Taylah has come out of a rut and is ready to celebrate - by meeting new people and throwing herself back into the dating game. In The Worm, Taylah Whelan takes us on a semi-autobiographical adventure filled with awkward encounters, self-reflection, and plenty of heart. While shows on dating are plentiful at Fringe, Whelan brings a fresh and engaging perspective, packed with witty, self-deprecating observations about life - and love - in Melbourne’s northern suburbs.
Her dates include an extremely attractive man who turns out to be utterly awful, and an aspiring screenwriter who can’t seem to tear her eyes away from her phone. Both outings give Whelan opportunities to explore how Taylah responds to these situations, featuring a brilliantly funny off-stage scene involving a rather wicked orgasm.
Whelan strikes an excellent balance between presenting Taylah’s various romantic misadventures - including a very friendly Uber driver - and directly addressing us to share more intimate reflections and revealing the vulnerability and anxiety that sit beneath her seemingly laid-back exterior. Her gentle humour and conversational tone invite the audience to see themselves in her stories, turning her personal insights into something universally resonant.
Whelan strikes an excellent balance between presenting Taylah’s various romantic misadventures - including a very friendly Uber driver - and directly addressing us to share more intimate reflections and revealing the vulnerability and anxiety that sit beneath her seemingly laid-back exterior. Her gentle humour and conversational tone invite the audience to see themselves in her stories, turning her personal insights into something universally resonant.
The stage in The Motley Bauhaus’ Cellar Room is tight, and with an animatronic worm occupying one side (more on that later), physical range is limited. However, Caitlin Soennichsen’s direction ensures that the storytelling remains dynamic, with clear shifts between scenes and locations. The debate scene, in particular, is executed exceptionally well, with the positioning, movement, and lighting all working together to shift the dynamics of the show.
The less said about the worm, the better, so we don’t spoil anything, but credit must go to the creator of the mechanical worm for crafting such a surreal prop. Whelan’s ability to seamlessly weave it into the narrative, making it simultaneously bizarre and completely natural, is genius. Her offbeat imagination captivates the audience, with each moment being delightfully unexpected.
Whelan’s wit, fearless honesty, and inventively absurd writing make for a show that burrows under your skin in the best possible way. By the end of The Worm, you’re left laughing, squirming, and marvelling at how cleverly she translates these cringe moments into something deep and unforgettable. This is a wonderfully sharp and unpredictable journey from start to finish.
The Worm was performed at The Motley Bauhaus between 29 September - 5 October as part of the Melbourne Fringe Festival.
Image Credit: Ari Jamieson
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