Top 10 Shows of 2024

Another year gone, another year of extraordinary theatre created and performed in Melbourne. I only managed to get to 111 shows (the shame!), due to being out of the country for four months, but as I have been doing for over a decade, I must compile a top ten list.

I say this every year but it's something that deserves repeating every year: sometimes the show that you remember for a long time after, is not the big splashy extravagant piece with recognisable names and a huge budget, but the one that was on for four nights with ten people in the audience. Support your independent theatre makers and venues - some can cost you as little as $20 and can be the most original, inspiring and thought-provoking performances you might see.<

There's already plenty to get excited about in 2025, so I urge you to take a risk, seek something new, unknown and different in the new year.

And here are my top ten shows of 2024:

Skating in the Clouds review

Summer and Autumn are two women in love, but despite appearances, all is not well in their fairy tale world. Written by Clare Mendes, Skating in the Clouds invites us into this whimsical space where fanciful skating parties are given the same level of urgency as our ever-growing environment and climate problems.
 
Rebecca Morton and Katrina Mathers play Autumn and Summer with great commitment. They distinctly show how different they are - with Autumn constantly trying to solve a leaking pipe whereas Summer remains fixated on the guest list for her decades away 70th birthday - yet also ensure we understand how they can be so drawn to each other.

Muse review

Merlene Hutt on the cyr wheel

When people see circus artists, they are generally left in awe by witnessing what the human body is capable of and how they are genuinely putting themselves at risk for our entertainment. But why do they do it? What drives them to want to perform in circus? The graduating class from the National Institute of Circus Arts (NICA) are here to tell us with their final year showcase Muse.
 
The show is devised as an exploration of where their ideas spark from. Jesse Holden officially kicks off the twelve acts with his hoop diving as he is constructing an IKEA-esque furniture. It's a strong opening with Holden executing smooth acrobatic sequences with his structure, while telling a humorous yet compelling story about finding inspiration from the unknown and going with the flow.

Zaffé review

Upon arrival to Zaffé, we are greeted by a host who tells us to take a seat inside. There are six long tables on either side of the room and there is plenty of conversation and chatter taking place. Once all the guests have settled, we are officially welcomed to the zaffé with a chorus of Arabic call and responses.

Stemming from the Muslim culture, zaffé is traditionally a procession at a wedding that is filled with love, warmth and energy. Except tonight's wedding has no bride or groom. The people in this room are the bride and groom and we celebrate this community and the love, warmth and energy that is present here.

Edging review

In Edging, Australian border control practices are explored through a queer lens and a smattering of pop culture references. Initially coming across as a bit of fun talking about getting into infamous German nightclubs and horoscope guessing, Edging takes a look at the treatment of refugees as they attempt to enter, and remain, in Australia.

Co-creators (along with APHIDS) and performers, Sammaneh Pourshafighi - who came to Australia as a refugee from Iran - and Eden Falk - who did voiceover work for the reality TV show Border Security - are a fascinating duo. It's captivating watching the power dynamics shift between them as they discuss the choices they have made in life that brought them to this moment and the moral and ethical implications of these decisions. The pair role play various airport scenarios, with a focus on the challenges faced by queer refugees during their visa applications.

弦外之影 Hidden Tunes review

Presented by Small Ripples Theatre, 弦外之影 Hidden Tunes is a Mandarin language pop musical focusing on the #MeToo movement at a prestigious music university. Exploring the themes of sexual assault and violence against women within a musical setting comes with its own challenges and sensitivities, and for the most part, this production does an admirable job at presenting entertainment through pain.

A group of students are ready to take on the new year at university under the tutelage of the revered and influential Professor Yang. When Xiao Qian (Lansy Feng) is assaulted by the Professor, rumours spread like wildfire across the campus, with even her friends uncertain as to who or what to believe. The story is predominantly told through the eyes of A Jia (Yujia Du) a new student and friend to Xiao Qian who strongly suspects something terrible has happened, but where acknowledging it would cause problems for her.

Cliffhanger review

Writer Holly Childs and choreographer Angela Goh have spent the last five years examining the idea of a cliffhanger, both in its literal sense as well as its storytelling device that keeps people hooked in and wanting more. Cliffhanger is the culmination of that collaboration and while the commitment is there, the result is a mixed bag of impact and exploration.

We are provided with a copy of the script to the production, so we know ahead of time Goh's lines. In some ways, this plays with the concept of the cliffhanger, of knowing what's going to come but not knowing how it's going to be delivered or when exactly.

My Brilliant Career review

Written in 1901 by Miles Franklin, My Brilliant Career follows a young woman living in country Australia in the late 19th century who desires something other than marriage and domesticity. Fast forward 120 odd years and this has been reimagined into a wonderful musical with book by Sheridan Harbridge and Dean Bryant, music by Matthew Frank and lyrics by Bryant.

Actors and musicians perform as one, with the cast adopting both roles. Kala Gare possesses an effervescent defiance as Sybylla, the teenager who wants more than to live happily ever after with a husband. Her changing moods and conflicting aspirations and uncertainties are superbly presented by Gare. She delivers many show-stopping songs that pull you out of your seat and right into the moment where nothing else exists except seeing her belting out a tune.

