The original ethos of the Adelaide Fringe was to provide a platform for artists exploring new works, and to enable audiences to feast on a smorgasbord of original works. Many artists make huge sacrifices to travel, often performing in much smaller venues than they are afforded at home. This year I have tried to check out some new venues, and to uncover fresh artists. With this in mind, I headed to Ayers House Dining room to catch Delusions and Grandeur, captivated by the title and my love of the cello.

Billed as performance art, with spoken word and comedy elements. I was prepared for the usual fare of  often clumsily executed jokes interspersed with awkward musical interludes. However, in the hands of a performer whose mistress has been music since a fated encounter as a teenager struggling to find her identity, this show is a deep encounter with a generous artist. She asks the questions plaguing every creative, am I worthy?, Who am I without my instrument? Why do women need to wear mini dresses in s symphony? When is my time up?

The intimate and exquisitely adorned space provides a beautiful nook for acclaimed cellist Karen Hall to invite the audience into the inner world of an artist. Following a very clever introduction, it was a pure delight to suddenly be treated to a concert cellist moving as one with her lover, keeper and albatross. Stirring strings were enhanced by the delicate way cradles, then gently lays down the cello, before giving us a glimpse into how the cello found her and the complexities of life as a working musician.

It can be challenging for artists to deliver cohesive and engaging performances in a small venue; however Karen welcomed audience interaction and created a sense of connection. Despite the high art value of the classical music genre, her acerbic wit, warmth and genuine love for artists, and truly impressive on-stage costume changes makes this show an intimate delight for all.