If You’re Hearing This

If You're Hearing This

If You’re Hearing This Rating

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Ally Morgan is a new kind of supernova performer. In her 2026, Melbourne Comedy Festival show, If You’re Hearing This, she swoops us up and takes us on a whirlwind tour for the ages.

Morgan starts her show with a burst of optimism and the idea that things out there can be really, really good, even when they are clearly not that good at all on home soil. She’s fashion forward in a suit that is halfway between a Nasa 1950’s and something that the babes from Wet Leg might wear, showing her preparedness to get down and rock her world with some serious songwriting and lyrical talent. Morgan’s departure from earth is on a fast paced countdown. She’s on a do it yourself mission to save herself from Armageddon. Planet Earth is in a right pickle so the logical thing to do is eject herself into the atmosphere and take a chance — interplanetary Survivor style.

There, in the outer limits of space Morgan finds she has a lot of time on her hands so what better way to keep her sanity and her cool zeitgeist narrative alive than by doing an up to the minute broadcast on the space airwaves — even if no one’s listening. Her set is simple but effective. She knows how to transform a space. Musical instruments, a keyboard, a DIY screen, a squishy gold helmet and she’s away.

 

The brilliant songs allow Morgan to address all sorts of crisis points and her talent and skill in nailing where we all are right now lies in leaving no stone unturned. She pans manosphere podcasters, references the lost innocence of the early 2000’s, and employs visual gags from major film makers to billionaire asshats, as well as giving us a running commentary on news and politics. Morgan sings folk tinged songs that Joan Baez would be proud of. Her songs are at once poignant, hilarious, urgent and ironic. Her transitions from mother earth guardian, to digital information purveyor includes themes on life and death; the point of relationships and human connection; the vagaries of big C, Capitalism; tales from her youth and neurodivergent ways of being.

She calls out the force with which man tries to destroy everything good and calls out her own ambivalence when called to action as well. If anything the themes are so wide reaching and profound that maybe a slight edit would serve the overall project? But Morgan sings, moves and delivers ballads as sweet as The Sundays juxtaposed with political fight-the-power style black and white documentary narration that nevertheless ignites us all. She asks us to think deeper about how we got to a time when a girl who just wanted to have fun lost all that in Black Mirror-esque way we live our lives now.

Morgan shows us that even though innocence has been washed away by a zillion screen time hours and the “encyclopaedia” of ChatGPT use, that in fact, love is still what humans want. It’s a very savvy well written show filled with modern day ennui. But is anybody really listening? Is Morgan just screaming into the void? Will she ever be saved? Her teabags and fuel are running low and she’s scared and utterly alone…well, for a while at least.

To book tickets to If You’re Hearing This, please visit https://www.comedyfestival.com.au/browse-shows/if-you-re-hearing-this/.

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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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1

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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Cast Announced For Pride And Prejudice* (*sort Of)

Feature-Pride and Prejudice* (*sort of)

The cast for the 2026 Australian tour of the musical comedy Pride and Prejudice* (*sort of) was announced today. The five performers who will portray the iconic roles of Elizabeth Bennet, Mr Darcy, Jane Bennet, Charles Bingley, Mr and Mrs Bennet and all other characters, will be Amy Lehpamer, Zoe Ioannou, Kaori Maeda-Judge, Ruby Shannon and Teo Vergara. Amy Lehpamer has led the cast of national tours of & Juliet as Anne Hathaway and The Sound of Music as Maria, as well as lead roles in Dusty, Beautiful: The Carole King Musical, The Who’s Tommy, School of Rock, Dirty Rotten Scoundrels, Once, Rock of Ages, The Rocky Horror Show and Shane Warne the Musical. A NIDA graduate, Zoe Ioannou most recently appeared in the Australian tour of Grease, understudying the roles of Sandy, Frenchy and Jan. Other performance credits include Hairspray, West Side Story, The Wizard of Oz and at the Hayes Theare Co, Dubbo Championship Wrestling, Bridges of Madison County and Big Fish. Kaori Maeda-Judge’s varied career has seen her in productions of David Bowie’s Lazarus, White Pearl for Sydney Theatre Company, The Dismissal for Squabbalogic, The Hello Girls and Meg March in Little Women at the Hayes Theatre Co, and Jack Thorne’s Tony Award winning A Christmas Carol, as well as TV’s Neighbours. A recent graduate of QUT, Ruby Shannon is making her professional debut in Pride and Prejudice* (*sort of). Since graduating, Ruby has collaborated on several independent theatre, film and development projects. Teo Vergara is an actor, singer, dancer and a graduate of the VCA, who made their screen debut in the ABC series Crazy Fun Park and followed this by starring in the queer and gender diverse series Turn Up The Volume for the ABC. Teo was a member of the original Australian cast of Jagged Little Pill, and starred in the original Australian musical Converted! for ATYP.

