Jens Radda is in not one, not two, but three Adelaide Fringe shows this year!

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Melbourne-based, South African born Gaulier trained Jens Radda is coming back to Adelaide Fringe with not one, not two but three shows! There’s his solo show Skank Sinatra for which he won awards last year, Madame Martha’s After Dark: The Parisian Cabaret which opens tonight, in which he performs with his partner and fellow drag queen Iva Rosebud, and The Cabaret Hour which will have a changing line-up of guests together with Jens Radda and Iva Rosebud.

Interview Jens Radda — Photo: Matilda Marseillaise

We chat to Jens about these shows, how to keep your drag make-up from melting off when you’re performing in a tent in an Adelaide summer, why all artists will benefit from going to École Philippe Gaulier, the impact of a multicultural background on his work, and much more.

So Jens, you’re coming to Adelaide Fringe for three shows. Last year it was just two?

It was just the two. And then what does that mean? Next year? It’s gonna be four, then five then six!

More of you. You will just be in every show in the program eventually!

Well, I just have such a good time in Adelaide. And I find both the audiences, but also the organisers, everyone’s very lovely and great to deal with. And it’s just like such an amazing festival.

When you finished studying at WAAPA in Perth, you moved to Sydney.

I did, I lived there for three years, actually. When I just finished uni at WAAPA in Perth, I moved straight to Sydney for three years. I did the auditions and things like that because I’d studied music theatre and very quickly realised this is not very creative. So, I started hosting variety shows and putting on my own shows and that quickly took off.

Then I also realised Melbourne had a bit more, more of a scene for that at the time. And then I moved to Melbourne and I’m still Melbourne based, but I feel like I honestly, I barely live here. I’m always popping around to other places, and festivals. I was just in Perth last week. It’s a base to store my things.

Maybe an expensive one, but, yes.

Yeah, exactly. I do sublet it out often, like if Lachie [Iva Rosebud] and I are away for extended periods of time, like when we’re in Adelaide, we’ll be subletting our room out to another artist who’s just going to stay there while they’re in Melbourne.

When you studied at WAAPA, it was a music theatre degree. Was that because you had a career in cabaret in mind?

Well, I was doing music theatre stuff in high school, so I went to like this place outside of school, which was like singing, dancing and acting. And I liked all three and I couldn’t really choose. And so, I thought, you know what? Music theatre is a combination of singing, dancing and acting. And even if it’s not what I get into as like an art form, it’s a good base degree to go into any of the fields.

I hadn’t really thought about cabaret properly, until second year of uni. We do a term of having to write a ten minute slot of a solo cabaret. Mine got such a great response, and I enjoyed it so much, and I was encouraged to keep going down that route. And then I decided to enter into the Perth Fringe in 2016, and I ended up doing my solo cabaret for the first time in 2016, at the end of second year of uni. And that was just me in a suit at a piano doing parodied songs, but it was mostly just jazzy kind of parody songs. I got a taste of the Fringe, and I’ve never looked back at it. Now that’s literally nine years ago.

That would have been really nerve wracking if you’re still studying to put on your own show.

Yeah, and all the elements involved with doing a festival, like the forms – filling out the expression of interest, finding a venue, I had no idea how to do any of it.

And now, I do it multiple times a month for various different things. But at the time, I was like “I don’t know how to do a single thing.” And there was a girl who was the year above me who had done her Motown show for the [Perth] Fringe. She was the one that encouraged me to do it, and she helped me. Honestly, I don’t think I would’ve been able to do it. We need the help of people who are a bit ahead of us.

Definitely. It’s good that you were able to get help because there’s also that competitiveness sometimes where people don’t want to help you.

I guess you see that in every industry. I just gravitate towards people who don’t gatekeep because you can feel when people don’t want to open up and talk honestly, and they just want to keep opportunities and things themselves. And I don’t know, I feel like the more you do anything that’s been freelancing, you get a very good filter for people who are happy to help and work together and just realise if you win, I win rather than if I win, I win.

Philippe Gaulier - Image from The Guardian — Philippe Gaulier – Image from The Guardian

Yes. So after that you went and studied in Paris with Philippe Gaulier? You did a bunch of things clowning, vaudeville, neutral mask and le jeu. What made you decide to study clowning, and specifically with him?

