Category: Comedy

Review: Two Twenty-Somethings Decide Never To Be Stressed About Anything Ever Again. Ever.

Refreshing comedy exploring the unattainable

By Owen James

I really, really enjoyed this piece; the writing (Michael Costi) is tight and punchy, the performances are sublime, and the title perfectly encapsulates the whole show. It’s topical, relevant, engaging theatre that entertains very successfully, and has heart we find within the characters’ abolished stress.

Costi has created two likeable, relatable characters who thrive on conflict – driving the narrative forward and keeping us consistently connected. Their decision to evade internal impulse and live “stress-free” unleashes brilliant, explosive tirades that are hilarious and exposing. Fears of salmonella plagues, Uber driver deportation, and lavender fascism are inspired and highly amusing.

Direction from Eve Beck is smart and refined, making creative use of the minimalist but evocative cling-filmed design by Ellen Stanistreet. There is a real sense of evolving, heightening stakes impinging on these lost lives, maintaining our interest throughout. Effective sound design from Alexander Lee-Rekers builds upon this and is extremely well utilised, uniting the cohesive vision for the show.

Jasmin Simmons and Tom Mesker are both extremely well-suited to the material and their characters, crafting realistic, professional performances that leave never a bored moment. As their deflated meditations on life as directionless, disappointed twenty-somethings (“where’s our homemade jam? Where are our friends?”) inspire a life-consuming obsessive pursuit of tranquillity, we see the duplicity of desire and decision fuel combusting, frenetic mania, and both Simmons and Mesker expertly play every extreme to its height; two stars in the making. Ryan Hodson’s perhaps underwritten character feels occasionally out of place, but he delivers a charming and rousing finale that earns his worth.

This show deserves a second life, where I would absolutely take my twenty-something friends to laugh at our imaginatively amplified reflection onstage. Congratulations to Bite Productions for a thoroughly enjoyable venture.


Photo courtesy of La Mama


Review: Wrath

Non-stop laughs in quick-paced, office-based, absurd-faced comedy

By Owen James

When a lone pubic hair is discovered in the boardroom of an elite business obsessed only with profit, its employees embark on a plummeting descent into satirical, surreal madness in search of the culprit. Each scene takes this madness to a new level, as tempers flair and maniacal tirades about pubes combust in comedic perfection.

The loud partying from the Trades Hall Fringe Hub beneath us quickly fades into the distance thanks to Liam Maguire’s slick writing and direction. His simple but unique pubic premise is the diving board above a pool of kinetic, thrilling language that the audience adores at every turn. I love works like this from new writers who are unafraid to take risks and have something revitalisingly fresh to bring to the table. Everyone involved in this piece, from the cast through to the technical team, are undoubtedly on the same page in understanding the world they are creating – a real testament to Maguire’s strong direction.

The six-strong ensemble cast (Cecelia Peters, Roy Joseph, Jonny Hawkins, Adam Sollis, Elle Mickel, Lou Wall) are all utterly hilarious – there is not a weak link in sight. Together, they bring Maguire’s insane world to life with grit and never-ending, no-holds-barred energy that is tiring just to watch. The stereotypes of a controlling and imposing CEO, timid and quick-responding secretary, shit-eating and competitive do-anything-to-keep-their-job subordinates, and wide-eyed and confused new employee are all brought to life with wit and gleeful insanity. It’s wonderful to see six standout performances connect so well in this perfectly-matched group.

This production swells to a new level with every high-stakes standoff and demonic inquisition, developing a unique flavour that blends Office Space with Twin Peaks. Wrath is an exciting and engaging piece that is thoroughly unapologetic, delightful entertainment – I would definitely return to see it again, or any future works from Maguire and his team. A must-see at this year’s Fringe.

Dates: 14th – 22nd September

Photography by Clare Hawley




MICF: Macdeth

Company 13 presents Macdeth

By Narelle Wood

It’s a weird combination, Macbeth, The Comedy Festival and a children’s show; with all the murder, blood, and deceit, it shouldn’t really work. Somehow, Company 13, director James Pratt and actors Fiona Roake, Christian Bagin and John Forman not only make it work, but have turned Macbeth from one of Shakespeare’s classic tragedies to a joyous exploration of the dark, and disgusting side of the cursed Scottish play.

