The Birds Descend on Melbourne Fringe with Sun, Sand and Imminent Doom

Sons of Stratford are back this Melbourne Fringe with Birds, a piece where sun, sand, and impending doom collide. Shayna and Beverley lounge in deck chairs, chain-smoking and chatting about the world’s most trivial and ridiculous obsessions, all while the sky literally falls around them. We caught up with performers Alex Hines and Sarah Stafford to discuss the thrill of revisiting sharing the stage, the chaos of their creative process, and why, after years of solo and collaborative work, nothing about Birds is predictable.

While the pair have collaborated on numerous productions over the years (including To Schapelle and Back, Putting On A Show and Girl Culture), this is the first time in a decade they are joining forces on stage. This unique arrangement was sparked by an idea from Stafford that perfectly suited Hines’ skills and presence. "Birds is something I've had in mind for a very long time," she says. "Having two women on the beach talking as the world ends. I pictured it being performed by myself and a drag queen so naturally, Alex got the part."

Piera Dennerstein is Bringing Plenty of Pleasure, Power, and Provocation to Melbourne Fringe

Pursuing Pleasure is a daring cabaret that mixes opera, pop, and cabaret sensibilities to explore what it means to accept joy, sensuality, and self-discovery. Piera Dennerstein, known for her dynamic performances, takes audiences on a journey that balances humour, vulnerability, and bold theatricality. Ahead of her Melbourne Fringe season, we sat down with the soprano to talk about how she transforms personal experiences into performance, the power of pleasure, and pushing boundaries on stage.

And no better way to begin than ask how a show that centres pleasure as a political and personal act has been a work in progress for years, even though Dennerstein didn't quite know it. "For the longest time, I thought I had nothing to say! I enjoyed writing and was a prolific poet, but whenever I was encouraged to write my own show, I felt I had no stories of value. In 2022, by chance, I saw Betty Grumble’s "Enemies of Grooviness Eat Sh!t" at Brisbane Festival," she recalls. "It was unlike anything I had seen before: a composting of her experiences with domestic abuse, culminating in a communal rebirth fuelled by sisterhood and the power of female pleasure. I related so strongly that I spent the entire ovation typing into my Notes app. I had finally found something I needed to say!"

Comedy, Chaos and Crohn’s: Uma Dobia’s Intolerant (Melbourne Fringe Festival)

Intolerant is the no-nuts-allowed cabaret where coffee, shellfish, and 400-page ingredient substitution guides come together in the name of fun. Performer Uma Dobia invites us into a meticulously chaotic world where attention to detail and a strict “never mention Brazil nuts” policy are the keys to survival. Ahead of her Melbourne Fringe season, we caught up with Dobia to talk allergies, absurdity, and how she turns life’s restrictions into full-blown comedy.

"I created Intolerant to help people understand what it’s like to live with allergies and Crohn’s disease, and, as a way to say “fuck you!” to these conditions that have ruled my life for so long," she tells me. "Initially I made a list of the funniest or most ridiculous anecdotes I have from allergy and Crohn’s mishaps. They couldn’t all make the final version, so ultimately I chose the ones that best served the purpose of the show. It was a tough decision! Some of my favourites got cut because they didn’t serve the story, but that’s okay. I’ll find a way to share them with the world!"

Are You There? review | Theatre Works

In Are You There?, Irene Korsten invites us into the office foyer at Autumn Dale Village, where three very different women navigate the chaos, humour, and subtle sorrow of everyday life. Over the course of a Friday, the energetic Pia, the feisty Colleen, and the sensitive but fading Lauren reveal the joys, frustrations, and the humanity of their routines, proving that the rhythm of life can still hold profound insight and emotional weight.

Josh McNeill's set is anchored in the main reception, practically designed with a desk, stationery, computers, and phones, but the characters make full use of the area under the guidance of Director Rachel Baring. Beyond the imagined walls, pockets of pebbles and flowers add visual texture, breaking the strict realism of the office and giving the stage a layered, theatrical quality. These understated details suggest that life and (most importantly) memories exist outside the confines of this environment, enhancing the audience’s sense of depth and imagination.

Son of Byblos review | Meat Market

Son of Byblos is an engaging family drama that explores the clash between cultural expectations and personal freedom within a Lebanese-Australian household. Adam (Amir Yacoub) is a 25-year-old gay man whose life is thrown a curveball when his closeted lesbian cousin announces she is marrying a man. This unexpected news forces Adam to confront who he is and what he wants from life. But in a tightly connected family where tradition runs deep, Adam’s journey of self-discovery is far from easy.

