Born in London, Barry was introduced to theatre as a small boy, through being taken to see traditional Christmas pantomimes, as well as discovering jazz and fine music at a very young age. High school found him loving the works of Shakespeare, as well as many other great playwrights, poets and novelists. Moving to Australia, he became a jazz musician, playing with big bands and his own small groups, then attended the Elder Conservatorium of Music at the University of Adelaide, playing with several orchestras. This led to playing in theatre pits, joining the chorus, playing character roles, playing lead roles (after moving into drama), then directing, set and lighting design, administrative roles on theatre boards and, finally, becoming a critic. After twenty years of writing he has now joined the Broadway World team to represent Adelaide, in South Australia. Barry is also a long time member of the prestigious Adelaide Critics Circle.
The Zephyr Quartet's most recent concert, at the Promethean, was a relaxed cabaret style performance of rarely heard musical works by some of the greatest film composers of the 20th century.
The eighth and final concert in the Evenings at Elder Hall concert series, Concerto for Orchestra, was a chance for the Elder Conservatorium Symphony Orchestra to celebrate the anniversaries of three great classical composers, Benjamin Britten, Witold Lutos?awski, and Richard Wagner.
This is another gem from Parham, following on from the great success of his previous very popular character, Schmoo, and this production, with some revision, has already had several outings through popular demand.
The Bakehouse Theatre Company is presenting The Web, directed by Yasmin Gurreeboo whose debut as director for this company with And No More Shall We Part, was a triumph.
State Theatre once again have another successful piece of theatre on their hands, with nods and words of approval flowing as the audience left the Dunstan Playhouse at the Adelaide Festival Centre.
Giuseppe Verdi's opera, filled with powerful emotions, has not been seen in Adelaide for over forty years, and this stupendous production leaves one wondering why that is so.
We rarely have a chance to see somebody as exceptionally skilled and talented in physical theatre as Gavin Robertson and, as with the other three performances so far, everybody should be fighting for tickets.
This gem from Nicholas Collett has now been played many, many times, in many, many locations and, it is safe to say, will continue to be played for a long time to come.
Bond! An Unauthorised Parody, finds the man with all the technical gadgets, the smart answers, and a string of girls with extraordinary names passing through his bed, facing the greatest challenge of his career as he hunts for a super-villain and a bomb.
This s a master-class in how to write, direct, and perform a one man show, playing a number of very different characters, from varied regional backgrounds and social classes.
The latest offering from the University of Adelaide Theatre Guild is the multi-award winning Adelaide playwright and screenplay writer, Andrew Bovell's Holy Day (The Red Sea).
It was clear that bringing this group back for a return season was a very good move on the part of the Festival Director, Jacinta Thompson, with the audience leaving the performance with big smiles on their faces.
The Light Surgeons, from London, join with Ng Chor Guan, Hands Percussion, and Rhythm in Bronze to create an audio-visual work, SuperEverything, that looks at, well, just about everything Malaysian.
David Mealor directed Angela Betzien's The Dark Room, set in a room in a three star motel in an unnamed location in Australia's Northern Territory, for Flying Penguin Productions.