Where Little Stars Shine: Coach Mon’s Baby Wonderland

Coach Mon’s Baby Wonderland

Coach Mon’s Baby Wonderland Rating

★★★★★

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Up the stairs of the multi-story landmark Clocktower building in Moonee Ponds, I come upon a theatre studio lit up in bright primary colours, complete with a giant matted floor, and two rows of seats at the back. With prams parked downstairs in the entrance hall, hoards of parents gladly seat themselves criss-crossed in these roomy surroundings, with their babies and toddlers in tow, eagerly awaiting ‘Coach Mon’s Baby Wonderland’, a musical adventure for infant and tots, to begin.

Among the ohhhs and ahhhs, I am enamoured by a set decorated in pure Australiana. Encompassing a journey over land and sea, a tree is bedecked in thick foliage, representing the Australian bush. An underwater vista set piece is sitting upright, representing the Great Barrier Reef. And finally, a mountain-shaped cutout is brimming with sparkly perfection, representing the Snowy Mountains. A resounding set design, simple yet effective; not unlike ABC’s Playschool, or the imaginary magical kingdom set in Mr. Rogers Neighbourhood.

The show begins naturally, gaining the children’s attention with singer and musician Jackson Peele kneeling on the floor with a guitar in hand, dressed in a tracksuit in purple, green and blue hues. Beside him is the show’s star and co-creator, Coach Mon, played by Monique Warren, similarly dressed in a sports hat and uniform wearing green, red and purple. Together, they begin the show in an intuitive fashion, milling around and interacting with the mums, caregivers and toddlers as everyone is still walking in. Feeling as if we will be playing an active role in this upcoming adventure.

Once the door closes, Coach Mon and Jackson start singing a welcome song, pleasantly and gently, warming up the audience and harmonising well. They teach the children to wiggle their fingers and touch their toes. Coach Mon has a beautiful light and poppy voice, drawing the toddlers in with her animated facial expressions and fun, sharp choreography.

The story begins as Coach Mon and Jackson talk about the galaxy, and the stars that light up the night sky. ‘Twinkle Twinkle Little Star’ begins, and everyone joins in. Suddenly, a shooting star crash lands on the stage. They pick it up and a rendition of ‘Little Star’ is then sung, asking where she’s come from, and if she is lost. With a tinkling noise, we discover the star’s name is Stella, and in her fall, she has lost three missing pieces. Coach Mon decides to help Stella find them, so she can fly back out and shine once again in the universal skies.

 

So ‘off on an adventure’ we go, by singing ‘Walking in the bush’ to find her missing pieces. Where lovely bird sounds are heard, along with ‘Leaves blowing in the wind’, as Coach Mon grabs some bushes off the tree and bounds through the pathways of children – to rustle the bushes on the ground as she walks around.

Creating an exciting sensory experience, the children look up enthralled, as the Old MacDonald nursery rhyme begins to play, with the words updated to reflect the animals seen in the Australian bush: like Kangaroos, Wombats and Koalas. As ‘Ei-ei-oh’ is sung out, a little girl starts hopping up and down out front, as a toddler claps her little hands. As Coach Mon mimics each animal, the children are having an absolute ball. It is so heartwarming to see.

Suddenly? Behind the bush tree – they find a piece of the star. As they shake it, a sound tinkles. They put it back on Stella. But two more pieces are still missing.

And so we venture underwater, with Coach Mon cleverly adding swimming lesson movements. Suddenly, a large sheet of lightweight blue fabric is held by both Coach Mon and Jackson, who manage to float it above the children all around the room, as if the children are sitting under the waves of the ocean. Singing a classic underwater song, we are in the ‘Great Barrier Reef’. But that’s not all. For a surprise ensues, enlightening our morning audience with a huge sparkly jellyfish, who floats ever so gently around the room to an amazing effect. Then lastly? A fish is held blowing bubbles out, to great delight, encouraging the tots to pop the bubbles with their hands for further sensory joy, all under the guise of blue oceanic lights.

After another piece is found? We head up on a steep walk, to the Snowy Mountains, delightfully displayed by Coach Mon and Jackson, who pretend to climb up either side of the mountain cutout, two-by-two, with their fingers.

Suddenly, the temperature drops, and Coach Mon throws out netted white cloths to be used as snowflakes, encouraging parents and kids to wave these cloths up and down. Icy winds are blowing as they sing ‘I’m a little snowflake’ – asking toddlers to touch their face, nose and toes with the freezing snowflake. Then to count to 3, and ‘throw your snowflake back to me‘.

To the children and parent’s delight, the final piece is found, a child yells out, ‘great job’ – and the whole audience laughs uproariously.

