Nina Culley

The beloved Melbourne International Comedy Festival is well and truly in full swing, with more than 680 shows lighting up venues across the city. Phew, our abs are hurting already! With so many comedians to see and not enough time, we have sent out a batch of reviewers to dig deep and suss out the best of the fest this year. Whether it's a weird and wonderful show, a national treasure or a rising star, check out our reviews and see what tickles your fancy.  Want to review the show over a drink? Check out the best late-night bars in Melbourne.  

The puppies are back in town. Following its 2022 premiere at Regent’s Park Open Air Theatre, 101 Dalmatians returns for a limited summer run — this time wagging its tail across the proscenium stage of the Eventim Apollo. It’s an ambitious transfer, reimagined with a heavy dose of 1950s retro styling that nods to both Dodie Smith’s original 1956 book and the classic early Disney aesthetic. Just like in Smith’s original, Zinnie Harris and Douglas Hodge’s adaptation follows Pongo, Perdita, and their many, many puppies as they’re pursued by the maniacally glamorous Cruella de Vil, who has set her sights on their spotty pelts. Under Jimmy Grimes’s direction (it was originally directed by Tim Sheader), a small army of puppet dogs (and a few cats) springs to life through the skilful hands of visible puppeteers. It definitely takes a moment to adjust — the puppets sit very close to uncanny — but once you’re in, you’re in. The clear standout froim teh cast is Britain’s Got Talent winner Sydnie Christmas as Cruella. She devours the stage with the kind of cartoonish gusto you want in a Disney villain —all cackles, claws, and costume changes. Dressed by Sarah Mercadé in a parade of outfits that wouldn’t be out of place in a Lady Gaga tour wardrobe, she’s camp in all the right places. The rest of the cast, including Aston Merrygold (of British boyband JLS) as bumbling henchman Jasper and Laura Baldwin as Danielle, bring plenty of energy. However, the show’s tear-jerking emotional core nev

  Having premiered at the Old Vic in 2017 – and gone on to conquer the West End and Broadway – Girl From the North Country has lost none of its potency as it returns to the theatre where it all began — a dreamy, sepia-soaked production of character-driven vignettes and reimagined Bob Dylan songs. It’s 1934 in Duluth, Minnesota – Dylan’s actual birthplace – and the Great Depression is chewing through the soul of the town. At the centre of this dustbowl drama is the Laine family, struggling to keep their guesthouse (and each other) from crumbling under debt, loss, and the weight of time. Nick Laine (Colin Connor) is a man burdened by a bubbling anger — the same kind that seems to course through the town — while his wife Elizabeth (Katie Brayben) floats between madness and sudden, unnerving clarity. Their adopted Black daughter Marianne (Justina Kehinde) is pregnant, unmarried, and navigating her place within the world. Their house is a revolving door of boarders: hustlers, dreamers, a smooth-talking preacher, and a boxer down on his luck (think 1930s sitcom). The 23-strong company moves fluidly between character, chorus, and live band. Simon Hale’s arrangements of 20 Dylan songs float in the spaces between joy and hardship. Stripped-back renditions of ‘Forever Young’ and ‘I Want You’ drift through wood-panelled walls and empty whisky bottles. Some numbers are so radically reimagined you’ll barely recognise them — like Brayben’s raw, ragged and impossibly controlled version of

There’s something relatable – and deeply funny – about a grandmother demanding to be brought potatoes and mixed spice, then grinning at her own audacity. That warmth and wit is central to Danny James King’s Miss Myrtle’s Garden, a tender play in which every cast member is as magnetic as the other. The story does indeed unfold in the overgrown Peckham garden of Miss Myrtle (Diveen Henry) – a space dense with ghosts and flowers. Into this tangled setting steps her grandson Rudy (Michael Ahomka-Lindsay), who has just moved in with his (secret) boyfriend Jason (Elander Moore). Rudy, wary of his sharp-tongued Jamaican grandmother and constrained by his job at a Catholic school, isn’t ready to come out, placing strain on them both. Moore’s Jason is vibrant and warm; Ahomka-Lindsay captures Rudy’s internal battle with a mounting heartbreak. Meanwhile, Henry’s comic timing is electric, and her facial expressions alone tell stories that stretch across decades. Myrtle is also slipping into dementia – a disease that disproportionately affects Black and South Asian communities. Her beloved cat, Sarah, is missing. She spends her days bickering with Eddie, her kind but slightly oafish Irish neighbour (a charming Gary Lilburn), whom she first catches urinating near her flowerbeds. What begins as comedy softens into a portrait of two lonely people reaching – awkwardly – for connection. The actors orbit each other with care, often lingering in meaningful silences or glances. New Bush boss Ta

