Nicole Salinger - Whats The Show

Connecting Beyond Language: The Heart-Stopping Magic of The Fijian Flying Circus

22/10/202622/10/2026 Nicole Salinger🥈⚡🎭😂🎪

Fijian Flying Circus Rating

★★★★★

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Upon entering the Gate 7 Warehouse at the Melbourne showgrounds, I feel as though I am entering a mammoth, makeshift circus tent, in a remote area, as the buildings surrounding this enclosed marquee are all quiet.

But this warehouse is where all the action is.

Through a casual entrance, I come upon a semi-circle seated area, with chairs on the ground and behind it. Up a sequence of stairs, one can sit higher at a benched area to gain a wider scope of the circus action that will soon be displayed onstage.

The show? The Australian premiere of The Fijian Flying Circus, by internationally renowned Fijian contemporary dance troupe ‘VOU Dance Fiji’. Presented by Fijian Airways, this high-octane circus-infused show celebrates the joyous, cultural storytelling of traditional Fijian heritage, but with a modern edge.

There are drum-filled African beats. Tumbling and twirling through the air. Masterful ring tosses and jugglers giving things a spin. Hair-hanging trapeze artistry. Tightrope walking. Smiles for miles lighting up the stage. And on top of that? A cute Pacific-themed storyline, featuring mischievous mythical creatures, playful tribesmen, and an ongoing to-and-fro tryst between friends Loma and Tui – about a pair of magical shoes.

A clever, simple storyline that weaves in well with the mythical story Loma embarks and stumbles upon. A descent into a mystical book – to a wondrous world filled with acrobatic forest spirits. Beautiful island singing. Stilted female giants. Dancing fabled creatures. All springing forth from a harmonious, rhythmic world of Fiji’s Pacific flora and fauna.

And the cast are all in on the joy and laughter too.

There are funny whistling antics to get the audience laughing and clapping along. There are high-energy drummers wishing to continue their energetic stomping, much to the dismay of female cast members doubling over with mock-exhaustion. There is even a few bars of Neil Diamond’s iconic song, ’Sweet Caroline’ thrown in at the end of the show for good measure – to the delight of the audience to sing and clap along to.

In all, this show was bold, daring, and willing to go beyond its limits. In particular, the Emcee of the show, was so full of passion for his and his company’s artistry. As a troupe, they are deeply dedicated to connecting with audiences and telling their unique brand of storytelling in a modern, heart-stopping way.

The Fijian Flying Circus? Is simply a spectacle of joy. Driving home the idea that the human emotions of happiness, silliness and clowning around can indeed transcend language, culture and even heritage.

That as long we can connect as humans in curiosity, in hope and in wonder; then is that not simply enough for our spirits to thrive in this ever changing world?

I think so.

With high-flying aerial stunts, modern dance lifts, and bouncy beats of twerking thrown in, Fijian Flying Circus is literally an otherworldly experience, and is worth the trip to the Showgrounds to enjoy this lucky ride.

To book tickets to Fijian Flying Circus, please visit https://feverup.com/m/673760?thm=16238&thm_=.

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Steel Magnolias by Encore Theatre Company

19/10/202619/10/2026 Nicole Salinger🥈⚡🎭😂🎪

Steel Magnolias Rating

★★★★★

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In 1985, in a fictional town called Chinquapin Parish, in Northwestern Louisiana, lies an at-home beauty salon owned by Truvy Jones, a happy-go-lucky local hairdresser. She’s young-at-heart, loves the local gossip, and makes women feel loved and cared for in her company.

But this tiny mecca is far more than the sum of its parts. For in this beauty nook, Truvy weaves together a circle of strong, sassy Southern women to gather, connect and socialise.

Women called Steel Magnolias.

In honour of Dolly Parton, who starred as Truvy in the film version of Steel Magnolias in 1989, Encore Theatre Company is proud to present its latest instalment, in an equally nookish theatrette at the Clayton Community Centre.

Where, inside, we are invited into a world of southern hospitality, starting with a gorgeous set design by Susan and Peter Rundle.

The show opens our senses into a bright and colourful space full of nostalgic hair and beauty posters, with a yellow, mint green, pink and turquoise colour scheme, much like a candy shop. Bold on the outside, and sweet and sugary on the inside.

