Dance Palace review | Finucane & Smith | Luna Park

I remember going to my first ever Finucane & Smith show back in 2010. I had never heard of Finucane & Smith before, but the title Carnival of Mysteries was too tempting to ignore. I vividly recall watching the various acts unfold, wide-eyed as I discovered this new world. But it was Moira Finucane’s performance as the Ice Queen, inside a tent, that has stayed with me most. There was something captivating about the strength and power in her voice, and I was transfixed by it. Since then, I have eagerly attended many of the performances and events created and curated by Finucane & Smith, including their current show Dance Palace, marking 30 years of their work.

Staged inside Luna Park, Dance Palace invites us into a place of exhilaration and excess, where cabaret, circus, burlesque and live music collide. It is a fitting setting for the occasion, with the faded glamour and eccentricity of the historical theme park providing the perfect backdrop for an evening that revels in the strange, the spectacular and the unexpected.

Celebrating 30 Years of Finucane & Smith at Luna Park

Hip hip hooray! Finucane & Smith are turning 30, and naturally, they’re celebrating in the only way they know how: with a gloriously unrestrained carnival of cabaret, burlesque, music, dance, comedy, glamour, chaos and more than a little bit of diva.

Over the past 30 years, Finucane & Smith have created 36 full-length shows, performed across 19 countries, toured 160 Australian towns, entertained more than a million audience members and collected 21 awards along the way. Not bad for a company that has done it all without a penny of ongoing funding.

To mark three decades of making wildly inventive, genre-defying art, the company is returning to Melbourne's iconic Luna Park for Dance Palace, a month-long party running every weekend from mid-August. Dance Palace will bring together a dazzling cast of performers for an event that promises, in true Finucane & Smith fashion, to be anything but predictable. Expect pub rock queens, Bollywood love gods, torch singers, burlesque artists, First Nations performers, gothic legends, live painting, flying pants and plenty of surprises along the way.

Ahead of the glorious mayhem to come, we spoke to a dozen of the 30 performers taking part in Dance Palace about the show, the company, and what makes Finucane & Smith such a singular force in Australian performance.

Beasts of Burden and Other Party Guests review | Miss Friby | Bluestone Church Arts Space

Life often feels like a balancing act between the burdens we carry and the faces we present to the world. Personal anxieties, responsibilities and private struggles rarely disappear, instead following us through our daily interactions. In Beast of Burden and Other Party Guests, cabaret performer Miss Friby transforms these universal experiences into a bold, highly physical work that blends comedy, dance and theatrical spectacle. The result is an unpredictable exploration of the "beasts" that accompany us through life, and what happens when we finally invite them into the room.

The party kicks off with Miss Friby encased in a gorilla suit, performing a vigorous dance routine. She gradually removes the costume piece by piece, suggesting the shedding of a persona, burden or inner beast. Yet the transformation is not finished. Even after revealing the human figure underneath, she continues to move with the same physicality, blurring the boundary between human and beast with the implication that the two are intertwined rather than separate identities. This idea is reinforced in later party games, during which Miss Friby mimes animalistic gestures and lip syncs a cacophony of beastly sounds that are abruptly curtailed.

Bernie Dieter’s Club Kabarett review | Meat Market

It's been just over a year since Bernie Deiter captivated Melbourne audiences with Club Kabarett, and while several acts are the same, it is still bursting with energy, dazzling with skill and reaffirming exactly why it struck a chord the first time around. Through circus, cabaret and live music, it becomes a rousing invitation to let go of restraint and jump into joy, resistance and collective release.



The contortionism from Soliana Erse is once again, jaw dropping to watch. It's one thing to (literally) bend over backwards and turn your head around but the speed and the smoothness at which she does this is mesmerising. Similarly, Jacqueline Furey’s fire act is, quite simply, hot, hot, hot. Flames lick her body and then some, and you can feel the heat and know this isn’t smoke and mirrors, it’s edge-of-your-seat realness.



Recovering Eldest Daughter review | Rachel Tunaley | Melbourne International Comedy Festival | The Motley Spielhaus

Through centuries of daughterhood, the eldest daughter has been destined (or cursed?) for a life of perfectionism, high achievement, and anxiety. Rachel Tunaley is no different, as the eldest daughter of her family. However, when her sibling comes out as transgender, she believes she has been freed from the expectations that once defined her. Little does she know. In her new cabaret, Recovering Eldest Daughter, Tunaley takes the audience on a candid, humorous, and personal journey through mental health, identity, and the process of unlearning lifelong pressures as she searches for who she is beyond the role she was raised to fulfil.