Peter and the Starcatcher review

Adapted to the stage in 2011 by Rick Elice, after the 2004 novel, Peter and the Starcatcher serves as an origin story for Peter Pan, Tinker Bell, Hook and Mrs Darling from Peter Pan. Two ships are bound for the kingdom of Rundoon tasked with delivering precious cargo. An assortment of characters find themselves onboard and through a series of circumstances and choices, end up stranded on a strange and seemingly uninhabited land. And so begins the whimsical tale of The Boy who doesn't want to grow up.

There is a wonderful ensemble in this production including Paul Capsis and Alison Whyte, who are always a delight to watch. Otis Dhanji as The Boy portrays a sensitivity and yearning for the apparently unachievable that is evident the instant he appears. Olivia Deeble shows great skill in displaying the deep fire and conviction that lies inside the stubborn yet fearless Molly. The scenes between Dhanji and Deeble present a touching and blossoming relationship, and their closing moments, while slightly rushed, are treated with considerable emotion and affection.

Lady MacBreast review

It's hard to believe that Po Po Mo Co (Post Post Modern Comedy) is almost ten years old. This queer collective of theatre makers has been making work as a group, and as individuals, that frames the world via a lens that is wild, absurd and stupid. Its new production of Lady MacBreast - no guesses as to what this is about - indicates there's no signs of them slowing down, and is a perfect reminder of the intelligence and creativity they possess.

Performed and devised by Kimberley Twiner, Lily Fish, Hallie Goodman and Phoebe Mason, Lady MacBreast does not shy away from going too far. While the narrative keeps true to that of Macbeth, the way scenes and characters are presented bring constant laughter and gasps of shock and surprise from the audience. The opening scene of the three witches meeting, with their ridiculously unkempt hair and not much else in terms of clothing, begins our queer and subversive journey of what John Waters' work would look like if he'd been around in Shakespeare's time.

Golden Blood review

In Golden Blood, a 14-year-old girl is left under the care of her 21-year-old brother, whom she hasn't seen for seven years, after the death of her mother. Through him, she is introduced to the world of gangs, drugs and violence, and it isn't long until this begins to enter the sanctuary of her home and changes the way she remembers her life before she became an orphan.

Merlynn Tong's performance as Girl is quite impressive given that we first see the character at 14 and watch as she grows into a 21-year-old woman. Her physicality, facial expressions and language is authentic and she perfectly captures the innocence of a child and the gradual erosion of that as she faces the harsh realities of life. Charles Wu as Boy delivers an equally remarkable turn as he presents himself with youthful bravado while allowing flashes of vulnerability to emerge as the trauma of his childhood becomes impossible to hide. The two make an exceptional pair and the brother-sister bond (or lack off) is easily established and deepened during the show.

William Shakespeare’s Reservoir Dogs review

In their latest production, Ghostlight League bring the worlds of William Shakespeare and Quentin Tarantino together with William Shakespeare's Reservoir Dogs. It's not a combination you would normally expect, but this retelling of one of Tarantino's best movies moved into the Victorian era is thoughtfully composed with a few surprises along the way.

Steven Hopley has done wonderful work in "translating" Tarantino's script, with notable scenes cleverly but accurately recreated to great effect. The opening scene where the group discuss Madonna and "Like A Virgin" appropriately sets the tone and the accompaniment of a live band playing period specific covers of the film's soundtrack enhances both genres.

Linda (for one more week) review (Melbourne Fringe Festival)

Linda is dead. Except she shouldn't be. There's been an administrative stuff up and she's actually one week early. So, she is sent back to Earth. For seven more days, in which Linda decides to throw caution to the wind, quit her job at Harris & Ford, and book herself onto a cruise. What's the worst that could happen? While we never meet Linda in Linda (for one more week), we instead witness the interactions and stories of various people on board the Anders & Cooper cruise ship.

Andy Balloch and Justin Porter perform as all the characters, ranging from a frustrated magician and his assistant, to lifeguards yearning for something more, to wellness workers with big aspirations. The sketches are self-contained but gradually they become to intertwine and cross paths with others which leads to some interesting narrative threads. This also means quick costume changes for Balloch and Porter, as well as switches in movement and voice work, which they seamlessly accomplish, until they start having perhaps too much of a good time.

Running into the Sun review (Melbourne Fringe Festival)

Before starting my review of Running into the Sun, I want to express how exciting it is that Nadiyah Akbar and Ben Ashby have relocated from Wellington to Melbourne and brought their dance and physical theatre company a2 Company with them, because we are going to be in for some amazing treats. It's actually a challenge to write a review that will do this show justice as there is so much to see, hear, think and feel, as this nine person ensemble take to the stage and through music, projections, movement, song and scripted scenes, explore how fucked up the world is while simultaneously leaving you feeling joyful and warm.

Global Smash Club review (Melbourne Fringe Festival)

My first foray into the world of Finucane & Smith was way back in 2010 with Carnival of Mysteries. I remember the sense of awe and excitement as I wondered from room to room, seeing what magic I would come across. In the 14 years following, Finucane & Smith have consistently put on incredible productions that focus on love, joy, connection and community. Their most recent one, presented alongside the Melbourne Fringe Festival, is Global Smash Club, which is also celebrating twenty years of Finucane & Smith. Twenty years of this dynamic duo giving their all, not only to their audience, but to the countless artists they have provided opportunities to allow their "voices" to be heard.

