Hotsy-Totsy is bringing a chaotic children’s party for adults to Melbourne Fringe

After years of entertaining children at birthday parties, Ava O’Brien and Peggie Barnes decided they deserved a different kind of audience. The New Zealand act have swapped balloon animals and face painting for a two-hander packed with clowning, puppetry, magic and whatever else they can throw at the stage. After premiering at the 2026 New Zealand Fringe Festival, Hotsy-Totsy now heads to Melbourne. We caught up with O’Brien and Barnes to talk about escaping the birthday-party circuit, turning their skills into a show for adults and why, sometimes, you just need to book yourself a better gig.

For O’Brien and Barnes, the appeal of creating a children's party for adults lay in the feelings of excitement and wonder of being completely swept up in the experience. "We felt the magic of a captivated audience and figured that adults love entertainment just as much as kids. When Elsa shows up at your 5th birthday and you're high on sugar, you are invincible," they tell me. "We wanted to capture that feeling in our own performances and bring adults into that silly magical world. It's got the thrill, energy and unbridled joy of a children’s party, but filled with much more adult humour. It's us playing ourselves, with our inner children onstage with us, and no one is putting the brakes on!"

Callum Le Page turns Le Bug into an unlikely bedtime companion at Melbourne Fringe

Bed bugs are pretty disgusting tiny creatures. Hiding in your bed, coming out while you're sleeping and feasting on you without so much as a thank you note. Except Le Bug. In this physical comedy show, Callum Le Page's bed bug has rather more wholesome plans for your night, although he may still have a few surprises in store.

"Le Bug is a French bed bug who just wants to stay up past his bedtime with the audience, but we must be quiet so that the watchful mother does not stir and tell us off!" Le Page explains. "He's cheeky, charming and very hungry, so there's a chance that maybe, just possibly, they want to have a little nibble of the audience!"

Le Bug has been part of his creative repertoire for some time, gradually evolving from a sketch into something substantial enough to carry a full-length show. "The sketch that Le Bug was born in seemed to get longer and longer and more unhinged every night it was performed," Le Page recalls. "It was a character that never got old for me and I kept finding new stupid things to do with the him, and eventually reached a point where I just wanted to give him a whole hour, for better or worse!"

Kelly Lim Harris is ready to sing about your Yellow Fever at Melbourne Fringe

Being told you’d be great in Miss Saigon might come across as a compliment, but for Kelly Lim Harris, it has happened enough times to inspire a song. In Yellow Fever, the WAAPA-trained performer turns her own experiences of fetishisation, tokenisation and being reduced to her ethnicity into an original cabaret about the realities of being an East Asian performer. Ahead of Yellow Fever's Melbourne Fringe Festival premiere, Lim Harris spoke to us about the stories behind the show, the contradictions of representation and finding her own voice through cabaret.

An impossible to-do list puts Rebekah Carton to the test in Everything, Now! at Melbourne Fringe

How much can one person possibly get done in an hour? In Everything, Now!, the answer is apparently: everything. Created and performed by award-winning theatre maker Rebekah Carton and directed by George Lazaris, the new work throws Carton into a relentless sixty-minute race against the clock, armed with an impossible list of tasks and increasingly little chance of getting through them all. As interruptions pile up and priorities constantly shift, the carefully constructed system begins to unravel, turning everyday busyness into something far more physical, chaotic and absurd. We managed to pin Carton and Lazaris down to ask how they came up with such an ambitious task list, and whether anyone can really do it all.
 
Tell us about Everything, Now! What exactly is going on?
George Lazaris: Everything!
Rebekah Carton: Right now! 
GL: I feel overwhelmed just thinking about it.
RC: It’s almost like I’m doing every task on my list-
GL: That’s ever been on your list.
RC: Everything that anybody’s ever asked of me and I’ll be like "I’ll do that later. I’ll do it in a little bit.:"
GL: Today’s the day.
RC: Right now. In front of an audience. At Fringe.

