnerian strains from Felix Draeske and James MacMillan’s hauntingly beautiful A New Song written in 1997.

When Mon 2 Mar, 1pm
Where Pilgrim Uniting Church
Duration 1hr 15mins, no interval
Tickets $59, Friends $50, Conc $47, U30 $35, Student $30

10.	Path of Life
THE NORWEGIAN SOLOISTS' CHOIR

A ravishing programme featuring Palestrina, Isaac, the opening movement of the Brahms Requiem, Swedish composer Ingvar Lidholm’s 1983 masterpiece De Profundis and a luminous Psalm 122 in English by Arvo Pärt.

When Mon 2 Mar, 8pm
Where St Francis Xavier Cathedral
Duration 1hr 15mins, no interval
Tickets $79, Friends $67, Conc $64, U30 $35, Student $30

11.	Power and Oppression
THE TALLIS SCHOLARS

“Avenge me, O God, and plead my cause against an unkind nation. From a man of deceit and injustice rescue me”. Sentiments worthy of Behrouz Boochani expressed in psalms by Sweelinck, Scheidt, Vecchi, Claude Le Jeune (the only composer to have set all 150!) and Gavin Bryars (his affecting Lord, I cry unto thee). The centrepiece is a miniature oratorio from Handel, the second of his Chandos Anthems (In the Lord put I my trust).

When Tue 3 Mar, 1pm
Where Pilgrim Uniting Church
Duration 1hr 15mins, no interval
Tickets $59, Friends $50, Conc $47, U30 $35, Student $30

12.	Celebration Of Life
NETHERLANDS CHAMBER CHOIR, THE TALLIS SCHOLARS, THE NORWEGIAN SOLOISTS' CHOIR, THE SONG COMPANY

The Psalms at their most euphoric in this unmissable final concert. Spanning six centuries from Banchieri to young Pulitzer winner Caroline Shaw, encompassing Purcell, Gretchaninov, Poulenc, Estonian Urmas Sisask and Serbian Isidora Žebeljan along the way. Culminating in the splendour of Thomas Tallis’ Spem in alium, with members of all four choirs finally joining forces to offer up an ecstatic expression of praise.

When Tue 3 Mar, 8pm
Where Adelaide Town Hall
Duration 1hr 15mins, no interval
Tickets 	Premium $99, Friends $84
A Res $89, Friends $76, Conc $72, U30 $45, Student $40
B Res $79, Friends $67, Conc $64, U30 $40, Student $35

VISUAL ARTS
150 Psalms Exhibition
Curated by Charissa Davies
150 Psalms, 150 Photographs.

The Psalms were a practical songbook. They contained instructions to the singers, suggestions about instrumentation and even the names of appropriate tunes. Problem is, not a single melody has survived. We can only guess at how they sounded in a world separated from ours by three millennia.

How will future generations respond to contemporary photographic reportage? With the events long forgotten, they may not understand the social and political forces at work, let alone be able to resurrect the voices of the human subjects.

Like the “silent” ancient songs, the power of these “mute” stories will endure and remain immediate because we are still the same species. The art of the photographer, like that of the composer is to recognise that truth and to convey it across time and borders. The stories may loop infinitely, but each one of horror and despair is balanced by another of elation and awe at the world’s beauty.

Sourced from The Australian’s extraordinary archive, works by this country’s finest photo-journalists are specifically chosen to encapsulate the spirit of a particular psalm lyric: a visual “setting” to complement the musical one that can be heard in the concerts. They invite us to view current events with a deeper understanding of how connected we are to the past.

Where QBE Galleries, Adelaide Festival Centre
When Fri 28 Feb – Fri 27 Mar
From 9am daily
Tickets FREE
Access wheelchair accessible, fully visual

THEATRE / BELGIUM
Cold Blood
Michèle Anne De Mey, Jaco Van Dormael & Kiss & Cry Collective
Written by Thomas Gunzig
Theatre, dance, cinema, comedy, drama, illusion; this show bursts triumphantly out of artform pigeonholes creating a hybrid performance experience that’s entirely unique. Belgian choreographer Michèle Anne De Mey and her film-maker partner Jaco Van Dormael have whimsically dubbed their unique art form “Nano-Dance”. That’s because it evolved on their kitchen table and the principal ‘dancers’ use only their fingers, hands and forearms.
It’s a tale of seven “stupid deaths”, each tragi-comic and unexpected, with expirations caused by the likes of a swallowed bra clasp, a carwash mishap and a pre-prepared packet of mashed potato. Filmed live on superbly lit, exquisitely detailed miniature sets and projected to spectacular wide-screen scale, moments of heart-stopping beauty, wit and exhilarating craftsmanship are backed by a captivating unfolding narrative from a short story by Thomas Gunzig.
Magnificent set-pieces (a Fred and Ginger tap routine on thimbles, a Busby Berkeley synchronised swimming extravaganza, a pole dancing club, a Kubrick inspired space station sequence) are interspersed with magically conjured mini cinematic marvels as the fingers drive cars on lonely foggy roads or through war-ravaged cityscapes.
It’s laugh-out-loud one minute and unexpectedly poignant the next as the magnified hands intertwine and caress, embrace and depart to a soundtrack that ranges from Doris Day and Nina Simone to Ligeti and Schubert. Lauded with five star reviews across the globe,
It’s silly, serious, magical and like nothing you’ve ever seen.
★ ★ ★ ★ ★ “Almost impossible to describe in any way that does it justice… Cold Blood never falls short of stunning.” The Scotsman
★ ★ ★ ★ ★ “There are moments of heart-stopping beauty… that curious, communal quality of live theatre at its best.” The Stage
★ ★ ★ ★ ★ “Moving, funny, imaginative and simply beautiful.” EdFest Magazine

Australian Premiere / Australian Exclusive
Where Ridley Centre, Adelaide Showgrounds
When 	Thu 5 Mar, 7.30pm
	Fri 6 Mar, 7pm
Sat 7 Mar, 2pm & 7pm
Sun 8 Mar, 2pm
Duration 1hr 15mins, no interval
Tickets $79, Friends $67, Conc $64, U30 $40, Student $35 Transaction fees apply
Access wheelchair accessible, School prices and teachers educational resources available.

Presenting Partner Adelaide Airport

OPERA / UK
Breaking the Waves
Music by Missy Mazzoli and libretto by Royce Vavrek 
Opera Ventures & Scottish Opera
Fresh from its European premiere season at the 2019 Edinburgh International Festival comes the Adelaide Festival exclusive season of Missy Mazzoli’s Breaking the Waves, one of the most sensational operas of recent years.
Based on Lars von Trier’s devastating but unforgettable 1996 film, this new production by Tom Morris (War Horse) returns us to its insular, Calvinist community of 1970’s Scotland. Its heroine Bess – a troubled, anti-Joan of Arc bursting out of a repressive patriarchy via a bizarre pact with God – is a formidable creation performed by brilliant soprano Sydney Mancasola. It’s fertile operatic ground as the themes of sex, religious piety, sacrifice and madness are harnessed by a composer with the skills to plough it.
Completing the central trio are the compelling Australian baritone Duncan Rock as Bess’s husband Jan and the great Irish dramatic soprano (and two time Helpmann winner!) Orla Boylan as Mother.
Dubbed “Brooklyn’s post-millennial Mozart”, Mazzoli has been commissioned by Kronos, Eighth Blackbird, the LA Philharmonic, Carnegie Hall, the Australian Chamber Orchestra and the Chicago Symphony. She writes from the heart: richly textured music that takes the complexities of the film and creates grand, dark, gripping opera replete with arias, choruses, set pieces and impressive orchestral interludes under the baton of Stuart Stratford. It does a great film justice but goes further, the score giving voice to the screenplay’s subtleties and creating some of the repertoire’s most complex characters.
With the full original cast, along with the orchestra and chorus of Scottish Opera, this is a must-see for opera, music and theatre lovers alike.
"The most startling and moving new American opera in memory." panterre box
"Extraordinarily gutsy and spine-tingling." The Times
"Savage, heartbreaking, and thoroughly original." The Wall Street Journal

Australian Premiere / Australian Exclusive
Where Festival Theatre, Adelaide Festival Centre
When  	Fri 13 Mar, 8pm &  Sun 15 Mar, 6pm 
Duration 2hr 50mins, including interval
Tickets 	Premium $189, Friends $160
A Res $159, Friends $135, Conc $127
B Res $129, Friends $110, Conc $103, U30 $65, Student $55
C Res $99, Friends $84, Conc $79, U30 $50, Student $45

Note Contains sexual violence. Performed in English with English surtitles.
Access Wheelchair accessible, fully surtitled, sound amplification systems available.
Co-produced by Opera Ventures, Scottish Opera, Houston Grand Opera and Théâtre national de l’Opéra Comique in association with Adelaide Festival. This production has been made possible with support from Howard and Sarah Solomon Foundation, Denise Coates Foundation, Karl Sydow, Scottish Opera’s New Commissions Circle, The Aaron Copland Fund for Music, and a syndicate of donors. Supported by the Scottish Government's International Touring Fund.

DANCE / UK
Enter Achilles
Achilles A work by Lloyd Newson (DV8 Physical Theatre)
Presented by Ballet Rambert & Sadler’s Wells
Twenty-four years have passed since Enter Achilles knocked Adelaide for six. “Audiences put [it] way ahead of anything else as the best the Festival had to offer”, wrote The Australian in 1996 of this funny, disturbing and prescient physical theatre work involving one night in a British pub with eight lads, a stacked jukebox and a skinful of lager.
The ground-breaking original production was made into an Emmy Award-winning film and won accolades the world over. Now legendary auteur and founder of DV8, Albury-born Lloyd Newson, feels the time is ripe for a re-examination.
There’s a new set of lads and the world outside the pub has changed. As Newson says “with the advent of #MeToo and Brexit, it’s a timely moment to revisit the work”. Nonetheless the core of the work – “how men, these men, police one another’s behaviour for weaknesses and deviations from what’s considered traditional masculine norms” – remain the same.
With a handpicked cast, this is Achilles re-booted with steel tipped irony. It’s also the former director of DV8’s first-ever collaboration with another company, the world-renowned Rambert.
See it again, see it fresh, but see it.
“A rare, rich, devastating, triumphant work of art … dramatic coherence, human integrity, irresistible visual power, were all there in the most outstanding work I have seen all year.” Daily Telegraph
Australian Premiere / Australian Exclusive
Where Dunstan Playhouse, Adelaide Festival Centre
When  	Fri 13 Mar, 6pm
	Sat 14 Mar, 2pm & 8.30pm
Sun 15 Mar, 2pm & 7pm
Duration 1hr 20mins, no interval

Tickets 	A Res $109, Friends $93, Conc $87, U30 $55, Student $50
B Res $89, Friends $76, Conc $72, U30 $45, Student $40
Note Recommended for ages 15+. Contains depictions of violence, sex and drug use, nudity and strong language. No latecomers.
Access Wheelchair accessible, sound amplification systems available.
A Rambert & Sadler’s Wells co-production in association with Onassis STEGI, Athens; co-produced with Festspielhaus St Pölten; Grec Festival de Barcelona I Teatre Nacional de Catalunya; Théâtres de la Ville de Luxembourg; Théâtre de la Ville - Paris / Chaillot - Théâtre national de la danse and Adelaide Festival.

