Beetlejuice the Musical review

Beetlejuice the Musical has landed in Melbourne with a blaze of black-and-white stripes, undead antics, and high-octane madness. Adapted from Tim Burton’s beloved 1988 film, this musical version cranks up the mayhem, blends in a hefty dose of heart, and delivers a gloriously grotesque night at the theatre.

The book by Scott Brown and Anthony King honours the original film and Burton’s offbeat vision while injecting a welcome touch of originality. Lydia’s grief and her complicated relationship with her father take centre stage, adding depth and emotional complexity. The chaos, macabre oddities, and laughs from the movie are all here, but now there's added warmth and feels.

Betrayal review

In Harold Pinter's 1978 play Betrayal, we witness a relationship breaking down, or flourishing, depending on which you're referring to, and which direction you're looking. Told in reverse, the story begins with the end of an affair and winds back to the first stolen kiss and the impact this has on our three leads. Presented by Thursday's Child, this production offers a compelling interpretation of Pinter’s icy dissection of love, loyalty and loss.

There are no twists here, as the audience knows from the outset how it ends, or starts. The challenge then, is to make the journey back engaging and intriguing, and the cast more than rises to the occasion. Heath Ivey-Law, as the deceived husband Robert, delivers a measured, emotionally aloof performance whose true feelings about his wife's betrayal remain just out of reach. He's a character we can't get a read on, and that ambiguity adds to the tension.

Humans 2.0 review

If 2017's Humans explored the concept of what it means to be human, then Humans 2.0 smashes straight through it. This new show from Circa is a moving study of connection through circus.  Directed by Yaron Lifschitz, it's an unforgettable evening of skill, sweat, and spirit as we delve into the challenges of being human.

From the very beginning, the cast of eleven command total control of the space - and us. Every second feels earned, as they throw themselves into the air and work in perfect sync to execute acrobatic feats that demand absolute commitment to one another. You see the sweat dripping off their bodies, watch their chests rise and fall with heavy breathing, and marvel at the muscular, sinewy frames that are in constant motion.

The Lord of the Rings - A Musical Tale review

I’ve never read The Lord of the Rings or seen the films, but you shouldn't need prior knowledge to enjoy a show, and that’s exactly why I was excited to see Lord of the Rings - A Musical Tale. I was curious how 1,200 pages of epic fantasy would be adapted into a three-hour musical, and even more intrigued by how this world would be conceived in theatre.

Visually, the production is captivating. Simon Kenny’s set design draws the audience into Middle-earth with subtle, seamless transitions as the story moves through various landscapes. The use of puppetry to bring creatures and enemies to life is a standout feature, cleverly used to build tension and horror within the limits of live performance. The costumes and make-up are consistently eye-catching and detailed, with the Orcs' imposing black outfits and masks particularly effective in conveying menace and power. Gollum is another highlight that convincingly displays what centuries of living underground can do to someone's face and body. Meanwhile, Galadriel’s golden robes convey the ethereal radiance and otherworldly presence of the Elven queen.

Hive City Legacy - Naarm Chapter review

Explaining what Hot Brown Honey does isn’t easy. For over a decade, they have presented feminist productions that span dance, comedy, circus, spoken word, and music, all while confronting racism, colonialism, and gender inequality with clarity and power. Their Hive City Legacy project has BIPOC femmes in the arts join forces to create original work that reflects the unique talents of each city’s cast.

Following earlier seasons in London and Dublin, the third instalment - Hive City Legacy: Naarm Chapter - arrives in Melbourne. Here, seven local BIPOC femme artists share their stories and voices in a performance grounded in genuine collaboration and mutual support.

Bernie Dieter’s Club Kabarett review

Bernie Dieter has taken over North Melbourne's Meat Market with her spectacularly electric Club Kabarett. It's an evening to forget our burdens and worries, shed inhibitions, and indulge in the joy and defiance being presented on stage. Before the show begins, the artists mingle through the crowd, giving a taste of the cheeky and saucy humour that awaits us. And once it kicks off, it is a non-stop ride of thrills and exhilarating chaos.

As our MC, Dieter seduces us into a night of revelry and debauchery. Her flirtatious, loud personality connects with everyone in the audience, and you can be sure that if she calls upon you, there is no willpower on Earth strong enough where you will be able to decline her invitation. But she takes care of us; she is genuinely happy to have us in the room and to perform for us. Her cover of Martha Wainwright's "Bloody Mother Fucking Asshole" has us all holding our breath, captivated by her powerful vocals and potent message she conveys regarding the state of women's rights today.

Everything That Happened at Number 68 review (Melbourne International Comedy Festival)

Having lived on my own for the last decade, the memories of share housing are far behind me. While I don’t miss it at all, it's a rite of passage that most of us go through. In Everything That Happened at Number 68, Nick Robertson unpacks his own rite of passage through living with strangers who gradually become friends, and the random and messy antics that linger in your heart and mind for years.

