Christian Elderfield’s **Swingers** is a personal account that charts his experiences navigating the world of non-monogamy, framed under a mix of candid confession, saucy observational humour, and punchy one-liners.
Drawing on real-life encounters and a distinctly conversational style, he guides the audience through unfamiliar social spaces with curiosity and bravado, balancing explicit subject matter with a light, comedic touch.
Elderfield takes us through his adventures in swinging, and, in case it’s not obvious from the imagery, he’s referring to couples who have sex with other couples, not jazz music or playground equipment. He proves to be a strong storyteller, with a great sense of punchline delivery and a knack for puns.
He is particularly descriptive in setting the scene, describing his entry into a Sydney sex club with Aimee, his girlfriend at the time, and moving from room to room as they meet a range of people, some are intimate, others fleeting, and some a bit of both. The finale culminates in an explosion of jokes that land with impact and confidence, bringing the narrative to a lively close.
While the content is funny, it’s the on-stage behaviour and tone toward the audience that begins to wear thin. At the performance I attended, Elderfield repeatedly referenced having previously sold-out shows, contrasting that with the half-empty room in front of him, and even pointed to sections of the audience that weren’t visibly reacting. Constant commentary on the room’s energy, rating it as a “2 or 4 out of 10”, and reminding the audience that what he was saying was meant to be funny and deserved laughter, started to build a divide.
The issue is that humour is subjective, and audiences respond in different ways. Some laugh out loud, others smile, nod, or clap. And some might not find a comedian funny (we don't know until we go), but as long as they are being respectful, they shouldn't feel like they have to leave. By signalling expectations around how people should react, Elderfield risks an atmosphere where audience members feel pressured to perform appreciation in a required way, rather than simply responding naturally.
**Swingers** is an engaging and often entertaining hour, driven by Elderfield’s confident narration, sharp execution, and willingness to lean into bold, personal material. When he remains focused on the tale, Elderfield delivers an animated and humorous show that leaves a solid impression, but his repeated, self-referential asides about the audience’s response undercut the momentum he builds.
**Swingers** was performed at Askal between 2 - 5 April 2026, as part of the Melbourne International Comedy Festival.
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