CLASSICAL MUSIC / AUSTRALIA
The Sound of History: Beethoven, Napoleon and Revolution
Brett Dean, Sir Christopher Clark & Adelaide Symphony Orchestra
He recently took out the figurative Gold Logie for Australia’s most popular composer in ABC's Classic 100, but how well do we really know Beethoven? This unique evening commemorating his 250th year delivers startling insights into the turning point of his life, 6 October 1802, when he composed not a piece of music but a letter that he kept secret until he died. Brett Dean, himself now one of the world’s most acclaimed composers, leads the Adelaide Symphony Orchestra from the violas and invites his friend Sir Christopher Clark, professor of history at Cambridge University, to give a rich context – social, political and scientific – for the famous Heiligenstadt Testament.
The realisation that the playful, life-affirming works written when Ludwig was a stellar figure in Vienna are actually those of a young man on the brink of suicide will shock you. That he could defy his depression and crippling affliction with the most revolutionary symphony ever composed, the Eroica, is one of art’s great miracles.
At the concert’s centre, Dean’s own moving and terrifying work evokes the maestro’s vanishing sound world and lets us share the panic and alienation that he was forced to mask.
Program
Beethoven: Excerpts from Septet, Piano Concerto No.1
(Introduction), Symphony No.1 and Symphony No.2
Brett Dean: Testament
Beethoven: Symphony No.3 Eroica 

“[Dean] conjured the Eroica with a creator’s fresh ear for its iconoclasm and a natural communicator’s instinct for breath, focus and direction.
Orchestral musicians who could stand up to play did so... and strong inner voices sprang to life, unfurling the symphony as a gigantic piece of chamber music... Wonderfully invigorating.” The Guardian
Australian Premiere / Australian Exclusive
Where Adelaide Town Hall
When Sat 7 Mar, 8pm
Duration 2hrs, including interval
Tickets 	Premium $119, Friends $101 
A Res $109, Friends $92, Conc $87, U30 $55, Student $49 
B Res $79, Friends $67, Conc $64, U30 $40, Student $35
Access Wheelchair accessible

THEATRE / SCOTLAND
Mouthpiece
Traverse Theatre Company
It’s rare indeed for a local play to blow the international competition out of the water in Edinburgh at festival time, but in 2019 that’s what Kieran Hurley’s sensational two-hander did.
Its premise seems simple: Libby, a middle-aged, middle-class playwright has not picked up a pen in years and, roundly rejected by London’s artistic establishment, spends her time brooding in the rarefied environs of Edinburgh’s New Town. Declan is a 17-year-old struggling with a volatile home life in a deprived Edinburgh housing estate, but in possession of a remarkable artistic talent.
When Libby’s despair drives her to a literal cliff edge, their lives collide.
But if you think you’ve heard this story of despair and the power of an unlikely friendship before, Mouthpiece is way, way ahead of you.
As their relationship strengthens and develops, Libby decides Declan’s story must be told. And sure, it doesn’t hurt that it also might reboot her career…
From its startling opening, through to its final devastating showdown, this audacious, gripping and self-questioning play invites us to probe where the lines should be drawn. It’s very funny, very moving and will have your head spinning with the knotty ethical issues it provokes long after you leave the theatre.
Winner of the 2019 Carol Tambor Best of Edinburgh Award, Mouthpiece is unmissable; destined to be a classic of our times. 
“A play that wrestles fiercely and brilliantly with the dilemmas faced by serious artists in a bitterly divided society… This astonishing 90-minute two-handed drama powers to its riveting and challenging climax.” The Scotsman
“The audience is tossed between sobs, belly laughs, and breathless, wide-eyed suspense…
This is intelligent, investigative theatre at its most entertaining.” EdFest Magazine
“Heart-in-mouth moving, grimly exhilarating.” Time Out

Australian Premiere / Australian Exclusive
Where Odeon Theatre
When  	Fri 6 Mar, 7pm
	Sat 7 Mar, 6pm
Sun 8 Mar, 2pm & 6pm
Mon 9 Mar, 2pm
Tue 10 Mar, 11am & 8pm
Thu 12 Mar, 11am & 7pm
Fri 13 Mar, 8.30pm
Sat 14 Mar, 1pm & 6.30pm
Duration 1hr 30mins, no interval
Tickets $69, Friends $59, Conc $55, U30 $35, Student $30
Note Contains sexual references, strong language and references to suicide. No latecomers.
Access Wheelchair accessible, Auslan interpreted performance available – date to be confirmed. 
School prices and teachers educational resources available.

Supported by Creative Scotland, the City of Edinburgh Council and the British Council.

CONTEMPORARY MUSIC / AUSTRALIA
Buŋgul
Gurrumul's Mother's Buŋgul
Gurrumul's Grandmother’s Buŋgul
Gurrumul's Manikay
A remarkable staging of Gurrumul Yunupiŋu's final album.
A buŋgul is a ceremony, a meeting place of dance, song and ritual.
Created on country in North East Arnhem Land with the Yunupiŋu family, Buŋgul is a ceremonial celebration of one of the transcendent albums of our time, Gurrumul’s final album, Djarrimirri (Child of the Rainbow).
You’re invited to experience the traditional songs, dances and paintings that inspired this album in a live performance by Yolŋu dancers, songmen and the Adelaide Festival Orchestra, directed by Senior Yolngu Don Wininba Ganambarr and Nigel Jamieson.
Djarimirri was Gurrumul’s gift to the world. An astounding achievement of music acclaimed the world over, it presented traditional songs and harmonised chants from his traditional Yolŋu life with hypnotic orchestral compositions. Now, in his honour, his family add a further cultural and immersive visual dimension to this historic work, performing the songlines that have forged their identity and every aspect of their existence since the beginning of time.
Buŋgul represents a majestic union of two disparate worlds. It points to a potential contemporary Australian identity grounded in and drawing upon the extraordinary knowledge, understanding and wisdom of First Nations People that inspires us all to listen to and care for the precious land we share. 
“Yolŋu don’t have books or computers. They carry it here (in the heart) in their song, their dance, their paintings.”Don Wininba Ganambarr
World Premiere season
Where Thebarton Theatre
When Mon 2 Mar, 7pm & Tues 3 Mar, 11am
Duration 1hr 30mins, no interval
Tickets $79, Friends $67, Conc $64, U30 $40, Student $35, Child $15  Bookings via www.ticketmaster.com.au
Access Wheelchair accessible, School prices and teachers educational resources available.
This project has been assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals Inc., commissioned by Perth Festival, Darwin Festival, Adelaide Festival, Melbourne International Arts Festival, Sydney Festival and Brisbane Festival. This project was initiated by the Yunupiŋu family and Skinnyfish. Music. Produced by Perth Festival and Skinnyfish Music. Supported by Buku-Larrŋgay Mulka Centre - Yirrkala Arts Centre and The Mulka Project. Djarimirri (Child of the Rainbow) produced by Michael Hohnen & Skinnyfish Music with musical orchestrations by Erkki Veltheim. 
Generously supported by Maureen Ritchie and Roger and Helen Salkeld.

FAMILY / BELGIUM
Dimanche
Cie Chaliwaté and Cie Focus
North Pole, 4am. Against a snowy landscape dotted with miniature trees, houses with twinkling lights and smoke puffing from chimneys, a dilapidated campervan containing three filmmakers battles the elements. They’re on their way to capture a part of the world which is disappearing; doing their best with what little equipment they have, to document Earth's last living species.
A masterclass in wit, ingenuity and sheer theatrical brilliance (and a Total Theatre Award winner at the 2018 Edinburgh Fringe), the three performers from the Belgium based Chaliwaté and Focus companies create a wordless call to arms against our own ravaging climate monster. Unsurprisingly, it's more effective than a thousand earnest sermons.
Collective insanity, blindness to the bleeding obvious; it’s a rich subject for bittersweet clowning (think of Buster Keaton as the hurricane blows down the barn). What sets this piece apart is the sheer genius of the storytelling.
Involving lo-fi FX, miniature vehicles, puppetry, video, deadpan mime and ingeniously simple physical recreations of film language it constantly delights and makes us wonder as much at the cleverness of humanity as at its stupidity.
Oh and there are also the most adorable polar bears you’re ever likely to see on stage. 
"Rarely is so much accomplished in so short a time. They make us laugh with their ingenuity and then break our hearts with their profound message about climate change." The Scotsman
"… a jewel of creativity and humour and our heart’s choice for 2018" Le Suricate Magazine
Australian Premiere / Australian Exclusive
Where Space Theatre, Adelaide Festival Centre
When Fri 28 Feb - Sun 1 Mar, Tue 3 Mar - Sat 7 Mar. See website for details
Duration 1hr 20mins, no interval
Tickets $59, Friends $50, Concession $47, U30 $30, Student $25, Child (14 and under) $20
Note Recommended for ages 9+. No latecomers.
Access Wheelchair accessible, fully visual. School prices and teachers educational resources available.
INTERACTIVE / THE NETHERLANDS & AUSTRALIA
Eight
By Michel van der Aa and featuring Kate Miller-Heidke
A woman beckons you to follow her. You leave the room you are in and before you know it an awe-inspiring natural wilderness surrounds you, a forested mountainside with the full cosmos beyond. You follow her towards a cliff edge. Sublime music fills your head as you reach for her hand just as the world transforms again.
No, you are not dreaming, it’s an entirely new form of interactive performance. This virtual reality installation, individually experienced one person at a time via a VR headset, is the long awaited breakthrough work that takes bug-riddled gimmickry into the realm of mind-expanding art.
Eight is neither a 3D film with a score nor concert music with accompanying "immersive" imagery. Visual and aural elements are for once of equal weight and quality. “Starring” and conceived for Kate Miller-Heidke, her superbly recorded voice is transporting, but you have a key supporting role beside her as tactile signals from your hands trigger the unfolding story.
Michel van der Aa is a composer who’s an equally gifted video artist. He has successfully integrated multi-media into his work for two decades and sees technology as “like adding a tuba in an orchestra. It’s a new colour; it’s a new possibility". You can sample his genre-defying pieces One, Up Close, and Blank Out online but this is something you must experience live.
Technophiles, music connoisseurs, fans of Kate or the simply curious: one by one you’ll be utterly swept away by this.
“One of the most distinctive of the younger composers in Europe today. His ability to fuse music, text and visual images into a totally organic whole sets him apart from nearly all his contemporaries.” The Guardian
“Rarely have modern techniques and ancient musical virtues coexisted more naturally.” The New Yorker
Australian Premiere / Australian Exclusive
Where Hetzel Lecture Theatre, Institute Building State Library of South Australia
When Fri 28 Feb - Sun 15 Mar. See website for session times
Duration 30mins, including 15mins preparation
Tickets $29, Friends $25
Note Not recommended for individuals who suffer from severe claustrophobia, seizures, epilepsy or extreme vertigo.
Access Includes dialogue, background music and/or sounds

THEATRE / FINLAND & THE NETHERLANDS
Cock Cock... Who's There?
Samira Elagoz
Six years ago, Finnish/Egyptian filmmaker Samira Elagoz was raped by her then-boyfriend. A year after the attack, Samira decided to use her 'rape anniversary' to conduct a series of filmed conversations which detail both her family and friends’ response to the assault. The experiment revealed well-intentioned, honest, and sometimes challenging attitudes toward gender relations and sexual violence.
Curious about what it also revealed of men and their reaction to her, Samira’s personal research project moved to the next stage. Across three years and three continents, she initiated a series of interactions with strangers in their homes using Craigslist adverts and other online dating sites.
As a personal response to contemporary culture’s highly sexualised treatment of young girls’ bodies, and her fearless, often frightening ‘research’ into consent, gendered power dynamics and female sexuality, Cock Cock... Who’s There? is an unforgettable subversion of victimhood and a coolly powerful reclamation of self. Elagoz refuses to conform to the stereotype of a ‘rape victim’, reasserting the tenet that the personal is political in a world in which the virtual and the real are inextricably intertwined.
Winner of the Prix Jardin d’Europe at Impulstanz in 2017; the Total Theatre Award at the 2018 Edinburgh Fringe and the 2017 Andre Veltkamp Prize in The Netherlands, Cock Cock... Who’s There? Is undeniably uncomfortable, consistently brilliant and utterly unique. 

“Part video-art, part lecture – it’s a deeply troubling, thought-provoking show that offers no easy answers… Almost everything about Elagoz’s approach… forces us to question our own prejudice. The resulting show is fascinating.” thestage.co.uk

Australian Premiere / Australian Exclusive
Where Main Theatre, AC Arts
When  	Fri 28 Feb, 9.30pm
	Sat 29 Feb, 3pm & 9.30pm
Sun 1 Mar, 5pm
Mon 2 Mar, 8pm
Tue 3 Mar, 8pm
Duration 1hr, no interval
Tickets $49, Friends $42, Conc $39, U30 $25, Student $20
Note Recommended for ages 18+. Contains strong sexual references and explicit images. No latecomers.