In Global Smash Club, an array of Finucane & Smith living legends come together through musical numbers, burlesque, dance and live art. It's a combination of old and new but with the structure and style of Global Smash Club, even previously seen acts retain their intensity, innovation and exhilaration.

Burlesque and performance artist Imogen Kelly dazzles in a routine that might involve the most impractical dress ever, but as a prop it is simply divine to watch how it’s used and guides their choreography. Maude Davey’s cover of The Angels' "Am I Ever Gonna See Your Face Again" is always going to hold a special place in my performing arts heart and seeing her do it again is a pure delight. The rest of the Finucane & Smith family, including Yumi Umiumare, Mama Alto, Zitao Deng, Xiao Xiao, Iva Rosebud, Piera Dennerstein and Kate Foster, captivate us in their respective acts and roles, and the sheer stage presence they possess as they move around the room and interact with each other and audience members is remarkable.

Prune review (Melbourne Fringe Festival)

Prune has such an absurd premise that it makes for the perfect Fringe Festival fodder. Written and directed by Isabelle Carney and Pat Mooney, Prune tells the story of a woman called Prune, who one day takes a bath and decides to not leave. Despite her family’s best efforts to get her out of the water, she refuses to budge. She likes it there.

Cue squabbling siblings, each with their own secrets, a husband who’s not sure what to do and a fumbling doctor with questionable skills and morals and suddenly Prune seems like the sane one. Maybe she knows something we don’t?

The casting is top tier with Hannah Camilleri, Oliver Coleman, Jason Geary and Jennifer Vuletic playing this highly dysfunctional family. Camilleri and Coleman bring excellent physicality, particularly Coleman as the anxious milk-drinking Chip. Camilleri is the easily agitated daughter who doesn’t appreciate being kept in the dark about her family’s issues while doing the same to them. She’s not necessarily an unlikeable character but Camilleri allows her to be more than just angry and shouting.

Sugar review (Melbourne Fringe Festival)

We all yearn to be pampered with love, affection and clothes, even if we have to literally work for it. In Sugar we are introduced to the seductive world of sugar babies and daddies and what happens when one person may have bitten off more than they can chew.

Written by Ro Bright, our protagonist, Sugar (Tomáš Kantor), takes us on the tumultuous adventure of becoming a sugar baby and the precarious relationship between their new-found daddy, Richard. It sounds like the perfect recipe for a cabaret, but the script is unable to deliver the drama or excitement that is expected, and we end up with a cursory exploration of Sugar’s journey and self-realisation in this world.

Hit n Hope: A Character Cabaret review (Melbourne Fringe Festival)

From its opening moments, Hit n Hope: A Character Cabaret is utterly ridiculous. Ridiculously hilarious. When they venture out into the audience and ask us "what kind of fish are you?" you just know you're going to be in for an incredibly riotous time with Sugar Bits (Nicola Pohl, Tessa Luminati and Stephanie Beza).

The three performers present various sketches on the male douche bags out there. It's a strong feminist show but with a sharp eye for comedy value and cleverly conveying just how impossibly foolish - and dangerous - men can be.

Even with audience participation, they create a safe environment for all. Their engagement, responsiveness and re-activeness to what is said and done in the crowd - even when they're not seeking anything - is very impressive. And it's the small things that make a huge difference. When someone awkwardly mumbles "oh my god I hate this", Pohl lets it hang in the air and plays with the silence and what has been said.

The Last Song review (Melbourne Fringe Festival)

In The Last Song, the world ending is no longer a concept but a reality. For two childhood friends, George and Ollie, it means honouring a long-held pact to spend their last day on Earth together. With alcohol, candy and a local radio station counting down to the ultimate last song, secrets and grudges are revealed that could make this end of the world pale in comparison.

The performances are quite entertaining, with Chloe Towan and Kim Devitt finding exciting chemistry and constantly keeping each other’s character on their toes. Devitt has plenty of fun as the carefree and outrageous Ollie with Towan playing a complementary contrast to Ollie as the straight and narrow George. The little bit of improv that occurs, is a fitting indicator of the confidence the two have with their characters and with each other.

Where the production comes unstuck is with Towan’s script which is missing dramatic tension, and it’s mainly because these two adults are still clinging to things that happened when they were in school. A lot of what the two friends share doesn’t include the other person and you can’t help but wonder if The Last Song would work better if it were between George and her fiancé or her mother where the stakes are higher.

Locus review (Melbourne Fringe Festival)

There’s something enticing about a show that will only reveal its location once you are at the designated meeting point. Locus is one of those shows, where a group of 30 people gather next to a car repair shop to begin their journey into the unknown.

We are greeted by one of our three hosts - Lawrence Leung, Vyom Sharma and Dom Chambers – and asked to select a numbered lanyard from 1 – 30 and a word from the 70 in a bowl that speaks to us and hide it inside our lanyard. During this introduction, one door closes and another one opens to a whole new world. Illusion meets reality and the scene for the rest of evening is set.

