Jack Fenby
You could be forgiven for assuming this new Adelaide Festival Centre restaurant is named after a grumpy bird. Angry Penguins was in fact, a rebellious art movement and daring literary and arts magazine founded by poet Max Harris AO in 1940. The publication was at the centre of an infamous literary hoax, which unfolded after two anti-modernist poets submitted work under the name of fictional writer Ern Malley.
The story is best discussed over a prawn cocktail; a simple starter done remarkably well here. Five plump prawns perched proud (like Otto Hajek’s colourful 1970s sculptures which formerly called the redeveloped Festival Centre Plaza home) on a nest of crisp shredded baby cos. The finger-licking dollop of tangy yuzu Marie Rose is a highlight of the meal to come.
In an aesthetic nod to the past, Sidney Nolan’s painting of Ern Malley greets (and farewells) diners to the long, narrow space. The 1970s colour scheme continues with plush golden booth seating, a wall of amber curtains, and artwork throughout. Floor-to-ceiling windows offer natural light and a towering Adelaide Oval view, while red geometric carpet whirls underfoot.
By night, the urban landscape shimmers with light, while the interior glows with fossilised tree resin hues. Nostalgia also permeates the menu. Classic mains including duck two ways (confit and seared) are bookended by Coffin Bay oysters with Champagne mignonette, and banana banoffee flashbacks. Less is more. Nothing feels unnecessary. Spatchcock coq au vin is a warm autumnal embrace; pearl onion, cubes of speck, and wild mushrooms in a rich earthy broth.
Pre-theatre dining is difficult to get right – it often feels rushed – but Angry Penguin’s swift, two-course option, sans dessert, hits all the right notes. You could skip the show altogether and settle in for a more relaxed long lunch. Either way, make time for a Red Carpet sundowner; the mix of Campari, fernet branca, orange liqueur and lime is a zesty, herbaceous cocktail head-snapper.
The wine list, meanwhile, isn’t going to evoke a boundary-pushing standing ovation, but it is South Australian (other than Pommery and Pol Roger cameos) and that should be applauded.
Much like the Festival Centre setting and its nearby stages, the dining space provides a backdrop for creative patrons, thespians and conversation to shine. Just the way, one could imagine, the late Max Harris and his creative rebels would have liked it.
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