From 25–27 September, the performance collective Vaguely Adjacent (Nick Vagne, Sophie Florence Ward, Luke Standish, and Frank Dwyer) brought their quirky production Squatch Watch: LIVE to MerrigongX.
This experimental work set out to probe our relationship with conspiracy theories, certainty, and the noisy world of online spaces. Loosely styled as a live riff on the podcast format, the show mixed tongue-in-cheek commentary, audience interaction, and bursts of music and movement.
At its best, the comedy found sharp timing and delivered genuine laughs; at other moments, the wit fell a little flat. Still, the quartet’s energy and willingness to play with the audience kept things buoyant. The bigfoot/sasquatch/yowie conspiracy was explored with irreverent gusto, complete with dancing, improvisation, and a range of interactive stunts that drew strong engagement – especially from the largely under-25 crowd.
As devised theatre, Squatch Watch is both messy and inventive, a playful experiment that doesn’t always land but succeeds in creating a lively, participatory experience. With free tickets and a pay-what-you-like model, the company’s generosity of spirit matched their enthusiasm on stage, and the audience’s response suggested the experiment was well received.
The MerrigongX venue itself is spacious and welcoming, with excellent café offerings and plenty of room to relax pre- or post-show – an ideal setting for this sort of unconventional work.
The Eternity Playhouse Theatre in Darlinghurst is a perfect blend of plush red velvet and modern design, creating a space that feels rich with history, despite modern touches. To the side of the stage, a small band waits eagerly, giving that unique thrill only live musical theatre provides. Early show wrinkles were handled with humour and camaraderie, immediately setting the tone for a show that thrives on both chaos and connection.
Stranger Sings! The Parody Musical is exactly what its title promises: a satirical, joyfully camp reimagining of Stranger Things. Across 90 minutes, Hawkins is gleefully turned upside down, with the iconic core four; Mike, Lucas, Dustin, and Will; at the story’s centre. Each young performer captures their role with razor-sharp comic nuance. Raven Swinkels gives Eleven both haunting presence and playful edge, while Anouk Macarthur Mitchell leans into Will’s fragility with endearing self-parody. Julien Daher’s winning Dustin brims with charisma, Ruben Aguilera hits the mark as earnest Mike, and Jahzara Mariasson brings fiery energy to Lucas.
And then, of course, there’s Barb. Belle’s powerhouse vocals ensure justice is not just served but belted to the back row, a standout that lit up the night. The wider ensemble provide a constant stream of physical comedy and energy, morphing into bullies, scientists, and perhaps most memorably, a gloriously camp Demogorgon. Together, their knack for timing and willingness to push into parody’s extremes kept the show fizzing with momentum.
The production is deliberately low-fi in its design, which only adds to its charm. Simple staging is enlivened with clever costumes, witty choreography by Anna Jaques, and inventive ensemble work that makes even the scene changes cheekily entertaining. Musical director Mitch Brown guides the band through a synth-heavy score that perfectly skewers the 1980s vibe, layered with inside jokes and knowing winks to pop culture.
Vocally, the cast are outstanding. Occasional mic issues threatened clarity, but the performers carried through with enough charisma and vocal strength that the cracks only showed how strong the foundations were.
What elevates Stranger Sings! beyond parody is its cheeky breaking of the fourth wall. These playful intrusions make the audience co-conspirators, reminding us all that this is both fan satire and affectionate send-up. Even for those of us who lost track of the show past season three, the humour lands. The references are sharp enough for superfans, yet broad enough to keep casual viewers grinning throughout.
Above all, the joy radiating from this young cast is infectious. They aren’t just parodying Netflix’s most nostalgic property; they’re celebrating the simple delight of putting on a show with gusto, fearlessness, and a palpable sense of fun. To see so much future talent unified in delivering something this funny, smart, and warm is a treat, and a reminder that Sydney’s next wave of performers is already here.