In the first scene, Truvy is teaching Annelle Dupuy, a new employee and hairdressing student, the ins-and-outs of her hair and beauty biz. It is Saturday. A busy day to come. Annelle is nervous. We also learn she is a newcomer to town and seems quite sketchy about revealing facts about her personal life.

Then in walks Clairee Belcher, known as the town’s wealthy socialite. Then Shelby Eatenton, a young 20-something nurse who is getting married, and her sensitive mum M’Lynn, who’s a tad overprotective of her. Then, to round off the women, a human windstorm comes through the sliding door. It’s Ouiser Boudreaux, the old town crow, carrying on and complaining about well, just about everything in her life.

But one thing they can all rely on? Is each other, in good times and in bad.

Speaking of which; we learn that all is not as rosy as it seems. Shelby has Type 1 diabetes, and wants nothing more than to be a mum, but is told that her body is weak and cannot withstand a pregnancy. To prove this point, we are witness to her going into hypoglycaemic shock at the salon, as Truvy is styling her hair. She recovers, but this sparks a warning about her future health. A compelling thread of fear her mother M’Lynn carries throughout the duration of this production.

This show is about the strong friendships these women have with each other, through thick and thin. Through the light and the dark. As such; the six ladies in this cast are all brilliant in their own ways and portray their roles well, thanks to the wonderful direction by Susan Rundle.

Kirsty Hall brings Truvy’s joviality to life, and knows how to delicately balance humour with a great dose of realism. She seemed so natural in this role, and carried this show beautifully from start to finish with great aplomb.

Molly Spencer, as delightful, young Annelle, is instinctually clever in how she embodies this role. In every scene, she commits to every hilarious character moment, yet adapts her role with a great deal of sensitivity. Knowing exactly when to pace, pause, and finally, when to raise the stakes for greater laughs.

Lisa Upson, a late addition to the cast, shines as Clairee. Bringing the exact mix of steely strength, warm sarcasm, and an unwavering will that is required in this role. She is not only believable; but fiercely forthright, and brimming with class.

Glenda May is an absolute delight playing Ouiser, bringing the energy of a shrewish older lady to the fore; yet making her an absolute gem, encased in comedy gold.

Justine Garnes perfectly personifies her role as Shelby, exuding the essence needed to portray a steely Southern Belle. Charming and soft; yet unwaveringly strong. She is a joy to watch.

And finally, Gabby Llewelyn as M’Lynn is the absolute heart of this show, taking us through a roller coaster ride filled with the spectrum of motherly love. She takes ownership of her own emotional wheel – to drive home the experience of a Southern mother in crisis, with soft wings and nerves of steel.

In all, this production of Steel Magnolias was simply beautiful and heartfelt. The cast was superb and I would highly recommend it for a great night out.

To book tickets to Steel Magnolias, please visit https://encoretheatre.com.au/.

Photographer: Dave Swann

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Thinking Pink: Amelie Peters Is Your ‘Emotionally Unstable Godmother’ at Melbourne Fringe

17/10/2026 Nicole Salinger🥈⚡🎭😂🎪

Sink or Sing! A Sing-Along Cabaret Rating

★★★★★

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Inside the ETU ballroom of the Trades Hall, I come upon the depths of a smoke-filled room, with chairs lined up much like a church choir hall, with a six piece band across the back of the stage, seemingly ready to roll.

A bass player. A female drummer wearing a pink cap. A guitarist. A female keyboard player. Even a keys 2. Finishing off with a horn player.

‘A Woman Song’ by Emmy Meli plays overhead. As does ‘Good luck babe’ by Chappell Roan. Pink stage lights beam above, bouncing off the myriad of sparkly items that sit on a prop table: a glittery notebook, a mobile phone, a pair of pink crocs, a bedazzled hairbrush, a makeup pouch entitled ‘passenger princess’, a hot pink beauty headband, and a matching-coloured facial roller.

On the left, and hung on a pole railing, sits a sheer mesh, faux fur trim, long sleeved kimono robe, ready for the taking. Ready to be worn by a bold and empowered performer, Amelie Peters, who, as far as I had read, will aim to take us through a whirlwind, topsy-turvy sing-a-long extravaganza – like no other.