Fu@k! I Killed The Director plunges two actors into total chaos at Melbourne Fringe

What do you do when you kill your director on opening night? If you’re the two actors at the centre of FU@K! I KILLED THE DIRECTOR, apparently, you carry on with the production. Blending clowning, mime, dance and a does of chaos, the new work from Alright? Production Company throws two desperate performers into the aftermath of a very unfortunate accident, as they attempt to keep their adaptation of Romeo & Juliet alive while facing the small matter of their dead director. Created by Nina Hopley, Alana Louise and Jason Schwab and performed by Louise and Schwab, the 50-minute farce promises an anarchic, physical and distinctly unpredictable Fringe experience.

The piece takes a pretty spectacular theatrical disaster and turns it into a celebration of play, silliness and letting go. "Two actors, Cherry and John, are about to debut their rendition of Romeo & Juliet. But moments before the curtain goes up, they accidentally kill their director. Covered in blood and reeling from the shock of the freak death, they then do their best to keep the performance alive in front of the audience. It gets absurd, messy and nonsensical, and there are even some real emotional gut punches," Schwab tells me.

Creepy Boys are promising absolutely nothing with SLUGS at Melbourne Fringe

What happens when you make a show about absolutely nothing? According to Creepy Boys, you make SLUGS, an electro-punk concert, play, clown performance and basement puppet nightmare that promises a technocolour acid trip featuring puppet Joni Mitchell, a two-person horse and, apparently, every body part they have. Created by real-life lovers S.E. Grummett and Sam Kruger, SLUGS has spent the past year travelling around the world, earning a nomination for Best Comedy Show at the 2025 Edinburgh Fringe along the way.

The tagline is as straightforward as it gets: "It’s about nothing, nothing, nothing, nothing, nothing, nothing, nothing, nothing. We promise." And they mean it. "It means it’s about nothing! We felt one nothing didn’t drive the point home, but eight…now we’re cooking. We wouldn't read into it beyond that. No need. No pesky themes to go hunting for, just relax. SLUGS is a space where, finally, you can not think about all the SOMETHINGS of the world.  An hour where you get to leave it at the door. What could go wrong?"

When magic turns to horror: Tim Ellis is bringing Darkness Is Coming to Melbourne Fringe

Darkness Is Coming is a magic show with its roots in horror. Drawing on the French Grand Guignol style of graphic, theatrical horror, award-winning magician Tim Ellis explores the mind of a psychopath looking back over his life and questioning his own reality. But there is no dialogue in this show. Instead, projections, music, sound, lighting and magic establish the world of the story, bringing fragments of the character’s imagination to life, with the audience piecing together what is happening from what they see and hear. For its Melbourne Fringe Festival season, the production comes to an intimate 32-seat theatre, where the boundaries between magic, theatre and horror begin to blur.

Elliot Wood is serving up another helping of Mrs Lovett's tasty pies at Melbourne Fringe

After surviving ovens, questionable culinary practices and, somehow, the Stephen Sondheim estate, Mrs Lovett is back. Elliot Wood’s gloriously unhinged Mrs Lovett’s Famous Meat Pies Grand Reopening Extravaganza returns for Melbourne Fringe, bringing its live pie-making antics, relentless wordplay and larger-than-life energy to the stage. With a fresh batch of madness on the menu, Wood is once again stepping into the role of everyone’s favourite ethically dubious pie-maker, ready to serve up another helping of mayhem. We caught up with Wood to talk about reviving Mrs Lovett, what audiences can expect this time around, and why there is no such thing as too much disorder when it comes to baking a pie.

Returning to the role gives Wood the chance to approach the production with more confidence. "I was so thrilled with the reception to the Comedy Festival season of Mrs Lovett, and I am elated to play her again. This is the first solo work I've written and from the outset I felt totally out of my depth; the show was written partly to prove to myself that I'm capable of writing a solo work, and a lot of the early part of the run was like fully dissociated above my body watching myself jump around for an hour," they tell me. "I'm looking forward to a season where it's not the first time ever doing a solo work, with more confidence to ease some of the nerves and ride the wave."