As we wave goodbye, Stella is sent back up to the sky. A sweet and heartwarming finale to a great Australian adventure. Ending with a beautiful line, ‘Our friend Stella is now shining down on us.’

All in all, I would highly recommend any parent to bring their child along and be bedazzled by this sweet and delightful show. Hats-off to director and co-creator Laura Aldous for making this children’s production polished and professional, as it contained all the enchanting elements of toddlerdom combined. The children all bopped and danced in dreamy landscapes with smooth transitions, a classic warm up and goodbye song; sensory surprises; kids encouraged to sing and dance, and movement coached clearly throughout. What was especially lovely was the music and singing being so natural and gentle, with an acoustic guitar and no backing tracks. I also loved the Australian landmarks, animals, bush songs and references used across the show, making this production unique for parents, carers and children of all ages.

To book tickets to Coach Mon’s Baby Wonderland, please visit https://www.melbournefringe.com.au/whats-on/events/coach-mons-baby-wonderland.

Photographer: James Rush

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Dancing Through the Storm: Finding Light in Glimpses of Heaven

Glimpses of Heaven

Glimpses of Heaven Rating

★★★★★

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Upstairs in Motley Bauhaus’ cabaret room, I come upon a stage set as the aftermath of a torrential storm. A neglected apartment in shambles – with its occupant nowhere to be seen.

Open bottles of alcohol and soda cans lie half-hazardly across the floor. Fancy women’s clothing slumber in a supine position. So very unfitting, I wish to shake them clean and lift them off the dirty carpet.

The pièce de résistance? A pair of beige boots, stuck mischievously on top of one another on the side of a bookshelf with superglue. As if alive, ready to run amok – but have nowhere left to hide.

Yet above the disarray, progress is being made. Moving boxes are labelled. Rubbish bags are being filled. And within each effort to pack up this apartment, a quick-witted, playful young girl, Hannah, mills around, ushering us to a trip down memory-lane. Namely, the tumultuous experience her musician mother had struggling with addiction, and the complicated relationship they underwent to beat it into submission.

With captivating off-the-wall humour, cleverly directed by Damian Callinan, props are in fact used onstage with a mission – to reel us in further by unlocking Hannah’s personal memories of this deeply challenging time. A dusty Aria award statue is held up to the light not for reverence, but as a weapon of mass destruction – due to its sharp, pointy head. A single shoe is startingly transformed into an ashtray, complete with cigarette butts standing up inside of it – a brand-new work of art inspired by a female rock star, spiralling downwards.

 

But as the show progresses, and Hannah’s heartbreaking story unravels, one can see through the paradoxes of addiction: that two things can be true at the same time. Like a see-saw, memories can exist between tenderness and darkness. Little ditties can be sung on a guitar to settle nerves and balance heaviness. A Spice Girls dance can ground and steady us through the wobbles of confusion. The loving eyes of a mother can start to slip away and become unrecognisable to a daughter’s eyes, even though her heart is still pounding strongly.

That flying a little too close to the sun can bubble under the weight of pressure – of an unforgiving music industry ready to take its next victim.

Complexities aside, here is where I congratulate the shows writer and star, Mary-Agnes O’Loughlin. For not only providing a beautiful voice and graceful miming movements to bring this tale to life, but in honouring Hannah’s truth of a very headstrong girl having to deal with a mother experiencing life-threatening addictions.

Not by shutting it out. Nor by dodging it or avoiding it. But by dancing through its storms.

That for Hannah, fortitude was needed. This meant choosing to dance through the fire. Through the highs and the lows. Through bamboozlement and confusion. For the show’s star, Mary-Agnes O’Loughlin, speaks a different language of bravery – using rhythmic movement as a psychological coping mechanism – to let the ugliness of her mum’s addiction flow through her and be released. In order to see it as a seperate entity – to the unconditional love she has for her mum. Planting her at the centre of her mother’s recovery journey, even beyond the disease itself – helping save her life in the process.

In all, Glimpses of Heaven, weaves a beautifully balanced tale of how a mother’s love can affect our soul’s growth, through the good and bad. That each family have their own set of dynamics, even if not set by social norms. That a mother’s love, even mixed with complication, can still lead us forward: to the full experience of being human.

To book tickets to Glimpses of Heaven, please visit https://www.melbournefringe.com.au/whats-on/events/glimpses-of-heaven.

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SLUGS: A Perfect Show About Nothing to Smooth-Brain You

Feature-SLUGS

Making a show about nothing sounds simple enough. For SKINT, it raised a few awkward questions about what we’re actually leaving at the door when we go out for a laugh. Ahead of SLUGS at Melbourne Fringe, the team talks puppets, plastic shirts and whether switching off is ever quite that straightforward.

About The Show – SLUGS

What is this show about?