PHYSICAL THEATRE / AUSTRALIA
High Performance 
Packing Tape
Branch Nebula
With every project we risk things blowing up in our faces. For Branch Nebula, that’s just the beginning.
High Performance Packing Tape is the OH&S nightmare that transforms everyday office consumables into the infrastructure of one person’s physical ruin. Performer Lee Wilson scales collapsing cardboard-box towers, hangs precariously from sticky-tape bridges unable to carry his weight and asks more of cheap materials than they’re ever able to give.
In this astounding show, cutting edge contemporary performance company Branch Nebula entrusts the future use of Lee’s neck to the dubious weight-bearing properties of the stationery cupboard and recycling bin. You’ll watch through parted fingers, thrill to his successes, wince at his failures and try hard to contain your uproarious laughter.
Collaborating artists Mirabelle Wouters, Mickie Quick, and Phil Downing along with Wilson have forged a performance that dares to ask “Is a life without danger worth living?” It’s messy, terrifying, deeply challenging to accepted notions of comfort and safety, and incredible fun. Bring plenty of teenagers but don’t let them near Officeworks afterwards.
“Superb... Skilled, inventive and risk taking.” Real Time
Australian Premiere / Australian Exclusive
Where Main Theatre, AC Arts
When  Thu 5 Mar – Sun 8 Mar. See website for details.
Duration 1hr, no interval
Tickets $49, Friends $42, Conc $39, U30 $25, Student $20
Note Contains nudity and strobe effects
Access Wheelchair accessible, minimal dialogue. Audio described performance 3pm, Sat March 7. Tactile tour 2pm, Sat March 7. Limited numbers. 
School prices and teachers educational resources available.
THEATRE / AUSTRALIA
The Iliad – Out Loud
Written by Homer
Directed by William Zappa
Homer didn’t write page-turners. The greatest of all battle sagas was designed to be actively listened to over 15 or so breathless hours.
For many years, actor/director William Zappa pored over 17 translations, convinced that the live transaction between orator and audience could be rekindled in our times.
The extraordinary result is a performing version for himself, three actors (Heather Mitchell, Blazey Best and Socratis Otto), Michael Askill on percussion and Hamed Sadeghi on Persian oud: it comes in at a snappy 9 hour reading, including enlightening asides from Zappa as part fanboy, part tour guide, and part personal trainer to get our flabby attention spans into peak ancient shape. He and his troupe make clear this masterpiece – about pride and greed, glory and horror – doesn’t need resuscitating. It’s eternally alive and salient.
Jettison the book or screen and experience real storytelling with your fellow humans – whether it be for a full cycle in one marathon sitting or a shorter dip into the Aegean for one or two parts only. 
“[Zappa’s] sovereign adaptation… embraces all the joyful and bitter shades of human experience, bringing us round the campfire once again.” Limelight
 “This Iliad is a prodigious undertaking and a truly awesome achievement.” Stage Noise
Where Scott Theatre
When  Sat 14 Mar – Sun 15 Mar    Part 1: 11am	Part 2: 3.30pm	Part 3: 8pm
Duration Each part: 3hrs including interval
Tickets 	Full cycle (3 parts on the same day) $117, Friends $100, Conc $95, U30 $60, Student $55
Single tickets $49, Friends $42, Conc $39, U30 $25, Student $20
Access Wheelchair accessible.
Presenting Partner The University of Adelaide
DANCE / AUSTRALIA & CAMBODIA
Between Tiny Cities
By Nick Power
Four years of cultural exchange between hip hop  groups in Darwin and Cambodia culminate in this exhilarating work which blends the untamed, raw energy of improvised b*boy battles with slickly integrated choreography.
Created by acclaimed Australian hip hop choreographer Nick Power, Between Tiny Cities brings together Aaron Lim from Darwin and Erak Mith from Phnom Penh, two performers from dramatically different worlds. United by an international dance language born in the streets of New York, their two bodies progress from visceral competition to fluid, even tender cooperation to the beats and sound design of Jack Prest.
Dance doesn’t come more up-close than this, as you stand at the edge of hip hop’s traditional 10-metre diameter “cypher” circle.
An authentic as well as aesthetic blast of up-to-the-minute dance. 
“...including swiftly performed power moves – windmills and headspins – and dramatic freezes… (it’s) a rich exploration of the possibilities of hip hop choreography.” Arts Hub
“Between Tiny Cities is a beautiful, bravely presented duet that tells how two competitors from different milieus discover commonalities through dance.” O-Ton, Berlin
Where Lion Arts Factory
When  Fri 28 Feb - Mon 2 Mar, Wed 4 Mar. See website for details
Duration 40mins, no interval
Tickets 	$39, Friends $33, Conc $29, U30 $25, Student $20
Bookings via www.moshtix.com.au
Access Wheelchair accessible. School prices and teachers educational resources available.

Between Tiny Cities was developed with the support of the Australian Government through Catalyst – Australian Arts & Culture Fund, and through the Australia Council for the Arts; and of Artback NT and Accomplice.

DANCE / AUSTRALIA & FRANCE
Two Crews
By Nick Power
A cornerstone of hip hop culture, crews grew out of the territorialism of street gangs in the Bronx of the 1970s. The collective creativity of a group of dancers, united by culture, style or connection to place, was honed through competition in block party “battles". Recent years have seen a shift to individuality in hip hop dance styles but in this spectacular piece choreographer Nick Power showcases two unique crews from opposite sides of the globe.
Lady Rocks, from Paris, is a rarity: an all-female crew who came together after tiring of men calling the shots in mixed groups. They forged their precise, combative and tightly choreographed style from a mix of top rock, breaking, locking and salsa.
The members of Sydney’s Riddim Nation come from Cambodian, Sudanese, Tongan and Samoan backgrounds, integrating traditional moves into their cheeky, fluid and deceptively chilled style.
Both share a great generosity of spirit and radiate fun and funk in their phenomenal displays of prowess. With a driving soundtrack by Jack Prest, this sharp, skillfully produced show is an ideal Festival introduction for a new generation. 
Where Space Theatre, Adelaide Festival Centre
When  Tue 10 Mar – Sat 14 Mar. See website for details
Duration 1hr, no interval
Tickets 	$49, Friends $42, Conc $39, U30 $30, Student $25
Access Wheelchair accessible. School prices and teachers educational resources available.

Produced by Intimate Spectacle.
This project has been assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals Inc., commissioned by Adelaide Festival, Brisbane Festival and Sydney Festival. It has also been supported by The Australia Council for the Arts; Bundanon Trust and the Australian Government’s Department of Communications & the Arts; and Initiatives d’Artistes en Danses Urbaines –Fondation de France – La Villette.

THEATRE / SYRIA
Aleppo 
By Mohammad Al Attar, Omar Abusaada & Bissane Al Charif
The more intimate the space, the more powerful the message. In this extraordinary project, Syrian author Mohammed al Attar takes theatrical intimacy and personal testimony to a new level.
Ten actors ‘perform’ ten verbatim stories collated from interviews with people from the once vibrant, now utterly destroyed, city of Aleppo. The story you hear is the result of your random choice of a point on a huge city map. Each story is told face to face to a single spectator at a time. The act of telling, the necessity of listening, is everything.
Yes, the Syrian conflict is a nightmare of numbing proportions but these are not horror stories. Rather, they are simple tales and personal testimonies of places loved, and in this way the doomed city – once home to Arabs, Kurds, Turkmen, Armenians and Assyrians; a unique melting pot of Islam, Orthodox Christianity, Catholicism and more – is reborn, preserved and shared.
In asking what is left of a city when we are forced to leave it behind, Mohammad al Attar reminds us that the power of story is the real topography of a city: the memories of moments lived, of things lost, the dreams and hopes we associate with a place, and how we preserve those places that no longer exist.
“An impressive homage to the power of story-telling.” 
Freiburger Nachrichten

Australian Premiere / Australian Exclusive
Where Queen’s Theatre
When Wed 11 Mar – Sun 15 Mar. See website for details
Duration 35mins, no interval
Tickets $29, Friends $25. Transaction fees apply. Capacity is strictly limited. 
Note No latecomers
Access Wheelchair accessible. 
Produced by Haus der Kulturen de Welt – Berlin (HKW), Züricher Theater Spektakel. Supported by Amnesty International. 

CLASSICAL MUSIC / AUSTRALIA, UK, USA 
Composer & Citizen: Chamber Landscapes
Curated by Marshall McGuire
Beethoven's posthumous deification as solitary artist-genius has contributed to our notion of composers and “classical” musicians somehow existing outside of time and society. Australia’s much-loved harpist and curator Marshall McGuire’s Festival weekend at UKARIA is an invitation to ponder the artist as socially-engaged citizen in the music that moves and galvanises us.
It’s Ludwig’s big anniversary year and, as one perpetually buffeted by massive political change in Napoleonic Europe, it’s apt that key works of his are featured (including the Archduke Trio with violinist Anthony Marwood). Michael Tippett lived and contributed to social upheaval, too. Always the radical, he was loudly rather than politely gay, wore sandals and Hawaiian shorts to royal functions and peppered his librettos with Age of Aquarius lingo. His musical reputation suffered as a result but a long overdue reassessment was recently triggered in part by the four young musicians of the Heath Quartet. Their interpretations of his quartets Nos. 2, 3 and 5, pointedly paired with Beethoven’s 3rd, 9th and 16th, are unmissable.
What would Hildegard have written if she hadn’t lived in a time that confined her to a small cave from the age of 8? Or if those brilliant women of the early Baroque hadn’t been forced to assume male identities? Consider this as you swoon to The Female Voice, a superb concert by soprano Bethany Hill and Ludovico’s Band, directed by Marshall McGuire, featuring outstanding Australian oboist Ben Opie.
And speaking of male identities, grab the rare chance to hear Monteverdi’s mini-opera Il combattimento di Tancredi e Clorinda , Tasso’s bizarre tale of Clorinda who, disguised as a Saracen warrior, dies by the hand of her crusader lover, Tancredi. Avant-garde in 1623 and yet utterly of its intellectual zeitgeist, this is the piece that invented the tremolo, pizzicato and the practice of setting unadulterated poetry of the highest order. It is partnered by a moving contemporary companion piece for the same ensemble by Lembit Beecher and Hannah Moskovitch about a female soldier’s post tour-of-duty trauma.
There are two remarkable "bonus" concerts as well: an all-French recital by the singer everyone is clamouring to hear, Siobhan Stagg, and an unmissable performance by the world’s hottest contemporary vocal ensemble Roomful of Teeth. Embracing as they do all manner of vernacular vocal techniques, from full throated gospel to throat-singing, their revitalised a cappella art couldn’t be a better fit with Marshall’s chosen theme: however singular a composer’s voice, music-making is at heart a truly communal act. 
Where UKARIA Cultural Centre, Mount Barker
When  Fri 6 Mar – Mon 9 Mar
Tickets 	Single concert $59, Friends $50, Conc $47
Day Pass (Sat/Sun) $149, Friends $126, Conc $120
Sunset: A Guided Experience $99 (incl catering)
Meals 		Picnic Lunch $45 (Sat/Sun/Mon)
Three-course Dinner $95 (Sat/Sun)
The UKARIA bar will also be open from one hour prior to the first concert and throughout the day, offering a wide range of beverages, cakes and cheese platters.
Transaction fees apply.
Access Wheelchair accessible. 
Generously supported by Leading Patron Ulrike Klein AO.

SATURDAY 7 MARCH
7.30pm - 9pm Hidden Secrets
Australian premiere | This concert is also performed on Monday 9 March
Monteverdi: Il combattimento di Tancredi e Clorinda
Lembit Beecher: I Have No Stories to Tell You

Bethany Hill, soprano
Robert Macfarlane, tenor
Samuel Dundas, baritone
Ludovico’s Band and Chorus

SUNDAY 8 MARCH
11.30am - 12.30pm Roomful of Teeth
Includes works by Pulitzer-prize-winning Caroline Shaw, celebrated US composer Ted Hearne and The Ascendant by Australian composer Wally Gunn and NZ poet, Maria Zajkowski.

