ARTICLES

on now, Review

REVIEW | WALK | Immersive choreography across a stunning dreamscape

Review | Laura Money

Described as an immersive, dreamlike experience WALK embodies this from the outset. The Blue Room Theatre production takes you through a stunning dreamscape designed by Opie Robinson – floating amongst clouds and shedding the reality of the world behind as you find a place in Bobby Russell‘s unique consciousness. If that sounds dramatic, it’s because the pure theatricality of WALK sets you up for the immersive and adrenaline-fuelled experience you are about to witness. The set proper looms in semi darkness. Huge structures reaching the ceiling and spreading across the floor of mismatched swatches of fabrics paired with a low throbbing soundtrack by Peter McAvan puts you on edge, bristled with anticipation.

There is tension at the start of the piece – sitting in the dim light, the set appears to move in an optical illusion worthy of a dream, and the constant thrum adopts an almost heartbeat rhythm. Just as you’re falling under a flash of light dazzles you and Joe Lui‘s brilliant lighting design hits over and over. Each flash gives you a glimpse of Russell as they move from state to state throughout their own personal dreamscape. Bathed in green, pulsing light Russell moves through the set to a McAvan’s simple yet effective music. They move as if finding their feet, crawling and clawing in a primeval struggle to exist. Russell walks through their own evolution – at times struggling, at times battle-scarred and triumphant – taking us through the very formation of self and the world to medieval constructs of bravery, and ending with the rebirth of the century.

WALK ends in a celebration of self. Russell leans in to the kitsch and pure joy to be had bopping around in your bedroom lip syncing to a tuuuuune. Free of the shackles and restraints they needed to be held back by to reach this point, they release themselves in a celebration of self and victory. The nightmare may be over, but WALK is a candid exploration of how every part of ourselves – the good, the bad, the easy and the hard – culminate in our sense of self. Identity is a murky journey and this work proves you must WALK before you can run.

You can catch WALK at The Blue Room Theatre until 30th July 2022. TICKETS

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

Coming Soon, Interview

IN CONVERSATION | Acacia Daken | The Glass Menagerie

Interview | Laura Money

Acacia Daken is a stage and screen actor who has been working in the UK after being accepted into the prestigious Bristol Old Vic Theatre School. Daken is performing in Black Swan State Theatre Company’s upcoming production of The Glass Menagerie a timeless classic written by Tennessee Williams. We asked Daken five questions ahead of the show to see what it’s all about.

What is your character, Laura Wingfield like?

Laura is deeply traumatised. She suffered a terrible illness as a young child, which left her with a physical impairment, but it is her ongoing anxiety which leaves her truly crippled. She is a deeply caring soul who values sincerity, and if only someone truly saw her – she would have the chance to shine for who she is.

Why is The Glass Menagerie still a pertinent play in 2022?

We are at a time where it feels like we are going backwards in the world – rights are being taken away, the cost of living is high, people are suffering. This play reflects the inner world and mess of a family, struggling with all these issues. The relationships are eerily familiar as the characters navigate ambitions, dreams, personal conflicts and the physical limitations of the reality they live in. 

Favourite moment on stage?

Any time I’m on stage with Mandy McElhinney. And Laura’s journey in scene 7 is a gift!

Apart from The Glass Menagerie what is your favourite piece of mid-century theatre and why?

I have to stay in the land of Tennessee and say A Streetcar Named Desire. The richness of the language and the characters is an actor’s dream and I hope to one day do the show professionally. 

Describe the play in 3 words:

Poetic, haunting love

You can catch all the drama at His Majesty’s Theatre from 2nd – 21st August 2022. TICKETS

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

on now, Review

REVIEW | Cicada | It’s never too late to embrace life

Review | Laura Money

Barking Gecko Theatre are on the top of their game with this beautiful adaptation of Shaun Tan’s book Cicada. The intimate interpretation sees the little Cicada puppet manipulated by Tim Watts with additional puppetry provided by Arielle Gray as he navigates his tiny world. Cicada takes to his miniature stage and learns to outgrow the confines of his little existence.

Watts and Gray have fantastic chemistry – their playful banter in the beginning and in hilarious mini interludes, interacting with the audience. Chloe Ogilvie brings Cicada’s world intimate with innovative lighting design that cleverly creates the slightly oppressive shadows from office blinds and windows to a gentle glow from a monotonous television. Combined with a magical sounding composition by Jonathon Jie Hong Yang the charming Cicada’s world appears to close in on him.

Cicada is a charming little tale of change and renewal. The hilarious extra commentary added into the script a blistering indictment on greed, and an important lesson in living in the moment. Gray and Watts imbue a humble humanity to the endearing little fellow and his ultimate transcendence is beautifully done. It’s an absolute gem of a show that will linger every time you hear insects sing.

Cicada is on at the State Theatre WA until Saturday 6th August 2022. TICKETS

Regional Tour 2022:

Koorliny Arts Centre (Kwinana) 16 – 19 August

Mandurah Performing Arts Centre 23 – 24 August

Harvey Recreation and Cultural Centre 26 – 27 August

Queens Park Theatre (Geraldton) 31 Aug – 1 September

Broome Civic Centre 8-9 September

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

Review

REVIEW | Once | A dynamic, whimsical musical meditation on love and passion

Review | Laura Money

I don’t know you, but I want you all the more for that

So begins the signature song from Once – a stunning duet called ‘Falling Slowly’ that features poignantly throughout, perfectly placed for maximum effect. It is the feature piece of a strong musical score, written by Glen Hansard and Marketa Irglova with book by Enda Walsh. This multi-Tony Award winning show is beautifully realised by Black Swan State Theatre Company in collaboration with Darlinghurst Theatre Company and is a whirlwind of music and passion that shines from a vibrant cast. Once is deftly directed by Richard Carroll – the whole stage bursts with the dynamic energy of Carroll’s direction and musical direction by Victoria Falconer who leads from the stage. It’s full of energy and vibrancy as movement director Amy Campbell captures the lively energy of the Celtic score and literally brings each note to life – fizzing and bursting in the air.

On the surface, Once is a love story with a stunning score but its deep connection to music with a fully collaborative ensemble, the relatively short time we spend with the characters reveals it to be about passions lifting and weaving patterns along with the music that doesn’t merely serve as accompaniment but is embedded throughout every element of the show. Bursting onto the stage and leaping on tables, rollerskating, and dancing exuberantly the entire cast play instruments and their movement is like watching a musical score’s notes leap from the page to create a dynamism that makes it difficult to know where to look. The set is the only part of the show that is static, designed by Hugh O’Connor it consists of a pub, music store, dingy bedroom, crowded share house, bank office, recording studio, and vacuum repair shop among other things! O’Connor creates the perfect base of wood panels and furniture that are moved about as needed – not just shuffled by a stage hand but thrown and slid and passed in time to the music by the talented cast who make every scene-change an exciting guessing game of how innovatively the objects can be used.

Guy (Toby Francis), Dublin born and bred is suffering in the throes of heartache. He sings a tortured number at a small pub and then rejects his guitar wholesale before being confronted by Girl (Stefanie Caccomo) – a bold and forthright woman who bluntly saves him by focusing on the music that is so integral to both their beings. Francis plays the confused figure perfectly – he begins stand-offishly and confused by the attention he’s suddenly receiving but it is obvious that his passion for music is part of his soul. Encouraged by a blunt Caccomo, he softens throughout the show and a thread of purity shines through whenever he sings. Caccomo’s character is unique and she plays her well. The fiery passion she has for helping others hints at a vulnerability when internalising, something Caccomo does with her incredible facial expressions. The entire cast is phenomenal, it’s an ensemble that fit perfectly with one another and their love and chemistry glows through the entire show.

If anything, music is the final character in Once, it’s ever present and adds nuance to every single scene. From the Czech folktunes that serve as a greeting to Guy as he enters the world of vibrant dancing and table-top stamping, to a literal guitar army adding their strings to bolster Guy as he applies for a bank loan, to the exciting studio session full of nerves and raw energy, and the beautifully reflective a capella reprise of ‘Gold’ by the men of the show every single music choice is perfectly performed and stunningly realised in this beautiful production. Special mention must be made of Gus Noakes who hilariously sings ‘Abandoned in Bandon’ – his bank manager persona’s foray into singer-songwriting. It’s terrible, and that’s a huge compliment, as you have to be a really accomplished singer to perform deliberately badly. Once is about passion and love, and missed opportunities, and so much goes unsaid. ‘Falling Slowly’ is a gorgeous song – with Francis’ strong, unwavering voice combined with Caccomo’s powerful and resolutely passionate sound the two form a memorable and heartbreaking duet that is impactful enough at the beginning but is truly devastating when reprised.

Black Swan State Theatre Company have a great reputation for musicals, but Once elevates the company to new heights as it is such a beautiful celebration of music and love it’s going to be hard to top. This is a five-star, 100%, phenomenal musical that will stay with you forever, and maybe even encourage you to jump up on the tabletops and let its music course through your veins!

Once played at the Regal Theatre in Subiaco from 28th May – 12th June and we already can’t wait for the revival! For more information about the production click HERE.

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

Coming Soon, In Brief, Interview

IN CONVERSATION | Rupert Reid | Once

Interview | Laura Money

Rupert Reid is a stage and screen actor with an impressive resume including The Matrix trilogy. Reid is performing in Black Swan State Theatre Company’s upcoming production of Once an eight time Tony winning musical set in Dublin that tackles love and everything in between. We asked Reid five questions ahead of the show to get an insight.

What is Once about?

Once is about a lot of things. It’s about the power of music to connect us, the healing effect it has on us and the leaps of faith we all have to take in our lives to let love in or to let it go when we need to.

Favourite part of the show, no spoilers!

There are too many favourite parts of this show to mention! The most rewarding part is seeing how audiences react night after night to this beautiful production. I get to watch the audience from onstage in some quieter moments. My character happens to be the kind of guy who’d imagine a crowd of people watching him play guitar every night so it’s all above board! Also, the curtain call is pretty special. We have a really fun finale. No spoilers!

How does the show relate to today’s society?

Outside the world is a mess, inside we’re all a mess too, more or less. That’s being human. Themes of love, loss, missed opportunities but essentially an optimistic view of the world make Once a story of hope and connection. The music is played by and for each character in the show and is a vital part of who they are. It speaks to our instinctive need for meaningful relationships and the ability to heal ourselves once we’ve learned to open up a little and let human connection work on us.

Apart from Once what is your favourite musical and why?

My favourite musical is The Lovers, by Laura Murphy. It’s a pop infused reimagining of William Shakespeare’s A Midsummer Night’s Dream. The word ‘pop’ seems tame. Sounds too cute. Nah. It’s insanely good and it will blow your mind. (opens in October at the Sydney Opera House presented by Bell Shakespeare Co.) 🙂

Describe your show in 3 words:

Irish. Musical. Mayhem.

You can catch all the mayhem at The Regal Theatre from 28th May – 12th June 2022. TICKETS

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

on now, Review

REVIEW | Earthside | Giving birth, no one can hear you scream…

Review | Laura Money

Entering The Blue Room Theatre for Earthside feels a lot like boarding a space-craft. You are greeted by performer Kaitlin Tinker dressed in a boiler suit looking every bit like Ellen Ripley herself. Once you’re strapped in and ready for launch, Tinker gently guides you through her traumatic birth story. But don’t worry – this show isn’t tragic or even depressing (granted, it may be triggering for some but does not seek to minimise people’s experiences) it is a truth-telling memoir using the impressive metaphor of space travel and female autonomy in film.