There’s a cosy and relaxed ambience as you walk into the venue, some chilled Sunday afternoon tunes playing (even if it's a Wednesday evening), and Robertson already on stage, offering us cushions, blankets, tea, and lozenges. It’s fittingly homely. Once we’re settled in, he begins to recount the fateful day he interviewed for a room in a share house, and everything that unfolded in the years that followed.

Non Stop review (Melbourne International Comedy Festival)

Circus Oz returns to the Melbourne Town Hall for the first time in over 20 years, and they’re not holding anything back. Their latest show, Non Stop, lives up to its name from the instant it begins, kicking off with a breathtaking trapeze act that sets the tone for the rest of the production: high-energy and brimming with spirit. There’s no downtime, just sheer talent.

David Trappes absolutely dazzles with a jaw-dropping bowling ball juggling and balancing routine that has the crowd both gasping and cheering. The ensemble scenes are equally thrilling, especially the finale’s flying trapeze, which features a glorious group sequence. But Non Stop isn’t all about acrobatics, it also finds room for some superb clowning. Cleverly choreographed stumbles, perfectly timed trips, and joyful physical chaos prove that circus doesn’t need to reinvent the wheel or flirt with danger to be entertaining. Sometimes, a stumble and a grin are more than enough. And there's plenty here.

I'll Allow It review (Melbourne International Comedy Festival)

Re-reading the description of Bronwyn Kuss' new stand-up show I'll Allow It, I realise it has absolutely nothing to do with the material she presents. Was it written before she knew what it was going to be about? Quite possibly. Even the title doesn’t tie into anything she covers. Does it matter? Not in the slightest. If you’re looking for a show that delivers on its blurb, you're better off elsewhere. But if you’re looking for a show that brings the laughs, then you’re in the best place to be.

This is my second year watching Kuss, and while she leaned heavily into dry and sarcastic in 2024, in 2025, she feels lighter - still dry, still sarcastic but there's a bit more of a playfulness to her. Her content roams widely, but most of it can be grouped into the three great certainties of life: family, death and board games. Each of these themes is covered through a variety of approaches and reflections, and are not given a specific length of time, but rather she weaves between them.

Dysfunctional Family Jukebox review (Melbourne International Comedy Festival)

You know you’re having the quintessential Melbourne Comedy Festival experience when the performer has to scrounge for extra seats for a sold-out crowd, the tech fails, and while she’s troubleshooting it live, she has to keep the audience entertained with off-the-cuff banter. But as Freddie Arthur points out, this could actually be part of Dysfunctional Family Jukebox. It’s not - obviously - but we roll with it, because it’s fun to watch. A little bit of schadenfreude? Sure. But it’s a comedy festival, you’ve got to find the funny where you can.
 
Arthur has plenty of it in her hour-long set as she explores the skeletons in her family's closet through a tragicomic lens. With highly descriptive language, she introduces us to her homophobic mother, abusive father and a cousin who has a penchant for public masturbation. Not exactly go-to material for stand-up, but Arthur displays brilliant skill in finding the humour in the bleak without downplaying the darkness, and most importantly, it gives her audience permission to laugh. She finds a great pace, with considered pauses that give heavier moments the space they deserve without leaving their weight on the audience.

90 Day Comedian review (Melbourne International Comedy Festival)

Dalin Oliver is a 90-day comedian. That’s how long his visa to Australia lasts before he heads back home to South Africa. But until then, he’s touring the country, sharing his observations about Australia while reflecting on his upbringing and life back home. It's an hour of some great storytelling, brilliant banter and plenty of laughter.

The room is overwhelmingly South African, which is not surprising, but somehow still surprising. Where have they all come from? But Dalin makes everyone feel welcome from the opening moments of 90 Day of Comedian, whether they’ve come for a taste of home or are just here for a good laugh. It helps immensely when the things he says South Africans are known for, like incredible self belief in being able to do anything with no experience, is actually supported - with evidence - by those in the audience.

Louis Prandolini Cracks a Cold Case review (Melbourne International Comedy Festival)

Louis Prandolini is on the hunt for a case. Just like Batman, Poirot, Holmes, and Veronica Mars, he’s not going to let up until he gets answers. And so begins Louis Prandolini Cracks a Cold Case. From Fitzroy to Docklands for shady night-time dealings, no stone is left unturned in his quest to unturn an unturned stone.



The show is split into two performance styles. One is a stand-up-style retelling of Prandolini’s search to find (and solve) a mystery, and the other sees him as a noir detective, piecing together clues. During these scenes, pre-recorded audio plays as his inner monologue, timed impeccably for maximum effect. Prandolini is an engaging storyteller and does a wonderful job of not only setting, but also painting the scene.

