3 Malaysian Allstars Bring their Culture and Laughs to the Sydney Comedy Festival

Malaysian Comedy Allstars

Malaysian Comedy Allstars Rating

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In the Sydney Comedy Festival’s showcase, Malaysian comedians Kavin Jay, Rizel Van Geyzel, and Papi Zak took to the stage at the Riverside Theatre. They delivered a set filled with relatable anecdotes to an audience, the majority it seemed from their mother country, of their cultural observations. Their performances provided not only a glimpse into Malaysian life but also a humorous take on the quirks of everyday experiences in family and social life.

Kavin Jay opened the night with a blend of storytelling and observational comedy. His routine featured hilarious tales about his family, particularly his “Drugstore Aunty,” who dispenses medication to relatives for every conceivable ailment, even ignoring the seven year use-by date! Kavin Jay related personal stories and showed some into cross-border humour, joking about his neighbouring country, Singapore. His quips about the low crime rates there led to some laughter, especially the absurd image of a car chase lasting only 15 minutes before the criminal had to turn back due to the country’s tiny size. Kavin Jay’s jokes ventured into talking about everyone’s favourite topic- food. I particularly liked his view of the good old Bunnings sausage sizzle, as a culinary adventure fraught with danger.

Papi Zak followed Kavin Jay. His routine was a vibrant mix of observational humour and playful banter. He had a good rapport with the audience, which was a natural follow on, having had experiences hosting TV shows like The Halal Foodie and Happy Endings. Papi Zak was not shy about celebrating his own generous size, calling himself “Malaysia’s biggest comedian, (in size!)” and sharing his experiences with food and getting away with breaking some rules, by speaking in his American accent. It was funny to hear Papi Zak tell his stories in his American accent and peppering in Malaysian traditional sayings of “ay -yah!” and “lah!”. It was clever of Papi Zak to integrate Sydney’s unpredictable weather into his comedy routine, given our changeable current day to day weather, and this bit of localised humour enamoured him to the crowd.

Rizel Van Geyzel rounded out the trio with his positive energy that kept the audience engaged. Rizel’s easygoing retelling of stories relaxed listeners. One stand out part of the set was when he unveiled the ‘world’s sexiest Asian accent (according to a survey)’ -the Filipino accent! The introduction to this topic was entertaining, particularly with his anecdote about mishearing something a Filipino waiter had asked him, which had the audience in stitches.

His humour poking fun at himself shone through when he joked about being half Chinese and his amazing ability to grow facial hair, which perhaps some Chinese men relate to – as they are generally not seen with full beards and moustaches!

Another amusing moment was when Rizel talked about the Malaysian cultural practice of taking off his shoes when he went inside his non-Asian friend’s house. This personal story, where this custom was met with confusion by his friends, was enjoyable.

The night took a fun twist when Rizel introduced a special guest, Thomas, whom he had met on a plane on the way to Australia. Giving Thomas the chance to perform stand-up added an unexpected yet enjoyable element to the show. Thomas’s joke was well-received, and watching a comedian support a fellow funny person by giving him the opportunity to perform on stage and share his joke, was truly heartwarming.

Together, Kavin Jay, Papi Zak and Rizel offered an evening that celebrated not only the richness of Malaysian culture, but also the universal language of laughter. Their ability to weave personal narratives with broader social commentary left the audience in a good mood. Their performances were a testament to the power of comedy in bridging cultural gaps and highlighting shared human experiences.

The Malaysian Comedy Allstars was hosted at the Lennox Theatre inside Riverside Theatres in Parramatta and is part of the Sydney Comedy Festival.

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Lord Arthur Savile’s Crime: Planning the Perfect Murder Can Be Chaotic!

