Mass Hysteria review | Melbourne Fringe Festival | Trades Hall

Forget Sunday service. Mass Hysteria wants to show you what happens when you replace church pews with a cabaret stage, hymns with saucy songs and religious devotion with drag. This Holy Trinity, consisting of Iva Rosebud, Meg Hickey and Jens Radda, is ready to lead us into salvation and enlightenment through cabaret, burlesque and live performance.

From the moment the audience settles in, it is clear this is not going to be your traditional service. The trio embrace the theatricality of worship, moving between song, dance, burlesque and comedy while playing with the rituals and language associated with the church. There is a knowing irreverence to it all, but the production is not simply about making fun of faith. Instead, it takes these traditions and gives them a very queer, very cabaret interpretation.

The show is divided into several chapters, including Communion, Temptation and Baptism. Each comes with a passage from the Book of Hysterium, offering the audience a subtle tease of what is about to come. That unpredictability is part of the appeal of Mass Hysteria. You never quite know what is coming next.

Mass Hysteria brings church ritual into cabaret at Melbourne Fringe

Jens Radda’s connection to church is more than a starting point for cabaret show Mass Hysteria. Having grown up attending a Seventh-day Adventist church, he knows the practices of worship first-hand, giving the show a personal perspective on what happens when those familiar forms are taken out of their traditional setting and placed inside a cabaret. We spoke with Radda about his religious upbringing, the appeal of ceremony and why a night at the theatre might not be so different from a Sunday service.

Radda’s time in the church brings both irony and affection to the religious rituals at the heart of Mass Hysteria and the way they are reimagined. "There’s definitely irony in it, but there’s also a lot of intrigue and affection," he tells me. "I grew up around this incredible theatre of ritual: hundreds of people singing together, ceremony, pageantry, symbolism…it’s pretty camp! Now I’m basically taking those ingredients and asking 'what happens if we put this in a NutriBullet and blend it with drag, cabaret and performance art?' It feels strangely full-circle."

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.

Best House Party Ever review | Roxie Halley & Michele Owen | Melbourne International Comedy Festival | The Motley Wherehaus

In 2008, Melbourne ended up in the global spotlight when 16-year-old Corey Worthington threw a house party that got wildly out of hand. His parents were away, and after posting an open invite on MySpace, over 500 people showed up to his suburban home. Total madness.
 
Now, he might want to keep an eye out, because two Nunawading locals are ready to make him old(er) news. In Best House Party Ever, best mates Big Mike and DJ JayJay, somewhere in their 30s and 40s, see an empty house as an opportunity. The moment DJ JayJay’s mum heads out, it’s game on. There’s booming music, questionable life choices, and the kind of party energy that escalates rapidly.

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.

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.

Final Queen: Where drag meets danger and gay glam meets gore | Midsumma Festival | Gasworks Arts Park

Armed with a hot pink Holden Commodore, circus queen Grace Lightning, the last surviving member of a cross-continental drag convoy, is screeching through the Australian outback fighting to stay alive from the horrors trying to end her. Harrison Sweeney is bringing campy terror, drag glamour, and outback chaos together in Final Queen, a show that defies genre. Inspired by everything from classic slasher films to iconic divas, he and co-creator Rachel Kerry have crafted a story on survival, spectacle, and queer joy. We sat down with Sweeney to talk horror, circus theatrics, and what it takes to turn a solo drag performance into a multi-character, gasp-and-giggle extravaganza.

Final Queen wears its cinematic influences proudly on its blood-splattered sleeve, and Sweeney draw on a wide range of horror techniques to shape the show’s look, tone, and scares. "The main influence is The Texas Chainsaw Massacre, one of the original slashers! Indeed the entire subgenre of slasher films was a huge inspiration to us," he tells me. "Rachel and I also looked at Australian outback films like Wolf Creek to help spark ideas. She is a horror guru! Her extensive knowledge of horror films and tropes has been so incredibly helpful in the creation process. We were interested in exploring the Final Girl trope (as referenced in the title), and bringing that to life on stage in a solo show. “Final Girls” like Laurie Strode from Halloween and Ripley from Alien influenced the character of Grace and the story. And we mustn't forget the Scary Movie franchise for some hilarious horror parodies!"

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."

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.



Seen & Heard review | Melbourne Fringe Festival | Trades Hall

It's been almost ten years since Rebecca Church debuted Seen & Heard - a variety show which gives voices to performers who do not have the opportunity to often speak due to their chosen careers. Think circus and burlesque performers, drag queens and sex workers. In this format, these people share personal stories that surprise, entertain and inform us as to who the person behind the persona is. After a six-year gap, the show returns to Melbourne Fringe for a new season, new storytellers and new stories under the direction of Church.

