Cabaret - Whats The Show

Till Death (Or Court) Do Us Part

06/10/2025 Tam Dahmen🥉

Till Death (Or Court) Do Us Part Rating

★★★★★

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Written and performed by Jai Cameron, “Till Death (Or Court) Do Us Part” is a heartwarming and hilarious comedy cabaret that delves into the complex emotions of love and marriage. The show, set in the intimate Bluestone Church, delivers an engaging mix of comedy, audience interaction, and musical moments.

Cameron, who played Keith, a celebrant navigating the ups and downs of love, brought an infectious energy to the stage. His comedic commentaries were topical, and he had a natural connection with the audience that made the experience feel immersive. The show’s lighthearted moments, often accompanied by a cheeky sense of self-awareness, were balanced by deeper reflections on love and relationships, making for a dynamic performance.

Josh Tooth, in his supporting role, provided an earnest contrast to Cameron’s more comedic portrayal. Tooth’s portrayal of the Bunnings tradie Lee, added depth to the narrative, and his witty interactions with Cameron kept the audience engaged. The back-and-forth between the two performers felt genuine, with the chemistry between them elevating the humor and heart of the piece.

The real highlight of the performance came during a moment of introspection. In an unexpected turn, Cameron slowed the pace and took the energy down to a soft poignancy, reflecting on his own experiences with love and longing. This shift in tone was masterfully executed, and it’s during this moment that the show transcended the typical comedy cabaret. Cameron’s rendition of Make You My Love was a beautifully sung number that added an emotional depth that resonated long after the performance ended.

What truly set “Till Death (Or Court) Do Us Part” apart was its ability to blend humor with vulnerability. The show’s mix of audience participation, witty dialogue, and musical moments kept things fresh and engaging throughout. This wasn’t just a comedy show—it was an exploration of love, commitment, and the longing for connection. The cabaret format allowed for a fluid, intimate experience that felt personal while still being accessible to all.

“Till Death (Or Court) Do Us Part” was a delightful exploration of love in all its forms, wrapped in the charm of a comedy cabaret. Cameron’s wit, emotional depth, and vibrato vocals made for a compelling evening of entertainment. This show should be commended for its combination of humor, reflection, and music, leaving the audience with a smile and a thoughtful reflection on their own relationships.

To book tickets to Till Death (Or Court) Do Us Part, please visit https://www.melbournefringe.com.au/whats-on/events/til-death-or-court-do-us-part.

Photographer: Jeremy Guzman

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Lassú: Past, Future, and Burlesque Collide

21/09/2025 Adelle Givney🆕

Lassu Cosmic Cabaret Rating

★★★★★

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Produced by seventh-generation circus performer Merrik Ahston and creatively directed by Mitchell Woodcock, Lassú is a fusion of tradition and innovation. Their combined experience is evident in a seamless blend of circus, dance, and burlesque, delivering a cabaret that feels both fresh and timeless.

Billed as a Cosmic Cabaret, the show transports audiences into the glittering confines of the saloon with space cowboys, alien drifters, and the legendary Rodeo Sisters. Beneath the big top, transformed with bars, banquettes, private tables, and rings of chairs encircling the stage, the atmosphere captivates the audience before the first act even begins.

That anticipation was instantly rewarded when a poised aerialist strode onto the stage in boots and a high bun. To the audience’s amazement, she clipped herself onto the corde lisse (smooth rope) by her hair and soared, spinning and twisting with both grace and daring. The crowd erupted with cheers and whistles, fueling her performance even further. She later returned for a more traditional aerial routine, showcasing extraordinary artistry. For me, she was the standout performer in a show already brimming with remarkable talent.

From there, the show surged from thrill to thrill. A knife thrower had the audience holding its collective breath, his blades thudding into the board beside his assistant with precision—made all the more nerve-wracking once he donned a blindfold and relied only on her shouted commands: “Left! Right! Up! Down! THROW!” Gasps and nervous laughter rippled with each loud thunk.

A slack rope walker defied balance and logic by juggling atop a ladder and later a unicycle; a hypnotic fire act illuminated the stage with fiery beauty; feats of strength impressed with sheer power; and an unexpected clown act (IYKYK) had the audience laughing in surprise. Bringing it all together was the glamour of accomplished burlesque dancers and the soaring vocals of a powerhouse singer, ensuring the energy never faltered.

Lassú is not just a show—it’s a feast for the senses, a wild ride through the cosmic saloon where tradition, daring, and decadence collide to deliver an unforgettable night of entertainment.

To book tickets to Lassu Cosmic Cabaret, please visit https://www.lassutheshow.com.au/.

Photographer: Brooke Elizabeth Photography

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Colour and Light: The Art of Sondheim

21/09/2025 Adam Miller🥉

Colour and Light: The Art of Sondheim Rating

★★★★★

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Buckle in. There is going to be a lot of hyperbole in this review. When something is this good, how else can you describe it?

Colour and Light: The Art of Sondheim, presented by Watch This at Theatre Works, is less a musical revue and more a velvet-draped love letter to the genius of Sondheim. It’s the kind of show that slips under your skin, reshapes your idea of what cabaret can be and sets a new standard for how theatre should be made.

Theatre Works is perfect venue for this show. It balances epic with intimate, using the high ceiling to hang long luscious drapes but keeping the audience close enough that we felt every word on the stage. Designer Rob Sowinski has conjured a stage that feels like a plush, lived-in lounge room (art deco drinks trolley and all) with a circle of tiered staging, bathed in the soft glow of vintage table lamps. It’s intimate and luxurious.

