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VOGUE: Humor, Glamour, And Edge To The Forefront!

03/03/2026 Debra Campbell🥇🔥🦉🎭🎶

Viva – Vogue Rating

★★★★★

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VOGUE is one of two shows on currently at VIVA Melbourne – above one of the most popular performing arts training centres in the country; Jason Coleman’s Ministry of Dance, but the show employs artists from near and far. Every singer and dancer is a top level representation of hard working talent.

Advertised aptly; ‘Riches come to life and cabaret re-invented!’

I can agree with that. VOGUE is a variety cabaret show unlike any other I have seen, excepting maybe in Las Vegas, and their venue gives a ‘Vegas’ feel as soon as you enter the luxury upstairs. Seating is semi-circled booths and tables. Glamorous dancers in heels will be showing you to your seats and handing you the menu – you can order / eat / drink right here. We are one level up with the best view, but there are tables right on the stage edge …. more about that choice next if you’re game.

A bartender walks on stage and awkwardly introduces himself – he explains he will open the show whilst the real host has been delayed…. Hmmmm… he seems very good at hosting jokes and noteworthy comedic ability is well received by interaction from the audience members he engages with unsuspectingly. If you want to take a punt and sit down front, WARNING: risk to become part of the show LOL 🙂

The digital backdrops in this place are fantastic! I absolutely LOVED the luminous magazine covers for the feature item of VOGUE; each cover-girl positioned spot on and in the dark to suddenly shine brightly under a spotlight of photographers and paparazzi, but Madonna’s ‘Vogue’ is not the only smash hit you’ll be looking at.

We are taken from song to song, country to country and movie to movie. We enjoy flashbacks of stars from the silent screen to more randomly selected audience members getting their chance for a moment in ‘Cats’ and ‘Grease’ – their partners still in their seats needing no encouragement to get phones up and have those videos shaking with laughter!

The Spice Girls were spot on and perfectly costumed; Baby Spice took me back in time in her high boots and pigtails (she was always my favourite). Scary in her signature leopard print, Sporty in her athletic wear (now there’s a chance for sponsorship), Ginger strutting out in the Union Jack and Posh engrossing in a black jumpsuit I would’ve died for in my youth!

Get ready for some ‘tiny’ costumes too – you need to be comfortable with that when watching this show (VOGUE) and Viva’s later night show (VICIOUS) gets even more raunchy we are told.

A highlight is the aerial acrobatics on the huge hoop that appears from nowhere out of a circle above us, not once but many times throughout the evening and each time showing off completely different tricks to the last, all incredible with graceful extensions and some interesting poses – especially when our host dangles himself down (you’ll have to go see to find out what that means…..).

Impossible to list everything this neo-burlesque show offers. You will be witnessing an explosive feast of entertainment including a James Bonds meets Charlies Angels, an ELVIS in Viva Las Vegas like none I have seen before, a rendition of Dirty Dancing that is totally Uproarious, a Spiderman in all his glory, the squealing high kicks of the Can-Can in Paris, the cirque silks of Egypt and the Brazilian Samba moving into Spain, plus MORE, ending in an all-laughs Australian Finale with thongs of all sorts.

My No. 1: I’d have to give it to the side-splitting ‘Bee Gees’ take off

Thank-you VIVA team – this show can only expand in popularity as it becomes more well-known… watch this space 🙂

VOGUE: humor, glamour, and edge to the forefront!

Ticket and info link: https://vivamelbourne.com.au/

I recommend this show for anyone over 18 who has a sense of adventure into the unknown and for Melbourne tourists too interested in seeing our fabulous home grown artists. There are not many shows close to our city for a reasonable price where you can also enjoy good food and drinks whilst watching. Note: We particularly loved the fries, arancinis and the themed cocktails.

VIVA Melbourne’s all-round inclusive show-food-drinks concept is impressive!

Ps. the bathrooms are out of this world – nowhere, anywhere has bathrooms like this, so if you don’t have time to do your make-up at home just bring it with you!

To book tickets to Viva – Vogue, please visit https://vivamelbourne.com.au/events/.