It is a reworking of the original play but it hits all the key plot points, and characters are reinvented to make them easily identifiable to the younger members of the audience whilst still managing to capture their underlying natures. The witches are more like the ugly step-sisters, kind of stupid but up to no good, goading Macbeth into traitorous action. Lady Macbeth’s sinister plots become child-like tantrums in an effort to get everything she wants and King Duncan is a bumbling, farting fool who you feel sorry for not because he is too kind, but because he’s too stupid to realise the betrayal. Banquo is non-threatening, except maybe as a ghost and all Macbeth needs is a couple of compliments to appease his pride and he turns from “who me, King?” to an entitled brat who things he’s invincible.

Macdeth is by no means a simplified version of Macbeth. Yes, there are some missing soliloquies and there are parts missing for expediency to fit the play into the one-hour kid-friendly format. However, Company 13 intermingle modern language with excerpts from the play. The balance between the two is perfect: what the audience might not understand of the Shakespearean parts is made clear through the action, the interactions between the characters and the move into more informal dialogue.

The ensemble cast of Roake, Pratt, Bagin and Forman play multiple characters and at time provide the musical accompaniment as well. There are not many props, so much of the action relies on the audience’s imagination, which is just as well, because this is a retelling designed to include kids and therefore it includes all those gross things that children tend to find amusing – farts, snot and young people’s appropriate stylised murder, to which the kid sitting behind me responded “oh, that’s brilliant”.

Having seen countless interpretations of Macbeth, this by far would have to be one of my favourites. Short and not so sweet, this is a Shakespeare comedic tragedy not to be missed.


Macdeth plays at Coopers Malthouse as part of the Melbourne International Comedy Festival until 19 April. Tickets can be purchased online or by calling the box office on 03 9685 5111.  

Photograph: Jeff Busby


MICF: Single Asian Female

Much more than brilliant comedy 

By Irene Bell

It’s not every play that will have you laughing through tears. It’s not every play that will make you want to express your eternal gratitude for your mother, your sister, your best friend – no matter your cultural background. And it’s not every play that will inspire genuine empathy for the many hardworking immigrant families we call our neighbours. Single Asian Female, written by Michelle Law and directed by Claire Christian, will inspire all this as well as entertain the hell out of you.

Single Asian Female follows the lives three women: a newly single mother and owner of the Golden Phoenix restaurant (Pearl), a twenty-something violinist figuring out work-life balance (Zoe) and a seventeen-year-old girl who just wants to be like the other kids at school (Mei). Together, these characters’ stories explore family and cultural identity and well as express what it is to be proud of your heritage. Regardless of whether you are single, Asian or not, you absolutely must go along to appreciate the writing, stagecraft and performances that will have you in fits of laughter.

Michelle Law’s writing is both entertaining and pivotal to theatre today. This production is more than comedy, it’s a snapshot of migrant life in Australia and that’s important to see. Hsiao-Ling Tang (Pearl), Jing Xuan Chan (Zoe) and Courtney Stewart (Mei) act their roles with such chemistry and ease – watching them is endlessly captivating.

Moe Assaad’s set and costumes are standout features – with the doll’s-house like restaurant and apartment straight from any little girl’s dreams – allowing us to see these women in multiple parts of the house at once.

Shout outs must be given to Emily Burton’s enthralling performance as Katie, to Burton and Tatum Mottin’s date montage (a little too realistic and horrifyingly relatable) and to Patrick Jhanur’s performance as the hunky Paul which will make you want to secretly binge on rom-coms.

Single Asian Female has been showered with praise since its 2017 Sydney debut and now Melbourne audiences no longer need to wait to see this brilliant production. There’s not much else to say except for, go and see this show!


Single Asian Female is playing at Arts Centre Melbourne until 21 April as part of the Melbourne International Comedy Festival. Tickets can be purchased online or by calling the box office on 03 9281 8000.

Photograph: suplied

MICF: Stark and Dormy

Bunk Puppets get whacky in sci-fi theme-park adventure

By Lois Maskiell

You’re given a baseball cap on entering the theatre. Printed on the front of the cap is a fun park logo, a fun park where you’re about to have, or so a zoo keeper tells you “fun fun fun”.

Gee does internationally recognised Bunk Puppets’ latest production live up to its promise. In Stark and Dormy an alien invades a struggling theme park and causes serious mayhem and laughter.