Popera: Sex, Death & Politics review (Melbourne International Comedy Festival)

At first glance, you would think that opera and pop music are on polar opposites of the spectrum. But Uma Dobia is here to drag them onto the same stage and make them hash it out. Popera: Sex, Death & Politics is part cabaret, part game show, and entirely committed to examining how these two musical worlds intersect, particularly in the way they handle (or mishandle) sex, death, and politics, especially when it comes to the treatment of women.

Unfortunately, the evening I attended had a number of tech issues, both sound and visual, resulting in Dobia singing the opening track a cappella. Dobia took it all in her stride as the wizards worked their magic behind the curtain to get everything up and running; improvising a few songs and instigating some banter with the audience.

Sublime Avenue review (Melbourne International Comedy Festival)

Neighbours. Everybody needs good neighbours. That’s the saying isn't it? While it may not be Ramsay Street, Sublime Avenue comes with its own set of unique characters and in the show with the same name, Taylor Griffiths explores the charms - and the not-so-charming aspects - of suburban living.

There's lots to laugh at in this solo character sketch show, but the highlights would have to be her portrayal of a construction foreman detailing to his staff the 230 things they can no longer do on site due to OH&S regulations, and a local voyeur who’s hell-bent on catching couples in the act of kissing. Griffiths also has some lovely exchanges with her audience between sketches, which feel genuine and convey her ease with what she is doing. Despite its fictitious nature, this adds an extra layer of authenticity to the work and for us to connect with these people.

Government Approved Vote review (Melbourne International Comedy Festival)

A lot of people feel very disengaged with politics, particularly at the moment with what is happening in America and by effect, the rest of the world. Sam See is not one of these people. In Government Approved Vote, the Singaporean comedian presents a non-political political show that explores the history of politics, campaigning and voting, and why empathy is the most important tool at our disposal when it comes to being good citizens.

See approaches this from a broad historical perspective, but at times he singles out specific events, including elections where the percentage between final votes of two parties is always smaller than the percentage of people who chose not to vote. Understanding that he can't constantly tailor his content to each country he visits, it's still a shame that See doesn't really discuss Australian politics or reflect much on our voting system, where voting is compulsory. Given we're less than a month away from going to the polls, it seems like a missed opportunity to draw in an audience and offer an outsider’s perspective on our political landscape.

Girl Culture review (Melbourne International Comedy Festival)

What do Barbie, Taylor Swift, and the Matildas have in common? They’re all smashing girl culture. But what even is girl culture? Alex Hines is here to tell us, singing, dancing and thrashing her way through it. In Girl Culture, she throws herself into this recent wave of female success, exploring it using her signature blend of chaotic madness, camp excess, and offbeat feminist satire.

Hines is her usual frantic self on stage, as if she’s just thought about this show now and needs to expel every idea from her brain before it bursts. The energy is infectious. You don’t simply sit and watch Alex Hines: you strap in, and strap in tight, because it's definitely going to be a bumpy night.

Chimp review (Melbourne International Comedy Festival)

Humans may have evolved from monkeys, but Chimp flips the lens to ask: what if a monkey tried to become one of us? In this solo physical theatre piece, Conor Lynch explores that question with humour, kindness, and maybe even a couple of bananas. When Chimp is released from captivity, he embarks on a curious search for the elusive “human experience.”

The show opens with Chimp confined in a cage, Lynch dressed simply in a black singlet, shorts, and toe shoes, the footwear being a perfect choice that adds to the fantasy, whether by design or happy accident. With no dialogue, Lynch relies entirely on grunts, bellows, and expressive physicality to convey Chimp’s thoughts and feelings. He never rushes a beat, allowing every decision and movement to be thoroughly considered, as if Chimp is learning in real-time what it means to think, feel, and connect.

The Wedding review (Melbourne International Comedy Festival)

We’re all invited to the wedding of Tony and Dave. As we take our seats at the reception, Andy Balloch, our wedding MC, advises us that the DJ hasn’t arrived, so we’re jumping straight into the speeches. Through the chaos of a wedding in The Wedding, he explores the uphill challenges that the queer community - particularly trans people - face just for wanting to exist.

Balloch masterfully takes on all ten personas in this show, as they give toasts, monologues or appear in sketches. He brilliantly captures the essence of who these people are. While they are played for laughs, we can relate to having an aunt who is like that, or a cousin who insists on wearing his shades in an indoor wedding reception.

Only If You Love Me review (Melbourne International Comedy Festival)

Only If You Love Me is the one-man musical comedy debut from Nic Davey-Greene in which the audience are given full access to the goings on inside his head. It’s a very energetic performance and Davey-Greene has a lovely stage presence with great musical skills, but unfortunately the comedy is where this falls short.

Davey-Greene brings forth plenty of sass and satire in his songs, but a lot of the humour simply doesn’t work. Some of it borders on the juvenile with a whole thing about “titties on giraffes” and another on the appearance of Peter Dutton which undercut stronger moments, such as a song that touches on the genocide in Gaza. It results in a tone that’s more confusing than provocative.