Lord Arthur Savile's Crimes

Lord Arthur Savile’s Crimes Rating

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1

Published in 1891 as a short story by Oscar Wilde, Lord Arthur Savile’s Crime was the basis of this satire adaptation by Constance Cox and presented by the Genesian Theatre Company. Although I had previously seen productions over many years at their historic 70-year venue on Kent St in Sydney’s heart of the city, this was the first time I had seen a Genesian Theatre Company’s production in 2025 in their purpose-built new theatre. Lord Arthur Savile’s Crime was performed in their new venue at Rozelle, complete with high ceilings, air conditioning, with every comfortable plush seat having an unobstructed view of the stage.

It is the late 1800’s and Aristocrat Lord Arthur Savile (Brock Cramond) is engaged to Sybil Merton (Catherine Layard), the daughter of haughty Lady Julia Merton. Lady Julia, portrayed with relish by Roslyn Hicks, clearly doesn’t approve of Lord Arthur as a suitable husband for her beloved daughter. Roslyn’s performance as Lady Julia was a standout. Her disdain towards her future son-in-law, highlighted by her finger pointing and sharp words, as well as her outrageously ostentatious white bird hat, made the audience laugh many times! With the hope of getting a dire warning and thus having an excuse to cancel the engagement, Lady Julia brings a famous cheiromantist (fortune teller) Mr Podgers (Kees Harmsen), to see Lord Arthur, who predicts the past and future by reading palms. Kees’ portrayal of a serious soothsayer was excellent, and as he loomed over Lord Arthur, cloaked in a dark suit wearing a black tophat, he created a sense of mystery and foreboding, and was reminiscent of a human grim reaper. Well done to the costume designers, Molly Haddon and Susan Carveth.

Mr Podgers predicts that Lord Arthur is going to commit a crime of the most serious nature – murder! He keeps this news from Lady Julia, and admits it only to Lord Arthur, who then decides he must complete this murder before his upcoming marriage. With the help of his loyal man servant Baines, impeccably dressed in a black suit with tails (Oliver Harcourt-Ham) Lord Arthur goes about planning to poison his dear Aunty, Lady Clementina. The circumstances surrounding this murder change as he tries to implement his plan, and the audience is left holding their breath waiting to see what happens. Lady Clementina was portrayed by Diedre Campbell, who created a character that was so likeable, it left me hoping she wasn’t going to be a victim.

The following attempts as he goes through his possible family murder victim list, conveniently given to him by an earnest and helpful Baines, involve his other Aunty, Lady Windermere (Julia Burns) and the Dean of Paddington (Christopher Hamilton). Involved with the planning and the supplier of certain possible murder items was a member of the Anarchy Society, Herr Winkelkopf, played with comical overzealousness by Sebastian Lodge. His interactions with Lord Arthur and Baines were earnest in his offer to help, and providing items of the explosive type, (that may or may not work, no spoilers) was one of the highlights of the play. The scene where he was delivering a ‘bomb’ dressed in the exact two shade colours of the wall, so as to ‘blend in’, was hilarious!

A supporting character, Maid Nellie, (Amy Silvana Thomas) added to the wealth of the Savile family. At one point, whether intentional or not, I got the impression that Nellie may be more than whom she seems with her intentions.

The playwright’s characters are quite the caricature of Britain’s high society’s wealthy people, as well as the hired help. Every character had some funny quips, which made the 2 hour, 10 min play flow at a good pace.

The music was suited to the era and emotive theme. Sound Designer Rhea Moloo set a scene of intrigue and trepidation during the introduction and interval, with classical songs, such as Palladio by Virtuoso and Ivan Dohovic, Concerto in G Minor and Flight of the Bumblebee.

Lord Arthur Savile’s Crime was masterfully directed by Molly Haddon and has all the elements of a traditional Victorian Crime – with the murder choices popular during that time, spliced with comedic drama. There is the underlying sense of social class motivations of mixed-up morality, as Lord Arthur is continually supported by ‘his people” as he desperately tries to fulfil his supposed future murder prophecy. The result is a very satisfying comedic play with unexpected twists!

To book tickets to Lord Arthur Savile’s Crimes, please visit www.genesiantheatre.com.au.

