The Brisbane-based ensemble comprises violins, cellos, double bass, violas, drums, keyboard and more, but no brass or wind sections. There is a theremin, that spooky hands-off equivalent of a musical saw, however. Choreographed movement, lighting and a continuously changing backdrop of carefully matched visual projections (plus a phone number provided for audience feedback during the show) help make this a very modern production that is a lot of fun without becoming an overly gimmicky musical circus.

From the majestic opening of Holst’s "Off the Planet", accompanied by images of monumental industry projects and massed workers, it was clear this was an ambitious program. Midge Ure’s "Vienna", slick but no real surprise, was followed by a classy and sombre rendition of the 4th movement from Mahler’s Fifth. All of the arrangements were imaginative and there was no lack of variety. It’s not often you get a show that includes a hoe-down version of the Cure’s "Close To Me" and a pumping "Nutbush City Limits" alongside the classics. The original pieces by players Phill Wilson, Robert Davidson and Sallie Campbell were some of the best; there are some very promising composers to watch in this bunch.

The performance had just enough rough edge to remind us these were young musicians heartily engaged in their art. They are also interested in the next generation, as evidenced by two tunes from Young Blue, a 21-strong group of local and even younger players, who were received with excitement before the second half of the show. A full house loved the energetic and quirky performance of Deep Blue, right through to the stirring encore. This orchestra is a sign that the future is in good hands. Good on 'em. Adelaide Festival Theatre, April 18 and 19