Well, it was actually after I did the cabaret in Perth. I did it again when I just finished WAAPA. So, after the third year, I did it. I just started seeing this lovely actor from Sydney. His name was Nick, and we are still very great friends to this day. And Nick came over to Perth, watched it and he loved it. But he was also like “have you ever considered like doing some clowning and stuff?” I was like, “I actually have heard of this place called Gaulier in France, the school. I’ve kept my eye on things like that for a while.” And he’s like, “that’s so funny because I had a teacher at NIDA (because he studied acting at NIDA), who taught us acting, but also a bit planning stuff. But she was one of the main acting teachers, and she studied with Philippe when he had his school in London in the 90s.”

So, she had said to Nick this is a great guy to learn from. He teaches French style of theatre but also it works for everything. He does clowning, but not just clowning for actors. And so, Nick floated it and I was like, oh my God, I’ve heard of it. He’d heard of it. So, we said, you know what? Let’s put our money together and save for the next six months and then go over and do a month in August or September.

And then after we finished the month of clowning, we said, oh my goodness, this was amazing, we have to come back! So, we literally didn’t talk to a single friend when we got back. We worked for two months, saved every dollar we could, and went back two months later to do another term!

So you went twice in 2017?

I went twice in 2017. It was not expected and it was just such an incredible experience that we thought “we have to go back!” And also, the people you meet – we made friends and it was just a very special time.

Is that where you met Lachie? Or did you both just happen to study there?

I went with my boyfriend at that time the first time. And the second time I went, I brought my new boyfriend ! Essentially, I had also said to Lachie “oh, this school is incredible in France you know.” And he had heard of it. And then we started kind of talking about it and he said “I really want to go to study there for a whole term”.

And he ended up going and he went to the first month alone. Then I joined for the second half of the term because I’d already done that. Then he also just completely fell in love with it. And he’s found the practice to be incredibly beneficial to drag cabaret, and performing overall. For Philippe’s style of le jeu, we play a lot of games, as the name suggests, that are fostering connection with the people on stage and also the audience. And the idea is no matter what you’re doing, whether it’s comedy, whether it’s clowning, whether it’s Greek tragedy, there’s always a game inside you. And it’s maybe it’s like, I want to have a moment with the audience here, and you can just tell when there’s a spontaneity in the eye of a performer or there’s something there that’s “oh, they’ve got something special”. And it’s kind of like fire and electric.

That is the feeling that you’re trying to find when you are playing these theatre style games, whether it’s with a ball or whether it’s like chasing and trying to pull the tail from someone else, but then saying dialogue from a theatre piece while running around and trying to grab the tail out of someone’s pants or whatever. You know, that old children’s game? Squid game, but for clowns.

So as much as you didn’t want to do clowning professionally, studying there gives you so much more than just clowning.

Yes, actually there’s so many different ways of describing what it is to be a clown or the technique of clowning. So, there’s the traditional circus style, which is red nosed, and in a circus. In between acts, they come out, maybe they got to do a changeover of the elephant with the horse or whatever in the old circuses when they still used to have animals.

Then there are more stylistic clowns, like maybe the Swiss style, where it’s maybe a sad clown or someone that comes with a flower to an audience, and it’s very poetic and beautiful. And then the technique of clowning is found through most comedy, because Philippe [Gaulier] would always say “I’ll give you seven seconds. If the audience isn’t laughing for seven seconds, you got to change something up to make them laugh because they’ll get bored if they’re not laughing regularly.” And so, the whole thing is essentially just training the feeling of noticing your audience. If you’re on stage, you have to constantly feel if they’re not finding what you’re doing funny, you got to change it up.

Let’s say you’re doing stand up comedy. There’s a lot of like stand up comics from America or London who come to the school and they’re just do their bits. And it continues going and no one’s really laughing. But after they’d done some clowning training, just the feeling of feeling of knowing this joke is flopping, I’m going to switch it up. And then sometimes even referencing the flop itself or referencing, “okay, clearly you guys aren’t finding this funny”. Sometimes that’s enough to make us then laugh and bring us on side again.

If we feel like the performer isn’t sensitive to what the audience is feeling, we feel as an audience kind of left behind, or that we may as well be watching a movie. Whereas the clowning thing is extremely spontaneous and has to be very responsive to what the audience is feeling and vibing at that very moment. So that’s why clowning, I would say to any performer, no matter what you do, is an incredibly powerful technique.

There are quite a few performers at Fringe that have got the Gaulier training. I’m sure you know a lot of them.

