Funbelievable – Hypnotist Matt Hale

Funbelievable - Hypnotist Matt Hale

Funbelievable – Hypnotist Matt Hale Rating

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Matt Hale makes a triumphant return to his hometown of Perth with his feel-good, sing-along brand of hypnotism.

The Planet Royale Theatre, situated upstairs from its namesake bar/restaurant/arcade, is an ideal venue for a relaxed Fringe season, and certainly one that complements the 90s nostalgia of Hale’s show (Tip: Treat yourself to a burger and a round of pinball before the show).

Before Hale’s entrance, we are treated to a pre-show presentation featuring deep-fake versions of Hale as various 90s stars such as Mattdonna and Jamattroquai.

A big reservation I have with interactive performances, is the fear that I will be unwillingly called upon by the host. If you share a similar concern, fear not! Hale’s show relies on enthusiastic volunteers, as he prefaces that no one will ever be forced up on stage (“Why would I do that? I want you to want to be up here!”, he says).

Twenty chairs lined the stage, though more were brought on to accommodate the influx of volunteers. Modesty covers were also offered to some ladies wearing skirts and dresses, which was a subtle but appreciated detail that demonstrated the respect Hale has for the participants and their comfortability.

Hale has a knack for putting the participants at ease – so much so that I, watching safely from the audience, found myself breathing deeply along with the volunteers. He also prefaces not to take offense if participants are asked to return to your seat, stating “You will enjoy the show much better from the audience”.

 

 

The participants go through several trials of susceptibility and influence before being cast into starring roles of their own, varying from indulgent singalongs, to apologetic interruptions. The few that remained on stage until the end became micro-celebrities, being stopped and congratulated for their performances upon the show’s end.

I spoke to two stars from the show, Sarah and Yelda, and asked how they felt following their experiences. Yelda said they felt like they’d sunken into their chair and was extremely relaxed. “I’m also very susceptible – I fall for marketing stuff all the time!”
Sarah wowed audiences with her enthusiastic Macarena, to which her friends commented, “That’s how she normally dances!”

I would highly recommend volunteering yourself for a show. The worst that can happen is you are not easy to hypnotise, and are asked to sit down. Embarrassment is not the goal of Hale’s hypnotism.

It is clear that Matt Hale holds a tremendous amount of respect for his participants, as they put their trust in him and are voluntarily vulnerable. To also have an audience who were largely return customers was also a great indicator of Hale’s abilities to charm a room and put on a show.

So if you Wannabe driven down memory lane by the Vengabus, Let Matt Entertain You with this hypnotically feel-good return to Fringe.

To book tickets to Funbelievable – Hypnotist Matt Hale, please visit https://fringeworld.com.au/whats-on/hypnotist-matt-hale-funbelievable-90s-rewind-fw2026.

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Here You Come Again

Here You Come Again

Here You Come Again Rating

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4

“Are you a Dolly fan?” The man beside us asks before the show starts, but I’m not sure how to respond. Admittedly, I only know her three big songs (I’ll let you guess which), but never have classified myself as a fan. However, after this evening, I think I may have changed my tune.

‘Here You Come Again’ is an uplifting story about love, music, joy, and hope, set in a time many of us would like to forget. Yes, the ‘unprecedented times’ of early COVID lockdowns. Dash Kruck plays Kevin, an aspiring (and struggling) comedian, forced to social distance in his parents’ attic. Without work, a partner, or any hope for the future, he turns to his record collection and asks, “What Would Dolly Do?” As if by magic, Dolly herself, played by the show’s co-creator Tricia Paoluccio, manifests from a life-sized poster, breaking out into the titular number Here You Come Again, and guiding him along a journey of self-love and realisation.

Kruck’s portrayal of Kevin’s self-worth issues was extremely resonant, particularly as a creative. The struggle of not feeling worthwhile as a person seeping into your creative output is something I, and many others, could understand. Kruck brought a vulnerability and earnestness to the role that was deeply sympathetic, while also playing off Paoluccio’s comedic energy and shining in his musical performances.

Paoluccio’s performance was more than an impression of Dolly – it was an embodiment. Her vocals stunned, not only in quality and style, but also in likeness. Her cheeky comedic timing and infectious positivity was well-received, as she played into the less-serious components of the Parton persona (“It costs a lot of money to look this cheap!”).

Despite the story not being centred on Dolly, Paoluccio sprinkled the occasional tidbit throughout her chats with Kevin, such as her losing a Dolly Parton look-a-like contest. The mention of her marriage to Carl Dean was touched with a layer of sadness, given his recent passing in March 2025, yet the 60-year-long relationship was honoured with grace and love.

 

 

The ensemble was fantastic, not only contributing as minor characters throughout, but also singing, dancing, and playing alongside the live band. Kellie Rode was lovely as Kevin’s germophobic but well-meaning mother and was a great contrast to the gruff (but also well-meaning) Andrew Worboys as Kevin’s dad, who additionally led the band as the musical director and keys player. Rode was joined by fellow WAAPA graduate Bailey Dunnage, who played Kevin’s ex-boyfriend Jeremy. Dunnage also demonstrated some Magic-Mike level dancing (choreographed by James Maxfield) during the number Why’d You Come in Here Lookin’ Like That, in which we are also treated to a performance from Kevin’s drag persona, Polly Darton. Rounding off the ensemble was Laura Joy Bunting, who played the abrupt and bitter Tish, Kevin’s boss, as well as accompanying the band with acoustic guitar and lovely backing vocals.

