The Performers review | Dolly Diamond & Skank Sinatra | Melbourne International Comedy Festival | Grouse

To save themselves from a very high and very overdue Edinburgh Fringe tax bill, cabaret producers Dolly Diamond and Skank Sinatra decide to stage a deliberate flop for the Melbourne International Comedy Festival. But when word of mouth begins to spread and ticket sales start climbing, the two drag divas realise the show has taken on a life of its own, and they are no longer in control of its success.

The Performers features a vibrant mix of live vocals and lip-syncing, including Dolly’s riotous interpretation of Dolly Parton’s sombre "Me and Little Andy", driven as much by facial expression as performance. Skank’s medley of Kylie Minogue songs is slickly executed, as is her delightful theatrical rendition of the South African national anthem. It's a random group of songs, but it all works so well.

Dry Think, Therefore Dry Am review | Nick Schuller | Melbourne International Comedy Festival | Trades Hall

Nick Schuller would have to be the least excitable person performing at the Melbourne International Comedy Festival. The stand-up comedian returns with Dry Thing, Therefore Dry Am, another set of dry, unhurried observations, delivered in a tone so measured it undercuts the absurdity of the material.



There’s no overarching theme here, just a running list of thoughts and views from Schuller. They feel like the kind of weird and random ideas you’d say with your mates at the pub, except these aren’t the kind of thoughts most people are having. That’s because Schuller’s brain seems to operate on its own unique frequency.

Welcome to Hell review | Andy Balloch | Melbourne International Comedy Festival | The Improv Conspiracy Theatre

In these trying times, with the world seemingly on the brink of World War III, it feels more important than ever to find stable employment to carry us through this period of uncertainty. In Andy Balloch’s Welcome To Hell, Chief Officer of Recruitment, Admissions and Retention Ramone leads an onboarding session for our new role working for Hell. Literal Hell.

As we take our seats and prepare to learn how we, as fresh recruits, can help bring Hell on Earth, we’re briefed on past “success stories”. We don our lanyards and are encouraged to speak in one unified voice. The seminar is, we’re told, sponsored by the Catholic Church, a line that neatly signals Balloch’s willingness to push boundaries.

Maitriarchy review | Maitreyi Karanth | Melbourne International Comedy Festival | Ballers Clubhouse

Maitreyi Karanth began her stand-up career in her 40s. Now the 53-year-old Indian comedian has made her Melbourne International Comedy Festival debut with her show Maitriarchy. Being a woman of colour in her 50s, she brought a perspective not usually seen on stage, as she draws humour from lived experience, delivered with a bluntness that is softened by an easy, conversational storytelling style.



Karanth shares stories and anecdotes from her life, with a focus on family and marriage, alongside a fair amount of discussion on sex, because, shock horror, women in their 50s still enjoy sex. An Indian woman speaking so openly and frankly is not a voice often heard in these spaces, offering a point of view that is candid and unapologetically direct. That is very much her strength. She touches on controversial topics too, but with a glint in her eye, she consistently makes them land.



B48Y Crash Lands On Earth! review | Lukas Meintjes | Melbourne International Comedy Festival | The Motley Bauhaus

An alien spaceship has crashed into the Peel nightclub in Collingwood, with B48Y left to navigate their new human environment. B48Y Crash Lands On Earth! is a physical comedy and clowning piece that throws itself into absurdity and audience interaction, as this alien creature explores who they are, what identity is, and how it is performed and shaped in different contexts.

I have previously seen Lukas Meintjes on stage, but this marks my first time seeing him in a full clown show, and wow, is the skill undeniable. This is a physically demanding role sustained with impressive precision. His work is not only athletic, but highly detailed, with shifts in posture and facial expression doing as much work as the more hectic play.

The Breakup Variety Hour review | Ariana and the Rose | Melbourne International Comedy Festival | Trades Hall

Break-ups and heartache are rarely neat, they tend to be chaotic, messy, and experiences that many people spend a lot of time trying to make sense of. Coming all the way from Brooklyn, Ariana and the Rose brings her cabaret The Breakup Variety Hour to Melbourne, attempting to turn that turbulence into something structured and digestible. Using a mix of storytelling and 80s-infused pop songs, Ariana guides audiences through the six healing steps of a breakup, reframing recovery as a kind of staged journey.



The show struggles to establish a solid narrative backbone grounded in personal history. Ariana offers glimpses into her own romantic misadventures, but these instances are fragmented and missing a central thread that would allow audiences to connect more with her. Instead, significant time is spent outlining each step in detail, explaining what it is and how to move beyond it. Rather than seeing these stages lived and embodied, they are largely described, which reduces their impact. Like the tile, everything is laid out, leaving little space for nuance or discovery.



Australia's Worst Journalist review | Sweeney Preston | Melbourne International Comedy Festival | The Motley Wherehaus

For three years, Sweeney Preston worked at PEDESTRIAN.TV, Australia’s largest youth publisher, as a journalist, breaking stories like “There’s Been Yet Another Explosive Development In Brad Pitt & Angelina Jolie’s Family Saga” and “A Well-Known Aussie Gym Chain Has Finally Had It W/ Influencers, Banning Tripods At Its Gyms”. He also wrote dating advice articles, ironically while his own love life was in need of a rewrite. In Australia’s Worst Journalist, Preston blends his time in the newsroom with his mishaps in love for an hour of light-hearted comedy.



Preston’s delivery stays relaxed and aware throughout, which suits the material and keeps the tone grounded rather than overly stylised. His energy is consistently high, giving the set a sense of drive, even if the material doesn’t always match that momentum.