To Schapelle and Back review | Melbourne International Comedy Festival | The Butterfly Club

Alex Hines is having a pretty crappy birthday. Her dad is missing and Blockbuster is closed. What's a private schoolgirl on a swimming scholarship meant to do? Well not much, because the ancient doppelgänger curse is about to strike and Alex's life is about to become inextricably linked to that of Aussie icon, Schapelle Corby. Alex will need to go To Schapelle and Back in order to see the light on the other side in this incredibly twisted and outlandish Melbourne International Comedy Festival offering. 

While having some background knowledge about who Schapelle is would help with some of the show's subtle (and overt) humour and observations, its look at Australian culture and sense of identity is broad enough for everyone's entertainment. This isn't a show exclusively about Schapelle Corby. Hines' ability to take pop culture references, such as Mr. Squiggle, Big Brother and Chris Crocker, and mould them into something that can slide seamlessly into the Corbyverse is very impressive and reinforces the confidence that Hines has as a performer.

I Hope My Keyboard Doesn't Break review (Melbourne International Comedy Festival)

Gabbi Bolt's I Hope My Keyboard Doesn't Break may be her first solo show but Bolt is no stranger to musical theatre (Ratatouille the TikTok Musical and Schapelle! Schapelle! The Musical) or to comedy (The Chaser). Bringing these two together for the Melbourne International Comedy Festival, Bolt sings her way through various worries and concerns she has about the world around her, like climate change, as well as issues that are of a more intimate nature, like whether she chooses to have children or not.

Bolt is extremely personable and relatable with her commentary. It never feels like she is simply going through a list of issues and ticking them off, but that each one actually means something to her, regardless of how important or impactful on the world it might be. She is one of those performers who can pack out a venue but is engaged with every single person there and gives the impression that she is speaking (and singing) to each individual in the room.

Dazza and Keif Reenact the Titanic Movie Playing All the Roles review (Melbourne International Comedy Festival)

They've gone viral, and they've gone into space...where to next for local superstars Dazza and Keif? The movies of course. After spending lockdown together at Dazza's mum's house and watching the masterpiece Titanic on repeat, the two besties (#NoHomo) have decided to reenact the film by playing all the characters. But we are assured this will be fun as they have cut out all the boring chick dialogue and added some fully sick dance moves. Welcome to Dazza and Keif Reenact the Titanic Movie Playing All the Roles.

Having seen the digital delivery of Dazza and Keif Reenact... at Melbourne Fringe last year, I did debate going as I had essentially seen the show. However, this experience was a reminder that nothing can top live theatre and being in the same room as this rapturous audience giving huge applause and cheers made this a completely brand new show with non-stop laughs.

Poncho: Keep it Up! review | Melbourne International Comedy Festival | Malthouse Theatre

It's been five years since Dani Cabs' alter ego Poncho graced Melbourne stages and in that time, while he has definitely matured, his humour has fortunately not waned. In Poncho: Keep it Up!, our charming, orange, good-times seeker brings a mix of physical comedy, clowning and storytelling discussing ideas on who we are and what we should strive to be, that are equally entertaining and honest.

Armed with just a rack consisting of a variety of orange clothing on the stage, all eyes are on Poncho, and he wouldn't have it any other way. Poncho feeds off audience interaction and welcomes the occasional impromptu comment or laughter from the audience. Cabs is so comfortable in his Poncho skin that he is never thrown by audience suggestions or responses and remains and responds in character to whatever happens.

Cabs possesses great comedic timing and shares genuine engagement with his audience. During his storytelling/spoken word moments, even behind the facade of this Latin clown, there are interesting observations and statements made about identity and society that are even more potent given the comedic lens they are told through.

Bunny review (Melbourne International Comedy Fetival)

New Zealand performer Barnie Duncan returns to the Melbourne International Comedy Festival with a show that is quite unlike what he has done in the past. His trademark absurdity is still evident in Bunny, but Duncan's dissection of whether dancing at a nightclub at 3am was a way of dealing with his grief or avoiding it after his mother passed away last year, adds a level of intimacy and vulnerability that is often difficult to convey on stage.

While a few jokes don't land that well, or have been tacked on for a cheap laugh (Will Smith's Oscars behaviour is already such a tired punchline), Duncan shows strong control of the audience and meeting the expectations we have upon entering this surreal show about clubbing and death. The unique way in which Duncan sees and understands the world is clearly presented, and with an open heart he shares the complexities of dealing with grief and mourning the death of a loved one, particularly during a pandemic.