Anna Kaleeda Rasheed displays great energy as Claire, and her rapport with Yacoub is very impressive. Together, they convey a believable history, and the way they relate to one another shows an openness and trust they seldom share with to anyone else. Marjan Mesbahi is wonderful as Carol, Adam’s mother, notably in the release and joy she is exposed to from her tango lessons. Amir Rahimzadeh brings depth to John, the father, portraying him with a quiet authority that balances the family dynamics and adds weight to the emotional tension.

The Lark review | Arts Centre Melbourne

In The Lark, Noni Hazlehurst embodies Rose Grey, a woman saying goodbye to the pub that has been the backbone of her life for over fifty years. It’s not just a workplace but a living archive of family, patrons, and fleeting moments that have formed her story. As Rose prepares to close the doors for the last time, memories flood back - bittersweet, funny, and tender.


Hazlehurst is captivating on stage. Few performers can command your attention with sheer presence alone, yet it never feels like it's Hazlehurst we’re watching: it’s Rose. The gruffness, the hardness, the no-nonsense attitude shaped by decades behind a rowdy bar are compelling to watch. Beneath that tough exterior, flashes of vulnerability slip through as Rose lets her guard down. She strikes a delicate balance between these two states, her performance layered and deeply human. Even the way she carries her body shows the toll and texture of the years spent in the pub, and the way she looks out to the audience as she recounts her stories is steeped in memory.

Laugh Lines and Life Lessons with A Handful of Bugs' Jester's Privelege (Melbourne Fringe Festival)

Handful of Bugs – Alex Donnelly and Lachie Gough – return to Melbourne Fringe with Jester’s Privilege, a dark comedy focusing on the divide between the public and private self through the eyes of a jester in a Queen’s medieval court. If there’s one thing this company is known for, it’s the collaborative and playful spirit with which they create and perform. So it’s no surprise that when we spoke to them, they responded to questions as a single voice. 

When I first heard they were making a work on someone approaching the sunset of their career, I worried they might be hinting at their own. Thankfully, the duo quickly put that worry to rest. "Even though we formed as a theatre company in 2023, everyone in the Bugs’ team has worked in the performing arts for many, many years," they tell me. "The show is somewhat inspired in particular by Lachie’s experience as someone who started comedy at 13, and discovered success during his teenage years. Now, he’s not at the end of his career, but the fear that he peaked too soon, or that his glory days have come and gone, has been an ongoing feeling since becoming an adult who is attempting to turn this craft into their full-time gig."

"The exciting and equally terrifying thing about a profession in the performing arts is that it could end at any moment; it could also not happen at all. We're looking into this concept that a career lasts for as long as the audience wants to laugh. Although it is a piece regarding the conclusion of one, this is most definitely not the last you’ll see of the Bugs. We are JUST GETTING STARTED!"

Step Inside the Kingdom of Mushrooms: An Immersive Sensory Adventure (Melbourne Fringe Festival)

A Kingdom of Mushrooms, Five Senses, Infinite Wonder and You. That's the name of the show, and in this immersive participatory experience at Melbourne Fringe Festival, audiences are invited to journey through five distinct installations, each transforming a single sense into a mushroom-fuelled world of discovery.

Jasmin Lefers, one third of Off The Spectrum, felt compelled to translate this small, seemingly simple organism into something so immersive after an introduction to a Dutch pioneer in the world of food and design. "It all started with late-night/early-morning educational sessions over Zoom," she explains. "Aaron, one of the trio involved in putting this together, introduced me to one of the pioneers in food design Marije Vogelzang. From there I put myself through a few courses such as Food & Design Dive. Being in the Netherlands the class times were anything from midnight to 4am. It was bloody incredible. Eye-opening, mind-blowing, and tiring."

"But one question asked during the course was if you could be one food, what would it be?  Maybe it was the late-nights/early-mornings and the sleep deprivation, but mushroom immediately came to mind. I thought about why mushroom, and the more I delved, the more I realised there is nothing a mushroom can't be or do. Medicinal, clothing, decomposing plastics ... the list is endless," she says. "Yes, they are delicious but there is far more to them than simply taste and smell. I wanted to introduce this to people in an approachable, entertaining, and interactive environment. Using what I had learnt and the visions I had, I went off to convince a couple of others that it was a fab idea to bring to life. So to answer your question, I would say that I didn't so much as approach the mushroom as the mushroom approached me."