Bigfoot: In Plain Sight review (Melbourne International Comedy Festival)

Robert H McKinley was a top Bigfoot researcher when he disappeared in 2002. Upon discovering his journal entries, his son, Robert H McKinley Jnr, wrote a book in 2012 titled Bigfoot: In Plain Sight, detailing his father's search for and relationship to Bigfoot. Fast forward to 2025, and Handful of Bugs have turned this story into a one-man comedy festival show, also titled Bigfoot: In Plain Sight.
 
While I haven’t read the book, it’s safe to assume that Alex Donnelly and Lachlan Gough have, and have seemingly stayed faithful to the source material while injecting it with a generous dose of absurdity and laughs. Donnelly performs as both generations of McKinley men, along with a few other supporting characters, but none are ridiculed or mocked for their pursuit. In this world, Bigfoot is real, and the humour comes from the explorers’ wild observations, curious thoughts, and adventures. What Handful of Bugs do exceptionally well is build a world within a world within a world. Each layer cleverly honours what came before while building on it with a fresh perspective.

The Ballad of Oliver Coleman review (Melbourne International Comedy Festival)

Storytelling of apocalyptic proportions meets stand-up hilarity in Oliver Coleman's show The Ballad of Oliver Coleman. This ball of neurotic energy takes us through the usual insights on life, but puts them under a finely tuned, high-stakes microscope, as if every little inconvenience might be a tipping point.

Conversation focuses on landlords, renting and relationships, common fodder for comedians. But Coleman zigs and zags all over the narrative, while crafting a smooth job of bringing back ideas he's already mentioned and tying them in with new themes or stories.  There’s also some content about climate change and the future of the world, but it’s barely of any importance, just the impending collapse of civilisation, nothing major.

The Critic review (Melbourne International Comedy Festival)

It’s impossible to miss Kate Dolan in the audience as you slide into your seat in her venue. Perhaps she could blend in with her casual hoodie and trousers, but it’s clear she’s a plant. It’s an absurd way to begin The Critic, but also the perfect way to kick off this ridiculous hour of comedy.

The Critic is a comedic exploration of our anxieties and worries. The anecdotes shared by Dolan vary in theme and impact, but all focus on self-doubt and criticism in some way. Why is she unable to go to sleep? What should she wear to her wedding? Is it safe to go for an evening run? Dolan has a strong storytelling structure that engages well with her audience. She is loud, confident, and bursting with energy that doesn’t waver throughout the performance.

If You're From Africa? review (Melbourne International Comedy Festival)

Lukas Meintjes was born and raised in Zimbabwe but moved to Australia in his teen years. He traces back to growing up as a gay, closeted child in Africa amidst the political upheaval taking place. Incorporating dance, clowning, storytelling, and a whole lot of energy, If You’re from Africa? is a love letter on finding your home and finding yourself.

The show can appear erratic and haphazard due to the boundless exuberance Meintjes possesses, but it’s all carefully executed to hold our attention so we don’t see the turns the story takes coming. He displays strong skill in switching from being ridiculously laid-back to emotional and serious in the blink of an eye.

Comedy Roulette review (Melbourne International Comedy Festival)

Comedy Roulette is the kind of show that thrives on uncertainty. You don’t know who’s performing, what they’ll talk about, or how weird it could get, and that’s exactly the point. With a spinning wheel of prompts and a changing line-up of comics, it’s a late-night gamble that leans into spontaneity over structure.

Kru Harale acts as MC and she does a wonderful job explaining the format and revving up the audience, no small feat given the timeslot (is 10:20pm a late night, or am I just getting old?). Harale has curated a rotating smorgasbord of comedians for Comedy Roulette with an admirable spread of diversity and comedy styles. In this instance, we are treated to the likes of Lizzy Hoo, He Huang, Jess Fuchs, Sumukhi Suresh, Nick Capper and Daniel Connell. Apart from Connell, I had never seen any of them before so it was a perfect way to discover new voices and enjoy the buzz of not knowing what I was in for.

Escape from Heck Island review (Melbourne International Comedy Festival)

Heck Island is the most dangerous prison in the world. But for Con Coutis, it’s also the perfect place for a gig. When a security scare halts his set and Con is mistaken for a prisoner, it takes all his wit, tech expertise, and 2 - 40 of the best audience members around, to break him out, in Escape From Heck Island.



It’s not a Con Coutis show without an infinite number of tech cues. Sound effects and pre-recorded dialogue are controlled by Coutis himself as he plots his escape. Character voices boom from various spots in the 360-degree soundscape, creating an immersive atmosphere where these people, including Morgan Freeman, could actually be in the room. The lighting design is also well executed, heightening the mood and vividly simulating bombs going off.



