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What’s On September – December 2020

What’s On


Follow Dracula, whose lonely soul is determined to reunite with his lost love, Mina and in doing so begins a reign of terror and seduction, draining the life from those around her to get what he so desires. Brought to you by the always brilliant West Australian BalletDracula is the ambitious show gracing the boards of the beautiful stage of His Majesty’s Theatre – the perfect setting for this adaptation of the classic gothic Victorian tale by Bram Stoker which captured the sensibilities of the era.

WHEN: 11 – 26 September 2020 | Various times

WHERE: His Majesty’s Theatre | PERTH

INFO: Tickets $22 – $120 | Duration 2hrs 25mins | Interval | Contains stylised violence


‘Dracula’ WA Ballet Production 2018 – 4th September 2018 / Photography © Jon Green 2018 – All Rights Reserved


Based on the story by Hans Christian Andersen the opera tells of an Emperor who is enchanted by the singing of a nightingale in his garden. The Emperor convinces the nightingale to sing for him but when gifted with a new mechanical nightingale, he becomes obsessed with his toy and the real nightingale flies away.

WHEN: 3rd & 4th October 2020 | 11am & 2pm

WHERE: His Majesty’s Theatre | Perth

INFO: Tickets $25 – $45 | Duration 50 mins | Relaxed Performance 11am 4th October | Suitable 4+ | Sung in English



THE OTHER PLACE – Fremantle Theatre Company

Sharr White’s THE OTHER PLACE is about a very brilliant doctor who watches her world slip through her fingers, unraveling thread-by-thread without her; she is a woman at once taunted by her daughter, the echo of loss and a whisper of hope, striving to make sense of her place in the world and a grasp on a very elusive peace of mind.

WHEN: 14th October – 8th November 2020 | 2pm & 7pm

WHERE: Victoria Hall | Fremantle

INFO: Tickets $86 – $130



WE WILL ROCK YOU – Platinum Entertainment

Join outcast Gallileo Figaro as he fights the power in a dystopian world filled with internet obsessions, a Killer Queen and no music! Ben Elton’s classic jukebox musical features the music of Queen brilliantly woven into a clever, hilarious, and heartwarming musical. So don’t feel Under Pressure, just Break Free and find Somebody to Love on your Bohemian Rhapsody journey.

WHEN: 30th October – 22nd November 2020 | Various times

WHERE: Crown Theatre | Crown Casino | Burswood

INFO: Tickets $59 – $119 | Duration 2hrs 40 mins | Strobe Lighting and Special Effects, including Haze Machines, may be used during the performance | Parental Guidance recommended


Photo by; Stephen Heath Photography
Image: Stephen Heath Photography

RODGERS & HAMMERSTEIN’S OKLAHOMA! – Black Swan State Theatre Company

Tensions simmer between the cowmen who have long worked the territory, and the increasing number of eastern farmers staking new claims to land which disrupts the cowmen’s trade. Meanwhile, farm girl Laurey works to maintain her independence while being courted by both Curly and Jud – two very different kinds of suitor.

Black Swan State Theatre Company is delighted and proud to present the music in the style of its bluegrass, country, square-dance roots, and for WA audiences to enjoy a 360° experience in the round right in the heart of the action on the Heath Ledger Theatre stage.

WHEN: 28th November – 20th December 2020 | 2pm, 6:30pm & 7:30pm

WHERE: State Theatre Centre WA | Northbridge

INFO: Tickets $36 – $93 | Duration 2hrs 30 mins | Age restriction 12+ | Adult themes | Seating is in the round on the Heath Ledger stage | Limited seating available due to COVID-19 restrictions


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Have you dreamed the dream? This could be your chance to get onstage!

Have you always wanted to be on stage? Are you a theatre-lover who wants to get out of your seat and get up on the stage itself? Well if you’re in WA this could be your chance!

Platinum Entertainment are giving lucky Western Australian actors and curious types the chance to be in their biggest productions to date. Auditions will be held for Les Miserables, The Boy From Oz and Priscilla Queen of the Desert in January 2021. If you want to try your hand at acting alongside some of WA’s hottest talent head to for all of the details on audition dates.

Break a leg!

on now, Review

REVIEW: A Fortunate Life | Optimism triumphs in this beautiful experience

What makes one’s life fortunate? Is it finding joy in the everyday, or reflecting back over decades well-spent? Or both – they are not mutually exclusive concepts, after all. Albert Facey (1894 – 1982) was perhaps one of the most optimistic men to have ever lived. He took that dash between his birth and death dates and elongated it into the most robust and fulfilling experience a man could ever ask for during his time on earth. In his 1981 autobiography, Facey relays his life from whipping boy of exploitative farmers, to war hero, husband, father, and galvanising figure for worker’s rights and justice. Facey marvelled at the response his book received – mostly because he never saw anything remarkable about himself.

Fast-forward to 2020, where an intrepid group of theatre-makers reinvent the story of an ordinary man’s extraordinary life. A Fortunate Life is an experience like no other – housed in regional and semi-regional cinemas across Western Australia, the show is a unique intertwining of the best elements of theatre, film, music, and immersion. WA theatre company, THEATRE 180 and CinemaStage present the piece on a stage in front of a cinema screen – so you can get the popcorn and drinks to accompany this sweeping epic narrative, a theme so cinematic it marries perfectly with its setting. At first, I was worried the show would just be a play set in front of projected scenes but I am happy to announce how wrong that impression was!

6 AFL Rebecca Davis Michael Abercromy Benj D'Addario

Yes, the action takes place on the stage but also on the screen. The show is framed around a film that plays throughout – with stunning visuals that at times serve as a backdrop, and sometimes advance the plot. There are letters written in voices back and forth, the inimitable birdsong and sounds of the bush, and real photographs and images from Facey’s life. Sound designer, Ben Collins and composer Ron Siemiginowski weave the everyday sounds and background noise of a lifetime and create emotions evocative of memory and loss – of a life lived. The audiovisuals by Green Man Media enhance the experience tenfold – this is no mere backdrop, it is an immersion. With such flawless sound, lighting, and visuals the piece serves as a film fully realised in flesh and blood – as though the actors have stepped out of the screen and are viscerally immediate to the audience.

Adapted for stage by Director Stuart Halusz and writer Jenny Davis, the full experience is brought to life by a dream cast of heavy-hitting actors. Michael Abercromby, Ben D’Addario and Rebecca Davis all take turns bringing the diverse cast of characters from across Facey’s lifetime to light. Halusz’ brilliant direction sees the play flow from childhood to adulthood, Australian bush land to war-torn Gallipoli, loveable larrikins to horrible bitter characters. A Fortunate Life could so easily have been a linear chronological narrative, but Halusz and Davis ingeniously switch between the reminiscing Albert and the story he his telling about that portion of his life. This device maintains the integrity of the piece and cements Facey’s blind optimism despite the many hardships he faced.

2 AFL Benj D'Addario, Rebecca Davis, Michael Abercromby

The acting here is wonderful – several times different actors portray the same person and inhabit the previous actor’s mannerisms and inflection. Abercromby and D’Addario’s portrayal of Facey’s mother is bang on – both actors perfecting her cruel turn of lip, contemptuous tone, and haughtiness – they both evoke unsympathetic woman, and at no point does it feel like a caricature or drag-act. Davis shines as the young Albert – her youthful approach and boundless energy spills over into the audience, and one cannot help but love the playful young scamp. The Aussie voice is one that has changed somewhat with each generation, and each actor navigates that evolution effortlessly. Dinky-di ocker language and Gallipoli slang come naturally without sounding trite. There’s no swearing, no vulgar language – just plain, honest dialogue. This combines with Facey’s sunshiny character to keep the smile on your face and the tears flowing at the end.

A Fortunate Life is the natural evolution of cutting-edge technology and humble theatre-making. It’s familiar to Australians without being false. It lauds the Aussie spirit but doesn’t sugar coat the hardships. This show has everything – endearing characters, love, loss, devastating heartache, humour, Australian truisms, and at its core – heart. It takes the changing face of the twentieth-century and calls upon all of the traditions and technology seen from each decade to create something that is truly the next step in theatre. Hearkening back to the man playing the piano as the film reel ticked along in the background, A Fortunate Life takes a twentieth-century story and gives it the twenty-first-century treatment.

REVIEW | Laura Money

WHEN: 28th August – 13th September 2020 | Times vary

WHERE: Ace Cinemas | Rockingham

INFO: Duration 1hr 45m | Tickets $36.50 – $41.50 | Live theatre | Screens & projection | Suitable 10+


on now, Review

PERTH FESTIVAL 2020 | Cloudstreet | 4.5 Stars

Review | Laura Money

Themes of spirituality and the river pulse thorough this latest production of Cloudstreet Directed by Matthew Lutton in a collaboration with Black Swan State Theatre Company, The Malthouse Theatre and Perth Festival 2020. The last time this particular epic was tackled it was in a huge warehouse in Fremantle and the performance was split over two days – this time, it’s a far more palatable 5 ish hours. The Pickles and the Lambs have moved into the newly refurbished His Majesty’s Theatre for a night of laughter and tears, love and loss, spirit and community that takes place over twenty years of these two families living side by side. Lutton brings Tim Winton’s novel to life and adds some unique features that prove there is always room for improvement – even on a classic.

Black Swan’s choice of sweeping epic family drama is obviously no accident. Winton himself said at Black Swan’s 2020 Season Launch that he could not have written this novel in today’s climate as it is essentially a work of great optimism and he sees no hope in today’s world, and the 1998 production reflects this sense of timeliness. Lutton and co take a slightly less doom and gloom approach to the play, framing the work around the Noongar story – their words serving as a cautionary tale – do not make the mistake of ignoring the land, water, and those who came before us. Zoe Aitkinson has created a pared back and elegant set which serves as the silent extra character (the house), the simplicity of water and sandstone, the curve of the coast, and of course the stunning real water that trips and pools in the middle of the stage, reflecting back onto the actors. With such a simple set, Lutton must draw upon Paul Jackson’s stark and punchy lighting and Elizabeth Drake’s sweeping score for tension and a local flavour.

Lutton’s bold show pulls no punches – it begins with a sharp hit to the guts in Fish’s ‘lucky’ escape from drowning, the aftermath being why the Lamb family decide to move into Cloudstreet. Representation and diversity is an intergral part of theatre-making in the twenty first century, and this is reflected in the decision to cast Benjamin Oakes in the role of Fish Lamb – Oakes is an actor with an intellectual disability, and in playing Fish, provides poignant dignity to the role. He not only provides light to the show, the charcter does not shy away from some of the uglier parts of society – ostracism, parental love being pushed to its limits, even people being uncomfortable when confronted with disabilty. Noongar actors, Ian Michael and Ebony McGuire provide a voice for the voiceless in framing the story with an Aboriginal voice – a spititualty missing from the novel (well it was probably there but framed as the land) – they act as gatekeepers for the souls of the ghosts and narrate the story throughout. It’s a great technique and ties together an otherwise melodramatic plot with a hint of a higher purpose.

Inter-generational tensions run high as each family works out its dynamic – Mr Pickles (Bert LaBonte) and Mr Lamb (Greg Stone) each represent differing views on masculinity. Whereas Pickles is happy to gamble and take a risk – sometimes to the point of self-destruction, Lamb must work extra hard to keep his family afloat. Both of their wives are no longer able to provide the mothering role, for one reason or another, so we see the men grapple with feeling useless and being relied on simultaneously. There is a touching moment as Stone washes Oakes for his bath and he does so with such tenderness, it is hard to witness his frustration manifest itself in a physical outburst that drives his other son away. Of course the next generation of men, represented by Quick (Keegan Joyce) are not interested in the warmongering violence of their father’s generations. We see Sam Pickles and Lester Lamb physically and psychologically castrated and unable to fight in the war, then see Quick Lamb self-desctructing and creating his own impotence as he attempts to find and kill the Nedlands Monster.

Cloudstreet_His_Majesty's Theatre LR Brenna Harding and Natasha Herbert._photo credit Philip Gostelow10

Perhaps the strongest relationship is between mother and daughter – Dolly (Natasha Herbert) and Rose Pickles (Brenna Harding). They have an interesting dynamic, Dolly is loose, gregarious, alcoholic, and dissatisfied with her lot, yet not willing to pack it in, and Rose is introspective, shy, bookish, and unsure how to leave. Tensions run high as Dolly realises that Sam cares for Rose more than her, and that Rose will never respect her. Herbert is phenomenal – she is the stand out actor in a strong ensemble piece. Casually holding her cigarette on her bottom lip, she pouts, pure anger shining in her malevolent eyes as she rips into Harding, who has nothing but contempt in return. Despite the darkness, there are moments of levity which uplift the audience – much like a reflection of Australian history – as the kids all choose their rooms in a new space, go to the beach, celebrate Christmases, weddings, and even deliver pure joy in the form of ice cream to the audience.

Cloudstreet hits you with a wave of nostalgia. From the costuming to the language used, to the refrain of ice-cream shouted in the streets, to Perth landmarks, and sibling rivalry, the work is so painfully nostalgic it has a slight sad tinge to it. In an already nostalgic book (written in the 90s set in the 40s – 60s), Cloudstreet is layered with multi-generation views on family relationships, masculnity, femininity, economics, childhood, innocence, and violence. It marks the end of innocence with its references to real life serial killer, Eric Edgar Cook, and the changing attitudes of Perth – from a big country town to a bustling city. Did we need yet another rendition of Cloudstreet? Probably not, however Lutton’s take on the work is great – it’s an exceptionally entertaining night out, albeit a long one! There are some things that could have been cut, as it does drag towards the end, but ultimately what remains is a sensitive, heartfelt play that speaks to all generations and celebrates life in its purest sense.

WHEN: 21st February – 15th March 2020 | Multiple times

WHERE: His Majesty’s Theatre | PERTH

INFO: Tickets $39 – $149 | Duration 5hrs 25mins | Recommended 12+ | Contains adult material, coarse language, herbal cigarettes, gunshot sounds


FRINGEWORLD, Past Production, Review

FRINGEWORLD 2020 | Ballads, Banksias and Beauty | 4 Stars

Review | Laura Money

A lot has been said about Western Australia’s unique landscape – from its greenery in the south to the red of the northern desert, poets and visual artists have drawn from the land and its iconic visuals. In Ballads, Banksias and Beauty, Perth’s darling of the stage Jessie Gordon teams up with Ben Vanderwal and Russel Holmes to create a new soundscape for the west – piano, percussion, electronic looping and stunning vocals provide an eclectic pastiche of iconic Australian music that perfectly weaves through our iconic landscape.