Everyone loves a grifter. From Patricia Highsmith’s Tom Ripley to Anna Delvey, we’re suckers for the charming anti-hero, the confidence artist who plays by their own rules. So it’s no surprise that House of Games — David Mamet’s 1987 film, adapted by Richard Bean for the Almeida in 2010 — still exerts a certain pull. Restaged at Hampstead Theatre, Bean’s revival invites us back into an underbelly of sleaze, scams, and high-stakes hijinks. We open in a therapy session between Dr Margaret Ford (Lisa Dillon), a Harvard-trained psychiatrist, and Bobby (Oscar Lloyd), an erratic gambler. When he mentions a shadowy place called The House of Games, Margaret follows him there (ethical code be damned) –ostensibly to help, but really because she’s bored and on the hunt for material for her next book. Here’s where you’ll need to suspend your disbelief: after just one visit, she’s in deep –drawn into the orbit of Mike (Richard Harrington), part Al Pacino, part De Niro, who offers her an insider’s view of the con. This crew are less Ocean’s Eleven, more low-rent grifters Dillon plays Ford with a cool restraint. Across her, Harrington’s Mike isn’t quite the smooth talker we might expect (there’s a whole conversation about dinner in between kisses), but he serves the story’s purpose: the man who knows exactly how to spot a crack and wedge himself into it. Mike’s crew are less Ocean’s Eleven, more low-rent grifters. A frail old-timer, a blustering ‘bartender’, and a sleazy gambler round out

Fifty years ago, David Williamson’s The Removalists barrelled onto the stage at Melbourne’s La Mama. Though loosely based on a true story, one can only imagine the reaction back then – gasps? Walkouts? Even now, in 2025, the play’s brashness hasn’t dulled. Police brutality, domestic violence, unchecked misogyny – it’s all still here. Director Anne-Louise Sarks (My Brilliant Career, A Streetcar Named Desire) stages this revival with a sharp eye for Williamson’s absurdist cynicism. The audience is seated in traverse – on both sides of the stage – as implicit witnesses. Sarks doesn’t try to modernise the text; instead, she leans into its 1970s setting (Matilda Woodroofe’s period-perfect costume design includes mustard dresses and flared jeans). The opening scene, set in a sterile police station cluttered with bureaucratic paperwork and buzzing under fluorescent lighting (a little too bright, perhaps), introduces Steve Mouzakis’ Sergeant Simmonds breaking in new recruit Ross (William McKenna). Ross rolls on his heels like a kid who’s wandered into the wrong classroom, while Simmonds mocks and steamrolls him – it’s classic schoolyard bullying. Just when the berating gets old, Eloise Mignon’s Fiona arrives, bruised and hesitant, with her sister Kate (Jessica Clarke), to report her husband’s latest assault. Now, suddenly, Simmonds is all charm. Of course, he’ll help. Of course, he’ll retrieve Fiona’s furniture. But, naturally, there’s a cost.  The set transitions cleverly – a makeup

There are no safety rails for A Nightime Travesty, no discernible logic, only the thrill of what could possibly happen next. The latest provocation from theatre collective A Daylight Connection, this absurdist vaudeville is a reckless, exhilarating descent into the wreckage of colonialism, late-stage capitalism, the patriarchy and wanton environmental destruction. Returning to Melbourne after a triumphant premiere at Yirramboi Festival, the show lands as part of Asia TOPA – and it's a literal fever dream that feels like the logical successor to Brecht and the most deranged episodes of Hey Hey It’s Saturday. Co-created and performed by Kamarra Bell-Wykes and Carly Sheppard, A Nightime Travesty operates at the precipice of satire and existential dread. Sheppard’s Angel, an Indigenous Australian flight attendant aboard the Last Fleet, must survive a dubious spacecraft evacuating even more dubious clientele from an Earth now in smouldering ruin. It’s a post-colonial allegory with a phallocentric captain, a lecherous AI co-worker and an on-board infotainment system broadcasting Hey Hey It’s Judgement Day. There are bureaucratic nightmares, some decapitation and a dildo bike. The final reckoning? God, of course. And the eternal question: “Can the last Aboriginal alive defeat the most powerful incarnation of colonial evil?” It’s a lot, and that’s probably the point. Stephen Nicolazzo directs this chaos with a careful sleight of hand, ensuring that even the most audacious absurditie

