Viva Vicious

Viva - Vicious

Viva – Vicious Rating

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VIVA Vicious by VIVA Melbourne is the adults-only experience you need to book for your next date night.

Secretly housed in a beautiful Cabaret room at the top of a warehouse at 64 Sutton Street, North Melbourne, VIVA Vicious and its troupe of amazing singers, dancers and, acrobats, creatively and tastefully capture “The art of suggestion” or, “The art of almost.”

While Marketing ‘Mandate’ Male Revue on King Street in the 90’s, I was safe to visit friends in the adult clubs next door. I noticed the gentlemen who came to see the female strippers were much more well-behaved than the Hen’s night ladies who came to see the males. It was a fun and bawdy time, and absolutely everything was on show.

This is not that.

Viva is the kind of nightclub show couples enjoyed in the 1950’s – dinner, drinks, dancing and, a floor show – only more naughty for the naughties.

Professionally and stylishly choreographed by Karlee Porritt, with a beautifully lit stage and interesting projections, Viva Vicious is both suggestive and sensational.

The show includes aerial acrobatics, popular music, beautiful costumes and humorous skits – males dressed as Nurses and French maids – dappling in virtual reality.

True to the mid-1800’s Burlesque shows, the VIVA men were often the comic relief between the provocative female performers. In this show, they also dance, play the saxophone and, assist in the aerial acrobatics.

Just like with ‘Moulin Rouge’ or ‘Crazy Horse’ in Paris, every performer is extremely fit and stunningly beautiful. Crazy Horse boasts of their show, “an ode to feminine beauty, combining eroticism and sophistication.” Viva in Melbourne certainly lives up to this boast.

 

The female body is a beautiful thing.

While enjoying VIVA Vicious, I remembered an old life-drawing teacher once told me, “What’s suggested is often more attractive than what is obvious.”

Unlike Moulin Rouge, where you’re practically sitting on the lap of the person next to you, the Viva Cabaret room is plush and comfortable. Couples and friends are seated in pairs at club tables on different levels, so every view is intimate, stimulating and, energetic. Even the opulent rest-rooms were exquisite!

Each Cabaret table is big enough to place two side plates and two sumptuous cocktails the Viva wait staff bring to you shortly after you’ve ordered. We tried the Chicken Karaage and the Salmon Sashimi. Both were visually pleasing, fresh and delicious.

The first performer on stage set the scene in a long sequined evening dress singing a Whitney Houston ballad, with precision. Now we find we’re in for Cabaret and, Burlesque.

She was followed by a Britney Spears number with many dancers in full-body tiger print outfits, topless.

A songstress mixes things up, singing a 50’s number sporting her Marilyn Monroe style dress.

There’s a Western number backed by the classic Ennio Morricone soundtrack, and plenty of ‘Honey Birdette’ designed lingerie.

Michael Jackson’s ‘Dirty Diana’ and Annie Lennox’s Sweet dreams perfectly back a sensual bed scene.

Things are spicy but never confronting.

Throughout, there were a few aerial acrobat spots, one with a spiral from the ceiling, another with silks, always with such skill. Loved the sexy Medusa track.

During a most enjoyable two-hour show, there are two Intermissions where you can go to the bar or, partake in a caviar bump and a vodka shot with a passing sexy server, to prepare you for the next show.

The troupe encourage you to hit the dance floor after the show.

Viva means “Long Live” in Italian and Spanish. I think we’ll return.

Viva Melbourne – Level 2, 64-90 Sutton Street, North Melbourne
Booking: https://vivamelbourne.com.au/events/

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

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Piper’s Playhouse

Piper’s Playhouse

Piper’s Playhouse Rating

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From the moment guests step inside Piper’s Playhouse, it is clear this is not simply a show. It is a fully realised world.

Greeted warmly by the irrepressible Jimi the Kween and the razor-sharp Valerie Hex, audiences are ushered through an immersive maze, complete with bubble artist, hilarious peep shows and confession booths. From the start, you can tell that whimsy and risqué will walk hand in hand for the evening. The space itself is a triumph of design. Deep red velvets, glowing table lamps, light haze and a central podium create a Parisian cabaret atmosphere that feels both transportive and inviting rather than themed or contrived.

A full house on the night I attended generated a buzzy energy, with a broad mix of ages (strictly over 18) proving the experience is as accessible as it is sophisticated. Gorgeous tables, attentive costumed hosts and slick service reinforce the sense that every detail has been carefully considered. Even the delivery of the first glass of champagne becomes theatre in a moment of surprise that perfectly captures the spirit of the night.

On stage, a stunning jazz band provides the heartbeat of the room. Their playing is effortlessly virtuosic, loud enough to shape the atmosphere yet perfectly balanced so conversation can flow. It is cabaret accompaniment at its finest: tight, relaxed and deeply stylish.

 

 

Valerie Hex proves a brilliant MC, working the room with effortless comedy and razor wit that never comes at the expense of the audience. Meanwhile, Jimi the Kween commands attention with a spectacular voice that moves seamlessly from power to nuance, all delivered with uproarious humour.

Headliner Diesel Darling demonstrates exactly why she sits in the Burlesque Hall of Fame. Titillating and playful, her connection with the audience is magnetic.

The supporting acts are equally compelling. Becky Bubble is captivatingly inventive, elevating the medium of bubble art into something quietly magical. Soliana Ersie leaves the crowd audibly gasping with contortion work that borders on the impossible, while hand balancer Naz Alexander delivers feats of strength with undeniable flair. Magician Sebastian Rideaux impresses both onstage and during close-up performances between sets, his charming patter guiding audiences from laughter to cheers of delight in seconds.