Using space travel as an analogy for childbirth, Tinker navigates her way through the story with humour and multiple references to science fiction. Much like childbirth, a theatre piece is not a one-woman show and Earthside features a great set consisting of a shuttle chair with multiple compartments and stunning graphics by Jeremy Turner create a space-like quality. Tinker ties her story together brilliantly, prefacing it with ‘yes, at some point something will burst from my chest’ and we all wait for it to happen. The alien chest-bursting is such a clever reference – it’s the sci-fi equivalent of ‘the money shot’ and the only part people usually care about in any birth story – boy or girl? Did it cry? Ok, I guess we’re all done now (no consideration for the placenta or stitches or even the mother’s well-being.)

Tinker is a great performer. She is highly engaging and goes through every bit of her story again and again. Her dogged determination to be heard is touching and even though there are lots of laughs, expect a few tears to escape too. Earthside is touching and funny, performed with guts by a super badass mother – it’s childbirth but not as you know it.

You can catch Earthside at The Blue Room Theatre until 7th May 2022. TICKETS

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

on now, Review

REVIEW | The Great Un-Wondering of Wilbur Whittaker | Encouraging children and grown-ups to hold onto their wonder

Review | Laura Money

What would be in your box of wonder? Barking Gecko Theatre present intergenerational audiences with this very question in The Great Un-Wondering of Wilbur Whittaker – a charming tale of adventure and, well wonder! Writer Dan Giovannoni and long-time collaborator Artistic Director Luke Kerridge take a young boy’s sense of wonder at the world and sees him grow up and forget to revel in the marvels of the world. Grown up Wilbur (Adriano Cappelletta) embarks on an epic quest into the far reaches of outer-space to explore his inner space and regain his sense of wonder before he loses it forever. It’s an enduring tale of imagination and our capacity to dream.

As a boy, Wilbur Whittaker is a dreamer. He fills a bright red shoebox with his hopes and dreams and inventions to send him into space. You see, Wilbur wants to travel further in space than anyone else. Then he grows up and his shoebox of dreams is relegated to the dusty realm under his bed. In a cleverly depressing series of vignettes, Cappelletta as Wilbur is rendered boring. Trading his backpack for a bland tie he is buffeted into conformity by Jonathan Oxlade‘s phenomenal set. Sliding beige screens create a boring office cubicle, small dining table, ironing station, and train. Kerridge’s direction encourages dynamic movement that mimics Wilbur’s descent into becoming a cog in the adult world. A production line of bodies jostle on the train, piles of paperwork creep higher and higher, and through Oxlade’s clever sliding panels a mechanical calendar is set. But the beauty of the story is captured when Wilbur actually begins his journey. Following a path to his Guardian of Wonder set on a dimming star, the set and sense of adventure gets marvelously thrilling and surreal.

Drawing on influences from eighties adventure movies and media, Giovannoni creates a sense of nostalgia for a lost childhood – as Wilbur heads to fantastical lands the journey feels familiar with a tinge of a past worth recovering. Not only is the plot super tight and cleverly realised, but the characters are phenomenal – the stand out being Princess Fantastic (Grace Chow) a She-Ra inspired thousand year old badass who is incidentally Wilbur’s Guardian of Wonder. Chow is perfect as the plucky and headstrong Princess, full of energy and sure in her convictions. She reacts as a child would, impulsively running headlong into danger but with such zest for life and wonder she is utterly compelling. With a customised theme tune and killer visuals by Tee Ken Ng she joyfully embeds herself into our hearts. Luke Hewitt and Laura Maitland comprise the ensemble cast and both absolutely nail a swathe of lovable and memorable characters. Hewitt’s turn as the charismatically pompous fox Francis gets the kids giggling, and Maitland’s portrayal of The Seeing Star oracle is hilarious and a bit intimidating. They both thrive as administrators of the Bureau of Wonder with dry Aussie delivery that hits a little too close to home to anyone who has ever been on hold in a customer service queue!

The Great Un-Wondering of Wilbur Whittaker is one of those plays that sparkles with life. It is an important work for children to watch with grown ups and encourages reflection and a sense of adventure. Not only is the work a nostalgic gem, it takes the essence of those eighties fantasy adventures and grounds them in an invitation to reinvigorate a sense of play. Princess Fantastic is one of the purest characters to ever grace our stages, and the endearing charm of Cappelletta’s Wilbur has you rooting for him the whole time. So, what is in your own box of wonder, and is it with you at all times? Let’s hope so as the message of this show is clear – always hold on to your wonder – but don’t worry as there are always ways to get it back.

The Great Un-Wondering of Wilbur Whittaker is on at STCWA this school holidays until 16th April 2022. TICKETS

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

on now, Review

REVIEW | The Velveteen Rabbit | 100 years of pure enchantment

Review | Laura Money

The Velveteen Rabbit has been delighting children for one hundred years firstly through Margery Williams‘ enchanting picture book and adapted for Spare Parts Puppet Theatre by Greg Lissaman in a stunning production that continues to charm audiences. Lissaman distills the essence of the unique story and gives it a modern twist that is able to be both contemporary and timeless – powerful writing indeed. Featuring stunning design by Zoe Atkinson, a sweeping score by Lee Buddle featuring some classic works, and passionate performances The Velveteen Rabbit is a simply beautiful production that should remain on stages constantly and is deserving of its place in Spare Parts Puppet Theatre’s repertoire.

Atkinson’s set design is highly memorable – the stage is covered where curtains would traditionally be and black panels slide across to create a shadow puppet or toy theatre effect. This focusses attention on the smaller scale of the toy’s world where they are the lead characters – puppeteers wearing camouflage-like suits that blend in with the wallpaper or background. Director Philip Mitchell‘s style works in concert with Atkinson’s cleverly rendered nursery and hidden shrubbery realm, he uses different perspectives to great effect and with the panels create a storybook come to life. Along with Graham Walne‘s clever lighting design, the backgrounds take on a surreal quality. Performers Michael Barlow, Rebecca Bradley, Nick Pages-Oliver and Louis Spencer are all amazing, imbuing the already expressive puppets by Jiri Zmitko with humanity and distinct personalities. From the hilarious Bandito to the stoic and wise Horse each character comes to life with such vibrancy there is genuine heartbreak when something sinister befalls them. Bradley absolutely shines as both the little boy and the titular Velveteen Rabbit. The naiveite and pure essence of the rabbit is palpable as Bradley stuffs her heart and soul into the little puppet.

Spare Parts Puppet Theatre are leaders in charming children’s theatre for a reason. This stunning production of The Velveteen Rabbit is an enduring example of their ability to provide enchantment and pathos to children’s entertainment without losing engagement. This production is remarkably simple – creating ingenious perspectives (a vertical bed with large versions of the puppet’s heads framing the tableau is a brilliant moment), using existing classical music to render the scale of the toy’s world epic, and passionate performers who bring the charming characters to life – The Velveteen Rabbit embodies hope and love and it’s a top pick for this school holidays and many more to come.

The Velveteen Rabbit is enchanting audiences at The Spare Parts Puppet Theatre this school holidays until 23rd April 2022. TICKETS

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

Coming Soon, Interview

IN CONVERSATION | Dan Giovannoni | Writer of The Great Un-Wondering of Wilbur Whittaker

Interview | Laura Money

Dan Giovannoni is a writer and collaborator with Barking Gecko Theatre, he has brought us classics such as Bambert’s Book of Lost Stories and HOUSE. Giovannoni’s latest project – another collaboration with Barking Gecko Artistic Director Luke Kerridge, is The Great Un-Wondering of Wilbur Whittaker – an enduring tale of adventure and discovery. We caught up with Dan ahead of the show to find out what it’s all about.

Laura Money (LM): Why this incredibly long title, The Great Un-Wondering of Wilbur Whittaker? I love it!

Dan Giovannoni (DG): I guess one of the things that we wanted to do – the show is drawing off of a lot from us (the makers) with references to our childhoods, including the poetic images and ideas from The Little Prince and other eighties cartoons like SheRa and eighties adventure films like Labyrinth and The Princess Bride – so we wanted a title that gave us a sense of adventure and of the epic kind of adventure that our protagonist goes on. So the title came bout from trying to embed this sense of the epic nature of the quest that he has to go on.

LM: It is reminiscent of those epic adventure books and films of people’s childhoods and really does give a thrill up your spine.

DG: Yeah, and for us as makers we were trying to pull in the things that were the foundations of our own kind of wondering and sense of imagination – this was the place we found our creativity and did our imagining and I found that interesting.

LM: Well, you’ve been very imaginative in your other projects so far – what was your first foray into Barking Gecko Theatre?

DG: Luke [Kerridge] and I worked together first on Bambert’s Book of Lost Stories in 2015/6 maybe? We were actually working on that before he took the job at Barking Gecko and we were invited by Barking Gecko Theatre to come and make the show with them. And these other two projects, HOUSE and Wilbur were projects that Luke and I had been working on in our own time, just bubbling away for a while, and when he got the job at Barking Gecko we were able to realise them in quite an extraordinary way.

It’s such a thrill you know to be able to really take someone on an adventure in a flying house or into outer space, it’s such a gift as theatre artists and for our supporters.

LM: It sounds like you’ve found the perfect fit, Barking Gecko was the right place for these shows to go.

DG: I think so, I mean, Barking Gecko makes work that takes their audience seriously, sometimes work for kids can be a bit, maybe not derided but I think um, it’s great to be with a company that is dedicated to its audience – who understand their audience and want to bring their audience on a journey with them. 

LM: With that in mind, how do you approach a work written for children? Do you write it for children or like it’s for everyone?

DG: We are trying to make work that is primarily for families, that means that we’re expecting intergenerational audiences and it’s the sort of show that I think really benefits from a conversation in the car on the way home – so grandparents could chat with grandchildren, have a great time at the theatre and then have big conversations about creativity and loneliness and growing up. I don’t really sit down and say ok, there’s stuff I can’t say because it’s for kids, my job is to find a way to say what I want to say for kids.

You know children experience the same spectrum of emotion that grown-ups do – it’s not like they’re these magical other creatures and so all of the things that affect me as an adult were the same things that affected me as a child and affect other children and that really stays with me as I sit down to write. Obviously I want to inject it with a sense of fun and adventure and hope. I think the only thing I really feel is I have an obligation as an artist to present, to offer hope.

LM: I think that’s really important and it certainly shines through in both Bambert’s and HOUSE, how does that sense of hope come through in Wilbur?

DG: It comes through in the sense that it’s a show about the importance and necessity of wonder, of imagination and creativity and dreaming, and those things in a capitalist society. [They are] routinely disregarded and devalued by the grown up world. I think creativity and imagination are considered the domain of flights of fancy and they’re not serious or sensible. And they are, ironically the things young people are going to need if they’re going to tackle the problems they will encounter as grown ups. The world is a pretty wild place, and I think stepping out into the world even if it wasn’t as wild as it is, it’s pretty daunting.

For Wilbur, we have a 41 year old man as the protagonist of this show,  um so he’s not a kid, and so he’s been on a really big journey already through his life and the glimmer of hope offered to him is a gift to our adult audience but also an invitation to the kids to hold onto their wonder, to hold onto their creativity, their dreaming and their imagination because everything sort of comes and goes but in our world – the world that we’re building – wonder is something that is in everything. There’s wonder to be found in space, there’s wonder to be found in milkshakes, there’s wonder to be found in creatures that talk and those are the things that will fuel you in your life, so that’s sort of the hopeful nugget that we want the audience – kids and grown ups – to take away from it. 

LM: I think that’s fantastic, and I’m sure they will – how much of you is in the character of Wilbur? Did you lose your sense of wonder and came back to it or have you always retained it writing for theatre?

