A Queer Little Manslaughter?

A Queer Little Murder

A Queer Little Murder Rating

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My favourite thing about Pride Fest so far is no two shows I’ve seen have been even remotely alike and Savannah Hankinson’s “A Queer Little Murder” was no exception to this. In fact, it was super different from anything I’ve seen recently. The concept is a whodunnit Agatha Christie type murder mystery but everyone is gay. No seriously, Hankinson plays six different, lesbian characters and the whole thing is VERY gay. I loved it.

New York resident, Hankinson, has also trained in London and Russia. As such, her accent and character work were impressive and if she ever messed up switching between all of these, she was able to correct herself in the voice of the narrator and protagonist named ‘Try-Hard’. She mentioned at the start that she had just finalised and printed a new script that day, and I guess that’s Fringe* baby! This was a very meta, intellectual exercise which was a little bit more like going to a script reading crossed with a one woman show. However, there were parts that came more naturally when Hankinson really got into the flow, and these were super fun.

 

 

There were some very funny lines and lots of queer references which made for an enjoyable Tuesday night outing. I usually go into shows without reading much into them, or the performers, so I’ve only just now looked into Hankinson’s bio. She has taken this show to a very impressive list of Fringe festivals including in Hollywood, San Diego and soon she is going to Edinburgh! I see that it has sometimes been a full length play and sometimes the plot has been different, I wonder how often it changes? It would be cool to see Hankinson go script free to really connect with the audience and utilise the space more. Maybe in future shows she will.

My main gripe, as a lawyer, is that the murder was more like manslaughter and the evidence is not assessed very carefully. The whole thing wraps up quite quickly, and I wanted more depth and less background…

The set and lighting were fairly simple, but effective for telling the story as was Hankinson’s costume as ‘Try-Hard’ a pandering softmasc lesbian. There was quite a small crowd on Tuesday night at Qtopia, but everyone was gripped and willing to participate. It was marked as audience participation, so I was mentally prepared for this but honestly there could have been more!

Overall, Hankinson was a wonderful performer and I really liked the concept. A must see for anyone who loves crime shows and/or is gay.

*/Fringe adjacent festivals like Pride Fest

To book tickets to A Queer Little Murder, please visit https://tickets.qtopiasydney.com.au/Events/A-Queer-Little-Murder.

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Possession

Possession

Possession Rating

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1

This was a wonderfully modern and powerful celebration of opera. The concept of the show grabbed me from the outset and I was excited to see the stories of such powerful women, who are often left out of the history books, be showcased. From the moment you stepped down into the Substation, the room was captivating with very effective lighting and projections.

Ruth Strutt was extraordinary. What a voice! And she had a very strong stage presence. I’m sure that even people who don’t like opera would have enjoyed this display of talent, charisma and professionalism. A show like this is also perfect for people who have never been to the opera before, as the storytelling and art were very accessible in ways that traditional opera may not be. The set was simple but very effectively used with the whole space being considered and maximised. The music, played on piano by Michael Curtain, was flawless.

The show was divided into three acts, one for each Joan of Arc (who needs no introduction), Sappho (who is a Greek poet and often quoted as the first woman to express desire for other women) and Ethel Smyth (who was a composer and key figure in the United Kingdom’s women’s suffragette movement). The factor linking all these women together was their being possessed by something. For Joan of Arc it was the voices in her head (which she believed to be God), for Sappho it was this ‘unnatural’ desire for other women, and for Ethel Smyth it was her music, which was never accepted as mainstream because she was a woman.

 

 

Each act started with a key speech from the time or movement that the woman was a part of. There was then an operatic number which told a story about the woman, all the while the translations were shown on the projector behind. I really liked the projections for the Sappho act, they were twisted into a cleverly modern interpretation. My only exposure to opera has been the very long and hard to follow Turandot, and the more accessible La Bohème so it was brilliant to hear opera in English during the Ethel Smyth part of the performance.

The audience were enthralled for the entirety of the performance, with the only down moment being during an instrumental piano piece, Nocturn, from 2 Canons by Ethel Smyth where Strutt left the stage. The room was full as well, which was really lovely to see on a rainy Sunday evening. I only wish that the three distinct stories had been tied together at the end. Perhaps, rather than such a long introduction having a little final word to link the three would have been good as the performance ended rather suddenly.

Overall, this show is a really fantastic first foray for anyone wanting to experience the beauty that is opera in a modern take with an important message.

To book tickets to Possession, please visit https://tickets.qtopiasydney.com.au/Events/Possession.

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Do You Want Lies With That?

Do You Want Lies With That?

Do You Want Lies With That? Rating

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I love Fringe festivals. And Qtopia’s Pridefest is essentially a Fringe festival for solely queer art so it’s even better! One of the highlights of Fringe is diversity in programming and everyone having space to produce their weird and wonderful shows. On Friday night, I got to peek inside Burger Queen’s mind for an hour. She put on a cabaret/comedy hour about being fiercely queer, proud of yourself and maybe just a little bit jaded with the current dating pool in Sydney.

