Jenna Suffern on faking it, finding it and performing it | Melbourne International Comedy Festival | Motley Wherehaus

There is a particular kind of delusion required to work in comedy, the sort that tells you to spend money you do not have, back yourself anyway and commit to the bit no matter how unhinged it sounds. For Jenna Suffern, that delusion comes served with a posh accent and the rallying cry of a show that skewers ambition, image and the fine line between confidence and chaos.

"The back story for Lobster In A Glass is that I was at my friend's birthday and I asked them what they wanted to drink. They were taking aggggges to decide so I said in a posh English accent 'what do you want, a bloody lobster in a glass or something?' This then became a bit of a vocal stim for my friend and I and we adopted the mantra of 'fuck it, just order the lobster in a glass'. So when it came time to bring together what the heck this would be about, I realised Lobster In A Glass was perfect since it represents so many different things," she says.

All eyes on Samora Squid: The sideshow daredevil goes solo | Melbourne International Comedy Festival | The Tote

For 25 years, Samora Squid has been twisting, bending, and testing the limits of the human body in sideshows and circus acts around the world. Now, alone for the first time, they’re turning the spotlight fully on themselves in Squid's Sunday Sideshow. Equal parts daring, absurd, and unexpectedly funny, Squid’s solo debut promises a ride where the audience never knows whether to gasp, squirm, or laugh - and often all three at once.

After nearly three decades performing in circus and sideshow nights, it came down to alignment and timing for Squid to finally take the stage on their own. "It was all about opportunity, and simultaneously having the motivation and discipline," they tell me. "I met the right people who were running the right venue, and they gave me a space to present something unusual and original and at the same time that registrations for the Melbourne International Comedy Festival were happening."

Opera for the Dead | 祭歌 review | Arts House

Eight hours before stepping into Opera for the Dead | 祭歌, I had been at a funeral. It was a death that arrives without warning, even after a life well-lived. By the time I entered the space at Art House, the weight of the day had settled in. Rather than wondering how I might react, I found myself acutely aware of the strange symmetry, moving from a real farewell into an immersive exploration on life and death.

Created by Mindy Meng Wang and Monica Lim, the work fuses music, visuals and technology into a contemporary Chinese cyber-opera that is both ancient and strikingly modern. Before the show begins, the audience is gathered into a “waiting room”. Chanting hums through the space, cyclical and meditative, while an electronic sign suspended above us flashes the word REMEMBER, its glow washing over us like a quiet instruction. The atmosphere is deliberate, balanced between worlds.

Hear My Eyes - Terminator 2: Judgment Day review | Arts Centre Melbourne

It’s been roughly 20 years since I last watched Terminator 2. And it's been a decade since I last stepped into a Hear My Eyes presentation, back when they paired Xavier Dolan’s Heartbeats with an amazing live score by Melbourne’s GL. Both unforgettable. Both somehow left sitting in the “I need to revisit that” pile. Well, consider that rectified. Hear My Eyes have resurrected Terminator 2 and strapped it to a live, pulse-rattling score by Belgian electronic heavyweight Peter Van Hoesen. What this evening offers isn't just a rewatch, it’s a complete sensory overhaul. It's a blockbuster icon colliding with brooding, atmospheric techno. Propelled by electronic sound and framed by a laser show, it gives the film a new intensity and presence.

Terminator 2 is a classic, but this isn’t about revisiting it, it’s about the experience Hear My Eyes have built around it, starting with the music. Van Hoesen brings over four decades of expertise to the performance. Generally a solo artist, for this event he is joined by the Melbourne Electronic Sound Studio (MESS) Synthesiser Ensemble, gathered around a purpose-built liquid metal style table, where they, alongside lighting artist Robin Fox, perform and shape the sound and light in real time.

Harley Dasey is facing demons and songs in Evil Dead the Musical | Melbourne International Comedy Festival |Chapel Off Chapel

Blood, chainsaws, and demonic mayhem have never sounded so infectious. Evil Dead: The Musical turns the cult horror franchise into a high-energy, over-the-top stage spectacle. In this whirlwind of gore, comedy, and camp, we spoke with Harley Dasey as he prepares to step into the legendary shoes of Ash, bringing the chainsaw-wielding hero to life for a new generation of terrified - and thoroughly entertained - audiences.