DG: Well it’s funny, we’ve been working on this show for maybe on or off for 5 or 6 years, and a lot of the more fantastical elements – the kooky characters and the adventure part came quite easily, with my imagination just sort of running wild but the character, to be honest, took a little longer to land and draft after draft I’d send it to Luke and I didn’t really quite know who Wilbur was and it was in between like draft 5 and 6 that it came – a large chunk of it came in lockdown, I live in Melbourne and I realized that yeah, I sort of had become a bit of a Wilbur myself and I’d lost my adventurous spirit and I’d lost my sense of wonder. 

I had to go on a pretty personal quest of my own to refind it but through the writing, through this character kind of constantly asking me to look into what he needed, I was able to work out what I needed too. Definitely there’s a lot of me in Wilbur, there’s a lot of Luke in Wilbur. Both Luke and I have worked for many years with young people and we’ve observed their creative spirit and sense of play and imagination and I’ve often watched that diminish as they get older – a lot of kids have spoken quite eloquently about their own parents losing their imaginations and their sense of play so all of that played into Wilbur too, the knowledge that kids see how the adult world works through their parents, their teachers, other grown ups in their lives who struggle to maintain their sense of wonder and then they distribute that knowledge to other young people. 

LM: When you approach a piece of theatre as opposed to just writing a short story or whatever it is, how much do you have staging and directing and sound design or costuming in mind? Or do you just let them take it and run with it?

DG: Look it’s a bit of both. Our collaboration on Bambert and again on Wilbur is with the amazing designer, Jonathan Oxlade who has built the world for both of those shows and that conversation with Jonathan, you know he’s in the room right from the beginning of the process so there’s a part of me that is conscious of how we’re going to do it but really the invitation from Jonathan and Luke is go wild. We’ll build the thing and we’ll work out a way to realise it. They never turn around and say you can’t do that – they might ask ‘why do you want to do that?’ and ‘what’s a different way that we can realise it?’ but we’re more interested in making theatre, it would defeat the purpose if you can just ‘CGI’ everything – especially with a story like this which goes right through outer space into all these kooky, crazy worlds so we’re always trying to find a theatrical solution to the ideas that we want to explore. So, yeah I’m thinking about it sometimes but I mean, certainly I didn’t ever think that we’d be able to achieve some of the amazing images that we’re going to be able to in Wilbur when I was sitting down to write it. 

LM: That’s the great thing about theatre, isn’t it? It’s wondrous in itself and it takes the brains of everybody’s specific talents and when you put them all together it creates something so unique that you don’t see anywhere else.

DG: Yeah, it’s amazing and I think the creative team are all probably within ten years of age of each other so I think that we’re drawing on our references, it’s a shared reference – you know the same eighties adventure movies, everyone is transported back to that time when they were a child and they know what that sounds like, and looks like, and feels like.

LM: So just when you hear some of that music does it take you straight back to being a kid and watching those movies?

DG: Yeah, totally! We have this wonderful character who is sort of, she’s not inspired by but certainly is in the legacy of a character like SheRa and she has a really sick anthem, her superhero anthem that plays – I caught a snippet of it the other day in the rehearsal room and it just transports you immediately. 

LM: Obviously you’ve been drawing on that particular era – the movies, books and shows that endured are usually the ones that have stood the test of time in terms of intersectionality and strong female characters – do you think that you’ve built on that legacy? Or do you include it in a way that it’s normalised?

DG: It’s always a conscious decision, I think anything we put on stage you have to be conscious of otherwise you’re doing yourself and the audience a disservice. So, we’re definitely talking about those things and the kind of characters that we want to put on stage, the kind of messages that we want them to be sharing and the ideas that we want them to represent. We want what goes on stage not only to reflect the world that we are in, but also offer them a future. You should be able to look at what’s happening on stage and go, either that is me or that’s for me or I’m going to grow into that world. 

LM: It sounds like the approach of using a family story is a very smart move because some of these adult quest movies such as Hector and the Search For Happiness, are very much from the legacy of like Jack Kerouac – single man goes on journey has affairs and finds himself – it’s a very narrow narrative. I love that you’re revelling in this idea of wonder and how children aren’t corrupt. At what point did we become this cynical product of our culture?

DG: There is a conversation in the work about growing up and yes, Wilbur is a grown up but his – she isn’t a sidekick but his co-journeyer is Princess Fantastic who is six and a half thousand years old but she has the spirit of a ten year old and that has allowed us to crack open that conversation about growing up and at what point do you let stuff go and why does that happen, and how do you get it back, it’s a really important part of our entry point into the work. Luke came to me with this idea after having this kind of passion of kids having their creativity and their imagination gently squashed by the world as they get older. So it’s embedded right at the core of the story, the relationship between childhood and adulthood.

And so even though we have a grown up protagonist, it’s much more about the balance, because you have to grow up, you can’t remain a child forever, that’s preposterous and there are heaps of great things about being a grown up – there are heaps of great things about being a child and I think that our society has carved the two apart. We’re sort of positing that there’s another way. We’re reconsidering the connection between grown ups and kids.

LM: That’s so interesting because we do so much in that space between, a lot of identity building. I find that a lot of my personality is the same as it was at ten years old but I lost it and had to come back to it. 

DG: Yeah, and I think that’s a common story, you know I think the last two years have brought that home for a lot of adults they’re like, wow this machine that I was part of has ground to a halt and when it all stopped people looked back and went, hang on a second do I want to get back on? 

LM: Apart from seeing this show, The Great Un Wondering of Wilbur Whittaker, what advice would you give to adults to bring back a sense of wonder into their lives?

DG: That’s a great question! The way that our protagonist discovers his sense of wonder – part of it is about recalling childhood and thinking about who he was once, but more importantly I guess it’s about – it’s a tricky thing I think to do as a grown up – trying to investigate your inner space. There’s a metaphor in this work about inner space and outer space and the galaxies that you have inside your heart and that you are a full and rich person inside. If you can tap into even just a glimmer of that then you’re off – the journey begins.

The Great Un-Wondering of Wilbur Whittaker starts at The State Theatre Centre WA from 9th -16th April 2022. TICKETS

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

Review

REVIEW | It’s Dark Outside | Celebrating 10 years of wonderful theatre

Review | Laura Money

It’s Dark Outside makes a triumphant return to Perth in the intimate Studio Underground at the State Theatre Centre WA. Debut show of The Last Great Hunt ten years ago, It’s Dark Outside is a powerful piece of theatre that is still as potent and emotional today. With its original cast of founding members, this show’s return to stage is a beautiful reminder of how remarkable The Last Great Hunt truly is and that they are on top of their game. As for the show – it’s stunning and sweet and packs an emotional punch that will leave you thinking about your own little clouds for a long time to come.

Brainchild of Perth theatre makers Arielle Gray, Chris Isaacs, and Tim Watts It’s Dark Outside sees all the fledgling hallmarks of what we know to be distinctly The Last Great Hunt. There’s incredibly detailed puppetry, bodily transformations, inanimate objects coming to life, shadow play, and mixed media interplay. Add in a heart-warming story and a distinct soundtrack and you’ve got an intimate and unique take on aging and dementia. That one hits you like a body shock – as the old man (Gray) in mask form and Watts and Isaacs in puppet form goes on what appears to be a whimsical journey full of Western clichés and a few surprises all the while losing parts of himself in the form of clouds that just float from his head. At first they seem fun, like cute little ideas, until you realise they are parts of him that he desperately struggles to retain. There is so much expression and heart in the old man – from Gray’s slow and deliberate movements, to the gorgeous puppet dancing in a reverie of his own past you are rooting for him all the way.

It’s Dark Outside is a true gem of Australian theatre. Almost entirely non-verbal, it takes you on a journey of discovery, memory, and hope. Let’s hope that The Last Great Hunt continue to remount this piece as it thoroughly deserves to be in the spotlight.

You can catch It’s Dark Outside at the State Theatre of WA until 2nd April 2022. TICKETS

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

on now, Review

REVIEW | City of Gold | Own voices eloquently weave a tale of mourning and hope

Review | Laura Money

Meyne Wyatt‘s City of Gold is the kind of theatre that’s worth shouting about. It’s an honest and raw depiction of Aboriginality in a contemporary era. A post Sorry Day era. A post Eddie Mabo era. A post ’67 Referendum era. So why does it feel like nothing has changed? Drawing on ways of storytelling, Wyatt threads lineage and culture flawlessly into every element of the show in a brilliantly realised non-linear story that at its core is a pertinent take on Australian identity. It’s clear that something’s got to give because the current climate is stifling and we can’t breathe.

In this semi-autobiographical play, Wyatt returns to his Kalgoorlie home following the death of his father. Sister Carly (Simone Detourbet) warily welcomes him with open arms, but her stress is clear as she struggles to keep it together. Brother Michael Cooper is more reserved as he openly shows disdain for Wyatt’s apparent ‘selling out.’ His combative attitude towards his little brother comes to a head in his later defence of him. Ian Michael plays Wyatt’s hearing impaired cousin in a sensitive and endearing portrayal of familial loyalty.

All moments of time pass seamlessly through the brilliant set by Tyler Hill which weaves past and present through its dreamlike layers. With a tangible front and patio the set extends into the back of the stage in an essence of house. It’s perfect for the representation of Wyatt’s father (Trevor Ryan) whose echoing voice and distinct figure reminds Wyatt that dreaming is ever present. As important as family and culture is to this piece, it is Wyatt’s phenomenal monologue about Aboriginal and black identity that cements his place as an important voice of a generation. Standing on top of the patio he uses his literal platform and shouts his truth from the rooftops. Wyatt’s call to arms is electrifying. It scathingly attacks Eurocentric myopic depictions of Aboriginal people and culture and expresses justified anger and frustration in an elegantly delivered piece of spoken word. There is a charge in the air for the rest of the work which contributes to the emotionally draining climax.

City of Gold is a brilliant start to Black Swan State Theatre Company’s 2022 season – Kin. It proves that family is complicated but that cultural notions of kinship create a tightly woven connection that may sometimes get frayed but never breaks.

City of Gold has now finished its run in Perth but you can still catch it with Sydney Theatre Company at The Wharf Theatre 7th May – 11th June 2022. TICKETS

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

FRINGEWORLD, Review

FRINGEWORLD 2022 | Dirty Jazz and Clean Living | 4.5 Stars

Review | Peter Spence

Can she do no wrong? Queen of the Perth jazz scene Jessie Gordon has once again blown the FRINGEWORLD stage away with another whirl wind season of performances, showing us all that jazz really is the epitome of sexiness. Mark Turner, Karl Florrison and Michael Perkins team up with Gordon to bring a most enjoyable hour of classic tunes and some original content.

Whether it’s the guitar or saxophone, Turner is an absolute master of melody, backed up by an incredible voice, a perfect vocal accompaniment to the impeccable ensemble. The rhythm is delivered with snappy and classy gentlemen, Perkins looking sharp and bringing some faultless flurries on the drum skins, Florisson with his beaming smile making the stage light up and keeping the rooms energy high.

The collection of masterful musicians and the angelic voice are undoubtedly a highlight of the whole festival year after year, and would easily be the choice if you could only catch one show per season. Settled in at our very classy table, with a dimly lit room and a softly lit stage, the Ellington Jazz Club always makes for the perfect night for a little Dirty Jazz. We are treated to some of Gordon’s own original music as well as some of the naughtiest and delectable classics delivered in style by the always amazing fiery redhead on the microphone.

Dirty Jazz and Clean Living has ended for FRINGEWORLD 2022 but you can see what Jessie Gordon and the gang are up to throughout the year HERE

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to!

