Melbourne Cabaret - Whats The Show

A One-Man Cabaret by Mario Acosta-Cevallos

11/10/202511/10/2025 Jenni Peters🆕

Caminare – The Echo Of My Steps Rating

★★★★★

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Caminaré, The echo of my steps.

A ONE-MAN CABARET BY MARIO ACOSTA CEVALLOS

(MELBOURNE FRINGE FESTIVAL, 2025)

For anyone passionate about life’s unique narratives, expressed through human movement or dance, this new Latin cabaret show at Gasworks is for you.

Venezuelan-born Director and Dramaturg, Clary Riven, used, “The fire of Latin dance blended with the soul of cabaret to form a tale of culture, rhythm, pride and pain” to shape this new piece, her motivation being “inclusive stories that connect deeply with audiences.”

Starring World Salsa Champ, Mario Acosta-Cevallos, who created this cabaret, we watch as Mario bares his soul, via his life’s memories, confronting personal revelations and dancing his way through the complicated discovery of ones’ identity, self-doubt, and finally, healing.

Through music and movement, Caminaré reveals episodes of Mario’s past, from his introduction to Latin music growing up in a migrant household, to the glitter of the stage, to embracing his truth as a queer Latino performer, each episode disrupted by one of Mario’s energetic, professional, technically perfect Salsa routines – a joy to watch – some which defined him as Number One, others which didn’t. This drew a clever analogy to the way our lives ebb and flow.

Mario Acosta-Cevallos’ choreographed the show with Laura Anderson, who also produced the show. Laura has worked with some of the industries’ leading artists and companies, across musicals, live music, television and, theatre, her motivation to “push the boundaries of dance as a powerful form of expression.”

The audience sees Mario’s amazing routines that defined him as a winner but more interestingly, we see Mario’s sense of humour, his vulnerability, his competitiveness and ambition, most of all, we see his heart.

Stage manager, Seamus Allan, set the stage like a dressing room or backstage area, including some of Mario’s past glittering costumes and accolades.

Lighting Designer, Tom Vulcan, warmed the stage rosy at times, but mostly in bright red lights, that gave off an intensity when required.

Handsome and physically gifted, looking every bit the leading man, while this star is an openly gay artist, I noticed Mario had as much admiration from multiple ladies in the audience as gentlemen. Many were holding flowers to present to him after the show. After all, Mario is a 10+ time World Salsa Champion, touring internationally and performing on some of the world’s biggest stages, including the acclaimed, ‘In the Heights’.

Mario shows us he has learned life is not always about coming first, rather, it’s a moving feast, a constant buffet of lessons and of growing wiser. He is obviously a giver, a teacher, and a friend to many.

I liked his lines, “Hurt people hurt people” and “Who are you dancing for?”

Also, another dance analogy to life and relationships with, “….the push and the pull.”

The brochure offers, “This show is for everyone who’s ever questioned where they belong – and for those who found the courage to keep moving forward anyway.”

Many of us could learn from that.

• Caminaré – the Echo of my Steps, is playing at Gasworks until 11th October.

To book tickets to Caminare – The Echo Of My Steps, please visit https://www.melbournefringe.com.au/whats-on/events/caminare-the-echo-of-my-steps.

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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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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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A Clever Tour de Force, Full Of Surprises

28/07/2025 Adam Miller🥉

The Forgotten Songbook Rating

★★★★★

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Stepping through a light haze in Chapel Off Chapel’s Loft, into the twilight world of The Forgotten Songbook instantly transports the audience to bygone era of music-making. The set, dressed simply but evocatively with a piano, a few furniture pieces and faded posters of long-forgotten musicals like Vienna Days and Girl Leaves Boy, conjures a smoky dive bar in the middle of nowhere and everywhere. It’s the perfect frame for a show that unearths the dazzling, almost unbelievable, fragments of composer Wilbur Weissman’s lost career.

What follows is a two-act whirlwind of longing, misfires and brilliance, pulled together by a creative team whose passion for Weissman’s story pulses through every beat.

Emerson Hurley’s compositions form the heartbeat of the show. Sitting at the piano with a relaxed command, Hurley not only plays with casual virtuosity but delivers a score that is tuneful, witty and remarkably affecting. His pastiche writing honours the Tin Pan Alley style while crafting songs that feel entirely fresh. “I’ll Never See Memphis Again” is one of the evening’s most poignant moments, unveiling emotional depths in both character and composition that stop time. Hurley may be at the beginning of his career, but The Forgotten Songbook suggests a voice with the sophistication of a modern-day Gershwin, or dare I say Weissman? Either way, he has the originality to stand on his own.

Co-writer and producer Dylan McBurney brings theatrical structure and dramaturgical clarity to this sometimes chaotic rollercoaster tale. The narrative, full of unexpected turns (a hippo attack??) never wavers in purpose. It’s comedic and poignant in equal measure, an impressive feat that speaks to the balance and restraint of McBurney’s work.

In his debut as director and choreographer, Mikey Halcrow crafts a staging full of flair and control. He uses stillness to great effect, allowing quieter moments to resonate and leans into the physicality of the performers to heighten the absurd and the powerful beats. The rapid pace never falters, but the show knows when to let a moment land and when to let the music speak for itself.

Karla Hillam gives a stellar performance. Channelling the style and swagger of a classic torch singer, she moves with elegance and sings with great versatility. Her character work is razor-sharp, shifting styles and personas with impressive precision. Her natural chemistry with co-star Jonathan Guthrie-Jones anchors the piece. Together, they deliver both belly laughs and broken hearts.

Guthrie-Jones, in turn, feels like a Hollywood leading man of yesteryear brought to life. His rich, beautifully controlled voice wraps itself around the material with ease and his performance is laced with charisma and genuine vulnerability.

Together, the cast form a dynamic double act (or trio including Hurley at the piano), effortlessly slipping between satire, drama and song. Their rendition of The House Un-American Activities Rag is a showstopper. It’s choreographically tight, musically rich and laugh-out-loud funny.

The Forgotten Songbook is more than a showcase. It is an excavation of talent, myth and memory. In a country where new musical theatre often struggles to find space, this piece deserves to travel far beyond its opening weekend. Don’t miss it and don’t miss seeing the work of any of this team in the future.

To book tickets to The Forgotten Songbook, please visit https://chapeloffchapel.com.au/show/the-forgotten-songbook/.

Photographer: Kristopher Wardhana

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