While initially not fan of the Evil Dead franchise, it didn't take long for Dasey to succumb to the allure of all that is ancient and evil. "I didn’t even know what The Evil Dead was besides the title, but I am absolutely hooked now," he tells me. "I don’t have a particular moment where I had an epiphany that this was the show for me, but I do remember reading the script, listening to the music, watching clips from the movies and other productions on YouTube and thinking 'this is ridiculous… I love it'. The musical is certainly wild, and that is my favourite kind of show. Having now watched the films and immersed myself deeper in the world of the Evil Dead, I couldn't be more excited."

Ryan Smith is letting pandas show us what it means to be human | Club Voltaire

In a world where pandas talk, romance comes with deadlines, and absurdity meets empathy, Ryan Smith’s The Pandas of the Adelaide Zoo takes audiences on a delightfully unique journey. Blending facts with embellishments, the play explores the quirks of animal behaviour while holding up a mirror to human relationships and pressures through the lives of two pandas. In this interview, Smith chats to us on why talking pandas, romance on demand, and a little nonsense can reveal much about human behaviour.

This is an “almost true” story, and while it sticks to the essence of real-life events, some creative liberties were taken, including, but not limited to, giving the pandas the ability to talk. "Well I guess the biggest liberty was that pandas don't talk. Our pandas do, they talk a lot," Smith tells me. "This was one of those plays that began with a one-line gag and then the more I pulled at the thread the more intriguing it became. I was constantly researching the breeding habits of pandas (my search history is bizarre and a little concerning) and the more I learnt the more I said 'well that has to be in the show'."

Robot Song review | Theatre Works

Robot Song is an emotionally driven theatrical work that weaves live music, inventive design, and impressive robotics to explore childhood isolation, creativity, and the search for identity. Eleven-year-old Juniper May receives a letter signed by her entire class declaring her “the most hated person in the school.” It becomes a catalyst for her unravelling as she struggles to understand why this has happened and how she is meant to cope. Based on a true story and created by writer and director Jolyon James, the production presents a lived-in world that draws the audience into the experiences of a young person navigating a challenging moment in their life.

At the heart of the production is a striking performance from Adeline Hunter, who convincingly captures the temperament and attitude of eleven-year-old Juniper without slipping into bratty exaggeration or sugary sweetness. Her portrayal feels grounded and truthful, allowing the emotional stakes to land with quiet force, including an expressive vocal performance that transforms each moment into something personal and affecting. Phillip McInnes shares a tender and believable bond as Juniper's father, where their scenes together are filled with warmth and affection that anchor the story’s emotional core.

Piper's Playhouse review | Crown Melbourne

Going up the escalators to the entrance of Piper’s Playhouse is the beginning of an exhilarating and entertaining night in a Parisian cabaret club. It feels like stepping into a velvet-lined time capsule where glamour, mischief, and a hint of rebellion swirl together in the dim light, kicking-off with small morsels to awaken the senses and stir anticipation ahead of the evening’s grand reveal.

Revellers roam the makeshift halls, pausing for fleeting peep shows in hidden booths, whimsical bubble acts, and the promise of momentary absolution through confession. Champagne is already flowing via surprising means and a roving magician enchants with feats of close-up illusion.

Homophonic! review | Midsumma Festival | Theatre Works

It's been 16 years since Homophonic! had its first performance. 16 years of championing and supporting LGBTIQ+ classical art music. So it feels almost criminal to have only just attended my first ever Homophonic! concert. Staged as part of the Midsumma Festival, with a string quintet and percussion, and voices of The Consort of Melbourne, Homophonic! is a vivid and deeply felt celebration of queer experiences, tracing stories of resistance, memory and community while looking toward what lies ahead.

Artistic Director and musician Miranda Hill also takes the role of MC, providing rich context for each of the pieces we are about to hear. Hill exudes a warmth and openness to her introductions, allowing the audience to grasp not only the compositions themselves but the meaning and purpose behind them. This elevates the six performances beyond music, turning them into an experience that resonates emotionally and intellectually, and leaving a real sense of connection with the stories being told.

Final Queen review | Midsumma Festival | Gasworks Arts Park

Final Queen is a drag circus horror comedy one-woman spectacle, which already sounds like a fever dream, but in the hands of creator/performer Harrison Sweeney and co-creator Rachel Kerry, the chaos is controlled, playful, and often very funny. The story follows drag sensation Grace Lightning as she receives the life-changing call that Kylie - yes, THE Kylie - wants her to audition for her world tour. This requires an urgent road trip from Sydney to Darwin, because of course that is where global superstardom begins.

