★★1/2

Adelaide Fringe. The Parks Theatres. 28 Feb 2026\

 

The Elephant Room is a brand-new Australian play being premièred at the Adelaide Fringe.

 

According to the printed Fringe Guide, the work is presented by Goldmann Collective, while the website lists Froxfield Theatre. At present, there is limited readily accessible information about the company, cast and creatives beyond the Fringe listing and a handful of social media posts. As with any emerging company, increasing online visibility will only strengthen audience engagement and help interested patrons connect more easily with the artists behind the work.

 

So, to the show itself.

 

The performance this reviewer attended had a very modest audience—whether due to venue familiarity, publicity reach, or the crowded Fringe marketplace—yet the two performers committed fully and energetically to the task at hand. That dedication deserves acknowledgement.

 

The play examines the extended aftermath of a hit-and-run accident from the perspective of the driver, Theo. Seeking both redemption and accountability, he elects to participate in an experimental rehabilitation program built around isolation, sensory deprivation, and sessions with an unseen “facilitator”, Joel. The dramatic tension lies in the evolving exchanges between patient and facilitator, and the shifting psychological terrain between them.

 

For fifty minutes the actors inhabit a tight circle of icy white light. A white cloth defines the patient’s isolation room furnished by only a bed; chairs sit beyond its border for the facilitator. Visually, the aesthetic is striking and cohesive, and the accompanying soundscape effectively supports the mood and atmosphere.

 

The production makes confident use of shadow and silence. At times, the stillness feels prolonged, and several moments carry the weight of a possible ending but the narrative continues. With further shaping, these pauses may gain even greater dramatic precision.

 

Theo is a demanding role, and the actor—who also appears to be the playwright—sustains it with focus and emotional commitment. Joel is given an intriguing edge: at moments his earnestness hints at something more ambiguous, creating a productive tension against the tentative rapport forming between the two men. Greater vocal projection would enhance clarity and ensure the text lands with full impact, particularly in a venue of this size.

 

The script is ambitious and thematically substantial. With continued development and performance, there is clear potential to refine the structure and more sharply reveal the emotional spine of the work, deepening the audience’s investment in these complex characters. When that connection fully takes hold, the play’s exploration of guilt, responsibility and redemption will resonate even more powerfully—and this emerging company will undoubtedly continue to grow in confidence and voice.

 

Kym Clayton

 

When: 27 Feb to 1 Mar

Where: The Parks Theatre

Bookings: adelaidefringe.com.au