It’s a beautifully intimate and calm evening – the musicians are intertwined, it’s the ultimate collaboration – as the trio trip from simple, pared back arrangements of true Aussie classics to musical arrangements that border on the visual themselves. The music is played as a continuous track, rather than applausing at every song choice, the audience gasps in recognition allowing for a constant flow of music. While bookending the show with Archie Roach’s stunning ‘A Child Was Born Here’ the concert moves amongst the greatest of Australian flavours – ‘London Still,’ ‘You Always Take The Weather With You’ and ‘No Aphrodisiac’ and pairs beautifully with cracked and nostalgic images of Australia projected over the band by VJ Zoo‘s Jasper Cook.

The style of arrangements are quirky and imaginative – they bring out the heartache and love for the land we are privileged enough to call home. ‘Put Your Hand on Your Heart’ and ‘You’re The Voice’ are distilled into the raw essence of their message – that you too can love and have passion when you feel. ‘Into Your Arms’ and ‘Throw Your Arms Around Me’ are reimagined to express the physical manifestation of love and how we are revitalised by walking among our land.

Ballads, Banksias and Beauty is a unique soundscape – a love letter to our beautiful land – and it soothes every sense. It’s an experience that all West Australians should have at least once as it fills you up with the richness of our place.

Ballads, Banksias and Ballads played at The Ellington Jazz Club as part of FRINGEWORLD 2020.

FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Aliya Kanani: Where you From, From? | 4 Stars

Review | Kieran Eaton

Aliya Kanani is a successful comedian, but still people ask her where she is from – and I don’t mean nationality, I mean ethnicity.  If you must know, she is a Canadian, whose parents are from Zanzibar and is of Indian ethnicity. Kanani tells the story of how she became a stand-up comic based on being stereotyped due to the colour of her skin. The good thing is she does not like to resort to racial based humour.

Kanani presents with a sense of warmth and casualness – like she wants to get to know us. The early gags are quite conversational and appear to be feeling us out. Personally, it frustrates me because from the interesting title, I want her to get to the nitty gritty – however, by the end of the show you see a purpose to her method. Kanani does a bit about going into airports and the casual racism that occurs but she is tough about it – gaining insight that this funny lady just likes to turn things on their heads with her imagination. This clever woman is very personable and makes up for any moments that maximum laughter is not achieved. She even comments that people mention how she is not a typical comedian – however, if you have seen a vast array of styles during FRINGWORLD 2020, you will see this as normal. Kanani takes a reasonable outlook on social issues, showing her maturity to display nuance.

Aliya Kanani: Where you From, From? opens with a Perth comic called Emo – his comedy is just explaining on why he is here, and this brief intro gets us to build up the atmosphere. This comedian displays a cool but friendly presence that is a perfect match for Kanani. You see the show title on a big screen and however this is the only reason the screen is used. Kanani loves challenging our perceptions but does it in a way that feels like you are on a date – being gentle and gradual – unlike some male approaches for intimacy she gets! Speaking of sex – this performance builds to a beautiful climax that makes you want more. By the end you feel like you could easily watch another hour of her – display her comical wisdom. So, go watch this festival show to feel connected to humanity through humour.

WHERE YOU FROM, FROM? is playing during FRINGEWORLD 2020 in Perth. You can get your tickets here.

FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Flight of Fancy| 4.5 STARS

Review | Link Harris

Much the same as the last two years, Flight of Fancy still is and will in all likelihood continue to be a show I couldn’t recommend more for you to get off your arse and go see. This year, the variety of talents being on display at both the intimate SONAR Room in Fremantle and the fabulous Main room of Connections Nightclub in Northbridge.

Presented by the cheeky, stunning, and incredibly leggy Sam Madame, we are treated to a plethora of incredible and varied talents including burlesque, dance, cabaret, and singing by – in my opinion –  some of the best performers both local, interstate and international. Telling you too much would spoil what the show has to offer but being very general if you like burlesque and you enjoy watching tassels spinning you will love and laugh at what performer Dee Dee Luscious has to offer by taking it in a whole different direction and can see why she is the 2019 Perth Burlesque Idol winner! You will be witness to some prehistoric shenanigans, tinfoil hat wearing hilarity, traditional burlesque/cabaret, exceptional singing and dance all laced or cut with cartoonish and comedic vibes.

Flight of Fancy is definitely a must see – so get off your arse and onto the Fringe website, your nearest Fringe Box Office or the door of the venue and see this stunning, wonderful and hilarious show and the insane talents behind Whisky A’More and all of the other spectacular talented performers in this show.

WHEN: 10th – 15th February 2020 | 8:30pm and 9:15pm

WHERE: SONAR Room | Fremantle | Main Room | Connections Nightclub | NORTHBRIDGE

INFO: Pricing $28 | Duration 60 mins | Suitable 18+ | CABARET



FRINGEWORLD, on now, Review


Review | Sarah Soulay

Pure comedy is what springs to mind when I think about STAR POWER. Directed by Mitch Whelan this play is about two best friends April (Sian Murphy) and Simon (Lindsay McDonald) who are hosting a party to celebrate Mercury in retrograde. Although this is 100% a comedy show, it still creates a really heartwarming story line about the trials and tribulations of friendships, and the lesson that being open and honest with each other can create happier environments and long-lasting friendships.

We see this through April and Simon who present a very obvious one-sided friendship with both characters believing that they are in the right. This goes on until they seemingly have a falling out only to reunite in the end. Both actors give a great performance, really becoming their characters, to the point where it is easy to identify these characters in your own friendship groups in real life.

Hannah Davidson’s character Olive, is an absolute riot. She is entertaining, approachable and your belly will ache from laughter every time she speaks. Though I absolutely enjoyed every character, she has to be my personal favorite. She is such a relatable character and a must see. Louis Spencer uses a lot of physical comedy during his portrayal of Falcon, who is a friend of Simon’s from work, and unintentionally causes a lot of tension between April and Simon. He executes his character so well that it adds more fun and whimsy to an already excellent show. Mercury was in retrograde and no one could play such a whirlwind of a character just like Tristan McInnes. My only comment on his performance other than brilliant, is that I need to see more of him.

The musical stylings of Clancy Davidson are absolutely beautiful and ethereal and really suit the theme of the show, while the lighting designer, Spencer Herd cleverly uses lighting to create a bigger more interesting stage, to what is otherwise a minimalistic setting. The audience is also invited to the party! As someone who isn’t the biggest fan of audience participation, I really enjoyed it. I even found myself practically begging to be chosen as they try and guess your horoscope. They were really courteous and made it very clear that if you do not want to participate you don’t have to, this created a warm and welcoming atmosphere mitigating any audience participation anxiety one might experience in other shows.

This show is a showstopper and is for anyone who enjoys brilliant comedy, a fun and entertaining storyline and lots and lots of astrology. I read all of your horoscopes and they all say that to live a full and happy life you must go see STAR POWER!

WHEN: 11th – 15th February 2020 | 9:00pm


INFO: Pricing $18 – $21 | Duration 60m | Suitability M | Occasional Coarse Language, Sexual References, Strobe Lighting | THEATRE


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10 great shows for Valentine’s Day at FRINGEWORLD 2020.

Article | Laura Money

Who doesn’t love a good night out – maybe dinner and a show – with a friend or lover? Even if you don’t celebrate Valentine’s Day, a night of theatre, cabaret or comedy during Fringeworld is still a great idea. We have picked the most romantic shows that are perfect to kick off the last weekend of FRINGEWORLD 2020 in our 10 great shows for Valentine’s Day FRINGEWORLD 2020.


thumb_GDLOGO_Edin2009Want to do something a little different this Valentine’s Day? Why not embrace your inner Kath & Kel and get your groove on in Guru Dudu’s Silent Disco Walking Tour! It’s exactly as it sounds – everyone wears headphones (supplied) and can hear the hilarious commentary as we make spontaneous flash-mobs in the streets. It’s a cheesy night of walking through Perth listening to all the greatest hits of the 70s, 80s, and 90s! All tours run for 50 mins & go ahead in all weather. Read last year’s full review here.



Time for a different type of physicality this Valentine’s and what could be more romantic than erotic fiction? Join Pamela DeMenthe as she reads from her latest self-published book – eVULVAlution. It’s a great show to get you both in the mood. Read the full review here.



What could be more romantic than the Queen of the romance novel, Jane Austen? Following the success of previous shows, these ladies are improvising their way through a Jane Austen plot but this time, they’re singing! Completely unscripted and improvised, no two shows are alike – you’ll laugh, you’ll cry, you’ll bring your mum, she’ll thank you! Get your tickets here.





A Special Day is the perfect show to put life and love into perspective. A sweeping (kind of) love story between two lost souls who form a connection in a charming theatre piece full of innovation and heart. Using few props, a piece of chalk and the power of imagination they create a bittersweet human drama about a life changing chance encounter between two neighbors at a time of political unrest. Read our interview with actress Ana Graham here.



The couple that watches boylesque together, slays together! Get yourselves out to Briefs: The Second Coming for some titillating circus, drag, and fabulousness. These guys provide all the entertainment for both parties in any pairing, you might even leave together! Read our full review here. 



Staying home and watching a few RomComs on Netflix might be ok for boring couples, but we prefer our RomComs live! Head over to the Blue Room Theatre to see You’ve Got Mail – a re-booted version of the classic 90s rom-com for a #metoo era. Read our interview with Sophia Campion here.



If you’re the kind of couple who loves movies like Amelie then you’re bound to love this utterly charming circus act by a real-life couple. Liisa Naykki & Jeromy Zwick take you on their journey from circus school meet-cute to stunning acts of trust, this show will give you all the warm fuzzies this Valentine’s Day. Read our full review here.





A FRINGEWORLD staple, (Not) The Bachelor Live is exactly what it sounds like! If you are looking for love this year, head down to this quirky night of fun and you might just find it. Luke Bolland is one of The Fourth Wall’s favourite comedians and you’re in good hands with this kind (and slightly sarcastic) host. He takes 4 real singles and attempts to make 1 real love match through hilarious improv comedy, fun and games. If that wasn’t exciting enough, after all the laughter and romance, ANYONE could win the date – even an audience member!



What happens after happily ever after? The Disney princesses from Disenchanted! are here to tell you all about it. If you bond over the perfect fairy-tale ending and your couple karaoke go-to is ‘A Whole New World’ then this is the show for you! Read our full review here.




Ah, flatpack furniture – the greatest test of a relationship since Monopoly. If you want to do something truly romantic, you can head down to Kieran Bullock as he builds IKEA furniture and you can watch! Resist the urge to call out and tell him he’s wrong and squeeze your partner’s hand instead, then head home and feel free to use your Allen Key to build your relationship.



FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Sonny Yang’s Stupid Adventure Game | 4.5 Stars

Review | Kieran Eaton

Who here is old enough to remember the old adventure computer games of the 80s? They were so bad they were classic! Even the early 90s ones were so cheesy, they made you slightly ashamed to have a geeky sense of humour. Sonny Yang’s Incredibly Stupid Adventure Game embraces this geeky oddball sense of humour to the highest degree. The creator is Sonny Yang – a deadpan Perth comedian who likes to dress like he has just come out of working in an accounting office. If you have never seem him before it may baffle you that he just stares at you completely expressionless – while you sit down to watch him, sit in front of a laptop computer with an intense spectacle stare – don’t worry though, as this is where the comedy gold comes from.

Yang is a man on few words and luckily the interactive big screen computer game provides all the interaction you need. The mini projection screen blares in your face with 16 colour resolution that takes you back to a more innocent time where not being slick was cool – and not in a self-aware ironic way. These games were straight forward and so our twisted up anarchic Internet connected brains of nowadays, would second guess the simplicity. This game that is also a comedy show, feels a bit like Dungeons and Dragons – where Yang is the Dungeon Master on stage, and on the computer screen he is the hero.

This crazy parody of adventure games is hilarious on so many levels. Firstly, the premise that adventure starts with game Yang just having to take his little child out for the day. It seems so innocuous that you can’t help laughing. Secondly, the humour comes from stupidity and stereotypes that are so extreme that they are brilliant. The game is so straight forward that Yang needs no prompting as the game master but of course only a few audience members want to be active participants. That is OK because there is no right or wrong in the show but not living up to Yang’s game playing standard may cause some snide remarks. Ignore this because it all in jest and even if you don’t successfully complete the game, it is still a successful show.

If you want to embrace your inner geek, Sonny Yang’s Incredibly Stupid Adventure Game is one of those experiences that will have you in stitches.

WHEN: 8th – 16th February | 3:30pm & 4:30pm

WHERE: The Shoe | Yagan Square | NORTHBRIDGE

INFO: Pricing $15 – $20 | Suitability M |Occasional Course Language, Depicts Violence, Loud Noises, Sexual References | COMEDY


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FRINGEWORLD 2020 | The Nose | 4 Stars

Review | Laura Money

Sometimes the truth is as plain as the nose on one’s face – and sometimes the truth is as plain as the nose running around town.

In this case, it is the latter – as a fictionalised Disney CEO who has it all, wakes up one morning to discover his nose has left. Vanished. Gone. Writer/performer James Jackson, and performers Laura Aldous and Tom Molyneux take turns at playing the man with all the power in a high-octane rush of fitness energy and caffiene-fuelled mania. They are literally all drunk on silver spoon power and none of them know quite how to react when that power is revoked. Their fast-paced switching creates a blistering trajectory that sees their characters plummeted into desperation, and eventually introspection.

The Nose is brought to Perth by The Bloomshed – a theatre group that ‘Reinvigorate classic texts through a combination of new writing and devising, they make something new by cannibalising the old.’ Adapting a classic piece of literature is all well and good, however when themes of the military and religion are terribly dated, it won’t translate well. Just as the titular nose is excised from the face, when the concept is removed from its context the pertinence of the show is lacking.