Turning Retail Routine into Musical Comedy with Checked Out: The Musical (Melbourne Fringe Festival)

Fresh from a musical about group assignments, Josh Connell and Steph Lee are turning their attention to the soul-sucking grind of retail work for this year’s Melbourne Fringe Festival. Checked Out: The Musical draws on their own experiences in the service industry to explore the challenges, annoyances, and unexpected absurdities of customer-facing jobs, all set to an engaging, lively soundtrack, while also providing a cracking critique of the wider systems that define modern work culture.

"It has definitely been super fun to turn retail experience into this heightened version of reality," Lee tells me. "But also the work has an element of saying ‘stuff you’ to these corporations that you work for. It feels freeing to release pent-up frustrations through humour and song."

a2 Company on going from Fringe Outsiders to Festival Firestarters (Melbourne Fringe Festival)

Not many Melburnians would have known a2 Company this time last year, but after taking home the Best in Theatre award at the 2024 Melbourne Fringe Festival for Running into the Sun, they’ve become a theatre company on everyone’s lips. Excitement is building as they prepare to return to the festival with their sophomore production, Motion Sickness.

It was an incredible season for the company, capped off by their win for Best Emerging Company. Toby Leman (composer and performer) and Ben Ashby (writer and performer) describe the experience as something like a fevered dream. "It still feels like a fairytale. I don't remember all the details from that night because it all happened so fast!" Leman says.

"Completely agree with Toby!" Ashby adds. "We felt like total outsiders going into last year's fringe. We started with almost nobody in the crowd and it grew steadily through the season from word of mouth. Honestly, it was everything you hope might happen at a fringe festival."

Serving up absurdity, friendship, and existential eggs in Conversations with a Fried Egg (Melbourne Fringe Festival)

In a kitchen where existential eggs meet sharp-tongued rats, Ivy Crago and Maxine Palmerson examine friendship, vulnerability, and the absurdities of everyday life. Presented by Big Dog Theatre, the creators of the upcoming Melbourne Fringe Festival show, Conversations with a Fried Egg, turn the mundane into the deeply meaningful as they bring to the stage a relationship between an optimistic egg and three rats looking for connection.

"Giving an egg an existential voice came straight from lived experience," Crago laughs. "I’m an incredibly existential thinker, and agnostic and optimistic. When creating this, we wanted the audience to have a good time, but also to ponder about the world, in a comedic way. I really loved being able to bring in comedy while making people think big!”

Palmerson nods. “I’ve struggled to let go of the whole chicken-or-egg issue. The only logical answer is that eggs - like snails and a great many other things - are more mystically powerful than we give them credit for. And I’ve never been religious, so this isn’t spiritual advice!”

Crisis Actor review | Arts House

The performance space for Crisis Actor would be pitch black if not for dozens of phones lighting up the room. A cardinal sin in theatre etiquette: a glowing smartphone in the dark. Except here, it’s the point. In this interactive work, audience members are not just permitted, but encouraged to participate and engage with their devices, using them to swipe, click and scroll deeper into the unfolding chaos.

The show begins with the audience gathered around a large, ominously illuminated flower sculpture. Events leading up to a disaster impacting the world are recounted by an anonymous narrator and displayed on four screens surrounding the sculpture. Periodically, the narrator pauses mid-sentence, and options appear on our phones for us to select. These selections then pop up on the screens. They don’t change the story about this Flower Attack, but they help build the illusion of a communal experience, where we feel involved even if we’re not steering the narrative.

Love Machine is turning oversharing into coded confessions (Melbourne Fringe Festival)

Tom Richards is stepping into new territory with Love Machine: his first installation, first hardware build, and first time coding. The project, presented as part of the Melbourne Fringe Festival, pairs humans with a slightly clunky computer, inviting participants to share, reflect, and explore the nature of intimacy in a digital world. It’s equal parts experiment, theatre, and cheeky curiosity, with a touch of AI.

Richards has faced plenty of hurdles and even a few tears along the way in bringing this project to life. "There were loads of firsts with Love Machine!" he laughs. "Straight out of the gate, coding and hardware. I was relying heavily on AI and LLMs (Large Language Models) while learning Python in parallel."

