A Bold, Witty, and Unflinchingly Honest Exploration of the Human Psyche in Musical Form

Initial Consult: Taking diet culture to therapy

Initial Consult: Taking diet culture to therapy Rating

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Charlotte Grimmer’s Initial Consult- Taking diet culture to therapy (2026 MICF) at The MC Showroom is a bold, witty, and unflinchingly honest exploration of the human psyche. Grimmer is a graduate of NIDA Acting program, a high school dance and drama teacher. Charlotte has performed this show in Edinburgh, Sydney and the Adelaide Fringe Festival.

Bursting straight through the waiting room, Charlotte Grimmer’s initial court-mandated therapy session begins-and we, the audience find ourselves cast as the therapist. This fresh and fearless musical invites us into a hilariously triggering session filled with tap, rap, dance, and masterful keyboards. Grimmer’s performance showcases her diverse vocals, sharp wit and impressive comedic skillset.

The shows engaging narrative grapples with mental health, diet culture, perfectionism and the messy nuances of how we cope. Charlotte works the packed audience brilliantly- making pointed uncomfortable and knowing eye contact with every “therapist” in the room in moments that are at once awkward, hilarious, and deeply relatable. One moment the audience squirms, triggered and defensive: the next, they erupt with applause and laughter.

 

 

The stage is set with minimalist flair: a chair, a keyboard, and a side table adorned with tissues, a plant, and a pot. By the end of the performance, it resembles the floor of a teenager’s bedroom. Each prop is purposefully placed and thoughtfully used. Grimmer’s inventive excellence is evident in every detail—every movement, and exaggerated facial expression, and lyric is meticulously placed—creating a remarkably clever and cohesive piece highlighting Grimmer’s inventive flair and keen attention to detail.

Sadly, Melbourne, Charlotte Grimmer has wrapped up her season and is heading back to Queensland. The MC Showroom is conveniently located near plenty of pubs and dining options and has a licensed bar for enjoying a drink during the performance —ideal for steadying one’s nerves before this funny therapeutic ride. Patrons should note that accessibility is limited, with 25 stairs and no all-access bathroom.

In a thoughtful touch, Grimmer acknowledges the show’s potentially triggering themes, directing audience members towards support organisations such as The Butterfly Foundation. This thought-provoking and playfully disarming performance will follow you home.

Deliciously daring, Initial Consult- Taking diet culture to therapy (2026 MICF) is the kind of performance that makes you laugh, wince, and reflect—sometimes all in the same breath. Side effects may include sore cheeks from smiling and the sudden urge to book a therapy session… or a tap class.

Love Aunty Kylie xo

To book tickets to Initial Consult: Taking diet culture to therapy, please visit https://www.themcshowroom.com/whatson/melbourne-international-comedy-festival-2026-initial-consult.

Photographer: Joel Devereux

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Lots of Pop – Just Not Enough Snap or Crackle

The Breakup Variety Hour

The Breakup Variety Hour Rating

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Ariana & the Rose arrives at the Melbourne International Comedy Festival with The Breakup Variety Hour – a wry cabaret-style journey through the six stages of romantic recovery and she brings with her genuine charm, vocal talent and the kind of infectious energy that makes you root for her from the moment she walks on stage. The Trades Hall, with its intimate rooms and slightly scuffed historic charm, is a fitting venue for a show about the unglamorous business of losing love.

The show’s structure is clever: six stages, neatly framed, moving from the wreckage of a relationship toward something that resembles wisdom. Ariana guides us through each with a mix of comedy banter, personal anecdotes and occasional audience participation, the familiar toolkit of the solo festival show. But it’s in the final stage – a philosophical, even quietly spiritual, reflection on what breakups really reveal about us – that the show finds its most resonant ground. It was a genuinely satisfying way to close, offering unexpected psychological depth after the performance and pizzazz, leaving the audience with something to carry home beyond the glitter.