“It has been a long-held dream to undertake this tour with our take on Austen’s masterpiece,” said writer and original director Isobel McArthur. “This show is a true celebration of love and romance so, now that the match-making is done, I cannot wait to watch Pride & Prejudice* (sort of) and its Australian audiences fall head over heels for each other.”

Co-Director Simon Harvey said, “I am delighted with the stellar cast of Australian talent we have been able to assemble for this production and can’t wait to travel down under to begin rehearsals. I feel sure that the wit, physical comedy and karaoke sound track of Isobel MacArthur’s take on Jane Austen’s timeless classic (sort of), will chime with Aussie audiences.”

Direct from its triumph in the West End where it won the Olivier Award for Best Comedy, Pride and Prejudice* (*sort of) is a unique and audacious retelling of Jane Austen’s most iconic love story. Men, money and microphones are fought over in this irreverent but affectionate adaptation where the stakes couldn’t be higher when it comes to romance.

This “smart, laugh out loud funny” (Daily Telegraph) show features a string of pop classics including Young Hearts Run Free, Will You Love Me Tomorrow and You’re So Vain. Coming to Australia for the first time, these five fearless women bring Austen’s world of love, class and chaos to life with heart, humour and unstoppable energy in this modern take on one of the world’s most adapted pieces of literature.

★★★★★ “Faithful to the book, it’s also a raucously irreverent romp” – Daily Mail
★★★★★ “Riotously funny… gloriously entertaining… frankly sensational” – Variety
★★★★★ “Layer and layer of brilliance” – The Scotsman

PRIDE AND PREJUDICE* (*sort of)
By Isobel McArthur after Jane Austen
Original production directed by Isobel McArthur
Co-Director Simon Harvey
Produced by Neil Gooding Productions and Woodward Productions by arrangement with David Pugh Limited

SEASON DETAILS

MELBOURNE
Venue: Atheneum Theatre
Season: 18 June – 12 July
Performance Times: Tues-Wed 7pm, Thurs-Sat 7:30pm, Wed & Sat 2pm, Sun 3pm
Prices: From $65 (Transaction fees apply)
Bookings: ticketmaster.com.au or phone (03) 9650 1500
Groups 8+ visit ticketmaster.com.au
Groups 20+ email groups@ticketmaster.com.au

SYDNEY (Presented by Sydney Opera House)
Venue: Drama Theatre, Sydney Opera House
Season: 16 July – 30 August
Performance Times: Tues-Sun 7pm, Wed & Sat 2pm, Sun 1 or 2pm (times vary weekly)
Prices: From $69 (Transaction fees apply)
Bookings: https://www.sydneyoperahouse.com/theatre/pride-prejudice-sort-of or (02) 9250 7777
Groups 8 + call (02) 9250 7777

WOLLONGONG (Presented by Merrigong Theatre Company)
Venue: IMB Theatre, IPAC
Season: 2-13 September
Performance Times: Tue 6.30pm, Wed-Thurs 6:30 or 7:30pm, Fri-Sat 7:30pm, Thurs 11am, Sat & Sun 1:30pm (times vary weekly)
Prices: From $84 (Transaction fees apply)
Bookings: merrigong.com.au or (02) 4224 5999
Groups 8+ call (02) 4224 5999

