Melbourne Fringe - Whats The Show

Adore Händel: A Baroque Birthday Bash of Scandal, Sass and Spectacle

11/10/202611/10/2026 Nicole Salinger🥈⚡🎭😂🎪

Adore Händel’s Birthday Party: Little Black Book Vol. 3 Rating

★★★★★

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On a balmy Friday night, The Melbourne Fringe has upped-its-ante. As I await to enter its famed Archive room to see Adore Händel’s latest instalment, ‘Adore Händel Birthday Party: Little Black Book Vol. 3’, I am greeted in the foyer by characters walking around in costume: a life-sized lobster encased in glitterati and a death-defying clown in gothic garb, preparing me for a night of theatrical otherworldly-ness.

A sold out evening. A 60-seat theatre. A high-ceiling room – one side laden with tall grey architraves. The other?With pencil-lined burgundy stencilling on the walls. The scene unfolding? I am a guest at the birthday party of Adore Händel, no less. A spectacle-inducing,18th century time-travelling Baroque performer, who is turning 269 years old.

But age is only a number. For in the span of an hour, I am transported to the world of Adore, conceived by Melbourne-based baritone Luke Bell. Where, like an 18th century rock star, he bursts upon the stage singing ‘Sweet time traveller’, laden in the theatrical brilliance of maximalist European court hair, makeup and fancy-pants, party-hearty costuming. Think ornate embellishments. Luxe ribboning. Puffed-up hot and light pink organza sleeves with gold detailing.
And… a larger-than-life, quick-witted personality to match.

The scene I have entered? Adore’s annual birthday fest, where with a flourish-and-a-disney-ditty, plans to launch his little black book documenting a plethora of scandalous dalliances that he has kept a secret, until now.

Proudly singing the “Toreador Song” from Carmen, Adore boasts about the excitement, danger, and glory of his past lovers and ill-advised rendezvous, lost in a bullring of scandal and bon-vivant desire, much to the audiences delight.

But alas? This rapturous little book has disappeared. Sheepish and embarrassed, Adore frantically tries to contact Peter, his long-time assistant, while giving us a dramatic rendition of Queen’s ‘The show must go on’, despite these sets of most unfortunate circumstances.

And so, Adore is on a mission, to rescue his prized possession and set out to capture the unsuspecting wrongdoer of this heinous, unforgiving crime.

Paranoid as an unraveled-pearl-torn-from-its-seam, Adore interacts with the audience to see if they were indeed the culprit – as he searches for means, motive and opportunity.

Hilarity ensues as Adore peeps out at us like a crime-solving Sherlock Holmes. A microscope is shone across our faces. Suspiciously searching with mild interrogation as to who has stolen his prized possession, time is fleeting by. Without a clue to stand on, and desperate for some answers, Adore thinks that perhaps the shifty culprit may be linked to one of his past lovers.

With misty-eyed recollections, brilliantly scripted by Hannah Belle, Adore then sings ‘Bring on the men’, and does the unthinkable – daring to take us on a journey back to his time-travelling past. To surprisingly unveil the stories of three seperate ‘Dangerous Liaisons’ – that may unmask the identity of this high-octane thievery.

And thus, we are taken on a cart-ride of Cinderella-like proportions. From a fiery 18th century ball in Venice; to a late 1930’s horse-riding heist in the American West; to a pop record-deal gone wrong, we are indeed on the case of this mad whodunnit.

But it is Luke Bell who truly steals this show with his tremendous collection of hilarious antics and standout vocal gymnastics. A rendition of a testosterone-fuelled Johnny Cash song, ‘Ring Of Fire’, that rouses the audience to laugh and clap alongside him. His beautifully baritone voice cutting through with deep resonance during ‘Cry Me A River’, with misty-eyed, emotional substance. His instrumental talents of playing a kazoo, and finally, having a glass of Chardonnay while blowing a party blower out as a cigarette. No pun intended.

In all, this Cabaret-style show, lovingly produced by Lydia Keulsen, has sass, style and bawdy humour all rolled-into-one, purely for those of us who just want to be entertained at the highest level. If you love campy wit, a rumpy-bumpy storyline, standout operatic singing and tight-as-a-corset choreography, then this striking show is for you.