Shitbag review (Melbourne International Comedy Festival)

Hayley Edwards has a shit disease. As in, a shitting disease. Welcome to Shitbag, where Edwards shares the realities of living with Crohn’s disease and the daily battle they face with their gut and bowels. The kind of battles where they might feel a moment of stupendous glee after having sex with someone who has a blue tick on Instagram, only to need to immediately rush home to the safety of their own toilet, surrendering to the smells and noises that follow.

Edwards has an infectious presence that quickly spreads through the audience. They radiate energy, enthusiasm, and sheer likeability. They perform with unwavering commitment and there is a real joy on their face to be on the stage in front of us that you’d think this was the world premiere of Shitbag, not the tail end of its season, 

Train Cake review (Melbourne International Comedy Festival)

How does one begin to describe Train Cake? From the moment Heather Valentine steps on stage, it’s clear we’ve all boarded a very different train, and the destination is wonderfully bizarre. While it explores themes around death, mourning and grief, this is not your average tale of grief.

Valentine plays Evelyn - or “Lucky” - the last living member of her family after the recent passing of her grandmother. Once a prodigy of the children’s birthday cake circuit (think duck, race car, and diorama cakes), Evelyn has sworn off making any further sweet delights. That is, until her beloved sourdough starter Steve, is taken. And by taken, we're talking a Liam Neeson-style unique set of skills scenario where Evelyn must face her past and kick some serious ass. Valentine gives a bold and compelling performance, embracing the strangeness of the world being created but grounding it in something deeply human.

That's The Way The Mop Flaps review (Melbourne International Comedy Festival)

That’s The Way The Mop Flaps is a sketch comedy fever dream soaked in absurdity, musical flair, and a healthy splash of sapphic chaos. Hannah Malarski invites us into her surreal world, where no concept is too bizarre to play with, as long as it gets a laugh. It’s messy, it’s inventive, and while it doesn’t always hang together, it’s got enough charm to mop up its own spills.

Malarski brings an assortment of characters to life, including the wonderful opening of two nuns having a hymn battle-off with the aid of a loop station. They start off as enemies, but where this godly pair end up requires an intervention from the man himself, which has some brilliant voice work by Jack Richardson.

1 & A Half Weddings & A Funeral review (Melbourne International Comedy Festival)

In 1 & A Half Weddings & A Funeral, Nikki Justice takes her audience on a whirlwind journey through her unpredictable and fascinating life. Growing up in a religious yet crime family, running away with a circus at 16, and diving headfirst into the mad world of bikie gangs and strip clubs, Justice shares her story with irreverent humour and raw honesty.

The pace at which Justice speaks mirrors the craziness of her existence. She scarcely takes a breath as she rushes from marrying a bikie to divorce, childhood memories to motherhood, a fateful trip to Vegas, and new loves along the way. At just 27 (in "stripper years"), it’s clear that Justice has packed more into her life than most do in a lifetime.

Before It Overtakes Us review (Melbourne International Comedy Festival)

Mark Watson is grappling with the inevitable passage of time, the uncertainty of the future, and the not knowing of what lies ahead for humanity. Before It Overtakes Us marks the world premiere of the British comedian’s candid exploration of these anxieties. Watson’s comedy thrives on meandering storytelling, self-deprecating wit, and an underlying sense of barely contained panic - a style that makes his reflections on life’s big questions personal and universally relatable.

The show is structured around a series of anecdotes loosely connected by an overarching theme of existential dread. At its heart lies an extended reflection on a particularly turbulent flight, one that serves as a literal and metaphorical vehicle for his anxieties. His attention to the finer details of safety demonstrations is mined for comedic gold, as he hilariously recounts his growing fixation on every instruction given by the flight attendants. His reactions to fellow passengers and their attitudes towards potential disaster, only heighten the absurdity. In one memorable sequence, he imagines a darkly hypothetical scenario in which the plane is going down, dissecting his own responses with a mix of self-awareness and gallows humour.

Cancer and Cartwheels review (Melbourne International Comedy Festival)

Cancer and Cartwheels is Jo Prendergast’s deeply personal but uplifting story of her breast cancer diagnosis, surgery, and ongoing recovery. Through it all, humour has been her lifeline, and this show is a testament to its power, not just as a coping mechanism, but as a way to connect, process, and ultimately heal.

The show follows a structured yet fluid format. On one side of the stage, Prendergast shares a pivotal moment from her cancer journey - whether it’s the fear and reality of losing her hair and the unexpected confidence that comes from wigs, or the heartbreak of realising the self-proclaimed Cartwheel Kid could no longer do cartwheels. With a whimsical transition (complete with magical music), she then moves to the other side of the stage to perform a sketch inspired by what we have heard.

How Revolting! Sorry to Offend review (Melbourne International Comedy Festival)

Last year, British comedian Milo Edwards took a deep dive into the inherent goodness of people with his show Sentimental. This year, he’s done a full 180, turning his attention to everything - and everyone - that pisses him off. Welcome to How Revolting! Sorry to Offend.