An intro is heard overhead. Of Amelie anxiously getting ready to perform. Putting her heart on her sleeve: at setting the show’s tone from the beginning. So we understand completely, without a doubt, that this show will be an in-depth, thought-provoking look at her life. About the trials and tribulations of a single girl in her thirties, and how she navigates her life in a modern, ever-changing world.

And if I thought this show would be straightforward, it couldn’t be further from the truth. This is fringe, and by fringe, I mean it is meant to be an experience that evokes the unexpected. The opposite of what we expect a show to be.

And Amelie, in sassy sista style, knows exactly what she is doing, as she enters through the back of the room and up the aisle – to the stage, dressed in a pink coat with fluffy, faux fur trim, launching into a harried opening number, showing off her operatic diva style, and letting us know that we must think of her as our ‘emotionally unstable godmother’, and that this is going to be the most intimate 60-minutes of our lives.

Next, she tries to warm us up as if we are in a choir, leading us in singing the scale of DO-RE-MI. I get excited, thinking that she will be coaching us in singing songs that we already know, as she is a singing coach. Songs by Britney Spears comes to mind, or the Spice Girls. Something light, fun and karaoke-like. Something safe and light-hearted.

But as we sing and hold a note, something else happens. Amelie throws out questions to the audience about the lows and lows of online dating and being ghosted.

As we wonder where this is going, I gather that Peters is not only a seasoned contemporary musical theatre performer and a standout operatic warbler, but she also writes songs. And not just any songs about the human condition. But songs that speak of the thoughts that consume the minds of a girl in her thirties, trying to bravely navigate her role in the world. A world where women are still fighting for their own truth. For their chance to shine.

About online dating? Peter’s sings a charming bopping ditty, ‘left, right, left’. Keeping up with the challenging of beauty standards? ‘Lotions, potions and circular motions’ to a 70’s beat. The challenges of driving with a man on a date? ‘Passenger princess’, even inviting a male onstage to hold a steering wheel prop. The value of friendship? ‘I choose mates over dates’. From ‘Life is hard’, lamenting when situations go wrong, to ‘living life filter free’, about stopping our own comparison wheels, to a song called ‘Fairybread’, about ‘adding some sprinkle when you are in a pickle’, Peters sings and story-tells through her songs with the utmost conviction, all of which we are invited to sing-a-long to and absorb along with her.

Peters contemporary musical theatre voice is no doubt superb, and I feel she definitely has the scope to write and perform in this hugely popular ‘Girl Era’ genre, similar to the success of ‘Legally Blonde’ or ‘Heathers’.

If I had to be more critical, it would be that I feel the show needs a bit more structure, if an audience is to be included in the singing. As some songs had lyrics on the projector wall, and some didn’t. I also feel that it could do with better pacing. As in, I would have like to have heard more storytelling monologues without music from Peters, as at times, it was difficult to hear her words with the band playing.

But if you are looking for a pop-infused, funky night where you can just bask in your girly-era, enjoy off-the-cuff singing with great amounts of audience interaction – plus the added bonus of ‘thinking pink’ with a glass of bubbly in your hands, then this is indeed the show for you!

To book tickets to Sink or Sing! A Sing-Along Cabaret, please visit https://www.melbournefringe.com.au/whats-on/events/sink-or-sing-a-sing-a-long-cabaret.

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Gasworks Theatre: A Heartwarming and Fragile Search for Stability

15/10/202615/10/2026 Nicole Salinger🥈⚡🎭😂🎪

Home Rating

★★★★★

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As I enter the Studio Theatre at Gasworks, I am taken in by a solemn scene. A lonesome soul named Steve, wearing a grey jumper and black shorts. Sitting on a plastic beach chair, he is lifting hand weights, doing his daily exercise. He is in an outside area, in between two doors of flats, labelled 32 on the left and 33 on the right. To the right and left of the flat doors? Are miscellaneous shelves and empty pots. Framed by colourful crates. Empty surfaces seeking company. Like potted plants, real or fake. Op shop knick-knacks. Just so one can create a soothing, outdoor living space for themselves.