In the original story by Nikolai Gogol, it is a rather high ranking military official who loses his nose. It galls him to see the nose free and wearing clothes that out rank his own. In this rendition of The Nose it is the CEO of the Disney corporation – and while I can understand the reasoning behind this decision – I just don’t think it’s as effective as it could have been. The Bloomshed crew must decide where they are – as Australian accents and figures are intrinsic to this text – however, Disney’s arrogance would be better served with an American accent. I believe the show would be better off with the company being a thinly veiled parody of Disney from Australia.

Taking a swipe at the dreaded straight, white, cis male with all the power – The Nose sees the trio race on treadmills, futilely chase after the nose as it takes on a life of its own, tackle the church and ideas of the soul bound in late capitalism. Everything is done at a cracking pace and the trio do well to keep on track of things. Through vignettes and sketches that interconnect to portray the plight of the noseless (a literal castration at the hands of no-one but himself), The Nose challenges the entitlement of millennial culture, and boldly asks – without a key component of its lifestyle, can we progress, or are we forced to change our ways?

WHEN: 11th – 15th February 2020 | 9:30pm


INFO: Pricing $26 | Duration 60m | Suitability M | Frequent Coarse Language, Loud Noises, Smoking, Strobe Lighting, Sexual References, Smoke Effects | THEATRE


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | You’ve Got Mail | 4.5 Stars

Review | Laura Money

Following the success of Rom-Com classics like Sleepless in Seattle and When Harry Met Sally, You’ve Got Mail wasn’t Meg Ryan’s finest hour, now was it? She plays a wishy-washy sort of ditz who allows herself to be cyberstalked and then have her business bought out by Tom Hanks – sorrynotsorry about the spoilers but the movie is over 20 years old! The crew from Sotto are here to set it all straight and finally give Meg Ryan the happy ending she deserves. The show is a hilarious exploration of rom-com tropes, 90s references that seem so quaint now, and gives it all the cyberfeminism treatment.

Meet Meg Ryan (Eloise Snape) – she’s just a fun-time gal with awesome hair, and a penchant for online chatrooms. Snape cavorts about the stage with a goofy grin and some pretty slick dance moves – she excels in physical comedy, her every movement eliciting giggles from the audience. After a spoken exposition – another point of hilarity! – she starts actively taking the piss out of the movie by pantomiming its plot. Enter Tom Hanks (Chris Ratcliffe) as the (kind of) loveable antagonist. Yes, you heard that right, we do not STAN Tom Hanks! Ratcliffe takes a character based on the most likeable guy in Hollywood and exposes the fact that the character he plays are not always nice themselves. His caricature-like facial expressions and comedic turns of phrase are particularly hilarious when interacting with dated technology like the giant mobile phone.

You’ve Got Mail takes the injustices served to Meg Ryan in the original movie and gives her the ending she deserves. In a post #metoo era, she is able to reject Tom Hanks’ toxic masculine entitlement and is justifiably horrified when she discovers the level of his cyberstalking. Snape’s interactions with Sophia Campion as the personified voice of the Internet restore autonomy to women in rom-coms and get pretty steamy! It’s worth it to see Meg Ryan and Tom Hanks finally both get what they deserve.

WHEN: 11th – 15th February 2020 | 7:30pm


INFO: Pricing $26 | Duration 60m | Suitability M | Occasional Coarse Language, Sexual References, Light Effects | THEATRE


FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Team of the Decades | 4 Stars

Review | Laura Money

When I was 30, my Dad bought me an American Football helmet for my birthday. That got me thinking about what it means to be a man in contemporary society

UK performance artist Will Dickie didn’t know what to do with his helmet. It was clearly a kind gesture from his father, but was Dickie actually going to use it for football? No, he devised a complex piece of physical, immersive theatre – a devised, site-specific work that questions masculinity, camaraderie, and our relationships with society. In short – probably not what his Dad was thinking would happen either.

Team of the Decades refers to the group of people eagerly waiting to participate in the show. The team assembles at The Blue Room Theatre for the Perth run of the show, and are greeted by Coach, in this iteration played by Lawrence Murphy. Coach is a rather deft parody of ocker masculinity – the alpha male with a heart of gold who looks after his team with remote encouragement. It would be interesting to see how the Coach figure is portrayed in different countries. The team are led by coach through the streets of Northbridge to – well it’s a bit of a surprise so I won’t give it away. Murphy asserts himself as the leader, stopping traffic and giving the team directives, it turns a mysterious walk into an amusing journey. Just in case anyone thinks this is a nice walk in the park, think again. You will need a modicum of fitness and proper running shoes!

Upon arrival we finally encounter Dickie in full American Football attire, complete with aforementioned helmet. What follows are several pieces of physical theatre accompanied by a tape deck soundtrack consisting of recorded interviews with men in Dickie’s life – his father, his teacher, his own coach – these interviews are intertwined with tape recordings of American Football broadcasts, in particular pieces that praise men for their athletic prowess and reflect what it means to be a man. Dickie postures and runs, he uses his body as a literal battering ram running away from and towards patriarchal expectations at once. In a bid to prove himself worthy, Dickie purposefully sets off circumnavigating the park, only to playfully delight in climbing over play equipment – as he rounds the final corner, he looks beseechingly at Coach for approval.

It’s not just Dickie who learns a lesson on how we are supposed to act – the team learn to support each other, encourage one another, and even collaborate to provide an excellent offensive move. Dickie, now at the point of exhaustion stands bravely in the face of masculine norms as each team member breaks down those stereotypes in a barrage of camaraderie. It’s a brilliant message about toxic masculinity, and how men must perform even when they are at breaking point. Dickie gives everything – he writhes in pain and literally asks for his team to physically support him all to the soundtrack of men saying what it takes to be a man. Despite being part of a team, like the patriarchy, Dickie ends his journey in isolation. This heartbreaking performance of masculinity is difficult to watch but important to do so.

Team of the Decades is an intelligent swipe at binaries, language, and the performative nature of society. It immerses you into a world of sweat, energy, testosterone, and competition yet is intrinsically bound to supporting one another. The language used will not be a surprise to anyone who has ever participated in sport – and it’s interesting to contemplate why this masculine language became normalised by the sporting community. Will Dickie gives everything to this heartfelt show, so join him and become a true team player, or don’t but know that he has your back no matter what.


WHEN: 11th – 15th February 2020 | 5:00pm & 7:00pm


INFO: Pricing $30 | Duration 60m | Suitability PG | Occasional Coarse Language, Outdoor Performance | Please note: this show requires the audience to walk, jog, and participate in mild exercise. You do not have to participate in every challenge but physicality is part of the experience. | Warning: show may run over time | DANCE & PHYSICAL THEATRE


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FRINGEWORLD, In Brief, Review

Who remembers the hit 90s rom com You’ve Got Mail? What if Meg Ryan got more than just mail?

Sophia Campion plays the personified voice of the Internet in the Blue Room play You’ve Got Mail. Part performance art, part theatre, You’ve Got Mail is a tight hour of laughs, so-bad-they’re-good Hollywood tropes, and cyberfeminism. Whether you love, hate, or know nothing about its namesake, jump off the chatroom, grab some popcorn and witness a wild homage to all things AOL. We chatted with her before the show to get an insight into the performance.

What is your show about?

Put very simply, ‘You’ve Got Mail’ is a re-booted version of the classic 90s rom-com for a #metoo era. We don’t think Meg Ryan got the ending her character truly deserved in the film—her small business got absorbed by Tom Hanks’s mega-chain of bookstores, and instead of being upset, her character was written so that she submitted to Tom Hanks both in the business world, and romantically. Tom Hanks definitely also cyber-stalked Meg Ryan in the film—rewatch it, we’re not kidding! Our show is an our attempt to make Meg Ryan the feminist hero we deserve in 2020!

Favourite part of the show, no spoilers!

This is tough. I have a few! Without giving you any context whatsoever: Tom Hanks’s Scooby Doo impression, Meg Ryan’s “unique” self-care rituals, and the final three scenes when stuff gets really wacky!

What is the best part about participating in FRINGEWORLD 2020?

I’m really excited to have the opportunity to visit Perth, and join a community of very passionate and unique theatre makers, as well as (hopefully!) being embraced by the greater community of punters and audiences who revel in all things Fringe.

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

I’m super keen to see Bald Man Sings Rihanna (two of my favourite things) and Disenchanted! (I love musicals!). I also have to give a shout out to fellow Sydney theatre makers putting shows on at The Blue Room Theatre: Maureen: Harbinger of Death, Talkback and Boys Light Up.

Describe your show in 3 words:  

See. Or. Perish!

You can get your tickets to You’ve Got Mail here.

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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Rich Bitch – A Parody of Law Of Attraction Gurus | 3.5 Stars

Review | Laura Money

Wealth. Affluence. Power.

You can have it all – just manifest it

This is the message broadcast loud and clear from the beaches and mountains the of Insta-rich. Cristina Lark offers a short course as Abundance Mindset Guru Casha Bling in the ultimate character piece. Bling is here to show you how you can achieve everything you want – provided you’re only a bit poor and not like actually living in poverty. Rich Bitch is a blistering spoof that blows the lid off of inequality, racsism, and the toxic language and mindsets present amongst Law of Attraction philosophies. And all for the reasonable price of $4999!

Casha Bling is a brilliant character – she bursts onto the stage amidst cheering, like a rockstar in her breezy hippy skirt and crochet halterneck, blonde locks flowing from underneath a unicorn headband like a Pantene ad. Her energy is infectious – she exuberantly cheers the audience on – You, too can have it all! What follows is a typical presentation where nothing gets done and the presenter just talks in circles. Using real examples, Casha Bling has the rhetoric down perfectly. The problem is, the show gets a little one-note after a while.

Taking the piss is all well and good, but what is the message? Bling unwittingly exposes the inequities of Law of Attraction thinking. How they need to keep the poor in their poverty status so they can go on wellness retreats and drink mango smoothies provided by the ‘natives.’ How they psychologically manipulate people into thinking that meritocracy is the only system for success, and how they falsely ask for money – you have to spend money to make money, remember? Through hilarious character pieces and funny videos, Lark deftly takes a swipe at these figures, even if she is not always subtle about it.

The concept of Rich Bitch – A Parody of Law Of Attraction Gurus is good, and the character is brilliant, however the show definitely needs refining. If anyone can manifest a brilliant comedy show, it’s Cristina Lark – so don’t miss out!

WHEN: 18th January – 14th February 2020 | 5pm & 9:30pm

WHERE: Rubix Bar | CBD | Rosie O’Grady’s | NORTHBRIDGE

INFO: Pricing $10 – $20 | Duration 60m | Suitability M | THEATRE


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FRINGEWORLD, In Brief, on now

Are you too old, too pale, too short or too male to get the role you want? See what these guys are doing about being MissCast…Again!

Dixie Johnstone is a powerhouse performer from Perth, she’s been in several musicals (Legally Blonde, Kinky Boots) in traditional roles but what if she always wanted to play Danny Zuko in Grease? She spoke to us before her show MISSCAST…AGAIN to let us know what it’s all about.

What is your show about?

If you’ve ever been told you’re too old, too pale, too young or too male for a role or just in life…. then this is the show for you. MissCast … Again is the next season of Zealous Productions hot show of 2019, where audience will be brought into the world of music theatre but not as they know it. Broadway hits in which 5 performers would never be usually cast.  It’s a hoot, it’s a riot and it’s a must see!

Favourite part of the show, no spoilers!

Roller Skates, Disco balls and magic carpets abound!

What is the best part about participating in FRINGEWORLD 2020?

To have the opportunity to produce, write & direct a show like this in good company and with international recognition.

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

SPEED the play. Hilarious. DISSENCHANTED is amazing, HEATHERS by Hama Productions and you can’t miss Little Death Club!!!

Describe your show in 3 words:


You can get your tickets to MISSCAST…AGAIN here.

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on now, Review

PERTH FESTIVAL 2020 | Hecate | 5 Stars

Review | Laura Money

In a world where the Noongar language is spoken by all, a yarn about a Scottish king is retold.

Hecate emerges from the very heart of the earth as she feels her land is dying. She laments the withering of her trees, her bushland, her water beds, her animals, and her people. She is a spiritual force who oversees Macbeth’s all-consuming fight for power – a silent figure striving to restore balance to Country. The queen of witches, played with dignity and raw emotion by Della Rae Morrison is a figure traditionally absent from productions of Shakespeare’s Macbeth, but here in Yirra Yaakin‘s stunning adaptation she refers to deeper, more ancient traditions, and remains at the heart of the entire work.

This production for PERTH FESTIVAL goes beyond just translating Shakespeare into Noongar – there is so much more than just choosing words in a different language. The idea was conceived by Kyle J Morrison who says “Our performers aren’t just saying words, transplanting or replacing English words with Noongar words. We’re actually speaking the Noongar language in all of its philosophy and capacity.” Hecate is a full-scale spiritual experience, it channels ancient storytelling practices that course through the veins of the cast – they live and breathe the tale – it’s intertwined within the character’s mythology. It is elegant, lyrical, and simply stunning, and I defy you not to have a lump in your throat throughout.

Morrison is compelling. There is a calm stoicism that follows her as she sings her song of the dying land to the Mischief Makers – almost the rest of the cast – and they answer her call. Through a soundscape perfectly designed by Dr Clint Bracknell the bushland of the Wadjuk Noongar region is evoked in a series of frankly brilliant techniques – the audience is surrounded by the actors who click and clap, whistle and recreate birdsong – at times reaching cacophonous heights. Three Mischief Makers replace the witches – and are way more effective – playfully messing about and catching sounds before bucking up and dealing with the task at hand. Kyle J Morrison, Mark Nannup and Ian Wilkes take familial bonds to a whole new level – they cavort about, reveling in their mischief and draw power from Hecate herself. Their dancing evokes the animals and nature of the land they are grateful to play on in a metaphor for the entire company itself.

As Morrison said, Noongar language is a philosophy and to see these Mischief Makers dance with their dialogue, to see Morrison switch from lilting words to heartfelt song, we are witnessing the intimate intertwining of language, song, and life that Noongar culture encompasses. Every single performer puts their entire body and soul into their performance – you will not struggle to understand what is going on, even if you only know the handful of terms so thoughtfully placed in the program! Trevor Ryan is every bit the King as he commands the stage, striding across with a gravitas that is honestly terrifying. His energy is countered by Maitland Schnaars as Macbeth – he appears very still, yet haunted by his thoughts of ambition. He strikes the balance between charming host and murderous fiend. Alongside Rubeun Yorkshire as Banquo he retains a calm veneer, only breaking it when not in his presence. Yorkshire is every bit the offsider – he fashions his expression into neutrality when talking to Macbeth, only to express his concern through his eyes to the audience.

