All Bull, written and directed by Walt Dyson, follows a group of five salesmen as they travel from pub to work to pub to work and spot a bull stampeding down the street. As the play progresses, employees Ben (Lousie Jameson) and John (Ashlynn Parigi) attempt to raise the alarm as the group and the rest of the city are turned one by one into bulls.
The show is a bit unpolished in a few ways, firstly its tone/style has difficulty finding a home. Joe and Jeff who were played by Emily Farrell and Emily Jenkins respectively, were written almost solely comedically, allowing the actors to lean into the ridiculousness of their characters. Farrell and Jenkins’ clowning energy were fantastic to watch and were real comedic highlights of the show. In comparison, Jameson’s Ben and Parigi’s John were more grounded. Their embodiments created men the audience felt they knew. However this does highlight that the play is unsure whether to commit to realism or camp, and therefore often lands awkwardly in between. There were more camp moments near the start, particularly when first spotting the bull, that I wish had been peppered more throughout.
The sound and composition by Junaid Eastman is a stand out production element. Transitioning from cow bells to clinking glasses, Eastman creates an unnerving environment from when the audience first enters and plays off the tonal layers throughout the show.
While I was particularly excited to see where the bull transformations fit in the themes, the allegory is a bit half baked and attempts to stretch without material to cling onto. The script attempts to make it explicit, spoonfeeding the audience direct lines about what it’s meant to mean, e.g. “bulls will be bulls,” while the allegory itself becomes inconsistent. The reasoning for why some of the men turn into bulls or are drawn to its appeal is underdeveloped. Additionally, the choice of making dangerous men monstrous and unintelligent is already a delicate game.
Though I give credit to the fact the script was attempting to branch out from sexual violence and misogyny – as many productions critiquing masculinity have focused their attention – it ends up being a vague what is being critiqued. It leans towards talking about male alcoholism, but we don’t see it actually cause many problems. In the director’s note Dyson references “drunken acts” he had witnessed, but few happen during the show, including none from Ben who is meant to be the raging alcoholic. It ends up not feeling grounded in these real world issues it’s alluding to, saying “drinking makes men act badly” without proving its claim or asking why. I think there is something in the cracks about how capitalism nurtures toxic masculinity, but it doesn’t develop far.
The show’s strongest moments were in the choreographed movement sequences and leaning into the physicalisation and aggression of the bulls. Faun Xe and Eden Bren were standouts in their bullish masculinity, even when doing a set transition the energy was palpable with clear hierarchical lines drawn. The staging did however at times feel static and awkward, often drawing my eye away from the main conversations.
All Bull attempts to examine Australian drinking culture, toxic masculinity and at times the manosphere, but ends up unsure in its thesis. I think with some more development and a confident through thread, this show could truly be something special. In a current climate where there is by no means a lack of theatre about masculinity, Dyson needs to be specific with what he actually wants to talk about.
The Bubbles Festival Melbourne: A celebration of all things sparkling!
Natalie Pickett founded The Bubbles Review 10 years ago, when her first blog educated those who thought Moet was spoken like the end of the word, “ballet”, with a silent T, when really, it’s pronounced “Mo-wett.” Natalie should know. When working as a tour guide in Europe, on a guided trip to Moët et Chandon, she confirmed this exact fact.
Natalie’s ‘Bubbles Reviewers’ Club’ offers members monthly rewards, tasting technique masterclasses and more discoveries and invitations via www.thebubblesreview.com
I met some of her club members on Saturday, 2nd May, for Bubbles Festival Melbourne, at River’s Edge Events in the World Trades Centre – in a room with a stunning view of the Skyline Wheel and Polly Woodside. Holding our complimentary Riedel sparkling glasses (included in our tickets), we were all thirsty to begin when Natalie welcomed our group and spoke about some important terms to remember before sampling the bubbles on offer. She reminded everyone to hold their glass by the stem, as best to view the bubbles in the middle. We were advised to enjoy the experience of each sparkling with each of our five senses; even holding the glass to our ears – as though listening to a seashell on the beach – and to take in the scent with our noses, as far as they’ll go into the glass before tasting.