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, Review

FRINGEWORLD 2022 | ’80s Up Late | 4 Stars

Review | Laura Money

Do you remember the 80s as a sexy time full of cross dressing, leather, and power ballads? If you can remember when big hair graced the pages of Playboy magazine then you will love ‘80s Up Late a circus show that’s not afraid to get a bit steamy. Featuring riske silks, hoops, and acrobatic routines alongside sexy feats of strength and classic ‘80s references dropped by a hilarious host this is one show that has so much hairspray in the air you’ll be afraid to light a match!

Pulling absolutely no punches from the start, every act kicks down the door the second the lights go down and the performers light up. The skimpy outfits requiring host Andrew Silverwood to get out the wet floor sign and the skilful yet sensuous high stakes silks demand that the sign stays out! Playful and sexy, the show features leather and chains – these steamy bondage scenes slaying in their sensuality. The stakes get higher and higher – from a three way tousle of acrobatics and hand balancing to ‘Pour Some Sugar On Me’ – salt bae moves hilarious and hot at the same time, to launching a leather clad performer straight onto a trapeze each vignette is sizzling.

Silverwood is the perfect host for this show – role playing several well known ‘80s stars and reading the room with ease. The displays of strength are so much hotter in the steamy version of the show. And speaking of steamy how about the chemistry between these performers? There is fire on spread legs, lip biting heat in aerial bondage, and a blindfolded silks act that is guaranteed to hit the spot. So, pop on your diamonds and pearls and get ready to break free with the sexiest circus you’ll ever see. If you want to know what love is, then ‘80s Up Late can show you.

You can see all the steamy 80s action at The Pleasure Garden until 13th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, Review

FRINGEWORLD 2022 | Dolly Parton: Here I Come Again | 4 Stars

Review | Amanda Lancaster

Think you know Dolly? Well, I bet you’ve never seen Dolly done like this! Dolly Parton: Here I Come Again is the second instalment of the performative love letter that takes us through drag diva Barbie Q’s number one crush.

Barbie Q is probably the most well known and loved name on the drag scene in Perth and a community fan favourite with crowds year after year. This is one diva that puts her heart and soul into absolutely every last thing that she does. Be it emceeing, performing, choreographing or producing and my god does it show. With so many fabulous drag and cabaret shows available around the fringe time of year it takes a real powerhouse to continue to draw sell-out crowds night after night to each and every one of their shows. Barbie Q is that powerhouse, her name is synonymous with perfection and quality and this latest show is no exception.

Barbie Q is a fabulous Dolly Parton, a perfect homage and tribute to the country starlet’s name. Both ladies are well known for radiating positivity, smiles, a sassy whip quick tongued sense of humour and of course assets we could only all dream of being in possession of. Barbie Q’s always spectacularly over the top costumes and attitude are perfect to play everyone’s favourite busty blonde. Dolly would be proud!

Dolly Parton: Here I Come Again is quite literally a show all about Dolly Parton. But don’t let that put you off.  This reviewer can vouch for the fact that if you aren’t a lover of country or the cowgirl songstress to start with, you sure as heck will be by the end of the hour. With a Dolly fan by my side and the embodiment of the lady on stage in front of us it was impossible not to be swept along by the infectious nature of it all.

Her music, her outfits, her sass, her style are all showcased in a nonstop singalong upon the always glamourous setting and stage of the Connections Nightclub venue. You can expect a whole lotta sequins, smiles and songs by Miss Dolly Parton, lots of tunes that you know and love and some you didn’t even know were from our starlet. Dolly is accompanied of course by the always talented backup dancers. A group of the most energetic and energizing boys and girls to date. The choreography doesn’t miss a beat as Dolly struts her stuff amongst not only her dancers but the audience too.

And what would any good cabaret show be without a little variety hmm? Well, you can rest assured Dolly has definitely bought some friends with her this time around, including Tammy Wynette, Billy Ray Cyrus and Kenny Rodgers. Yep, It’s a full blown ho down of country camp you are about to be treated to my friends, so get ready to put those boot scooting moves to good use! Dolly Parton: Here I Come Again is a show born out of the love of Big Hair, Big Voices, Big Dreams, Big personality and of course Big Boobs. So, folks, what are you waiting for? Time to mosey on down to the box-office and get yourself tickets to a heck of a good time.

You can grab your tix to the Dolly show at Connections until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

on now, Review, Summer Nights

SUMMER NIGHTS 2022 | Takatapui | REVIEW

Review | Laura Money

Writer and performer Daley Rangi slowly but surely details the events of a single night of a (bad doesn’t even come close) dating experience. Amidst a haunting soundscape elegantly designed by Anesu Matondo, the effect of candid storytelling akin to a beat poet’s is jolting in its impact. Armed only with a microphone, a mixing board, and a magnetic personality they unpack the events with an emotionally haunting eloquence. Takatapui is a proud piece of theatre that invites you in for a symbolic embrace (Daley doesn’t like physical ones) and holds you in their kind openness.

Rangi’s commitment to your comfort is refreshingly welcome as they ensure the door remains open. Such a simple gesture is enough to sum up the show – it demonstrates kindness, an understanding of healing processes, and invites contemplation – all present in Rangi’s story. Interspersed between explorations of sound, random thoughts, philosophical ones, and disco interludes, Takatapui is part story and part philosophy, it both recounts it and reflects on it, hoping that by thinking deeply around trauma one can rewrite the narrative. Rangi’s is a powerful voice in the world. They probe their bruises and display them as badges of honour but wish they weren’t there at all. The story is approached in a free written monologue that is lyrical and humourous and painfully beautiful. It experiments with sound and manipulates parts of the story to provide a bigger impact – horrendous refrains of hate language on repeat but altered in an attempt to parody them into insignificance.

Takatapui deftly pulls the chaotic thoughts from a neurodivergent head and weaves them into a stunning piece of spoken word literature. Rangi is an instantly sympathetic figure, enveloping the audience with their emotional prose and gentle soul. The intensity rises in parts, spiking when recalling violence but also anxious thoughts. Strap in to the roller coaster that is Takatapui because although it’s a bit of a scary ride, the view is beautiful and Rangi will keep you safe.

You can catch all the action with Daley at The Blue Room until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this SUMMER NIGHTS 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

on now, Review, Summer Nights

SUMMER NIGHTS 2022 | Leo/Taurus/Taurus | REVIEW

Review | Laura Money

Are you INFJ? Ravenclaw or Hufflepuff? What are your humours like? What kind of cupcake are you? These questions and many more are explored in this rich and humourous piece of theatre, stunningly performed by five exceptional talents and created by a loving team of artists. This warm hug of a show explores humanity’s obsession with labels and boxes, proving an innate sense of wanting to fit in and be seen. It’s a fun and fresh approach to an age old phenomenon, and despite being funny it’s also deep and contemplative.

Beginning with the four young performers standing together looking up as constellations are projected throughout the room. The gentle stylings of live sound designer Georgina Cramond washing over them as they examine people’s obsession with the stars – astrology and astronomy alike. Ruby Liddelow, Andrea Lim, Lily Murrell and Lainey O’Sullivan all take a different way of categorising people and explore it in a series of spoken word pieces, sketches, dance, comedy, and song that are fun and memorable. From the little singing plant who wants to meet their perfect Taurus owner, to the Four Humours enjoying very different experiences at King’s Park the show is punctuated by contemplation and introspection. Cramond’s sound design and music is stunning – vibing with the performers in a perfect match. Their chemistry is heartwarming, and this cute little indie show will keep you grinning all night, even as you try to figure out what kind of personality you have.

Murrell is hilarious as she attempts to guess an audience member’s star sign based on a series of questions. The idea of star signs, these little feudal system-rigid trait spinners is scrutinised alongside more ancient ideas. Murrell also slays as a Kinsey-type professor delivering a ‘Bed Talk’ about love languages. Nods and chuckles of assent as people recognise their traits turning to laughter at her whacky antics. Liddelow tackles ancient ideals with a humour-filled explanation of the humours – her calm demeanour playful and not quite convincing. Lim is so funny leaning into the #metime stereotype and gives an impassioned monologue about identity in a moment of introspection. It is O’Sullivan however that has the task of delving into the Meyer’s-Briggs test and approaches it in a hilarious Russian accented piece of audience participation that is eagerly received.

As much fun as it is putting oneself in a box and agreeing to personality tests when they’re flattering (hello Gryffindor) but scoffing when they’re not (Hufflepuff? Huff…), Leo/Taurus/Taurus recognises the dangers of relying too much on arbitrary forces or questions to determine identity. Autonomy, wisdom, experience, and intuition all combine to create our distinctions – a conclusion drawn by the amazing devisors of the show. But then again, Murrell is right when it comes to the audience member’s star sign, so who knows? From this Ravenclaw, Sanguine, ENTP, Pisces reviewer, I say it’s still a topic worth exploring. Oh, I’m also a vanilla-matcha cupcake, FYI!

You can see which type you are at The Blue Room until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this SUMMER NIGHTS 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, In Brief, Interview

FIVE WITH FRINGE | Simone Springer | SOLO

Simone Springer is the funny-woman behind her SOLO show all about being single for the first time in a while. We caught up with her ahead of her FRINGEWORLD 2022 show to see what we’re in for.

What is your show about?

I’ve been single for the last five years after spending 17 years not. This show is a combination of jokes and stories that I’ve built up over the last five years but also a reflection on relationships in general. Find out why I’m banned from tinder! And about the worst date ever! 

Favourite part of the show, no spoilers!

At the end of the show I give the single people in the audience the only advice they will ever need. It’s so fun even I struggle to keep a straight face. 

These are unprecedented times, how does it feel to be a performer in 2022?

Lucky! Grateful. Forever grateful.

Apart from your show, what other shows would you recommend?

The Confessional – you won’t see another show like it – go be forgiven for your “sins”. Matt Storer’s new show (Hot Nonsense) – I saw his show last year and it was amazing. Worship if you want art coming to life and Sugar Blue Burlesque if you want something sexy. The Laugh Resort’s Galentine’s Day Gala (all female comedy lineup) I’ll be hosting this year. Oh, and Sunday Singles!! The MOST fun show I host. 

Describe your show in 3 words:

Tinder, Dating, unsolicited d… oh, look at that, I ran out of words in the nick of time!

You can catch all the dating ups and downs at The Shoe Bar until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, In Brief, Interview

FIVE WITH FRINGE | Amy Hetherington | Crying Over Spilt Milk

Amy Hetherington is the hilarious comedian who has been gracing Perth stages for years. This FRINGEWORLD 2022, she is stuck in Darwin so will be live at Shoe Bar on the big screen! We caught up with her ahead of her silver screen debut.

What is your show about?

Crying Over Spilt Milk is about the joy, pain and madness of being a new parent. Stories about sleep deprivation, weird advice from strangers, sore nipples, and crying over spilled milk. I’ve got a 5 month old baby who also makes an appearance in the show.

Favourite part of the show, no spoilers!

Well this has changed for Fringe World cos the fact I’m doing the show (at all) is my favourite part! Given border closures I wasn’t able to get to Perth from Darwin but the legends at The Laugh Resort have organised the technology for me to perform live, on a life-sized screen with audience interaction. It’s really cool and I’m so proud we’re doing it rather than cancelling.

These are unprecedented times, how does it feel to be a performer in 2022?

It’s exhausting… but also there’s a lot of pride in being a performer in 2022. Sure there are challenges and we’re jumping through hoops and filled with unknown anxiety, but I still feel like it’s a privilege to entertain people and to have other humans choose to spend their time with me as an artist. People need to laugh and be entertained in these unprecedented times so I feel like my job is more important than ever.

Apart from your show, what other shows would you recommend?

I recommend all the local comedy, Perth has an excellent scene at the moment. In this final week make sure you see Simone Springer SOLO, Cameron McLaren’s Big Dumb Game Show33 Years Single (Daniel Delby), Luke Bolland: Bubble Boy and also I always love Matt Hale Comedy Hypnotist.