But a road trip isn't a road trip unless you take your besties with you, so naturally Grace’s (expendable) sidekicks, Jax and Kelly, both brought to life by Sweeney through swift wig changes and defined character work. Jax reads as the seasoned drag queen who has seen everything twice, while Kelly is flirtatious, phone-obsessed, and delightfully chaotic. The driving montage neatly sketches each personality with minimal staging, proving how much Sweeney can do with very little, something he accomplishes repeatedly with this production.

Black, Fat and Fa**y review | Midsumma Festival | Chapel Off Chapel

Milo Hartill is black, fat and faggy. Although these not the exact words she would use. But that’s the privilege of existing across three oppressed minority groups. In the cabaret Black, Fat and Fa**y, Hartill takes us through various elements of these communities and what her experiences have been. With a voice like hers though, there are entertaining musical numbers to go with her observations, anecdotes and jokes.

Hartill is dressed in silver boots, white skirt, and a white cropped t-shirt with "Alpha Male" printed along the front in sparkling letters. She wears a denim jacket with "Big Ol' Dyke" on the back. And that’s the constant contest and juxtapositions and blurred lines that she lives on. She performs with a confidence that is loud, proud and unapologetic, commanding the room before she has sung a note.

Afterglow review | Midsumma Festival | Chapel Off Chapel

I remember being in New York in 2018 and taking my seat to see S. Asher Gelman's Afterglow. I remember being intrigued by a story I'd not seen on stage before. And as the play progressed, I remembered being fascinated by the movement, choreography and the honesty that it explored. Fast forward to 2026 where Afterglow gets its Australian premiere at Midsumma Festival, and that intrigue and fascination remains.

Afterglow follows Josh and Alex, a married gay couple whose open relationship is built on love, routine, and the quiet negotiations that come with time. When a one-night stand with a younger man opens the door to new desires and unspoken insecurities, the couple find themselves confronting questions they thought were settled, and what began as an experiment in openness and trust, slowly forces them all to navigate jealousy, vulnerability, and the fear of being replaced.

S A I N T S and the Moral Panic of Witch Trials with Emily Tomlins | La Mama Theatre

Set in an imagined 1653 England on the brink of upheaval, S A I N T S traces friendship, belief, and survival in a world gripped by witch trials, unrest, and political extremism. The story follows Anna Trapnel and her friends as they flee persecution after being accused of witchcraft by the regime they once helped install, navigating a landscape of spies, moral panic, and competing versions of truth. We spoke with co-director and performer Emily Tomlins, about history’s recurring patterns, the push and pull of belief and power, and what it means to perform this at La Mama’s historic Courthouse stage, in a production by Elbow Room’s Marcel Dorney and Tomlins, with Dorney as co-director and writer.

Robert the Octopus review | Midsumma Festival | Brunswick Mechanics Institute

In Robert the Octopus, Sadie has a crush on a co-worker but thanks to the modern world, their interactions are solely online and via Zoom meetings. In an attempt to gain her co-worker’s attention, Sadie buys a pet octopus named Robert. Eventually, it's enough to lure Georgia over to visit and from there, things begin to get ridiculously complicated as Sadie seeks advice from Robert on what to do next.

Queer emerging writer Alex Duncan has previously shown promise for highlighting the absurdities within the mundane with his work Rakali, but this outing could benefit from further development. What in theory could have been a fascinating narrative, in practice is a script that is light on substance and plot progression. The exchanges between characters are rudimentary and missing a spark, and while there are hints at humour, it rarely builds tension or generates laughs. At one point, it looks like the play is going to go somewhere regarding power and control and who has it, but that concept wraps up shortly after it is introduced.

The Placeholder review | Midsumma Festival | fortyfivedownstairs

In The Placeholder, Ben MacEllen delivers a heartfelt kitchen-sink drama set in a regional town, exploring friendship, identity, and the realities of life within a tight-knit group of women. As they navigate the death of a friend and the transitioning of another, the characters grapple with love, loss, and change - all unfolding in the intimate space of Pat’s kitchen. The production combines humour, emotional depth, and quiet poignancy, capturing the joys, conflicts, and complexities of relationships as they play out in this well-worn domestic setting.