From here on, we are all known by our lanyards, I am number 9. Our hosts are L1, L2 and L3. This anonymity allows us to shed the shackles of our lives and enter the space with an open mind. The magic and illusions that the three perform are utterly baffling and mind-blowing. There are obviously logical reasons as to how these are executed – and I desperately want to know – but in the moment, you can’t help but believe. At one point we are invited to grab our phones and record the magic while our eyes are closed. Watching back the footage leaves me gobsmacked.

Ballkids (or, scenes from a friendship) review (Melbourne Fringe Festival)

Are there many of us who have maintained a friendship for over twenty years? Are there any of us who have held onto a best friend for over twenty years? In Liv Satchell's Ballkids (or, scenes from a friendship) we follow two people from the age of 13 at a ballkids training session for the Australian Open and how this fateful encounter would change Holly and Sam's lives.



I've said it constantly over the years, and I will continue to say it: it is just a matter of time until big things come to Izabella Yena. An immensely charismatic performer who consistently gives herself over to her characters and she is all aces as Sam. What seems like a straightforward role, Yena turns into an extremely layered and sensitive portrayal. Similarly, Michelle McCowage shows growth and development as Holly and skilfully uses moments from Holly's past to shape the person on stage. The two together display wonderful rapport with each other and you can see how they have found a deep connection between these two characters and share it with everyone in the room.



Seen & Heard review (Melbourne Fringe Festival)

It's been almost ten years since Rebecca Church debuted Seen & Heard - a variety show which gives voices to performers who do not have the opportunity to often speak due to their chosen careers. Think circus and burlesque performers, drag queens and sex workers. In this format, these people share personal stories that surprise, entertain and inform us as to who the person behind the persona is. After a six-year gap, the show returns to Melbourne Fringe for a new season, new storytellers and new stories under the direction of Church.

Wes Snelling is our host for the evening and he does a wonderful job of making sure this mixed bag of misfits stay on track. Of course, Snelling's alter ego Tina del Twist is a different story, causing a ruckus in the audience with her fishbowl of wine. Snelling's recount of his Rock Eisteddfod dreams is quite affecting and a reminder that no one puts Wes in the corner and there is no such thing as a small role.



Lazy Susan, recently announced as a cast member in the upcoming season of Drag Race Down Under, is a sheer delight as she discusses the reality of getting old and whether Botox is the way to go. This has Lazy Susan recalling how much she has pushed herself to achieve drag success and how her mother's cancer diagnosis impacted one of the biggest successes of her career. These performers are always so fierce and in control on stage and you can be caught off guard seeing them be genuinely vulnerable and emotional.

Con 2077 review (Melbourne Fringe Festival)

It’s the year 2077 and it’s been fifty years since a meteor wiped out every comedian on earth. Every single one. Except one. Con Coutis. And he is humanities last hope. Woken up from a cryosleep, Con must now try and rediscover the hidden artform known as “the joke” and save the world. Intense stuff. Fortunately, Coutis easily finds the humour in such a dire situation resulting in plenty of laughs with Con 2077.

The show begins with a bit of straightforward stand-up with Coutis discussing his recent move to Brunswick but his quirkiness and the true nature of Con 2077 gradually begins to come through. The further we get into this epic adventure, the more out there the acts become. Despite such high stakes – the world will never laugh again! – Coutis keeps the tone and pace calm and allows time for his jokes to breathe. The way he can simultaneously go big but stay small is quite an achievement.

Coutis’ warmth and openness allows him to quickly build rapport with his audience. The playful audience participation, which happens from the safety of your seat, feels like you’re having a silly time with a friend.

Con 2077 is overflowing with impressive lighting and sound cues – including some unique voice recordings past Con makes for future Con to discover – and while there are a few gaffes here and there, Coutis smoothly incorporates them into the story and elicits even more laughter than planned.

A Scary Thing Happened By The CAMPFIRE review (Melbourne Fringe Festival)

Where do men go to become better men? Camping of course. In circus show A Scary Thing Happened By The CAMPFIRE, two mates go bush not knowing they are being stalked by a forest dwelling creature. Escaping the beast proves more difficult than it sounds, as it may involve them talking to each other about ... their feelings.

The show is co-created by Alonso Pineda, Samuel Boyd, Louis Green and Griffin Hooper, with Pineda and Boyd serving as directors and Green and Hooper as performers. As circus, it is very entertaining and recent NICA graduates Green and Hooper display great skill in their paired acrobatics as well as their solo routines. There are a few wobbles here and there, but seeing them work through them and eventually execute them is where the excitement of circus comes from.

The idea of two men going camping and having to deal with their emotions and talk to each other through horror circus is an extremely interesting one but unfortunately this is where the show misses the mark. A stronger narrative is needed to bring this together as it is too abstract and vague in its current form, especially the conclusion which is quite muddled and confusing as to how we've reached this ending.

Assigned Magician at Birth review (Melbourne Fringe Festival)

We all have a part of ourselves we don’t present to the outside world, the secret self that we don't want anyone to know about. Tricksy Collins has been doing that for many years. She has been an award-winning comedian but … also a professional magician. Quelle Horreur!!! But she’s ready now to publicly embrace the title of magician and in Assigned Magician at Birth, she talks about the magic community and the challenges of trying to fit in when something is not quite right.