“Bubbles – Just like a hug in a glass” and “ABC = Always Bring Champagne” slogans called to us from TV screens around the room. After this, we would visit all the Exhibitor tables to indulge in the exquisite selection.
In between tastings, we were served trays of various Canapés – including Truffle and Mushroom Arancini. We also indulged in a succulent seafood station and a cheese station – perfect bubbly food companions.
Ian was the friendly host from Clover Hill. He poured my first tasting with CLOVER HILL TASMANIA EXCEPTIONELLE MULTI-VINTAGE, (59% Chardonnay, 35% Pinot Noir, 6% Pinot Meunier) – a light straw/green hue in the glass, vibrant citrus and stone fruits on the nose and crisp acidity on the palette.
My second tasting was the CLOVER HILL TASMANIA ROSÉ MULTI-VINTAGE (66% Chardonnay, 29% Pinot Noir, 5% Pinot Meunier) with fresh vibrant strawberry notes upfront on the nose. The palate was layered and creamy with red forest fruits, to a balanced, long finish. This one was sweeter than the first and a little too perfumed for my taste – still a lovely sparkling.
My third taste was the CLOVER HILL BLANC DE BLANCS MULTI-VINTAGE – Tasmania with 100% Chardonnay. This one reminded me a tad of the lovely Billiecart-Salmon Blanc de Blancs Grand Cru NV from France. It too, is characterized by aromas of citrus, white peach, and brioche with a creamy texture.
Tasmanian cool-climate sparkling wines are dominating at the moment, having taken out all the trophies at the 2025 Australian Sparkling Wine Show and Clover Hill is no exception, having been recognised by The Real Review as one of the best producers in the country. They are consistently ranked among Australia’s top producers with a 5-star Halliday rating.
Ian had a fourth offer in CLOVER HILL ROSÉ D’ASSEMBLAGE MULTI-VINTAGE (63% Chardonnay, 29% Pinot Noir, 8% Pinot Meunier), which I didn’t get to sample as I felt drawn to the French table while there was a lull in the crowd.
I met Jean Paul at the Philippe Fourrier table for a quick chat. Since 1847, this family Champagne house located in Baroville, is anchored in an exceptional terroir, the Côte des Bar, in the south of Champagne appellation area.
JP’s first French pour was the CHAMPAGNE PHILIPPE FOURRIER – ROSÉ DE SAIGNÉE (NV) (90% Pinot Noir, 10% Chardonnay) with a light red to deep rosé hue and orange reflections, its fine and persistent bubbles adding elegance in the glass. The nose opened with ripe raspberry and fresh red berry aromas.
JP’s second French pour was LOUIS PERDRIER FRENCH BRUT (NV) – Bordeaux – France (100% Chardonnay), an exceptional French Sparkling. Deliciously toasty notes melt into the scent of golden apples. Gentle and harmonious on the palate with some richness tempering the citrus finish. For me, this was the best sparkling of the day.
The third French pour was CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – Champagne, France (100% Pinot Meunier), with a beautiful pale-yellow hue and fine bubbles bright in the glass. The nose offered fresh red fruit aromas of subtle blackberry, hints of peach and plum. This one seemed a tad light to me after the Brut.
Lastly, I met Kathy at the Sutherland Estate stand – a small, second-generation family-owned enterprise located at a picturesque location in Dixon’s Creek, a mountainous area, past Yarra Glen in the Yarra Valley. Her first pour was SUTHERLAND ESTATE – 2021 BLANC DE BLANC SPARKLING – Yarra Valley (100% Chardonnay). Made from 100% Chardonnay in the Méthode Traditionelle, with secondary fermentation and ageing in the bottle.
Kathy’s second pour was her SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO (100% Tempranillo.). This renowned sparkling red is unique because we don’t often see a Tempranillo here in Australia. Sutherland have been making it for more than 12 years, and it’s all grown onsite. It has spent twelve months in seasoned barriques before undergoing secondary fermentation on lees in the bottle made Méthode Traditionelle, having a powerful burst of mid-palate fruit of berries, dark cherries, a bit of liquorice, with peppery spice and earthy undertones to finish. The palate is medium-bodied and well structured, with fine tannins and a persistent bead. A great match with cheese and charcuterie. It had the power of a sparkling Shiraz and I’m keen to visit their Cellar Door for more.