Despite the singular location, the detail of the set kept you interested, with posters, stickers, toys and junk spread across the stage, making for an authentically lived-in environment. The Australian Adaption team (Fiona Harris & Mike McLeish) did a wonderful job in collaboration with designer Paul Willis in adding Australian iconography throughout, such as Humphrey B. Bear, a Milo tin vase, and kookaburra song over the eucalyptus backdrop. The lighting, by Jason Bovaird, was also fantastic, particularly during musical numbers and special effects moments.

The only detractor from the evening was during the finale, in which an overly enthusiastic audience member hopped on stage for an impromptu dance. While certainly indicative of the energy and vivacity in the room, it was a moment that should’ve been for the musicians to receive their flowers, and was disrespectful to the band, stage crew, and theatre staff. Congratulations to Tina Harris, Luke Herbert and Ash Murdica for handling the situation with such professionalism, while making the rest of us dance in our seats.

Whether you’re a huge Dolly fan, barely know her, or are somewhere in between, ‘Here You Come Again’ is an inspiringly joyous show that is sure to leave you smiling, and your toes tapping. I, for one, am certainly inspired to spend more time with Dolly myself.

Recommended: Dress in true Dolly fashion – however you like! (Though rhinestones, cowboy hats, and denim are strongly encouraged!).

To book tickets to Here You Come Again, please visit https://hereyoucomeagain.com.au/.

Photographer: Cameron Grant

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Suite Surrender: Presented By Endeavour Theatre

Suite Surrender

Suite Surrender Rating

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3

It’s 1942 and the Palm Beach Ladies for Unity – or P.B.L.F.U. – are running a show to support the war effort. Headlining is starlet Claudia McFadden (played by Jen Demeza), known for her quick temper and tendency to throw bellhops out of four-storey windows. Unfortunately for McFadden, Athena Sinclair (played by Margaret Costantine) is also on the bill – known for her flirtatious nature, her countless ex-husbands, and being McFadden’s archrival. However, disaster strikes when the two starlets are assigned to the same hotel suite, and a beautiful dance of avoidance and misdirection ensues, as all parties try to ensure Sinclair and McFadden never see each other.

The show delightfully builds to the moment of dread when the two cabaret queens finally clash, teasing the audience with every near miss. The multiple doors on stage (crafted by Patrick Watson) allowed for some great comedic moments, particularly with the constant comings and goings of the players.

This show’s ensemble cast worked together seamlessly, each creating their own individual disasters that coalesce into one glorious mess by the finale. Jen Demeza as Claudia McFadden upholds a classic Hollywood air akin to Grace Kelly, though she does not shy away from the starlet’s grouchier moments. Margaret Constantine as Athena Sinclair was deliciously devilish, prompting an audible gasp from the audience upon her first entrance in a glimmery, sequined gown. James Fraser’s Mr Dunlap was a strong pillar of the show, juggling several crises at once, while keeping (or, trying to keep) a calm visage. Chris Johnson was fantastic as McFadden’s assistant, Pippet, sharing great chemistry with Fraser and Demeza in particular.

Amy McDonnell was sweetly stressed as Sinclair’s assistant Murphy, demonstrating the strongest American accent out of the cast. James Manson, as bellhop Francis, also had great chemistry with McDonnell, prompting a cheer from the audience during one of their shared scenes. Manson was also a good contrast to Darragh Browne’s Otis, who bumbled and fawned over the starlets with such earnestness, and provided two of the show’s biggest laughs. Despite the occasional need for prompting, Denise Mignon and Rosanna Baccala were surprising comedic additions as nosy reporter Dora Del Rio and P.B.L.F.U. chairwoman Mrs Osgood, providing unique physical and musical comedy.

While the show opens with some big-band jazz, it would’ve been great to have some playing pre-show, to set the tone and immerse the audience further. I thought some of the dialogue could’ve been a bit faster paced, but the energy was high and consistent nonetheless. I also hoped for some more variety in blocking, particularly in scenes with more than two characters as it had the tendency to become quite static at times.

It is clear that Suite Surrender has been made with love, dedication and detail. The set (by Patrick Watson) has been fitted with multiple doors, room for a piano, and a built-in robe, and is decorated with Van Gogh paintings, a gold bar cart, and a classic American flag. There has evidently been a great deal of research into the costuming (by Linda Thompson), hairstyles and makeup (by Penny Chambers) of the 40s, and it certainly pays off. Each player looks stunning in their costumes, with some great contrasting colours and textures contributing to the characters’ conflicts.

For a genre that is often overlooked in the modern day, farce is Endeavour Theatre’s specialty, and Suite Surrender proves this beyond a doubt. If you enjoy classic comedic theatre featuring too many doors, a tiny dog, and an absurd amount of long-stemmed white roses, check in to the Palm Beach Royale Hotel and stay a while.

To book tickets to Suite Surrender, please visit https://www.endeavourtheatre.org.au/.

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