Unlike many sketch shows, the segments are not randomly sewn together but situated in a clever and well-developed plot. A teenage girl miserably wanders the park trying to catch her father’s attention, though instead catches an extra-terrestrial surprise. Her father – the theme park owner – distracted by debt and his latest girlfriend clumsily deals with several employees and a hip restauranteur. This quirky bunch of characters plus more are all performed by James Pratt and Christian Bagin.

But take note: the tiny cast have mastered the craft of puppetry and comic acting to bring these characters to life. Versatile vocals, punchy one liners and deadpan humour are just some of their talents.

Whether you are a frequent puppet watcher or not, the use of shadow screens is sure to be a refreshing change from glaring squared-eyed at a digital device. Staged in a black box theatre, the sparse set exudes a sense of do-it-yourself creativity adding to the ingeniously comic flavour found in the whacky world of co-writers Pratt, Bagin and Jeff Achtem.

Jeff Achtem’s direction gives Pratt and Bagin the outside eye they need to let their comic book-esque sci-fi and social satire blend seamlessly. The hip chef sporting colourful spectacles and zany clichés – like sea urchin and armadillo specials – reminds you of your favourite farm-to-fork restaurant. The buck-toothed boy desperate for a movie date and the outspoken neighbour who can’t help but overshare all seem disturbingly familiar.

In true Melbourne International Comedy Festival style, a hint of audience engagement and fun activities are involved, though I won’t spoil you with the details. If you want to laugh like a kid in a room full of adults, this is the show for you.


Dark and Stormy runs at Cooper’s Malthouse until 21 April. Tickets can be purchased online or by calling the box office on 03 9685 5111. 

Photograph: Andrew Wuttke

MICF: What Would Bill Murray Do?

Non-stop bullet-train of absurdist comedy

By Samuel Barson

Comedian David Tieck describes himself as a big fat absurdist, idiotic, stupid-faced, teddy bear-type person. And he certainly exploits all these facets of his being in his new solo show What Would Bill Murray Do?

Running just under an hour, this latest venture from Tieck is a non-stop bullet-train of nonsense and philosophy, with audiences strapping themselves in for David’s promise of at least 37 bits of weirdness that culminate in his sharing of a newfound “meaning of life”. A significant highlight of the show was the large number of costume changes that came with presenting 37 dramatically different moments. Tieck’s energy never dropped throughout, a testament to his passion and stamina as a performer.

If you’re not a fan of absurdist comedy, this show is going to be purely painful for you. The depths of contemporary absurdism that Tieck reaches are cavernous and could prove highly alienating for the wrong audience member. Even as a fan of absurdist comedy myself, there were moments that momentarily left me behind.

However, the thing that most stood out is how much Tieck loves his audience and his enjoyment for performing was palpable. He doesn’t care who you are or where you come from: all he wants to do is have fun with you. This approach to life informed the title of his show, through the way actor Bill Murray has discussed living his own life.

If you love comedy that makes absolutely no sense but leaves you in stitches anyway, this is the show for you.


What Would Bill Murray Do? runs until 8 April at the Imperial Hotel as part of the Melbourne International Comedy Festival. Tickets can be purchased online or by calling the MICF box office on 03 9245 3788.

Photograph: supplied 

Review: Ich Nibber Dibber

Witty, gritty conversation draws laughter and reflection

 By Leeor Adar

Ich Nibber Dibber is really as it sounds, a nonsense phrase dressed up as “a woman’s work” in German, and if this is women’s work, Post co-creators Zoë Coombs Marr, Natalie Rose and Mish Grigor make it look fabulously funny.

Descending from the heavens, these three angelic women draped in white come to be upon the stage. Make whatever metaphor you want from it – exiting the womb, descending like messengers from heaven – the women have something to say, and it starts with plenty of cussing and fussing about being trashed at a party.

Welcome to the human experience.

If you thought poo jokes didn’t captivate theatre goers, then listen here, you are gravely wrong. But there is so much more to this wonderful production than the humdrum of day-to-day life – my friend and I, and so many more in the audience can remember conversations like these with our friends, a combination of the profound and the banal. On a superficial level, the blokes in the audience will laugh, but for the women, we will laugh because we see ourselves in these three very human characters (even Gywneth Paltrow would agree).

