Review – Broadway Off-Broadway (Adelaide Fringe)
The Flamingo – Gluttony | 22 March 2026 | ★★★1/2

Broadway Off-Broadway is exactly what it sounds like, a fast-moving musical theatre showcase that pulls together a mix of well-known songs from some of the biggest shows to come out of New York. Sitting inside the Adelaide Fringe lineup, it leans into that concert-style format rather than telling a single story, focusing on delivering well-known numbers from shows like Wicked, Les Misérables and Phantom of the Opera.

Put together by Emma Kavanagh and performed by a group of experienced artists, many of whom are working professionally both in Australia and overseas, the show runs at about an hour and keeps things moving, largely built around solos and duets with choreography woven throughout.

Musically, the show is backed by a tight three-piece band, David Goodwin on piano, Steve Staben on drums and Declan Horan on bass. It’s a small group, but they sit neatly under the vocals, with Goodwin in particular holding things together from the keys.

The show leans heavily into ballads, which certainly allows the vocal talent on display to shine. There’s no question the cast can sing, and sing well, but over time it does start to feel like the afternoon could use a few lighter moments to break things up. There are attempts to inject humour between songs, but more often than not it feels a little forced. In a genre that already offers plenty of genuinely funny material, it feels like a gap in the overall mix.

Song-wise, it plays very much like your favourite Broadway playlist, or that CD you’d find in a second-hand shop labelled “Broadway’s Greatest Hits.” There’s nothing wrong with that, these songs have stood the test of time for a reason. But there’s also a wealth of newer material out there, and bringing some of that into the mix would give the show a bit more freshness alongside the classics.

Emma Kavanagh not only produces the show but also delivers one of its strongest vocal performances. Her Phantom of the Opera number is a standout, showing off both control and clarity while still letting the emotion land without being overplayed. It’s a confident performance that lets the material speak without force.

Madison Green more than holds her own alongside Kavanagh, bringing a polished, well-seasoned musical theatre voice. There’s an ease to her performance that comes from experience, and it shows. When the two come together in duet, it’s one of the highlights of the afternoon, their voices lock in beautifully, with tight harmonies and a shared musicality that feels effortless. While Kavanagh remains the clear focal point of the show, Green brings a level of presence and credibility that adds genuine star quality to the lineup.

Jason Bensen and Lachlan Nash also bring a strong male presence to the lineup, their voices adding a solid balance to the overall sound of the show and rounding out what is otherwise a very soprano-driven program. Both deliver with confidence, and it gives the show a bit more texture vocally.

Special mention to Nash, who stepped in at short notice due to illness within the cast. It’s a reminder of just how important understudies or swings are in a production like this, and to his credit, he slots in seamlessly. In a show built around familiar material and well-known numbers, that kind of flexibility is no small thing, and it worked in with the spirit of the production more than it probably had any right to.

Kavanagh also makes a point of acknowledging the next generation of South Australian performers, with a group of young artists listed in the program and brought on towards the end of the show. Their inclusion provides one of the more refreshing moments of the afternoon, not only because of the newer musical material they perform, but because the sound of a full chorus immediately lifts the energy in the room.

It does, however, highlight a missed opportunity. While the ballads are impressive, the show could have benefited from using this chorus throughout, particularly in the more upbeat numbers. Supercalifragilisticexpialidocious hints at it, but you can’t help feeling that a fuller stage, and a few more voices, would have elevated several moments even further. If the show returns next Fringe, as suggested, it would be a disservice not to make greater use of this emerging talent. And realistically, a good portion of the audience is there to see those performers, so giving them more to do just makes sense.

Choreography, led by Maddie Apacible, is sharp, clean and clearly well-rehearsed, with dance breaks featuring heavily throughout the show. At times, though, they feel a little overused, particularly when placed behind key vocal moments where they can pull focus from the lead performer. When it lands, it works well, Good Morning from Singin’ in the Rain, performed by Apacible and Jayden Prelc, is a bright, genuinely enjoyable moment, but a bit more restraint in placement would allow the vocals to breathe where needed.

Staging and lighting are kept simple, which suits the cabaret-style format and keeps the focus where it should be.

Overall, Broadway Off-Broadway knows exactly what it is, a celebration of big songs, strong voices, and familiar favourites. With a few tweaks, more tonal variety, a broader song selection, and better use of the ensemble, it could shift from being a solid showcase to something genuinely memorable. As it stands, it’s an enjoyable afternoon of musical theatre that plays to its strengths.

“A polished, vocal-driven showcase that leans into what musical theatre does best, big songs, strong voices, and performers who know exactly how to deliver them.”