Describe your show in 3 words:

Mums Night Out

You can catch this unique event from The Laugh Resort at Shoe Bar until 13th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, on now, Review

FRINGEWORLD 2022 | Cecelia | 4 Stars

Review | Amanda Lancaster

Welcome to my midlife crisis cabaret says our star for the evening as she proceeds to regail us with recent events and anectdotes that have bought about this very show’s existence.

Presented by multiple award nominated Susannah Thompson and Adam Keshwar, Cecelia is a show about what it means to be a woman. From heath scares to turning 50 to a teenage daughter who thinks she’s a meek and mild mannered Hufflepuff in a world of no real viable role models to be seen. This is just the beginning of an evening of autobiographical narration punctuated by some of the most amazing vocal talent you’ll ever hear.

Flawless song stylings are effortlessly crooned to the audience as an example in melody of whatever point in her life Susannah is retelling and the feelings it evoked for her at the time. This is a brilliant idea for a show and a lovely way to remember that song and stories are just another way by which human beings best learn, communicate, and remember each other and what it is that is important to each of us as individuals and as a whole.

Soft spoken, calm, perfectly timed tales are told with honesty and delivered with just enough humour to take the sting of being to harsh to hear out. A wonderful expose of feminine stereotypes and issues faced over one woman’s lifetime that is totally relatable to all even now. Each era described has its own musical anthem appointed to it and this lady’s voice doesn’t miss a beat. She’s hands down one of the most amazing, understated songstresses I’ve seen. She nails every tune to perfection. The crowd will be absolutely transfixed the whole night. Everyone is encouraged to sing along, and you really can’t help but join in as the songs are all ones you know and love.

Fifty years of life laid bare for all to see, from her first and favourite party as a child, through the oppressive and wild 70s and 80s, all the way through to see her own offspring grow into their own strong personality and deciding whether or not to continue to be offended by being unofficially placed into the Hufflepuff house.

“And so I keep quiet and say nothing”
Such a seemingly tiny phrase. A string of harmless little words reiterated over and over throughout the show’s sixty minute duration gives the viewer a subconscious sense of almost discomfort. A beautifully subtle method of using something small to shine a much needed light on something so big. This is not just your average caberet performance folks, prepare to not just choose to listen and watch but to be made to think and feel.

This show is an open letter to all the people out there that think they need to make themselves small, to all those who stay quiet and need the courage to help find their own voice. This is as lesson for all about the importance of what it truly means to be not just listened to – but heard. I’d say that’s pretty Gryffindor and not that Hufflepuff wouldn’t you?

You can catch the time-travelling Cecelia at ACES Cabaret until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, on now, Review

FRINGEWORLD 2022 | This Is Where We Live by Vivienne Walshe | 5 Stars

Review | Laura Money

This Is Where We Live by Vivienne Walshe is powerful theatre. Written like a lyric poem full of Australian bush poetry rhythms, the raw performances and impactful movement on a minimal set enhance the script into a timeless account of humanity. Stripping the Orpheus and Eurydice myth to its elements, each part of this continuous monologue blazes with intensity. Walshe’s script is economical with its words, distilling themes of loss, violence, and disadvantage into a sharp and memorable work. It’s definitely one you won’t resist looking back on.

Impeccably performed by Lauren Beeton as Chloe, and Samuel Addison as Chris the two etch out a frenzied yet tender love story amidst their challenging home lives. In a heartfelt monologue, Beeton begins pedal to the metal in a fast-paced spoken word piece alluding to checking out of the life she is forced to live with an abusive step-father stuck in a small town. Mirroring her words, Addison moves in concert under semi-darkness – each move a visceral hit punctuating the air. Director and movement coach Teresa Izzard ekes out every centimetre of the stage with her spare movements, perfectly aligned with the cutting dialogue. Beeton’s Chloe is a powerfully memorable character – scrappy, hilarious but deeply scarred and hurt with a darkness insinuating itself across her defensive stance. Addison transforms under the veil of each character – sweet-natured and tender as Chris, pathetically patriarchal as his father, and horrendously cruel as the abusive step-father.

This Is Where We Live by Vivienne Walshe is a sharp script rendered intense by Beeton and Addison’s high-octane performances. They approach the writing with a stripped back efficiency that combined with simple yet exact movement is extremely potent. Watching Chloe attempt to escape her small-town confines and constantly take two steps forward, one step back is heartbreaking and the impact of the inevitable conclusion is a tragic gut-punch delivered by a powerful group of theatre makers.

You can catch this amazing show at The Girls School until 13th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

on now, Review, Summer Nights

SUMMER NIGHTS 2022 | The Ugly | REVIEW

Review | Laura Money

Is desire ugly? In a society where social currencies lie in your hotness or your meekness how can anyone’s desires be anything but? Phoebe Sullivan and Joe Paradise Lui strip desire to its elements in a blistering attack on gendered, racial, and political lenses, shattering normalised perceptions into rose-coloured shards along the way. In a guns-blazing attack, The Cowboy and The Showgirl give cultural stereotypes the ride of their lives. So buckle in and don’t forget to holler and cheer because this is one show you don’t want to sleep on.

The Ugly takes typical tropes and parodies them in a dark and funny disfigurement – twisting and laying bare the sinister nature of stereotypes. Sullivan is The Hot Blonde Slut crudely sexual, lewdly shaking her body in a poorly drawn caricature of burlesque. Nicole Marrington’s stunning red costume packing a punch as Sullivan embraces discomfort, bouncing about to Bobby Russell’s eerily realistic showgirl choreography. With a big dumb smile plastered on her face, the sexually provocative movements rendered grotesque by Sullivan’s overt cries of pleasure. The male gaze is broken down and scrutinised itself in a pattern of eyes upon the garments and by Lui talking the audience through the process. As Lui narrates the exchange between performer and voyeur he holds society accountable for misogynistic cultural constructs that dictate a particular performance. Sullivan invites you to probe the performative nature of women’s bodies in public under the ever-present panopticon of the male gaze.

Lui displays impressive musical talent, writing and performing original songs that all have a soulful quality, spewing truths from his impassioned guitars. He is Yellow Fever – an Asian stereotype incarnate – complete with Asian silk robes, tassels, lucky red, and cowboy boots. Well, the boots are more like slippers but they serve a purpose – demonstrating the silent subservient nature of the Asian stereotype. He sings a hilarious yet dark folk song called ‘Yellow Fever’ that examines Asian bodies and is particularly pertinent in pandemic times – a stunning metaphor tackling harmful attitudes.

As the show unravels – surreal at first with a distinct avant-garde tone – Sullivan and Lui express their actual desires. Lui just wants to be seen as a sexual being and Sullivan wants to shy away from the glare of constant sexualisation. In a blistering tirade, Sullivan lashes out at the misogyny and patriarchal constructs that should never have been manifested yet continue to hound women and those who identify as femme. Lui and Sullivan’s friendship is touching as Lui apologises to Sullivan in a heartfelt expression of love and is subsequently encouraged by Sullivan to be the beautiful, sexy person he is. The Ugly puts notions of sex, race, and more distinctly under the microscope and probes them unforgivingly. It flips the idea that the performer’s desires are unconventional and ugly and exposes the normalised ideals of sexiness and racial stereotypes as brutal and crude – the mainstream is The Ugly.

You can catch all The Ugly at The Blue Room Theatre until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this SUMMER NIGHTS 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, on now, Review

FRINGEWORLD 2022 | Me, My Cult and I | 5 Stars

Review | Peter Spence

Refreshing, real, comical, raw, cathartic and captivating! Here is a show that will take you through the widest range of emotions, making you actually feel something, stronger than anything any other act can make you feel.

Laughter – and plenty of it, as you would expect from one of Perth’s most established comedians, Colin Ebsworth, who has been on the scene since his teens, and still going strong almost a decade later. A FRINGEWORLD main stay, his award nominated performances have sold out countless shows over the years.

Let’s be honest though, with the title Me, My Cult and I, and with the show description telling us it was about him growing up in a cult family, we are ALL here to hear some crazy stories about life within a cult, and to be honest we aren’t disappointed.

What we weren’t betting on was the raw emotional rollercoaster of depth into the most interesting lifetime of the Ebsworth family. Not a typical slide-night at your grandparents, but with a few pictures for reference, Ebsworth brings us in and gives us an autobiography worth watching. Crazy cult stories – don’t worry they are there, and they are as entertaining as you could ever imagine, and some you wouldn’t want believe!

A dark yet beautiful view of a family who were more than met the eye, which laid the personal foundation to one of the most entertaining people in the comedy scene and FRINGEWORLD 2022. A born entertainer, Ebsworth takes a step aside from his comedy roots and live late-night shows, to bring you a show that will make you laugh a real laugh and cry a real tear. Certainly a more refreshing take on a show than anything else you’ll see this year.

You can join the cult at The Goodwill Club until 13th February 2022 with an extra show on the 17th. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

In Brief, Interview, Summer Nights

SUM UP SUMMER NIGHTS | Michelle Endersby | Leo/Taurus/Taurus

Michelle Endersbee is the Director and Designer of Leo/Taurus/Taurus a newly devised theatre piece currently on at The Blue Room Theatre as part of their SUMMER NIGHTS 2022 programme. We caught up ahead of the show to see what we can expect.

What is your show about?

Leo/Taurus/Taurus is about identity, and the languages we use to work out what that is.
There is a long history of human beings trying to figure out who they are and their place in the world; astrology has been around a lot longer than most religions; this doesn’t make it necessarily any more true, but I think its staying power speaks to our collective desire to be understood.

Through songs, poetry, music, and storytelling, we’re going to explore the languages we use in our search for who we are – from Myers-Briggs to Hogwarts Houses.

Favourite part of the show, no spoilers!

There is so much goodness it’s hard to say! There is a pretty amazing song written by one of the cast that I’ve had stuck in my head for weeks that I can’t wait to share with audiences (and for it to get stuck in their heads too).

How important is the Summer Nights program to the Perth Theatre scene? 

SO Important! The support and guidance we’re receiving from The Blue Room Theatre is so valuable and inspiring. The program is chock full of incredible WA talent, and the opportunity to make shows alongside other emerging artists, and some more seasoned pros, is such a privilege.

Apart from your show, what other Summer Nights shows would you recommend?

All of them look so good! But She’s Terribly Greedy has our very own Lily Murrell performing in it, so that’s a must see. I think that’s all I’ll say, otherwise I’ll probably just list the entire program.

Describe your show in 3 words:

Sparkly identity crisis.

You can catch Leo/Taurus/Taurus at The Blue Room Theatre until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this SUMMER NIGHTS 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

In Brief, Interview, Summer Nights

SUM UP SUMMER NIGHTS | Laura Liu & Medina Dizdarevic | The Complete Show of Water Skiing

The Complete Show of Water Skiing is a newly devised work playing at The Blue Room Theatre for their Summer Nights Programme. We caught up with Director Laura Liu and Writer Medina Dizdarevic to find out more about the show.

What is your show about?

The Complete Show of Water Skiing is about a young woman who finds a 1950s book about water skiing in her late-grandfather’s final possessions. Enticed, she rallies her best friends to learn the sport during their summer break. This show is ultimately about friendship, grief and growing up, surrounded by Aussie Summer vibes and water skiing!

Favourite part of the show, no spoilers!

One of the great things about devised theatre is that there are always heaps of offers popping up and being passed around. We’re really looking forward to sharing some of the smaller phrases and visual moments which have popped up in the rehearsal room with a fresh audience.

How important is the Summer Nights program to the Perth Theatre scene?