To book tickets to Adore Händel’s Birthday Party: Little Black Book Vol. 3, please visit https://www.melbournefringe.com.au/whats-on/events/adore-haendels-birthday-party.

Photographer: Bri Hammond

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Consent, Connection and Queer Dating: Before We Begin

10/10/2026 Nicole Salinger🥈⚡🎭😂🎪

Before We Begin Rating

★★★★★

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Upon walking into the majestic heritage building of the Trades Hall, it feels like I am being whirled back in time, to a centuries-old educational institution. Much like a long-standing university, with soaring arches, intricate, ornate wall stencils, and wide, uneven stairs. Where I already sense the joy and delight of education within its walls, housing steeply-tiered lecture theatres, seminar rooms, and instructional spaces.

Similar to Hogwarts in the Harry Potter films, I am led up to a casual, black box 70-seat lecture theatre called ‘The Quilt Room’, not knowing quite what to expect. Set up like a classroom talk, a primarily young audience mill on in. DJ music plays overhead, and a large projection screen frames the back of the stage, with the show’s moniker, ‘Before We Begin’. This is then followed by a paragraph – explaining that there will be a photographer present, and as such, we are giving consent as to whether we are comfortable with this. If we are not, we can voice this to the team after the show.

Immediately, I sense this is no ordinary show. Judging from the excitement from the audience, and a preview of a poster of a banana encased in the throws of a condom, this is no ordinary lecture either.

For this is pure interactive entertainment on a modern scale not seen yet in conventional theatres or institutions. Is it a confessional show about life experiences? Partly. Is it a show about ‘consent’ in an intimate setting? Definitely. Is it a step-by-step guide for the the world of queer online dating? Most certainly.

For in this show, we are invited by a deeply-charming host, New Zealand-born theatre-maker and master coach Hamish Annan, who turns the idea of consent on-it’s-head. He pushes the boundaries to create an interactive see-saw of participation between him and a live audience of liberal-minded individuals. In particular, on how to embody the idea of consent and sexual awareness in a sometimes, deeply-complicated, queer online dating world.

How does one begin this journey of teaching consent? Well, firstly, with a great deal of honesty. With gentleness. With sensitivity. By not only challenging us with what consent looks and sounds like; but with the likes of ‘showing’. By using the tools of interaction and participation. By getting the audience to choose to engage in formula-tic exercises – in order to open up their minds to the fact that life is about the choices we make; and that we have the right to exercise these, when it comes to our sexual wellbeing.

In so doing, Annan manages to gradually break through the third wall and engage the audience in a well-written plethora of priceless moments – from enlightening and hilarious; to spicy and risqué; but amazingly so, all within a safe environment.

But as with most shows at the Melbourne Fringe, this queer-based show is not for the faint-hearted for those who choose to participate. To be frank, this is an interactive, volunteer-based audience game-show for those who are not shy, but proud of their identity. For those who seek to learn, or who are just seeking to have some participatory fun. Always being asked the same question repeatedly throughout: How was that for you?

For Annan’s real mission? Is to teach queer dating around the element of safety. To learn one’s rights around consent, as in the past, one had to find this out the hard way. When, if one was stuck in an uncompromising position, one felt silenced, or deeply misunderstood. Where one would have to suffer under a cloud of shame.

Therefore, Annan pushes the limits in this show, not to necessarily shock the audience on purpose, but to remind them of their worth.

The show’s antics that the audience chooses to participate in are no doubt cheeky, slightly racy, and sex positive. They are mainly the truisms of the actions that define the queer dating culture. One’s chosen by Annan to entertain his audience greatly.

From a ‘touch me’ consensual coaching lesson to playing a game of Rizz to a 1-minute dominance exercise. From a darkened slow dance featuring mobile flashlights swaying, to a ‘deep throat’ condom lesson on a banana promoting safe sex.

Annan is an example of a unique presenter worth his weight in comedy gold, leaving the audience in stitches.
Yet underneath it all, he sticks to his own personal mission – of keeping the power of human connection alive. Of having the courage to tell his own personal story of overcoming sexual violation. Of being able to evoke more perspective and positivity to queer experiences of a sexual nature, for those who are still trying to navigate it themselves.