Hecate is an absolute sensation, due largely to its collaborative ethos. It is the work of many people’s ideas and talents being used to perfection. Director Kylie Bracknell [Kaarljilba Kaardn] elicits the best from the performers, sound, lighting, set, and audience. From whooping and cheering to marching solemnly down the aisles – and literal burials and bursting forth from within the earth and water – Bracknell’s vision is one that is breathtaking. The set is simple, yet effective. Designed by Zoe Atkinson it is a raised back, covered in muted coloured strips of canvas, there are two trapdoors that are revealed to maximum effect, and at the heart of the stage is a waterhole – lit from within. Mark Howett‘s lighting design takes its cue from the muted tones of the set and costuming, yet still manages to bring that elusive quality of light that is so intrinsic to this area. He creates rain, lightning, evil spirits, and uplifting ones – the pure white light that bathes Hecate as she passes on the crown to her ancestral daughter is cleansing and healing at once.

Bracknell excels in creating strong visuals – Cezera Critti-Schnaars is filled with the exuberance of youth as she bounds around the stage as Fleance, and is folded into safety, escaping through one of Atkinson’s cleverly hidden trapdoors. Bobbi Henry smugly looks down her nose at a triumphant gathering as she ascends the throne through violence – the party guests appear uncomfortable as they are forced to wear name badges in a grotesque mockery of networking events – the vignette resembling the works of visual artist Sandra Hill, whose ‘Homemaker’ series provides a statement on displacement and loss of culture. The artistic nature of the play continues with Henry staring at her hands, bathed in red light, as she scrubs in the ancestral water hole. Yorkshire, bursting forth from that same water hole, drenching the stage as he takes the long march back; the frieze along the back wall blooming to life as all is restored.

Hecate is, simply put, the most important play to come out of our region to date. To say it is perfect would be an understatement. This is a work full of love – love for each other, love for language, love for land, and love for theatre. The story is universal, yet so exceptionally fitting for the Noongar language – a language of storytelling. Its themes of violence, ambition, love, honour, and restoration resonate with the Noongar experience. It’s a story about dispossession, giving back to the land, and being of it. This is so much more than a play – it’s an emotional, spiritual experience. Every element of this work is next-level, Yirra Yaakin have raised an already high bar for themselves, and I have a feeling that the only way is up.

WHEN: 6th – 16th February 2020 | Tue – Fri 7.30pm | Sat 8 Feb 2pm | Sat 15 Feb 2pm & 7.30pm | Sun 6pm

WHERE: Subiaco Arts Centre | SUBIACO

INFO: Tickets $25 – $69 | Duration 90 mins | Suitability PG | Performed in Noongar language | Latecomers not admitted | Haze and Smoke | Post show Q & A Tues 11th Feb | Audio description performance Wed 12th Feb |PERTH FESTIVAL


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FRINGEWORLD, In Brief, on now

Is your fate written in the stars? Find out with STAR POWER

Hannah Davidson is one of the presenters of STAR POWER a new play that delves into the latest millennial obsession: astrology. The show examines the relationships between astrology and millennials: looking at its impact on emotional intelligence, self-exploration and cosmic wellness. We caught up with Hannah ahead of the show to see what it’s all about.

What is your show about?

STAR POWER is a comedy which both celebrates and ridicules millennial generation’s obsession with star sings. Mercury goes intro retrograde every 88 days, during which time the way we communicate our thoughts and feelings goes completely haywire.

In STAR POWER, four bffs have decided to lock themselves in a house for a cute sleepover to avoid the retrogrades bad vibes. Hilarity, chaos and broken hearts ensue. Absurd jokes, Cosmic Energy & snacks provided.

Word on the street is the best nachos in the word are being made for cute snacks, which is very exciting.

Favourite part of the show, no spoilers!
We have a couple of characters who make big entrances and even bigger first impressions, when we rehearse these scenes it always make me giggle.

What is the best part about participating in FRINGEWORLD 2020?

It sounds a bit lame but the city comes ALIVE, its pumping and vibrant, such a fun time for Perth! You can come into any of the Fringe hubs and see some amazing shows (or a few) on any night, for whole month, it’s a crazy good time.

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

I’m super excited for Will Dickie’s Team of the Decades. (@Summer Nights 11th-15 Feb)

I participated in a couple of Will’s workshops last year and fell in love with his kind and determined work. This bad boy is a site specific work, with only ten people in each session (get your tickets quick!) it’s bound to be a personal, joyous and sporty time!

Josh Earl  Don’t you know who I am (9th & 16th Feb)

Look I’m a podcast nerd, so when one of my favourite comedy podcasts come and do a live recording, you can count me in! Josh Earl gets a bunch of comedians in and plays fun games with opportunity to hear hilarious stores and get to hear about new comics and learn more about your favourites!

Describe your show in 3 words

Comedic Astrological break-downs

You can get your tickets for STAR POWER here.

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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | You’re a Good Man, Dr Pirate | 4.5 Stars

Review | Kieran Eaton

Gillian English is somebody that can talk you under the table, so strap into your seats for this powerhouse show – You’re a Good Man, Dr Pirate. Her brash confidence may lead you to think that she is from the US, but she is a proud Canadian. Not fitting the mould of those humble, apologetic bunch –  this strong, verbose woman shines brightly!

She appears quite the eager beaver to talk to all in the audience – you can even see her peering out of the curtains, however English proves to be patient and accommodating in making sure we are ready before her huge monologue, and her loud voice is all she needs to focus our attention on her.

English is not a big on crowd interaction and that might be due to large amount of material she delivers – notebook sat in clear view on a stool just in case, but she doesn’t need it! With the amount of ideas that she covers it is amazing how they all come together – English is totally herself and that is how it works. The thoughts she delves into are clever but sometimes not punchy, but this does not matter as her asides are super smooth and add moments of laughter. She is extremely likeable in that her lines do not have to be extremely cutting to gain acceptance from the audience, as English is good at keeping the energy fresh.

Overall, English wins the audience with her storytelling ability. When this comedian introduces herself, it seems gradual and conversational and as the story peaks, so does the pace. This raconteur can read the crowd with ease and brings natural enthusiasm to her point of view. She provides comfort – we are in safe hands in this wild journey – even when we feel a bit lost. English is a no-nonsense performer and person – making all her topics very thrilling – including when you do not know much about them. You will learn about obscure things from Calvinism to how The Lion, Witch and The Wardrobe goes hand in hand with Catholicism.

You may be a rational skeptic, like myself and at the same time love the link between fortune telling and making your fate happen. English challenges your Nihilism and at least turns it into Existentialism. Her tales are very visual and have a realness that gets you right into your guts – You’re a Good Man, Dr Pirate will leave you awe inspired to live your life fully, like this now Tasmanian comic!

WHEN: 5th -16th February |8pm

WHERE: Fairground at Rubix Bar | PERTH CBD

INFO: Pricing from $21- $30 | Duration 60 m | Suitability M | Frequent Course Language, Drug Use, Mental Health, Sexual References


Article, FRINGEWORLD, In Brief, on now

LAST CHANCE TO SEE! These six FRINGEWORLD 2020 shows are finishing tonight, so don’t miss out! (Sunday 9th February 2020)

Are you still not sure what to see this FRINGEWORLD 2020? With a program this large, it’s understandable. We’ve been out and about and reckon we’ve seen some pretty remarkable things this year, and six of our favourites are finishing TONIGHT! So, if you want a nice Sunday session rather than a full-blown fringe binge, The Fourth Wall has you covered.



Meet Leni. She is 5 years old and all she wants to do is wear her Superman costume to school. She huffs and puffs and digs her heels in an argument with her mother – though she be little, she is fierce. Leni is really Eurydiceand the show is a beautifully mix of spoken word and music. Written in collaboration with Alexander Wright of The Flanagan Collective and accompanied by musician Phil Grainger from Gobbledigook Theatre, Eurydice is the sister show to last year’s Orpheus and it’s an absolute highlight of FRINGEWORLD 2020.



(un)written · (un)heard is a world premiere of a new dance-theatre work from UK theatre company Ellandar & Jessica Rose McVay. It explores the story of a woman who fought for her very existence as a world of men tried to pull her apart. It’s a stunning piece of physical theatre that throws you into the line of fire with Dorothy and finally allows that story to be told. Choreographed by Iona Kirk, the work sees three different dancers breathe life into Dorothy and it’s simply beautiful.



ARIA – 6:40pm

Just when you think “I’ve seen one aerial circus, I’ve seen them all”, along comes Aria – you will be pleasantly surprised. THIS – you haven’t seen. Breaking the mould for a circus act, the world premiere of Aria is the latest masterpiece by the award winning company Kinetica. Featuring captivating aerial acts interwoven with live violin, Aria explores the unique connection of spectacular circus and alluring music. From heart-stopping drops to haunting aerial dance, prepare to be enthralled by the world class cast.




THE GODS THE GODS THE GODS is a loud, raucous, sweaty piece of storytelling and music. Following the award-winning shows ORPHEUS and EURYDICE, The Flanagan Collective & Gobbledigook Theatre return with a new, loud, late night show full of heart, soul and soaring music. It’s a show about ancient mythologies and our day-to-day lives. Bring comfortable shoes though, because you’ll be standing for 75 minutes! The music is great – it’s part spoken word, part song, all soulful. The beats reverberate through the floor and shudder through your whole body – it’s a holistic experience you’ll never forget!



BY A THREAD – 8:30pm

By A Thread is a mesmerising show that sees these elegant performers fly through the air, creating a stunning visually temporal work of art – it’s beautiful in its transience and demonstrates what the human body is capable of. The thick gymnast rope has become a signature for One Fell Swoop Circus – the only apparatus used by the acrobats who playfully ascend it. The actions of one acrobat affect the movements of others in a mesmerising negotiation of cause and effect. I know there are two circus shows on this list, but they are both very special!




2 Comedians Are Better Than 1 – Cameron McLaren & Amy Hetherington is a wordy show title but at least you have a fair idea of the show format: two comedians splitting the bill and not having a strong theme. Cameron McLaren (Best Comedy WA FRINGE,WORLD) and Amy Hetherington (Adelaide Fringe Weekly Comedy Winner) are joining forces in the most likeable and energetic hour of comedy you’ll see! They’re both hilarious and very positive – you’ll leave feeling like you just received an hour-long warm hug.


So, what are you waiting for, Perth?! Get out and buy those tickets and say goodbye to these brilliant acts!

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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | 2 Comedians Are Better Than 1 – Cameron McLaren & Amy Hetherington | 4 Stars

Review | Kieran Eaton

2 Comedians Are Better Than 1 – Cameron McLaren & Amy Hetherington is a wordy show title but at least you have a fair idea of the show format: two comedians splitting the bill and not having a strong theme. This is ok, because these two youngish comics are still making a name for themselves and so we’ll just let the jokes do the talking. Cameron McLaren is a happy go lucky Midlandite who has a casual style that gives you a vibe of somebody you would like to have a beer with, while Amy Hetherington is a down to earth Darwin-based former art student (and a bundle of energy) – so some would say an odd comedy pairing! The key is they both have a friendly disposition and a sunny outlook to life.

When you see them together on stage this positivity radiates through. It’s a breath of fresh air when you experience many comics who use the feeling of ‘not fitting in to this mad world’ as a trope. The two banter easily together with a sense of lightness that warms the crowd quickly. They both equally introduce the show and with a bit of innocence they do Paper, Scissors Rock to decide who goes first.

Hetherington wins the game and decides to go first – this being an excellent decision as her vibrant energy grabs the attention of the audience and holds it, with her interesting stories. In approximately twenty-five minutes you feel that you have good idea of who Hetherington is, as her honesty is most refreshing. You can see that in the past few years that she has learnt many things about herself and now has a more mature approach to comedy. Also, this feisty thirty-year-old (told a bit about recently turning thirty) is quick to handle varied audience reaction – a handy comedy talent – especially if you are an MC.

The entrance of McLaren is far more laconic and a good counterbalance to the night. His delivery is so loose that you feel surprise at the humour – his boy-like charm keeps you off guard, but his wit displays more intelligence than at first glance. McLaren’s strength is making light of who is, where you don’t feel like you are laughing at him but with him. So, grab a beer and have laugh with two Aussies that welcome you into their comedy hour!

WHEN: 3rd – 9th February 2020 | 7:45pm

WHERE: The Craft Beer & Cider Garden | NORTHBRIDGE

INFO: Pricing $20 – $25 | Duration 50m | Suitability M | Frequent Coarse Language, Sexual References | COMEDY


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Aria | 4.5 Stars

Review | Peter Spence

Just when you think “I’ve seen one aerial circus, I’ve seen them all”, along comes Aria – you will be pleasantly surprised. THIS – you haven’t seen. Breaking the mould for a circus act, the world premiere of Aria is the latest masterpiece by the award winning company Kinetica (2017 fringe World circus award winners.)

From the moment the lights go down, you are drawn in by the haunting sound of a violin, which becomes the ethereal sound pulsing throughout the whole performance. Played expertly and interacting with the performers, involving the musician like never before. Showcasing some of the world’s best talent, each act showing incredible athleticism and skill, all choreographed to perfection keeping with sensual movement, and jaw dropping flexibility.

The stage is occupied for 60 minutes, however the amount of time they spend with their feet on the stage is minimal, as will be the back half of your seat, since you will be on the edge for the whole performance. Aria is an aerial act with a difference, engaging more than the standard trapeze, ropes and silks, it is creative and somewhat inventive. Don’t think the violin is just to soundtrack this sensuous encounter, be ready to be blown away with the most inventive and skillful display you are likely to encounter on a stringed instrument.

Once again, the Edith Spiegeltent provides as much aesthetic as the performance itself, however the floor work is largely missed by those in the back rows. Aria is an elegant display of the human body’s capabilities, which will have you gasping for more.