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Pokélesque: The Uproarious Drag And Burlesque Parody Play

26/02/2026 Aunty Kylie xo

Pokélesque Rating

★★★★★

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One would not be out of place saying, WTF Rosie Roulette, writer and director of Pokélesque, performing 24-28 Feb 2026 at Ackland Street Theatre. What goes on in that fierce silly nerd head of yours?

Pokélesque tells the tale of a young trainer, wanting to be the best, beginning their pocket mon journey. Lucy May Knight’s star shines brightly as the young trainer. Their quick wit and improv reactions are hilariously fun. Adam White is equally matched as the Rival. There was no censoring of the rival’s name volunteered by the audience unlike the game. This was the beginning stages of the shocks and excitement ahead. Various stages of undress mean this is not a kid’s show.

We are cleverly welcomed, with the audience lights on, to three pink eared acapella singers, with words slightly changed for the Pocket monster theme, as people take their seats. As the lights dim and the story starts, we are taken on a weird psychedelic trip. The Professor, Darin Casler, cleverly comforts us for the road ahead. That road included fight scenes where we the audience clapped along and roared laughing.

There was MX Lucy Furr, whose stunning performance as Lickitung in hot pink tongue boa and pink sequined cap which made them a vagina in certain poses and strip teasing pocket mon. Rosie Roulette dazzled us with her beautiful version of “Never Enough”, what an exceptionally multi-talented weirdo. Sy Quinn’s performance in multiple roles with strange unrecognisable accents and many hat changes brought well deserved cheers and whoops from the audience every time they came on stage and played up directly with the audience.

Driving and begging for reactions seamlessly within the storyline. Rasputtin as Mr. Mime was a highlight. Their mimed strip tease was comically sensual and had audience members catching and returning their imaginary clothes with glee. The fabulous dancing Theresa Problem and Izzy Inyette play the villainous team Red Rockets. Were there a couple of sound issues and a troublesome microphone on opening night? Sure, but this talented crew added it to the interaction with us the audience. Improv and a non-existent fourth wall included us at every turn of this parody style play.

This all-inclusive, minus kids, show really is one for the pocket monster fans with many hidden and some not so hidden Pokemon puns. However, no prior knowledge is needed. Get along to the mischievous, totally camp, frivolous Pokélesque. Presented by GEEK OUT Nerdlesque. You will have a great time.

To book tickets to Pokélesque, please visit https://www.theatreworks.org.au/2026/pokelesque.

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Omega Ensemble Presents: Starburst

20/02/2026 Emelia May⭐

Starburst Rating

★★★★★

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Taking place at Melbourne’s Recital Centre, ‘Starburst’ marks the start of the Omega Ensemble’s 2026 season, featuring works by four unique composers in an evening of genre-bending chamber music. The Omega Ensemble is a cornerstone of Australia’s classical music scene, and this year’s performance once again reaffirmed their reputation for pushing boundaries and delivering extraordinary musical experiences.

The program was nonstop from curtains up, opening with Jessie Montgomery’s punchy, experimental ‘Starburst’ and moving just as quickly into the more traditional ‘Clarinet Concerto’ by 20th century composer Gerald Finzi. The small chamber ensemble was a tight unit throughout, gliding through highly complicated pieces with cohesion and exquisite technique. Within the walls of the acoustically-optimised Elisabeth Murdoch Hall, each instrument blended together superbly and never once into the background.

Trumpeter David Elton and clarinetist David Rowden were a pleasure to watch, from their brilliant solo performances of Finzi and Shostakovich to the world premiere of Lachlan Skipworth’s ‘A Turning Sky’, a double concerto composed specifically for Elton and Rowden. Side by side they expertly weaved together a melodic and full-bodied duet that, backed by the orchestra, completely encompassed the hall in a wash of perfect harmony. ‘A Turning Sky’ was incredibly arranged, highly detailed and masterfully performed; it was just awesome to experience original work by leading Australian composers.