Wes Snelling is our host for the evening and he does a wonderful job of making sure this mixed bag of misfits stay on track. Of course, Snelling's alter ego Tina del Twist is a different story, causing a ruckus in the audience with her fishbowl of wine. Snelling's recount of his Rock Eisteddfod dreams is quite affecting and a reminder that no one puts Wes in the corner and there is no such thing as a small role.



Lazy Susan, recently announced as a cast member in the upcoming season of Drag Race Down Under, is a sheer delight as she discusses the reality of getting old and whether Botox is the way to go. This has Lazy Susan recalling how much she has pushed herself to achieve drag success and how her mother's cancer diagnosis impacted one of the biggest successes of her career. These performers are always so fierce and in control on stage and you can be caught off guard seeing them be genuinely vulnerable and emotional.

Kinder review (Melbourne Fringe Festival)

Drag Queen extraordinaire Goody Prostrate is getting ready for a scandalous night out, but a misunderstanding has them realising they are performing drag storytime for children and not an adult-themed drag show. With the clock ticking, Goody needs to come up with something appropriate, and fast. Written by Ryan Stewart who also delivers a sensational performance as Goody, Kinder opens the conversation on the politics surrounding children and queerness.

Stewart is incredibly passionate and committed as Goody, showing exceptional control over the character and comfortably navigating the highs and lows of Goody's temperament and personality. Their choreography and lip-syncing acts keep in line with who Goody is, and you can easily see that Stewart has become Goody Prostate.

She Slayed: A Drag Murder Mystery review | Melbourne International Comedy Festival | Grouse

What happens when four drag divas try to put on a show together? With such big egos and big hair, there can only be one answer: murder. She Slayed: A Drag Murder Mystery is a deliciously camp, uproarious whodunnit of a drag queen who is viciously murdered - but in a fashionable way.

Created by Nicholas Reynolds, She Slayed feels like it's a drag show pretending to be a comedy show instead of a comedy show pretending to be a drag show, and this is partly because of the four cast members and the confidence and experience they have as performers. The script, while allowing for plenty of ad-libbing and improv, is full of great one liners and sassy retorts between the characters. Reynolds has played to the individual strengths of the cast and so the concern here is not about finding the truth of their character but to go out there and have fun, which spills out into the audience.

Ruthless! The Musical review

Everyone wants to be talented. But not everyone can be talented. First performed Off-Broadway in 1992, Ruthless! The Musical is all about the lengths that people will go to be known and adored. This is the kind of show where you think it can't possibly go there, and it does, with much glee, audacity and campness.



Melbourne icon Dolly Diamond takes centre stage as talent agent Sylvia St. Croix who is determined to make Tina Denmark a star, even if it means creating a monster. Chloe Halley, giving off fabulous Little House on the Prairie Nellie Oleson vibes, as the menacingly charming 8-year-old acting prodigy. Britni Leslie as Tina's talentless homemaker mother finds great comedic timing and delivery as Judy and provides some devilish surprises for the audience in Act 2. Despite having a supporting role, Olivia Charalambous steals every scene she is when let loose as Eve, an obsessive and slightly unhinged assistant.

La Nonna's Saucy Sauce Day review (Midsumma Festival)

In 2019, Samuel Dariol presented a tender homage to his nonna with La Nonna, where he shared her life and choices that led her to moving to Australia and raising her family. In 2024, we once again meet nonna (and nonna) but this time it's all about sauce making day with La Nonna's Saucy Sauce Day. I may not be Italian but I am very aware of how significant sauce making day is for Italian families.

Dariol and Anna Cerreto are exceptional as the nonnas. It's testament to Dariol's strong performance from 2019 that the 2024 nonna feels so familiar and welcoming. The mannerisms of the nonnas are scarily accurate and they display effective commitment to these matriarchs. The inclusion of some contemporary dance breaks are highly entertaining and seeing how they attempt to make this day a success is a joy to watch unfold, despite their setbacks.

YUMMY: Joy Machine review (Melbourne Fringe Festival)

Nine is my favourite number. It's also now the number of full-length productions that the brains (and beauties) behind YUMMY have presented, so it was pretty much a given that I would love this instalment by the team, Joy Machine.
As usual, the founder of YUMMY, Valerie Hex is here to oversee the proceedings and get the crowd pumping for some euphoric drag, burlesque, circus and performance art.

Founding members are still part of the ensemble but YUMMY has also become a playground for emerging and up-and-coming artists to show the audience what they've got. The talent that Val has assembled is the performance artist equivalent of The Avengers.

Each week of Joy Machine has a rotating cast and this one did not disappoint. Under the watchful eye of Val, Hannie Helsden, Jandruze, Karlee Misi and Jarred Dewey deliver awe-inspiring acts with unbridled self-expression and freedom. Each of them displays tremendous panache with their stage personas that further heightens the excitement for the audience and the breadth of variety on offer. Helsden is the super cheerful one that never loses her smile, Jandruze is the ice queen who will easily cut you down to size, Misi is the energetic ball of fun and Dewey is the sensual yet sexual vintage strongman.