In all, this is a highly-entertaining show that is reliant on audience participation. It breaks the rules and smashes stereotypes, leaving you smiling and satisfied; from top to toe.

To book tickets to Before We Begin, please visit https://www.melbournefringe.com.au/whats-on/events/before-we-begin.

Photographer: John Rata Photography

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Living The Dream

08/10/2026 Oscar Bray🥈🎭

Living The Dream Rating

★★★★★

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Here’s a genre you may not have heard of: ‘suburban gothic’. It’s considered an offshoot of American gothic horror but instead of taking place in creepy castles or Antebellum mansions, the stories are set in, well, suburbia. Rather than external threats, suburban gothic tends towards modern human horrors; small, insular communities far from main cities that encourage if not mandate conformity to a culturally imposed ideal of ‘the good life’. The worst and most absurd consequences of this lifestyle are shown off in Living The Dream: a hilarious, riveting and quintessentially Australian suburban horror play that deconstructs Victorian suburbia with scintillating nuance and insight.

James (Ryan McInerney) has just moved into Arcadia: a pristine Victorian suburb populated by colourful characters. ‘The Boys’ quickly take a shine to him, as Cluey (Ed Wallis) and Damo (Oliver Qubrusi) attempt to bond with him over cricket, drinking and complaining about their wives. James always keeps a little distance, though, especially from Rich (Julian Machin), the de facto, overly smiley leader of the posse. He also bonds with their wives, along with Alison (Dempsey Doyle), the only single woman in town and the most normal-seeming person around. They start a relationship but as the months go by, everything unravels. The neighbours cross more and more boundaries, Alison and James argue about their future, and it becomes clear that James’ past city life is more complicated than he lets on.

Every performance adds depth to stereotypes of Aussie life we’ve all seen. As the leads, McInerney and Doyle have great chemistry, and their cynical characters give much-needed grounding and perspective to a strange world. Cluey and Damo may be degenerate, alcoholic archetypes of toxic masculinity, but they’re also given moments of vulnerability. We don’t excuse their behaviour, but it’s clear that they’re extremely damaged people who, like James, are seeking to find their place in the world. Rich, on the other hand, is much more malevolent, and Machin’s portrayal of him is fantastic to watch. He reminded me a lot of Patrick Bateman, with a façade that falls into the uncanny valley between psychotic and charming.

The characters and performances of ‘the wives’ – Rachel (Bridgette Kucher) and Jill/Joyce (Crystal So) – are just as strong and important. While Kucher perfectly sells the delusion and denial of someone ensconced in a hostile environment, So’s character reaches a terrifying breaking point; even her physicality seems broken, like a marionette being jerked on its strings. It’s clear that the entire cast has given so much energy and thought to who their characters are and how they see the world, and it is an absolute delight to watch them all bounce frenetically off each other.

There are so many details in the show’s design that add to the eeriness of Arcadia, from obvious idiosyncrasies, like characters talking about a beautiful painting when all the audience sees is a blank canvas, to the subtly strange, like everyone changing clothes between scenes except for James. The music accompanying the blackout scene transitions is strange, synthy and becomes more corrupted over time, keeping the energy going and giving a real sense of how things deteriorate even when we aren’t watching. Arcadia feels like its own real yet liminal space between the authentic and the absurd.

While the performances are incredible, they have an amazing story and script to work with. Not a word is wasted, every joke hits with an undercurrent of dread and every scene ends in the most perfectly awkward spot. There’s also a clear understanding of how abuse functions in relationships and communities. While James tries to stay afloat and get Alison out of Arcadia with him, we understand exactly how the community manages to draw them back in with gaslighting, blackmail and boundary crossing. The ending epitomizes all this and leaves so many questions unanswered, but in a way that feels only appropriate. We feel just as confused and trapped as the characters are in the Hell they created.

As a horror comedy, Living The Dream knows exactly what tone it wants to strike and hits it out of the park in every respect. There is so much that it does right that it’s hard to single out any particular aspect of it – it’s a production that just…works. It’s polished, fun, thoughtful, heartbreaking and chilling, and I certainly hope it has a life beyond the Fringe festival. I’d certainly be happy to see it again.