"Now I know that AI is a bit of a dirty word in the arts industry, and rightfully so, I don’t trust it either, but it has been an interesting process nonetheless," he tells me. "For clarity’s sake, AI did not create this idea, it is not designed by AI, I designed it and I am using AI to achieve things out of my technical range. It's been the biggest obstacle and boon, because the amount of back and forth with AI has been incredibly time consuming, far more than it would have been with a programmer or creative technologist, someone I didn’t really have access to."

Listening Acts review | Melbourne Recital Centre

Chamber Made have long been shaking up Melbourne’s performing arts scene, constantly challenging and surprising audiences with what live art can entail, particularly in the realms of music, sound, and contemporary performance. Their latest project, Listening Acts, was a series of works - some live, some recorded - that reshape how we respond to aural experiences and technology, and how these elements connect to memory and identity. The three live performances in this program each carve out a distinct realm, yet together, they form a fluid, thought-provoking journey through acoustic textures that pushes the boundaries between audience and performance.

Aviva Endean's Tactile Piece for Human Ears is an exquisite meditation on sound and perception. Three binaural dummy heads, equipped with microphones, “hear” audio created via the custom ‘Hear Muffs’ that twist and transform the way we normally process sounds. These altered waves are then streamed directly to each audience member’s Bluetooth headphones. In the opening moments, Endean covers the dummy head’s ears, and the resulting noise feels like I'm rushing through the sky with the wind blowing in my face. It presents an invitation to enter with a clean slate and simply exist in the present as Endean interacts with the heads, generating a variety of sounds.

Ordinary Days review | fortyfive downstairs

Ordinary Days has long been regarded as one of those small-scale musicals that carries a surprisingly large emotional weight, and Clovelly Fox’s production affirms just how effective Adam Gwon’s work can be in the right hands. With direction by Tyran Parke and an ensemble that leans into the show’s quiet humanity rather than overstatement, this staging offers a measured, thoughtful take on a piece that balances humour with poignancy.
 
The musical follows four young New Yorkers whose lives intertwine in unexpected ways. Warren is an ambitious artist striving to make his mark while caring for his mentor's cat after he is arrested. Deb, a graduate student from the middle of nowhere, navigates the city in search of opportunities her upbringing denied her. Meanwhile, Jason and his girlfriend Claire face the challenges of moving in together with the difficulty of letting go of the past.

Stories that Must be Heard: Truth in the Cage and Limbo review | Melbourne Recital Centre

Presented by Nightingale Performing Arts Australia, Stories That Must Be Heard brings refugee stories to the forefront and gives a voice to those that are too often ignored. The musical double bill of works composed by Chloé Charody shifted seamlessly between emotional intensity and breathtaking physicality, producing performances that are compelling and sobering.

Truth in the Cage is a movingly intimate song cycle tracing Mohammad Ali Maleki’s seven years in detention on Manus Island. Charody uses his poems to create music that is raw, unflinching, and resilient. Through themes of loss, identity, and optimism, the songs provide a searing insight into life under confinement, conveying the anguish and the enduring human spirit of someone who survived years of unjust incarceration.

Dial M for Murder review | Theatre Works

Brought to stage in 1952 and immortalised two years later in Alfred Hitchcock’s classic film, Dial M for Murder has long been a favourite for lovers of tightly wound thrillers. This latest production by Smoke and Mirrors Productions keeps the bones of the original intact while slipping in a few contemporary surprises to give the story a new edge. The result is a sharp, stylish take on a familiar tale that knows how to keep an audience intrigued.

The first act plays out in a fairly straightforward fashion, leading to the inevitable attack and its immediate aftermath. Then the show changes lanes entirely. The second act throws us into the 1980s, with the set and props transformed: rotary dial phones become corded, a red gown gives way to shoulder pads, and additional small touches signal a leap forward in time. The third act brings us to 2025, including sneakers being worn, iPhones being used, and other modern details that pull the narrative firmly into the present.

In The Heights review | Comedy Theatre

Melbourne has turned the volume up to eleven with In The Heights, a vibrant burst of music, movement, and pure heart that spills from the stage. Lin-Manuel Miranda’s beloved musical ignites to life with warmth and energy, planting the audience into a neighbourhood alive with stories. From the first electrifying note to the final bow, this is a celebration of the delight that comes from being part of a community.