That’s another thing. Every time I go to Fringe, I feel like I have a whole community. Even in Edinburgh, I never felt alone because there were so many people that I ran into from 2017 who I went to Gaulier with. I’d say “I haven’t seen you in seven years, but oh my gosh, it’s so nice to see you”. And they’re doing all variety of shows, clown shows, drama pieces. Some of them have been on like a new Netflix series. It’s a huge span and it’s so lovely.

What made you decide to do drag?

I think it’s always been in me. There is the common story of people wearing their mother’s clothing or whatever. As a child, I would always wear my mom’s clothing, but often to social school parties and stuff. I’d wear her heels or, like, a chunky boot she had. And my parents were extremely supportive, so I was very lucky in that way.

Then I’d start filming myself. I put the video camera up, I got a video camera for Christmas, and I would put it on a tripod and then film myself, put on a wig, put on my mum’s clothes, and then sing to like a backing track of Cher or Tina Turner or ABBA – the kind of music that my parents used to listen to that I grew up with.

And then I when we moved to Australia from South Africa when I was 12, I entered into a local singing competition on the Sunshine Coast. And rather than just singing my normal songs, I decided I’m gonna wear a wig and I’m going to wear my mum’s dress and I’m gonna sing. And it was tragic. I looked very cute as a 12 year old who had no sense of style or fashion, but I won the under 17 section. And so my parents realised “oh, wow. Maybe he’s got something special”

Then I kind of went into singing and doing that for a while. But then music theatre took over. So, there was a chunk of maybe five years where I didn’t do any, like dressing up and putting on wigs and stuff, because I was dedicated to being a very serious actor and artist and drag was silly and not very serious in an artistic way. At least that’s how I saw it.

And then it wasn’t until I started hosting those variety shows in Sydney after WAAPA, and after Gaulier. Gaulier helped a lot, actually, for finding pleasure of dressing up again and finding the pleasure of performing, not just chastising yourself for being bad. Drama school can sometimes instill this horrible sense of – I don’t know, you lose the joy.

Gaulier helped me find the joy again. And with that, came wearing wigs. And then eventually, in about 2019, I started what you would now consider proper drag with the combination of makeup and wigs and costumes and heels or whatever. I really tried to put the image together. And then it was in lockdown, I got to really perfect the makeup side of things.

You certainly have. You were stunning in Skank Sinatra last year. I’m sure that you would have had a few straight men turning their heads, not realising.

Oh. Thank you! Yeah, sometimes it’s actually quite nice. Sometimes they blush a little bit.

But the makeup is a is a big thing that once I started learning that, I really enjoyed it as well. You can do such transformative things with makeup.

How do you how do you keep your makeup from running everywhere when it’s 40 degrees and you’re performing in a tent?

Oh, God. I’ve had many times where it has run everywhere. And Adelaide Fringe last year I had a few. Som the eyebrows are the big thing because I usually use like a glue stick. It’s the most common thing that drag artists use these days, an Elmer’s glue stick. And it’s water soluble so if you put water on it, it starts to become gooey. And then you can wipe it away eventually with enough water and rubbing. So obviously when you’re sweating, especially for an hour show…

When I’m doing like a five minute spot in a show it’s fine. But I’m doing a doing a whole hour by myself. Last Fringe I did have a few little moments where my eyebrows were starting to melt off, and then I’d come off stage at the end and was like, “oh dear!” So, I’ve had to move over to when I do hot seasons, like in Perth or Adelaide, and if it’s not well air conditioned, I use something called Pros-aide, which is what the makeup artists and the prosthetic people in films and stuff use to glue on prosthetics or things like that. And it’s essentially a very heavy duty paste that can withstand the apocalypse, and it’s so impossible to get off but it also doesn’t melt off your face.

So you don’t send an eyebrow into the audience or anything?

No, exactly. Which is my biggest fear. And then I set the whole thing. I use a setting spray by Kryolan, but Lachie likes to use a thick layer of hairspray.

Oh, God! So don’t light a cigarette near him.

Literally. But he says it works really well. It keeps his face on.

It must feel absolutely horrible on his skin!

Yeah. Look, it’s not comfortable. It’s not comfortable.

But it’s all part of the art.

Exactly. We suffer for the art.

So, is Madame Martha’s After Dark: The Parisian cabaret a renamed, reworked version of Hush we saw at Nineteen Ten last year?