What follows is a breathtaking journey through Sondheim’s songbook. Yes, the big numbers are here, but so are the deep cuts and the “why-don’t-more-people-sing-this?” gems. I’m sure Sondheim diehards will know that he wrote songs for the 1990 film, Dick Tracy, but I had no idea and it was a revelation to hear music from the soundtrack on the stage. The show flows with purpose and precision, thanks to the clean, intelligent direction of Melanie Hillman and Dean Drieberg, whose love of the material radiates through every moment. The loose thematic arc is shaped around Seurat’s artistic principles of Order, Design, Tension, Balance, Harmony. The structure gives the evening clarity without ever feeling constrained or contrived. This is cabaret at its best.

And then there’s the music.

Dr Trevor Jones, who arranges, musically directs and performs from the piano, is the beating heart at the centre of the piece. His arrangements are stunning. They are lush, showy when needed, simple when called for and always with a focus on the emotional truth of the songs. This is some of the finest musical storytelling I’ve heard on a Melbourne stage and reminds me why, when done well, musical theatre is one of the greatest art forms ever.

Johanna Allen is a master of her craft. Her ability to navigate the razor-thin line between vocal fireworks and emotional restraint is unmatched. She brings a knowingness to the stage that draws the audience in and lets us share the humour and pathos in all of her delivery. There are countless moments she channels such precision and ache that you could feel the entire theatre holding its breath. This is vocal acting of the highest order.

Vidya Makan broke my heart multiple times across the night. There’s an emotional directness to her performance that’s magnetic. Her choices are always fresh, never predictable and she elevates everything she touches with nuance and grace. Her I’m Still Here was a stand out moment in a evening of stand out moments. She gave us an exquisitely rendered journey from introspective calm to triumphant exuberance with countless little gut-punches along the way.

Nick Simpson-Deeks, as ever, delivers with polish and pinpoint clarity. He finds the architecture in each song, builds it, then knocks it down with a smirk or a sigh. It looks effortless, but this has to have been crafted and perfected over years. His Send in the Clowns has ruined every other version for me. Honestly. It needs to be bottled and prescribed to every aspiring performer and every audience member. It is good for the soul.

Jacob Rozario brings vibrant charisma and thrilling musicality. They shift gears effortlessly from the ridiculous to the sublime and their voice is an instrument of total control and warmth. There wasn’t a moment when their performance wasn’t a captivating blend of playful, detailed and vocally dazzling. His delivery of Can That Boy Foxtrot will stay with me for a long time.

Colour and Light: The Art of Sondheim elicited a palpable love in the room, not just for Sondheim, but for collaboration, for precision, for joy. The audience left buzzing, visibly moved and audibly delighted. As for me? I’ve already booked to see it again.

This is one of the finest tributes to Sondheim I’ve seen anywhere in the world. Don’t miss it.

To book tickets to Colour and Light: The Art of Sondheim , please visit https://www.theatreworks.org.au/2025/colour-and-light.

Photographer: Ben Fon

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Absolute Trash

19/09/202519/09/2025 Mark Hobgood🥉

Absolute Trash Rating

★★★★★

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Bawdy, bendy and bootylicious.

Glitter Martini have brought Absolute Trash down from the Gold Coast for a short run at the Sydney Fringe, following sparkly five-star reviews at the Adelaide Fringe.

We live in a world surrounded by trash. Bin juice, trash pandas, floating garbage islands, and the toxic waste dump that passes for social media. When was the last time you said that your life is a dumpster fire? (Confession: last Wednesday for me.)

Absolute Trash gleefully up-cycles our garbage mountain planet with eye-popping circus, wacky comedy and bawdy cabaret.

It’s nice the get the word bawdy out of the house. It’s usually stuck at home doing debauched crochet while the sexier words like saucy and spicy get invited out to play.

If you want to, you can take it easy, sit back and watch, but part of the joy of a Glitter Martini show is their love of playing with their audience. You are invited to share your trashiest stories by text at the start of the show.

Director and performer, Darcie Rae, loves creating a real feeling of connection between the audience and performers. She has fashioned a joyous audience-driven, interactive experience that uses comedy to disarm you as it seductively draws you into the show.

Natrasha Binit, the Duchess of Debauchery, the Queen of Trash, is your incomparable compère for the night. They’re taller than Sesame Street’s Oscar the Grouch but they share his love of trash and trashy things, with a green plastic wig and a Chanel little black bin bag dress.

Trent Charles, as Natrasha, is the beautiful mutant lovechild of Cara Delevingne and a Monster High doll. You know, in a good way.

Tangly contortionist Bendy Elle spends the show upside down, in the air, inside out and tied up in knots. While smiling impishly.

It’s not every night that nimble and sculpted aerial artists like Miss Amy May and Darcie Rae take to hoops and trapeze, sharing a stage with puppet bin chickens.

I will go to my grave remembering the look of sheer disbelief on an audience member’s guide dog’s face as it stared up at two puppet bin chickens dancing, with squeaky rubber chickens, to Burt Bacharach, ably puppeteered by Charlie Love in platform PVC boots.

That is a sentence I never thought I’d write. And the rubber chicken can-can is a weird, wild and wonderful thing that you need to experience in the flesh.

Absolute Trash ticks all your sustainable boxes in a consensual way you weren’t expecting.

Glitter Martini’s Absolute Trash is part of the Sydney Fringe, playing at Fool’s Paradise, The Bunker, Entertainment Quarter until 21 September

To book tickets to Absolute Trash, please visit https://sydneyfringe.com/events/absolute-trash/.

Photographer: Josephine Carter, Taylor Scott

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