The curtain lifts on Peter and the Starcatcher at Arts Centre Melbourne, a sparkling concoction of puppetry, music, charm and stagecraft. If there’s ever been a time to pull out the word enchanting, this is it. Adapted by Rick Elice – known for bringing narrative depth to classic tales – and directed by David Morton, this smash-hit, five-time Tony Award-winning production partners with the Dead Puppet Society. And yes, they had us at "puppets". The show is sprinkled with shimmering, inventive puppetry that brings a delightful layer of magic to the stage.  Elice’s adaptation cuts the "S" in Starcatchers to make room for two leads: Peter Pan (Otis Dhanji) and Molly (Olivia Deeble), the Starcatcher herself. And while Peter is discovering his name and Molly is saving the world and her father, Lord Aster (Alison Whyte), Elice sneaks in light-hearted pokes at adventure tropes and British colonialism. There’s a magical substance called starstuff that gives people what they most desire, transforming a scotch salmon into a mermaid and a bird into Tinkerbell, and everyone’s after it. Including Colin Lane, who is memorable as Black Stache, a pirate with a peculiar politeness and a biting disdain for children. Lane’s timing is impeccable – especially when a fire alarm goes off mid-show, which he turned into an impromptu comedy break, riffing with the audience. Later, he added some extra banter that momentarily broke the production’s spell but earned big laughs from the school kids in the

Ryan Stewart's Kinder, at Melbourne Fringe, turns the familiar chaos of getting ready into a charming hour-long performance about growing up and getting out.  Playing Goody Prostate, a drag queen with a ticking deadline – due at the local library’s reading room by 1pm to perform to (shudder) kids – Stewart’s show is layered with wit, queerness, and a dash of childlike nostalgia. Of course, the journey to kid-friendly drag isn't without hurdles: an overhead clap keeps Goody on track, protesters gather outside the library, and Goody wrestles with toning down their typically uncensored routine. But what do kids like? More pressingly, what did they like as a kid? The set – part bedroom, part dressing room, part rented basement – is a liminal space for Goody’s musings and self-reflection. Stewart strips down, dressing in playful patterns and statement knee-high boots while recounting formative memories: their parents' divorce, coming out to their father, private school, all peppered with a raspy, German-accented queer rage.  The show leans heavily on monologues, which too often meander. While they’re broken up by well-choreographed drag performances, a cereal break and a power outage, there’s a lack of tension or cohesion with Goody reaching for too many contemplative threads. Still, beneath it, a subtle commentary on what it means to be heard, to be a child, and to grow up begins to emerge. If the script lacks a certain tautness, Stewart’s charm and talent more than compensate. W

Tina Turner was the bread and butter of our household TV screen. She belted alongside Mick Jagger at Live Aid, leather-clad and big hair, raced her supercharged engine across Coober Pedy in Mad Max: Beyond Thunderdome and assured the world that everything would be alright as David Bowie slipped out of the shadows during her Private Dancer Tour. She was one of music’s indomitable icons, a powerhouse; she was the Queen of Rock‘n’Roll. When Tina – The Tina Turner Musical finally rolled into Melbourne’s Princess Theatre after its West End debut and national run, it arrived with sky-high expectations. Having stacked up Tony and Olivier nominations as well as praise from Rolling Stone for its ability to simultaneously “entertain and enlighten”, I’m relieved to say that this Melbourne production did not disappoint. Leather, shoulder pads and sequins that would make Tina herself proud, danced across the red carpet on opening night with hundreds, including local Australian stars, paying homage. For someone like me, who never experienced Tina live beyond the glow of a television screen, the energy certainly made it feel like the real deal.  The musical, written by Katori Hall alongside Frank Ketelaar and Kees Prins, and directed by Phyllida Lloyd, stays true to Tina’s journey – thanks, in part, to Tina herself. From her early days in Nutbush, Tennessee, with gospel choirs and dusty churches, to the St. Louis blues scene where she met Ike Turner, across the globe to the soggy streets of