Summer Nights is important to give emerging artists the time and space to play with new ideas, test them before an audience and explore and expand their craft. It offers the opportunity to explore key skills valuable in the industry such as collaboration and teamwork. It’s also a great opportunity for new audiences to come in and get a peek at what’s cooking in Perth!

Apart from your show, what other Summer Nights shows would you recommend?

It’s hard to only mention a few – would recommend checking out as many as you can! We have loved She’s Terribly Greedy, 107, and Salome δ. We’re looking forward to Mother of Compost and Takatāpui!

Describe your show in 3 words:

Vibrant, funny and wholesome. 

You can dive into The Complete Show of Water Skiing at The Blue Room Theatre until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this SUMMER NIGHTS 2022.

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

In Brief, Interview, on now

SUM UP SUMMER NIGHTS | Phoebe Sullivan & Joe Paradise Lui | The Ugly

Phoebe Sullivan and Joe Lui are Perth theatre makers making their mark on the scene. Their devised work, The Ugly is currently on at The Blue Room Theatre as part of their Summer Nights programme. We caught up with them to see what the show is going to be like.

What is your show about?

Joe: The Ugly is about desire and the reasons beneath.
It is about why we want who we want, and who we don’t want
It is also, and mainly, about how hot we both are, which is to say: extremely.

Phoebe: Yes.

Favourite part of the show, no spoilers!

Phoebe: At one point in the show, I yell out in a moment of ecstasy, “Oh yes – pound my bell curve”! And I really love that bit.

Joe: My favourite part is when Phoebe talks about her desire.

How important is the Summer Nights program to the Perth Theatre scene?

Joe: Very.

Phoebe: It’s always a privilege to be able to put on work at a venue you know will support its artists, and one that also has such a strong connection with their audience.

Apart from your show, what other Summer Nights shows would you recommend?

Joe: Salome Delta.

Phoebe: Another non Summer Nights show would be, “Kind Regards, Michelle Aitken”

Describe your show in 3 words:

Jhoebe: Hot-Wet-Hardness

You can catch all The Ugly at The Blue Room Theatre until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this SUMMER NIGHTS 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, on now, Review

FRINGEWORLD 2022 | A menage a trois | 4 Stars

Review | Laura Money

Live out a night of the most commonly held fantasy, A menage a trois with the Champagne Show Girls this FRINGEWORLD 2022 as they lead you in a night of hedonism, fantasy, burlesque, and impressive circus elements that will get your own threesome of hands clapping, feet stomping, and mouth cheering going all night long! Hosted by cheeky and suave Mike Mayhem, this is a variety night that delves into the idea of giving in to temptation. It tackles every element of relationships including passion, heartache, and of course hot and heavy sexual desires. So call your mates but don’t be afraid to invite them to this menage a trois as it’s the best night out you’ll have with your clothes still on.

Mayhem’s songs are funny and cheeky, a complete parody that sometimes lean into the male gaze a little excessively, but ultimately show off his brilliant compositional skills and sultry voice. He keeps the, uh *energy* up all night. The incredibly bendy Gigi Go Bang and Pepper provide some steamy dances including one of the sexiest routines ever with muscle-man Nevio. The moment you’re waiting for is hot as hell, dancers bringing a Mills and Boon romance novel cover to life in a sexy af threeway dance. Danielle takes to the skies in super impressive silks routine that sees her soar through the air above her admirers – twisting and contorting like a rubber band.

Each act is sexy and shows off the multiple talents of the incredible cast, however it is the classic burlesque acts where these performers shine. From Pepper’s incredible expression of betrayal where she bares her soul in a contemporary dance filled with passion and fire to her literal fire act that is sure to heat things up, to Nevio’s show of strength in a handstand grandstand that need to be seen to be believed! But it is Champagne herself who gets the crowd going as The Floosy. In a fan dance that is burlesque incarnate, she flirts and teases with her feathered headress firmly upon her head. Culminating in a stunning iconic birdbath act, Champagne isn’t the only person who’s wet in this room! Everyone’s energy is through the roof in A menage a trois, Gigi Go Bang cute as hell dressed as a Cupid, delighting in shooting everyone is everything. The Champagne Showgirls are a gorgeously glittering troupe, full of stardust – and they want to sparkle for you so go along to A menage a trois and see where the night takes you.

You can catch all the saucy action at Air Nightclub on Fridays – Sundays until 13th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

Review, Summer Nights

SUMMER NIGHTS 2022 | Mother of Compost | REVIEW

Review | Laura Money

Theatre is like compost. It’s made up of all that came before it but is ultimately new.

This beautiful sentiment starts the show with a gentle smile and kind homage to theatre making. Self-styled queer troublemaker, Noemie Huttner-Koros alongside director Andrew Sutherland (also a queer troublemaker, fyi) have birthed a show that is as fresh as the compost in it. Mother of Compost tackles climate change and social responsbility through the lens of young artists as they contemplate nature and regeneration, what legacy we will leave on our children, and whether it is, indeed a good idea to birth at all. Equal parts love-letter to and manifesto on ecology, Mother of Compost is ground-breaking theatre that serves to enrich the mind.

Huttner-Koros invites the audience to participate before entering the space – gathering leaves and spraying water in life-giving mists – the collective experience an enduring metaphor proving that theatre-making and gardening are similar community processes. She approaches quite dire and scary prospects as she discusses the precarious future of Earth’s ecology in a way that simultaneously conveys gravity and a deep sense of joy. The sheer delight when discussing the composting process, and reproduction/regeneration absolutely radiates from Huttner-Koros’ entire being. There are major implications here as compost gives way to plastic – a visual reminder that hushes the audience with a hollow gut-punch. Working in a passionate frenzy breaking the fourth wall with composer Lyndon Blue as they produce live sounds that mould around the set almost psychedelically, Huttner-Koros breaks down theatre conventions like compost itself, creating a rich and thought-provoking piece.

Mother of Compost is a pertinent and important work that everyone should see. Drawing on seventies aesthetics and philosophies whose influences are evident in the stunning stage design by Molly Werner and AV/photography by Edwin Sitt, the piece encourages you to approach it holistically before analysing the individual components. Sutherland’s signatures are present in Huttner-Koros’ movement and contemplative stripping bare of the set. It’s a visual expression of starting over, but with so much soil piled up underneath us, can we ever really reset – or have we reached the point of no return? Either way, Noemie Huttner-Koros – your Mother of Compost is here to encourage you through it, together.

You can catch all the composting action at The Blue Room Theatre until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this SUMMER NIGHTS 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, Review

FRINGEWORLD 2022 | Always Woods Always Will Be | 4.5 Stars

Review | Peter Spence

Easily one of the funniest shows at FRINGEWORLD 2022, Fabian Woods brings his first headlining show home to WA. An absolute riot of a show, without a moment to breathe between a whole barrel of laughs. Always Woods Always Will Be features stories of life, family and politics in the city and outback, each are funnier than the last.

The tongue-in-cheek humour is hilarious and pokes fun at the view of life from both sides of the road, living in the city on the Armadale line, the Northbridge life and living in the land of heritage. While not sticking to the same covid joke scripts as every other comedian this year, he does touch on it and the political aspect of it, with a unique perspective, and without dividing the room.

Winner of the Deadly Funny 2019 grand final at the Melbourne International Comedy Festival, Woods has a comfortable flow on stage that makes you disappointed that his time on stage is kept to only one hour. Always Woods, Always Will Be is without a doubt one of this reviewer’s personal favourites, it is a refreshing change of pace from the over the top material, back to basics slap to the funny bone at FRINGEWORLD 2022. Downstairs in The Goodwill Club at The Rechabite, this is an hour of laughs you are not likely to forget.

Fabian Woods’ show has finished for FRINGEWORLD 2022 but you can see what else is on at The Goodwill Club HERE

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, In Brief, Interview

FIVE WITH FRINGE | Colin Ebsworth | Me, My Cult and I

Colin Ebsworth is the hilarious Perth comedian who has delighted audiences with his stand-up for years. This time he turns storyteller in Me, My Cult and I – an autobiographical piece that is sure to have you laughing. We caught up with him to see what it’s all about.

What is your show about?

Being raised in a cult from my parents being matched in a mass wedding. It looks at the origins of the cult, it’s leader, how my family became involved and where both ended up.

Favourite part of the show, no spoilers!

Probably going through the parts of my family life that I enjoyed the most and the dynamic we had with such a big group… and the crazy cult stuff.

These are unprecedented times, how does it feel to be a performer in 2022?

We are very lucky to be in WA so I’m grateful for any opportunity to perform, just please, no more zoom gigs Mcgowan. 

Apart from your show, what other shows would you recommend?

Rory Lowe Certified Funny Boy is just pure good comedy from an absolute pro.

Describe your show in 3 words:

Crazy Cult Family

You can join the cult at The Goodwill Club until 13th February 2022 with an extra show on the 17th. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, In Brief, Interview

FIVE WITH FRINGE | Susannah Thompson | Cecelia

Susannah Thompson is the singing sensation behind Cecelia, a new cabaret show Downstairs at the Maj as part of ACES Cabaret. We caught up ahead of the show to see what we’re in for.

What is your show about?

After a medical diagnosis Cecelia experiences a flashback to 1970 – the year of her birth – she retraces her steps to 2021 through musical moments in time – informed by the experiences of Australian women in regards to health, hysteria and gender roles.  

Favourite part of the show, no spoilers!

The diverse songs and stories together in the one show.

These are unprecedented times, how does it feel to be a performer in 2022?

Performing is just another way to share thoughts with others.  When so many thoughts can’t be shared at this time all over the world it feels like a great gift to be able to gather in a room with other humans.

Apart from your show, what other shows would you recommend?

Anything in the ACES programme.  Cabaret is the best!

Describe your show in 3 words:

Stories, Songs, Smiles.

You can catch the time-travelling Cecelia at ACES Cabaret until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, on now, Review

FRINGEWORLD 2022 | AJ’s Box: Coming Again | 4.5 Stars

Review | Amanda Lancaster

The Fourth Wall Log: FRINGEWORLD 2022, There are Aliens Amongst us….or should that be in front of us?

I have made the alarming discovery that The Girls School, Library room and its stage is currently being taken over by a flaming orange haired outer space babe and her posse of performing replicants, much to show goers delight rather than distress. Perhaps this is because this particular performing Alien, has been here before and has the humans Coming Again to see not just her, but also her box.

Meet Andromeda Jellybean, but you can call her AJ, and her intergalactic box A.I. Apparently after last year’s accidental crash landing upon Earth AJ was stuck here trying to find a way to amass enough power to fuel her Box so she could return to her home planet. Fortunately for audiences everywhere our friendly alien AJ was able to find a source of energy to feed her box with…Applause. Unfortunately thanks to a miscalculation there was not quite enough applause for Aj to make it all the way through our atmosphere and she’s been stuck here in hiding awaiting her moment and planning a way to best remedy her unfortunate situation. That’s right folks this alien needs you to give her box the clap big time, and she’s figured out just how to do it.

AJ is one of the most charming, quirky, hilarious characters you will ever see. She is downright adorable and 100 percent true alien through and through. This is no act, my friends this is an intimate alien encounter like no other. A mango loving, clone making, ass kicking, leather clad, space freak who’s ready to get as freaky as necessary to keep the humans safe and happy and get her minx of a box thrumming with pleasure.

With the help of her replicants, clones of previous fringe performers, Lola Moore, Miss Jordan and Charlotte Louise, the next sixty minutes is a nonstop rollercoaster of sci-fi sexiness and hilarity that you’ll wish would never end.

AJ is back with a vengeance and determined to win over the humans in a bid to collect all their adoration and applause with her newly researched ideas on how to be sexier than ever before, after all were a strange lot and isn’t that what we humans like?