Collins is completely in her element and while there are some nerves apparent in the opening moments, her rapport with the audience quickly has them onside and she begins to enjoy herself with her acts and her audience even more so.

This Is The Dust We're In review (Melbourne Fringe Festival)

Goodness, This Is The Dust We're In is an absolutely delightful show. Hot Lunch research and investigate existing stories and narratives, and in this production, they have turned their heads to Ray Lawler's Summer of the Seventeenth Doll, referred to as "the most famous Australian play ever written", with its exploration of growing up, gender norms, masculinity and idealisation vs. reality. It’s a lot to unpack in an hour, but Hot Lunch make use of every second to cover this and then some.

Written, developed and performed by Delta Brooks, Rebekah Carton, Thomas Richards and Henry Kelly, the quartet present their analysis in three parts: Nostalgia, Growing Up and Dreams vs Reality. Themes, characters and passages are utilised from the text liberally and loosely that allows Hot Lunch to place their own interpretation of how we can come to understand such an influential text.

I Hope This Means Something review (Melbourne Fringe Festival)

I Hope This Means Something is Patrick Livesey's latest solo performance and boy, have they come a long way since their debut solo work, The Boy, George, from all the way back in 2018. Livesey plays a young activist Corinthian whose move to Melbourne for a job with an environmental NGO sets in motion their downward spiral into saving the planet from its biggest threat, climate change.

Livesey delivers a fantastic performance as Corinthian. Their gradual transformation into a zealous climate activist is evident and you can see how their physicality, facial expressions and speech begin to change, begin to be more frenetic and impassioned. Further to this, Livesey takes on the roles of all the other people in Corinthian's life, including their mother, work colleagues and grindr hook ups, and for the most part, they give equally authentic portrayals to these people as they do to Corinthian.

Victory Lap review (Melbourne Fringe Festival)

Victory Lap is a semi-autobiographical one-person show by Mashaka Gunnulson that gently and sensitively explores mental health and suicide with a nostalgic look at friendships gone by, and what saying goodbye feels like.

This is a meditative tale where not much happens on stage but plenty takes place in our minds through Gunnulson's descriptive language and the vivid imagery it conjures. One particular scene where a character is visiting a morgue paints a highly detailed picture of what is being seen, heard and smelt. Their direction of Adam Marks as Billy is minimal yet considered as it allows the performance to be in tune with the tone of the story.

Kinder review (Melbourne Fringe Festival)

Drag Queen extraordinaire Goody Prostrate is getting ready for a scandalous night out, but a misunderstanding has them realising they are performing drag storytime for children and not an adult-themed drag show. With the clock ticking, Goody needs to come up with something appropriate, and fast. Written by Ryan Stewart who also delivers a sensational performance as Goody, Kinder opens the conversation on the politics surrounding children and queerness.

Stewart is incredibly passionate and committed as Goody, showing exceptional control over the character and comfortably navigating the highs and lows of Goody's temperament and personality. Their choreography and lip-syncing acts keep in line with who Goody is, and you can easily see that Stewart has become Goody Prostate.

Gina Rhinestone: Pig Iron Queen of Asstraya review (Melbourne Fringe Festival)

Tina Arena’s "Chains" and Merril Bainbridge’s "Mouth", iconic Australia pop songs, greet us as we take our seats for Kimberley Twiner’s Gina Rhinestone: Pig Iron Queen of Asstraya. The political satire on Australia’s richest woman digs into the life of Gina Rinehart while raising questions about how much wealth and power one person should possess.

Twiner makes a monster of an entrance as she rides atop a bedazzled child’s toy excavator. She performs a number of sketches from “Gina Rhinestone’s” life, including baby Gina’s first words to the valuable “daddy thoughts” she has been raised on, with some incredibly racist comments about Indigenous people made by her father, comments that Rinehart has never publicly condemned.

We are also treated to the more adult events in her life, such as being named Telstra’s Businesswoman of the Year, where she shares her own “me too” ordeal, and the debacle over her demands that a portrait of her hung at the National Gallery of Australia be taken down. Twiner finds marvellous humour in these sketches, sometimes exaggerated and sometimes subtle, but mostly cleverly highlighting the power and influence that Rhinestone’s wealth has afforded her. Some toilet and bodily function gags undermine the thoughtfulness and consideration that Twiner has put into the show and perhaps there's a need to reconsider those moments.

I'm Fine review (Melbourne Fringe Festival)

Saxon Evans is a 29-year-old dental assistant who is hurtling towards gay death... he is turning 30. But does his depression run deeper than just getting older? Written and performed by Evans, I'm Fine is a one-man play that explores millennial mental health and navigating self-acceptance and belonging.

Performing as a character based on himself, Evans has a pleasing presence on stage that is evident from the moment he appears. His pace, tone and delivery of lines highlight his personality and perspective of how he sees and understands the world around him, and in turn, establishes a strong connection with the audience.

Even as he deals with mental health, suicide and self-harm, Evans finds good doses of humour to scatter throughout I’m Fine, ensuring that we are never left overwhelmed with what we are learning and comprehending the gravity of the circumstances he is in.

