‘Law and Order: PTV’ was loco(motive). When one thinks of the city of Melbourne, there are likely a few iconic images that…
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‘Not Today’ was meditative. Being a millennial in 2022 can be tough. Many things are rising – covid case numbers, cost of…
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‘Love Don’t Cost a King’ was amorous. As the end of the 2022 Melbourne International Comedy Festival steadily draws near, audiences are…
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‘Drown ‘Em Out’ was idiosyncratic. The old idiom goes, ‘there’s a fine line between comedy and tragedy.’ That’s why we often reflect…
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‘Beige Bitch’ was monochromatic. It takes great skill to create genuine comedy from self-deprivation. Finding a good balance between painful truth and…
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‘PASH’ was love(ly), actually. Every autumn, laughter can be heard resonating throughout Melbourne. The city’s International Comedy Festival is heralded as a…
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‘F*cking Ancient’ was self-actualising. Over the past few years, we as a society have gravitated towards virtual interaction. Whether it be attending…
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‘Canary’ was defiant. The term ‘fringe’ most often conjures up images of the world-renowned Edinburgh Fringe Festival and its home-grown cousin in…
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Professional ReviewsReviewsUncategorized
‘A Midsummer Mechanical’s Dream’ // Australian Shakespeare Company
‘A Midsummer Mechanical’s Dream’ was Pythonesque. When one thinks of William Shakespeare, the first thoughts that generally come to mind are wistful…
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‘Alice in Wonderland’ was mad. The school holidays are always a perfect time to introduce children to the delightful world of theatre.…