The Genesian Theatre
2B Gordon St, Rozelle
25 April – 7 June 2025
Running time: 2 hours 30 minutes (including 20 min interval)
Tickets: Full $35 / Concession, Groups 10+ $30

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Brown Women Comedy Performance: A Light Look at Being a Brown Woman

Brown Women Comedy

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Deciding to be a comedian professionally is probably one of the bravest steps someone can take.

Some people are naturally funny, others are talented writers who have the skill to take a situation and focus in, give it a tweak and make it sound hilarious. From the many comedy acts I have been to, almost all comedians poke fun at their occupation in their set, and point out how poor they will be all their life. Brown Women Comedy, featuring four bold Indian and South Asian Australian comedians, did indeed broach this.

The first comedian, Niv Prakasam, extended this line of thinking and talked about her job as being someone who was simply carrying forward a family tradition, that of Generational Debt! I have heard other comedians talk about how disappointed their parents are, that they’re not a lawyer or a doctor earning the big bucks, but Niv swung this joke around with her Generational Debt take, and it was refreshing.

Niv spoke with the easy-going flow of a seasoned performer and was a wonderful opening act. I really enjoyed her stories about coming from a conservative country and how different Australia is from her home. She took this topic and brought a whole lot of different and amusing tales, some involving arranged marriages, what it means to hug, or hold eye contact with someone (that’s it, you’re now betrothed) and the audience reacted very well. Niv was able to incorporate the audience into her act, making them feel comfortable whilst talking to them.

Ramya Ranapriya followed and continued to make the audience laugh. In her set, she told stories about situations in her country. She talked about family (of course, the in-laws got a mention, but not even Grandma was spared!) and her dynamic views of the ever-changing world of becoming a mum reached the audience’s heart. Her stories from when she had a newborn and was bombarded by requests from everyone to meet her little one was relatable to many people – such as the endless stream of visitors (the quick look of the men visitors versus the delight of women visitors inhaling the scent of her baby) and was very funny. As was her take on how visitors brought money as gifts when they came – but I won’t spoil Ramya’s jokes by relating them.

Founder of Brown Women Comedy, Daizy Maan, followed Ramya. Her impressions of her friend’s friend made people laugh, and she cleverly circled back to this particular joke to close her set. Daizy told tales about her family, sharing some funny experiences ranging from her mum’s roti to awkward moments, which had the audience cringing in sympathy. One of the funny moments for me was something her mum said to one of Daizy’s friends, about her thighs! It is still quite an Asian thing for the older generation to comment about one’s weight, and this made the audience laugh.

To close the performance, Guneet Kaur came on, and brought another dimension to the show. She delivered her comedy set with a deadpan coolness, and this worked to bring out the joke’s meanings even more. Her stories about dating and being a racial chameleon were hilarious, as were some stories about dating, bisexuality and how lies can go wrong when making up a false family!

The four womens’ comedy acts were all different, with each comedian bringing another side of being a woman into the show. It was an all-rounded show, incorporating sexism, feminism and racism into 2025 and the modern Aussie world. If you feel like a break from the real world, a comedy show should whisk you away. Brown Women Comedy does just this – these ladies will whisk and stir up your funny bone and imagination, at least for an hour!

Brown Women Comedy was hosted at the Lennox Theatre inside Riverside Theatres in Parramatta and is part of the Sydney Comedy Festival.

Performances: 23 – 25 April 2025
Riverside Theatres. Corner Market and 353 Church St, Parramatta
Tickets: $44
www.riversideparramatta.com.au

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New Theatre’s Fighting: A Captivating Insight

Fighting

Fighting Rating

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4

What’s involved in one single day in the life of you?

Do you wake up, have an ordinary and satisfying day at work, return home and feel contented with life? If you do, then you are lucky. In “Fighting”, now performing at the New Theatre in Newtown, Character A struggles through just one day of his life, and we are in the front seat, travelling along his emotional rollercoaster with him.