I tried the SUTHERLAND ESTATE – 2025 SPARKLING ROSÉ (with 100% hand-picked Pinot Noir). Whole bunches of Pinot are harvested from the vineyard and come into the winery and straight into the press immediately leading to the gorgeous pale salmon colour. The aromas are bright and enticing with rose petal, strawberry and perfume. On the palate were strawberries and cream. A delightful summer’s drink, but for the last glass of the day, I had to return for one last taste of the Sparkling Temperanillo.
Illustrator, Susan Kerian, who some recognised from her work with retailer, ‘Blue Illusion’, returned to showcase her original illustrations – perfect for ‘Emily In Paris’ fans and Francophiles.
All sparkling wines and Susan’s artwork could be purchased on the day so, I happily departed with my order for delivery of four of the LOUIS PERDRIER FRENCH BRUT (NV) from Bordeaux, two of the CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – from Champagne in France and six of the SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO from the Yarra Valley, because according to F. Scott Fitzgerald, “Too much of anything is bad, but too much Champagne is just right.” Well, that’s my excuse and I’m sticking to it!
All of the exhibitors offered great deals for purchasing on the day. I’ve never understood why tastings sometimes don’t allow that, but at Bubbles Festival, you could take the wine with you on the day, or get it delivered later, which was ideal. $5 from each ticket went to the Sacred Heart Mission, St Kilda. Natalie chooses a different charity to donate to in each of her state’s events.
It was a sunny 25degree day in Melbourne and I tasted some new and exciting Sparklings and Champagnes, met like-minded and vivacious souls, feeling the fresh bubble of life, therefore, I thoroughly recommend attending the Bubbles Festival.
Here are the other states’ Bubbles Festivals, coming soon:
Brisbane – 9 May 2026 – Get your tickets here! Sydney – 22 & 23 May 2026 – Get your tickets here! Adelaide – 6 June 2026 – Get your tickets here! Perth – 20 June 2026 (TBC) – Join waitlist here!
Due to overwhelming demand, the acclaimed international hit Club Kabarett has extended its current Melbourne season for an extra two weeks, producers Velvick confirmed today. The encore run, now playing through to Sunday, June 7th, at Melbourne’s iconic Meat Market, has proven to be a box office hit and has been met with widespread applause from critics and audiences alike. The production, a celebrated fixture on the international festival circuit with acclaimed seasons from London’s West End to Edinburgh, previously enjoyed a significant success in Melbourne in 2025, securing a Green Room Award for Outstanding Cabaret Ensemble and earning three nominations.
Creative director and producer Tom Velvick’s production design has been widely lauded for its incredible transformation of the Meat Market’s historic Cobblestone Pavilion. Velvick, who has also produced and designed Crown’s Pipers Playhouse this year – has breathed new life into the venue with an immersive design that gives the transformed Berlin club both grandeur and grit. Audiences are immediately immersed in a visceral experience, saturated in red light with stark black and crimson walls adorned with spray-painted German and English phrases.
WHEN: Extension to June 7th 2026 Meat Market, Blackwood Street, North Melbourne
Club Kabarett stars the deliciously salacious and wildly talented, Bernie Dieter, alongside her band of legendary misfits and mischief makers including show favourites, Soliana Erse, a world class contortionist whose moves defy the limits of the human body; the human heatwave known as Jacqueline Furey, a purveyor of the beautiful and bizarre, whether she is swallowing swords or breathing fire; the avante garde drag cabaret artiste, Iva Rosebud, whose work spans Cabaret, Musical Theatre, Drag, Burlesque and Performance Art; and the world renowned circus performer, Jarred Dewey, whose grace and skill as an aerialist have seen him perform on some of the most prestigious stages in the world. Joining this immensely talented group of Club Kabarett favourites in Melbourne this year will be international tap dancer Caleb Cameron, who has been dazzling the stages of the Crazy Horse in Paris with his astonishing dance moves; and the hair suspension viral TikTok sensation, Mel Lee, fresh from the stages of London’s West End.
Broadway’s smash-hit musical WAITRESS has its Australian Premiere on Thursday night, 7 May at Her Majesty’s Theatre, Melbourne. Preview audiences have been effusive in their praise of the show, with heart-felt standing ovations each performance.