Did I want to leap onto the stage to join them? Absolutely. And that’s the upside-down magic of Stranger Sings!: a parody that revels in its chaos, and a cast that makes you want to be part of the ride.
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.
Twenty Million Thousand Leagues Under The Sea Rating
★★★★★
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To say this show is just a theatre performance would be simplistic. Twenty Million Thousand Leagues Under the Sea by Pummel Squad cannot be boxed into just one category. Presented onstage by creators and performers Harry McGee and Cooper Donald McDonald, together with sound designer and composer Yanto Shortis, the show is a lively explosion of creativity—a brilliant blend of comedy, live-action illustration, and music, all brought to life with quirky narration and the classic overhead projector (OHP)!
The three performers tell the story of Rasthomas Bulge, an ordinary fellow with an extraordinary name, represented in 2D illustration in various poses, depending on the storyline. He’s drawn in 2D but at times is represented by larger than life 3D narrators, who voice his thoughts. At other times, his thoughts are cleverly interspersed and gently made known, projected onto a screen. Combining shadow puppetry with stencils and rolling overlays, along with narration and acting, the creators move beyond the ordinary to present the story in the most original way possible.
Rasthomas is a car salesman with a bushy moustache. He is drawn with three curly springs of hair sprouting from his head, bright eyes and a snappy suit. As the audience is being seated, his creators are sketching him to life on the overhead projector bit by bit. It was fun watching Rasthomas become himself, and it felt like we were getting an art lesson as the lines morphed into a cartoon man.
He’s got a steady job, a steady social life, (albeit with a shady school friend, drawn to “look bad, and is worse on the inside”) and a steady, ordinary life with his family. At the heart of the story is Rasthomas, feeling unsatisfied with this steady life. He is clearly experiencing a mid-life crisis where he feels that there’s something missing. After meeting and selling a sportscar to a man who surprisingly looks a lot like him, Rasthomas goes in search of adventure.
Following Rasthomas to literally the ends of the Earth and sky, the audience is entertained with stories of him travelling from the depths of the ocean to the moon and back. In a nod to the novel Twenty Thousand Leagues Under the Sea written by Jules Verne, there’s danger, daring escapes, sea monsters and even a bit of Casablanca cleverly woven in that ties right back to his wife. He realises after he has stepped out of his own shadow, that his ordinary life is something to be treasured, and perhaps looking at things from a different perspective brings acceptance.
Along with the lo-fi music and an almost continuous sound design accompaniment to the show, musician Yanto came out from his music station at the side to take centre stage. Standing in front of the screen, he sang an original song with his banjo ukulele as the projection rolled along, with the drawn buildings floating past with song. The audience loved it!
A memorable moment for me was one where we were introduced to Rasthomas’ four sons, drawn in lines, their portraits smiling. Their names were announced and revealed, read aloud as a list, with the first three son’s names rhyming, culminating with the youngest son being named Rasthomas Junior, which made me laugh as it was so silly. It was these witty bits of comedy, seamlessly woven in and delivered at surprising moments throughout the show, that gave the show a comedic charm which I thought was reminiscent of Roald Dahl.
Twenty Million Thousand Leagues Under the Sea was a 50-minute performance that seemed at times to be an improv. However, the Pummel Squad team cleverly crafted their skills to only make it seem this way, involving tag teaming the precise placement and flipping of stencils on the OHP, and quick delivery of quips and cheeky lines. Part of the 2025 Sydney Fringe Festival and already an award-winning show, this is one quick-draw scribby art combo comedy show (I did say it was hard to categorise it!) which will capture your sense of humour and your heart. Don’t miss this truly unique performance—there’s nothing else like it!
Season: 10- 13 September (matinee and evening performance on Saturday 13 September) Run time: 50 minutes Venue: New Theatre, 542 King St Newtown Tickets: www.sydneyfringe.com/events/twenty-million-thousand-leagues-under-the-sea