Now the middle sister, Tunaley gleefully visits the Prophet of the Eldest Daughter to relinquish the eldest daughter label, only to be informed that too much time has passed and the title cannot simply be given away. No, there is only one way this can happen. She must learn to heal her inner child. Easier said than done. This prompts her to examine her past behaviours, thoughts, and relationships, confronting the patterns that have shaped her and the anxieties she has long carried.

Chookas review | Melbourne International Comedy Festival | The Motley Spielhaus

Three eggs appear on stage. Slowly but surely, they begin to hatch, and out pop three cabaret-loving chicks. It’s best not to dwell on it too much. What follows is an hour of more chicken-themed burlesque, comedy and songs than you can fry. Adore Handel, Mae B. Wilde and Penelope Splendour are our hatchlings, who take us on a wild, ecstatic ride full of energy, cheek, and playful absurdity with Chookas.



The trio are adept at capturing the specific mannerisms of chickens. They display inquisitiveness and a judgmental edge as they reach out to the audience, almost as a challenge or assertion of authority. The way they move and feed off each other and us strongly resembles observing chickens, albeit with clearly exaggerated physicality.

Small Poppy review | Gabbi Bolt | Melbourne International Comedy Festival | Malthouse Theatre

Gabbi Bolt is heading back to her high school at the end of the year to accept an award recognising her as one of its most successful alumni. But rather than prompting a moment of joy and pride, the prospect sends her into a spiral of self-doubt, anxiety, and insecurity. And when the world seems to be on the brink of collapse, how is she supposed to keep any of this in perspective?

In Small Poppy, Bolt examines both the state of the world and her own desire for fame. While unpacking the history of "tall poppy syndrome", she lands on the Wikipedia page for Lucius Tarquinius Superbus, the seventh and final king of Rome, whose tyrannical rule led to his overthrow and the establishment of the Roman Republic in 509 BCE. He is also often associated with the origin of the phrase "tall poppy".

What happened when Rachel Tunaley lost her eldest daughter crown | Melbourne International Comedy Festival | The Motley Spielhaus

Eldest Daughter Syndrome describes the pressure that often falls on the oldest daughter, who can end up taking on a lot of emotional and practical responsibility within the family. Recovering Eldest Daughter is Rachel Tunaley's new cabaret, sparked by the moment a surprise gender transition from her older sibling suddenly shifted her from eldest to… not so eldest.

Eldest Daughter Syndrome was something Tunaley had been acutely aware of for some time, and as with all great shows, “write about what you know” became the starting point, right up until her sibling’s transition changed the family dynamic. "I was seeing a lot of conversation online, especially on TikTok, about Eldest Daughter Syndrome and I resonated with the 'symptoms' for lack of a better word, and decided to unpack it more. While it’s not a formal syndrome, there are plenty of similarities in experiences for eldest daughters such as the burden to be perfect or successful whether that’s in career or romantically, struggling to articulate your own boundaries and needs with others and feeling like the caretaker of the family," she tells me.

Black Widow: Sex, Bugs & A High Death Toll | Melbourne International Comedy Festival | The Speakeasy Theatre

In Black Widow: Sex, Bugs & A High Death Toll, Isabel Knight invites audiences back into the web of Arachne, her razor-sharp, silk-spinning alter ego who blurs the line between seduction and satire. Part cabaret siren, part mythic avenger, the half-woman, half-spider creation returns to Melbourne stages with sharper legs, stronger vocals and a newfound depth. We spoke to Knight about how this remount is not just sting and spectacle, but a deeper dive into vulnerability, power and the messy thrill of transformation.

Knight admits that Arachne has never left her and has slowly been weaving her way back to Melbourne stages. "Honestly, I haven’t stopped thinking about her," she says. "She has made an appearance at some cabaret nights singing songs and finding a new lover or two, but nothing beats her in her full form, web and all. She is still itching to say more and who am I to stop her?"

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.

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.

Milo Hartill on being seen, heard, and unapologetically funny | Misumma Festival | Chapel Off Chapel

Milo Hartill’s show Black, Fat and Fa**y is a bold, joyful exploration of cabaret, storytelling, and lived experience of being a Black, fat, and queer person. In it, Hartill draws on humour, music, and personal insight to tackle both the hard and fun parts of life, delivering a production that is as thought-provoking as it is entertaining. In this interview, Hartill reflects on how their identities have moulded the stories she tells, the decisions behind what makes it into the show, and the delicate balance of revealing her own truths while keeping audiences engaged, laughing, and thinking differently.
 