It’s about nothing! Completely and utterly nothing! A perfect nothing of a show to smooth-brain you for one whole hour. An hour where no one has to think about anything political or existential or anxiety-inducing. What could possibly go wrong?

How would you describe this show to someone who has never seen anything like it before?

It’s part comedy, part techno-concert, part gross-out freak show, with puppets!

How did this show come together? What was the creative starting point?

For many years, we had been talking about making a band called SLUGS, or maybe a puppet band, or maybe a show with puppets and music and high energy comedy. We would often joke, while working on other shows, “oh well, that idea is far too much, but it’d be perfect for SLUGS” but had no real unifying idea for this supposed show. It was a bucket where we’d dump all those “too much” ideas. Then after we began touring the international Fringe circuit for a couple years, we began to notice a tendency present in many “comedy” shows (though by no means was it exclusive to this genre) – shows that asked us to leave the world at the door and be free and laugh for an hour. We felt (and feel) somewhat complicated feelings about this. We began to wonder what if we tried to make a true show about nothing. Could we? Should we? What makes something a “nothing”? What makes it a “something”? What would it reveal about the act of trying to not think about the political nature of our lives?

Creepy Boys

What is the element of the show that is hardest to explain but unmissable in person?

The sweat. We cannot reiterate enough how much this is a high energy show. We actively have to fuel ourselves with electrolytes after. Our plastic shirts will never smell clean, no matter how much we wash them.
That and the live feed camera puppets, they really transform the space in a surprising and delightfully simple way.

Who is this show for? Who is going to have the time of their life?

SLUGS is for everyone burnt out from scrolling, exhausted from headlines, and suspects their best days are behind them. It’s the perfect cocktail of genre-less chaos for that part of our mind that sees a killer meme and can’t decide whether to cry out of laughter or tears.

What is going to genuinely shock or delight people?

We think we look very cute in our plastic-blow-up-chairs-turned-cunty-tops and feel it is the perfect intersection of our desire to look cute and stupid.

What do you want the audience to feel in the final moment?

Joy! Laughter! A reprieve from despair! It has been an increasingly pessimistic few years and finding the energy and drive to keep going is hard. It’s brutal. It’s been on our Sluggie minds quite a lot.

Thanks to the SLUGS team for chatting with us. To book tickets to SLUGS, you can find session details and tickets on the Melbourne Fringe website.

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Holy Fool

Holy Fool

Holy Fool Rating

★★★★★

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Holy Fool follows the story of Francis of Assisi (Fabio Motta) as he lives a complex turbulent life. Despite the title, I found the character of Francis to be a Holy Gentleman rather than fool, although sometimes Motta’s impressive adlib ability to engage the audience in silly and fun ways did err on the side of fool. Directed by Giovanni Fusetti, Holy Fool shared a consistently strong optimistic message, that human actions are powerful and can impact the natural world, and that our hero, Saint Francis, can and did make a difference.

Given the nature of the high rate of audience interaction for Holy Fool, the composition of the audience is important to the story Motta and Fusetti are telling. The evening I saw the show the audience was full of people speaking Italian, including a priest directly to my right! The audience already wanted Francis to succeed, and Motta made it easy to root for him. Throughout the show Motta encouraged the audience to energise and support Francis on his arduous journey.

 

Fusetti and Motta boldly choreographed and enacted an in-depth depiction of war in a one man show. It was daring. Throughout the show Motta transformed into different characters, the God father, the pope, Francis’ own father. Motta was entertaining and enthusiastically embodied each character in unique and exciting way. Motta embodied drama, danger, and offensiveness with only one man on stage. Motta expertly pivots Francis’ life purpose of glory and notability to caring for the poor, and is thus labelled a ‘Holy Fool’. In pursuit of caring for the poor Francis asks the audiences to give up their worldly possessions. In a hilarious and silly turn of events Francis donates all the audience members belongings to a ‘poor’ person in the front row. Motta was playful, and continued to thoughtfully interact with the audience throughout the show.

Francis asked “who would I be if I stripped all that defined me?” This came during his distinct turn towards helping the poor, where Francis aimed to become an “instrument of peace.” The shift in tone for the show was mirrored by the atmosphere within the audience, as the crowd sufficiently bought into the ideas of the show’s new thesis. Francis preached caring for others, caring for animals, and caring for nature. He emboldened the audience to follow his lead, and charismatically preached his newfound beliefs. He was earnest in his plead for care and connection. The style of physical comedy and audience interaction lead to the climax of the show where Francis sincerely asked the audience to commit to his new ideas and values, and then simply scooted away. The audience did affirm their commitment to the Holy Fool.

To book tickets to Holy Fool, please visit https://www.theatreworks.org.au/2026/holy-fool.

Photographer: Darren Gill

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