Roomful of Teeth is a GRAMMY-winning vocal project dedicated to reimagining the expressive potential of the human voice. Through study with masters from vocal traditions the world over, the eight-voice ensemble continually expands its vocabulary of singing techniques: from Tuvan throat singing to yodeling, and Sardinian cantu a tenore to Persian classical singing, it forges a new repertoire without borders.
Lunch 12.30pm - 2pm
2.30pm - 4pm Composer & Citizen 1

Tippett: String Quartet No.2
Beethoven: String Quartet No.3, Op.18 No.3

The Heath Quartet is fast earning a reputation as one of the most exciting British chamber ensembles winning the prestigious Royal Philharmonic Society’s Young
Artists Award in 2013 and the 2016 GRAMOPHONE Chamber Disc of the Year for its recording of Tippett’s string quartets (Wigmore Hall Live).

4.15pm - 4.45pm Talk: The Composer’s Voice

Lembit Beecher

5pm - 6.30pm Siobhan Stagg in Recital

Poulenc: Fiançailles pour rire
Messiaen: Poèmes pour Mi
Debussy: Ariettes oubliées
Poulenc: Les chemins de l'amour

Siobhan Stagg, soprano
Timothy Young, piano

Soprano Siobhan Stagg is one of the most outstanding young artists to emerge from Australia in recent years. She is a member of the ensemble at the Deutsche Oper Berlin and frequently a guest at other opera houses, including London’s Royal Opera House, the Dutch National Opera, Lyric Opera of Chicago and Festival d'Aix-en-Provence in Mozart's Requiem. On the concert platform Siobhan has appeared at the Salzburg Mozartwoche and with the Berlin Philharmonic Orchestra.

Dinner 6.45pm

6.45pm - 8pm Sunset: A Guided Experience 1

Selected solo repertoire
Anthony Marwood, violin
Bethany Hill, soprano
Marshall McGuire, harp

Feel nature and music intertwine through musical performances by internationally renowned soloists as you are guided to the top of Twin Peaks. Experience a sunset like no other while you are served canapes and drinks overlooking the Adelaide Hills. Price includes bus transport from UKARIA Cultural Centre to Twin Peaks. Strictly limited capacity.

11.30am - 12.45pm The Female Voice

Works by Hildegard von Bingen, Isabella Leonarda, Francesca Caccini and Barbara Strozzi

Bethany Hill, soprano
Ben Opie, oboe
Ludovico’s Band

"Outstanding virtuosity on the part of both instrumentalists and singers, coupled with a sense of theatre, invested this superb music with great emotional intensity." The Age

Ludovico’s Band is one of Australia’s most dynamic Baroque bands, acclaimed for its performances of music from the 16th to the 18th centuries. The combination of multiple plucked string instruments with soaring violins and a rich bowed bass creates a unique and exotic sound world.

Lunch 12.45pm - 2pm

2.30pm - 4pm Composer & Citizen 2

Tippett: String Quartet No.3
Beethoven: String Quartet No.9 in C major, Op.59 No.3

The Heath Quartet is fast earning a reputation as one of the most exciting British chamber ensembles winning the prestigious Royal Philharmonic Society’s Young Artists Award in 2013 and the 2016 GRAMOPHONE Chamber Disc of the Year for its recording of Tippett’s string quartets (Wigmore Hall Live).

4.15pm - 4.45pm Talk: Beethoven’s World

Sir Christopher Clark

5pm - 6.30pm One Among Many

Shostakovich: Piano Trio No.1 in C minor, Op.8
Beethoven: Piano Trio in B-flat major Op.97 ‘Archduke’

Anthony Marwood, violin
Timo-Veikko Valve, cello
Stefan Cassomenos, piano

Anthony Marwood is an artist of great sensitivity and vitality, placing him in high demand all over the world as an orchestra director, concerto soloist and chamber musician. Equally comfortable in mainstream repertoire and contemporary music, he has premiered and recorded many new works for violin, many of which have been written for him.

Dinner 6.45pm

6.45pm - 8pm Sunset: A Guided Experience 2

Selected solo repertoire
Samantha Cohen, theorbo
Gary Pomeroy, viola
Ben Opie, oboe

MONDAY 9 MARCH
7.30pm - 9pm Hidden Secrets
Australian premiere | This concert is also performed on Monday 9 March
Monteverdi: Il combattimento di Tancredi e Clorinda
Lembit Beecher: I Have No Stories to Tell You

Bethany Hill, soprano
Robert Macfarlane, tenor
Samuel Dundas, baritone
Ludovico’s Band and Chorus
2.30pm - 4pm Composer & Citizen 3

Tippett: String Quartet No.5
Beethoven: String Quartet No.16 in F major, Op.135

The Heath Quartet is fast earning a reputation as one of the most exciting British chamber ensembles winning the prestigious Royal Philharmonic Society’s Young Artists Award in 2013 and the 2016 GRAMOPHONE Chamber Disc of the Year for its recording of Tippett’s string quartets (Wigmore Hall Live).

CLASSICAL MUSIC / USA
Garrick Ohlsson
Presented by Musica Viva
Garrick Ohlsson is a giant of a man with a repertoire to match: his mind and hands are across countless works, including 80 concertos. Prodigious technique aside, he is a humble and generous artist, serving composers with unmannered readings, which, in the spirit of his mentor Claudio Arrau, are often described as “magisterial”.
The only American ever to nail the holy grail of the Chopin Competition, Ohlsson has a special affinity with the Polish master and this recital explores the composer’s wild and poetic sides, including his Etudes Op.25. There’s also elegant Beethoven (Sonata No. 11) and blistering Prokofiev (Sonata No. 6) to savour.
Pianists of this stature are rare visitors to Adelaide. Don’t let this one pass you by.
“The music does indeed appear to ‘pour’ from his fingers… He's equipped at the highest level with the necessary speed and power, the muscular strength… tempered by breadth of outlook and solidity of intellect.” BBC Music Magazine
“The god of inspiration sprints hand in hand with Garrick Ohlsson.” Classics Today
Where Adelaide Town Hall
When  Mon 2 Mar, 7.30pm
Duration 2hrs, including interval
Tickets   A Res $112, Friends $95.20, Conc $97, Under 40 $40 
B Res $84, Friends $71.40, Conc $73, Under 40 $40 
C Res $59, Friends $50.15, Concession $51, Under 40 $40
Access Wheelchair accessible. 

CLASSICAL MUSIC / UK & AUSTRALIA
Mahler / Adès
Adelaide Symphony Orchestra
Nicholas Carter, Anthony Marwood
Australian Exclusive
A symphony of planetary dimensions and a companion piece, written 100 years later, which shines like its incandescent moon.
Concentric Paths by Thomas Adès is the first great violin concerto of this century. Performed by Anthony Marwood, for whom it was composed, it’s an exhilarating, densely packed 20 minutes of superbly painted sound that conjures strange landscapes: now ethereal, now desolate, now pulsing with life. Its tonal and melodic language, familiar yet entirely new, has an immediate emotional impact. 
Emotions explode and collide too in Mahler’s towering Fifth, the most sustained and exciting of all orchestral showpieces. The soul-wrenching journey from its funereal opening fanfare to the blazingly triumphant final pages encompass it all: klezmer, schmaltz, complex counterpoint, banal brutality, glimpses of heaven, visions of hell to come.
And of course that most consummate of all musical love letters, the heartbreaking Adagietto. Nicholas Carter leads the ASO at the top of their game. Be there.
“The Adès is a masterpiece, its shape and ecstatic lyricism rooted in tradition but with an irresistible modern edge. Not a note is wasted.” Financial Times
Where Adelaide Town Hall
When  Sat 14 Mar, 7.30pm    Sun 15 Mar, 3pm
Duration 2hrs, including interval
Tickets  	Premium $125, Conc $109, Child $50
A Res $100, Conc $87, U30 $60, Child $45
B Res $85, Conc $74, U30 $50, Child $40
C Res $70, Conc $61, U30 $45, Child $35
Access Wheelchair accessible. 

DANCE / USA & BRAZIL
Black Velvet
Shamel Pitts & Mirelle Martins
Two bodies glowing as if made of liquid metal explore each other’s contours in the darkness. Shaved heads
and naked torsos offer an intimate celebration of the body; the dance shifting from formalised patterns to uncontrolled corporeal explosions. 
This mystical pair are American Shamel Pitts and Brazilian Mirelle Martins. Pitts danced with Tel Aviv’s Batsheva Dance Company for many years. He met Martins while teaching Ohad Naharin’s trademark movement language in New York. It was her first foray into dance but they became artistic partners. Pitts says it was "as if we were two different aspects of the same person."
It’s a remarkable debut: she has a riveting presence and was lauded for her “phenomenal performance” at the ImPulsTanz Vienna International Dance Festival. The collaboration has allowed Pitts to celebrate his female family role models as a gay black man growing up in Brooklyn, as well as exploring the masculine and feminine, vulnerability and power.
A unique hour of stunning physical performance from a thrilling young choreographer, featuring outstanding lighting and video mapping by the Brazilian multimedia designer Lucca del Carlo.
Where  Odeon Theatre
When  Fri 28 Feb, 7.30pm
Sat 29 Feb, 1pm & 7.30pm
Sun 1 Mar, 6pm
Mon 2 Mar, 11am &6pm
Duration 55mins, no interval
Tickets  $59, Friends $50, Conc $47, U30 $30, Student $25
Note Contains strobe effects and nudity. No latecomers.
Access Wheelchair accessible. 

FAMILY / AUSTRALIA
The Lighthouse
Patch Theatre
World Premiere
The Lighthouse takes you from tiny spark to Big Bang, from pixel to landscape, from line to laser. It’s part installation, part scientific quest, part rave. Above all it offers the kind of magic that only interactive theatre can.
Designed for all ages, this house of marvels is full of intimate vignettes and lighting wizardry. In intimate groups, you and your smaller friends are guided through a series of interconnected rooms, each full of hands-on experiences exploring a different property of that elusive yet fundamental force of nature: light.
Designer/director Geoff Cobham continues his prolific career harnessing the power of photons to tell stories (and win awards). Since taking the reins at Patch Theatre, he has steered the company in an interactive direction, while holding firm to their unique manifesto of providing formative theatrical experiences for the young and their families.
Curious? That’s what we like to hear. Let The Lighthouse illuminate you.
"The new Patch director Geoff Cobham [is] making his mark on children’s theatre. Cobham’s claim to fame is lighting design and here is a show about light, the beauty of light in the black box world of the theatre." The Barefoot Review
Where  Queen's Theatre
When  Tue 25 Feb - Sun 1 Mar, Tue 3 Mar - Sat 7 Mar. See website for details
Duration 1hr, no interval
Tickets  $29, Child (14 and under) $15
Note Recommended for ages 3+. No latecomers.
Access Wheelchair accessible. School prices and teachers educational resources available.
This project has been assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals Inc., commissioned by Adelaide Festival, Arts Centre Melbourne, Out of the Box Festival and Perth Festival. Generously supported by the James & Diana Ramsay Foundation and Michael Kantor & Silvia Kantor.
FAMILY / FINLAND
The Artist
Circo Aereo
Australian Premiere
The artist, a clumsy, sweet bespectacled fellow, is searching for inspiration. His canvas is terrifyingly blank, his studio is untidy, there’s a drip from the ceiling that’s driving him nuts, and his paintbrushes are frustratingly out of reach. But every problem has a solution as long as you think hard, rule out the obvious and opt for the most wildly idiotic.
New Zealand born, Finland-based Thom Monckton has had audiences in thirty countries on the floor with laughter armed only with his elastic body and face, a few grunts and his mastery of the sidewards glance and audience stare-down.
This follow up to his smash hit The Pianist is a chain reaction of incredibly imaginative set pieces by a master clown and acrobat. Every unexpected digression opens up new vistas of stupidity and yet manages to propel him to the innocently magical ending.
If your kids love Frank Woodley, they will have a ball. So will you, of course!
“Stomach muscle-achingly funny.” The Scotsman
“Monckton is back with another masterful display of the art of wordlessly eliciting laughter...” The Times
“This endearing show will please audiences of all ages.” The List
Where  Main Theatre, AC Arts
When  Mon 9 Mar – Sat 14 Mar. See website for details
Duration 1hr, no interval
Tickets  $49, Friends $42, Conc $39, U30 $25, Student $20, Child (14 and under) $20
Note Recommended for ages 5+
Access Wheelchair accessible. School prices and teachers educational resources available.

