POV @ Adelaide Festival, Space Theatre, Adelaide 4/3/2026
POV is a clever and engaging play in which Bub, an eleven-year-old girl interested in documentary filmmaking, explores family dynamics by directing and reenacting situations involving her parents. The role of Bub is played by Yuna Ahn (and alternately by Grace Tione in other performances). In this performance, the parents are played by Hew Parham (the father) and James Smith (the mother) in unrehearsed roles (we later learn that although they did not know the scenes that they would be playing out, some prompting regarding research and preparation had been provided earlier).
I was thrilled to see these two outstanding Adelaide performers waiting onstage nervously as this evening’s participants. I greatly admired Hew’s work in Symphonie of the Bicycle, while James (Jim) Smith, whose previous work with State Theatre Company South Australia in Jasper Jones and Jack Maggs, remains among my highlights.
Yuna, alongside Hew and Jim, delivered a heartfelt and poignant performance that navigated themes of mental health with great sensitivity. The fact that Hew and Jim achieve this without rehearsal is a testament to their remarkable skill and professionalism. Despite its weighty themes, the play remains thoroughly entertaining, with much of the early humour arising from watching Hew and Jim perform without a safety net.
Film director Werner Herzog is a significant reference point early on, as Bub watches his documentary about Antarctica (Encounters at the End of the World). From that moment, he becomes an unseen presence in the narrative, almost another character, with Bub writing to him and receiving (imagined) replies that provide considerable humour. There is a brief intermission during which the audience remains seated and is encouraged to search for and recite Herzog quotes, creating a hilariously spontaneous moment of shared participation.
Originally presented by Belvoir Theatre in Sydney several years ago, the production has also recently been staged at the Perth Festival earlier this year. There is one particularly powerful scene late in the performance, repeated multiple times with roles gradually traded between all three actors, that is both sincere and deeply affecting, further showcasing the cast’s talent. Yuna Ahn, at just twelve years old, is extraordinary. Writer Mark Rogers has explained that one of the central challenges in creating this work was addressing the difficult subject matter in a way that feels safe for a young performer. This is thoughtfully handled at key moments, including scenes where Bub is prompted to wear headphones to shield her from hearing particularly adult conversations. Rogers and Director Solomon Thomas have crafted a production that places a child at its centre and entrusts her with significant emotional weight—an approach that is both bold and moving.
It would be fascinating to see the show again, as I believe each performance would differ depending on the actors involved. Having read the program, I would also be eager to see Emma Beech, Tilda Cobham-Hervey, and Renato Musolino take on the parents’ roles in future performances.
A heartfelt thank you to Adelaide Festival for bringing this wonderful production to Adelaide. Once the festival concludes, I look forward to seeing James Smith in How Not To Make It In America at Holden Street Theatres as part of the Fringe, and to following whatever exciting projects lie ahead for Hew and Yuna.
Adelaide Festival Review By Richard De Pizzol
For tickets and show info head to the Adelaide Festival