MacEllen has crafted a very personal narrative, full of drama and heart. While the show centres on Nic’s transitioning, we also witness cancer battles, marriages, separations, funerals, and other surprises, yet it is never overstuffed. MacEllen features plenty of discussions on LGBTQ+ issues like marriage equality and transgender experiences, but it does not come across like an overt lesson. Instead, we are made privy to these unfolding naturally within Pat’s household.



Australian Open review | Midsumma Festival | Theatre Works

Australian Open centres on Felix, a happily partnered, newly turned 31-year-old gay man navigating an open relationship with Lucas, an “elite athlete” in the world of professional tennis. Amidst Australian Open fever, Felix finds himself having drinks with Lucas, and his parents, Belinda and Peter, a situation he would rather avoid, but cannot. What begins as a polite social obligation quickly unfolds into an awkward and revealing discussion about love, relationships, and identity; one that forces them all to confront not only each other, but themselves while serving plenty of laughs along the way.

Eddie Orton is captivating as Lucas, an arrogant, driven, and painfully self-assured presence that is played with slick confidence, but allows for  glimpses of genuine tenderness and affection to surface. Sebastian Li provides an excellent counterbalance as the anxious Felix, whose energy contrasts neatly with Lucas’s certainty. While Felix is comfortable in an open relationship with Lucas, he visibly bristles at the prospect of his parents exploring their own relationship, a tension Li handles with hilarious restraint.

Peter Pan: A Twinkle in Time review | Midsumma Festival | Theatre Works

What happens when the boy who doesn’t grow up… grows up? When the twink is no longer a twink? In Peter Pan: A Twinkle in Time, Dean Robinson explores what it means when the identity you’ve carefully carved out for yourself begins to shift, beyond your control.

Peter Pan has been blissfully living in Neverland, venturing into the real world only once a decade. But in 2026, something has happened...Peter has aged and lost his twink status. In denial, he tries to cling to it by bleaching his hair, wearing tight, skimpy clothing, and removing all his body hair. There’s also a quest to find a new “fag hag,” featuring two volunteers battling it out in a game-show style challenge that gets the whole audience joining in.

I’m Only Dating These Men... review | Midsumma Festival | Theatre Works

Just because you’re gay doesn’t mean you can’t find love. Or so we’re told at the beginning of one of the longest show titles in recent memory, I’m Only Dating These Men Because My Uncle Bequeathed Me Money and I Need to Get Married By the End of the Year. It is a title with many other, far simpler options available to it, but its unwieldy length neatly encapsulates the creative instincts of Luke Costabile and Trent Cliffe. Why be straightforward or predictable when you can be random and eccentric. That same philosophy underpins this musical comedy about love, for better or worse.

Costabile plays Larry, a veterinarian who discovers he will lose his inheritance of $946,000 unless he is married by the end of the year. What’s a gay to do? Get married of course. Easier said than done, particularly when faced with a parade of strange and often alarming potential partners, all of whom are played by Cliffe.

The Pole Shebang review | Midsumma Festival | The MC Showroom

Andrea James Lui has been pole dancing for over a decade. In The Pole Shebang, they take the audience behind the glitz and glamour of the craft as they prepare to compete in the Ms Pole Dancing World Championships. It is a moment of high stakes, a chance to showcase the full extent of their skill and to be watched on a global stage.

But, as Lui shares, the road to this opportunity has been far from smooth. They speak candidly about the isolating nature of pole dancing and the personal toll of committing to an art form that is generally practiced alone. Layered into this are the internal tensions of the practice itself, including debates around presentation, standards, and the contentious politics of heels.

Duck Pond review | Princess Theatre

Circa return to Melbourne with Duck Pond, a reimagining that fuses two timeless tales, Swan Lake and The Ugly Duckling. In the former, a cursed princess trapped in a swan’s body finds love with a prince, only for deception and obsession to lead to tragedy. In the latter, an outcast mocked for his difference endures cruelty and loneliness before discovering he was a swan all along. These parallel narratives form the backbone of Duck Pond, a production that uses circus as both spectacle and storytelling.

Acrobatics are seamlessly integrated into the plot, with silk routines, lifts, throws, and balances doing as much narrative work as the text itself. Through its movement, the show connects Swan Lake and The Ugly Duckling around ideas of flight, vulnerability, and transformation. The tossing, jumping, carrying, and leaping are shaped by the journeys of the Black Swan and the Duckling rather than circus grandness for its own sake.