Gone Girls review | Gasworks Arts Park

It's been almost three years since Gone Girls debuted at the Melbourne Fringe Festival. A farcical, queer retelling of two of the most powerful women in politics - Julia Gillard and Julie Bishop - and the media scrutiny they endured due to their gender. With a new actor portraying Bishop and a story with far more creative license, this new season has a fresh energy and perspective on women in politics.

Once again, the performance by Patrick Livesey as Gillard is frighteningly accurate. A little exaggerated for comedic effect but it does not fall into caricature or a send-up of Gillard. Wearing Gillard's trademark pantsuit and jacket, Livesey allows the former Prime Minister to envelop them as her speech, language, movement and facial expressions are flawlessly depicted. Similarly, Annabel Larcombe proves to be a great pairing with Livesey, finding the confidence and outspoken attitude of the former Deputy Leader of the Liberal Party.

ICONIC review

After an enforced break from the stage and a live audience, the glamorous superstars of YUMMY return for a new drag and burlesque show, ICONIC. It’s an evening with lots of colour, sparkle, and skin on display as we are presented with a range of fun and sexy acts that celebrate queerness in all its forms.

The show begins with a bang with the performers lip syncing to Madison Rose’s aptly titled song “Iconic!” They all know how to command the audience’s attention in their unique way and allow their individual personalities to shine through while ensuring that they are still working as an ensemble. Special shout out to drag artist Hollywould Star who despite being a last-minute addition to the cast, more than held their own and I wish the stars had aligned better so that we could see them have a solo.

Party Snake review | The Burrow

When we see drag queens perform, they are confident, loud and love being the centre of attention. But how often do we think about the person behind the wig, makeup and dazzling outfit? In Kotryna Gesait’s Party Snake, the duality of these two existences is explored as a drag queen arrives home from a night out only to begin getting ready for work that morning as a primary school drama teacher. 

As Queen and the man behind the persona, Lachlan Martin shows a commanding and captivating understanding of who they are, or thinks they are. It’s rare to watch someone act drunk or high in an authentic yet interesting way, but Martin ensures that despite the state she is in, Queen never stops being a layered character who continues to surprise and engage us. As Queen begins to remove her wig, makeup and clothes, Martin finds a consistent balance in showcasing the opposing nature of these lives. The closer he gets to leaving for work, the more subdued and awkward he becomes, where even his voice changes from animated and bold to meek and polite. It's an incredibly restrained performance that clearly presents an innate awareness of their character.

Bernie Dieter's Little Death Club review

When Bernie Dieter gets her gang of punks, freaks and weirdos together you can be sure you're in for a night of rousing cabaret, burlesque and circus. With a number of rotating guest artists, Little Death Club allows everyone in the spiegeltent to shed their inhibitions and simply celebrate everything that makes them distinct and unique.

Dieter's displays perfect levels of charm and sassiness as our host, with her audience banter remaining playful and cheeky as she coaxes one person to let out a loud orgasm to show his appreciation of the performance. Her original songs, including catchy titled gems like "Lick My Pussy" and "Dick Pic", leave everyone wanting to hear more of her distinct voice and unexpectedly relatable lyrics.

Top 10 Shows at the 2019 Melbourne Fringe Festival

So another Melbourne Fringe Festival draws to a close. With over 450 events on this year, I managed to get myself to 61 shows (matching my 2016 record), despite telling myself I would take it easy this year. However, with such a variety of works being performed there was no way I was going to miss any. Covering interactive and immersive work, cabaret, theatre, live art, circus, comedy and dance, there really is something for everyone to enjoy and experience at Melbourne Fringe Festival.

As usual, there were so many shows I wish I could have made it to but my clone is still a little way off from completion so I hope I will have an opportunity to catch those in the future in some way, shape or form. But it's not a Melbourne Fringe Festival - for me anyway - without compiling a list of my top ten shows, so here it is. Links to original reviews can be found next to the show's title. Enjoy!

1. Mime Consultant - review

Every now and again you see a show where you think you know what you’re getting yourself into but end up with something completely unexpected and far better than anything you could have imagined. Patrick Collins’ Mime Consultant is that show. Adding mime to his repertoire of comedian, magician and bisexual, he delivers an unforgettable hour of non-stop laughter as he helps people achieve their mime dreams. 

It’s evident that Collins has worked on each second of this show that then allows him the to be in complete control on the stage. His dissection of his material from all angles ensures that no joke is left unturned and as a result they are a source of constant entertainment. There is not a single flat moment or a punchline that doesn’t land. With a seemingly loose format, you’re constantly surprised with every sketch performed and then amazed with where that leads. Mime Consultant shows a performer at the top of his game who has taken this traditionally silent art form and turned it (and comedy) into a truly unique experiences for audiences.