As we settle into the opening moments of the show, the so-called curse of the Jade Room at the Chinese Museum kicks in, and her tech fails. Not ideal for a work that relies on it. With a background in improvisation, McGlensey takes it in her stride, riffing with the audience while things reset. When it eventually begins working, she drops back into it so smoothly it’s as if the interruption never happened.
There is a gamification aspect where the audience is given three options for Mel to act out. Cheers and applause determine the winner, which is measured by a microphone that tracks the volume. McGlensey has no choice but to follow through with ‘slut hunt’ re-enactments and ‘skinny bitches’ impersonations. It’s what we voted for. After each round, a single audience member rates how 'normal' Mel was on a scale from 0 to 10, with 0 being what you see at Smith Street at 4am and 10 being what you would see at the Comedy Gala.
Every new round resets the stakes, enough to keep the atmosphere wild and fresh, as we redirect the course of the performance. This variation allows the show to move forward in a way that is responsive rather than cyclical, maintaining engagement without settling into a predictable pattern. What is interesting is how often what I feel is ‘normal’ doesn’t line up with the audience member making the call. Which brings us back to the question, what is normal, and who gets to decide?
McGlensey is a confident presence on stage, comfortable steering whatever is thrown her way. Her willingness to dive into the fun, trust the process, and embrace the suggestions gives the show its momentum. She reads the room well, reacts quickly, and maintains a steady, assured energy, which anchors the more spontaneous elements. Because of its format, the outcome changes every night. There are versions where Mel isn’t freed at all. Tonight, she is, earning her place at the gala, though in trying to meet the standard of ‘normal’, something essential seems to slip past Mel.
Sharnema Nougar has a history of drawing out compelling performances across the productions she directs and this piece is no different. Nougar supports her performers in finding the play within the material and encourages them to lean completely into it. That mutual understanding is evident here, providing McGlensey the space to explore, engage, and commit fully while retaining a clear sense of cohesion and control.
Douglas Wilson’s tech design is seriously impressive, working his magic from the back of the venue and responding to the action in real time. The arcade-style music, smooth transitions, and cues shaped by the audience enhance the show’s sharp, reactive drive.
The strengths of Mel McGlensey is Normal lie in how it playfully dismantles the idea of normal, turning it into something fluid, subjective, and performative. By placing that judgement in the hands of the audience, McGlensey highlights how inconsistent and personal those definitions can be. Rather than chasing a fixed ideal, the work suggests there is more value, and far more fun, in embracing individuality in all its unpredictability. In letting go of the need to conform, we are invited to step into our own quirks, where the 'weird' is not something to correct, but something that makes us feel more alive.
SHOW DETAILS
Venue: Chinese Museum, 22 Cohen Place, Melbourne
Season: until 19 April | Tues - Sat 6:30pm, Sun 5:30pm
Duration: 60 minutes
Tickets: $32 - $34 Full | $28 - $30 Conc
| $26 Tightarse Tuesday
Bookings: Melbourne International Comedy Festival
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