After The Flood Starring Deborah Conway

Feature-After the Flood

This November, a major new work of Australian Jewish theatre comes to Melbourne. After the Flood is an original contemporary musical that reimagines the biblical story of Noah and the flood through one Melbourne Jewish family confronting a world that can no longer be recovered.

As the waters approach, old wounds rise to the surface. A family gathered around a Shabbat table must confront questions of faith, inheritance, grief and love – and decide what they will carry with them into whatever comes next.

With music and lyrics by Melbourne composer and theatre-maker Ari Jacob and a book by Jacob and Josh Gurgiel, After the Flood brings together an all-Jewish cast and creative team for an ambitious new work of Australian musical theatre. The production stars acclaimed singer, songwriter and performer Deborah Conway as Naama, alongside Simon Starr as Noah. Rounding out the cast of five are Michelle Swersky, Eli Faraday and Amira Cherrie.

We are introduced to the family as they gather around the Shabbat table. There, brimming strife and turmoil threaten the family’s unity. Eventually, Noah has a vision of a catastrophic flood and this is dismissed by the family as the product of an overactive imagination. But as rain begins to fall and an Ark takes shape, the family is forced to reckon with the fractures that have quietly been growing between them.

Deborah Conway & Simon Starr in AFTER THE FLOOD.png

Noah’s three children are each facing their own questions about identity, faith, love and the future. As the world they know begins to disappear, the family must decide whether they can let go of the inherited beliefs and burdens that keep them apart – and make a new promise to remain connected.

At its heart, After the Flood is a story about mourning: mourning the people, places and worlds we have lost, while facing the possibility that something new might emerge from their ruins.

Jacob’s score will be performed live by a ten-piece band. It includes traditional oud and kamancheh played by two Iranian musicians Jacob connected with during the recent war – bringing sounds and musical influences from across the region into the production.

Deborah Conway remarked “I am fortunate that I have been presented the opportunity to play in these themes, a sweet, idyllic calm in amongst the tempestuous times.”

The production is directed by Rebecca Skovron, with movement direction by Yakira Abraham and musical direction by Adam Starr. Together with Jacob and co-writer Josh Gurgiel, they lead a wider creative team of Jewish Australian artists working across theatre, music, movement, design and production.

After the Flood was commissioned with support from the Victorian Government’s Connecting Cultures program, with additional support from the Pratt Foundation, the Liberman Foundation, the Victor Smorgon Group and the Dindas Charitable Fund.

At a time when Jewish artists are navigating an increasingly difficult cultural landscape, After the Flood is an act of Jewish artistic creation in Melbourne: an ancient story retold by Jewish artists, for a contemporary audience, on a major Melbourne stage.

The strictly limited season runs for six performances from 4-9 November 2026 in Melbourne. Venue details will be provided to ticket holders 24 hours before each performance.
Website for further information & tickets: afterthefloodmusical.com

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Fairytale: Ending

Fairytale: Ending

Fairytale: Ending Rating

★★★★★

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During the Melbourne Fringe, you have the unique opportunity to see theatre get stripped back. Small groups or individuals are making and performing with limited budgets and resources, just talent and creativity. Roisin McAlinden’s Fairytale Endings perfectly embodies what Fringe stands for, one woman running everything from ticketing to performance, using nothing but her own words and what props she can carry in her pockets.

Fairytale Endings is a one woman, stand up comedy routine that is deeply thematic, feminist and therapeutic. Roisin explores modern day dating through a Disney fantasy lens, throwing a raunchy twist on the classic “Happily Ever After.”.

The scene for Fairytale Endings is perfectly set by entering through The Bard Apothecary, a small but vibrant bar in the heart of the Melbourne CBD. Journey through the bar, down some stairs and find yourself in a cozy basement theatre space complete with couches and candles, ready to start the show.

 

Roisin opens the show with a bright, infectious energy that she carries throughout the performance, laughing loudly at her own anecdotes and effectively creating an engaging environment where audience members could relax, react and respond. From playing Smash Or Pass with Disney Princes to discussing why Melbourne is the ethical nonmonogamy capital of the world (true fact), Roisin’s easy crowd work created the perfect atmosphere for a comedy stand up set.

The stand up set itself explored Roisin’s experience post covid, from leaving a long term relationship and exploring her sexuality to moving to Australia and starting to date again. Her fantasy theme carries strong through the set, her new partner is her Prince Charming, she kisses several frogs and a magic mirror allows her to talk to her past self. However, Roisin is quick to remind the audience that, despite the name of the show, this is not a story with a happy ending. Frogs are better discovered by throwing them against the wall and Prince Charming may just turn out to be an electrician (and wannabe DJ) from Heidelberg.

It’s not just raunchy jokes and fantasy metaphors. Entwined amongst the comedy are some insightful feminist metaphors and therapeutic moments that clearly resonated with the audience. From the pain of high heels to the emotional complexities of supporting a man(child), Roisin’s exploration of the “Princess experience” provides both the performer and the audience with a therapeutic experience that reimagines the idea of “Happily Ever After.”

To book tickets to Fairytale: Ending, please visit https://www.melbournefringe.com.au/whats-on/events/roisin-mcalinden-fairytale-ending.

Photographer: Chris Hillary

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

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

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

Before We Begin

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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