THEATRE / AUSTRALIA
Dance Nation
by Clare Barron
State Theatre Company South Australia & Belvoir
Somewhere in America, an army of teenage competitive dancers is plotting world domination. One routine at a time. Their coach has told them that dance can change the world and they’re determined not only to change it, but to save it. As the national title looms and the dancers fight it out for the lead role, reality and fantasy blur in this award-winning pageant of ferocious girl power.
Part-Dance Moms, part-Hunger Games, Dance Nation is a crushingly funny satire of ambition that sees some of the country’s finest adult actors capture the agonising ecstasy of adolescence. Set against a backdrop of cut-throat schoolyard politics, Clare Barron’s smash-hit is an endlessly inventive and delightfully unhinged look at how we become who we are. 
“Wild, funny, ferocious drama” Time Out
“Conjures… early adolescence with such being-there sharpness… that you’re not sure whether to cringe, cry or roar with happiness.” New York Times
“Dance Nation feels like a mixture of Carrie, a Judy Blume novel, Bring It On and the finale of Buffy the Vampire Slayer all tied together with a ragged red bow – and this, let me assure you, is a very good thing.” The Stage
Where  Scott Theatre
When  Fri 21 Feb – Sat 29 Feb, Mon 2 Mar - Sat 7 Mar. See website for details
Duration 1hr, no interval
Tickets  Evenings $79, Friends $70, Conc $69, Senior $74, U30 $39, Students $39 Previews & Matinees $69, Friends $60, Conc $59, Senior $64, U30 $39, Students $39
Note Contains strong language, adult themes, nudity and sexual references.
Access Wheelchair accessible. 

Dance Nation is presented by special arrangement with Samuel French, Inc., a Concord Theatricals Company.

CONTEMPORARY MUSIC
WOMADelaide
The world’s festival
Presented by the Hackett Foundation 
While technology shrinks our world and continents and cultures seem to be drifting further apart, WOMADelaide, over four idyllic days in the oasis of Botanic Park, expands our horizons and brings us closer to our global neighbours. The universal languages of music, arts and dance are central to the eclectic riches to be found through more than 100 extraordinary concerts, nightly performances of the aerial spectacular, As the World Tipped (pictured) as well as workshops, children’s activities, thought-provoking talks and culinary delights, in one immersive, joyous and luminescent festival. Both traditional and forward-looking, WOMADelaide is a much-anticipated and unforgettable experience without equal on the national calendar.
The program will also feature artists from over 30 countries including: Aldous Harding, Bill Callahan, The Cat Empire, Catrin Finch & Seckou Keita, Ezra Collective, Hiatus Kaiyote, Kikagaku Moyo, L Subramaniam, Liniker e os Caramelows, Mavis Staples, Muthoni Drummer Queen, Odette, Orquesta Akokan, Rhiannon Giddens with Francesco Turrisi, Salif Keita, Sleaford Mods, Spinifex Gum, Trio da Kali, Tuuletar and many more.
Where  Botanic Park, Plane Tree Drive
When  Fri 6 Mar – Mon 9 Mar
Tickets  	4 Day Pass $396, 3 Day Pass $358, Sat or Sun Pass $210
Single night or Mon Pass $155
Bookings via womadelaide.com.au 
Friends are entitled to concession priced passes. Concession and youth discounts apply on all pass types. Children 12 and under admitted free when accompanied by a paying adult. Transaction fees apply
Note WOMADelaide is a Smoke Free Event with smoking only permitted in designated areas.
Access Wheelchair accessible. 

Produced and presented by the WOMADelaide Foundation. Managed by Arts Projects Australia and WOMAD Ltd. Presented in association with the Government of South Australia and the Hackett Foundation.

VISUAL ART / JAPAN
A Doll's House
Tatzu Nishi
Australian Premiere / Australian Exclusive
It’s Adelaide Festival’s 60th birthday and, in association with Australia’s public art elder statesman, John Kaldor, we’ve commissioned a very special gift for the city. 
A perennial on wish-lists for centuries, a really beautiful doll’s house is one of those items too often destined never to eventuate. Well, close your eyes, dream big, and now open them… 
Visionary Japanese artist Tatzu Nishi, who has been transforming public spaces in jaw-dropping ways across the world since 2000, presents his life-sized, three-storeyed Doll’s House for your delight and discovery. It has been created only once before, outside the Palais de Tokyo art museum in Paris.
Is it about the elevation of the domestic or the deflation of the grandiose? The role of art in public and private life? Ponder as you wander or just have fun playing with this most amazing of toys.
Free of charge in the middle of Rundle Mall from 28 Feb. (All we ask is that you share nicely and promise not to use the bathroom.)
“I want art to come to the people, to involve them in it, and this doesn’t happen in the gallery space.” Tatzu Nishi
Where  Rundle Mall
When  Every day during the Festival
Mon – Thu: 9am – 7pm
Fri: 9am – 9pm
Sat: 9am – 5pm
Sun & Public Holidays: 11am – 5pm
Tickets  Free
Access Wheelchair accessible.
Presenting Partners Rundle Mall, City of Adelaide, HansenYuncken and Visualcom
CONTEMPORARY MUSIC / UK
Kate Tempest
Performance poet, rapper, actor, novelist and playwright Kate Tempest has reinvented the power of the spoken word. 

They pour out of her in a blend of hip hop and poetry, rhymes intertwined with post-dubstep electronic beats, giving voice to the concerns of a generation – poverty, passion, alienation, gentrification, climate change, class, intolerance, acceptance, loss and love. With stripped back accompaniment, she encompasses tracks from 2016’s Let Them Eat Chaos through to her latest album The Book of Traps and Lessons, seamlessly and thrillingly moving from speech to song, sailing over grooves then suddenly locking in with them, switching from blistering attack to profound reflection, from utter desperation to surprising hope. 

As the British press put it: this isn’t a gig, it’s a reckoning.
“[She] absorbs all of the uncertainty and anger of our times, and pours it into ferocious, apocalyptic music that both wounds and heals… Tempest is an excruciatingly beautiful performer.” The Guardian, UK
Where Lion Arts Factory
When 27 Feb 8:30pm
Duration 1 hour & 15 mins 
Tickets $59, Friend $50, Conc $47, U30 $30, Schools $20, Child $15
Access Wheelchair accessible.

The Workshop
Delving into the unexplored depths of the Adelaide Festival Centre, we have discovered The Workshop, a new venue for our live contemporary music program. Originally used for building theatre sets, The Workshop will become the city's latest hub for the best international and Australian contemporary music.
In 2020, the Palais goes underground but the vibe remains just as seismic. Join us for 17 days of upbeat club action and intimate musical affairs in Adelaide's most exciting late night pop-up. 
Where  Adelaide Festival Centre
Enter via the Space Theatre Foyer
When  Thu 25 Feb - Sat 14 Mar
Access Wheelchair accessible.

CONTEMPORARY MUSIC / AUSTRIA
The Parov Stelar Band
Electro Swing, absolutely huge in Europe, is the hard driven, infectious club music pioneered by Austrian DJ/producer Marcus Füreder. As Parov Stelar, his singles and albums with their killer vintage samples have reached double platinum around the world. His sensational live act (a 7 piece combo) has sent audiences in more than 1000 concerts into a dancing delirium.
Lana Del Rey, Lady Gaga, Bryan Ferry have all wanted in on his sound.
The Parov Stelar Band are now back on the road with an all-new show, which introduces amazing lead vocalist Elena Karafizi. Fans are legion so newcomers are encouraged to book early: anyone who attended their 2017 WOMADelaide headlining concert knows this show is guaranteed to go off.
(And if you’ve never heard of Parov Stelar, stop what you’re doing, pick up your phone and listen to Booty Swing or All Night to hear why millions of people can’t get enough of his sound.)
Where  The Workshop, Adelaide Festival Centre
When  Fri 28 Feb, 10.30pm
Duration 1hr, 15 mins no interval
Tickets  $79 Transaction fees apply

CONTEMPORARY MUSIC / AUSTRALIA
Mad Max meets
The Shaolin Afronauts
Max has never been madder than this. Cult movie meets cult jazz as George Miller’s original classic from 1979 (starring a recent NIDA grad named Mel Gibson), is for one night only screened to a live reimagined score by sensational Adelaide collective The Shaolin Afronauts. 
The formidable afrobeat/soul/funk/ avant-garde jazz 10-piece will give you both barrels as they create a sonic equivalent of the rusty, dusty, petrol-perfumed dystopia of the Road Warrior’s world. The trademark raucous, dirty brass and driving rhythms of their legendary live gigs (homaging Fela’s Africa’70 or Sun Ra Arkestra) will be on display, alongside weirder, wilder textures and hypnotically introspective moments.
This is a fascinating example of interactive cinematic structured improvisation: like being a fly on the wall at one of Lalo Schifrin’s Magnum Force or Dirty Harry sessions, recording his big bands straight to picture. Amazing musicianship, iconic film and fantastic fun. 
Where  The Workshop, Adelaide Festival Centre
When  Sat 29 Feb, 10.30pm
Duration 1hr 35mins, no interval
Tickets  $39 Transaction fees apply

Originally premiered at Stonnington Jazz, conceived by Chelsea Wilson

CONTEMPORARY MUSIC / AUSTRALIA
Vince Jones & 
The Heavy Hitters
Be it singing jazz, rock or Celtic soul, Vince Jones doesn’t show off, he just shows everyone else how it’s done. And
the voice just keeps getting better: his recent Van  Morrison tribute was testament not just to the intelligence and taste of his interpretations but to the sheer beauty of his sound.
This concert promises a selection of personal favourites from 40 years and 14 albums with an astoundingly talented band of long-standing companions: Matt McMahon, James Muller, Ben Robertson, Tony Floyd, Phil Slater, Julian Wilson and Fabian Hevia.
“Jones remains the benchmark… [he’s] a man with great ears for harmony, an instinct for musical logic and a love of … surprise and spontaneity.” Sydney Morning Herald
Where  The Workshop, Adelaide Festival Centre
When  Sat 7 Mar, 9pm
Duration 1hr 15mins, no interval

Tickets  $69 Transaction fees apply

CONTEMPORARY MUSIC / AUSTRALIA
Lisa Gerrard & Paul
Grabowsky
“Their fine collaboration....produced some of the most transcendent and beautiful music imaginable.” The Music
A fascinating meeting of two great musical minds, Lisa Gerrard’s unmistakable contralto has lent its massive emotional weight to Dead Can Dance in the 80s and many a cinematic set-piece and international music collaboration since then. Paul Grabowsky, one of Australia’s most distinguished artists, has scored countless films himself but he’s most admired for the sensitivity and intelligence of his live performance, where composer and pianist become one.
Lisa usually rides the tide of lush orchestral textures but hearing her extended improvisatory collaborations with Paul’s solo piano is like drifting with schools of dazzling fish on deep dark currents. A unique concert. (And yes, the Gladiator theme will feature too.) 
Where  The Workshop, Adelaide Festival Centre
When  Fri 13 Mar, 9pm
Duration 1hr 40mins, including interval
Tickets  $69 Transaction fees apply

CONTEMPORARY MUSIC / NETHERLANDS
Joep Beving 
Joep Beving famously recorded an album on an old upright in his kitchen, streamed it for fun and is now one of the most listened to pianists in the world. Pronounced “Yoop”, the Dutch musician’s introspective miniatures have drawn millions into his melancholic, deeply soulful world. His work – from Solipsism in 2015 to Henosis in 2019 – is now ranked alongside Nils Frahm and Max Richter. Beautiful in-ear listening but amazing live: to see this long-bearded, wild-haired, towering figure, caressing delicate melodies out of his humble piano is something else.
Where  The Workshop, Adelaide Festival Centre
When  Thu 12 Mar, 10pm
Duration 1hr 15mins, no interval
Tickets  $49 Transaction fees apply

CONTEMPORARY MUSIC / AUSTRALIA
Robin Fox
Melbourne based audio-visual artist Robin Fox was a heavy metal drummer and lover of abrasive noise until a eureka moment, involving an oscilloscope, changed his life. He discovered mechanical synaesthesia: the direct correlation between sound and geometry. Now his unique laser shows have been seen and raved about in 60 cities. The hyper-amplification and the frenetic rhythmic patterns are still there, but all generated by mind boggling visuals and coordinated in 3D space. Robin Fox will present Single Origin, the third work of his influential series for laser and sound. Witness what can only be described as ‘a concerto for a laser beam’.
Where  The Workshop, Adelaide Festival Centre
When  Fri 6 Mar, 10.30pm
Duration 45mins, no interval
Tickets  $39 Transaction fees apply