Yeah, so we’ve rewritten it quite a lot, and we’ve said you wouldn’t be able to recognise it, but it is the same skeleton. When we did that show, we reflected afterwards because we kind of have been growing it just each season and we hadn’t really sat down and strategically thought about it more, so than just like it’s very beautifully, organically grown.

But now we have said “What do we want from the show? What is it?” And we really, really found so many like the French influences were obviously quite prominent, and we’ve added another French song as well. And a big part of it was the discovery of this drag club in Paris called Madame Arthur’s. In Paris, sing drag queens singing live with accordions. It was an amazing place that I just stumbled across in Montmartre one night. It’s this bar, and I think it turns into dance stuff later on. But they have performances throughout the night. And this is an accordion player and drag queen singing. It’s incredible and so that’s kind of where the inspiration came from for the show.

So, we’ve definitely sprinkled a bit more of a story in it and a bit more French themes.

And the description says that it’s a blend of Parisian and Berlin?

Yeah. The Berlin part is, like, we have some ironic moments where only cool people are allowed into this club that we’re hosting, and it’s a play on maybe the Bergheim or the Kit Kat Club where you got to wait four hours to get to line, and then they only let half the people in based on what they’re wearing. So we kind of do an ironic grunge Berlin vibe but set in kind of a Marie Antoinette, a Parisian era where it’s like cool Berlin grunge, and then we’ve got, like, French ruffles and that aristocratic costuming that is like a fun little mix that we played with a lot for the new costumes and stuff after, which came from Melbourne Fringe. That was the first season we had those that costume in the redesign.

In Hush last year, you had a third performer, Meg. How does she fit into the picture? How do you know her?

Meg Hickey. She’s actually also from the Sunshine Coast. She went to study musical theatre in Brisbane, and we were good friends when we were teenagers because we did some shows together, and we always stayed in touch because she was very artistic, and similarly, on a journey to Lachie and I. Lachie studied music theatre at VCA, so all three of us studied musical theatre.

I’ve always been keeping an eye on Meg’s work because she went into more variety stuff as well. A bit of burlesque, a bit of singing in the cabaret space. When I just moved to Melbourne, she got me my first job at this cabaret variety bar in the city called Speakeasy, and so we rekindled our friendship.

And then when Lachie and I were planning to put this the first iteration of Hush together, we were thinking who would be a great fit. And then we just thought, Meg has this artistry that’s so incredible that neither of us can quite comprehend, or recreate, in our own work. And there’s nothing better than working with people who you just think are different to you and I think she’s amazing. She does some stuff that I could never even dream of doing.

So, I thought let’s put three very different brains together and surely, we’ll come out with something unique. I’m very grateful for what she brings to the show. She’s a very, very, honest performer.

Quite raw.

Very raw, yeah. The connection to femininity, and she’s a bit of a tree hugger. So, she loves Earth. And I feel like there’s a lot of farce that can go on with drag. We have so much makeup, costuming, shaping the body, particularly towards a feminine shape. I mean, at least that’s the style of drag that I do.

So, I thought it would be a nice representation of femininity to bring in three very different kind of bodies. And also like in the sense that she doesn’t shave her legs, she doesn’t shave her armpits, she doesn’t groom in an almost political way. But and it’s so opposite to me, which is so corseted, brought in. So I felt like that would be a really nice contrast.

The Cabaret Hour - Jens Radda and Iva Rosebud — The Cabaret Hour – Jens Radda and Iva Rosebud

Yes, it’s quite a contrast. You’re also presenting the show The Cabaret Hour. That’s the new one that seems to be a variety show where you’re going to have different surprise guests?

Yeah, that one’s more of a rotating lineup.

Are you finding them from the Adelaide Fringe itself, or are they kind of already lined up and they’re just a surprise until the night?

We haven’t lined up all of them. It’s been a mix of reaching out to people who we think are great and sometimes maybe underrepresented. I’m always like “this person is incredible. Why are they not doing more shows?” And so, then we’ll message and be like, “hey, if you’re like, around, we’d love to have you in the show.” So far it’s been great. Most of them said yes.

There’s also a bit of an expression of interest; people have been sending things if they want to perform because I posted in a place or two – there are spots you can post to artists to express interest in rotating line up shows. It’s a bit open and free for all, but we want to show as diverse a range of, as artists as possible.

