coming up

wayinthi

Adelaide Fringe 2026: WAYIN:THI Collective, 'Fibres'

Photo: Jack Fenby.

Adelaide Fringe 2026

When: February 20 - 22

Where: Tandanya Theatre, 253 Grenfell St, Kaurna Yarta

Cost: From $15-25

Duration: 60 minutes

  • Fibres will be held at Tandanya Theatre.

    Accessibility

    Tandanya has step-free mobility aid access through the main entrance with an accessible bathroom.

    For more detailed accessibility information visit FringeTIX.

This work explores the natural fibres — once used for healing, weaving, storytelling, dance, painting and crafting. More than resources, these fibres hold story, culture and connection to Country. Through touch, texture and movement, we follow the gestures of threading, knotting, interweaving and mending, drawing on their strength and care. Dance becomes a bridge between fibre and story, body and Country.

This work is presented by WAYIN:THI Collective produced by The Mill - a bold new platform grounded in culture, self-determination, and performance-making. The Collective is dedicated to amplifying the voices of South Australian First Nations dance and performance artists.

This is movement. This is story. This is WAYIN:THI.

  • Caleena Sansbury is a prominent First Nations artist whose diverse background and extensive experience have established her as a leading figure in the arts. Her heritage, encompassing Ngarrindjeri, Narungga, and Kaurna cultures, deeply influences her work and perspective.

    A graduate of NAISDA Dance College, Caleena’s career spans various disciplines including performance, choreography, and program coordination. She has showcased her talents on both national and international stages, working with respected artists and companies.

    Her notable collaborations include:

    • Vicki Van Hout on productions like Long Grass and Les Festivities Lubrufier.

    • Thomas E. S. Kelly on the performance work [MIS]CONCEIVE.

    • Karul Projects on the piece SSHIFT.

    Caleena’s experience extends to children's theatre, where she has performed in shows produced by InSite Arts such as Saltbush and Our Corka Bubs, and with Polyglot Theatre in Tangled. Her work demonstrates a deep understanding of both dance and theatre, particularly in contexts involving young audiences.

    In addition to her performance career, she has contributed to theatre as an actor in Legs On the Wall’s The Man With The Iron Neck and has showcased her organizational skills as a producer for the Melbourne Fringe in 2018. She has also toured South Australia with Taree Sansbury’s Mi:wi 2019, and performed in Jacob Boheme’s dance work Gurranda in 2024. Caleena continues to perform and practice dance in and throughout South Australia. 

    Currently, Caleena is a Program Coordinator at The Mill, an award-winning multi-disciplinary arts organisation. Her role at The Mill continues to reflect her commitment to fostering a vibrant and dynamic First Nations arts community.

    Arrernte and Gurindji Contemporary Dance Artist, Kaine Sultan-Babij, is making a lasting impact on the world of dance and drag.

    With a background that includes performing with Leigh Warren and Dancers, Bangarra Dance Theatre, and the Australian Dance Theatre, Kaine has skilfully blended Contemporary Dance and Contemporary Indigenous Dance. Based in Kaurna Country, Kaine stands as an Independent Dancer and Choreographer, contributing to the vibrant Australian performing arts scene.

    Beyond Kaine's achievements in the dance world, the emergence of Estelle, a captivating Drag Performer and Persona, has added another layer to their artistic repertoire. Estelle quickly gained recognition, establishing herself as a standout performer in the Adelaide Drag Scene. Through electrifying performances, Estelle has earned a respected place in the realm of drag.

    Together, Kaine and Estelle embody a powerful fusion of Tradition, creativity, and contemporary expression, making a lasting impression on the dance and drag communities in Australia.


 
 

centre stage residency

Adelaide Fringe 2026: Yoz Mensch, 'My Grandpa Doesn't Follow Me On Instagram'

Photo: Daniel Marks.

Adelaide Fringe 2026

When: February 19 - March 7

Where: The Breakout, 154 Angas St, Kaurna Yarta

Cost: From $30-35

Duration: 60 minutes

  • My Grandpa Doesn’t Follow Me On Instagram will be held in The Breakoutwill be held in The Breakout at The Mill. Please come to the foyer at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.

    Accessibility

    Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

They drove from Cornwall to the Scottish Highlands – one grandparent, one grandchild, one unspoken truth.

Multi-award-winning storyteller, Yoz Mensch, weaves a darkly funny and haunting solo show about dingy hotel rooms, dog-eared maps, and the strained intimacy of travel.