While Evans is an engaging performer and the narrative is entertaining, the structure remains a little rough, particularly with its ending. Evans provides great insight into the mind of this angry dental assistant, but the final act feels hurried and concludes quite abruptly. Some re-working of this would ensure this part of the play is afforded the same care and consideration as the rest of the show.

Julia review

12 years ago, Julia Gillard delivered a speech that was voted as the most unforgettable moment of Australian TV history by Guardian readers. The "misogyny speech" was a heart pounding 15-minute parliamentary address by Australia's first and only female Prime Minister. In Julia, playwright Joanna Murray-Smith entrancingly brings to the stage pockets of the former Prime Minister's life, from when she was an 8-year-old child to her formative years and her ultimate ascension as Prime Minister of Australia while centering on this world famous speech.

Murray-Smith has done an exceptional job in not only showcasing these specific episodes of Gillard's life, but putting them together where the narrative can flow and build organically. While these may be stories that we know - like the barren fruit bowl and the infamous outcome of her professional relationship with Kevin Rudd - hearing them here, together, you begin to comprehend the enormity of abuse and harassment Gillard faced during her term as Prime Minister.

Ghosts review

In Henrik Ibsen's Ghosts, a family tries to move forward after the death of its patriarch, but there are secrets and scandals, that unlike the recently deceased, will not stay buried for long. This recent adaptation by writer Jodi Gallagher adds an Australian atmosphere to the proceedings allowing the drama unfolding to feel more urgent and sordid.

The design elements all support this Australian environment particularly with Steven Mitchell Wright's set design, with events taking place within the skeleton of a two-storey house that still manages to symbolise wealth and privilege. It is utilised well by Wright, who also serves as director, in the way the characters interact with it, climbing through it, peering through windows and even standing on its roof. Ben Hughes' subdued lighting and Leahannah Ceff's hypnotic composition and sound provide highly successful methods in drawing us into the narrative.

Multiple Bad Things review

In Back to Back's new work, Multiple Bad Things, three employees in a warehouse spend their day putting together an ambiguous structure. As they complete this task, they take part in conversations and present behaviours focusing on inclusion, equity and diversity.

As you walk into the theatre, you are instantly captivated by Anna Cordingley's set design. Erected like a triptych, a computer workstation is positioned on one side, with numerous animal figurines decorating the entire desk. On the other side rests an inflatable flamingo float. In between the two are a variety of gold-coloured pipes and tubes in a half-finished construction that dominates the stage. Cordingley's aesthetic skill extends to the costuming of the cast, with Simon Laherty, Sarah Mainwaring and Scott Price appearing in distinctive orange uniforms and Bron Batten dressed in pink, looking like she's just stepped out of a Barbie movie.

Enter an alluring bachanalian world with new immersive experience, When Night Comes

With much anticipation, Broad Encounters' new immersive experience is coming to Melbourne next month. After the record-breaking and award-winning production of A Midnight Visit and the recent, equally captivating Love Lust Lost, Broad Encounters are back with something different, something wilder, and something more rousing than ever before.

We spoke with the minds behind this upcoming theatrical adventure with co-creators and directors, Kirsten Siddle, Mike Finch and Scott Maidment.

 When Night Comes appears to be Broad Encounters' most ambitious and exciting project to date. Promising a unique, multi-sensory and intoxicating performance with theatre and cocktails, When Night Comes invites people into a tempting, intimate soiree with visions, sounds, smells, tastes and feelings to be met via its cast of sublime characters.



When Night Comes was born from an earlier work by Broad Encounters over two years ago, A Journey Most Unusual. "This was also for small groups only where they journeyed within a fantastical world where the senses were indulged and ignited," Siddle tells me. "I’ve often contemplated Hedonist and Dionysian philosophies and wanted to explore this more deeply in something that argued for sensorial pleasure and delight, both physiological and those of a magical and intuitive nature. Like much of our former work, When Night Comes, aims to be an escape from the ordinary, and an evening of marvellous extraordinary."

The Last Word review

Imogen Whittaker likes to have the last word. In her cabaret The Last Word, and as she closes out her 20s, Whittaker reflects on that crazy little thing called love and the relationships she's had in her life.

Whittaker is an engaging storyteller and within the first few minutes of the show, her captivating charm hits every corner of the room. She finds great segues as she moves from song to song without having them feeling shoe-horned in. She's clearly thought about the structure and the purpose behind every little heartache she shares with us. She maintains a strong rapport with the audience and the repeated callbacks and pop culture drops create an atmosphere of familiarity, warmth and vulnerability in the room.

Share House: The Musical review

Living in a house share is a rite of passage for most people. It is the period of your life where you must look after yourself and do all your own cooking, washing and shopping, while navigating the trials and tribulations of getting along with who you've chosen to live with. Share House: The Musical is built on the success of Jude Perl's 2017 comedy-cabaret Roommates: The Musical, but now there's a 15-person orchestra and four actors joining Perl on stage as she tries to negotiate the dramas of living with others and the issues that arise from that.

Isabelle Davis and Anita Mei La Terra play Perl's housemates with Davis taking the role of the harsh Jane who has been friends with Lucy since high school, and La Terra being the super positive Alice, who is the new addition to this house. With the dynamics changing due to a third housemate, all three are forced to question whether this arrangement will work for them. The three actors, especially Perl, dazzle with their vocal performances and while all songs are enjoyable, the songs they sing together are extremely fun.