How will it compare to Madame Martha’s After Dark: The Parisian Cabaret ? Will it be less structured because of the changing lineup?

Yes. Madame Martha’s is now pretty much a scripted and full running show with my lighting and sound all designed in a package, and it’s got an arc and a through line a bit. Whereas, The Cabaret Hour will be essentially either Lachie and I, doing some bits about two drag queens dating and being in a relationship on stage and off stage. And so, there’s a bit more about our life, and it’s a bit more chat and jokes.

It’s kind of like Jens Radda and Iva Rosebud and their friends in a light cocktail hour of a show where people can, like, have drinks with their friends and then watch some performances and a variety of comedy, cabaret and burlesque.

What is the through line connecting the three shows?

Well, I’m starting to think about that kind of stuff, bringing more shows now and also advertising collectively. If I’m doing a spread in a magazine, I’ll maybe have all three shows advertised next to each other. The only like thing that has continued is the fact that I’m in all three of them and I’m producing them, but I’ve got to start thinking about what the ethos of the production company now is because it is starting to grow.

But at this stage it’s just me doing shows that I like and I think are great, and the people I love. I really haven’t fleshed out mission statement or a vision statement yet. But if you’ve got any suggestions, you’re welcome to send them through!

I still see myself as very much like learning. Learning stages, even though things have gone very quickly and grown quite fast. But I’m still learning a lot about how to produce shows because you think you think you’re just going to make art and then you realise that if you want to do it how you think it should it should be done then you kind of have to do it yourself.

That’s so true of so many different professions. Turning now to Skank Sinatra, what made you decide to do a show based on Frank Sinatra’s songs?

Well they say write what you know. As a starting place, when I was thinking of what’s my show going to be right now? when I was trying to create a show, I thought, okay, if write what I know is a starting base, what songs do I love to sing and listen to?

Sinatra had always been something that I loved performing the songs, but there was just that barrier that I felt like it had masculine, croony vibes. And I never really felt like I fit in there. And then as soon as I visualised the idea of like a drag queen singing, crooning songs, that titillated me! And that’s how it was born, because when I was doing mostly singing things, I was singing a lot of Sinatra. Then, marrying it with, I guess my own life story also comes back to write what you know, and then the character was kind of born out of out of that.

How did you choose the songs? Is it the ones that you found yourself gravitating towards?

I went through the list of Sinatra songs, and I tried to figure out which ones I’d had the most fun with. So, I have a big graveyard of ideas that I’m going to use for something else. But I did a lot of parodies of songs that I thought were very funny at the time. And then, you have to kill your darlings when you write things and make them fit into an hour show.

The show has changed as well quite a lot. If people come to see it in Adelaide this year, it’ll be quite different to last year. I’ve had a new costume, a new wig, I’ve had some quite a few script changes and some jokes updated and some stories that have been rewritten because I’ve realised if you want to do this long term, you have to kind of bring together the help of other people, because I don’t know how people do it by themselves.

Just having other eyes, helping with writing or someone who’s really good at structuring a show – seeing the through line and making sure that the kind of peaks and troughs are aiding the story rather than hindering it. And that’s something that someone who’s been writing for 15 years can help with that. I couldn’t.

For example, I brought on a friend called Andy Ballack, and he does his own show called “Am I the drama?” He’s also written a lot for Reuben Kaye and helped Reuben Kaye with a lot of his jokes and comedy. And I thought, obviously Reuben Kaye is incredible, so, anyone that I can have that’s been in the sphere of helping him… So I asked Andy if he could help me with a bit of stuff for the show? And he said, absolutely.

And he’s been completely invaluable with just the smallest things. For example, when you’re telling this story, let’s reshape it so that the punchline and the climax is at that point, and then the audience feels a breath of relief as opposed to you structuring it with a joke there, and another little tale in there, that kind of muddies the story and just things like that. I guess I don’t have the same writing skill as someone who has studied writing.

It’s also difficult to get distance sometimes from your own work.

That’s so true. It’s the same as anyone asking someone “Look at this. What are your first thoughts and feedback?”

Are there other artists whose songs you want to parody and write a show around?

Well, this is what I’m starting to think. Or do I starting to create the next solo show that I want to do? And I’m thinking, am I going with a different artist, or do I do a Skank Sinatra 2.0?

It seems like you could – if you’re trying to cram everything into an hour, you could do the 2.0 version.