WHEN: 4th – 9th February 2020 | 6:40pm

WHERE: The Edith Spiegeltent | YAGAN SQUARE

INFO: Pricing $28 – $35 | Duration 60m | Suitability General | CIRCUS



FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Sink | 3.5 Stars

Review | Kieran Eaton

Sink is about six party goers – played by local actors Kade Power, Brad Albert, Tallulah Starkie, Anna Linstedt, Declan Brown, and Liam Longley – the director, Terrance Smith gets the most out of them. It’s supposed to be about six Millennials, but it reads more like their older cousins Gen X – but I guess young people, are young people!

It’s an exploration into Australia’s young party scene, yet I wish it would show more insight and depth than the script demonstrates. The acting makes up for it, as overall, they deliver believable personalities. Relationships are intertwined and you gradually get to understand their dynamic and how every action has a consequence. There is a sense of chaos that often happens with drug/alcohol intoxication. If you have not experienced a crazy house party, that’s ok – it will still resonate as the acting emphasises that they are all high on something! A big feature of the basic set design is the toilet – as that is where all the interesting conversation happens! This party’s theme is clearly: costume party – with one person wearing wings, one dressed up as Julius Caesar, etc. These characters all know each other – either directly or indirectly – and each of these youngsters are have their own unique charm.

Keeping secrets is hard – especially, if you are intoxicated! Bringing truth to light can be a good thing as each character is able to slowly unravel their soul – the hedonistic behavior is what they get conditioned to believe they need but the dark come-down is where they realise they have to come together and not against each other. Sexuality is explored and there is a strong divide between those comfortable exploring it and those who have a one-sided view on how the world should be. There are a lot of clichés so at times it comes across as derivative. Still, all these characters have some complexities and are acted to perfection.

This is a solid performance and it’s enjoyable to watch some up-and-comers from Perth deliver a topic close to their experiences. Go see Sink for a taste of Blue Room Theatre independent art.

WHEN: 4th – 8th February | 8pm

WHERE: The Blue Room Theatre | Northbridge

INFO: Pricing $22 – $25 | Duration 60m | Suitability M | Frequent course language, drug use, sexual references, suicide/self-harm, mental health, smoking, sexual assault| THEATRE



FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Queer Jazz | 4 Stars

Review | Amanda Lancaster

Have you ever watched one of those old-time movies? You know, the ones on the silver screen where everything and everyone just seem so inconceivably  graceful and elegant and romantically perfect? You sigh as the handsome, dapper gent quietly brooding  effortlessly switches between cheeky half smiles, flippant quips and naughty anecdotes  all while running his fingers expertly over the piano keys. So caught up in the music itself – the tempo, the tune – his gaze off in the distance you can’t help but be swept along  with such passion for the music. Enter the charming Adrian Galante.

But what would a silver screen programme be without a leading lady? A sultry songbird. A starlet with a voice to send shivers not only up the spine but down it again too. The sheer stage presence and charisma that oozes out of singing sensation Jessie Gordon‘s every note, gesture, glance, and outright existence is pulse quickening enough that  it could honestly jump start the dead.

The playful banter, quick wit teasing demeanour and sheer camaraderie that these two performers have going on between them is positively electric and they share the stage with such an infectious and inescapable ease and pairing of personalities that even the most hard to win over  audiences will be swooning and crooning along. Queer Jazz is a beautifully put together show with a nicely humorous, touched upon, straight up and important demonstration of exactly how far the relationship between sexuality, music, and gender identity  have not only come but how its evolution has taken place and where it now stands.

You couldn’t ask for a more subtle, cheeky, seductive show. Make sure you check out both these performers and this show. Not to mention experiencing the closest to a real life silver screen feel you can –  get down at the beautiful Ellington Jazz Club.

WHEN: 5th – 8th February 2020 | 8:30pm

WHERE: The Ellington Jazz Club | Northbridge

INFO: Pricing $31-36 | Duration 55 mins | Suitable 18+ | MUSIC & MUSICALS/CABARET


FRINGEWORLD, on now, Review


Review | Amanda Lancaster & Link Harris

SLUTDROP: a dance move  involving quickly lowering ones body’, squatting as quickly and as low as possible ’till the booty almost touches the ground-  and immediately popping back up. Often the slut half of this coined term had been used in a derogatory manner to denote those who choose to demonstrate such moves while facing a partner in public spaces… a dance floor enactment of a sexual act one,might
say to fritter it down to a fine base-point. Behaviour like this in front of the oopposite sex is usually pigeonholed as too sexually confident too over the top slutty even… not what you’re supposed to do or be or seem as a nice girl. Well screw that! Jacinta Larcombe is here to tell you exactly where you can stick it –  your opinion, that is.

What does this have to do with the show? Well everything when it is one of the quintessential dance moves you use-  not just as a stripper – but a woman with a confident sexuality and out-going nature. Forget the stigmas and leave your inhibitions at the door and try it for yourselves, hell even Beyoncé and Prince Harry have!

SLUTDROP is an eye opening look into the world of stripping, not just the how tos or the whys – but the why nots ,should nots and definitely do nots! Prepare to be taken on an exploratory expedition through the good, bad and the ugly in such a way that makes you laugh, cheer, cringe, and at times even leaves you flabbergasted and at a loss for words at the sheer balls of and length that some men and  women will go to in such situations.
This is a gorgeously put together, you’ll honestly fall in love with an often unloved industry and its vocational visitors both on stage and off.

Larcombe is unbiased, open minded, open-hearted and bares all for her audiences – emotionally, that is. Part therapist, part sex symbol, part emotional support person, and a hell of a melody-assisted garment-removalist all rolled into one stunning package; this is a hell of a one woman retrospective and a hell of a show. Find out exactly what strippers have to give, have to take and also what they have to forgive. This show and the industry are definitely not to be taken for granted – both deserve far more respect than they get thanks to both the short and long lasting effects of working in the industry.

This show sold out from the first night right through its entire run at PICA (Perth Institute of Contemporary Art)  and honestly its no surprise. The show is a sexy, sassy, satirical sixty-minute climax with a five minute howling, whistling, cheering and clapping standing ovation from a sell out audience the night we attended – it even had our gorgeous, charismatic star in awestruck tears.

Both these reviewers loved and appreciated this show for differing reasons but they couldn’t agree more about recommending and raving about it being a must see  experience and education for anyone wanting to take back their sense of self confidence, sexuality, and indeed even the slutdrop. Both in dance moves to try and as a term of strong, confident, outgoing individuals, both afraid to be whoever they want to be without the socially prescribed and acceptable niche of others’ comfort and opinion to be slotted into. We could not recommend this show more and would advise any and all 18+ people to get off their arses and see it or anything Jacinta Larcombe decides to put her many  talents into in the future.So, jump all over it ASAP!

WHEN: 5th – 7th February 2020 | 7:30pm | Extra shows: 13th & 14th Feb | 8pm

WHERE: PICA Performance Space | Perth Institute of Contemporary Arts | NORTHBRIDGE

INFO: Pricing $26 | Duration 60 mins | Suitable 18+ | THEATRE


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | The Bride | 3.5 Stars

Review | Sarah Soulay

The Bride is a crazy rollercoaster of a show performed by Nadia Collins.

As you walk into the theatre you are introduced to a cockroach exterminator who is a real Aussie bloke, spraying the area before the wedding. Although this is entertaining, and an interesting start to the show, I would have preferred that Collins wait a little longer for more people to enter the room and be seated, as it is a bit distracting having people find their seats while you are trying to listen to what she is saying.

The use of ‘The Princess Bride’ voice over is genius. It is very funny – especially for someone who is a fan of the movie! – it is used very well as both a joke and a voice over narration to guide the story along.

There is a lot of audience participation, and being a one woman show, which is a feat in of itself, it is interesting to see how she brings everything together. Collins says herself at the end of the show, that if the audience wasn’t willing she would be stuck. At times the use of the audience in her story is definitely entertaining, and though certain moments are seamless, others are a bit clunky, and act as more of a filler than a necessary part of the show.

Some aspects of Collins various characters are hilarious. The little scene where the bride is trying to do up her dress, only to realise it not going to fit, is an excellent display of her acting capabilities and talent. It is one of those relatable moments in life and is fun to watch. At other times however, it feels like the skits and gags go on a little too long. For instance, when the groom is waiting at the altar and when the bride is acting like a drunk white girl at her hens night. Absolutely funny for a while, but goes on a bit too long in my opinion.

One scene that is messy in a great way is the cockroach orgy/extermination. Yes, you read me right, cockroach orgy. It is all over the place in a weird, funny and intriguing way and the dramatic ‘Princess Bride’ voice over along with a lot of goo and silly string, only aids to confusing hilarity. Most likely my favourite scene of the night. 

All in all, it is an interesting show, and although it could use some work here and there, it would be perfect for those people who like obscure theatre, and an insane amount of audience participation. After all, filming your friend be forced to volunteer as a cockroach whose guts explode is all the more reason to get involved in The Bride.

WHEN: 4th – 8th February 2020 | 7:00pm


INFO: Pricing $26 | Duration 60m | Suitability M | Depicts Violence, Drug use, Loud Noises, Mental Health, Sexual References, Strobe Lighting, Suicide/Self Harm, Smoke Effects | COMEDY


FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Worship: The Gilded Edition | 5 Stars

Review | Amanda Lancaster

Thou shalt not make for thyself any graven image, or any likeness of anything that is in heaven above, or that is in the earth beneath, thou shall not bow down to them or serve them.

Thou shalt have no other gods than thee. Thou shall worship no false idols above thee. Worship of false gods is forbidden by the values such as the Ten Commandments and offers no pause or place for the beliefs or adoration of then individuals’ sense of self.

Worship in the form of idolatry, however is very much about what you believe in and what you wish willingly to follow. It is the reverence for and creation of a state of being subversive to that of its own pleasure’s makings and hedonistic delights. A cult or physical image, a symbol such as a statue, or a person in place of a God. 

Idolatry has been considered as the paying of divine honour to any created thing – what is it you pay honour to? What is it you bow down for? On your knees boys and girls it’s time to worship at the altar of what is by now one of the biggest and steadfast followings the cabaret and performance art scene has ever seen.

Foxglove Productions once more presents seamlessly astounding sets and showstopping numbers with an array of without doubt worthy of worship stars and performers. This show just seems to get better and better every year without fail. There are stunning examples of beauty and talent, amazing feats of physical endurance and grace. Perfectly poised tongue in cheek satirical skit short scenes flash in and out on and off the stage without even a moment pause to catch your breath or slow your ever-racing pulse.

For those looking for more specific insights into the acts themselves, sorry not sorry, I can’t give away any of the amazingly shocktastic edge of your seat, heart pounding thrill of the ride that is this performance. I can tell you its impossible not to be drawn into the entire spectacle.

Worship: The Gilded Edition is a gorgeous play on the adage that all that glitters in not gold and all that’s gold does not glitter. Giving the viewers  an hours’ worth of sensual sermon and a mind opening look into the beauty often overlooked in the modern-day macabre elements of life, from the gorgeous to the grotesque, the cyberpunk sci-fi stylings to the alternative song stylings and sensory overwhelming scenery and soundscapes that go into this shows parts and pieces you can’t help but want to fall at the feet of such an immense demonstration of what  real godlike behaviour could inspire.

Who do you idolise? What do you worship? Need something to believe in or have faith in? Then this reviewer sentences you to purchase at least one ticket to the next performance of Worship: The Gilded Edition – two if you feel you need to repent a little more thoroughly.

WHEN: 4th – 8th February 2020 | 9.15pm

WHERE: The Main Room | Connections Nightclub | NORTHBRIDGE

INFO: Tickets $30 | Duration 60m | Suitable 18+ | CABARET


FRINGEWORLD, on now, Review


Review | Laura Money

I’m calling it – 30 DAY FREE TRIAL is the pick of FRINGEWORLD 2020. Presented by two darlings of the Perth Theatre scene, Charlotte Otton and Andrew Sutherland the show is everything you want from a fringe show, and more! It’s a madcap hour-long romp through crazy porn searches, cringey erotic poetry, sex-confessions, and live laptop antics that explores what it is to perform in the simulacra of a screen-mediated culture. Oh, and it’s funny as hell!

Part performance, part presentation, 30 DAY FREE TRIAL is a post-modern wundershow that challenges you to take the red pill and peels back the layers of our performative selves. Pornography serves as a metaphor for theatre and acting, and what it means to perform versions of our selves. It’s a meta piece that really tackles what it means to be an actor/performer in a world that is already performative – think gender roles, age appropriate roles, work roles, heteronormativity. Sutherland and Otton tackle the Foucaultian nature of internet pornography – how we police our selves when it comes to sex and how we are reticent to let loose and leave our inhibitions behind when sex becomes a performance. These phenomena are two sides of the same coin, however –  internet porn hubs allow for anonymity, which then supresses shame and people can truly express themselves with gay abandon.

It may seem like this show is all about getting up close and personal with pornography – and yes there are some moments where this is true – but it is so much more than that. Otton and Sutherland are performing as themselves, with images of themselves present, and through the mediation of a screen. There are replications and presentations of pornographic behaviours, or acting behaviours – it’s all very clever and a bit trippy! Otton is hilarious and heartbreaking trying to recreate the opening lines of a porn movie – you know the bit at the start where the off-camera producer does a ‘getting to know you’ segment and demeans the young women involved? Yeah, that. Otton attempts to sound coquettish and comes across as garish, throwing into stark reality the judgement and paramaters we put on pornography. As the refrain ‘how old are you?’ and ‘I can’t, I can’t, I can’t’ are repeated and referenced throughout the show, it reinforces the sexualisation of the screen and our propensity to fake it for social media likes.

30 DAY FREE TRIAL is a show like no other – there are charade-like games about porn searches (I recommend waiting till you get home to search some of them yourself), hilarious, snappy dialogue, stream of consciousness, and poignant moments about the fragility of sexuality that are raw and exposing – perhaps we do see more than the surface or the performance in this show after all? It’s a delightfully funny and touching breakdown of performer and audience, actor and person, and social media identity. There’s also the best porn you’ll ever see – but this one is SFW – it’s just – you know what, go and see the show and experience it for yourself!