This is one variety show that is truly Out of this World!

You can catch all the intergalactic action at The Girls School until 13th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, on now, Review

FRINGEWORLD 2022 | ARCANA: The Devil’s Temptation | 3.5 Stars

Review | Amanda Lancaster

Arcana: the tarot, the deck of fortune, the cards are dealt, and all the major players are there. 

The Devil is unveiled. A representation of attachment to ideologies and behaviors, the worship of pleasures and the taboo. He is addiction, compulsion, fixation but most of all The Devil represents Temptation. Prepare to be tempted like never before folks by this latest show, Arcana: The Devil’s Temptation.

Whiskey A’More Entertainment presents as always one hell of a show. With the empress card and high priestess of provocateurs herself at the imaginative helm of another round in the arcanaseries this show is bound to be a hit with the crowds. Last year’s Arcana: Order of the Divine was all about good fortune and the lighter more sublime side of life and divination. This year things have taken on a slightly darker themed tone to the cards the audience finds themselves being dealt over the sixty minute performance as he devilishly delicious prince of darkness, leads them into temptation.

Sam Madame is absolute perfection as the fallen star that is Lucifer, the evening’s emcee, and show-stealing Satan. Such a statuesque commanding presence and voice to match, you will want to melt like butter once this hand some devil starts reciting prose. Legs for days, cheeky as all get out and cheekbones you could cut yourself on, I dare you to not be seduced just a little if this is what evil comes dressed as.

Look out for The Lovers; played by of course by the only name synonymous with this theme, Duo Rhapsody. There is no one else on the fringe scene that embodies the lovers more perfectly than these two. Everything you will ever see this partnership perform is revoltingly and heartachingly beautiful and their depiction of the temptation of Adam, Eve and the apple is of course no exception.

Every performer on the night is a fabulous stand-alone talent of dance, burlesque, contortion and more, how could it not be when the performers include such well-known names as Essie Foxglove and Whiskey A’more amongst the list of acts.

A standout of the night is definitely by far newcomer Danisa Snake. I mean WOW. Never have I been so happy to see the Death card dealt. The symbol for rebirth and life altering changes. Have you ever seen a snake shed its skin? Danisa Snake is serpent incarnate, the total embodiment of all things deadly and dangerous. Saucy and sexier than hell, who wouldn’t be tricked into absolutely anything by this act?

Each act of the night is loosely based around the tarot and the major Arcarna cards are the inspiration for each performance be it in title, aesthetic, theme or demonstrative offering upon the stage. Each performance is a transformative foray into the baser instincts of human and hellion alike, as we are treated to entrancing explorations of the push and pull between good and evil.

You aren’t told which cards are dealt until the very end, so you are constantly drawn to and subconsciously tempted by whichever acts Arcana speak to you personally the most. Tell me Perth, what is it you truly desire? Because I can tell you right now it’s a ticket to Arcana: The Devil’s Temptation.

You can catch all the devilish action at The Girls School until 13th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, Review

FRINGEWORLD 2022 | Gavin Nicklette: Cabaret Roulette | 4.5 Stars

Review | Laura Money

Last year, a post-pandemic Gavin Nicklette took to the stage with a brand new show concept – writing a bunch of different emotions on a ‘money wheel’, Nicklette opened up infinite possibilities for shows. Each emotion corresponds with a true story and a song that represents it – and Cabaret Roulette was born. FRINGEWORLD 2022 sees the triumphant return of this gorgeous show with a few more options built in. It’s loose, it’s fun, and it’s fabulous – and guaranteed to have you on your feet!

The most compelling element of Cabaret Roulette is Gavin Nicklette himself. Dubbed the Lady Gaga of Jazz, I would go even further and suggest that he is Lady Gaga on valium – there’s an energy there but it’s contained and poised. Nicklette slinks about the stage like a cat – pure class with just enough diva in him to keep you in awe. He rocks his signature look: mermaid hotpants, angel wings, giant flamboyant eyelashes and lots of glitter. But Nicklette is a deliciously layered performer – on the surface is this larger than life, energetic powerhouse covering a blushing and humble persona. Nicklette peels back his layers one by one as he reveals each song choice.

Most of the songs are uplifting enough – he strips off another layer to reveal a stunning voice and genius arrangements. Nicklette takes a song and intuitively strips it of pretence, recomposing it into a simplified yet powerful piece of music – no-one arranges like Nicklette. He is a musical alchemist, creating magic in every chord. With each spin of the wheel comes another layer, and the night I attended the wheel stripped Nicklette to his core. What followed were stories of homophobia, of childhood shame, found families and great love, but equally great loss. A raw, and emotional Gavin (after seeing this outpouring, I feel surnames are not intimate enough) opened deep wounds and asked us to bear witness to his suffering. This was not morbid – Gavin is a kind and generous storyteller – nor was it selfish. Gavin is not degrading about any person who has wronged him, rather just trying to feel out his response to their actions. Every single person in that audience is closer now to one another because of Gavin’s beautiful and genuine openness. Each note, each vocal restrained of anguish weaving emotion and healing in through music has an everlasting effect and we can all thank the amazing human being that is Gavin Nicklette for sharing.

Gavin’s FRINGEWORLD 2022 season has ended but you can check out what he’s up to throughout the year HERE

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to in 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, on now, Review

FRINGEWORLD 2022 | Murder on the Midland Line | 4 Stars

Review | Laura Money

Have you ever felt like your commute was murder? Well, for these unfortunate travellers on the Midland Line, the murder is literal! The crew from Performing Arts Alumni Society (PAAS) bring a parody of the Agatha Christie classic to the smallest stage ever – one carriage on the Perth to Midland train. It’s a silly and ridiculous rollercoaster of a show, in which a murder, investigation, ‘arrest’, and resolution all occur in the time it takes to get to Midland. So strap in, play detective, and get ready for a journey with a cast of colourful characters you just won’t be able to forget.

Murder on the Midland Line is written and directed by Courtney Lee and it’s brilliantly done. It’s a giant lean-in that takes all the mystery and intrigue of the original and turns the tropes on their head in a pisstake worthy of Transperth services. The writing is a little clumsy in parts, not explaining everything so you may have to mind the gaps, but it is great where it counts – each character arc and the ‘final reveal’ neatly, if a little overtly, tying everything up. Naomi Raven‘s set is stunning! It’s a proper throwback to the dodgier days of train travel, complete with actual ex-bus seats, the iconic yellow poles, and various rubbish and debris reflective of the infamous train line. With a fun set, the cast are free to play with their characters and they dive into the action head first, using every centimetre of the stage.

A script as farcical as this with characters as larger than life as they are can only be approached with intensity, and every single actor rushes headlong into the fray. From Troy Coelho smashing out his four or five sentences before dying in an epically dramatic fashion, to Milli Higgins locking eyes with Bobby (Lachlan McGregor) and getting her flirt on the second she enters the carriage. Higgins is hilarious as ‘the nurse’ swishing her high pony around with disdain for everyone else. McGregor’s tradie is funny especially when tripping out – he gives the audience a knowing wink and really embraces the parody. Shakyra Baskeyfield is a crack up from beginning to end – as the #pregnant #blessed Sara Kensington-Rosé-Smith she can hear if you pronounce the non-existent ‘H’ and has the mannerisms of an entitled Guildford type down pat. Orla Poole plays eccentric old woman Tabitha Titlock and it’s her extra little touches to the character that make it a memorable performance. Each tick and twitch while not the centre of attention brings a nuance to the performance that could have been bland otherwise.

It is up to Sal Moose – earnestly rendered by Lucy Wiese – to discern which of the eclectic bunch of commuters did the deed. Stymied by larger than life Trudy Gooch, played by the ridiculously over the top Hannah Quaden, Moose tries her best to exert order on the chaos. Quaden’s enthusiastic portrayal of Trudy Gooch is hilarious. She doesn’t pull back and attacks the character full bore! Loud, brash, abrasive, and foul at times, Quaden is compelling somehow managing to take up all the space with her intense character. Speaking of intense, Matthew Jones is spot on as the spoilt Guildford Grammar schoolboy in a caricature of stuck up rich boys that needs to be seen to be believed.

Murder on the Midland Line is a promising start for these young yet accomplished theatre makers. The script is funny and clever, leaning in to its ‘Aussie-ness’ revelling in the cultural cringe. With farce that borderlines a dreamlike state, it’s certainly the most entertaining train ride you’ll ever go on! Next stop: success.

You can catch the train at The Girls School until 13th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, In Brief, Interview, on now

FIVE WITH FRINGE | Kyra Belford-Thomas | Gatho At Mine

Kyra Belford-Thomas is the writer/director of Gatho At Mine, a new theatre piece playing at The Hayman Theatre at Curtin University as part of FRINGEWORLD 2022. We caught up ahead of the show to see what audiences can expect.

What is your show about?

Gatho At Mine is about those awkward teenage years when you’re no longer a kid, but you’re not yet an adult. It deals with all the humour, and more difficult moments of finding your place in the world. 

Favourite part of the show, no spoilers!

There are some very awkward dance moves in the show that always make me laugh. 

These are unprecedented times, how does it feel to be a performer in 2022?

I just feel so lucky to be able to create work, and have audiences come along to see it. It’s never a certainty so we are so grateful for each opportunity. 

Apart from your show, what other shows would you recommend?

I have seen some amazing shows this Fringe season, but I would definitely head along to the two other shows performing at the Hayman Theatre with us – Mechanical Man and Sweating Like a Stuck Pig

Describe your show in 3 words:

Endearing, fun, confronting

You can catch Gatho At Mine at The Hayman Theatre until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

In Brief, Interview, Summer Nights

SUM UP SUMMER NIGHTS | Noemie Huttner-Koros | Mother of Compost

Noemie Huttner-Koros is the performer and writer behind Mother of Compost – a new show on at The Blue Room as part of their SUMMER NIGHTS 2022 programme. We caught up with her ahead of the show to see what we’re in for.

What is your show about?

Mother of Compost is about how we create multi-species, inter-generational and queer families in times of crisis, that can sustain us for generations to come. It’s about slugs, fungi, the turning over of soil, the climate crisis and my deep love of hanging out with babies and being in community! It’s an invitation to consider how we can be family to each other through some very silly dancing, cheeky on-stage composting and storytelling. 

Favourite part of the show, no spoilers!

My favourite part of the show is simultaneously becoming each other’s mothers and children. 

How important is the Summer Nights program to the Perth Theatre scene?

The Summer Nights program is a space for artists to experiment and explore and is one of my favourite times of the year. It’s so exciting to see what local artists have been cooking up, what artists have been dreaming about and speculating on and how artists are responding to the circumstances of our world. Summer Nights provides a space for all these questions (and heaps more) to be engaged with – with care, open-ness and unapologetically. 

Apart from your show, what other Summer Nights shows would you recommend?

All of them! So many amazing local artists making thought-provoking and exciting theatre. I’d recommend Salome by Squid Vicious, Utopia by Amir Musavi, The Complete Show of Waterskiing by Laura Liu and The Ugly by Phoebe Sullivan & Joe Lui. But really, just everyone get out there and support our awesome local artists 🙂 

Describe your show in 3 words:

Queer, ecological, honest 

You can catch Mother of Compost at The Blue Room Theatre until 12th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this SUMMER NIGHTS 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, on now, Review

FRINGEWORLD 2022 | P!NK: The Circus | 4.5 Stars

Review | Laura Money

Let’s ‘get this party started’ with BarbieQ and Kinetica as they provide a ‘feel good time’ and ‘raise your glass’ to the stunning circus and drag extravaganza right at home at The Royale Theatre – an arena-like venue ‘funhouse’ that barely contains the energy of this show. P!NK: The Circus takes the winning formula of previous collaboration Madonna: The Circus, The Icon and ramps it up a notch. With a killer soundtrack by a super badass super star, you’ll be clapping and singing along with the phenomenally talented crew and our very own badass super Queen!