Note Contains strobe effects
CONTEMPORARY MUSIC / USA
Weyes Blood
Join California-based Weyes Blood – the moniker of Natalie Mering – as she navigates through life’s many mysteries via emotionally raw, captivating vocals and dreamlike song writing. Performing in Adelaide for the first time with her band, now’s your chance to see Weyes Blood perform her unanimously acclaimed fourth album and Sub Pop record debut Titanic Rising and experience the haunting presence of an artist at the height of her powers.
Where  The Workshop, Adelaide Festival Centre
When  Thu 5 Mar, 9pm
Duration 1hr 15mins, no interval
Tickets  $49 Transaction fees apply

CONTEMPORARY MUSIC / AUSTRALIA
E^ST
The arresting voice of E^ST (a.k.a Mel Bester) and her mastery of sad words and happy music has taken her from the NSW Central Coast to global stardom. She has already produced 3 EP’s – including the massive breakup single Life Goes On and bold empowerment anthem Blowjob. From high energy hook inflected grooves to stripped back moody indie-electronica – you’re in for a memorable live experience.
Where  The Workshop, Adelaide Festival Centre
When  Sun 8 Mar, 9pm
Duration 1hr, no interval
Tickets  $39 Transaction fees apply

CONTEMPORARY MUSIC / CANADA
The New Pornographers
Long-shining indie stars The New Pornographers return to Adelaide for the first time in 10 years. The Canadian eight-piece, one of the few bands to employ multiple lead vocalists (a province usually left to obscure outfits like The Beatles), are remarkably intact given the status and commitments of their members and in 2019 released their 8th lauded album In the Morse Code of Brake Lights. While lyrically reflecting the political and climatic unease of the times there’s still those sugar rush choruses, delicious bass lines and sheer upbeat glee. Who could imagine bliss and unease could so easily cohabitate? An unmissable gig by this great pop collective. 
“Their hooks are some of indie-rock’s most roundly pleasurable.”
Stereogum
Where  The Workshop, Adelaide Festival Centre
When  Sun 1 Mar, 8pm
Duration 1hr 15mins, no interval
Tickets  $59 Transaction fees apply

CONTEMPORARY MUSIC / AUSTRALIA
Clare Bowditch
Join Australia’s multi-talented musician, broadcaster, author, actor, and speaker, Clare Bowditch, as she bewitches Adelaide Festival audiences with her powerful vocals and heart-breakingly direct song writing. 
Bowditch’s latest single Woman spotlights her diverse vocal talents from slinky grooves bordering trip-hop to crystalline folk/pop. Hear for yourself why Bowditch won an ARIA Award for Best Female Artist, became Rolling Stone’s Woman of the Year and delivers an audience experience like no other.
Where The Workshop, Adelaide Festival Centre 
When Wed 11 Mar, 8.30pm 
Duration 1hr 15mins, no interval 
Tickets $49 Transaction fees apply

CONTEMPORARY MUSIC / USA
Kevin Morby
With his four acclaimed solo albums and myriad recording collaborations, indie-rock artist Kevin Morby is a true musical auteur. His singular vision, literate lyrics, and aptitude for catchy, dense song writing has placed him firmly among the ranks of modern icons like Bill Callahan, Kurt Vile and Sharon Van Etten. With his latest album, Oh My God, Morby’s songs are a pop-art exploration of deep, post-Trump anxiety. Hearing his best work to date live will be a magical night. 
Where The Workshop, Adelaide Festival Centre
When Wed 4 Mar, 9pm
Duration 1hr 15mins, no interval
Tickets $39 Transaction fees apply

CONTEMPORARY MUSIC / AUSTRALIA
Didirri
Didirri credits years observing his dad, a children’s entertainer, for the knack of speaking to a crowd as you would a single friend. Outstanding song writing, deep relatable lyrics, effortless charm and a voice from the gods don’t hurt either.
Blind You followed by the achingly lovely Jude led to his charting on triple j Unearthed’s most played, and his songs appearing on multiple Spotify and Apple playlists worldwide. Still intimate even while playing major festivals, his presence can make the most jaded audience as open-hearted as kids. Don’t miss this chance to be serenaded with new songs from his next EP. 
“Wisdom beyond his years.” Indie Shuffle
“You could hear a pin drop in the room, not to mention a bunch of hearts beating ever louder with each new song...” Double J

Where The Workshop, Adelaide Festival Centre
When Sat 14 Mar, 10pm
Duration 1hr 15mins, no interval
Tickets $39 Transaction fees apply

VISUAL ARTS / AUSTRALIA
Monster Theatres
2020 Adelaide Biennial of Australian Art
Australian Exclusive
In 2020, the Adelaide Biennial celebrates a 30-year milestone as the nation’s longest-running curated survey of contemporary Australian art. Since its inception, it has created career-defining opportunities for more than 350 artists and provides platforms for exceptional Australian artists to create new works of art across a range of materials and technologies.
For this edition curator Leigh Robb invites artists to make visible the monsters of our time. The exhibition will be populated by duplicitous robots, toxic goddesses and impossible chimeras. You will be taken behind the scenes, beckoned on underwater odysseys, or invited to slumber with live bees. 
Featuring Abdul Abdullah, Mike Bianco, Polly Borland, Michael Candy, Megan Cope, Erin Coates and Anna Nazzari, Julian Day, Karla Dickens, Mikala Dwyer, Brent Harris, Aldo Iacobelli, Pierre Mukeba, David Noonan, Mike Parr, Julia Robinson, Yhonnie Scarce, Stelarc, Garry Stewart and Australian Dance Theatre, Kynan Tan, Mark Valenzuela, Willoh S. Weiland and Judith Wright.
Vernissage Weekend 29 Feb – 1 Mar
In the Arena is a curated program of talks presented by guest speakers and visionaries in the arts, science and technology. The invited speakers will participate in a series of lectures and discussions alongside 2020 Adelaide Biennial artists. 
Where Art Gallery of South Australia & Adelaide Botanic Garden
When Sat 29 Feb – Mon 8 Jun 10am - 5pm daily
Tickets FREE

Info agsa.sa.gov.au
Access Wheelchair accessible. 

Presented by Art Gallery of South Australia in association with the Adelaide Festival, and with generous support received from the Art Gallery of South Australia Biennial Ambassadors Program and Principal Donor The Balnaves Foundation. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

VISUAL ARTS / AUSTRALIA
Adelaide // International
Australian Exclusive
The Adelaide//International again presents a fascinating cluster of must-see exhibitions, this time exploring architecture and how it shapes our experience. The centrepiece is Somewhere Other, Australia’s contribution to the 2018 Venice Architecture Biennale by John Wardle Architects in collaboration with Natasha Johns-Messenger. This intriguing and beautiful structure made of timber (spotted gum, with its colour, grain and scent redolent of the bush), draws the viewer in to explore its mysterious passageways only to open up to unexpected vistas.
Belgian artist David Claerbout’s monumental real-time movingimage work Olympia charts the disintegration into ruins of the Berlin Olympic Stadium over the course of one thousand years while First Nations artist Brad Darkson’s sound and sculptural work is a critique of antagonistic systems and architectures. Startling and graceful juxtapositions of architecture with the human form by Zoë Croggon, Helen Grogan and Georgia Saxelby also feature. At the adjacent SASA Gallery, Matthew Bird responds to the Adelaide//International with Inspiral, a speculation on the afterlife of architecture.
Where  Anne & Gordon Samstag Museum of Art, UniSA
When  Fri 28 Feb – Sun 15 Mar 10am - 5pm daily
Tickets  FREE
Access Wheelchair accessible. 

The 2020 Adelaide//International is a Samstag Museum of Art exhibition in partnership with the Hackett Foundation for the Adelaide Festival.

TALKS
Breakfast with Papers
The perfect start to your Festival day kicks off at 8am at The Star Kitchen & Bar.
Join Tom Wright and a panel of informed guests to contemplate the news of the day and the big issues, with newspapers provided by The Advertiser. As our 2017, 2018 and 2019 regulars will attest, it’s a stimulating start to every day of the Adelaide Festival.
A full schedule of guests will be available at adelaidefestival.com.au in late January.
Where The Star Kitchen & Bar, Adelaide Festival Centre
When Sat 29 Feb – Sun 15 Mar, 8am
Duration 1hr
Tickets FREE
Access Wheelchair accessible. 
Presenting Partner The Advertiser
Festival Forums
Join David Marr at The Star Kitchen & Bar as he interviews one fabulous Festival artist each day. With characteristic wit, insight and all the strengths of a good listener, David explores the Festival experience through the eyes of its artists, delving into unmissable behind-the-scenes conversations.
THE place to be during the Festival lunch hour! This is a free event open to public. 
Full schedule will be available at adelaidefestival.com.au in late January.
Where  The Star Kitchen & Bar, Adelaide Festival Centre
When  Mon 2 – Fri 6 Mar & Tue 10 – Fri 13 Mar, 12.30pm
Duration 1hr
Tickets  FREE
Access Wheelchair accessible. 

Adelaide Writers’ 
Week 2020
29 FEB- 5 MAR
Pioneer Women’s Memorial Garden / Free Entry
Find out more at adelaidefestival.com.au

Being Human
A message from Jo Dyer
There are many things that divide us in our fractured, fractious world but amongst it all we are unavoidably, incontrovertibly united by our humanity. By Being Human. What does it mean to be human in this age of vulnerability, as the earth burns, communities smoulder, debates scorch?

Through the words and minds of great thinkers, Writers’ Week explores how humans engage with each other, with technology, with the natural world. It examines the stories we tell ourselves and the histories we construct. It asks from where we can draw solace and inspiration. It challenges us to avoid apathy and despair. It applauds our curiosity in and engagement with the wider world. It seeks joy and stimulation in our intellect and each other. 

Authors, poets, journalists, historians, scientists, politicians and academics from around the world join our annual conversation of literature, reportage, poetry and analysis. Twilight Talks, the weekend for Younger Readers, our celebration of Spoken Word performance and the mighty free program in the heart of the city — all return in 2020 as we invite you to the Pioneer Women's Memorial Garden to be part of Australia’s favourite festival of the mind, and consider the singular truth of Being Human.

Presenting Partners Channel 9, Walford

Featured Writers
Jokha Alharthi (OMN), Arif Anwar (BGD/CAN), Tash Aw (MYS/UK), Damian Barr (UK), Graeme Base (AUS), Tony Birch (AUS), John Birmingham (AUS), John Boyne (IRE), Jung Chang (CHN/UK), Christopher Clark (AUS/UK), Maxine Beneba Clarke (AUS), Tim Costello (AUS), Hannah Critchlow (UK), Sophie Cunningham (AUS), Blanche D’Alpuget (AUS), Julia Donaldson (UK), Chike Frankie Edozien (NGA/USA), Peter Goldsworthy (AUS), Jane R Goodall (AUS), Erin Gough (AUS), Andy Griffiths (AUS), Habiburahman (MMR), Ruby Hamad (AUS), Zahra Hankir (LBN/UK), Joy Harjo (USA), Jess Hill (AUS), Ma Jian (CHN/UK), Tony Jones (AUS), Amie Kaufman (AUS), Vicki Laveau-Harvie (CAN/ AUS), Benjamin Law (AUS), Andrea Lawlor (USA), Long Litt Woon (MYS/NOR), Sanam Maher (PAK), John Marsden (AUS), Thomas Mayor (AUS), Felicity McLean (AUS), Louise Milligan (AUS), Azadeh Moaveni (IRN/US), Aileen Moreton-Robinson (AUS), H M Naqvi (PAK), Chigozie Obioma (NGA), Tommy Orange (USA), Bruce Pascoe (AUS), Elliot Perlman (AUS), Julia Phillips (USA), Serhii Plokhy (UKR/USA), Sally Rippin (AUS), Michael Robotham (AUS), Heather Rose (AUS), Joan Silber (USA), Robert Elliott Smith (UK), Pitchaya Sudbunthad (THA/US), Jamie Susskind (UK), Miriam Sved (AUS), Lucy Treloar (AUS), Bart van Es (NLD/UK), Yanis Varoufakis (GRC), Tara June Winch (AUS/ FRA), Charlotte Wood (AUS), Angela Woollacott (AUS), Tyson Yunkaporta (AUS), Nevo Zisin (AUS)
Jokha Alharthi (OMN)
Beating out more storied opposition, Jokha Alharthi’s Celestial Bodies won the 2019 Man Booker International Prize.
Ma Jian (CHN/UK)
Banned in his homeland and currently in exile in London, Ma Jian is one of China’s most potent critics and greatest living novelists.
Tommy Orange (USA)
The New York Times compared Tommy’s debut novel, There There, to Chaucer and Faulkner and named it one of the Best Books of 2018.
Hannah Critchlow (UK)
Is our future hardwired in our brain? Cambridge neuroscientist Hannah Critchlow suggests we have much less control over our lives than we think.
Joy Harjo (USA)
Joy Harjo is a poet, musician, author and the current US Poet Laureate.