360 ALLSTARS review

360 ALLSTARS is a circus show that brings the urban streets into the theatre. With acclaimed international performers, a thumping live soundtrack, and animated projections and lighting, it promises to be a phenomenal evening of groundbreaking circus. Sadly, this show may have to rethink its title as while the artists are talented, this spectacle offers nothing exciting or unique to make it stand out among the rest.



There is a lot of filler in this production with individuals introduced and re-introduced a number of times and having the audience cheer - or scream - them on. The acrobatics are impressive and clearly require a high level of skill and strength, but they are tediously one-note where it seems like they have just one trick up their sleeve that is repeated. Yes, this might be aimed at children and families, but it doesn't mean that the same level of craft in adult circus should not be applied here, particularly as there are many Australian independent circus troupes doing this incredibly well.

The Roof Is Caving In review

There's nothing quite like the excitement of moving into your own home and the freedom of doing what you want when you want. But there's always a dark cloud looming over you as you are at the beck and call of real estate agents and trying to foster a mutual relationship of respect between these strangers you have chosen to live with. In The Roof is Caving In, two university students move into their first share house and face the internal and external struggle of constantly compromising to hold on to the serenity and exhilaration of being in their first home away from home.

Written by Matilda Gibbs with Belle Hansen and Jack Burmeister, The Roof is Caving In is a highly entertaining absurdist look at the challenges in renting such as rent prices, housemate dramas and the vulnerable position renters are regularly in. The narrative moves at a rapid pace but still takes the time to highlight these issues while building towards its inevitable climax.

The Librar(IAN) review

If anyone was going to become a librarian, it would be Ian. I mean, his name is in the word librarian after all. Written and performed by Lochie Laffin Vines, The Librar(IAN) is a sweet, light-hearted look at Vines' own experience of working in a library without being saccharine.

Vines does a wonderful job in conveying the importance that libraries play in the community, one of the rare places where money is not needed to enjoy your time there. From the close-knit family that is formed within staff to the regular visitors who are sometimes there just for a chat and a sense of belonging instead of looking to grab a book and leave. Vines is an engaging storyteller who brings the world of libraries to life through his affection for his characters, who are no doubt drawn from his five years as a librarian.

He review

He commences with a man crawling out of the ocean and onto a beach. He looks frayed and exhausted. He has returned to a small town in El Salvador, a place he swore he's never set foot in again. Written by Rodrigo Calderón, He is a heartbreaking love story of a man growing up in a community run by toxic masculinity and homophobia.

Calderón gives a captivating performance as a man grappling with the trauma he has experienced. While the story veers into some serious melodrama and improbable twists, Calderón is able to keep the work grounded and allow for genuine emotions to be released and expressed. Calderón also brings great physicality to the role and transfers the man's emotional turmoil into a striking physical representation.

Hold Me Closer Tony Danza review

It's been over 50 years since Elton John asked Who's The Boss? sitcom star Tony Danza to hold him closer. Or did he? We have Friends to thank for this confusion. Queensland-based dance company The Farm have taken this malapropism and turned it into an immersive dance-theatre show with Hold Me Closer Tony Danza, where two dancers seek out connection and understanding in a world that is overflowing with information, and misinformation.

This work is intelligently presented yet retains an element of fun and silliness. A large gold circular sheet of thick plastic rests in the middle of the room, and running across the centre of it is a wrinkled gold wall with artists Kate Harman and Oli Mathieson standing on either side of it. The audience is also split, where they can see one performer and only hear the other behind the wall.

Peacemongers review

Bigotry. Discrimination. Exclusion. They can all go in the bin. We don't need them in society. In 2020, artist collective The People (headed by Morgan Rose and Katrina Cornwell) began to write about this. Along the way, a collaboration was formed with artists Sonya Suares, Samuel Gaskin, Kate Hood, İbrahim Halaçoğlu and Zachary Pidd, and gradually their approach changed from looking at what they don't like about society, to what they do like, and what a new world order should resemble, with a focus on inclusion. Which brings us to Peacemongers, an interactive, experimental, live art, musical theatre stage show that comes with dinner. Quite a mouthful!

Having seen this diverse group of performers (except for Halaçoğlu) in other projects, I was excited to see what the evening had in store for us. Hood unfortunately was unable to be part of the season due to interstate work, but she is cleverly kept as an integral member of the production through pre-recorded segments that blend in perfectly with the live performances. The group shares the challenges they have faced over the last four years, with references to covid and lockdown times and the numerous funding rejections they receive. They recall Peacemongers' evolution, including several working titles that reflected the nature of the project and the difficulties of creating a work that seeks to embrace everyone and provide a safe space for all.

RBG: Of Many, One review

There isn't much new to say about Ruth Bader Ginsburg. She was the second ever woman - and first Jewish woman - to serve as a justice of the Supreme Court of the United States, where she spent her time as an advocate for women's right and gender equality. In RBG: Of Many, One, playwright Suzie Miller traces Ginsburg's life from her Brooklyn-based childhood in the 30s through to her death in 2020, at the age of 87.