From the outset, Edwards does his best to bridge the cultural gap, providing a cheat sheet of British terms and references to help us “simple Aussies” keep up. His comedy is drenched in dry, quintessentially British wit, covering everything from history and class systems to pop culture and the royal family. His delivery is sharp, his points well-articulated, and his sarcasm top-tier, but even with the notes, a few remarks still fly over the heads of the uninitiated, myself included.

Breaking the Musical review (Melbourne International Comedy Festival)

Just days before its scheduled premiere in December last year, Raygun: The Musical was forced to cancel its run due to an intellectual property lawsuit. But not even something like a legal hurdle can keep a good performer down. Undeterred, writer Steph Broadbridge and her team reworked the story - about an Australian from Hornsby who ends up representing the country in breakdancing at the 2024 Paris Olympics - into a fully legal parody retelling suitably titled Breaking the Musical.

This revamped version is a wildly entertaining spectacle, packed with humour, catchy songs, and political commentary on the events leading up to the Olympics and their aftermath. We follow Broadbridge as Spraygun (because, of course, this is completely legal!) on her breakdancing journey of self-discovery and unexpected fame.

Garage Sale review (Melbourne International Comedy Festival)

There was a time when garage sales were the pinnacle of suburban culture; a chance to rummage through a stranger’s junk and haggle over their long-forgotten treasures. Not much has changed. In Garage Sale, we meet Denise and her husband Greg as they are forced to downsize into retirement accommodation and put their past up for sale. But this past is a lot darker and shadier than you would be led to believe.

Alanah Parkin has stocked this garage sale with a delightful assortment of relics: old clothes, a stack of VHS tapes, and a box of doilies, to name a few. But the real magic lies in the characters she brings to life - some quite literally. Beneath the breezy backyard gossip and borrowed cups of sugar in Narre Warren South, there is also something peculiar happening. Why haven’t Denise and Greg spoken to their daughters in 17 years, and what’s with Greg’s unsettling obsession with Christina Aguilera? Parkin expertly weaves tension into the comedy with a playful, offbeat charm.

Pensive Like A Fox review (Melbourne International Comedy Festival)

What does it mean to be Pensive Like a Fox? If you’re expecting deep contemplation with a smidgen of cunning, you’re not far off. Mike McLeish’s cabaret is a warm, meandering collection of thoughts, stories, and songs, some sharp, some sweet, and all unmistakably his.

McLeish radiates pride and love for his wife and two daughters - his eldest, Finn, directing him in this production - and that affection is a huge part of his charm. He’s nice. He’s affable. And he’s so damn likeable that you’d happily buy whatever he’s selling, even a neckerchief. But beyond that, he’s a keen observer of the human experience, unpicking the quirks of life with an easygoing wit that makes his insights feel universal.

Cvnt review (Melbourne International Comedy Festival)

How does one even begin to review a show like Cvnt? Sophie Power doesn’t just perform, she saunters onto the stage in a whirlwind of clowning, comedy, and unapologetic exploration of the word that makes many people squirm. This is an hour of raw, unfiltered energy, where cvnt is not just a word but a playground, a statement, and a challenge. Power revels in its many meanings, contradictions, and taboos, dragging the audience along for a ride that is as ridiculous as it is revealing.

You can't talk about Cvnt without mentioning the spectacular costume. Power emerges from a small black booth, draped in a dazzling explosion of pink and red, transforming herself into a human-sized vulva. Its cavernous depths invite exploration, complete with moans, groans, and the eager hands of audience members keen to get up close and personal.

Rising Damp review (Melbourne International Comedy Festival)

Nicolette Minster has worked her butt off to get to her 40s. And having recently turned 41, rather than feel like some sneaky mould is creeping into her life, she decides to mark the milestone by swimming 41km in 41 days. Rising Damp is a solid hour of stand up that celebrates ageing and how there are always ways to surprise yourself, even if it means getting knocked over by the occasional waves.

Water isn’t simply a motif in Minster's swimming challenge, but it runs through every part of the show. It’s in the writing, the visuals, and the sound design, shaping the reflective mood that is set and creating a noticeable sense of cohesion in the production. Minster wears a cartoon shark T-shirt emblazoned with the phrase “Stay Positive,” and her stage features three oversized and brightly coloured pieces of seaweed that serve as a representation to her outlook to life. Water sounds, such as rainfall, and ocean waves, are layered into the performance, adding an extra immersive element.

(The) Joshua Ladgrove (Show) review (Melbourne International Comedy Festival)

I've been attending Joshua Ladgrove's shows for over ten years. Time really flies. His sense of humour, his characters, and his ability to connect and engage with an audience have been incredible to watch. In his new show, (The) Joshua Ladgrove (Show), Joshua must more or less save Christmas after a horrifying accident occurs at Carols by Candlelight.