WHEN: 4th – 8th February 2020 | 9:00pm


INFO: Pricing $28 | Duration 60m | Suitability 18+ | Frequent Coarse Language, Nudity, Sexual References, Pornographic Images | THEATRE


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Lisa Woodbrook: It’s Not Me, It’s Definitely You – Songs of Amy Winehouse & Lily Allen | 4.5 Stars

Review | Laura Money

‘Cause all she wants is a boyfriend – she gets one night stands, she’s thinking how did I get here, I’m doing all that I can

The music of 2000s sensations Amy Winehouse and Lily Allen is filled with thoughtful and raw lyrics about love, so it’s only fitting that local Aussie sensation Lisa Woodbrook turns to these heartfelt songs to chart her journey from dumpee to giddy new love – she proves once and for all that It’s Not Me, It’s Definitely You. So many jukebox cabarets seem to shoehorn their favourite songs in with tenuous links but this is not the case with Woodbrook – each song is so perfectly in context, it seem as though it was written for that purpose. From Smile to Not Fair, Tears Dry On Their Own and Back to Black, every song is a winner that Woodbrook lovingly makes her own.

Woodbrook explores the ever-evolving dating world, from swiping right to ghosting, on the surface this appears to be about new problems, yet it soon becomes apparent that the same issues plaguing contemporary women come with a long history. Feeling like all you want is the person who dumped you (Back to Black), realising you’re finally free of them (Smile) and then looking for love (22) to just wanting a booty call (Never Gonna Happen) every song and story charts Woodbrook’s confused millennial journey through love and life. Woodbrook is a larger-than-life performer – she bursts onto the stage full of energy and proves herself to be instantly likeable. Not only are her anecdotes hilarious, her energy gets a reticent audience to whoop and cheer, even if they aren’t big fans of audience interaction!

Each song is a personal rendition – Woodbrook isn’t about the karaoke or impression – she uses her Aussie inflection and emphasises particular words to hilarious effect. This is particularly masterful in Allen’s smash hit about bad sex, Not Fair – her frustration is all of us! A resigned look to the audience quickly dissolves into giggles as Woodbrook is having such a good time up there on the stage! If you’re worried that an emphasised Australian accent will take the emotion out of the songs, think again – Winehouse’s Tears Dry on Their Own is rendered heartbreaking, and the pure exuberance in Who’d Have Known cement Woodbrook as a wonderfully expressive powerhouse of a singer.

Lisa Woodbrook: It’s Not Me, It’s Definitely You – Songs of Amy Winehouse & Lily Allen is not only an epic title, it’s an epic show. Woodbrook is affable and funny, her stories are hilarious, and she is naturally gifted – a true entertainer. And the songs are great – even though there isn’t room for Rehab, let’s just keep our fingers crossed that it doesn’t come up in the sequel!

WHEN: 4th – 8th February 2020 | 7:00pm

WHERE: Downstairs at the Maj | HIS MAJESTY’S THEATRE

INFO: Pricing $33 – $42 | Duration 60m | Suitability: M | CABARET


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Fairly Average Dance Band: Where Average Happens | 4.5 Stars

Review | Kieran Eaton

Who isn’t average in some way? Our current world seems to fear average – in a scarily narcissistic way! Ironically, Fairly Average Productions prove they have better than average musical abilities to play instruments they are not strongly accustomed to. It is very Australian, to downplay your abilities and that is what makes this country so lovable – in that we can be mates with anyone since nobody is that special! Fairly Average Dance Band: Where Average Happens is set in the dark and groovy surrounds of the intimate Ellington Jazz Club – a place so casual that nobody will mind if you sit, stand, grab a drink or even dance around!

The most well-known performer in this team is Jessie Gordon – a permanent fixture in FRINGEWORLD and like other years, this year she is performing all over Perth in a variety of shows that highlight her diverse talent. Gordon is laconic about her status because she just likes having fun, and so all the time she just sees herself as just playing with mates – these band mates assisting her with plenty of teasing and joking.

The theme of this music show is iconic 90s songs – that decade was the band’s youth and once you hit the age of thirty, you start becoming nostalgic of time where life had more innocence – it is crazy to think that it has been over 20 years since this decade has ended and I am now feeling old! Now, the best way to embrace your innocence is listen to light pop songs that are a bit silly, especially when performed in a joking manner. There is no mimicking in the way they cover these songs – breaking the original tempos and sound – they even do some random medleys where you don’t know what will come next!

Fairly Average Productions is five local performers who mockingly enter to the cheesy backings of the self-titled song, “Five”. Their dance moves are purposefully not smooth, giving a cheeky wink to the era where boy bands were all the rage. You feel a fantastic energy, where the sense of fun draws you into to busting a move because you know you can be a bit silly. There are plenty of smiling faces of feeling the memories that these songs trigger. Fairly Average Dance Band: Where Average Happens is perfect way to end a night of watching shows in FRINGEWORLD 2020!


WHEN: 31st January – 15th February |10pm

WHERE: Ellington Jazz Club | NORTHBRIDGE

INFO: Pricing $23-$28 |Duration 55 m | Suitability M| Occasional Coarse Language | MUSIC | COMEDY


FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Attenborough and his Animals | 5 Stars

Review | Kieran Eaton

Let’s be honest – a great comedy show delivers massive laughs throughout the whole thing. That’s what we want from a comedy and Attenborough and his Animals is one of those shows while being family friendly! The humour is based around the documentaries of the legendary Sir David Attenborough. Now, don’t fret about not having an extended biological repertoire because the laughs come more from the visual opposed to the verbal. This crazy production embraces the stereotypes – the two stars are a pompous naturalist, played by Jonathon Tilley and an overly enthusiastic intern, played by Jess Clough-McRae.

These two both enter with a warm enthusiasm that is lovely, cheerful and keeps our attention – they have great chemistry that works magnificently. I must admit, even though loving Attenborough to the extent of owning one of his books, I find that his documentaries tend to blend into one because he creates a constant theme of animal universality, guided by his soothing vocal tones. This theme is carried into this parody to the extreme – to the extent that there is a chaotic, yet smooth flow of animal diversity.

In a hilarious twist of fate, this live mockumentary suffers from technical issues, causing the two show presenters must think on the fly how to save the night – this is where the awkward comedy ensues. Clough-McRae’s character’s nervous energy is infectious with intense deer-in-headlight stares that turn to joyful glee when she must recreate the animals that Tilley describes. Tilley’s Attenborough is remarkable – the tone is just right! There is so much physicality that explodes beyond the stage – so be prepared for some close encounters of the wild animal kind! The act outs are so realistic that you actually partly laugh in recognition – you become mesmerised by how naturally organic this comedy is, sometimes forgetting that this is a mockery of biology presenters – you could imagine Attenborough knowingly laugh at the geeky love of nature that biologist have.

Attenborough and his Animals is a must see show for all that like physical comedy and want to laugh at a pop culture sensation. You will leave feeling amazed at how much talent Tilley and Clough-McRae have!

WHEN: 29th January – 9th February | 640pm & 4pm

WHERE: Chemistry Room or Home Economics Room | Girls School | East Perth

INFO: Pricing $15 to $26 | Duration 60 m | Suitability G | COMEDY


FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Bernie Dieter’s Little Death Club | 5 Stars

Review | Kieran Eaton

There is only one word to describe Bernie Dieter’s Death Club – amazingBernie Dieter has toured Perth for many years now and boy, is she a master of mayhem. She is the show creator and permanent host of this epic cabaret variety show. This night usually has a unique mix of talented individuals, who are either regular or perform guest spots. These people that Dieter personally choses specifically need a dark side of a misfit nature to create a sense of fun and spontaneity for this late-night showcase.

If you have seen this show in one of the previous years, don’t worry because all the acts are or appear fresh to a new creation of frivolity.

The opening crowd warm-up by Dieter may have some familiarities that you shouldn’t mind, as it gives you some comfort that you are in safe hands that may touch your hands! Dieter is as confident as ever, dealing with strangers with total ease. Even if a crowd member is struggling to deal with her craziness, she can round them up into the right direction.

For FRINGEWORLD 2020, the venue is the massive Speigletent that sets the night up from some crazy acts, including acrobats and fire twirlers. At the back of the back of the stage is a vaudevillian style band, who play with gusto and are a perfect backing to Dieter’s powerful vocals. Dieter is intense with her stare and provocativeness that you feel like she is serenading everyone individually. There is a superb energy that this MC creates from this audience with cheeky sense of humour, quick to respond to any moment. You will certainly have lots of fun because all the acts display plenty of quirkiness that keeps us constantly amused.

Acts for this night include an atheletic acrobat in Michael Standen, a firey burlesque performance by Jaqueline Furey, a hair-raising circus act from Fancy Chance, and an amusing and an eye-catching routine by drag act of Art Simone. Some are multi-talented and are able to produce more than one scintillating performance. Dieter is all about us embracing our inner freak and so this is a perfect example of what FRINGEWORLD 2020 is all about. Bernie Dieter’s Little Death Club might sound like a scary place, but it is a wonderful night of entertaining weirdos.



WHEN: 17th January – 16th February 2020| 9:00pm


WHERE: The West Australian Spiegeltent | Pleasure Garden | Northbridge


INFO: Pricing $32 -$46 | Duration 70m | Suitability: 18+ (Restricted) | Occasional course language, Strong Nudity, Sexual References, Loud Noises, Smoke Effects, Strobe Lighting| Cabaret




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FRINGEWORLD, In Brief, on now

Why is this particular day in 1938 so special? Find out in our conversation with Ana Graham.

Ana Graham is one half of the delightful two-hander, A Special Day. We caught up with her before the show to find out just what is so special!

What is the show about?

A Special Day is a love story that begins with the chance encounter between an overworked housewife and her odd neighbor. It is about empathy, tolerance and personal discovery. It’s a joyful uplifting show dealing with very serious matters.

Favorite part of the show, no spoilers!

I love every single scene of the play but I specially enjoy the part when Antonieta burst into a childish frenzy when the air-force planes from the parade fly by her window.

What is the best part about participating in FRINGEWORLD 2020?

The possibility to be part of this amazing celebration of theatre, the opportunity to share our story with people so far from our own country and also just being there in  beautiful city, in your beautiful country.

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

Do not miss magician Stuart Lightbody’s show!

Describe your show in 3 words:  

Imaginative, playful, touching.

You can pick up tickets for A Special Day here.

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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Eurydice | 5 Stars

Review | Laura Money

We need to let go of the stories we think define us

This powerful refrain reverberates through the beautiful story of Eurydice – the mantra informing the dialogue, breathed into life in an undercurrent of conviction. Meet Leni. (Yoshika Colwell) She is 5 years old and all she wants to do is wear her Superman costume to school. She huffs and puffs and digs her heels in an argument with her mother – though she be little, she is fierce. As Leni – really Eurydice but she wants to be defined as Leni – grows up she is determined to escape her fate and take matters into her own hands. Eurydice is destined to be a tragic figure, lost as a footnote in history – an accessory to Orpheus – but this bright spark will not allow herself to be dimmed.

Written in collaboration with Alexander Wright of The Flanagan Collective and accompanied by musician Phil Grainger from Gobbledigook Theatre on acoustic guitar, Eurydice is the charming prequel to last year’s smash hit, Orpheus – an absolute highlight of FRINGEWORLD. Their unique brand of storytelling pared down is pure – two people, music, expression, a slam-poetry script crackling with energy and a gathering of like-minded people all united in song and story. Everyone knows the story of Orpheus and Eurydice but how many people know it from her perspective. Why must the story render Eurydice a helpless vessel enabling Orpheus’ tragedy, and not a strong independent figure who makes her own choices? Wright and Grainger’s Eurydice gives her back her autonomy and it’s a powerful gesture.

Colwell is a force of pure energy! She dances about the stage, vivacious and barely containing herself. And it’s infectious – one cannot help but smile as she bounces from word to word, weaving the story of Leni – another barely suppressed force of pure light – and her life lessons. Framing everything through her own story of broken pottery and the Kintsugi method where broken things are repaired with gold to show that their flaws are a part of them, Leni reaches the heady heights of first love, charmingly carves out a little world for her and Ari (what you thought Orpheus was her first?) and suffers betrayal and heartbreak that seem to shatter more than usual. Colwell’s spirit is so big and her performance bursting with exuberance, it hits hard when her light is seemingly dimmed.

Part slam-poetry, part spoken word, and mythic storytelling, the language cracks and sparks with vitality. From tender and shy tingles of first love, to the gut wrenching heartbreak of betrayal, Wright has created a language style entirely his own that Colwell takes and sprints away with. She plays the guitar, sings with a raw, inspiring voice, moves and sways to the rhythm of the show. Then there’s Grainger – the gentle spine of the book – his acoustics and music pad skills accompany the story and gently rolls it along. He joyfully creates a soundscape that jumps along with the story – a frenzied dance like a bee’s courting ritual – moving from soft cooing, to loud and distorted microphones, he exuberantly beams when suggesting a sing-a-long – and there’s something about singing with other people that evokes a primal feeling of conviviality and togetherness.

Eurydice breaks free from the shackles of her story in Orpheus and chooses her fate with a defiant stamp of the foot. It’s an act that any parent, though exacerbated, will be fiercely proud of. Wright and Grainger have every right to be nothing but proud of this work and the sheer magnitude of brilliance that Colwell brings to the stage. It’s a seamlessly intelligent piece of writing that will charm and devastate at once. Leni is who you wanted to be as a child. She is a strong role model for all, God or mortal, and her mythical and often epic tale is told simply and easily in a relatable fashion. This doesn’t remove the shine or magic from the myths, rather it celebrates the remarkable nature of the everyday, and that is quite magical.

WHEN: 17th January – 9th February 2020 | 6:00pm


INFO: Pricing $13.50 – $25 | Duration 75m | Suitability PG | THEATRE


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FRINGEWORLD 2020 | Kate Smurthwaite: BITCH | 5 Stars

Review | Laura Money

This bitch is not funny

Hey, bitch shut the hell up

Kate is an ugly unfunny bitch

These are some of the tamer examples of the times UK comedian Kate Smurthwaite has been called a bitch on the internet. The show starts with a slideshow of examples from her YouTube comments section – all of them contain the word ‘bitch’ and vary from just the word to horrible threats and sentiments. Each comment is up for 4 seconds. The presentation goes for 25 minutes. Smurthwaite takes it all in stride – encouraging the audience to laugh at the sheer ridiculous nature of these posts, yet she highlights the grim reality of being a woman who speaks her mind in the public sphere. Is Bitch a history of the derogatory term or a reclaiming? Well, yes, it’s both of those things – so every time someone calls Smurthwaite a bitch online, they’re now just fuelling her creativity!