Saturday Night Fever review | The Athenaeum Theatre

Saturday Night Fever follows Tony Manero, a young man from Brooklyn trying to escape the grind of his working-class life through disco, ambition, and the hope of love. The musical immerses the audience into the glittering, pulsating world of 1970s disco, but beneath the sequins and platform shoes, it touches on darker realities of family conflict, personal trauma, and the pressures of growing up. While the show’s set, costumes, and music vividly capture the era and energy of the dance floor, the tension between its flashy, celebratory style and the weight of its serious themes creates a complex, sometimes uneasy viewing experience.

Blackpill: Redux review | Theatre Works

Online hate communities aimed at young men are growing faster and more insidious than many of us realise, quietly luring them at their most vulnerable. Blackpill: Redux exposes how easily curiosity and insecurity can be manipulated, taking small questions about confidence, dating, or self-worth and spinning them into a dark, isolating digital world where belonging is weaponised and anger is cultivated. 

There are several standout scenes, including our protagonist Eli scrolling through Instagram reels before finding his gateway to the Blackpill community. A later striking sequence has the ensemble appear in Eli’s dreams - or perhaps nightmares - each wearing a mask of problematic pop culture men, such as Ross from Friends, Mark from Love Actually, and Professor Snape from Harry Potter. It’s incredibly creepy and heightens the unsettling mood. The cast is dynamic and versatile, wholly inhabiting both intimate and group moments, and brings a tense energy whenever they appear.

I’m Only Dating These Men... explores the messy, funny world of gay love | Midsumma Festival | Theatre Works

In I’m Only Dating These Men Because My Uncle Bequeathed Me Money and I Need to Get Married by the End of the Year (now that's a mouthful!), Larry is a man racing against time to find love - or at least a legal spouse - before an eccentric uncle’s conditions upend his life. The two-man musical turns dating into a hilarious obstacle course, introducing audiences to a parade of absurd, unforgettable characters while exploring what love, partnership, and connection really mean. Creators, Trent Cliffe and Luke Costabile, take us inside the making of the show, from its wild comedic moments to the personal experiences that shaped its heart.

2025 My Melbourne Arts Awards

For twelve years now, I’ve been publishing my favourite theatre of the year. It started as a simple best-of list and slowly became my ritual, part celebration, part love letter to the Melbourne theatre scene. But for 2025, I’m shaking it up! :)

Instead of crowning just one “best show”, this year I’m recognising the people behind the work. The directors, performers, writers, designers, and creative forces who made this year what it was. Fourteen categories, because the performing arts is never just one thing, and neither is excellence.
(In retrospect, there's other categories I should have considered - namely Best Clown, Best Cabaret Artist, Best Dancer and Best Experimental - and will consider these for inclusion in the 2026 MMA Awards.)

I say some version of this every year, because it never stops being true. The shows that stay with you longest are not always the big, glossy productions with a marketing budget and recognisable names. Sometimes it’s the little show that ran for four nights and played to ten peopl that absolutely wrecks you. Support independent theatre makers and venues. Some tickets cost less than $30 and can deliver the most original, daring, and affecting work you’ll see all year.

There’s already plenty to be excited about in 2026. Take a risk. See something you’ve never heard of. Walk into a space you’ve never been to. Melbourne theatre thrives on curiosity, and these awards exist to celebrate exactly that.

And with that, here are the nominees and winners in the 2025 My Melbourne Arts Awards:

Split Ends review | The Motley Bauhaus

Autobiographical theatre walks a tightrope. When a story is this intimate, this traumatic, the danger is never just about being vulnerable on stage; it is whether the work can shape lived pain into something theatrically legible without flattening it, sensationalising it, or asking the audience for sympathy. The challenge is not about being honest, but about keeping control. To revisit periods of OCD, coercion, compulsion, and abuse of power, requires a level of precision that goes far beyond confession. It demands structure, restraint, and a clear artistic vision. Split Ends understands that risk from the outset, and rather than retreating from it, Claudia Shnier meets it head-on.

Split Ends unfolds across two intertwined narratives: Shnier’s private, painfully obsessive relationship with her hair, and the surreal relationship with her Vacuum boyfriend, who continues to suck the life out of her. Through puppetry, physical theatre, and sharp, sometimes jarring musical numbers, these stories become extremely vivid without losing their depth and resonance.