Yanis Varoufakis (GRC)
The world’s favourite rockstar economist reflects on Europe, democracy and his return to the Greek parliament four years after his break from Syriza.
Opening Event
The Only Constant
Chigozie Obioma, Sanam Maher & Tyson Yunkaporta
In an era characterised by fast-paced fluidity, our 2020 Opening Event invites us to reflect on the only constant in a world both unsettled and unsettling: change. 
Join three of this year’s most fascinating authors as they delve into their individual areas of interest and expertise and offer insight into different times, cultures and countries and the impact on each of the constant change of our fluid times.
Named one of 100 Global Thinkers by Foreign Policy magazine, Nigerian author Chigozie Obioma’s latest novel, An Orchestra of Minorities, is his second to be shortlisted for the Man Booker Prize.
Sanam Maher is a Pakistani journalist whose book A Woman Like Her explores the intersection of gender, class and today’s networked world, and its impact on women in Pakistan.
Tyson Yunkaporta is an academic, arts critic, and researcher who belongs to the Apalech Clan in Far North Queensland. Sand Talk  is described as a guide to how Indigenous thinking can save the world: Tyson calls it an adventure into a world of thought experiments conducted by those with unconventional points of view.
Where  The Workshop, Adelaide Festival Centre
When  Thu 27 Feb, 6.15pm
Duration 1hr
Tickets  $25, Friends $20, Conc $15 Transaction fees apply
Note  Auslan interpreted on request

The full program will be announced in January 2020
Collect your copy free of charge from good bookshops, or visit adelaidefestival.com.au for full session and writer announcements.

ABC Radio Adelaide
Don’t miss ABC Radio Adelaide’s Sonya Feldhoff broadcasting live from the Garden during Adelaide Writers’ Week.

Live Streaming
Office for Ageing Well and Seniors Card are supporting the live streaming of selected sessions to schools, libraries and retirement villages from Mon 2 Mar to Thur 5 Mar inclusive.

Share your #adlww 
Follow Adelaide Writers’ Week on Facebook to keep in touch. Podcasts of all the free sessions will be posted after the event!

Cash at AWW
Unlike the rest of the Festival program, the AWW book tent and cafe will accept both card and cash payments this year.

Access
Wheelchair recharge station and assistance dog water stations available. Auslan  interpretation available for selected sessions. Request forms available at adelaidefestival.com.au
Twilight Talks
As the sun sets, the heat recedes and work is done for the day, the bar is open, the beats are mellow and the Pioneer Women’s Memorial Garden is the place to be. From Monday – Thursday, leading Writers’ Week guests relax into the informality of Twilight Talks and reveal their spontaneous, provocative and mischievous sides.
Listen to our all-star line-ups on Monday and Wednesday reflect on the Festival theme Being Human and recall their personal Rock Bottom or join us on the couch on Tuesday and Thursday for the wit and wisdom of our brand new chat show, Authorial Voice.
Where  Pioneer Women's Memorial Garden
When  Mon 2 – Thu 5 Mar, 7pm
Duration 1hr
Tickets  FREE
Kids Day
Our Opening Weekend kicks off with a focus on the youngest book fans. Kids Day on Saturday features a blockbuster line-up of some of the biggest names in children’s books including Julia Donaldson (The Gruffalo), Andy Griffiths (The Treehouse series), Maxine Beneba Clarke (Wide Big World and Fashionista), Sally Rippin (Polly and Buster and Billie B Brown series) and Graeme Base (Animalia andThe Bumble Bunnies series). A jam-packed program of free activities in the shade of the Pioneer Women’s Memorial Garden, the Kids Day events will enthral and inspire the under 12 crowd.
Where  Pioneer Women's Memorial Garden
When  Sat 29 Feb, 9.30am – 3.30pm
Duration 1hr
Tickets  FREE
Middle Grade & YA Day
Calling all Middle Grade, YA and Spoken Word fans! The luminaries of youth writing will be at this year’s Day for Middle Grade & YA Readers. Don’t miss our all-star line up of local and international favourites including Amie Kaufman (The Illuminae Files series), John Boyne (The Boy in the Striped Pyjamas), Bruce Pascoe (Dark Emu), Erin Gough (Amelia Westlake) and Nevo Zisin (Finding Nevo). It's a relaxed backdrop for teens and tweens to enjoy author conversations, panels and the return of the powerful spoken-word showcase, Hear Me Roar.
Where  Pioneer Women's Memorial Garden
When  Sun 1 Mar, 10am – 4.30pm
Tickets  FREE

Youth & Education

Attending Adelaide Festival’s program of world-class performances and exhibitions opens up opportunities for students to develop as active and interrogative theatregoers and cultural critics and consider new perspectives on the world in which they live. This shared experience between teachers and students is a powerful way to inspire critical debate on big ideas, important global themes and motivate creative practice.

Thanks to the generous philanthropic support from the Lang Foundation, we are able to offer special school prices for the following shows:

$20 per student / $15 per student for Equity
Transaction fees apply

Show Year           level             
Music

Buŋgul                        5 – 12                        

Theatre

Mouthpiece              11 – 12                     
The Doctor               10 – 12                     
Cold Blood                9 – 12                        
Dimanche                  5 – 12                        
Aleppo. A Portrait   8 – 12                        
of Absence
The Lighthouse       P – 12                        

Dance

Black Velvet              8 – 12                        
Between Tiny Cities 7 – 12                      
Two Crews                 7 – 12                       

Physical Theatre
The Artist                    5 – 10                       

Prepare before.... Discuss after
Teacher resources are available for these shows with information and links to ACARA, SACE and IB. These are downloadable on the event pages at adelaidefestival.com.au

Youth & Education Program Philanthropic Partners
Lang Foundation
Thyne Reid Foundation

SCHOOL BOOKINGS
For all school bookings contact schoolsbookings@adelaidefestival.com.au For school enquiries and to sign up to the Teacher’s eNews, contact Julie Orchard: jorchard@adelaidefestival.com.au or (08) 8216 4487

WORKSHOPS & MASTERCLASSES
Thanks to the generous philanthropic support of Thyne Reid Foundation, we are able to deliver a program of masterclasses and hands-on workshops for both professionals and students of dance and music with world class artists from the Festival program. Full schedule of these activities and information to register will be available at adelaidefestival.com.au

FREE EVENTS
Bookings required direct with the following organisations:

Adelaide Biennial (see page 74)
Art Gallery of South Australia
t: (08) 8207 7033 e: education@artgallery.sa.com.au

Adelaide//International (see page 75)
Samstag Museum
t: (08) 8302 0870 e: samstagmuseum@unisa.edu.au
 
Festival Forums (see page 76)
The Star Kitchen & Bar
t: (08) 8216 4487 e: jorchard@adelaidefestival.com.au

No bookings are required for:

A Doll’s House (see page 62)
Rundle Mall

Adelaide Writers’ Week (see page 77)
Pioneer Women’s Memorial Garden

Tell your students!

Primary, secondary and full-time tertiary students have access to exclusive discounts to a huge range of Adelaide Festival shows.

Discounted tickets can be purchased online, on the phone or at any BASS outlet and collected by presenting their student ID at the box office.

IT’S REALLY THAT EASY!
Access
We make every effort to ensure Adelaide Festival events are accessible to everyone.

The Adelaide Festival Access Guide, including detailed accessibility information, access prices and more, will be available from November at adelaidefestival.com.au/access

The 2020 Festival program will also be available in the following formats from November:

• Online at adelaidefestival.com.au
• The website also has font enlargement capabilities and large print PDF and RTF files available for download
• Via audio versions of every event page at adelaidefestival.com.au
• Braille (on request)

To request the Access Guide, any of these additional program types, further information on our Auslan and Audio Described performances or for any queries, please email access@adelaidefestival.com.au or call +61 8 8216 4444.

NATIONAL RELAY SERVICE

Contact us through the NRS on 133 677 then +61 8 8216 4444 or via relayservice.com.au

Open House
From world-class theatre to thrilling dance, incredible music and unmissable opera, the Adelaide Festival is committed to making sure those who are at a financial disadvantage can still access all the Festival has to offer.

TIX FOR NEXT TO NIX

We want the Adelaide Festival to be for everyone and are seeking out community groups and individuals who would love to experience the Festival but just cannot afford it.

In 2020, with the help of The Balnaves Foundation, we are offering 1000 Tix For Next To Nix across
a selection of Festival events for just $5 each. These tickets will be available in advance of the performance for those with a current Pension or Healthcare Card.

Register your or your community group's interest in Tix For Next To Nix at adelaidefestival.com.au/open-house

PAY WHAT YOU CAN
Low income earner? We have great news for you. If you have a current Healthcare Card, Pension Card or full time student card, you can access Pay What You Can tickets to a selection of Adelaide Festival shows.

Tickets are available one hour prior to performances at dates and times to be confirmed on the Festival website from
28 January, 2020.

There will be Pay What You Can performances for Buŋgul, Cold Blood, Enter Achilles, Breaking the Waves, Lyon Opera Ballet, Mouthpiece and Two Crews.

Open House is generously supported by The Balnaves Foundation.

A Festival for the Future
As an iconic event for our community, we want Adelaide Festival to be an exemplar of environmental responsibility and know that we can make a vital and significant contribution to a future that we want our children to inherit.

We are committed to reducing our impact on the environment and we are proud to become the first arts festival in Australia to be certified carbon neutral.

We will consistently measure and reduce our impacts on the environment, while offsetting the remaining carbon emissions involved in presenting our arts festival.
We are working with our staff, artists, suppliers, crew, volunteers, donors, sponsors and audience to ensure that sustainability is a key focus in everything we do.

Some of the things we are doing to minimise our carbon footprint:
•	In 2019, all waste from outdoor sites was diverted from landfill. We aim to reduce waste even further in 2020 by focussing on our indoor venues
•	Where possible we are reusing, repurposing or recycling most of the materials used to present our Festival
•	We are minimising our use of plastic products
•	We provide bike parking at our outdoor venues

For 2020, we are offsetting all of our carbon emissions, including all travel and accommodation associated with the Festival.

Please join us in our vision to reduce our impacts.
•	Walk or ride to events if you can
•	Whenever possible, take public transport, for more info visit adelaidemetro.com.au
•	Carpool when you can
•	Say no to single-use plastic, bring your own drinking containers
•	Use the three bin system provided in our venues

Bookings

HOW TO BOOK

ONLINE
adelaidefestival.com.au

PHONE
BASS 131 246

IN PERSON
at the Adelaide Festival Centre
BASS counter and outlets (see bass.net.au/info/outlets)

FRIENDS

If you love to be first in line for the world’s best theatre, dance, music, visual arts, literature and more, you'll love being a Friend of the Adelaide Festival. Exclusive benefits include:
• 15% off your AF tickets (max 2 per event)
• Access to the best seats during the priority booking period
• Possibility to exchange tickets to another performance of the same event*
• E-mail updates with exclusive news, offers and giveaways all year round

A Friends membership costs $180 + transaction fees and will last until 30 June 2020. Visit
adelaidefestival.com.au/friends to find out more.
*Terms and conditions apply

ACCESS TICKETS

To book access tickets, please call BASS on 131 246 to discuss with an operator. Access tickets cannot be purchased online. See website for details.

DISCOUNTS & PACKAGES

CONCESSION
• Pensioners
• Unemployed
• MEAA Members
Proof of concession eligibility must be provided for purchases and may be required upon entry to the venue.

