Flick’s Gag Reflex adopts that mood wholeheartedly, delivering plenty of outrageous jokes while still allowing growth amongst its protagonists. Beneath the absurdity and sexual comedy is an astute exploration of friendship, insecurity and the confusion of teenage adolescence. It’s also very funny, leaning confidently into awkwardness, vulgarity and chaos without losing sight of the emotional stakes underneath.
Mia Tuco, Louisa Cusumano and Miela Anich are a formidable trio, bringing a natural realism to the friendship their characters share as they begin their manuscript. Their chemistry is lived-in and believable, grounding the production’s more exaggerated structure in recognisable dynamics. Cusumano is especially impressive, who is given the opportunity to push the intensity and impatience of Anna, balancing sharp comedic timing with flashes of frustration and vulnerability.
Director Tansy Gorman does an excellent job weaving together the naturalistic dialogue among the friends with the outlandish sexual fantasy sequences from Monster Luv, the erotic novel they create. The transitions between authentic teenage conversation and heightened chapter readings are handled smoothly, permitting the production to embrace both styles without feeling disjointed.
There are a few instances though when the pacing moves too quickly through punchlines. There were several moments where audience laughter became louder than the following dialogue, causing some lines to be lost. Making time for an extra beat before moving into the next line would give the humour room to land and preserve the rhythm of the comedy.
The show’s visual design is one of its most striking elements, with Karli-Rose Laredo's set consisting of flowing saturated pink draped fabric and carpet that transforms the space into something simultaneously playful and overtly suggestive. It creates a cocoon-like environment that reflects the characters’ adolescent fantasies while evoking unmistakably sexual imagery. This effect is strengthened by Georgie Wolfe's lighting design, which bathes the stage in soft tones that resemble the stylised glow of erotic photography or filmed pornography. Jodi Hope's costumes are a sight to be seen particularly her armoured strap-on dildo.
While the story centres on three girls writing their tale, Flick also explores broader issues affecting young women, including menstruation, bodily anxiety and the often uncomfortable realities surrounding sex and intimacy. Behind the bawdiness is a grounded reflection on the uncertainty and rawness that comes with growing up.
The final scene is beautifully written, revealing the girls’ realisation that sex is not the glamorous, otherworldly experience imagined in their fiction, but something awkward, clumsy, respectful, and genuinely fun. There may be an underlying sense that these friendships might not last forever, as they enter a new state of adulthood, yet this shared moment of honesty and awareness becomes an important part of what binds them together, giving the ending an unexpectedly touching emotional weight.
Gag Reflex is unapologetically crude, chaotic and sexually explicit, but beyond the over-the-top laughs, there is a surprisingly thoughtful coming-of-age story about friendship, insecurity and young women attempting to navigate the confusing gap between fantasy and reality. Strong performances and design and comedic energy, balance the risque with insight, resulting in a show that is consistently funny yet sincere.
Venue: La Mama Theatre, 349 Drummond St, Carlton
Season: until 23 May | Wed 6:30pm, Thurs - Fri 7:30pm, Sat 6pm and 9:30pm
Duration: 90 minutes
Tickets: $35 Full | $25 Conc
Bookings: La Mama Theatre
Image credit: Darren Gill
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