In The Heights follows Usnavi, a bodega owner in lively Washington Heights, as he wrestles with whether to stay and carry on his family’s legacy or chase his dreams elsewhere. The story weaves through the lives of the colourful residents, including Nina, a young woman returning from college, Benny, a dispatcher caught between two worlds, and Vanessa, Usnavi’s love interest dreaming of a better life. Against a backdrop of pulsating music and exhilarating choreography, the musical explores identity, family, ambition, and the bonds that hold this neighbourhood together.



The Collector review

Tucked down a labyrinth of Fitzroy alleyways, The Collector invites visitors into a world where memories live through an assortment of whimsical curiosities. Crafted for two participants at a time, this production by Barking Spider Creative blends playful interaction with a raven-masked host, surprising contraptions, and objects that blur the line between treasure and trinket.



We meet outside a café where our guide gathers us and leads us into a tangle of winding paths. Whether by design or happy accident, the guide’s chatter keeps me distracted enough that I lose track of where exactly we’re going. By the time we stop, we’re in front of a compact corrugated iron shed. Before we’re allowed in, we’re asked three abstract questions that make you pause and reflect, while a scribe dutifully jots down our answers. Then, with a ceremonial ring of a bell, the door opens and we step in.



Miss Julie review | fortyfive downstairs

Written in 1888, August Strindberg's Miss Julie is a tense exploration of class, power, and desire, centred on the fraught relationship between an aristocratic woman and her servant during a single, volatile night. Company 16’s adaptation relocates the story in a contemporary setting on the eve of Greek Easter, set inside a bustling restaurant where Miss Julie is the daughter of a wealthy restaurateur, John is an intense sous-chef, and Kristina is the determined head chef. This modernisation aims to highlight the rigid hierarchies and simmering tensions of the hospitality world through the lens of cultural tradition and family expectations. While the concept offers a fresh and immersive perspective, the production grapples with fully capturing the complexity and affective nuance to make for a compelling story.

Making her acting debut, Annalise Gelagotis captures the eponymous character's surface-level frustration and defiance, but is unable to thoroughly explore Julie’s internal conflict and shifting status. What’s missing is a deeper layer of subtle vulnerability and psychological tension that would allow us to connect with her downfall. As it stands, the performance feels too obvious and leans into melodrama.

Pride and Prejudice review | Darebin Arts Centre

Bloomshed takes a sledgehammer to Jane Austen with their vision of Pride and Prejudice. Reimagining the classic novel with the company's trademark satire, real estate panic and modern love fatigue, the Melbourne-based theatre company tackles the Bennet family’s marriage market negotiations with big ideas and plenty of laughs as they drag Austen’s romantic masterpiece into the cost-of-living crisis. 

The regular Bloomshed gang are still going strong, and their chemistry keeps building momentum. The ensemble clearly loves to play, and play off each other, with their joy radiating in every scene, with Laura Aldous, Elizabeth Brennan, Syd Brisbane, Anna Louey, and Lauren Swain bringing the Bennet sisters to life. Louey’s performance is measured and engaging, weaving well into the group dynamic. I’ve said it before and I’ll say it again, Brennan is an incredible talent to have on stage, and watching her navigate Elizabeth’s wit and bite is a real treat.

Kimberly Akimbo: A Musical review | Melbourne Theatre Company

Kimberly Akimbo: A Musical might seem like your typical coming-of-age musical, but it quickly proves to be something stranger, darker, and slightly more surreal. The story follows a 16-year-old teenager who has a rare genetic condition that causes her to age four times faster than usual. As she negotiates her way through high school, first love, and a wildly dysfunctional family, Kimberly is also racing against time in her quest to experience life before it slips away.

Marina Prior takes on the role of Kimberly and does a fantastic job of conveying the character’s unique challenges. She captures the confusion and vulnerability of a teenage girl trapped in an older body with subtlety and heart, never tipping into over-the-top comedy. Her performance is authentic and sincere, which is no small feat given the material. Darcy Wain is an absolute scene-stealer as the awkwardly endearing Seth. He shares an effortless chemistry with Prior and his presence brings a welcome charge to the show, making Seth its quiet anchor amid the mayhem.

The Forgotten Songbook review | Chapel off Chapel

Once a well-known figure in the Broadway scene of the 1930s and '40s, Wilbur Weismann seemingly vanished into oblivion, with little information on what became of him. But for writer/composer Emerson Hurley, one listen was all it took to become utterly hooked and intrigued. That spark led Hurley down a rabbit hole, determined to bring to light who he really was and give his work the recognition it deserves. The Forgotten Songbook revives his timeless tunes - including some recently unearthed compositions - and weaves them together with anecdotes from his life. What emerges is not just a tribute, but a meditation on artistic imprint and the search for validity.