FULL-TIME STUDENTS & UNDER 30
If you’re a full-time student OR you’re aged under 30, you can purchase a limited number of discounted tickets to most Adelaide Festival events. Please note that these tickets can
only be collected from the box office upon presentation of valid ID.
RAA MEMBERS
RAA members receive discounts on selected performances. Visit raa.com.au/adelaidefestival

NEW MYSTERY PACKAGE
The Mystery Package will include tickets to 3 Adelaide Festival performances for $25 per ticket, but you won't choose the show, the date, or the seat! A limited number of Mystery Packages will be available until Mon 30 Dec 2019. See website for details.

SCHOOL GROUPS & BOOKINGS
Book a group of 6+ and save 15% per ticket, booking directly online. For schools tickets and
bookings, see the relevant section of this guide.

THE FINE PRINT

TICKET PRICES
Adelaide Festival reserves the right to change seating reserves and pricing, at any time and without notice.
FEES & CHARGES
Ticket prices listed are inclusive of all ticketing fees and charges, however transaction fees will apply to most purchases. See website for details.
REFUNDS & EXCHANGES
Tickets are sold in line with Live Performance Australia guidelines (liveperformance.com.au). Adelaide Festival will offer a refund if the performance is cancelled, rescheduled or significantly relocated. Friends are allowed to exchange tickets to another performance of the same event, subject to terms and conditions.
TICKET RESALE
Tickets purchased through unauthorised resellers such as Ticketmaster Resale, eBay, Viagogo and similar organisations may be fraudulent and entry to the venue is not guaranteed.
PERFORMANCE RESTRICTIONS
Latecomers may not be admitted. Please see individual event pages at adelaidefestival.com.au
The use of cameras, mobile phones and recording devices is strictly prohibited and will result in removal from the venue without refund.
SHOW WARNINGS
Adelaide Festival takes great effort to provide information to audiences regarding potentially sensitive subject matters and the use of special effects (theatrical smoke, strobe lighting etc). Please be advised that at the time of publishing the guide, Adelaide Festival may not be aware of all specific show warnings. See website for the most up-to-date information.
PROGRAM DETAILS
The information in this guide is correct at the time of printing (September 2019). See adelaidefestival.com.au for updates.

WE ARE A CASHLESS FESTIVAL

Please note that in 2020, all Adelaide Festival on-site Box Office and food and beverage outlets no longer accept cash. Most of our patrons use debit or credit cards and we are pleased to offer a more efficient service, improving transaction speed and staff safety.
The Book Tent and cafe at Adelaide Writers’ Week will still accept cash.
Private Giving
Adelaide Festival gratefully acknowledges and thanks our generous financial supporters. Such gifts are vital in supporting our vision to be amongst the greatest festivals worldwide, to bring extraordinary arts experiences to our city and inspiring audiences of today and future generations.

We would like to thank the following individuals, foundations and companies for their generous gifts and we thank all those donors who provide gifts under $500. Without you, the Adelaide Festival would not be possible.

CHAIRMAN'S CIRCLE

Chairman’s Circle Committee Chair
Lesley Haas-Baker

Chairman’s Circle Committee
Anna Baillie-Karas
Michael Bickford
MaryLou Bishop
Michael Davis AO
Jill Hill
Lee Ross-Solomon

Chairman’s Circle
Veronica Aldridge & Don Aldridge
Charles Bagot & Catherine Bagot
Anna Baillie-Karas & Jason Karas
MaryLou Bishop & Dr Joe Verco AM
Diane Colton & Alan Colton
Colin Cowan & Robyn Cowan
Jane Doyle & Ian Doyle
Rick Frolich & Jan Frolich
Lesley Haas-Baker & Michael Bickford
Amanda Harkness & Karen Barrett
Amanda Hayes & Chris Harford
Michael Hayes & Janet Hayes
Samuel Joyce
Debra Knight
Roger Lang & Janet Hoopmann
Dr Geoffrey Martin & Dr Sorayya Martin
David McKee AO & Pam McKee
Peter McKee & Pamela McKee
Diane Myers
Nunn Dimos Foundation
Dr Chris Pazios & Georgie Pazios
Judy Potter & George Potter
Bernadette Quirke
Janet Rice & David Rice
Andrew Robertson & Gayle Robertson
Dr Ben Robinson & Sue Cocks
Lee Ross-Solomon
Andrew Sutherland AM & Sibby Sutherland
Ginger Taylor-Fitzpatrick & Barry Fitzpatrick AM
Dr Christopher Verco RFD KSJ
The Rt Hon Sandy Verschoor & Gregg Mitchell
Robert Waltham & Chris Waltham
Robert Warner CBE & Jill Hill
Anonymous (2)

BENEFACTORS
Gold
Ulrike Klein AO
Silver
Arts Projects Australia
Leigh Emmett
Jane Hansen & Paul Little AO
Michael Kantor & Silvia Kantor
Robert Kenrick
Naomi Milgrom AO
John Phillips & Dymphna James
Dr Adam Sheridan

Program
William JS Boyle CM
Diane Hart & Graham Bate
David Knox & Clare Knox
Ian McRae AO & Åsa Hasselgård
Rebel Penfold-Russell OAM
Maureen Ritchie
Mark Roderick & Kirsty Roderick
Roger Salkeld & Helen Salkeld

Associate
Candy Bennett
John Bishop AO
Laura Healy
Dr Scott Ma
The Hon Maria Panagiotidis
Judy Potter
Robina Weir & Glen Weir
Pamela Yule

Festival
Elizabeth Abbott & Serge Humen
Dr Margaret Arstall
Marea Atkinson
Helen Barlas
The Hon David Bleby QC & Elizabeth Bleby
Dr Chris Branson
Rob Brookman AM & Verity Laughton
Torben Brookman & Richelle Brookman
Beverley Brown OAM
Gerry Butler & Sue Forrest
Eva Chin
Dr Natasha Chow & Robin Nicholson
Sue Crafter & Michael Abbott AO QC
Leonie Ebert
Emeritus Prof Anne Edwards AO
Dr Zen Herzberg & Susie Herzberg
Ritchie Hollands
Sarah Killey
The Hon Diana Laidlaw AM
The Hon Anne Levy AO
Jean Matthews
Ian McDougall
Janet McLachlan
The Hon Carolyn Pickles
Robert Pontifex AM
Thelma Pye
Diané Ranck
Meredyth Sarah AM & Don Sarah AM
Christopher Stone
Caroline Treloar
Dr Barbara Wall
Jay Wheeler & Amanda Wheeler
Merry Wickes

FOUNDATIONS & CORPORATE GIFTS
MM Electrical and Data Suppliers
Lang Foundation
The Balnaves Foundation 
James and Diana Ramsay Foundation
Thyne Reid Foundation 

OPERA DONOR CIRCLE

Ross Adler AC & Fiona Adler
Antoinette Albert
Neil Armfield AO
Berg Family Foundation
William JS Boyle CM
Rob Brookman AM & Verity Laughton
Elise Callander
Nicholas Callinan AO & Libby Callinan
Andrew Cameron AM & Cathy Cameron
Anthony Carroll & Bronny Carroll
Maggie Cash
Penny Chapman
Cav Maurice Crotti AO & Tess Crotti
Mark de Raad
Ian Dickson & Reg Holloway
Martin Dickson AM & Susie Dickson
Colin Dunsford AM & Libby Dunsford
Vanessa Duscio & Richard Evans
Kathryn Fagg
Michael Gannon & Helen Gannon
Colin Golvan AM QC & Dr Deborah Golvan
Jane Hansen & Paul Little AO
Jill Hickson Wran AM
John Ingram
Peter Jopling AM QC
Andrew Kaldor AM & Renata Kaldor AO
Julie Kantor
Robert Kenrick
Pauline Killey & Andrew Killey
Catherine Lowy In Memory of John Price
Joan Lyons
Fiona MacLachlan OAM
David Marr & Sebastian Tesoriero
Tim McFarlane AM & Caroline McFarlane OAM
David McKee AO & Pam McKee
Peter McKee & Pamela McKee
Diana McLaurin
Ian McRae AO & Åsa Hasselgård
Jane Michell
Naomi Milgrom AO
MM Electrical Merchandising
Music with a View (Annie Whealy)
Susan Perrin-Kirby
Prof Dimity Reed AM & Dr Garry Joslin
Peter Reeve & Jaycen Fletcher
Susan Renouf
Penelope Seidler AM
Fiona Sinclair & Peter King
Susan Thacore
Mary Vallentine AO
Maureen Wheeler AO & Tony Wheeler AO
Cameron Williams
Kim Williams AM & Catherine Dovey

COMMISSIONING CIRCLE

Rob Brookman AM & Verity Laughton
Margo Hill-Smith & Sam Hill-Smith
Ulrike Klein AO
The Hon Amanda Vanstone

FOUNDATION ADELAIDE FESTIVAL

Anna Baillie-Karas (Chair)
Ian McRae AO
Robert Pontifex AM
Judy Potter
Mary Vallentine AO

Staff
ADELAIDE FESTIVAL
CORPORATION BOARD MEMBERS

Judy Potter (Chair)
Mark Roderick (Deputy Chair)
Ulrike Klein AO
David Knox
Ian McRae AO
The Hon Amanda Vanstone
The Rt Hon Sandy Verschoor
Jim Whalley
Rachel Williams (Government Observer)
Alison Beare (Proxy for Ulrike Klein)

ADELAIDE FESTIVAL STAFF

Neil Armfield AO and Rachel Healy Artistic Directors
Rob Brookman AM Executive Director
Rachael Azzopardi Deputy Executive Director
Marta Davis Executive Assistant

Programming

Lesley Newton Head of Programming
Kate Hillgrove Program Manager
Tess Appleby Program Manager
Sam Wright Executive Producer & Curator, Contemporary Music
Jess Thomson Contemporary Music Producer
Stevan Pavlovic Classical Music Producer
Dani Raymond Program Executive, Acting (April-Oct 2019)
Joel Allan Logistics Coordinator
Julie Orchard Youth, Education & Talks Coordinator

Adelaide Writers’ Week

Jo Dyer Director
Suzanne Critchley Program Manager
Bruce McKinven Site Designer & Coordinator
Clare Sawyer Programmer - Young Readers
Kvitka Becker Assistant

Production

Taren Hornhardt Head of Production
Melanie Selwood Production Manager
Mark Pennington Technical Consultant
Roland Partis Special Events Production Coordinator
Jacinta Way Production Administrator
Rohan Yates Production Logistics Coordinator
Lee Francis Risk Consultant
Bruce Bolton Production Coordinator
Leisa Gosling Production Coordinator
Alex Hayley Production Coordinator
David McLean Production Manager Requiem
Françoise Piron Production Coordinator
Lachlan Turner Production Coordinator
Casey Welch Production Coordinator

Marketing & Communications

Michelle Reid Head of Marketing & Communications
Benita Healy Ticketing & Data Manager
Laura Danesin Marketing Executive
Annika Stennert Marketing Executive
Georgia Stanley Marketing Coordinator
Brittany Pfeiffer Marketing Assistant
Anthea Hagar Publicist
Petrina Egan National Publicist
Carolina Rojas Publicity Coordinator
Tessa King Graphic Designer

Business Development & Philanthropy

Amanda Wheeler Head of Business Development
Sarah Killey Senior Philanthropy Manager
Bernadette Woods Philanthropy Manager
Katya Fedyk Philanthropy Coordinator
Kirilea Salomone Sponsorship Manager
Emma Williams Sponsorship Coordinator
Beatrice Jeavons Sponsorship Coordinator

Finance & Corporate Services

Elizabeth Brooks Head of Corporate Services
Zarina Yusop Finance & IT Manager
Prue Miels Administration/Payroll Officer
Ionah Warrior Trainee

Festival Associates

Mary Vallentine AO Producer, Requiem
Marshall McGuire Curator, Chamber Landscapes
Robert Cousins Festival Designer

With thanks to

Alan John Copywriter

#AdlFest
#AdlWW

Level 9, 33 King William Street
PO Box 8221 Station Arcade Adelaide SA 5000
t +61 (0)8 8216 4444
f +61 (0)8 8216 4455
info@adelaidefestival.com.au