Drawn from hundreds of real Instagram Stories posted during the trip, Yoz revisits what they shared with their grandpa – and the secrets they didn’t. 

Blending clowning, found footage, and intimate confession, 'My Grandpa Doesn’t Follow Me On Instagram' unravels what it means to hide yourself from the people you love.

★★★★★ “Mesmerising” Mindshare

★★★★★ “Utterly genius” Binge Fringe

★★★★★ “Masterful” The List

  • Yoz Mensch (they/she) is a multi-award-winning clown, comedian, writer, and performer living and working on Kaurna Yerta. Their primary arts focus is storytelling that engages through humour and offers thoughtful catharsis.

    In 2024 they trained in Clowning, Le Jeu and Buffon at L’Ecole Philippe Gaulier 2024, toured No Babies In The Sauna to Perth, Adelaide, Prague, and Edinburgh Fringes, and Melbourne International Comedy Festival, picking up the Best Comedy Award at Prague Fringe, and the House of Oz Purse Prize at Adelaide Fringe.

    YOU’RE ALL INVITED TO MY SON SAMUELS FOURTH BIRTHDAY PARTY received the Melbourne Fringe Tour Ready Award at Adelaide Fringe 2022, and picked up the Spirit of The Fringe Award at Melbourne Fringe 2022. They co-wrote, directed and performed in the ambitious sketch-sci-fi ensemble The End is High-Concept - which garnered positive reviews and pioneered live motion-capture for animated on-stage characters. They also co-produced, co-wrote and co-presented HUGE NEWS for Radio Adelaide, a satirical news sketch programme turned live podcast for Edinburgh Fringe 2018.


 
 

centre stage residency

Adelaide Fringe 2026: The CRAM Collective, 'Meteors'

Photo: Daniel Marks.

Adelaide Fringe 2026

When: February 19 - March 7

Where: The Breakout at The Mill, 154 Angas St, Kaurna Yarta

Cost: From $18-28

Duration: 60 minutes

  • Meteors will be held in The Breakout at The Mill. Please come to the foyer at 154 Angas Street, the bar will be open to grab a drink before we take you through to The Breakout.

    Accessibility

    Disability access is available via our Angas St entrance, access the pedestrian ramp on the corner of Gunson St to get to our front door, which will be open.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    If you have questions or would like to talk to one of The Mill team contact info@themilladelaide.com

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.

This premiere work from The CRAM Collective explores the complex impact of the immediate and lingering effects of grief on young people. Melissa tells the story of the death of her mother, too many lasagnes brought over by neighbours and the continual search for something or someone out in the sky.

This show was developed through our Centre Stage Residency, in partnership with Adelaide Fringe.

  • Melissa Pullinger is an Australian/ English theatre and film actor and is a 2020 Honours graduate of Flinders University Drama Centre. Growing up in England, Melissa appeared in the Andrew Lloyd Webber production of The Sound of Music (2008) at the London Palladium, where she played Brigitta Von Trapp for six months. Upon emigrating to Adelaide, Melissa performed in Border Project’s Disappearance (2008) and then Windmill Theatre and the Adelaide Symphony Orchestra’s Granpa (2008).

    Along with specialising in devising and physical theatre, Melissa is a co-founder of independent theatre collective, The CRAM Collective.Since graduating, Melissa has toured with Perform! Education in their Book Week Tour, Bigger, Better, Brighter! (2021) and Story Quest (2022). Since co-founding CRAM, Melissa has produced and starred in the sold-out world premieres of New World Coming, Something Big, The Future is You and EDGE. In 2022, Melissa travelled to England after being selected to train at Frantic Assembly’s International Summer School.

    Melissa began working as a puppeteer for Slingsby’s collaboration with A Blanck Canvas, for Illuminate Adelaide. She then joined the USA & Canada tour of Bluey’s Big Play puppeteering both Bluey and Bingo and touring through 2023 & 2024. She then joined the UK & Northern Ireland tour of Bluey’s Big Play, puppeteering Bingo. In April, Melissa toured across New Zealand with Bluey’s Big Play, puppeteering Bluey.

    Connor Reidy is a South Australian director and theatre maker. He graduated with first class Honours in Directing at the Flinders University Drama Centre. His directing credits include pool (no water), BC, Control, Iphigenia in Orem, The Seagull, and Lungs (Flinders DC).