Miller covers many of the milestones in Ginsburg's life, whether they be personal or professional, negative or positive. Telling the life of a person whom most people know can result in a paint-by-numbers structure as we move towards their death but in this play, Miller has Ginsburg constantly moving from the past to the present and swapping emotions and storytelling devices without notice. It builds tension and surprise, where even though we know what happens to Ginsburg, we don't know how it is going to unfold and how it will be presented in this instance.

Things I Know To Be True review

Living in the suburbs of Adelaide, the Price family appear to be leading a pretty charmed life. Home owners, good careers, marriage and children and going on holidays. But beneath all this deemed success lies frustrations and fears that gradually reach the surface and threaten the foundation of everything this family holds tight in Andrew Bovell's Things I Know To Be True.

Written in 2016, Bovell's script remains a powerful punch to the gut in its exploration of how love can heal and hurt us, and the generational changes of what the Australian dream is. Bovell takes the time to establish the relationships between the parents and their four children, which each child given hefty scenes of confession, either through monologues or conversations with their parents. Kitan Petkovski allows these varying degrees of strained relationships to develop through his astute direction and guiding authentic and sincere performances that tackle some challenging topics.

The Almighty Sometimes review

Mental illness and identity take centre stage in Kendall Feaver's acclaimed The Almighty Sometimes. Anna (Max McKenna) is an 18-year-old with a mental illness who has been medicated for the last seven years. When she rediscovers short stories she wrote as a child, she begins to question how much of her personality and identity has been changed or hindered due to the medications she has been taking.

McKenna delivers an absolutely captivating performance as Anna. On the cusp of adulthood, they show Anna as simultaneously confident yet fearful, certain but confused. Their ability to constantly switch from sweet-natured and kind to rude and spiteful, sometimes within the same scene, is testament to the commitment McKenna has put in developing their character and making sure it is as authentic as possible. Nadine Garner as Anna's mother Renee, is highly compelling as she attempts to be understanding, nurturing and calm with what's happening to Anna while preventing the world that she has so carefully built from falling to pieces. Garner clearly displays the love that Renee has for her daughter and how desperate she is for her to lead a life without pain.

Lie To Me review (Melbourne International Comedy Festival)

Josh Staley is here to tell us that magic is not real. It's all about illusions, sleight of hand and powers of persuasion. But when you watch his magic show Lie To Me, and witness his acts, you can't help but wonder if he's actually lying to us, and magic is, actually, all around.

The intimate setting of Staley's show means there are no shining lights, dramatic music or pauses to distract us from what's happening. The audience is three deep and very close to the front, and yet, Staley pulls off some utterly baffling acts where it is impossible to see how he accomplished it and how no one in the audience was able to figure it out.

Putting On A Show review (Melbourne International Comedy Festival)

How do you describe Alex Hines' new show Putting On A Show? It's about the trauma of being locked in a McDonalds freezer as a child, but it's also not. It's about being a millennial with ADHD, but it's also not. It's about the ethical and moral issues about fast fashion and online stores like Shein, but it's also not. It's everything you'd expect from Alex Hines, but guess what... it's also not. Perhaps the best way to describe it, is part stand-up, part sketch, part confessional but fully twisted and totally fucked up. And it's absolutely brilliant.

Hines has always had a magnetic presence, particularly as alter ego Juniper Wilde, but here, she pulls us further into her world. As Juniper she can lean into the bat-shit crazy and looseness and run with it, but in Putting On A Show, Hines is herself, and while she is still outlandish and over-the-top, there is a vulnerability present that's not been seen before. References to her ADHD diagnosis, childhood experiences and her family, while not exactly of a personal nature, strike a chord with the room and strengthens the connection between her and her audience.

Karate Man: A Live-Action Video Game review (Melbourne International Comedy Festival)

It's 1988 and Karatetown has been overrun by pesky goons. Luckily Karate Man is here to save the day. But can he expel all the goons AND get the girl? Karate Man: A Live Action Video Game comes from the ingenious minds of BEAK (Daniel Scarratt and Bruno Dubosarsky) where the entire story takes place in the style of an 80s arcade game.

The audience gets to dictate the narrative and all of Karate Man's movements, because as the show title subtly alludes to, this is a live-action video game. We are given a demonstration of the controller functions and then it's up to us to lead our hero to victory. Through some creative use of Bluetooth technology, when someone presses 'punch", the word is boomed over a speaker and Karate Man punches. If "left" is pressed, then the word left is announced, and Karate Man moves left. It's a fantastic way to get audience invested and engaged in the story.

She Slayed: A Drag Murder Mystery review (Melbourne International Comedy Festival)

What happens when four drag divas try to put on a show together? With such big egos and big hair, there can only be one answer: murder. She Slayed: A Drag Murder Mystery is a deliciously camp, uproarious whodunnit of a drag queen who is viciously murdered - but in a fashionable way.

Created by Nicholas Reynolds, She Slayed feels like it's a drag show pretending to be a comedy show instead of a comedy show pretending to be a drag show, and this is partly because of the four cast members and the confidence and experience they have as performers. The script, while allowing for plenty of ad-libbing and improv, is full of great one liners and sassy retorts between the characters. Reynolds has played to the individual strengths of the cast and so the concern here is not about finding the truth of their character but to go out there and have fun, which spills out into the audience.