Though there was only a small crowd on Friday, Burger Queen had something about her that made us want to participate and bring the energy to the room. She is a drag performer from Western Sydney who considers herself an elder queen, a queen of wisdom and advice for younger queens as evidenced with her friendship with Anita Book. Their intergenerational friendship was platformed throughout the show and this was very heartwarming. Anita is a young gun queen who I’m sure has a wonderful drag career ahead of her. She treated us to a lipsync of a classic 80s Bananarama banger in which her attitude and charisma were palpable.

There were some great song choices in the and Burger Queen’s voice was well suited to many of these, especially the song from Muriel’s Wedding. I especially enjoyed her original song which was called “All You Can Eat” – I can’t wait for this to come out on Spotify. Truly inspired. Some of the other songs could have done with some editing, sometimes you can get your meaning across and keep the show moving in a more punchy way by slicing up the songs a little.

 

 

I really enjoyed Burger Queen’s vulnerability. At the beginning she seemed nervous as she wasn’t connecting with the audience much. However, a couple of songs in and with some chatting, she opened up and was both engaging and endearing. Her comedy was relatable, though at times repetitive and often self-deprecating. I loved the cheekiness of referring back to notes (and perhaps resonated with the neurospiciness of this) although I do think this made it harder at times to connect with the audience. It seemed that perhaps every show Burger Queen does is different, depending on how she feels on the night. The show I saw didn’t hit some of the points I was looking forward to based on the description, namely grumpy customer service and an indictment of capitalism.

I would have liked to see Anita Book take a more active role, as it became a little one note with her reading on the side, maybe she could have passed the black folder to Burger Queen, been a back up dancer for some songs or helped facilitate an outfit change to add some dynamics to the staging and the show. The lighting was well utilised and the conversational tone of the show put the audience at ease.

Burger Queen’s subversive statement of wearing crocs on stage and the idea of the costuming, aka wearing whatever you want was powerful, but I believe there could have (always) been more rhinestones. Overall, this show was a big fuck you to the expectations placed on performers and was a really gritty, fringe style, self-produced chaotic hour in a way that makes you love it.

To book tickets to Do You Want Lies With That?, please visit https://tickets.qtopiasydney.com.au/Events/Do-You-Want-Lies-With-That-.

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Recovering Eldest Daughter

Recovering Eldest Daughter

Recovering Eldest Daughter Rating

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Rachel Tunaley’s “Recovering Eldest Daughter” was a riotous way to spend Saturday night. It was her first time performing in Sydney but not my first time watching her perform. I saw her show “Motion Sickness” in Adelaide Fringe in 2025 and absolutely loved it, so I was very interested in seeing what she had cooked up this year. The show’s description gripped me from the outset with mentions of mental illness and eldest daughter syndrome, and it did not disappoint. However, I do not think you need to be an eldest daughter to enjoy the show. It was cleverly Australian and relatable for anyone who has dealt with a perfectionist, overbearing, control freak in their life or just has a family really.

I attended with my housemate and we have both been dealing with another, departing housemate who has her share of mental illness and neurospiciness. “Recovering Eldest Daughter” was the collective, cathartic release we, and all the audience, needed. Rachel cleverly used audience participation to keep engagement and make it feel like a group therapy session. Her connection with the audience was electric and quips breaking the fourth wall were inspired, especially when she was admonishing us for laughing hard in a “serious” song or commenting that she couldn’t have “made it” since she didn’t have a full house. My housemate and I did not stop laughing through the whole performance.

 

 

Rachel used brilliantly simple lighting, staging and props to convey big ideas. I always love shows that use a projection to their advantage, especially in this age of social media. Recovering Eldest Daughter did this extremely well with real clips from Rachel’s life showcasing that she has always been a self-proclaimed “Drama Queen”, as well as lyrics for audience sing-a-long participation and really driving her points home visually. Straight away we knew who she was and where the show was going which is reassuring as an audience member. Voice over was also used to add layers and introduce us to other characters though it was just Rachel on the stage.

When I saw motion sickness (if I remember correctly) Rachel was using songs we knew but changing the lyrics to fit the story. This time, it seemed to be original music and that she has found her own voice and something more to say. The pace was perfect, it allowed you to really take in the message but we were not able to get bored. Rachel is a very talented performer with a powerful voice and not only for cabaret or musical theatre style tunes but busts out into rap too. Her dancing and physical comedy was hilarious and she really committed to the bit. “Intrusive thot” was a huge highlight for us, we even bought merch! Throughout the show, Rachel was very open and vulnerable, sharing quite a personal story about her journey to acceptance of her mental health diagnosis and work healing her inner child. Who knew it was as simple as a cheeky dopamine purchase!

I highly recommend seeing this show while Rachel is in Sydney, it’s a very professional and personal take on musical comedy and I think it won’t be long until she is off to Edinburgh!

To book tickets to Recovering Eldest Daughter, please visit https://tickets.qtopiasydney.com.au/Events/Recovering-Eldest-Daughter.

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