The women inhabit personas we all recognise within our friendships – the sardonic, the naïve, the progressive, and it’s all tongue in cheek. If they poke fun at each other, they do it with profound love, in only the way the closest of kindred spirits can. Nat, Mish and Zoë admit that this is all them – they are just hanging out on stage having the really silly and gritty conversations close friends do. It’s really refreshing and welcoming, and it’s incredibly easy for the audience to connect and relate to the work.

The 70 minutes of Ich Nibber Dibber is all talk, but it’s the talk of over a decade of friendship. The women party, break up, and give birth in the span of the decade, and their conversations continue to shift with the times of their lives and the eras they fall within. It’s a glimpse into the past for many in the audience, from the choices of music to the socio-political backdrop of the noughties and today. There are serious issues the women face: sexual and racial discrimination, the disintegration of intimate relationships, haphazard views of the self – and it’s all handled with an impressive amount of subtlety and humour.

There are some poignant moments within this spectrum, particularly when the writer John Berger is quoted as they cannot recall whether John Berger or John Burgess was the first celebrity death of 2017. Berger’s quote on women surveying themselves as a man alters the atmosphere reminds us that while we are watching women inhabit the stories of their lives, they are still a spectacle of the male gaze.

I find Ich Nibber Dibber intelligently comments and navigates the complex terrain it raises with a lightness of being, and its capacity to make its audience laugh under such examinations makes for powerful theatre.

Ich Nibber Dibber is being performed at Malthouse Theatre until 23 September. Tickets can be purchased online and by calling the box office on 03 9685 5111.

Photograph: Jacquie Manning

Review: Puffs

The magical world of Harry Potter seen from an ultra-novel perspective

By Narelle Wood


Let’s face it, anything Harry Potter based comes with some pretty big expectations, given the beloved characters and world that J.K. Rowling created. Puffs or Seven Increasingly Eventful Years at a Certain School of Magic and Magic does not disappoint, adding more loveable characters to the loveable world, now seen from a different perspective: the dormitory next to the kitchen.

Puffs explores what it would be like to go to a certain magic school at the same time as Harry Potter is gallivanting about saving everyone from impending dark wizard doom. Wayne (Ryan Hawke), a loveable geeky wizard, finds out on his 11th birthday that he is a wizard and begins his time at magic school by being sorted into the Puffs – an ultra-friendly group of students who fail a lot. Wayne soon befriends maths savant Oliver (Keith Brockett) and wanna-be evil wizard Meghan (Eva Seymour). Together the three wizards seek out adventure, magic and deal with the constant stress of an exceptionally unsafe school environment. Of course, no Harry Potter story, even one that features Wayne as a central character would be complete without some Harry, Ron and Hermione cameos, as well as a familiar monster or two and the evil wizard with no nose.

It would be easy to think that Puffs is Harry Potter spoof, but nothing could be further from the truth. The funniest moments come from the nuanced jokes that pay homage to Harry and his devoted fans. The storyline is built around the key events of the six years Harry is at school and the 7th year where he doesn’t attend as a student, but rather as one of the leaders of the wizarding war.

Playwright Matt Cox manages to highlight some of the absurdities of the wizarding world, mostly the idea that school is the safest place and yet every year the students find themselves in mortal danger. The writing is clever and witty and even with a large ensemble cast, the audience grows to know and care about the characters.

Photographs: Ben Fon

It is hard to fault this production, actually impossible. The cast, under direction of Kristin McCarthy Parker, are amazing as they run on and off stage through multiple exits, many switching between multiple characters. Matt Whitty’s portrayal of a certain potions master is eerily accurate, Rob Mills as Cedric is full of slightly creepy charm, and you could not wish for a perkier narrator than Gareth Isaac. The whole theatre is decked out in Puffs and magic school paraphernalia. All this, as well as lighting and haze effects, might have one almost think they are in the great hall itself.

This is a must for any Potter-loving-person. It is witty, charming and mostly family friendly (there is a sports coach who has a tendency for some colourful language). I giggled and guffawed the whole way through and, despite the soul-sucking security guards, I am definitely planning a return trip.

Puffs’ extended season runs until 8 July at Alex Theatre St Kilda. Evening performances are ideal for children aged 15+ and matinees for those aged 8+. Tickets are available online and by calling the box office on 132 849.

MICF presents Tinder Tales

Dating, devices and love at first swipe

By Amy Planner

From Australian writing duo Mattie Mcleod and Thomas Bradford comes this brand new totally Aussie musical about dating in the new tech-savvy swiping world of Tinder.