    In 2021, Connor co-founded The CRAM Collective, a South Australian independent theatre company. His credits for CRAM include NEW WORLD COMING, Anna Barnes’ Something Big and THE FUTURE IS YOU. CRAM is the proud recipient of the 2022 Helpmann Academy Creative Innovator seed funding. 

    Connor’s professional assistant directing credits include Circle Mirror Transformation (Sydney Theatre Company), Lines and The Bleeding Tree (Theatre Republic), Oleanna (Flying Penguin Productions), and The Normal Heart and Hibernation (STCSA). Connor recently directed Emily Steel’s The Worst (Theatre Republic) AND Proud (Famous Last Words).

    Ren Williams is an Australian film & theatre actor, having trained with Honours at the Flinders University Drama Centre. Also specialising in directing and writing, Ren is a co-founder of independent theatre company CRAM Collective. After graduating in 2020, Ren has performed in theatre shows such as Kinetik Collective's STCSA StateSide show Kill Climate Deniers (Dir. Clara Solly-Slade), the North American Tour of Bluey’s Big Play as Bluey (Dir. Rosemary Myers), the one-woman show at DreamBIG Guthrak (Dir. Matthew Briggs), Hits at the AFC (Dir. Rebecca Meston), CRAM Collective's world premiere Something Big (Dir. Connor Reidy) and Slingsby Theatre Company’s trilogy A Concise Compendium of Wonder (Dir. Andy Packer) premiering in the 2026 Adelaide Festival. With a screen-acting diploma from Actors Studio UK at the prestigious Pinewood Studios, Ren has appeared in a number of short films such as The Hitcher which premiered at the 2024 Adelaide Film Festival (Dir. Henry Reimer-Meaney, With Love, Lottie premiering at the 2025 Sydney Film Festival (Dir. Lily Drummond), and ABC’s Beep & Mort Season 2 as an additional puppeteer. Ren’s latest directorial short This is Fine. won Best Directing and Best Film at the 2024 Adelaide 48HFP, sending it to the Filmapalooza Seattle wining 3rd Best Film; where it will now go to the 2025 Cannes Film Festival Short Film Corner

    Connor Pullinger graduated Flinders Drama Centre with a First Class Honours degree in Acting.

    Key roles include the AACTA award winning SBS mini-series The Hunting as OLIVER. In 2024 he starred in SAPOL’s Stop Flirting With Death TVC State-Wide campaign. Connor led BULLDOG, which was officially selected at 5 Film Festivals across Australia. Connor plays the titular role in The Hitcher, which premiered at AFF2024. Connor has seven shorts and one indie feature awaiting release/festivals this year. 

    These projects collaborated with Closer Productions, Heesom Casting, Proetic Productions, Stepney Studios & Showpony Advertising. 

    Extending beyond screens, Connor starred in The CRAM Collective’s sold out 5-Star theatre production FAG/STAG, as well as the encore season -  continuing the critical and commercial success. In 2024 he led Deus Ex Femina’s 5-Star award-winning Fringe show Dirty Energy and WHORE for Flinders University. 

    This year he was chosen to be an actor for the BAFTA and Golden Globe nominated Sophie Hyde in her LAUNCH LAB Directors Workshop.


 
 

public program

Studio Tours

Photo: Bri Hammond.

January - November, 2026

Fortnightly tours alternating Tuesdays, 11am, and Fridays, 4:30pm

The Mill Foyer, 154 Angas St, Kaurna Yarta

45 minutes duration

Free entry, all welcome

  • The Mill’s monthly Studio Tours will begin in the Foyer at 154 Angas St, Kaurna Yarta.

    Accessibility

    The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

    During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

Discover your next favourite artist or maker at The Mill. See behind the scenes of our 70+ studio on a free, fortnightly studio tour.

We open our doors for tours on alternating Tuesdays and Fridays; inviting audiences to explore our studios and engage with our community.

Whether you're an art lover, a curious wanderer, or just keen to see creativity in motion, these tours promise inspiration and new connections at every turn.

Social clubs, community organisations and groups of 6+ can register for private tours by emailing info@themilladelaide.com.


galleries, public program, workshop

Workshop: Abstract painting with Nadera Rasulova

Image: Courtesy of the artist

Workshop

When: Friday, March 14, 12:30-2:30pm

Gallery II, 154 Angas St, Kaurna Yarta

Cost: $45 (+ booking fee)

  • Accessibility

    The Mill’s entrance has a small step into the building. We have a ramp available, please ring the doorbell and our friendly team will assist you.

