A real-life ghost story from an award-winning comedian. Kirsty bought a house. Sure, it was derelict. And in a dodgy area. And OK someone just died in it. But she didn't mind because she didn't believe in ghosts. She does now. 'The Woman in Black meets Catherine Tate' ***** (The Fourth Wall, Perth). ***** (Fringefeed, FRINGE WORLD). ***** (TheScoop.au). ***** (Fringe Benefits Podcast). ***** (Scenestr). Winner: Best Theatre, Adelaide Fringe 2026. Winner: Best Comedy, FRINGE WORLD 2024.

Grief. Stars. Mums. Lasagne. 'Among the more than a thousand works on offer in the Fringe, Meteors is likely a standout – both entertaining and emotional, offering a chance for real connection' ***** (InDaily.com.au). Grief isn't part of the conversation. Especially not as a young person. No one knows what to say, so it's simply left unsaid. An acclaimed breakout at the 2026 Adelaide Fringe, Melissa traverses the messy, non-linear aftermath of losing a mother at age 20, the vastness of the universe, too many lasagnes and the search for light in the dark.

Kid has come to "find herself", but quickly gets caught up in Dad's wild antics. When the two share a rare moment of privacy in the heavenly garden, what begins as whispers, a telling off and a hilarious culture clash slowly shifts, growing heavier with each passing word. A comic yet haunting exploration of grief, Sitting (In Silence) will leave you reflecting on the things we choose not to say, the silence that divides us and what healing really means. Could those real moments of laughter and connection ultimately be what saves us?

Four people enter a sauna, three walk out. Over an hour, a group of strangers get hotter and hotter. So hot, they start to cook. Coco Cottam's new play Thermodrama measures the costs of a culture of self-improvement on four precarious lives. Following a sell-out run of BLANDY – 'Riotous, visceral and whip-smart' ***** (BingeFringe.com) – Lovelock Productions have taken a room in Summerhall and are going to make it sizzle.

A dark and unrelenting comedy about starving for your art. As negotiations with employers, agents and Universal Credit crumble, one actor drags you into a brutal and absurd takedown of the UK benefit system, the Cost of Living Crisis, and whether we value the art more than the people who make it. They'll go down swinging, but they will go down - maybe making a play about food poverty is the only way out of it? After all, closed mouths don't get fed. Winner of the Shedload-of-Future Fund 2026. 'Impeccably written... a completely captivating performer' (Liv Ello, Body Show).