A Completely Improvised Zombie Apocalypse throws Bren Carruthers into mayhem at Melbourne Fringe

Zombies have never been especially interested in following the rules, and neither has improvisation. Put the two together and you have a theatrical experiment where anything can happen, including who survives the night. A Completely Improvised Zombie Apocalypse takes the familiar conventions of the zombie genre and hands them over to a rotating cast of improvisers, with the audience helping determine where the story goes.

With humans being indispensable to any zombie production, it is only natural that this one has a large cast of victims. We managed to get hold of one of them, Bren Carruthers, while they are still human, and picked their brain on our obsession with zombies and what happens when you throw a group of improvisers into the apocalypse.

Given the challenge of surviving, let alone depicting, a zombie apocalypse, I was curious how Bren rates their own survival skills. "I’m only one member of a cast of nearly a dozen, but I don’t think any of us would be likely to survive!" they laugh. "But I think good zombie narratives aren’t about surviving, they’re about the attempt to survive, and what arises in the meantime. They’re a unique vessel for exploring parts of the human experience, society, and what happens when the normal rules no longer matter."

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."

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.

Sugar Bits clean up the trash with their feminist chaos | Melbourne International Comedy Festival | The Motley Bauhaus

Sugar Bits are back with their riotous sketch show, Feminist Trash, and they are ready to wreak hilarious havoc on Melbourne once more. Nicola Pohl, Tessa Luminati, and Stephanie Beza are the three brains behind the operation - so perfectly in sync it’s almost unfair to the rest of us. Unsurprisingly, when asked to do an interview, they answered as a single, terrifyingly witty entity.

Both the group name and the show title are boldly chosen, feeling playful, ironic, and a little provocative, teasing out how the group’s identity is reflected in - or upended by - these names. "It genuinely comes from very shallow beginnings: Sugar tits, but because we’re sketch comedy, we do Bits! Sugar Bits! Whereas Feminist Trash was born from a tagline when flyering for our first show, Hit n Hope, where we would say to people 'this show is feminist trash'," they tell me. "It just caught on and became an idea we wanted to make a show about. Feminist Trash subverts the name Sugar Bits because the name is ultra-femme, but the way Feminist Trash is grotesque, stupid, and dark, can be seen as unfeminine or ugly, which happens to be the way we like to be femme!"

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.

Eva Seymour on the comedy of waiting in the wings | Melbourne International Comedy Festival | The Motley Wherehaus

Eva Seymour’s The Understudy shines a hilarious and unflinching light on the backstage world, as we follow an understudy juggling nerves, endless preparation, and the strange suspense of being ready to step in at a moment’s notice. We spoke to Seymour about crafting this performance, laughing through the mayhem, and how the show resonates far beyond the stage.

The Understudy centres on the long wait that comes with being on call, unfolding into a deeper dive of what it means to be an actor, largely defined by job insecurity and the shifting demands of the industry. "Writing a show about understudying made me realise it’s a microcosm of the actor’s life," Seymour explains. "Waiting for the call as an offstage cover puts you at the whim of many things beyond your control, and you have to do mental gymnastics just to manage the anxiety. Actors are constantly doing that, whether they admit it or not. You can follow every rule, make every 'right' choice, and still not be where you want to be. That uncertainty, the missed opportunities, and the sacrifices it requires - sometimes it strains relationships, makes you question yourself, and reminds you how much of your life gets put on hold for work you may never even do."

Laughing through sharehouse horrors with Amelia Pawsey | Melbourne International Comedy Festival | Trainscendence

Amelia Pawsey has spent years immersed in Melbourne’s performing arts community, thriving in ensemble work and collaborating with a range of directors and artists. Now, she’s stepping out on her own with her first solo production, Love Letter to Heephah, a playful and poignant blend of comedy and songwriting drawn from her experiences in a share house where everyday moments of chaos, absurdity, and everything in between are revealed with humour, honesty, and a bit of mischief.