CANBERRA
Venue: Canberra Theatre, Canberra Theatre Centre
Season: 16-27 September
Performance Times: Tues 6:30pm, Wed-Sat 7:30pm, Wed, Sat & Sun 1:30pm, Sun 6:30pm (times vary weekly)
Prices: From $65.90 (Transaction fees apply)
Bookings: canberratheatrecentre.com.au or (02) 6275 2700
Groups 4+ call (02) 6275 2727

BRISBANE
Venue: Playhouse Theatre, QPAC
Season: 30 September – 18 October
Performance Times: Tues-Thurs 7pm, Fri-Sat 7:30pm, Wed, Thurs & Sat 2pm, Sun 3pm (times vary weekly)
Prices: From $65 (Transaction fees apply)
Bookings: qpac.com.au or phone 136 246
Groups 8+ call (07) 3840 7466

 

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Umm…What Else? Mitch Dale Entertains Everyone at The Comedy Store Too

Umm...What Else?

Umm…What Else? Rating

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4

I imagine that being a comedian would be quite a challenging job. Some people are naturally funny, but that doesn’t necessarily make them a “born comedian”, as one may think. To do this for a living, comedians need to be multitalented – they are both specialty writers and actors (cue the timing and the delivery of a joke) with a certain amount of bravery to be up onstage with a microphone. They need to have a quick wit and response time when interacting with an unpredictable audience. I watched Mitch Dale at The Comedy Store Too at Moore Park in Sydney, and he had all of these talents! His one hour set for Umm…What Else? was a hilarious!

Mitch’s comedy style for this show varied from quick quips/ play on words/ short funny interactions with the audience, to delivering longer amusing tales about growing up in Australia. He is a talented storyteller who captured my attention from the beginning. For example, when he talked about casseroles and how after being slow cooked by the end of day, everything has turned to mush, yet the potatoes still have some crunch! And rugby. The interesting thing about Mitch’s delivery of his material was that he did it in a very understated manner where he cleverly picked a point and wove it into his story. It was like a dropped hot chip surrounded by seagulls – there’s a small beat as the audience listened to his words, and then once we realised his point, we jumped on the joke, laughing! “I played rugby, because I’m from Queensland, and I have a dad.”

 

 

The topics of the night were ones that were aimed to amuse all ages in the room. Mitch talked about personalised number plates, uber drivers and his trip to Japan – all of which was relatable to most of the audience, going by their enthusiastic responses. Mitch also catered for the older generation. It was interesting that he mentioned his childhood and how his parents had him answer the home phone as if he were in an office. It’s amusing because it’s true – back when families had landline phones, some parents made sure everyone answered in a formal manner. I remember calling my friend on their landline, and the younger five year old sibling of my friend answered the phone like this, it was very cute. I suppose there is a generation now who wouldn’t have had the experience of this, or of waiting a few weeks for a computer to be built so that it could go into it’s own special room in the house lovingly nicknamed “The Computer Room”.

Mitch also talked about how he got his name and shared some experiences with his health, and amazingly, he managed to turn even these more serious subjects into something funny. He had the knack of telling a life situation with honesty and humour.

During this set, Mitch was quick to respond to the audience. Instead of picking on that person and teasing them mercilessly, he interacted in a respectful and humorous manner. He clearly has a talent in quick thinking and response situations. In the lead up to Christmas last year, when he was working for a company, his entire job that weekend was to get busy people out of any social commitment they were trying to dodge. The company set the challenge for people to head into a particular store and Mitch will deliver an excuse for them. “He’ll make the hard call – you get the clean break and a guilt-free afternoon back.” From watching Mitch in Umm…What Else?, I am sure that he would have risen to this challenge.

Keep a lookout for this comedian Mitch Dale. Although this was a one-night show in the lead up to Sydney’s Comedy Festival, it won’t be the last you’ll hear about him. It was a sold out event at The Comedy Store Too tonight, so next time be sure to buy your tickets quickly so you don’t miss out.

To book tickets to Umm…What Else?, please visit https://www.neuralle.com/talent/mitch-dale.

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