‘Not Today’ was meditative. Being a millennial in 2022 can be tough. Many things are rising – covid case numbers, cost of…
Alley Edwards

Alley Edwards
Alley is a Melbourne-based theatre aficionado with a deep love for storytelling. Beginning her career in the secondary English classroom, Alley recently completed a Master of Arts (Writing and Literature) through Deakin University. She is currently in the process of applying for a PhD program in film literature and visual literacy.
-
-
‘Love Don’t Cost a King’ was amorous. As the end of the 2022 Melbourne International Comedy Festival steadily draws near, audiences are…
-
‘Drown ‘Em Out’ was idiosyncratic. The old idiom goes, ‘there’s a fine line between comedy and tragedy.’ That’s why we often reflect…
-
‘Beige Bitch’ was monochromatic. It takes great skill to create genuine comedy from self-deprivation. Finding a good balance between painful truth and…
-
‘PASH’ was love(ly), actually. Every autumn, laughter can be heard resonating throughout Melbourne. The city’s International Comedy Festival is heralded as a…
-
‘F*cking Ancient’ was self-actualising. Over the past few years, we as a society have gravitated towards virtual interaction. Whether it be attending…
-
‘Canary’ was defiant. The term ‘fringe’ most often conjures up images of the world-renowned Edinburgh Fringe Festival and its home-grown cousin in…
-
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…
-
‘Alice in Wonderland’ was mad. The school holidays are always a perfect time to introduce children to the delightful world of theatre.…
-
‘The Comedy of Errors’ was risible. The past two years have been challenging for many people, not least those in the arts…