Joe White: Emotional Blackmale

Joe White: Emotional Blackmale

Joe White: Emotional Blackmale Rating

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Back in his hometown for the 2026 Perth Fringe Festival, award-winning comedian Joe White delivered a semi-biographical performance that combines sharp observational comedy with an unflinching account of displacement, migration, and belonging.

The show is a departure from the regular routine of his other shows. Joe White: Emotional Blackmale is very personable as he reflects on his life from a refugee in Sudan to a stand-up comedian in Australia and becoming a first-time father.

A central theme of the performance is identity. White is Ethiopian, born in Sudan, and raised in Australia from when he was 10. He uses this pursuit for identity and wanting to belong into comedy. White’s delivery makes clear that the “identity crisis” is not an abstract concept but a lived reality and one driven by language barriers, racial perception, and the constant need to change oneself for other people’s comfort, including his name. Born Tilahun Hailu, teachers and children often had difficulty pronouncing his name and so the nickname Joe has stayed with him ever since. The choice of “White” as a surname then becomes the punchline. White explains that he selected it because most of his audience members were all white.

 

 

White does not skirt around the seriousness of his refugee background especially in this present time where immigration is such a hot topic. He touches on his family’s time as refugees in Sudan and the gruelling process of seeking humanitarian visas to come to Australia. These moments in the show shift the tone without derailing the performance.

White, one of six children to a single mother, retells his mother’s determination and strength in providing a better life for her six children. White’s treatment of the visa process is particularly effective because it highlights the procedural exhaustion that is the waiting, uncertainty, and bureaucratic hurdles, and the corruption which was behind his family’s applications constantly being rejected. An account which I found quite insightful.

It is evident from his show how much he truly appreciates his life in Australia, so much so that he proudly displayed his Southern Cross tattoo to the audience.

White is a proud Ethiopian Australian. Now a first-time father of an 8-month girl, he wants his daughter to be proud of her heritage too, Ethiopian-Malteser as he describes her as his partner is Maltese Australian.

Emotional Blackmale is a personable show with plenty of laughs and plenty of audience interaction.

To book tickets to Joe White: Emotional Blackmale, please visit https://fringeworld.com.au/whats-on/joe-white-emotional-blackmale-fw2026.

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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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I Am Grease Grillson

I Am Grease Grillson

I Am Grease Grillson Rating

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I wasn’t sure what to expect as I entered The Jonesway Theatre in Northbridge to watch I am Grease Grillson, one of the many shows currently on for the Perth Fringe Festival.

For those who are unaware, the Fringe Festival is an opportunity for various performers and artists to showcase their talents.

Having met at clown school in France, yes there is such a thing as clown school, performer Elise Wilson and director Duncan Young teamed up for the creation of I am Grease Grillson.

You may come away from this show thinking what on earth was that all about. In this instance, it would be best to go to the show with an open mind.

 

 

The show opens with solo performer, Elise dressed in character as Grease Grillson in heavyweight lifting attire topping it off with a drawn-on moustache and body hair, lifting an elephant, not real of course as it’s all mimed.

The storyline is, by design or by limitation, a little thin. Grease Grillson, a heavyweight lifter who moves through life with a persistent belief that he is “not enough,” punctuated by flashbacks from his time in an orphanage through to his eventual success. The orphanage material usefully signals the origin of the character’s insecurity.

Nonetheless, as a performance grounded in clowning, mime, and physical comedy, it delivers consistent entertainment, proving that, even when the storyline is light, rigorous physical craft can carry the evening.

To book tickets to I Am Grease Grillson, please visit https://fringeworld.com.au/whats-on/i-am-grease-grillson-fw2026.

Photographer: Sophie Minissale

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Murder on the Magic School Bus

Murder on the Magic School Bus (Fringe World)

Murder on the Magic School Bus (Fringe World) Rating

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In a fun re-imaging of a nostalgic children’s favourite – Murder on the Magic School Bus is precisely what it makes out to be, promising just under an hour of laughs, twists and schoolyard drama.

In what could best be summarised as ‘The Breakfast Club’ meets a murder mystery, the show follows a class excursion to a crime scene-turned-disaster with the group left to resolve the death of one of their own.

Kate O’Sullivan is at the helm as the iconic Miss Frizzle, confidently leading pupils through a masterclass in criminology with great gusto.

The student pool is rounded out by the distinct archetypes of a typical school environment – a brain, an athlete, a basket case, a princess and a criminal – if you will.

Clare Boon earns a lot of laughs as ‘miss popular’ Lexi, bouncing well off Jasmine Ward’s brooding Ash. The pair share great chemistry with a fun, albeit unexplored, enemies to lovers type side plot.

Dominic Depiazzi shines as brainiac Jamie – commanding the stage with his strong presence. While Genevieve Wilson and Sarah-Beth Aldridge nicely round out the group as the sporty Sam and quiet Charlie respectively.

 

Callum Fairweather provides a good neutral ground among the smorgasbord of personalities, offering frank narration as victim Xavier.

While good use of the stage was made, with some particularly enjoyable ‘appearing’ props, blocking sometimes felt repetitive and lineal. The pacing could also be improved (though this could have been opening night jitters), with actors often interjecting one another in a bid to keep up with the quick-fire dialogue.

Props, however, must go to the cast for seamlessly adapting to the night’s chosen killer, in what appears to be open-ended every night, offering the right dose of audience interaction whilst still leaving enough to the imagination to bring keen audience members back for more.

Overall, this production is a fun concept, with sturdy foundations that I’d love to see further fleshed out, but nevertheless makes for an enjoyable night out to see some promising local talent take the stage.

To book tickets to Murder on the Magic School Bus (Fringe World), please visit https://fringeworld.com.au/whats_on/murder-on-the-magic-school-bus-fw2025

This year’s Fringeworld Festival Perth runs from 17 January to 16 February. For more information, please visit https://fringeworld.com.au.

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