To book tickets to Living The Dream, please visit https://www.melbournefringe.com.au/whats-on/events/living-the-dream.

Photographer: David Cui

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The Courage To Become: A Saltwater Girl’s Journey Home

06/10/202606/10/2026 Nicole Salinger🥈⚡🎭😂🎪

Saltwater Girls Rating

★★★★★

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Deep within the depths of the Motley Wherehaus I enter Vault 2 – a tiny rectangular 25-seat theatre encased in wall-to-walk black draping, already creating a dramatic, moody, and immersive chasm of theatrical bravery for me to embody.

Against a black minimalist stage dimmed against green and crimson lighting, and flanked by white candles on either side of the stage, a black scenic cube remains static, along with a black lonesome notebook.

Overhead? Ominous sound waves are heard, of violin and guitar music rippling through the room. And at last, the shadow of a lonesome figure is cast behind the stage curtain, singing a traditional Catholic hymn. As the lights brighten, we meet Sydney-raised Lana Filies, writer and creator of ‘Saltwater Girls’, a confessional show about a woman’s journey of self-discovery – back to her own true identity.

As we meet our heroine, prayers are sung, and knees are on the floor, and Filies begins her sinful tale at aged 12, by strapping us in and encasing us in a patriarchal nightmare – in a no-holds-barred cell of an all-girls Catholic school. Or a ‘Catholic Utopia’, as Filies would have liked to have believed.

But as with most teenagers, curiosity often kills rigid order. Social norms fall by the wayside. Leading us by the tail – into the scene of a sin-worthy crime – a church broken-into by Filies, and her Catholic school cohort: her three other girlfriends and her male cousin. Where they come face-to-face with a bottle of wine and proceed to get drunk – a wicked start to some primal adventures. A first kiss with a girlfriend ensues, unleashing a sexual urge so strong, that a lesbian yearning is awakened.

This accelerates to a lingering bathroom kiss at a school party. Full of Catholic guilt, her Sappho secret is kept under wraps. Trying to cure what she believes to be a slight malady, she tries to ogle Zac Efron or Harry Styles, only to dream of Gillian Anderson instead. And as the drips of perspiration blare out of the theatre’s speakers, threatening to overpower her desires, they somehow remain stuck and suppressed: within an establishment built on shame.

By year 11? A revolutionary occurrence develops, when a crush on a lesbian teacher uncovers a host of virtues revered: self-respect, self-worth, and validation. For defying one’s social norms. For sticking to one’s values and principles and fighting society’s rules. When she discovers this teacher has a partner – she is sad but ever more curious. The pièce de résistance? The overwhelming discovery of a book of ancient Sappho poetry, written around 600 BCE, featuring verses of intimate human emotions, romantic longing and unapologetic female-led desire. As she looks up the teacher’s photo with her female partner? Something clicks. It is her own true identity beginning to bud, towards an exciting future: to finally be free to be herself.

But all is not rosy on the outside. This teacher gets stood down for discrimination. Liberation turns to rage. In Filies’ mind, it’s time to act out, as she is disciplined within a cluster of defiant boys as punishment. Where instead of fighting, she meditates and shrinks. A whole identity further squashed, sending her into a depressive state, unable to break free once more.

But in a timely fashion, a relationship breakdown (with a male) leads her to finally live a life she can only dream of, as she moves to Kings Cross. Eventually, she talks of finally accepting who she truly is, and how she grows to finally feel free- to fall in love with a woman of her choosing.

That to heal from one’s past? One must fight for one’s identity. That to move forward? One must give themselves the permission to become unstoppable – as a true Saltwater Girl. In purifying one spirit. In rising in one’s identity: all within the cleansing of the sea’s salty currents.

This is a beautiful coming-of-age story by Lana Filies combining storytelling, poetry, and song. It is masterfully directed by Amelia Gilday, and lovingly produced by Moon Bureau. It is a lovely piece of theatre promoting the magic mystery of self-discovery.

To book tickets to Saltwater Girls, please visit https://www.melbournefringe.com.au/whats-on/events/saltwater-girls.

Photographer: Amelia Gilday

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