My favourite part of Fringe each year, is walking into a show blind. Purely based off reviews from friends, a cool poster, the fringe feed, anything – I love not at all knowing what to expect, and being totally surprised. Casey Filips: Virtuoso is the perfect example of this.
A one man play of sorts, we follow the eccentric Tobias Frazier-Finlay through the audition of a life-time. Now, I want you to picture every exuberant, quirky, dramatic character you know combined into one, and that’s the kind of guy we’ve got. Mr. G, Sharpay Evans, even a little Miranda Sings it’s all in there.
The black-box rehearsal room at the State Theatre centre sets the scene perfectly, with Tobias strutting in from the back of the room as if really entering an audition. As with any standard casting call, he opens with a bit about himself, and of course his headshots, giving us a quick taste of his skillset (of which there are many!).
We then jump into a scene read, where he of course displays his natural ability to take notes from the panel (or in this case audience!). Naturally, hysteria ensues. I was amazed by Filips’ ability to not only perfectly mimic audience members but seamlessly taking on their daring requests.
For his final display of talent, we are treated to a – rather interesting – self-devised piece inspired by the majestic life of a manatee that left audiences doubled over with laughter. A big shout out must of course go to the gentlemen called upon to form part of the demonstration, the true star of the show (much to Tobias’ dismay).
Audiences also enjoy brief glimpse into Tobias’ future and where his career lands, a perfect crescendo for a man whose clearly given his life to the arts, but I’ll keep the exact details a secret for audiences to enjoy.
If you ever remember being told by your drama teacher “you have to fully commit to the bit, doing it 50% makes you look more ridiculous” this performance is a fine example. Offering a barrel of laughs and complete and utter tom-foolery in the best way possible from begin to end, this is a fringe favourite certainly not to be missed. Perfectly titled, Filips’ in fact, a Virtuoso.
To book tickets to Casey Filips: Virtuoso, please visit https://fringeworld.com.au/whats-on/casey-filips-virtuoso-fw2026.
Magic and mystery has made its way to Perth’s Crown Theatre, with NOW YOU SEE ME LIVE presenting bold tricks and thrilling stunts to captivate audiences.
Based on the popular movie trilogy, following a band of cunning magicians known as the Horsemen, the story naturally lends itself to a life on the stage. With a fourth film confirmed to be in development, this live adaptation is a great way to tide over fans who are hungry for more.
Throughout the two hour performance we meet escapologist Andrew Basso, sleight-of-hand expert Matthew Pomeroy and grand illusionists Gabriella Lester and Pablo Canovas who take turns baffling audiences, leaving many questioning how their trickery was pulled off.
From card tricks to mind reading and teleportation, there was plenty of action for patrons throughout the night with ample opportunities for audience patience (their faces proving how mind boggling some of these tricks truly were).
Without giving away too much, some personal highlights included a death defying Houdini style escape, and a very impressive maths equation to bring the night to a close – complete with a touching speech about time, and the way we choose to use it.
Outside of some master trickery, this show also had high production value, with immersive lighting and sound design audiences were truly immersed into the world of the show, helping provide the thriller-type feel from the films.
One piece of advice I’d offer to anyone attending the show is to look out for cards on the way in. There was a particular moment, using the entire audience and the ‘cards you received on the way in’ – unfortunately myself and those I was with didn’t get any (though we may have just missed them ourselves) so had to miss out but enjoyed watching those around us. Given the size of the audience and the grand scale of the trick, it was very impressive and therefore a little disappointing to not have been a part of it.
Admittedly there were a few things throughout the show that I’m still skeptical of, but it was clear from the audience’s overall reactions that many were baffled and left wanting more.
This show makes for a great night out for people of all ages, and is a fantastic nod to its roots – don’t wait to pick up tickets… blink and you’ll miss it 😉
Small theatre is always such a joy. Seeing stories created with such a deep passion across all facets of production is so unique and a far more touching experience than say a large national tour. Final Two from Reprise Theatre is no exception to this.
Written by Arthur Brown, the play follows the journey of the last remaining contestants on a Bachelor-type reality TV show who, naturally, summon a ghost of a prior contestant the night before their season finale.
Stepping into the Hayman Theatre (shoutout to all the directions and signage on the way in!) was like reverting back to the 2000s – it was pink, sparkly, and Katy Perry was blaring. While a defining era of ‘when’ the play took place was never stated, I appreciated this nostalgic tone to the show and its consistency throughout.
The five-man cast all gave committed performances earning great reactions for the small but reception audience. Phoebe Eames is well-grounded as Chloe; the unlikely reality show contestant. She bounces well off Maia Whitelaw’s Shaz, the pretty-in-pink, ditsy blonde whose every life choice has led to being on the show. Together the pair are a great yin and yang, working well to propel the story.
Marquis Tajaran was fierce as the hard-done-by Vanessa, dominating the stage with great flair and attitude. While I would’ve loved to see more of Jarrad Whitehurst’s Declan who offered who’s endearing performance (and life) was short-lived.
