Review by Markus Hamence – Lindsey Kraft + A Piano Present: We’ve Been Here Before – Performance date: Sunday 08 March 2026. Holden Street Theatres, Adelaide, South Australia.
Music, lyrics and book by Lindsey Kraft. Directed by Lindsey Kraft and Ben Folds. Musical Direction by Ben Folds.
In her Adelaide Fringe debut, celebrated actor and songwriter Lindsey Kraft presents a heartfelt and hilarious one woman musical inspired by her real life decision, at 40, to finally learn piano because the songs in her head simply would not stay quiet any longer.
These original songs form the beating heart of this intimate, funny and deeply moving show, dreamed into being by an artist brave enough to start something entirely new.
Take a read below on my take of the performance…
At the Adelaide Fringe, the most captivating shows often come from artists brave enough to turn their own lives into theatre. Lindsey Kraft + A Piano Present: We’ve Been Here Before does exactly that – a heartfelt, witty and surprisingly moving one-woman musical that blends storytelling, humour and original music into an intimate theatrical experience.
Performed in the The Arch Theatre at Holden Street Theatre, the show centres on Kraft’s real-life decision to learn the piano at the age of 40 because the songs in her head simply refused to stay quiet. Those songs become the emotional engine of the performance, unfolding into a narrative that is equal parts comedy, confession and musical memoir.
Kraft, known to many from television roles in Grace and Frankie and Obliterated, reveals an entirely different creative dimension here. Seated at the piano, she moves effortlessly between self-deprecating humour and raw vulnerability, delivering songs that feel like pages torn from a personal diary. The structure of the show plays almost like a miniature musical, with each piece revealing another chapter in the story of self-discovery, relationships and the courage it takes to begin again creatively.
“Kraft doesn’t present herself as a polished Broadway diva – instead she leans into the messy, funny, uncertain process of learning something new later in life…”
Markus Hamence
What makes the performance so engaging is its sense of authenticity. Kraft doesn’t present herself as a polished Broadway diva – instead she leans into the messy, funny, uncertain process of learning something new later in life. The result is disarmingly relatable. One moment the audience is laughing at her sharp comedic timing, the next they’re caught in a quiet moment of reflection as a lyric lands with surprising emotional weight.
Musically, the show carries echoes of classic original self-penned singer-songwriter storytelling – the spirit of piano-driven artists who balance humour with emotional honesty – yet Kraft’s voice and perspective remain entirely her own. Her piano playing, born from necessity rather than lifelong training, gives the music an earnest charm that perfectly suits the autobiographical tone.
A major creative force behind the production is Ben Folds, who co-directs the show and also serves as musical director. Folds is also part of the tight two-piece backing band on stage, bringing his unmistakable piano-pop pedigree into the mix. His presence adds a humble layer of musical polish and playful spontaneity, elevating the arrangements while still allowing Kraft’s voice and story to remain front and centre. Kraft, of course, currently touring as support for Ben Folds world tour.
The stage design cleverly mirrors the show’s themes of transition and reinvention. The set resembles a lived-in lounge room mid-move, scattered with half-unpacked moving boxes and everyday objects waiting to find their place. It feels deliberately unfinished, like a life in the process of being rearranged. The white up-right piano sits at the centre of this domestic landscape, turning what could be an ordinary living space into a stage for reflection, creativity and new beginnings.
“This is most certainly what GREAT theatre is about and Lindsey is a master of her game -her delivery lands right in the pocket, EVERY.SINGLE.LINE.”
Markus Hamence
There is a connection with her mum during segments of the show. With one revealing moment that not only hits Kraft’s heart hard but us in the audience. I was quite reflective in this moment and have taken on the particular message quite adheringly as should you future audiences. This is most certainly what GREAT theatre is about and Lindsey is a master of her game -her delivery lands right in the pocket, EVERY.SINGLE.LINE.
For Fringe audiences used to spectacle and chaos, We’ve Been Here Before offers something very different: a reflective, musically rich hour about creativity, reinvention and listening to the voice inside your head that refuses to be ignored. Fun fact: Us, the audience, are involved in the piece, she meets us, really looks us in the eyes, invites us for coffee, invites us into her ‘home’ and let’s us sit in her ‘lounge room’. This is intimate embracing theatre that can only work in an intimate venue.
By the time the final song lands, the room feels smaller, warmer and a little more thoughtful. It’s the kind of Fringe show that reminds you that the most compelling stories on stage are often the ones that are lived first. To say ‘I loved it!’ is an understatement. To write this review, does not even come close to the feeling that conjure inside your heart and mind. Impactful, heart-felt theatre. Bravo Lindsey and Ben on a class show, bravo!
Lindsey Kraft + A Piano Present: We’ve Been Here Before
Sat, 07 Mar – Sun, 22 Mar
Three Venues (See Ticket Link for details)
Tickets