Karla Hillam and Jonathan Guthrie-Jones are our performers for the evening: cheesy, charming and completely committed as they bring Weismann’s story to life. Their brilliance is undeniable, with strong vocal skills. Their voices blend beautifully in duets, while each also delivers impressive individual moments that showcases their range and presence.

The Glass Menagerie review | Meat Market

First staged in 1944, Tennessee Williams’ The Glass Menagerie is a classic piece of theatre. Described by Williams as a 'memory play', he draws on his own experiences to tell the story of the Wingfield family, including the restless Tom, his controlling mother Amanda, and his fragile sister Laura. Set in a small apartment in 1930s St. Louis, the play explores the theme of how memories shape our past and our future and the divide between the world as it is and the world as we'd like it.


Under the direction of Nicholas Reynolds and Nadia Sirninger Rankin, the Wingfield household is a haven of familiarity and safety. The way the family moves, stands, and sits on stage conveys a natural ease, as if this is the one place they are truly secure. The heart of The Glass Menagerie lies in the depictions of the emotional struggles these people face. Unfortunately, the performances miss the crucial push and pull that drives the story. Amanda lacks the fierce dominance she needs, Laura’s fragility is muted, and Tom’s inner battle never quite surfaces. Together, this weakens their dynamics, and the heartbreaking and haunting finale loses its effect.

Rumbleskin review | fortyfive downstairs

A trucker picks up a pregnant teen on an empty stretch of road, a young rodeo rider stumbles onto a mysterious ranch, and a fugitive arrives in a cursed town seeking safety. These three stories form the backbone of Rumbleskin, that is set against a rugged Western backdrop. Unrest spreads across these lands through a strange disease known as the rumbleskin. This original story by Ames May Nunn fully embraces the Western environment while delving into ideas of transformation, identity, and survival in this striking queer folk tale spanning generations and the shifting landscapes of the heart.

The cast of five display great skill as an ensemble, but in their individual portrayals of numerous characters, there are moments that are slightly off. Ziggy Resnick holds our gaze as Celia, a hitchhiker with lucky thumbs, but it’s as the Preacher’s Daughter that she commands the stage. Luke Wiltshire is also compelling as both Ditch and the Preacher, and the pairing of these two actors is a stroke of genius as they spark off each other in their limited shared scenes. The depiction of Young Scratch by Sunanda Sachatrakul, and the Runaway by Cassidy Dunn are questionable - but given the strength of their work in other roles throughout the show, this seems more like a directorial choice than a reflection of their ability. Both are played with exaggerated intensity, lacking the nuance or subtlety that could make them really land. Lines are occasionally shouted seemingly for the sake of it, and some control in delivery would go a long way.

garçon review | Northcote Town Hall

In garçon, wani toaishara invites us into a soulful reflection on growing up Black in Auckland, New Zealand. Drawn from his memory, the production examines the push and pull of youth, its delights, its risks, and the events that mould who we become. With poetic narration and a keen eye for detail, wani blends humour, hardship, and tenderness into something that is personal and moving.

Having won the Australian Poetry Slam championship in 2019, wani has a remarkable gift for language. The way he articulates himself and selects his words is precise and striking, blending expressive storytelling with candid, understated feeling. His captivating style brings to life not only his own journey but also lends unique voices to the supporting figures - real individuals from his life - making each one vivid and unforgettable. Wani takes us deep into his world, and encounter the joys, struggles, and endurance that shaped him.

Here You Come Again review | Comedy Theatre

Here You Come Again is a jukebox musical that weaves Dolly Parton’s celebrated country tunes into the story of Kevin, a man stuck in lockdown during the height of the COVID pandemic. Lonely and directionless, he finds unexpected guidance in the form of an imagined Dolly - part muse, part motivator - who helps him make sense of his stalled life. With a simple two-person cast and a setlist of familiar hits, this production aims to offer a gentle message about finding resilience when everything feels uncertain.

The success of a show like this rests heavily on the rhinestone-studded shoulders of whoever takes on the role of Parton, and it has well and truly struck pink with Tricia Paoluccio. Under Gabriel Barre’s direction, she captures Dolly’s voice, laugh, and mannerisms with uncanny precision. It’s not simply an impression, but a fully realised performance with her musical numbers also a highlight. Alongside the talented onstage band and Andrew Worboys’ musical direction, these songs are delivered with wonderful energy and authenticity.