Where The Breakup struggles is in finding its identity. The original songs, (written by Ariana herself and available to buy on CD), are genuinely good and surprisingly moving but they are almost at odds with the rest of the show. They don’t quite gel with the comedy banter surrounding them and the collision between the two never quite resolves. We found ourselves watching what felt like two shows running in parallel – a moderately entertaining comedy set and a mini pop concert – each quietly undermining the other’s momentum. The songs, which we expected to be more snippy, funny comedic offerings instead spoke of genuine feeling and heartache; the comedy parts were too brief and held the audience at too much of a distance. Holding these two different styles at once is a difficult ask of any audience and on the night we attended, it created a sense of awkwardness that the show never fully settled.

 

 

Comedy, as anyone in the industry will tell you, is brutally hard work. The hours behind a single hour of stage time are extraordinary – the writing, the refining, the killing of darlings, the courage required to simply show up and do your thing in front of strangers and hope it lands. The fact that The Breakup has sold out in Ariana’s native New York and toured major international festivals, including our own Melbourne Comedy Festival, speaks to a genuine audience connection that is clearly working somewhere. On the night we attended, the crowd was small and a little cool and she handled it with professionalism and grace, working the room with warmth even when it didn’t quite warm back.

But for those of us who came hungry for laughs, the show could lean further into personal storytelling – the messy, specific, mortifying anecdotes of dating life that make comedy truly land. What we got felt, at times, more like a vehicle for the music than a cabaret style comedy show. The personal glimpses Ariana did share were genuinely engaging, we simply wanted more of them. More of that rawness, more of those stories – the ones that make an audience wince in recognition and laugh in relief and then the balance would tip in a way that could make this genuinely special. It probably didn’t help that in our audience most people were happily coupled, so for a comedy that’s all about break-ups and needs to bounce of the singletons in the room, it wasn’t quite able to find its mark. Nonetheless, the bones of something very funny are here. They just need more flesh on them.

As it stands The Breakup is an enjoyable, well-intentioned romp through familiar romantic territory, performed by someone with good stage presence, a strong voice and a lot to offer. Ariana & the Rose is a performer still shaping her show into its fullest form – and if the philosophical heart of that final act is any indication of where she’s heading, the best may well be yet to come.

To book tickets to The Breakup Variety Hour, please visit https://www.comedyfestival.com.au/browse-shows/the-breakup-variety-hour/.

Photographer: Sidewalk Killa

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No-rules, Adults-only Circus-cabaret Returns To Brisbane For A Headline Season

Feature-Late Night Vice

Direct from sold-out seasons in Melbourne and Sydney, Strut and Fret, the masterminds behind Blanc de Blanc Encore are bringing Late Night Vice back to The West End Electric, featuring new cast! Audiences who attended the show’s sold-out Brisbane Festival debut were warned Late Night Vice has a much sharper bite than previous Strut & Fret productions and embraced the hilariously risqué show with open arms and minds.

The show’s success means it will this time return as a stand-alone headline show outside of festival season, with a line-up of world class cabaret, burlesque and circus talent from the USA and Australia.

Straight from a Vegas residency as the opening act for Kylie Minogue and Christina Aguilera, Jake DuPree (RuPaul’s Drag Race) stars alongside Spencer Novich (Cirque du Soleil’s KA, FX’s American Horror Story); leading vocalist Em Mylott (Les Misérables, We Will Rock You); Melanie Hawkins (Saturday Night Fever, Baz Luhrmann’s Strictly Ballroom musical); Brett Rosengreen (The Voice, X Factor, Britain’s Got Talent) and Brisbane’s seductive cirque performer Katrina Louise, who has toured across five continents.

“Brisbane is my home town and I’m so excited for this to come back to West End. I’ve performed in 18+ entertainment around the world, and I think we’ve needed a show like this for a long time. It’s wild, it’s fun and it’s absolutely filthy,” says flame wielding hair-aerialist cast member Katrina Louise.

Described by the creators as a ‘cocktail-drenched fever dream where cabaret collides with chaos’, Late Night Vice opens on 19 March.

The scandalous content of this sell-out show has remained under wraps with no cameras, no phones and no reviews allowed. The X-Rated experience is strictly Adults Only 18+ with a valid ID.

Dress to impress in black tie or all black and enter a world of mystery, mischief, and midnight glamour. Late Night Vice is set to become Brisbane’s bold after-hours escape once again, showing off the river city’s glimmering wild side.