Bursting onto the stage in a high-octane energetic dance routine BarbieQ and her dancers Haydn Shadforth, Kenisha Yam, Kade Sweeney and Elysha Atwell kick things off with everybody’s favourite ‘Get The Party Started’ and get it started they do! All the dances are super slick and entertaining, with fun and cheeky choreography that speaks to the theatricality of Pink as a performer. Handbalancers Karl Kayoss and Matthew Pope add poignancy and bittersweetness to ‘Just Like A Pill’ – their routine teasing out the nuanced lyrics of the song. Pope always impresses with routines that finely balance the grotesque with the beautiful, each movement considered and beautifully rendered. There’s the Harlequin tossed about in a Lyra routine to the f*ck it all anthem ‘Funhouse’ and the cheeky sexy cowboy Trapeze act that declares the performer as ‘Trouble’.

Sarah Ritchie stuns in her Silks performance to ‘Stupid Girls’. She twists and turns at times in a furious frenzy, attempting to escape her fate as a female performer in a chilling nude costume with surgical cutmarks drawn in marker pen all over her body. She’s used to being different and proves to be gloriously so in her brilliant Contortionist routine to ‘Just Like Fire’ a song which lends itself perfectly to the beautiful, yet jarring imagery of her contorted body. The show features Pink’s most popular chart toppers and a few hidden gems – music pulsing through the crowd as Ritchie takes to the Aerial Net expressing a sexual energy to forgotten banger ‘Fingers’. It’s a great metaphor and her skills in the net are second to none.

So much of Pink’s music deals with heartbreak and love and this is addressed in stunning routines and expression from BarbieQ’s sensitive rendering. Straps Aerialists Fay MacFarlane and Anthony Tran impress with an impactful routine to ‘Just Give Me A Reason’ – at times working with one another, and others against. It’s an aerial ballet where the figures intertwine and show dependence on one another whilst retaining their identities and autonomy. Drawn to each other’s strength, they write a love letter in the air with their bodies. Solo dancer Kenisha Yam and BarbieQ perform a moving scene to ‘A Million Dreams’ in a sentimental and beautiful tribute to motherhood.

P!NK: The Circus is a superstar show full of superstar performers. Rather than list each piece, I will just say go and see it for yourself. The music is guaranteed to be good – I mean, who doesn’t love blasting ‘So What’? Well how about blasting it while Karl Kayoss kills it in the Aerial Hammock? That’s what I thought! Every single performer and routine slays – the group dances and acrobatics are thoughtful and artfully choreographed around Pink’s music and those group dances are absolutely on point! So what are you waiting for? You know that Pink and Aerials are already synonymous so why not add in Kinetica and the rest of the circus – it just makes sense.

You can check out all the action and the banging tunes until 6th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, on now, Review

FRINGEWORLD 2022 | Britingo! | 4.5 Stars

Review | Laura Money

Alright chavs and ladettes – get your velour tracksuits on, grab a hot cuppa, and get yourself down to the bingo hall because Britingo! is a baller of a time! What more could you want out of a Friday or Saturday night than a couple of Brits shouting numbers at you in a tent in Northbridge? Now, it sounds like I made that up, but that’s essentially what Britingo! is – and we love every second of it. From witty puns (number one, up ya bum!) to musical cues that absolutely hit, Britingo! is the most fun you’ll have without actually gambling and you might even pick up a prize. But let’s face it – you’re all winners being able to experience the wonderfully weird atmosphere of the show.

What can you expect out of Britingo!? A balls-to-the-wall evening of hilarity! Andrew and Amy set the rules early – and you don’t want to divert from them because one transgression means you don’t win the prize – and who wouldn’t want some English Breakfast tea bags or Irn Bru? Make no mistake, this is genuine even if Andrew struggles not to joke with every ball toss. Amy and Andrew have the best chemistry – their dance skills are slick and funny, and their banter is bang on. Andrew has the energy of a raver – absolutely wired the whole night long.

It’s a British extravaganza with jokes that Andrew and Amy double down on, like the ‘2 Become 1’ musical cue that extends to a full Spice Girls medley – it takes you out of the game momentarily and chair dancing is mandatory. So tizz yourself up, pull your hair into a Croydon facelift, and get on with a bit of Britingo! You’ll need more than a Bex and a lie down after this wild night out!

You can join in on the action until 5th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, In Brief, Interview, on now

FIVE WITH FRINGE | Whisky A’More | ARCANA: The Devil’s Temptation

Whisky A’More is the powerhouse burlesque performer tearing up FRINGEWORLD 2022. Perennial Fringe fave, A’More is bringing temptation to the fore in their newest offering. We caught up ahead of the show to see what we’re in for!

What is your show about?

ARCANA: The Devil’s Temptation is a burlesque show with dance and contortion that is the second in the ARCANA series of shows that draws inspiration from the major arcana cards in a tarot deck for the initial inspiration for each act.

This year the show has a slightly darker vibe than last year’s ARCANA: The Order of the Divine, with our demonicly camp Devil taking us on a journey as he leaves hell to visit the World for a night and look at temptation and the different forms it may take. But as he sees, humans can push back on temptation and even bring about change, the dawn of new eras etc. The show takes us from evil to goodness, darkness to light, night to day, winter to summer. And it is when things get lighter and more positive, the Devil must return to hell.

Favourite part of the show, no spoilers!

I love that I’ve managed to curate an umbrella storytelling of temptation, presented by the Devil and carefully selected performances, which also has representation in many of the acts you see in the show as they may contain the message of temptation in addition to their tarot inspiration, even if it is just a thin thread of the temptation story.

But, heed my message – just like the mystique of divination (and this answer!), not everything is obvious and straightforward (ie no spoilers!) during the show! All acts take inspiration from major arcana tarot cards, but it’s just that… inspiration. The inspiration for the performance may come from the name of the tarot card, the the meaning of the card, or from some imagery you see on the card, but not necessarily all three.

This means ARCANA shows are not lessons in tarot 101 for beginners, nor do they always include a direct and obvious representation of each card. It is about the inspiration and different levels that the tarot cards can create, represent, and be interpreted, seeing where all these incredible artists can take the element of the card that inspires them the most, what that makes them think of and feel, and how that can be represented in their trademark performance style (and bonus points for also linking it to the overall story of temptation for this year!).

However, if you pay attention to what the Devil says and does at various points in the show, you may notice that they are always foretelling what cards will be inspiring the next few acts, but sometimes it’s in obscure clues and references to some element of the card (such as name, meaning, or imagery) – it’s all there if you pay attention! There is an extra layer of entertainment in sometimes seeing the cards slowly and subtly reveal itself throughout the actual performances if you didn’t pick up on our Devil’s hidden messages.

But it doesn’t really matter if you don’t immediately recognise what card has inspired each performance, as each act is an inspired delight to watch, even if they far depart from an obvious interpretation of the cards.

These are unprecedented times, how does it feel to be a performer in 2022?

It feels a bit like de ja vu for me, as last year’s ARCANA was presented immediately after the snap lockdown and audiences had to wear masks and we were subject to the 4 square meters rule. It was really unsettling and challenging for most artists and producers, and it still is today. But I just hope that mask mandates and double vaxx mandates don’t put audiences off coming to our shows and being as loud and supportive they always are, as we all know how much burlesque performers love hearing those whoops and cheers during a performance! We’ve definitely all become experts a smizing (smiling with our eyes) since the pandemic started, haven’t we?!

Apart from your show, what other shows would you recommend?

Oh, I have SO MANY recommendations! I’ll try keeping this short!
Tomas Ford’s A Bit Too Edinburgh Fringe
Britingo! (and if you win the unicorn, can you please donate it to your friendly local Scottish burlesque performer?!)
ZAP Circus’ CIRCUS FIRE Spectacular!
Comedy Hypnotist Matt Hale: Absolute Chaos!
Creme de la creme
Down Rebound
The B- Plot Girls
The Hilary Duff Film Re-Enactment Festival!
YUCK Circus: DEADSET

​​​​

Describe your show in 3 words:

Hotter than hell!

You can catch all the devilish action at The Girls School until 13th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, In Brief, Interview

FIVE WITH FRINGE | Fabian Woods | Always Woods Always Will Be

Fabian Woods is a WA comedian whose hilarious comedy stylings have seen him win the competition ‘Deadly Funny.’ We caught up with Fabian ahead of his FRINGEWORLD 2022 show to see what it’s all about.

What is your show about?

A journey inside the head (Kaart) of the average Noongar man next door…….. if you lived on the Armadale Line! Interpreted by a crazy (Worrah) indigenous comedian, Fabian Woods (Kaart Worrah)

Favourite part of the show, no spoilers!

You guys must see my White Lives Matter yarn!

These are unprecedented times, how does it feel to be a performer in 2022?

Blessed to put some humour in people’s lives that may be in need of good laugh. It’s humbling!

Apart from your show, what other shows would you recommend?

Definitely check out Rory Lowe’s Certified Funny Boy and Colin Ebsworth’s Me, my cult and I. They’re my boys!

Describe your show in 3 words:

Making Awkward Sexy

You can catch all the sexy awkwardness at The Goodwill Club until 6th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.

FRINGEWORLD, In Brief, Interview

FIVE WITH FRINGE | Ayden Doherty | Birthday Party For a Dead Friend

Ayden Doherty is the hilarious comedian that tackles every part of life, including the unsavoury bits. We saw his show last year and absolutely loved it (REVIEW HERE) so don’t miss your chance to go in FRINGEWORLD 2022. If you need more convincing, here is an interview that just might persuade you to grab your tickets now.

What is your show about?

Birthday Party for a Dead Friend is a look behind the curtain of living with complex mental health; using jokes and stories to share some insight and give some understanding to the neurodivergent experience.

Favourite part of the show, no spoilers!

The show has been an experience to write and perform. It’s taken a lot, mentally, to make it happen but what I’ve enjoyed the most has been the punters who’ve reached out to me to tell me how much the show has had a positive impact on them. It’s been really validating to hear how it has helped people struggling with their mental health not feel so isolated in their experience. But almost more are the people who have told me that it has helped them gain some understanding about someone they love who has been struggling with their mental health. That has been the part of this experience I’ve enjoyed the most.

These are unprecedented times, how does it feel to be a performer in 2022?

It’s difficult for everyone right now. It’s harder to connect with audiences through masks. I find the energy is different than it used to be and everyone feels it but I greatly appreciate the efforts punters are making.

Apart from your show, what other shows would you recommend?

Dave Callan’s ’77 Holiday Special is a wild ride.
Disney in Drag.
Dolly Parton: Here I Go Again. Barbie is a Perth icon. And Dolly.
– Perth has a great showing this year in stand-up and I would expect people to enjoy any show they see. Having said that, Jon Pinder, Luke Joseph Ryan (best poster and show title of 2022), Chris Shin, Shash, and Simone Springer all have shows I am hoping to catch.
Whose Rhyme.

Describe your show in 3 words:

Intense. Unexpected. Charming.

You can catch Ayden Doherty’s party at Shoe Bar until 5th February 2022. TICKETS

Keep up with The Fourth Wall on Facebook and @fourth_wall_media on Instagram to see what we’re up to this FRINGEWORD 2022

The Fourth Wall acknowledges the traditional custodians of the land we engage in storytelling on – the Wadjhuk people of the Noongar nation. We pay respects to their elders past, present, and emerging.