Legally Blonde the Musical review | The National Theatre

Legally Blonde the Musical, based on the iconic 2001 film, has won acclaim and awards worldwide for its witty book, catchy score, and the effervescent tale of Elle Woods’ transformation from underestimated blonde to Harvard Law star. This production by Theatrical Inc channels that same spark, bringing comedy, standout musical moments, and some four-legged scene-stealers to the party.

Emily McDougall gives a highly spirited performance as Elle, with enough presence to lead the musical. She brings charm, determination, and an infectious confidence that carries the role with ease. However, to better match her movie counterpart, her costumes could be more unapologetically feminine, boldly pink, and cleverly subversive to fully capture the character’s appeal. Similarly, the blonde wig she wears needs to be securely set, as the lifting adhesive around her face became increasingly visible and distracting.

Smokescreen review | fortyfive downstairs

 Set against the smoky backdrop of 1977 corporate America, Smokescreen is an insightfully portrayed drama that explores the insidious relationship between government and controversial industries. The story centres on Glenn, an oil executive who begins to question his morals when the environmental cost of his work becomes impossible to ignore. He sets up a discreet meeting with Bud, a charismatic young 'ad-man' from the tobacco industry, to help him sell the no longer sellable, and to set his conscience at ease over what he is doing.

The pairing of actors Christopher Samuel Carroll and Damon Baudin is nothing short of genius. The two play incredibly well off each other, and it is fascinating to observe their subtle power plays and the creeping change in status unfold. For most of the show, Baudin remains seated in his chair yet his growing arrogance, smugness, and hint of corruptibility slowly seep through in the smallest of movements and expressions. It's a performance I will think about for a long time to come.

Have a Goodnight Walter review | The Butterfly Club

In Have a Goodnight Walter, Dean and Mary are a married couple living with Dean’s Obsessive Compulsive Disorder (OCD). Checking that doors are locked, windows are shut, and monitoring the motion detector camera at the front gate are all common occurrences. One evening, an unlocked door threatens Dean’s fragile OCD management, as his intrusive thoughts begin to manifest through the people around him.
 
The 45-minute show immediately drops the audience into Dean’s headspace, with no preamble. We are told early on that Dean has OCD, but are offered no context for his extreme behaviour or mental state, which leaves us scrambling to make sense of why he is spiralling. Personally, I’ve never seen OCD portrayed in such a psychologically heightened way, involving feverish hallucinations. A better-defined introduction to Dean’s internal world would have helped ground the audience, making certain scenes more meaningful, such as why the police conduct a welfare check prompted by his OCD.

Mother Play review | Melbourne Theatre Company

Mother Play by Paula Vogel is a sprawling drama that follows a mother and her two children across four decades. In Melbourne Theatre Company’s season, directed by Lee Lewis, the story is brought to life with compelling performances and smart design choices. With three actors carrying the full weight of the narrative, the production moves confidently through time while exploring the strains, bonds, and psychological complexities of a family shaped by their era.
 
The Herman family’s evolving relationships are anchored by Sigrid Thornton’s powerful portrayal of matriarch Phyllis. Thornton is magnetic and has a presence that doesn't even need dialogue to make an impression. In a delicately constructed wordless montage of time passing, Lewis presents Phyllis alone in her home, where Thornton skilfully communicates the gradual softening of her character’s defences, from the way she carries herself, how she eats and drinks, and even how she observes her surroundings. Every one of her actions are charged with significance.
 
Yael Stone and Ash Flanders play Phyllis’ children, Martha and Carl. Ordinarily, it would be a stretch to accept actors in their 40s playing teenagers, but both Stone and Flanders bring a convincing, wide-eyed energy to their early scenes. They display their characters’ development with restrained voice, stance, and depth. The connection between Martha and Carl is heartfelt with an evident closeness and appreciation that underlines their relationship as it evolves.

Proteus review | National Institute of Circus Arts (NICA)

The circus show Proteus follows a diverse group of characters living together in a strange city, capturing the blend of public spaces and private moments. Co-directed by Sage Bachtler Cushman and Hugo Oliveira, this production offers a thoughtful exploration of human connection through acrobatics, aerials, movement, and physical storytelling performed by NICA's third-year students.