Smurthwaite is a political comedian – feminism, polyamory, LGBTQI+ representation, liberalism are all issues that take pride of place in her comedy. She proves herself over and over again that politics can be funny – in fact, parody is an effective tool in disseminating information. By highlighting the way men and women are treated differently in a hilarious sketch, comedians raise critical awareness. This show tackles the absurdity of the word bitch and how it has become weaponised – but most importantly, how women can claim it back. Smurthwaite reflects on her own understanding of the word – from the first time her father casually called her one in a matter-of-fact way, to her own use of the word in rap music. Her recollections and reflections are more like musings as Smurthwaite has that infectious personality that makes you nod in agreement, rather than laugh out loud.

There are plenty of laugh out loud moments, though, Smurthwaite chats so casually with her audience that it’s sometimes easy to forget you’re watching a stand-up act! She is personable and friendly, shares her embarrassing childhood moments complete with hilarious visual pictures and tells funny dating stories as if you were just all hanging out with her at the pub. After you decide you like her, she then drops the bombshell – Kate Smurthwaite doesn’t agree with likeable people. In fact, she considers likeability to be the crux of double standards between men and women. Once again, you’ll be clicking your fingers in agreement and getting ready to shout ‘amen’ with every point made. Smurthwaite has a sharp political mind. She takes issues that are serious and dissects them in all their comedy glory, and she isn’t afraid to lean in to her daggy side either. With a nod to her dorky inner self, Smurthwaite analyses her jokes and their response, sports an epic costume change, and raps with the maddest skills known to (wo)man! And did I mention she’s funny?!


WHEN: 31st January – 16th February 2020 | 5:00pm & 8:00pm


INFO: Pricing $20 – $25 | Duration 60m | Suitability M | Occasional Coarse Language, Sexual References | COMEDY


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Pamela DeMenthe: eVULVAlution | 5 Stars

Review | Laura Money

I can’t believe that my idol – the sensual, intelligent, and super sexy erotic fiction writer, Pamela DeMenthe is back in Perth – but this time she has a case of the dreaded writer’s block! I’m not going to lie, I have received several hot tips from the self-published author of ‘Panties Inferno’, and ‘Hooked: Romp in the Abbitoir’, to subtle masterpieces like ‘Butterfingers: After Hours in the Dairy’ and of course my absolute favourite – ‘Sticky Digits.’ Her books are filled with erotic wonderment, cracking, sexy language, and facts copied from Wikipedia – she has proved to be quite the inspiration. Here is a short bio piece I wrote completely on my own:

“Born and raised in the south west of England, Pamela DeMenthe began her life as a child. Once this was completed, she was an adult.

At 21 she embarked on a career in the Nuclear energy sector, which was obviously a hotbed of erotic fiction writing material. Then at the tender age of 37, following a gross misconduct dismissal, she took the massive leap into erotic fiction. Exploding onto the self-publishing scene like an atom bomb! 28 novels self-published later and murmurs of a movie deal on the horizon, DeMenthe is fast on her way becoming the world’s first (unofficial) erotic fiction laureate.”


DeMenthe commands the stage at her book launch, fittingly attired in leopard print and her signature cream power-blazer. She regales us with her meteoric rise to fame after last year’s Sticky Digits and opens up about her husband’s newfound love of all-male parties complete with stripping down to underwear, dancing, and lots of lube! Sitting down in her new basement office, DeMenthe gets to work on eVULVAlution – when she is struck down by a faulty office chair – how will she continue? You’ll just have to come to Tiki as FK to find out, come and sit on an OfficePro 360 model chair (rather than be sued, the office furniture company are now a sponsor) and witness the author’s overuse of amazing, brilliant, wonderful, spectacular, prolific adjectives, and every smutty term you could imagine.

This character is hilarious – she swans about in a miasma of self-importance, and commands the audience with her puns. It takes a lot of skill to write a show so badly written – think Ernie Wise’s ‘play like what I wrote’ – and the points of hilarity are borne out of a distinct lack of being self-aware. The writing is terribly simplified, the adjectives and metaphors hilariously bad, and the sentences meandering. eVULVAlution is, like DeMenthe’s other works, a thinly-veiled autobiographical piece with time travel and an orgy scene. The book is about Sandra from Hull – a port city and unitary authority in the East Riding of Yorkshire, England.[2] It lies upon the River Hull at its confluence with the Humber Estuary, 25 miles (40 km) inland from the North Sea, 50 miles (80 km) east of Leeds, 34 miles (55 km) south-east of York and 54 miles (87 km) north-east of Sheffield.[2] With a population of 260,645 (mid-2018 est.), Hull is the fourth-largest city in Yorkshire and the Humber.

Sandra navigates her way through university, time, and space horny as hell and just wanting some love from some prehistoric men. Her crush, the ancient Dr Greg can’t perform, and as Sandra travels back in time she discovers that all she really wants is to be allowed to join in with the men – it’s not as if DeMenthe is projecting here, is it? I cannot stress how funny this show is! Pamela DeMenthe is one of the best characters ever devised – she remains stubbornly obtuse to her husband’s ways, is deluded into believing that the office chair is to blame for her writer’s block, and hilariously navigates her way through a book reading where Sandra from Hull turns every phrase from sexy to parody with her over-caricatured Yorkshire accent. This show needs to be seen to be believed, and DeMenthe is catering – so just make sure you request gluten free lube and you’ll be on to a winner!

WHEN: 31st January – 16th February 2020 | 6:30pm


INFO: Pricing $20 – $25 | Duration 60m | Suitability M | Sexual References | COMEDY


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | (un)written (un)heard | 4 Stars

Review | Laura Money

The story of Dorothy Lawrence has not been written down. The 19-year-old British journalist who disguised herself as a man and went to the front line of World War I never had her own story heard. She died in obscurity in a psychiatric hospital after being placed under military arrest. Her story remained (un)written · (un)heard until brought into the light by UK-based production company 45North, physical theatre ensemble Ellander Productions, and Director Jessica Rose McVay in a stunning piece of physical theatre that throws you into the line of fire with Dorothy and finally allows that story to be told.

Three performers move as Dorothy, including choreographer Iona Kirk and each gives her a distinct characteristic, yet each iteration of Dorothy showcases her pluck, humour, and determination. Kirk’s choreography brings out the natural individuality of the performers – from Cher Nicolette Ho‘s playful exuberance to Jordan Ajadi‘s more sombre rendition to her own stoic and determined straight back – all three are Dorothy and all three are expressive.

(un)written · (un)heard is a non-linear piece consisting of snippets of Dorothy’s life. Each vignette is bookended by her time in the asylum, the trio of Dorothys scribble furiously on the floor and scratch at their skin. They move along the catwalk in stiff-armed marches, lift each other up and joyfully pedal through the air as if on the very bicycle she used to get to the front. There are frenzied rushes to hit the ground and keep up while literally throwing themselves into the ground, pummeling themselves in a garish display of military fitness, and whimsical mimicking not dissimilar to Alice as she enters Wonderland.

This piece is wholly immersive as Dinah Mullen has designed a sensitive, sweeping sound scape – from bustling cities to shell-fire and the continued refrain of frenzy edging at Dorothy’s mind. Physical movement aside, (un)written · (un)heard is an exquisite piece of dance – the movements are fluid and elegant, and visceral at once. These performers are truly remarkable and absolutely do justice to Dorothy’s life. What an intelligent and innovative way to tell a story.

WHEN: 29th January – 9th February 2020 | 6:00pm


INFO: Pricing $20 – $25 | Duration 55m | Suitability PG | Depicts Violence, Mental Health, Sexual References, Smoke Effects | DANCE/PHYSICAL THEATRE


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FRINGEWORLD, on now, Review


Review | Peter Spence

Wow! What an incredible show. Direct from winning Victoria’s world-famous FRINGEWORLD 2019 BEST CABARET award, the world premiere of YUMMY UNLEASHED certainly lives up to the name that they have solidified themselves with in the underground drag and burlesque scene. Such an extravagant display of colour, sequins, skin and talent, this is certainly the show I would recommend if you were only able to see one this year.

YUMMY already has such a big following worldwide, so the sellout crowd are already amped as the room fills, then before you know it, you are bombarded with so much sass you have no choice but to snap your finger above your head and bellow the word SLAY!

Risqué has a new name: Risq-SLAY!

The costuming is absolutely incredible, which has come to be an expectation of drag shows, but the props and the use of the music to match the ensemble is definitely next level. The calibre of the performers belong to a whole new category, they are all so beautiful and not the standard array of over the top glitter and flash to femme-up the boy to make him look girly, including boys playing boys but in the most cabaret style possible, and one performer who is so feminine-looking that even the keenest of eyes would be fooled!

The MC is, for sure, the glam queen, very elegant and talented. Each part of the night showcases some of the most brilliant performances and talent like you wouldn’t ever believe and even some you wouldn’t think possible.

Most respectfully they bring up the use of fire in their show with a bit of sensitivity to the current Australian bushfire crisis. This is done so tastefully that many are moved. YUMMY UNLEASHED will become one of your favourite shows of all time, so be ready for trapeze, fire, magic, human slinky, sequins, pole dancing, colour, and some of the greatest choreography you’re likely to see this year.

 WHEN: 28th January – 9th February | 8:10pm

WHERE: The Edith Speigeltent | YAGAN SQUARE

INFO: Pricing $35 – $39.50 | Duration 60m | Suitability M | Occasional Coarse Language, Mild Nudity, Sexual References, Strobe Lighting | CABARET


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | ROBYN PERKINS: Mating Selection | 4.5 Stars

Review | Laura Money

Last year, UK based American comedian Robyn Perkins taught us that we make 10,000 decisions every day. This year, she’s back to talk about how our amygdala processes love! Perkins admits it – she’s not good at love – just look at her uncensored Tinder conversations. Ok, she might not have a good game but she does have spreadsheets! No, really, Perkins has approached romance the way she does everything else – with scientific method and a whole lot of moral indecision.

As a former biologist, Perkins feels overqualified when it comes to analysing romance. We get a quick breakdown of how hormones work – who knew hormones could be funny? – as Perkins delivers these facts casually, making them hilarious. Her cheeky smirk and sarcastic eye roll punctuate the material. It’s hard not to laugh the whole time!

Then we come to the crux of the show – a decision between three bachelors that Perkins had to make last year. Through technology and audience interaction she makes a different choice each night. The story is incredible in the true sense of the word. Perkins is amused when relaying the story and keeps the audience on side as every poll is revealed. Even though we are willing subjects and Perkins is keeping court, she is so affable and down to earth, she makes this bizarre situation sound like a crazy story your best friend is telling over a cuppa. Her delivery style is natural and she really puts you at ease. It’s a relief to know that someone else struggles in love too, once again proving Perkins’ relatability.

Find out for yourself what Mating Selection Perkins made but be warned – you’ll love her no matter what! Your selection is easy – all you have to do now is have a good time.

WHEN: 25th January – 8th February 2020 | 6:15pm


INFO: Pricing $12 – $25 | Duration 60m | Suitability M | Occasional Coarse Language, Sexual References | COMEDY


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | 1 Pint 2 Many | 4 Stars

Review | Laura Money

 Oh my goodness, where do I start with a show like this? I was pretty tempted to down a few bevvies before attempting these words but the I remembered Logy‘s slurred words: ‘do not try this at home!’ The premise of 1 Pint 2 Many is exactly this – each act must have an alcoholic drink and must finish whatever drink they have before attempting their circus act. What could possibly go wrong?!

Honestly, the night I went, nothing did go wrong but the crew did inform us that it has before. First up, Logy himself – although I’m glad to see he left the fire at home – tipsily attempts his signature hat trick. The concentration is palpable and the crowd goes wild! There’s Ben who foolishly, yet successfully, attempts roller skates and juggling – every time he stuffs up he gets a strike – three strikes and it’s a shot. Let’s just say that a few shots go down on a night like this!

Any performs a cheeky burlesque bunny routine but wasn’t quite drunk enough on the night I attended. Still, she’s hilarious and it’s a nice interlude between the high octane Malachai who gives the Energiser Bunny a run for its money! This guy loves his shots and is absolutely hilarious as well as ridiculously talented. I’d love to see him sober but then again the stakes wouldn’t be very high – wait what am I saying, this guy is is a literal sword swallower – everything can go wrong all the time. And. He. Nails. It.

1 pint 2 many is the late night show to cap off your fringe binge. The drinks are strong, the stunts are real, and the ideas are stupid. It’s like hanging out with your mates after being kicked out of the pub – no one is as encouraging as a bunch of drunk friends about to steal a traffic cone except this time the mates are carnies and the traffic cone knives, glasses, and swords! The best part about the show is you won’t forget it and there’s no hangover in the morning.

WHEN: 17th January – 8th February 2020 | Fri & Sat | 11:55pm


INFO: Pricing $20 – $25 | Duration 50m | Suitability 18+ (restricted) | Occasional coarse language, Mild nudity, Loud Noises, Mental Health, Alcohol reference and use | CABARET



FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Scott Murphy: Sailing Lessons | 4 Stars

Review | Peter Spence

GET ON BOARD with Scott Murphy, as he teaches a beginners class on sailing -theoretically. Of course since this is done in a classroom, and no where near a boat, a dock or even a body of water, safety can be (almost) guaranteed.

A hilarious lesson in safety on (or off) the water, where the viewer walks away having definitely learned something that may some day, never come in handy. 

Brainchild of English comedian based in Scotland, Tom Whiston, he makes good use of the awkward silences when a joke doesn’t work, turning what would normally be awkward, into the joke, and giving it a bit of nautically themed one liners to seal the deal.

Audience participation is encouraged, as are sing alongs (since we are all training to be put on the cold lonely ocean). It is pretty amazing to watch and hear someone who is able to get a room full of strangers to sing in perfect harmony!

In the aptly named Captain’s lounge, Perth Mess Hall proves to be the perfect setting for class. 