Importantly, the troupe feels like exactly that, a troupe. Performers weave through the audience, support one another’s moments and contribute to an atmosphere that is welcoming, inclusive and joyfully celebratory.

Add excellent food, fast and friendly table service and a late-night, post-show piano bar led by the high-energy Trevor Jones, and the result is an evening that refuses to let the party end quietly.

The attention to detail is immaculate. The care for the audience experience is unmistakable. Piper’s Playhouse is an immersive feast for the senses, a masterclass in modern cabaret and the kind of night you can’t wait to tell your friends about.

To book tickets to Piper’s Playhouse , please visit https://www.crownmelbourne.com.au/bars/pipers-playhouse.

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Homophonic!

Homophonic

Homophonic Rating

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This year, ‘Homophonic!’ celebrates their 16th annual performance at Midsumma. Directed and presented by double bass player Miranda Hill, ‘Homophonic!’ features new music by queer composers and embraces the playful, shiny disco ball side to the classical music scene. I was devastated I couldn’t make it last time, so consider this review a year in the making.

Storytelling was without a doubt the heart of ‘Homophonic!’ I noticed, as Hill reverently introduced each composer and the stories behind their work. Backed by a strings quartet, percussion and the voices of the Consort of Melbourne, the program reflected on the many diverse facets of the queer experience. Lyle Chan’s AIDS memorial quartet and Caroline Shaw’s ‘To The Hands’ were particularly memorable examples in their haunting, near-tangible beauty. At times, ‘Homophonic!’ felt more like a conversation between composer, musician and audience; a mutual understanding beyond what language alone can describe. It was visceral, and nothing short of an amazing experience.

 

 

‘Homophonic!’ played with a blend of mediums from classical to contemporary, disco, performance art and spoken word. ‘i ain’t reading all that / i’m happy for you tho / or sorry that happened‘, composed by Connor D’Netto and written by Alex Creece, was a brilliant foray into poetry: hilarious, ineffable and heartbreakingly real. The Consort of Melbourne serving as a conduit for the barrage of inner thoughts projected onto the theatre wall was genius, and as their voices overlapped in crescendos and cacophonies, I remember thinking, ‘Oh, so thiiiis is poetry. I finally get it!’. ‘All lesbians are jellicle’ is a line that will literally never leave my consciousness now.

I’m no classical aficionado by any means, so I brought a date who is, but we ended up having so much fun the technicalities I was so worried about didn’t matter. While the performers were incredibly skilled, and I could go on and on about that, it was their enjoyment of the craft that struck a chord—they were having just as much fun as us. Carving out space for experimental, passionate and proud queer art is a form of protest as much as it is play and ‘Homophonic!’ balances that responsibility with grace.

Music is inherently political. To create art on stolen land, as queer people, as activists, it’s impossible to blithely remove this context from our practices (even so-called ‘apolitical’ art is an intentional, if telling, choice). ‘Homophonic!’ celebrates the intertwinement of art and self in a new form that welcomes a wider audience through the golden gates of classical music—which, by the way, has always been queer.

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

Photographer: Darren Gill

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Bush Chook

Bush Chook

Bush Chook Rating

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Currently tucked away behind works in Northbridge, Perth’s stalwart venue, The Blue Room is still vibrant as ever and flourishing as a breeding ground for emerging talent. Performing to a sold-out crowd, Bush Chook is a new work that gives a glimpse into the dynamics and relationship of a young man and woman who meet at a roadhouse on the Nullarbor Plain one December evening.

Written and directed by Hayley Perrin, this contemporary play explores what happens when Angus, a 26-year-old male, tries to seduce Mary, a 19-year-old virgin. They chat, flirt and end up together in a motel bedroom. How does it end? What will Angus do when nobody is watching? How does Mary support him (or not) when he vulnerably shares his life’s problems?

I really enjoyed how this play explores the complexity of enculturation and why people act how they should not. How do our flaws appear? Are our men not heard enough? Do women take on too much emotional burden (especially at Christmas)? What needs to change? And how can we all take responsibility for our actions? The thing I enjoyed about this play was that it not only left a lasting memory but also left us with so many questions.

 

 

I also enjoyed seeing snippets of such modern life on stage — people scrolling on their phones, FaceTiming and using voice notes. It was also interesting to see how communication has changed — the characters often not looking each other in the eye, distracted by technology and being told to see a shrink instead of any real vulnerable connection.

Lea Šimić, in her role of Mary, was nuanced and the innocence she conveyed was palpable.

Matthew J. Young as Angus was incredibly charismatic on stage and had you guessing if he was to be trusted.

The physicality of the direction was also interesting to watch, and the use of animal play was a great comment on how base and animalistic we all can be.

While the script was overall really great, I think it could do with some development in parts to smooth things out.

Overall, I really enjoyed this production and commend the small professional team behind it. Love seeing young graduates creating their own work instead of waiting for it to come to them!

Bush Chook plays in Perth at The Blue Room Theatre from Tuesday the 3rd of February to Saturday the 7th of February 2026, and in Melbourne on Monday the 30th of March 2026 at the Gasworks Arts Park Studio Theatre.

To book tickets to Bush Chook, please visit https://fringeworld.com.au/whats-on/bush-chook-fw2026.

Photographer: Alexander Franklin

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