As Drake’s ‘Hotline Bling’ echoes through Fortyfivedownstairs, audiences are drawn into the world of Nicci Wilks, poised for her performance in Bad Boy as part of Melbourne Fringe. Had I been oblivious to Patricia Cornelius’s hallmark style – characterised by incisive examinations of contemporary masculinity, misogyny, and domestic violence – the song’s implications might have eluded me. Or perhaps not, given that domestic violence saturates our headlines. Yet, within the 60-minute runtime, this weighty topic feels both rushed and stretched.  This one-person show is a collaboration between Cornelius, Susie Dee, and Wilks, following the footsteps of their earlier work, Runt. In a gender inversion, Wilks plays a male character who first presents as a grotesque clown, before (perhaps too promptly) shedding the makeup to reveal an ‘everyman’ named Will. He pisses, grunts and thrusts, before falling for student-nurse Kathy. What ensues is your classic boy-meets-girl-they-have-kids-gone-wrong narrative, exploring the complexities of their relationship as it becomes ensnared in a cyclical system of abuse. In the first act, the creative trio balances levity and gravity. Even the stalking scene, marked by humour and impressive physicality by Wilks, underscores the absurdity and predictability of these archetypes.  Dee’s direction makes use of a circular stage, enhanced by red neon signs that circulate above like a digital noticeboard. Terms like “stalking” and the lyrics to The Police

Topdog/Underdog, at Melbourne’s Southbank Theatre is a blistering portrayal of sibling rivalry that digs into the heart of American mythmaking. Suzan-Lori Parks’ two-hander, which won the Pulitzer Prize for Drama, and more recently, a Tony Award for Best Revival, now takes up residence in the more intimate Lawler Theatre. In this new production, directed by Bert LaBonté, the play’s taut dialogue and searing emotional tensions are both its strength and – sometimes – its limitation. At its core, Topdog/Underdog is a darkly comedic and tragic exploration of two brothers – Lincoln (Damon Manns) and Booth (Ras-Samuel) —named, in a perverse twist, after the infamous presidential assassin and his victim. Lincoln, the elder, works as an Abraham Lincoln impersonator in an arcade, re-enacting the former president’s assassination for good honest cash. Booth, unemployed and restless, fixates on learning the art of three-card monte, the street hustle that once brought Lincoln fame and ruin. He’s a livewire of ambition and resentment, and in the hands of Ras-Samuel – whose frenetic energy never falters – he is dazzling.  “I’m gonna be somebody,” he declares, though his bravado rings hollow against the crummy backdrop of their one-bedroom apartment – a set design (by Sophie Woodward) that perfectly captures their suffocating reality – it’s spare, grimy, and strewn with sticky adult magazines. Comparatively, Manns, as Lincoln, offers a more subdued performance, stoically haunted by past mist

When you picture a quintessential ghost story, complete with all the familiar tropes – an isolated mansion, a vengeful ghost, and some well-timed midnight screams – The Woman in Black inevitably comes to mind. Adapted by Stephen Mallatratt from Susan Hill’s 1983 novel, this notorious tale has long haunted the West End, and has finally crept its way to the Sydney stage.   Starring Aussie television mainstays John Waters (Offspring, Doctor Doctor) and Daniel MacPherson (Neighbours, Land of Bad), this a play-within-a-play is directed by Robin Herford, who has been involved since the show's inception in 1987. This adaptation whittles the book’s original character list down to just two. It opens with an ageing solicitor, Arthur Kipps (Waters), who attempts to recount his story about the eerie Eel Marsh House. His sombre, poetic prose is on the dreary side, but thankfully, the performance is saved when a young actor (MacPherson) steps in – playfully urging Kipps to “have sympathy for your audience”. What follows is a layering of past and present, as our narrator's memories tangle with The Actor’s dramatisations in an interplay between reality and re-enactment. The Woman in Black is a classic for a reason, and the chilling story is told with masterful craft by MacPherson and Waters In their dual-role performances, MacPherson and Waters command the stage whilst giving space to the sinister supernatural role of the tititular "Woman In Black" – whose motion and face (though seen spari