Abby is a little unlucky in love and has had a rather unsuccessful dating life. While trying to navigate the swipe-crazy world of online dating, Abby has to struggle through her dating life with the voices of her Doubt, Insecurity and Mother forcefully tagging along for the ride. When she lucks upon the profile of Evan she is struck with what she thinks is love at first swipe and so the singing and dancing tale begins.

This show was a non-stop ride of awkward sex scenes, brutally honest truths, terrifying realities and damn catchy musical numbers. The small cast of six were nothing short of fantastic: Eadie Testro-Girasole (Abby), Mel O’Brien (Insecurity), Aubrey Flood (Doubt), Yashith Fernando (Evan), Callum Warrender (Ensemble) and Tash Jenkins (Ensemble). Each had their own uniqueness and flare, which created a truly rich performance. Their offstage bond was evident in their onstage trust of each other and their willingness to go the whole nine yards.

The use of minimal set, costume and lighting elements had a significant impact at the right times. The intimate space meant that there was no need for a flashy set, sparkly costumes or bright lights, it called for talent to shine and story to triumph, and they truly did.

Aside from some minor issues in ensemble volume level towards the beginning and a couple of unnecessary costume changes that could be improved by simplified garments, this show deserves an absolutely tremendous round of applause.

Perhaps the loudest applause should go to the creators of this show. With book and lyrics by Mattie Mcleod and music by Thomas Bradford, Tinder Tales is a stroke of musical comedy brilliance. In an image-obsessed world where true love is a mere swipe away, this production tells us to follow our hearts and trust our instincts despite the voices in our heads. If you can get a ticket to this show – do it, swipe right because it’s a match. Tinder Tales is a real must-see!

Tinder Tales is being performed at The MC Showroom until 22 April.  Tickets can be purchased online and by calling the box office on 03 9245 3788.

MICF Presents Super Woman Money Program

Showcasing the absurdity of the gender pay gap

By Caitlin McGrane

When I first saw the title for Elizabeth Davie’s Comedy Festival show, Super Woman Money Program, I thought it was a joke. But alas, it is a real thing that real people thought was a good idea. The advice dispensed by overly enthusiastic companies looking to “improve” women’s lives is often truly absurd – in the show’s opening, Davie recounts how she received an email from her superannuation firm with some “advice” for women. The whole situation is infuriating, and Davie does a great job of showcasing the absurdity – from the fact that the gender pay gap even exists in the first place to the range of deeply offensive and infantilizing behaviours women are told to adopt in order to avoid financial ruin.

You’d almost think the system was broken…

When the audience entered the theatre, we were greeted by Davie calmly pacing around the stage – she commanded the space and encouraged the audience to settle in and choose a sticker that best represents their financial situation. Naturally, I chose ‘I have no idea what I am doing.’

The whole show is extremely clever, witty and engaging – there is none of the rambling, off-kilter deviating that sometimes lets down a comedy show. The writing is sharp and tight – directors Shannan Lim and Sharnema Nougar have done a great job weaving together all the different parts of Davie’s story that make her such an interesting performer to watch.

For me, the show really worked well when Davie was riffing on her own experience with financial struggles, including her relationship with an ex-boyfriend who sounds, frankly, like a complete bell end. Her visible vulnerabilities were the parts of the show that really stood out to me, and were closer to my own experience with debt ($60k in HECS – I looked it up) and the laughable suggestion that most Gen Ys might one day own a house (L-O-fucking-L).

Davie’s command of her material and her ideas was impressive – she owned the stage and the room, even making audience participation effective in driving home the way some of us are being screwed by the system. Anyone who’s willing to stand up on stage alone and tell jokes has my total and utter admiration, while Davie might not have had me rolling in the aisles, she made me smile all the way through her show. The biggest laughs for me came during her stand-up sections, when she slowed down and read out some of her emails (sounds weird but isn’t).

I’m interested to see what Davie does next, and would like to see more personal vulnerability in her work, especially through her clowning. The message she imparts through Super Woman Money Program is extremely important and pertinent, but I thought she could tell it perfectly well on her own without needing to sit down and literally tell us a story.

Super Woman Money Program is being performed at Tasma Terrace until 22 April.  Tickets can be purchased online and by calling the box office on 03 9245 3788.

Photograph: Nayt Housman