The ensemble is impressive, with each performer given room to shine. Sammy George's contribution stands out as especially hypnotic. His flips and landings are executed with such silent precision that it looks like he's landing on a cloud. He moves with composed grace and calm, maintaining a mesmerising presence throughout the show. Similarly, Immy Turecek's acrobatics and lyra act commands our attention with her skills and charisma. Even during transitions, when she's momentarily isolated among Barrie Michael Baxter's imposing set pieces, her fluidity holds our gaze.

The Wrong Gods review | Melbourne Theatre Company

Set in a quiet village tucked deep in the Indian countryside, S. Shakthidharan's The Wrong Gods tells the story of four women grappling with change. As the push for development creeps closer, traditions begin to buckle under the weight of progress. What follows is a slow unravelling of relationships, beliefs and loyalties. It’s an intimate, character-driven piece that leans into lyrical dialogue and rich visual moments to explore what happens when the world you’ve always known starts slipping away.

Radhika Mudaliyar brings restless energy to Isha, a slightly naive and yet determined teenager desperate to escape her rural surroundings to see the real world and follow her dreams of being a scientist. Her portrayal of a young woman torn between honouring the past and embracing the future is compelling and layered, and her chemistry with Nadie Kammallaweera as her mother is genuinely heartfelt and believable, adding a tender layer to their complicated relationship.

Fat Pig: The Opera review | fortyfive downstairs

Fat Pig: The Opera is a chamber opera by composer Matt Boehler and librettist Miriam Gordon-Stewart, which is based on Neil LaBute's 2004 play. When sparks fly between Tom and the smart and confident - but fat - Helen, he grapples with defending their relationship against a harsh, image-obsessed workplace culture. As pressure mounts, he’s forced to choose between love and the shallow approval of his toxic colleagues.

Directed with clarity and care by Kate Millett and presented by Forest Collective and BK Opera, this Australian premiere of Fat Pig presents a reflective and affecting opera that explores body image, love, and social expectations through expressive music and storytelling.

Love and Information review | Theatre Works

Caryl Churchill’s 2012 play Love and Information presents over 50 brief, disconnected scenes and more than 100 characters, all exploring how people absorb knowledge, communicate, and try to connect in a noisy world. Each becomes a snapshot of human interaction and emotion. In this 2025 production, director Belle Hansen embraces this chaos with a clever, considered approach that honours the fragmented structure while injecting moments of surprise and style.

Harry Gill’s set design is particularly inventive, featuring a revolving circular platform divided into three segments, allowing for swift transitions and playful staging. It gives the cast lots to work with and keeps the audience on their toes. The multiple entry and exits points along with the versatility in how the stage is used and locations are established, serve to stave off monotony and give scenes some delightful flair thanks to Hansen’s direction.

Ripening review | Gasworks Arts Park

Ripening, written and directed by Jayde Kirchert, explores the experience of pregnancy through Lea, a woman nearing the end of hers. She focuses closely on Lea's personal journey, supported by an all-female cast, that offers different perspectives on what it means to become a mother. It’s a thoughtful look at some of the challenges and emotions that be stirred up in the lead up to giving birth. 

Kirchert delivers an engaging exploration of the path to motherhood through Lea (Veronica Thomas), a woman on the cusp of giving birth. Although Lea is in a relationship with her male partner, his complete absence from the narrative allows Kirchert to centre her story and amplify a range of viewpoints on motherhood via an all-female cast. The play also does an excellent job of creating a bond between Lea and the audience - regardless of whether they’re pregnant, female, or neither.

Night Night review | Monash University

Perth-based theatre company The Last Great Hunt returned to Melbourne with Night Night, a visually arresting, emotionally resonant piece that speaks volumes without uttering a single word. It is another example of the stunning innovation they bring to their work; in this instance, as we are transported to the vast isolation of Antarctica and probe the depths of human curiosity and connection. A bold, imaginative, and quietly profound story, it further cements The Last Great Hunt as one of Australia’s most inventive and affecting contemporary performing arts makers.

Co-created and directed by Arielle Gray, Luke Kerridge, and Tim Watts, the show stars Gray as Pip, an Antarctic scientist on a quest to uncover the origins of life. Her path takes a surreal turn when she encounters a lone albino penguin, leading to the discovery of a mysterious glowing entity, played brilliantly by Watts' hands. (Yes, his hands).

Beetlejuice the Musical review | Regent Theatre

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 | Chapel off Chapel

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 | Arts Centre Melbourne

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 | Comedy Theatre

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 | Arts Centre Melbourne

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 | Meat Market

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.