With radio personality and baritone singer Denis Walter is incapacitated in hospital, Joshua is asked to step in to host his TV variety show on Christmas Eve. The opening is quite impressive, with Ladgrove seamlessly inserting himself into Carols by Candlelight via the magic of VFX. It’s an exciting start and a promising glimpse of what’s to come, or so I thought.

Teen School High: A Highschool Teen Story (21+) review (Melbourne International Comedy Festival)

Everyone remembers their first day of high school or starting at a new school. There’s always that sense of possibility - that this will be the year everything changes, the chance to go from ugly duckling to beautiful swan. But not everyone is that fortunate.

In Teen School High: A Highschool Teen Story (21+), Jake Glanc plays Jake, a father whose child is about to start high school. To calm his anxieties, we flash back to Jake as a 16-year-old and his own first day at a new school, and the emotions that come with it. Even if he is effeminate and slightly chunky, he’s determined not to be the butt of every joke this time round.

Glass Houses review (Melbourne International Comedy Festival)

It’s easy to assume prison is something that happens to other people. It's distant, detached, a world away from your own life. But what happens when that world collides with yours? In Glass Houses, Alice Tovey explores that very question with humour, heart, and a whole lot of flair.
 
Dressed in a green velour tracksuit emblazoned with the word DRAMATIC, Tovey appears on stage with a hard-edged, “don’t mess with me” attitude. Yet beneath that tough exterior lies a vulnerability that instantly wins you over. The show is deeply personal, centring on their parents, particularly her father, who was sent to jail for a white-collar crime.

Jokes About The Time I Went To Prison review (Melbourne International Comedy Festival)

In 2021, Andrew Hamilton was arrested and charged with supplying psychedelic drugs. After spending four months in two Sydney maximum-security prisons, the self-proclaimed Mushroom King of Sydney decided that if he couldn’t help people get high on drugs, he’d help them get high on laughter, and so he turned to stand-up comedy. The Melbourne encore season of his show, Jokes About the Time I Went to Prison, is quite literally just that: jokes about the time he went to prison.

Hamilton has an affable nature and easily draws in his audience. He has a solid grasp of his material and delivers it with confidence. As the narrative structure weaves in and out of his life before, during, and after jail, his reflections, along with a steady stream of dad jokes and one-liners, keep us entertained. One particularly memorable anecdote recalls how his bail conditions required him to be accompanied in public by his 70-year-old parents, so they had to chaperone him to his stand-up gigs.

A Couple Decides What To Have For Dinner review (Melbourne International Comedy Festival)

As a single person, I choose what I want to eat, when I want to eat it. I don’t need to discuss my choices with anyone. But when you’re in a relationship, deciding where or what to eat can become an arduous task. This is exactly what unfolds in A Couple Decides What To Have For Dinner. With neither partner being particularly fussed, despite their own preferences and dietary requirements, the discussion veers between the blissful, the banal, and the bizarre.

Chris Saxton and Amanda Buckley are impressively engaging as a long-term couple trapped in the eternal struggle of making a straightforward decision. Their chemistry is effortless, and they normalise the ridiculous tangents they go off on, ranging from porn consumption to musings on what will happen when the other one dies. The way they bounce off each other makes every moment feel unscripted, except of course, it isn’t.

Cancer Card review (Melbourne International Comedy Festival)

At 38 years of age, Becky Steepe - just Becky, as she jokingly tells us she wasn’t fancy or cool enough to be named Rebecca - was diagnosed with stage 4 bowel cancer. Not exactly the kind of topic you’d expect to turn into a comedy show, but when you have it, you can do whatever the hell you want: just play the Cancer Card.

Steepe structures her show in three acts. The first act explores her diagnosis and its impact on her life, covering the medical procedures she’s undergone and how they’ve affected her, including her sex life. She allows her vulnerability to shine through as she touches on body image, the possibility of living with a stoma bag, and the dependence illness forces upon you. She delivers sharp one-liners and conjures vivid, memorable images, like when her hospital gown comes undone exposing a single breast like she's a Renaissance painting.

Bangtail review (Melbourne International Comedy Festival)

Bangtail is the baddest cowboy in Texas. With his thick, bushy eyebrows and three perfectly sculpted moustaches (yes, three) that men would kill for, he’s a take-no-prisoners, no-holds-barred cowboy. Co-created by director Cecily Nash and performer Lil Wenker, Bangtail follows our eponymous hero as he saddles up for a wild ride of self-discovery, facing the lifelong question: Who am I?

Wenker ropes us in from the instant she makes her dramatic entrance. Her physicality and mannerisms as Bangtail show her complete command over the character, allowing this outlandish cowboy to be utterly believable. Her crowd work is sharper than a spur as she wrangles the audience into playing various townsfolk, animals, and sound effects with ease. Audience participation is a given, but in a space this intimate, with a character this charming and a performer this skilled, everyone is a willing participant.