Expect shadowy glamour, whispered secrets and a rogue’s gallery of theatrical renegades in an electric feast captured by your eyes only!

CONTENT WARNING: The show contains nudity, profanity, strobe effects, pyrotechnics. Explosions of feathers, confetti—and quite possibly your mind.

WHERE: The West End Electric, 125 Boundary St, West End (Brisbane)
WHEN: 19 March – 19 April; Thursday to Saturday 9:45pm | Sunday: 8:00pm
TICKETS: $69.00 (ticket types General, Premium, Moët & Chandon Tables); https://latenightviceshow.com/brisbane/

 

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Meow Meow’s The Red Shoes

Meow Meow's The Red Shoes

Meow Meow’s The Red Shoes Rating

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If you haven’t heard of Meow Meow yet, you are missing out. Internationally acclaimed and fiercely celebrated, she has performed everywhere from New York’s Carnegie Hall to the Sydney Opera House, Lincoln Center, the London Philharmonic Orchestra and at Shakespeare’s Globe. It’s immediately clear why she is so respected — there is truly nothing quite like her. She is indescribable in all the best ways and what an honour to see her at Perth’s International Arts Festival.

Meow Meow’s The Red Shoes begins in typical Meow fashion: she is dragged onto the stage like a lifeless prop, a theatrical object rather than a person. The audience collectively seems to wonder, What on earth is going on? Three pianos swirl across the stage and, moments later, she is balancing precariously on top of them. It feels dangerous, absurd and exhilarating all at once.

From there, we descend into the madness of Meow Meow’s mind — loosely tied to Hans Christian Andersen’s The Red Shoes, yet never confined by it. She crosses every theatrical boundary imaginable. Whether she’s climbing a pile of rubbish, launching herself into the audience, or belting out a song with her astonishing voice, you are never allowed to settle. You are jolted awake.

Her talents are abundant. Not only is she a magnetic showgirl, but her writing is razor-sharp, intelligent. The show is a little bit funny, a little bit tragic, a little bit political — and wholly captivating. Her ad-libbing and audience interaction are astonishingly quick. It’s perhaps no surprise when you learn that Melissa Madden Gray — the woman behind Meow Meow — is a law graduate with first-class honours, holds a BA in Fine Art and German, and trained at WAAPA in musical theatre. The intellect behind the chaos is undeniable.

 

 

Directed by Black Swan Theatre Company’s Artistic Director, Kate Champion, the production feels like a perfect union. Champion’s background in dance beautifully complements Meow’s physicality and unpredictability. There is something powerful about seeing two women of this calibre collaborate so seamlessly — especially here in little old Perth. It feels special.

Projected across the stage in Danish are the words “ei blot til lyst” — not just for pleasure. This phrase becomes the beating heart of the show. Theatre, at its core, was never meant to be mere entertainment. It should challenge us, provoke us, educate us and unsettle us. While Meow Meow undeniably entertains, she refuses to stop there. The performance is a chaotic, sometimes overwhelming “brain dump” that moves at a million miles an hour — occasionally losing parts of the audience — but leaving everyone with something to sit with.

It feels like stepping back in time to what theatre used to be about: bold ideas, emotional risk, political undercurrents and catharsis. Meow herself describes it as a cathartic experience, and she’s right — not only for her, but for us.

At one point, I notice a young man sitting alone in front of me. He looks like a twenty-something backpacker — shorts, thongs, unassuming. Yet he knows every word. By the final song he is openly sobbing. And I must admit, I was moved too.
There are rare shows that can do this to an audience. This is one of them.

Meow Meow is a force — a little Tim Minchin, a little Eliza Minelli, crossed with your most chaotic, witty, tragic and deeply endearing friend.
She is simplistic yet impossibly complex. A complete mishmash of her mind — and perhaps of our own.

In an increasingly shallow and AI-saturated world, Red Shoes feels urgent. It reminds us that theatre is not just for pleasure.

It is what the world needs right now!

To book tickets to Meow Meow’s The Red Shoes, please visit https://blackswantheatre.com.au/season-2026/meow-meows-the-red-shoes.

Photographer: Brett Boardman

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