This is a show for everyone… Not just those interested in sailing. So put on your wetsuit, strap on your buoyancy aid and get ready to throw some sheets to the wind – theoretically. 

WHEN: 28th January – 9th February 2020 | 6:30pm


INFO: Pricing $16 | Duration 50m | Suitability PG | Occasional Coarse Language, Animal Cruelty | COMEDY


FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Chameleon | 5 Stars

Review | Amanda Lancaster

Chameleon : an animal that can alter its skin or outwards appearance to match and blend into its immediate surrounding as a form of base survival instinct.

So ingrained is this basic instict that a chameleon can, at any point, alter its identity at will to be seen or unseen by peer predator or prey. This is not unlike that of the human species, one might say.

Or in this case – the female of the species.

Meet the Chameleon, Britt Plummer. If you don’t know who this is yet, then pay attention because this is definitely this reviewer’s personal favourite for outstanding performer of FRINGEWORLD 2020 so far. Plummer and her work are in a class all their own! Cute and instantly heartwarming, Plummer brings you the WA premier of Chameleon – a satirical piece on gender roles and social status quo, identity and survival as as woman.

It’s a simple solo piece with very little budget, not relying on a big stage or it’s trappings to tell her story expertly. A small but powerful piece which is definitely relevant in today’s social construct. From the moment the show starts, you cannot help but be instantly charmed by Britt Plummer, her cute antics and infectious smile win the crowd instantly, and even as she goes through the different emotions of her experiences, she continues to be delightful.

It’s a lesson in hitting issues which are normally tackled with a hard feminist point of view, in a way that doesn’t involve getting uncomfortable. Issues visited through suggestion without trigger-raising detail, assures comfort while still bringing the right points forward, which makes this show important.

Britt Plummer is an amazing storyteller, ‘the chameleon’ tells part of her story of real experiences, without a single word. A wholesome girl from suburban Adelaide, in Paris with wide eyes coming to terms with the reality of society and gender roles.

Taking what is without a doubt, the most tastefully hilarious view of female hysteria, sexual pressures, and constructs, our star really shows off her diverse and tastefully subtle talents for characterisation and story telling.

It impossible not to love the kitsch, cartoonish style of storytelling demonstrated. Gorgeous, vaudvillian stylings are played out with the smallest nuances and gestutes and give this show just that little more to it. That inexplicable thing that draws you in and wont let go. Silent interaction with the audience seems to be the key in this year’s festival, Plummer’s games and acts play on the reserved nature of the crowds but coming from someone so young and vibrant, she makes you want to play back.

With a mature theme, this is aimed at a mature crowd. But is light hearted and fun, performed by someone so radiant, with such an important message. There is clever use of the chameleon species as a metaphor for the entire feminine experience as constructed by modern day beliefs social media constructs, ideologies concerning ever changing gendern norms and roles that form the basis for what it means be and exist as a woman.

Go and blend into the crowd of Chameleon – you’ll fit right in.

WHEN: 17th January – 2nd February 2020 | 8:15pm

WHERE: Home Economics | GIRLS SCHOOL

INFO: Pricing $18.50 – $26 | Duration 60m | Suitability M | Sexual references | THEATRE


FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | The Mariner’s Song | 4 Stars

Review | Kieran Eaton

Who doesn’t like a mythical tale? How about if it is fused into the storyteller’s personal life? Rajan Sharma embraces the fine line between truth and fiction with this wonderous tale telling, in The Mariner’s Tale. In this secular modern world, we often forget the wisdom passed from past legends, but Sharma comprehends this – in the importance of story and understanding history. This poetic one-man theatre piece has Sharma own the audience with his commanding voice – that is stripped back of complexity and yet speaks volumes! This respectful show displays kindness in Sharma’s tone, that brings warmth to the small but intimate venue of Paper Mountain, using language for a varied audience. 

Now, don’t expect much flamboyance from this serious performer – however, do expect poignance!

You are taken back to the journey of Jason and the Argonauts – with the focus being the boat expedition. Knowing the fine details of this Greek legend is not necessary because Sharma knows how to bring this to contemporary context – often still in delivery, Sharma has a meditative delivery that embraces the stillness of nature. His voice still has plenty of gusto, and thus keeping us all captivated – all audience members display a glimpse of inner knowing in their eyes.

This is a heartfelt production where the only prop appears to be the symbolic connecting point between the myth and Sharma’s life. It is easy to be skeptical that having no music, especially since Orpheus is linked to Jason’s adventure – yet, Jason was more of a spoken word poet, just like this spoken word artist! Plenty of wisdom is portrayed through poetry and this is no exception – Sharma being a master at delivering it. Family plays a strong part in this show and your soul is touched when this intelligent describer brings personal connections to your attention. This gentle piece of creativity will leave you scrubbing the decks and feeling the waves of the majesty of nature.

This show is for those who prefer art being slow compared to the hectic pace of most shows of the FRiNGEWORLD 2020. There are small moments that show may come across as preachy – still it is more just him being reflective. Sharma has a strong ability to stay focused and keep the material consistent.  The Mariner’s Tale is recommended for anyone who wants to escape the chaos of your mind and find some inner spiritual peace!

WHEN: 29th January – 2nd February |6:30pm


INFO: Pricing $25 – $33 | Duration 60 m | Suitability PG | THEATRE




FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Sirqus Alfon – I Am Somebody | 4 Stars

Review | Laura Money

Sirqus Alfon – I Am Somebody is the hidden gem of FRINGEWORLD 2020. It’s a fun and frivolous work brought to you by a Swedish trio of slapstick clowns who revel in their silliness. Perfect for the whole family, Sirqus Alfon is joyus, irreverent, and fun.

Their madcap antics will have you grinning throughout – that is when you’re not gasping in amazement. Sirqus Alfon’s strength lies in the unexpected. They enter the stage with goofy smiles, waving and generating cheers from the crowd only to interact with a giant computer that introduces them a la 80s/90s style arcade game. You will not have seen anything like this ingenious multimedia interaction as each player fight and move seamlessly in time with the computer explosions. They are a little bit of everything – frontman Babham is a talented singer and beatboxer but also corales the audience into producing a truly spectacular shared experience that will utterly delight. Drummer Ajve bounces and flips around the stage in a ball of barely contained exuberance, and guitarist Emilio literally harnesses light and laser beams in a sequence that would not be out of place in Eurovision.

To be honest, Sirqus Alfon is hard to explain – you kind of have to just go and see it. All I can say is at is core are three clowns messing about with technology and circus and nailing it. Their madcap antics are more than enough to keep that smile on your face and the Olympic-sized finale is an absolute masterpiece in comedy, clowning, and pure entertainment. These guys really are something!

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WHEN: 17th January – 16th February 2020 | 2:30pm & 9:00pm


INFO: Pricing $10 – $50 | Duration 55m | Suitability General | Warnings: Lighting effects | CIRCUS


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Briefs: The Second Coming | 5 Stars

Review | Laura Money

Yaaaassssss Queen, the Briefs boys are back in Perth with Briefs: The Second Coming (even though it’s more like their eighth coming – some people just have all the fun, huh?) and we are here for all the sweat, sequins, and circus these talented boylesque performers have to demonstrate. Let’s kick this review off by saying that they fit in perfectly at their new home The Rechabite in Northbridge. It’s a fabulous venue for a fabulous troupe, so despite the show being familiar material, it gets the glow-up treatment that will make all the haters ‘jealousssssssss’ if they miss out.

There are dream group dance sequences, hilarious drag, jaw-dropping circus acts, all combined with the sexiness and sass that has become Briefs’ trademark. Hostess with the mostess, Fez Fa’anana slays as she sashays like no other and keeps everything moving along. Fa’anana is an inclusive and warm host with killer heels and a sharp tongue – she isn’t afraid to call out homophobia, racism, and intolerance but does so with a resounding cheer. And those outfits, tho! There are perennial favourites in the legendary Captain Kidd, aerial wonder Thomas Worrell, and the boy from Broome Louis Biggs (boy did they get that right!) These guys perform with the love and energy of family, they support each other and still seem to marvel at each others’ tricks.

There’s a new face up onstage, too in Luke Hubbard, who is seemingly relegated to the position of Butler in a hilarious exchange between him and Fa’anana, but then proves himself to be a brilliant foil to Biggs’ chaotic energy as they compete in skipping rope acrobatic tricks, and later wins the heart of the audience in the funniest ever dog show you’ll ever see. Drag Queen Dallas Dellaforce is back and I still marvel at how underrated she is as a performer. Her brand of drag is hilarious, kitsch, and subversive – from her Nana Mouskouri to the perils of a wind machine her facial expressions and movements are pure gold. Speaking of gold, it wouldn’t be Briefs without the return of cabaret act Evil Hate Monkey. Banana ballet, strip-tease, and some fast eating keep the audience on their toes and cawing ‘banana!’ at the top of their lungs. You’ll never look at the bendy fruit the same way again!

Briefs: The Second Coming is like a greatest hits show on steroids – you know the acts you want to see more of. Louis Biggs brings all the charm as his delightful school-boy routine is ramped up a notch with rubix cube and yoyo tricks galore. As Thomas Worrell ascends the sky, so too your heart leaps into your mouth – he moves through the air with effortless perfection. The humour and glamour this group bring is evident in their group dances – strip tease and cabaret feathers combine as they cheekily reveal more and more. Captain Kidd walks this tightrope of effortless rock-star cool, and hilarious parody as the trashy dog owner in one of the funniest and trickiest segments that should keep coming back, year after year. He also slays in his famous birdbath routine – if you weren’t already wet to begin with, he’ll soon see to that!

It’s such a welcoming and energising night out. The boys from briefs know how to entertain – they provide the good times and the meat raffle, and you provide the whooping and the cheering.

WHEN: 17th January – 16th February 2020 | 7:00pm


INFO: Pricing $30 – $75 | Duration 90m | Suitability 18+ | Occasional coarse language, Sexual references, Nudity | CIRCUS


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | L.I.A.R (Life is a Rehearsal) | 4.5 Stars

Review | Laura Money

Remi Martin is branching out on his own – post Limbo and Blanc de Blanc Encore the circus star is reborn in L.I.A.R (Life is a Rehearsal) and navigates his way through childhood, adolescence, and adulthood to firmly cement himself as a circus force to be reckoned with! It’s fast-paced circus meets hilarious physical comedy, with tender, whimsical moments interwoven with an instinctive live soundtrack – the whole thing pulses and beats with life. Oh, and it’s silly as hell!

No journey through life would be complete without the moment of birth – Martin writhes in a fan-blown white plastic haze, complete with pulsing red light and egg-shaped appearance. The soundtrack from folk musician Tarran the Tailor pulses in time with the light, providing a heartbeat-like rhythm that informs Martin’s movement onstage. It’s as epic as it sounds, but don’t get too worried that this show is a serious, weighty piece of interpretive dance – Martin is then assisted into his child-sized clothes and learns to ride a bike, plays with toys, and generally cavorts about the stage in a piece that releases the pure, unbridled joy young children unleash onto the world.

There is very little dialogue – a cheeky word uttered every now and then – and Martin is wonderfully expressive. With a big goofy grin, big hair, and a big personality he fills the stage entirely. Martin has two offsiders throughout – Tom Ball, dressed as the roadie, who assists Martin in getting dressed and enforces difficult paramaters (like putting your pants on without using your hands), and Mandi Orozco who plays Martin’s first love and provides absolutely stunning acrobatics herself. The three of them have such dynamic chemistry – Martin and Ball egg each other on and Ball is hilariously disruptive, and Orozco provides that silken danger and fluidity seen in maturity – each represent a different phase in Martin’s life, and both are terribly important.

L.I.A.R (Life is a Rehearsal) is a visually stunning piece of circus and physical theatre. Martin is the complete package – clever, funny, charming, physically talented – and just a really nice guy, to top it off. His routines are memorable – the skateboarding is remarkable, contortionist work with Orozco is simply mesmerising, and when Martin decides to play his own instrument (during the adolescent phase, so you can see where this is going) he brings the house down! The Chinese pole section is next-level amazing – Martin struggles up it, is forced into ‘adult’ clothes and is blown away by papers and responsibilties – he literally balances between duty and identity, and chooses adventure in a whimsical and wonderful sequence that sees Martin enact everyone’s greatest fantasies. Get yourself out to the Pleasure Garden this FRINGEWORLD 2020 because this is one show you need to see. It’s quirky, fun, and filled with talented people – what more could you want?

WHEN: 23rd January – 10th February 2020 | 6:40pm


INFO: Pricing $30 – $35 | Duration 50m | Suitability M | Occasional Coarse Language, Smoke Effects, Sexual References | CIRCUS


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FRINGEWORLD, on now, Review

FRINGEWORLD 2020 | Gaming Under the Influence| 3 Stars

Review | Link Harris

Walking upstairs to the Rooftop Terrace Bar at the Universal Bar in Northbridge, Supermario Bros. 2 is being projected onto a white screen on the stage, two empty leather couches in front of a small stage, chairs everywhere and a bottle of booze on a table next to the mic stand.

In walks Patrick Melton the show’s host, doing his own bit and interacting with the crowd whilst being heckled and just generally having fun he starts handing out various tokens – which when used by the audience – will make the show more interesting by helping or hindering the players like forcing them – the comedians – to do a shot, tagging in to be the player in whatever video game is being played or forcing them to don some kind of mask during their bit or whilst gaming.

We then get introduced to two acts one after the other – who differ from night to night – and without any hesitation they straight away they get a shot and then go on to do their comedy act. We then get treated to some spectacularly bad video game playing of Ninja Gaiden and Dr. Mario before they trade places, rinse and repeat before they play some more games which are randomly decided on a spinning peg wheel. Finally they compete with audience members joining them on the couch, to start with they try and screw up their games by heckling them and move onto directing them whilst blindfolded… The winner is crowned and of course you guessed it, they have to do more shots!

The premise of the show is good – albeit very haphazardly thrown together at what comes across as short notice –  however if you like comedy and video games combined with drinking then this is definitely up your alley so get some tickets, see the show and hopefully participate in the fun.

WHEN: 25th January- 16th February 2020 | 11:45pm

WHERE: Rooftop Terrace Bar | Universal Bar | Northbridge

INFO: Pricing $21 | Duration 50 mins | Suitable 18+ | COMEDY