Or something resembling security. Stability. Consistency …

A safe home environment.

I quickly learn that I am witnessing the lives of those living in emergency government housing. I also learn that nearby, lie the Melbourne docks. From which I gather, the coloured crates may come from. For they are used as makeshift tables here, for neighbours to gather and mingle. To share cups of coffee and biscuits. To connect. To feel wanted, loved and cared for.

At least for a while.

Until it’s time to get back on their feet, and continue on their journeys.

So it is here where we meet three tenants in this said housing block.

Steve, 36, believably-played by Nick Steain, is a gruff Queenslander from Townsville, who has just gotten out of jail four months prior. He longs to head back up to his old FIFO mining job in the sunny north – so he can continue to fly in and out – free from being tied down to any kind of stable existence.

Then we meet Belle, Steve’s missus, a gripping performance by Natasha Broadstock, a mature woman he has been seeing for the last four months since his arrival. Belle has been living in public housing for six years, works at an op shop and knows the etiquette of living in public housing. She is a survivor with a huge heart. She also has had it rough, having wasted many years looking for love, but with abusive men. But her resolve remains hopeful and strong. Hence, she always looks ‘on the bright side’. She makes a great effort to connect and be kind and nurturing to new neighbours who call this place home. Yet, she can be very vulnerable, fearing being abandoned once again.

And finally, there is Jon, a teenage runaway, a convincing and emotionally- giving performance by Tom Purcell, who loves his black ‘Cash’ jumper and lives next door to Steve in Flat 32. We learn that Jon’s parents weren’t stable caregivers, so he truly craves a stable home, where he can feel heard, understood, loved and cared for. Deep down, he longs to connect and feel peace and love from a caregiver. Since this is what he deeply lacked growing up.

The relationship of this trio formulates its own kind of system, thanks to the brilliant direction of Carl Whiteside. Belle urges Steve to connect with newcomer Jon, and helps him feel at home by bringing him plants and garden knick-knacks from the op shop. Within a few weeks, Steve and Jon do connect, and Steve builds a joint laundry line that he and Jon can both share together. Jon gives Steve some of Belle’s plants for him to put in his garden too.

Music works well to help drive the action and transitions of scenes. There is ominous music where there is tension; happy upbeat music when there is harmony; and playful, pink panther-like music when Jon speaks back home late at night from drinking with his mates.

Belle, however, learns she is pregnant. This causes a rift between her and Steve, and he tells her that he had been in jail for the last two years. That he longs to be a FIFO again up north, and has never thought of having kids. Feeling that he is not in the same page as her, she grows desperate to pin him down. She doesn’t want to hear the word ‘no’ from him. He relents and agrees to stay and accept a job instead as a mechanic at the docks.

What’s interesting is the harmony that is forming between this trio. Steve and Belle are becoming the caretakers of Jon, and planning the arrival of their baby. Jon is feeling cared for. He is putting his life back together by working in a warehouse and making friends. Their relationships are building. Things are looking up. Belle is stopping work. Steve has bought a new pram, and promises to finish his mechanics course.

That is, until a letter arrives: that they must vacate the premises in two weeks and relocate elsewhere, as their emergency housing estate will soon be demolished.

Conflicts arise. The fear of instability once again on all fronts. The stress of being homeless. Of lacking employment. As such, these three are forced to go in different directions, just in order to survive.

They are forced to look at themselves, and their true wants and needs, in order to live a future they can be proud of. Even if it means doing it on their own terms.

Even if it means losing the ones they love in the process.

For unlike the steady and stable survival of plants that feature greatly in this work; a safe life for many, is not always guaranteed in this world.

Moreover, this heartwarming production, written by Ros Varley, teaches and educates us about what home and safety can truly mean for us in the modern world.

That home can mean many things to many people. It can be found in human connection. It can be found in self-acceptance. Or, it can be found in knowing our own truth, and loving ourselves because of it.

This is a very important show to see right now, and it has the power to touch the hearts of many. Highly-recommended as part of the Melbourne Fringe.

To book tickets to Home, please visit https://www.melbournefringe.com.au/whats-on/events/home.

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