“Fighting”, written by Xavier Coy, is about the highs and lows of someone with bipolar disorder. Having been diagnosed with bipolar during the 2020 lockdown, the playwright felt that the disease had previously been portrayed on-screen as someone who was “crazy”. Xavier wanted to write a play dedicated to authentically depicting the complexities of living with bipolar. Written as a dark comedy, “Fighting” won the Silver Gull Award in 2022.

Sound designer Mehran Mortezaei’s choice of the opening song was perfect. Nirvana’s “Lithium” with lyrics such as “I’m so ugly”, “I’m so lonely” and “I love you, I’m not gonna crack” hints at the character’s struggles of self-loathing and internal angst, yet also has the strength and will to keep going, to survive.

Character A wakes up and is immediately inundated with noise and voices. Character B, played by Sophie Highmore, is one of hope. She is encouragement; the calm voice of reason who reminds Character A to do the exercises recommended by his psychologist when he feels anxious or heightened. Character C is the voice of melancholy. Played by David Woodland, Character C is easily recognised as one of chaos, self-loathing, destruction, and darkness.

Jay James-Moody as Character A pulled me into his world immediately with his fast-paced self-talk, a dialogue of descriptive analogies of how his body is feeling as he navigates through his workday. He is a Vodaphone salesman at a company owned by a couple, a woman in her sixties named Helga and her older partner Cliff, who have an active sex life and don’t mind sharing details with Character A. This causes him to be very uncomfortable yet, at the same time, provides a lightness to some heavy scenes. Helga, played by Sophie, is a caring boss. Cliff is a pensioner, an elderly gentleman and David’s interpretation of this character is hilarious, right down to his mannerisms – a comedic tongue popping out as he speaks needs to be mentioned!

In the course of his day, he comes across different customers, also played by Sophie and David. These customers add a scatter of comedy amongst some darker scenes. These customers are all different. Some are odd, such as the ‘conspiracy theorist’ (“you lost the sale of someone who came in wanting to buy a phone”- taunts Character Chaos). Another is a nonchalant customer (“Why even bother?”), a young teen reminiscent of a fourteen-year-old bubble tea drinker with clearly no serious plans to purchase a phone or a plan, and a customer Character A in Salesman-on-Fire mode pitches to and convinces him to buy a phone and “Be here! Be now! Be Somebody!”

Character A still holds the pain of grieving the breakup of his former girlfriend, and Jay’s portrayal of this is sharp as he tries to use strategies throughout the day to remain centred in the moment after he sees her when she enters his Vodaphone store and back into his life unexpectedly. An upcoming date and all the customers give the audience a chance to witness Character A’s fluctuating moods, from one scale of calm to the other end, hypermania, along with Hope and Chaos’ responses to these situations.

Throughout “Fighting” there is no silence, no peace for the protagonist, and it is exhausting for him. There is only Hope’s guidance and Character C’s sharp barbs, his pointed and specific insults that result in intense self-loathing. At one point, David’s portrayal of Character C‘s unrelenting mocking and scornful words combined with him physically circling him and the loud fast heartbeats of the sound design combine to create a breathstopping scene. Even Hope’s words, his own voice of survival, is silenced during this scene. The lighting by Robin Legal highlights Character A. This scene is a culmination and very intense, and there is a trigger warning of suicidal ideation in this play.

Director Xavier Coy’s production is emotional, the scriptwriting and acting of the company has successfully portrayed the disintegration of the mind, the feeling of being a stranger in a world always on the outside looking in and a loneliness that comes along with someone suffering from a mental illness such as bipolar. We felt it here, and it is a place that no one would choose to be.

“Fighting” is playing at New Theatre, 542 King St Newtown from 18 March – 12 April 2025.

Tickets: www.newtheatre.org.au/fighting

Full $37
Concessions, Groups (6+) $32
New Theatre Members $25
Thrifty Thursdays $25
Preview $20

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