At the heart of the show is Hartill’s reality of moving through the world as a Black, fat, queer person, and how that intersection of identities informs not only how she is seen and treated, but the tales, humour, and honesty she brings to the stage. "The life I lead and how I am treated is because of these markers - Black, fat, and queer - and it is endlessly impactful to the way I present myself and my stories," she says. "It influences how I see society in a multitude of ways and to see the best and worst of people. It shows me the gravity of people's bias, opinions, and assumptions, how finding and cultivating community can be life-changing, and how I have to work way harder than most to hit the same goal posts. It also shapes the way I view politics, as many factors in life and politics that barely affect privileged people will almost always affect me in some way. It determines how willing people are to hire me for jobs, depending on how the majority of people feel about brown, fat, and queer people."

She Slayed: A drag murder mystery too fabulous to miss | Midsumma Festival | Victorian Pride Centre

After a sold-out run at the 2024 Melbourne International Comedy Festival, She Slayed: A Drag Murder Mystery returns for a Midsumma Festival season, bringing its blend of hilarious antics and over-the-top musical numbers back to Melbourne. We sat down with Cabaret Queen Dolly Diamond to talk about the cast, the chaos, and what makes performing this drag murder mystery so irresistibly entertaining.

She Slayed was initially staged in March 2024, so a return season to Midsumma has been much anticipated. While the ensemble looked like they were having the time of their lives on stage, Diamond confirms that spark wasn’t just for show. "I definitely feel like I’ve reached that point of my life where I only want to do the shows where I know I’m going to have fun," she says. "This show is exactly that, and the cast is made up of friends I’ve known for quite a few years. That is such a privileged position to be in and I’m grateful for that."

CAKE - Late Bite review | Melbourne Fringe Festival | Meat Market

Cake - Late Bite serves up an hour of gleeful anarchy and creative indulgence, brimming with pizzazz and flair. It’s loud, unapologetic and unpredictable - a night that values attitude over polish, and joy over order. Led by our host, Memphis Belle, we’re treated to a collection of circus, burlesque and drag that titillate and tease. Full of cheeky disorder, Cake - Late Bite is a proud celebration of identity and self-expression in all its forms.

Serenity brings a spark of personality and wit with a lively and self-assured drag act that earns instant bonus points for opening with a lip sync from my favourite film. Zach Johnson shifts the tone with a short but thrilling balancing act involving a bottle, a balloon and a paddle held in his mouth. It’s the kind of performance that has you holding your breath, because one millimetre off and it would all go south, yet he keeps it perfectly steady.

DECADENCE: 10 Years of YUMMY review | Melbourne Fringe Festival | Meat Market

It's hard to believe that Yummy is in its 10th year of delivering wildly entertaining and daring cabaret. Led by the charismatic Valerie Hex, its collection of drag, circus, and burlesque has toured the world to rave reviews from audiences and critics. Their 10-year anniversary show, Decadence, winks at indulgence and excess, but beneath the sparkles and spectacle lies a decade of dedication, heart, and artistry.



Over the years, Yummy has welcomed a huge roster of talent, and it’s been a fantastic launching pad for emerging and guest artists, while also retaining most of its original, well-established crew, including Jandruze, Hannie Helsden, and Bendy Ben. And we get them all here. Bendy Ben continues to impress with beautifully choreographed drag routines, featuring one from the company’s very first production that remains mesmerising and unexpectedly emotionally. Jandruze’s performance to Detroit Grand Pubah’s "Sandwiches" is a Yummy classic, and a thrilling fire act where flames highlighting every movement as they dance dangerously close to their body. Helsden’s hula hoop act injects high-energy, unashamedly fun chaos to the evening.



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!"

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.

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.

Tender review | Gasworks Arts Park

Presented by an all-queer cast, Cirque X's Tender looks at what it means to be tender through circus, acrobatics, and musical and dance numbers. The word itself conjures up different definitions and ideas, and in this production, the acts offer unique perspectives and explorations of what tender can be via various lenses such as relationships, sex, sexuality and desire.

The opening teaser by J Twist and Chris Barnett is hands down one of the most seductive and tantalising experiences I've ever had in the performing arts. The pair appear either side of a cube structure and stare defiantly out to the audience. They are "outside the box" and challenging us to join them on this adventure of discovery. They exude sexuality and sensuality as they gradually begin to remove their clothes which climaxes with a surprising reveal that sets the tone for the rest of the evening.