"I absolutely cherish ensemble work, in particular, within the Melbourne independent theatre scene. I have worked with many talented artists since graduating drama school and have always felt inspired by the work of Aussie creatives! I've had a lingering thought for years to give stand-up a go but I've been too scared to back myself, making excuses why I wouldn't be good at it," she explains. "Then this year I thought, that's not a valid reason to not try something! It was in conversation with my housemates about Heephah the random fox statue in our living room, where I realised I could combine my passion of songwriting with stand-up, that Love Letter To Heephah was born, and I could not be more excited to share this with MICF audiences."

Handful of Bugs is turning late-night radio into a playground of chaos | Melbourne International Comedy Festival | Malthouse Theatre

Handful of Bugs are back with their latest creation, Hello Mr. Radio!, a wild dive into late-night radio mayhem and surreal comedy. At the centre of it is Fergus Mackerel, an outlandish host whose bizarre 3am broadcasts turn sound into spectacle and audience into co-conspirator. We spoke with Alex Donnelly, one third of Handful of Bugs, about bringing Fergus to life, pushing the boundaries of form and narrative, and why unpredictability has become the company’s calling card.

The idea for Hello Mr. Radio! didn’t come from anywhere obvious - it came from a sudden spark in the middle of chaos and artistic panic. "We were scouring the vast corners of our collective minds one evening. We were lost. We were afraid. We knew that jesters, big feet, monster trucks and assassins were funny. There couldn’t possibly be a fifth funny thing. And then it hit us," Donnelly tells me. "We were LOOKING in the wrong places, we needed to be HEARING in the right place! The radio. A medium dominated by ears alone for far too long, what if we let the peepers in on the fun? Thusly, Hello
Mr. Radio! was born. Then swiftly put in a drawer so we could finish our fringe season."

Maitriarchy sees Maitreyi Karanth take the throne of laughter | Melbourne International Comedy Festival | Ballers Clubhouse

Maitreyi Karanth’s journey to comedy has proven that it’s never too late to chase your passions, make people laugh, and leave a lasting mark one joke at a time. She’s already made history as the first woman in Hong Kong to sell out ten nights of a one-woman headliner show. Now she's on her way to Melbourne with her show Maitriarchy, where she explores midlife, family chaos, and global adventures, with sharp humour, candid reflections, and a playful look at life’s surprising twists.

Karanth’s path to performing has been anything but conventional. It began when she turned 40 and came to terms with having outlived her father, who died when she was nine. It wasn’t until she reached 44 - an age when most people are clinging to stability - that she chose to trade certainty for a microphone. "Growing up in a small town in India, all I ever wanted to be was an actress. I was always in school plays, giving speeches, and performing. But when my father, a passionate public speaker himself, passed away, and with my mum being blind and no money at all, life changed completely. At that time, a fatherless girl going on stage was a big no-no," she explains.

How a pub joke became a comedy show teaching Auslan for Ben Richardson | Melbourne International Comedy Festival | Wheat, Wine & Whiskey

What began as a tipsy joke in a pub has evolved into one of Ben Richardson’s most inventive performance yet. Drawing on his life as a CODA - a Child of Deaf Adult(s) - and his years as both a comic and Auslan interpreter, Richardson blends stand-up with hands-on language learning, inviting audiences to laugh while picking up the fundamentals of Auslan along the way. In this interview, he reflects on the accidental origins of the show, the influence of growing up between Deaf and hearing worlds, and why signing to a song could be the funniest way to learn.
 
"This came about from a drunken night out, as all good shows do," Richardson explains. "We were at a country pub and there was a live band playing the usual country pub songs. I drunkenly started singing them in sign language. My mates joined in after I showed them how to do the chorus. Then others on the dance floor jumped in and it became quite the scene. I realised hearing people enjoy doing these in Auslan and I also realised the only way people are ever going to want to hear me sing is if I do it quietly in sign language. Hence, Welcome to the Auslan Jungle was created."

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?"

Jenna Suffern on faking it, finding it and performing it | Melbourne International Comedy Festival | The 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.