I’ve always wanted to do an Edith Piaf show. And so there’s definitely an Edith Piaf show on the cards at some point. Do you know Shirley Bassey? She’s one that I really like. Her songs are just so theatrical and I’m like yes she’s camp.

Why Edith Piaf?

Aside from listening to her music in my household growing up a lot as a child – my dad and grandma would always listen to Edith Piaf songs. I also did tech for a friend who sang an Edith Piaf show. I saw the show maybe 30 times because I did the sound and stuff for it. The more and more I just listened to these songs, I’m like, God, there’s just something completely incredible and deep and also joyful but harrowing at the same time about many of these songs” Then there’s her story as well, I find extremely fascinating.

At the same time, I feel like there could be some fun with – I wouldn’t want to replicate her or do, like, a tribute or anything – something like playing with the shape of my eyebrows, to go in the direction of looking a bit like her eyebrows. That was so iconic.

So you grew up in a Danish and Afrikaans speaking household. How do you think your multicultural background has shaped your work?

Well, I don’t think I can escape it. I speak Danish with my mother and Afrikaans with my dad. And the cultural references I had were not like what other Australians had, or even in South Africa, But South Africa’s got a lot more diaspora from other parts of the world I guess maybe in the area I was living.

So I felt always that I never knew all the cool things that the kids at school when they’d talk about that artist and that thing. I never really knew. I wasn’t really up with it. I watched a lot of Danish TV growing up, and I even felt like homosexuality in that kind of stuff was a lot more accepted. In Danish films there were often gay characters, but it wasn’t the central narrative of the story. It just happened to be that then his husband came home, and then they talked and that would happen. And it wasn’t a big deal made of it. So, I feel like I’m always grateful for the progressiveness that the Scandinavian side brought to my life.

And I sing in both Danish and Afrikaans in most of my shows. I try to bring it in also to honour my heritage and the culture, which I’m so grateful for. When you make something, it’s you can’t help but make it with the subconscious influences that you’ve grown up with.

South Africa is very like Old World in many ways. I don’t feel like a very modern queen, you know. Like some drag queens are very good with Dua Lipa and that vibe and Doja Cat, and they do great drag, and lip syncing to that kind of stuff. But, I’ve always felt like a more of an old world, like Sinatra and Edith Piaf. And same with same with Lachie. He’s very similar like that. And I feel like those countries maybe like especially South Africa, it feels a lot more old world, like everything’s 50 years behind.

Is each show for a for a different audience?

Oh, there’s a lot of crossover. Madame Martha’s is programmed for a 10pm slot this year, which is a late time. I had a chat with the Gluttony team and I thought “how do we best angle this show to actually be able to capture the people who want to see a show at 10 pm?” So it’s a slightly, maybe naughtier angle and that’s why we’ve called it Madame Martha’s After Dark.

I think maybe we’re capturing a few more younger, maybe 30s who are happy to stay out late, or maybe even like 40s, but they want to see something a bit spicy while they’re at the Fringe but it’s still very sophisticated in the way that it’s not crass or it’s not really crude. You do see full Frontal from Miss Iva Rosebud, but it’s done while singing La vie en rose in French, so, it’s palatable.

And then you’re at Nineteen Ten, I think, for The Cabaret Hour?

Yeah. we liked the vibe at Nineteen Ten. It was cute. And now that Hush (now Madame Martha’s) has changed to more of a theatre style show, we need the lights and the dark and all that. But we still wanted to do something at Nineteen Ten, so The Cabaret Hour was kind of perfect for that: Cocktails, Queens and Cabaret.

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We thank Jens Radda for this interview and cannot wait to see the shows this Adelaide Fringe!

Madame Martha’s After Dark: The Parisian Cabaret

WHEN: 10pm Tuesday 4 – Sunday 9 March

WHERE: Gluttony

HOW: Purchase your tickets via this link: https://adelaidefringe.com.au/fringetix/madame-martha-s-after-dark-the-parisian-cabaret-af2025

HOW MUCH: Ticket prices from $38-$42 depending on the night you attend

Skank Sinatra

WHEN: 6:45pm Tuesday 11 to Sunday 16 March

WHERE: Gluttony

HOW: Purchase your tickets via this link https://adelaidefringe.com.au/fringetix/skank-sinatra-af2025

HOW MUCH: Ticket prices range from $32 to $42 depending on the date selected.