My personal stand out was Zachary Borthwick as Matt Maker, garnering plenty of laughs with his sass and verve. His portrayal felt quite candid comparatively to his castmates. If I was to offer any feedback, I’d be mindful of projection in such a small venue. It at times felt actors were equating emotion to volume which at times came across a little harsh.
The set was fairly simplistic with two differing room locales on opposite sides of the stage, and a turning truck inviting audiences to a third setting. Designed by Setare Mogharebin it was effective in placing scenes while still leaving the actors space to do the heavy lifting. I do however feel Chloe’s room (in part to the pink walls/bedding etc.) felt more reflective of Shaz’ character than her own, but that’s neither here nor there.
I enjoyed Adrijan Teddy Levis’ direction, particularly the use of the TV style projections/cutaways to showcase the characters’ inner monologues throughout. Pay attention to closing off the audience, as there were a few moments where actors were entirely cut off with their backs to us, losing some of the scene. His slew of masking tape props also did not go unnoticed, a small testament to the clear amount of time, preparation and love put into this production.
The 2025 Curtin Alumni have come together to present a loud, camp and fun production – with Final Two a celebratory display of the cohort’s hard work throughout their studies. Well done to all involved.
How refreshing to see a completely new theatre works here in Perth, clearly crafted with great care and thought. Monopoly: The Unauthorised Musical – whilst not perfect – is a breath of fresh air, offering an eclectic soundtrack, and committed performances across the board.
Originally created as a short-form musical by Jasper Cruden for his final composition assessment at WAAPA, the concept has since been fleshed out to full-length musical, now featuring 42 unique pieces of music (including underscoring) and an expanded story.
A strong ensemble cast brings to life our players (literally), each inspired by a classic board game. Together in a kooky Wonderland-esque realm they band together to take on the power hungry Mayfair.
From the moment you enter the theatre you are drawn into the world of the show, with a suite of board games offered in the foyer for patrons to try their hand.
This show was incredibly cast, with each actor not only physically embodying their characters to a tee but leaning into their archetypes with great energy. Strong performances from everyone – Caleb Haidary is astute and noble as Sir Knight, pining over Georgia Goff’s eccentric Lady Luck. Goff also shows great physicality in bringing to life Madame Charade. Ethan Battle was a livewire as Admiral Cannonblast – showing excellent characterisation and vigour. While Stacey Gobey displays her vocal prowess as the cunning Mrs Wordsmith.
Personal standouts were Mary Carter as the audacious Mayfair, with a captivating stage presence and stunning vocal performance, such a joy to watch. While I couldn’t stop smiling at Jake Battle as Baron Von Strategy, always giving 1000% even when not the focus of a scene.
Jordan Richards as game-opposed Scott had the hardest job in my eyes, portraying an ‘average joe’ among a sea of exuberant personalities. While giving a solid performance, true to his character, it ultimately felt a little flat against the rest of the cast simply given its nature.
I really enjoyed the set in this production, minimal but well utilised – Sarah Halton’s design, built by Henry Howard, featured multiple cut-up, jagged wardrobes – again leaning into a whimsical feel, providing an ambiguous sense of time and place. The crooked pieces also help serve as platforms, tables and cupboards throughout which allowed for fun and varied blocking. Imaginative lighting design from Matthew Roberts was also a welcome addition, particularly in the ‘rabbit hole’ and ‘table flipping’ scenes.
As with any new works there were some areas for improvement. Musically, the score is wonderful, spanning a number of genres while keeping true to the essence of the show. The orchestra (under the musical direction of Jasper Cruden) didn’t miss a beat in bringing it to life. A couple songs I felt were misplaced in their whereabouts of the show but still worked well overall. The vocals were slick with harmonies evenly balanced and blending well, though I feel singers were at times over powered by the orchestra. Diction and projection from most whilst singing could also be improved, especially given this is a new work not already familiar to audiences, and the numerous counter-melodies that feature in the show it was sometimes hard to hear the different layers.
Though not a dance heavy show, Tayah Crothers’ choreography was well suited to the genre and executed with flair, while some of the more sharper moments could have benefited from improved timing.
Ian Tassicker’s script is quite witty, something you wouldn’t expect from the dark tones given off in the marketing of the show. A real pleasant surprise. Personally, pacing was a main area for improvement, with some scenes feeling quite clunky in a very intentional set up to a song, while others were the opposite and felt too quick to jump into another tune. I wonder how much of the original song cycle was featured in Act 1 compared to Act 2 as the latter felt quite rushed and not as thought out, in a bid to wrap up loose ends.
All in all, this show is fantastic – though some elements may need refining, it did not impact my overall enjoyment. For a world premiere of a new musical the Roundhouse team have done an excellent job with their debut production, so with just a few weeks left, do yourself a favour and go and see this lively and unique new work.
