Squid's Sunday Sideshow review | Samora Squid | Melbourne International Comedy Festival | The Tote

Samora Squid has been a sideshow freak artist for over 25 years, and it is now, at this year's Melbourne International Comedy Festival, that they are presenting their first solo show with Squid's Sunday Sideshow.

The show opens with a straightforward triple dislocation of their arm. Yes, really. They then shake it all about like they just don’t care. As the performance progresses, it becomes increasingly challenging to watch the things Squid does to their body. It’s an intense experience at such close proximity. That said, I noticed I was one of the few people covering my eyes or looking away -  perhaps I’m more of a wuss than others. Although there was one guy who gasped "what the fuck!"

Sorry I Hurt Your Son (Said My Ex To My Mum) review | James Barr | Melbourne International Comedy Festival | Trades Hall

If you’re expecting gay comedian James Barr to deliver a steady stream of dick jokes in Sorry I Hurt Your Son (Said My Ex To My Mum), a show built around the domestic abuse and trauma he experienced at the hands of his partner, well… you’d be right. But what’s striking is how effortlessly that humour is folded into the piece. The jokes don’t undercut the story, they sit alongside it, disarming the audience just enough to let the harder beats land.

Barr begins lightly, walking us through his search for Prince Charming, recounting a series of dates before arriving at the night he met Chris at a Spice Girls concert. It’s framed as a turning point, the moment he thought that two souls would become one.

Too Clowns review | Damien Warren-Smith | Melbourne International Comedy Festival | The Motley Wherehaus

Most people will recognise Garry Starr more readily than Damien Warren-Smith himself. Garry is Warren-Smith’s over-the-top comedic persona, known for high-energy, absurd productions that parody classic works through exaggerated, physical, and deliberately chaotic storytelling. His show Classic Penguins is currently playing at the Melbourne International Comedy Festival, and you would be mad to miss it. But Warren-Smith is presenting a work-in-progress during the festival, offering audiences a chance to see another side to his clowning and performance style.

Too Clowns is a silent clown show that explores loneliness, with chalk-written words reading “Bella + Puzzo” introducing us to the characters. Puzzo arrives upbeat and ready to go, but Bella is nowhere to be seen. The show must go on, so Puzzo turns to the full-house at the 11pm showing to help fill the gap. What sets Too Clown apart is its commitment to silence and audience dependency, using participation not as a novelty but as the core structure of the piece, where the performance genuinely shifts based on who steps up.

Trout review | Kate Dolan | Melbourne International Comedy Festival | Malthouse Theatre

in 2025 Kate Dolan opened her Melbourne Comedy Festival show, The Critic, as a plant. This year, she begins as a trout, a dancing trout, while wearing a trout mask. And this time, the show is about trout, fish in general, and the idea that life might be simpler, easier, if she were one. Unsurprisingly, the show is called Trout.
 
Dolan is a stand-up comedian, but this performance marks a complete 180-degree turn from what she presented last year. For starters, there is some contemporary dancing and some rapping. But the most noticeable change is Dolan herself. The shift feels amplified by the larger Malthouse space, which seems to give her the space to expand her presence and lean into a bigger, more unrestrained energy. Dolan uses the entire stage, constantly in motion, swinging her hips, and jumping between beats with a physicality that drives the rhythm. She is loud, erratic, and deliberately so, channelling that unpredictability into a style that appears loose at first glance but is structured underneath.

Nosferatu Looking For Love review | Rhiannon McCall | Melbourne International Comedy Festival | The Motley Wherehaus

Nosferatu, we’re told, is the German word for “sexy bachelor”, and that sets the mood perfectly for Nosferatu Looking For Love. Tired of his old life, this infamous vampire is chasing a sea change, heading to Australia with two clear ambitions, to become a star and to finally find a partner.

From the instant Rhiannon McCall appears, the character is fully realised. Dressed in black with stark white makeup, sunken eyes, exaggerated brows, a bald cap and pointed ears, the look is striking without being overdone. The hunched neck is a particularly nice touch, subtle but effective, adding to the physicality.