The Omega Ensemble’s rendition of Dmitri Shostakovich’s ‘Concerto No. 1 for Piano, Trumpet and Strings’ was truly something to behold and the undeniable nucleus of ‘Starburst’: an unrelenting combustion of a concerto closing with a piano solo that earned pianist Vatche Jambazian a well-deserved standing ovation. It was a physical performance as much as it was musical and Jambazian’s backbreaking playing style kept eyes pinned as he shredded on the keys like a man possessed. Shostakovich, I now know, was insane—but man, the whiplash from ominous dissonance to jolly fanfare melted my brain. I had to go listen to it again later just to be sure it was real.

‘Starburst’ featured a particular selection of composers that, while incredibly enjoyable to listen to, emphasised a deeper significance beyond music alone. In the years between what we know to be classical (then) and contemporary (now), experimental music emerged as a means of radical self-expression in times of great uncertainty, loss and discovery. The Omega Ensemble explores the space between classical and contemporary music in bursts of sound and light, connecting modernist musicians of centuries past with composers pioneering the classical genre today. Both an exchange and a collaboration, ‘Starburst’ highlights the value of artistic dialogue as a catalyst for redefining the boundaries of contemporary classical music.

‘Starburst’ has finished up its run, but you can always catch the Omega Ensemble Australia-wide all year round!

To book tickets to Starburst, please visit https://www.omegaensemble.com.au/starburst.

Photographer: Amelia Kain

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Robot Song

18/02/2026 Adam Miller⭐

Robot Song Rating

★★★★★

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Robot Song is a 10/10 unicorn. It’s a lean, hilarious and genuinely heartfelt piece of theatre, where every element is perfectly placed and the magic sneaks up on you. There is no fat in this show. Nothing extraneous. It is deliberate, thoughtful and perfectly crafted, a tight hour that moves at a cracking pace and still finds room for your heart to keep up.

I first saw Robot Song years ago and it hit me just as hard this time at Theatre Works as it did when I saw it in regional Victoria. I feel like that is the mark of a work built on universal truth and authenticity.

Created by Jolyon James (writer, director and designer), Robot Song takes the lazy “robotic” stereotype often slapped onto autistic people and flips it into something far more honest and generous. In James’ own words the show challenges those misconceptions, asks how we define ourselves and centres creativity as a way through when language fails.

At the centre of the story is Adeline Hunter as Juniper May, giving a stellar performance that is funny, raw and completely believable, like you are watching a real kid think in real time. Phillip McInnes as Dad nails the paternal warmth and the messy, relatable effort of trying to get it right more often than you get it wrong. Michelle Doyle, performer-musician, is a quiet force, moving between presence as Mum and musicianship in a way that makes the whole room feel held.

The music, composed and directed by Nathan Gilkes, is simple but perfectly formed, built to keep the lyrics clear and centred while still giving the singers space to fly. And fly they did. Each performer showcased their vocal skills brilliantly but Adeline Hunter stole the show vocally with a powerhouse voice that left the audience cheering.

The theatrical language is a joy too: a show-within-a-show (and sometimes another show within that). It never feels confusing as we switch between worlds, just lovingly guided. Puppetry, projection, movement and live tech blend so seamlessly, you stop clocking the mechanics of brilliant theatre-making and find yourself genuinely immersed inside the story.

The design, once again, highlights the versatility of Theatre Works. It sits within the space as though it was custom built for the venue. The set looks casual, complete with found objects strewn everywhere, but everything is precisely chosen and positioned, especially around the oversized dumpster centrepiece which is somehow both realistic and quietly magical. Set construction is credited to Tom Eeles at JT Custom Builds, and you can feel the intelligence in every centimetre of it. The lighting (with original lighting design by Paul Lim) and the sound design deserve their own standing ovation. They are detailed, sculpted and so apparently effortless that you only realise afterwards how much work must be underneath.

I brought my 17-year-old daughter to this performance and she loved it as much as I did, as much as the younger kids in the audience did too. That “everyone gets something” kind of magic is rare. Think Bluey energy: warm, clever, deeply inclusive, with big lessons delivered gently with wit and kindness. This show made me laugh, cry and I loved every moment of it. Don’t miss it.

To book tickets to Robot Song, please visit https://www.theatreworks.org.au/2026/robot-song.

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