    During gallery hours, our entrance will be unlocked. If the door is closed, please ring the doorbell to alert our team.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

    The Mill has concrete flooring throughout with no internal steps and a disability toilet on site.

    Read more in-depth information on our accessibility web page.

Join artist Nadera Rasulova for an abstract painting workshop exploring inherited stories.

As an extension of Nadera’s exhibition Kosh-Chenar, she will be leading a workshop that invites participants to bring a textile or object of cultural, familial or personal significance. These items will act as starting points for creating abstract paintings through colour, pattern, texture or a more intuitive emotional response. The workshop reflects the intentions of Kosh-Chenar: to explore how the things we inherit carry stories, and how those stories can be reinterpreted and made new through the act of painting.

What to expect:

Seated within Nadera's exhibition, this two-hour workshop invites participants to explore abstract painting through memory, material, and intuition.

Working with a personally significant object or textile as a reference point, participants will be guided to translate story and emotion into colour, gesture, and texture - without the pressure of representation or a finished outcome. The focus is on process: layering, responding, obscuring, and revealing.

All materials are provided, including a canvas board and acrylic paints. Participants will take their artwork home on the day.

Guests are asked to bring one object or textile of cultural, familial, or personal significance.

Tea, coffee, and light refreshments will be available.

  • An emerging abstract artist, Nadera Rasulova’s practice investigates the intersections of cultural memory, materiality and our relationship to changing environments. Drawing on her Uzbek cultural heritage and a life shaped by migration across Australia (particularly years spent living along the NSW coastline), she explores how identity is formed through movement, landscape, and inherited visual languages.

    Her work is informed not only by the rhythms and motifs of handwoven Uzbek ikat, but also by her parallel career in climate resilience and sustainability. These experiences cultivate a sensitivity to ecological systems, impermanence, and the ways in which land holds memory. This awareness manifests in her layered, textured compositions, which often unfold as abstracted landscapes built through sweeping vertical gestures.

    Nadera's paintings invite reflection on how place shapes the self: culturally, emotionally, and environmentally. Through abstraction, she opens spaces for viewers to consider the shifting ground between heritage and lived experience, and the entanglement of personal and planetary change.

  • Kosh-Chenar brings together the two worlds that have shaped me: the visual traditions of my Uzbek heritage and the landscapes and rhythms of my Australian upbringing. While my practice is rooted in oil painting, the influence of Uzbek ikat runs quietly through the work, not as a technique I reproduce, but as an underlying way of seeing. The ikat pattern’s soft edges, shifting repetitions and pulsing colour transitions help guide how each painting takes shape.

    I build the surfaces through vertical, layered brushstrokes. This up-and-down movement forms a kind of painted terrain, where colour settles like sediment and then rises again through new layers. The result is a topographic sense of place, but one that feels internal as much as geographic, a map of memory, emotion and cultural inheritance. I think of these works as slow accumulations, where each layer holds part of a story, even if it is later covered or transformed.

    Growing up in Australia, I absorbed the openness of the landscape: the long stretches of sky, the glare of afternoon heat, colours that sit somewhere between dust and light. These tones enter the work alongside the deeper, more saturated hues I associate with Central Asia. When the two meet on the canvas, they create moments of tension and harmony, soft transitions reminiscent of ikat dyeing but filtered through the sensibility of painting and the Australian environment.

    The title Kosh-Chenar refers to the traditional pairing of two plane trees in Uzbek culture. They symbolise duality, resilience and the idea of belonging to more than one place at once. That idea sits at the heart of the exhibition. Each painting is a way of holding both lineages at the same time, not choosing between them but allowing them to coexist, overlap and influence one another.

    In this body of work, I am interested in how identity forms gradually, through layers that are not always visible but still shape the whole. The paintings do not offer literal landscapes or clear narratives. Instead, they invite a slower kind of looking, a chance to sit with colour, texture and rhythm and to sense what emerges between them.

    Kosh-Chenar is an exploration of the spaces we inherit and the ones we create. It is about the quiet work of piecing together where you come from and where you are, and finding new ground in between.

    As an extension of these themes, I will be leading a workshop during the exhibition that invites participants to bring a textile or object of cultural, familial or personal significance. These items will act as starting points for creating abstract paintings through colour, pattern, texture or a more intuitive emotional response. The workshop reflects the intentions of Kosh-Chenar: to explore how the things we inherit carry stories, and how those stories can be reinterpreted and made new through the act of painting.


This exhibition has support from