Tickets are on sale for both the Melbourne and Sydney seasons at waitressthemusical.com.au
“This inspiring show was a massive hit on Broadway where it played for almost four years, and was a huge success in the West End and across the world. And now WAITRESS has arrived in Australia,” said producer John Frost for Crossroads Live. “With its inspiring music by Sara Bareilles and universal themes of hope and resilience, WAITRESS has fast become a ‘must see’ musical. We have a sensational Australian cast, led by Natalie Bassingthwaighte, Rob Mills, John Waters, Gabriyel Thomas and Mackenzie Dunn, and preview audiences are loving this moving and original musical. Get your tickets now while you can.”
Leading the cast as Jenna is Natalie Bassingthwaighte (Chicago, Shirley Valentine), while Gabriyel Thomas (Cats, Sister Act) and Mackenzie Dunn (Grease, Annie) play Becky and Dawn, Jenna’s coworkers at the diner. Charismatic star of stage and screen Rob Mills (& Juliet, Wicked) is Dr Pomatter, and legendary actor John Waters (Jesus Christ Superstar, Oliver!) plays Joe, the owner of the diner. Keanu Gonzalez (Annie, West Side Story) is Earl, Gareth Isaac (Elf the Musical, Mary Poppins) plays the role of Ogie, John Xintavelonis (The Wizard of Oz, The Lion King) plays Cal, and Annie Aitken (Guys & Dolls, The Sound of Music) is the Jenna Alternate.
The ensemble and swing cast comprises Cameron Boxall, Alexandra Cashmere, Ethan Jones, Dwayne P. Mitchell, Joseph Naim, Conor Neylon, Belle Parkinson, Emily Robinson, Elandrah Tavares, Bree Tipoki and Stephanie Wall. Lulu is played by Stevie Denton (5 years old, from North Warrandyte), Lola Inman (5, from Langwarrin), Ruby Marshall (5, from Port Melbourne) and Evie Papas (6, from Templestowe).
Inspired by Adrienne Shelly’s beloved film, and brought to life by a trailblazing female-led creative team, including a book by acclaimed screenwriter Jessie Nelson, an original, uplifting score by Grammy winner Sara Bareilles (Love Song, Brave) and direction by Tony winner Diane Paulus, WAITRESS is the irresistible Broadway hit about resilience, friendship and hope that has captured hearts worldwide.
This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. When a baking contest, an unexpected new romance and the support of her fellow waitresses offer her a taste of change, Jenna discovers that the secret ingredient to happiness might be closer than she ever imagined.
“Treat yourself to a slice of 5 Star musical pie” – The Times “Sweet, sassy, passionate & delightful!” – New York Magazine “Simply delightful! A glorious reminder that life is messy and wondrous!” – The Washington Post
WAITRESS made history on Broadway with the four top creative spots in a show being filled by women – Sara Bareilles (music and lyrics), Jessie Nelson (book), Lorin Latarro (choreography) and Diane Paulus (direction). It opened on Broadway in April 2016 at the Brooks Atkinson Theatre, where it ran until January 2020. WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick.
Sweet, sassy and soul-stirring, WAITRESS is “a little slice of heaven” (Entertainment Weekly) and “made from the finest ingredients” (Time Out). It’s a feel-good celebration of second chances, and the magic of a well-made pie.
Everyone deserves a slice of happiness!
MELBOURNE SEASON DETAILS Venue: Her Majesty’s Theatre Season: To 19 July Performance Times: Tue-Thurs at 7pm, Fri-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm, 3pm or 6pm (performance times vary each week) Prices: From $69.90 (Transaction fees apply) Bookings: waitressthemusical.com.au or phone 13 28 49 Groups 8+ call (03) 9662 9571
SYDNEY SEASON DETAILS Venue: Sydney Lyric Theatre Season: From 1 August Performance Times: Tue-Thurs at 7pm, Fri-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm, 3pm or 6pm (performance times vary each week) Prices: From $69.90 (Transaction fees apply) Bookings: waitressthemusical.com.au or 136 100 Groups 8+ email groups@ticketmaster.com.au