Don't Let Me Eat My Babies review (Melbourne International Comedy Festival)

Holly Bohmer coolly enters the stage, cradling a baby in her arms. She stares out at the audience, challenging them. Then there’s a mic drop. Except instead of a mic, it’s a baby. A baby drop. Welcome to the sketch comedy Don’t Let Me Eat My Babies.
 
In her debut solo show, Bohmer presents a variety of characters born from her mind and nursed into existence. From an artistic perspective, this mind is delightfully wicked and oddly enchanting. We meet a woman growing frustrated with a retail assistant because the only clothes available are for “huskier” women. Then there’s a Lifeline worker who despite successfully keeping her suicide rates low, probably should be looking for other work. Bohmer leans into uncomfortable playfulness, highlighting the absurdity of real-world interactions in a way that is unsettling and amusing.

Feminist Trash review (Melbourne International Comedy Festival)

Nicola Pohl, Tessa Luminati, and Stephanie Beza are highly trained thespians. Artists who take their craft VERY seriously. That is, until they unleash Feminist Trash, their latest show of epic proportions. Is it a musical? Circus? A magic show? Who cares! Just sit back and let these Sugar Bits take you on a hilariously wild ride through feminism in all its messy, marvellous glory.

What truly sets this trio apart is their undeniable chemistry. They don’t just perform together but they revel in each other’s presence. Their comedic timing is razor-sharp, matched only by their instinct for what makes an audience erupt with laughter. That playfulness extends beyond the stage, with quick, effortless interactions that pull the crowd into their world without ever making anyone feel on the spot.

Promising Young Mensch review (Melbourne International Comedy Festival)

Jacob Sacher is running late to his show, Promising Young Mensch. The crowd is getting restless. Murmurs of refunds begin to grow. Unable to provide one, he enlists the help of his 12-year-old cousin Jakey, who just happens to be in the audience, to entertain us. And so, Jakey takes the stage and begins talking about Jewish rituals and traditions, from circumcision to confession.

Sacher’s show balances a charming DIY aesthetic with surprisingly high-tech elements. He precariously hangs a TV screen monitor around his chest as if strapping in a baby, while his complicated yet undeniably impressive camera boom helmet, held together with cable ties and resembling a makeshift satellite dish, looks like it could fall apart at any moment.

Slay review

Devised by Sarah Iman, Steph Lee, Raven Rogers-Wright, Jackie van Lierop, Anita Mei La Terra, and Louisa Cusumano, Slay is a sharp-witted, politically charged horror comedy. When a young woman is brutally murdered, four lesbians become prime suspects. As they race to uncover the killer, they must also contend with the growing chaos of radical group SLAM (Society of Lesbians Against Men) and its dangerous manifesto, which is spreading like wildfire.

Many of the creatives take on multiple roles on and off stage, creating a strong awareness of cohesion as they work seamlessly toward a shared vision. While some characters, as individuals, lean into stereotypes or are not as compelling as others, the group scene dynamics keep the energy fresh. The natural dialogue allows pop culture references, like lesbian icon Sue Sylvester from Glee, Julia Gillard's misogyny speech, and Marty Sheargold’s recent AFLW comments, to drop in effortlessly. The humour is well-balanced within the show’s absurd world, where SLAM’s ultimate goal is to cap the cis male population at 10%.

Djuna review

Djuna is a sexually charged thriller that explores power, vulnerability, and the unsettling dynamics between two complex strangers. Set within the claustrophobic walls of a hotel room, the play pulls the audience into an intimate yet suspenseful psychological struggle between two people who meet to play out a mutual fantasy. Written by Eva Rees, Djuna keeps you second-guessing everything you hear and see until the very last moment.

Dion Mills delivers a captivating performance as Marcus, the right-leaning, financially successful, cisgender heterosexual male. From the instant he steps onto the stage, his presence demands attention. Every aspect of his portrayal, from his confident stride to his phone conversations before Djuna’s arrival, reveal a man brimming with self-assurance with Mills holding a commanding energy that fully embodies Marcus. As cracks begin to show in his demeanour, they reveal an intricate side to the character, providing further dimension to his otherwise unshakable exterior.

The Removalists review

It’s been 54 years since David Williamson’s The Removalists premiered at La Mama, a gritty, darkly humorous examination of domestic violence and abuse of power. Fast forward to 2025, and the Melbourne Theatre Company’s production proves the play still packs a punch, delivering a searing exploration of violence against women and systemic corruption.

The narrative follows a tense encounter between two police officers, the corrupt, manipulative Sergeant Simmonds (Steve Mouzakis) and the naive rookie Constable Ross (William McKenna), who are called to assist Fiona (Eloise Mignon) in leaving her abusive husband, Kenny (Michael Whalley). What begins as a routine removal spirals into a savage climax, revealing the casual cruelty of law enforcement and the failures of authority. As the violence escalates, Constable Ross is pulled into Sergeant Simmonds' toxic influence, blurring the lines of justice and brutality.