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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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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Edinburgh’s Underground Hit About Nothing Slithers Into Melbourne Fringe

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The critically acclaimed SLUGS, a breakout hit of the 2025 Edinburgh Festival Fringe from award-winning performance and comedy duo CREEPY BOYS, is coming to Melbourne. Created and first presented during Melbourne’s lockdown, the boys are back to perform the show live and in person at the Meat Market for Melbourne Fringe 2026.

“We CAN NOT express how excited we are to come back to Australia. We spent a year in Melbourne during the initial COVID-19 lockdown, and have such intense, albeit odd, memories of that year,” said the Creepy Boys. “Melbourne is really where we became not just two people dating, but partners, both in life and in art. We’ve said for years, it is our favourite city in the world and we can’t wait to be back.”

Part electro-punk concert, part play, part clown show, and part basement puppet nightmare, SLUGS is a technicolour acid trip. Created by real-life partners S.E. Grummett and Sam Kruger, it features puppet Joni Mitchell, a two-person horse and just about every body part they have. At its heart, SLUGS is two people trying to have a good time while the world burns. For sixty minutes, at least, we are free.

Nominated for Best Show at the 2025 Edinburgh Comedy Awards, SLUGS became an underground hit and earned universal praise with The Guardian calling it “brilliantly smart and beautifully stupid”. Bringing SLUGS to Melbourne has particular significance for the pair, who spent a year living here during the first COVID-19 lockdown, first in Brunswick and later in a “little apartment cube in the sky” in Moonee Ponds. It was an unusual introduction to the city, but one that transformed both their personal and creative lives. This time, thankfully, they get to experience Melbourne with an audience in the room. That relationship between performer and audience sits at the heart of SLUGS, a show designed to exist completely and unapologetically live.

Together as CREEPY BOYS, and through their respective solo works, Grummett and Kruger have toured Canada, the United States, United Kingdom, Europe and Australia, appearing at Edinburgh Fringe, Soho Theatre, Latitude Festival, SummerWorks, PuSh Festival, Prague Quadrennial, Midsumma Festival, Adelaide Fringe and Fringe World. Their work has also been featured on BBC Radio 4.

Now, after delivering one of Edinburgh’s most talked-about shows, CREEPY BOYS are coming home, creatively at least, to Melbourne. Produced by SKINT and presented for Melbourne Fringe Festival, CREEPY BOYS will present SLUGS at the Meat Market from 1 – 17 October at the Stables at The Meat Market. Tickets on sale now.

Expect music. Expect puppets. Expect clowning. Expect body parts. Just don’t expect them to tell you what SLUGS is about.

SLUGS
Created and performed by: CREEPY BOYS – S.E. Grummett & Sam Kruger
Presented by: Melbourne Fringe
Produced by: SKINT

PRAISE FOR CREEPY BOYS
Best Show Nominee – Edinburgh Comedy Awards 2025
“The underground hit of the 2025 Edinburgh Fringe” – The Telegraph
★★★★ The Guardian
★★★★ The Scotsman
★★★★ Chortle
★★★★★ ToDoList
★★★★★ Broadway Baby
★★★★ Financial Times
★★★★ The List
★★★★ The Skinny
★★★★ FestMag
★★★★★ NorthWestEnd UK
★★★★★ Get the Chance UK
★★★★ ‘A gleefully transgressive underground discovery’ – Financial Times

WINNER – Bragi Award, Summerhall Arts (Creepy Boys: SLUGS)
WINNER – Best Theatre at Adelaide Fringe (Something in the Water – S.E. Grummett)
WINNER – Just for Laughs Comedy Award (Fool Muun Komming! etc. etc. – Sam Kruger)

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Monkey Baa wonders: “Where is the Green Sheep?”

Where is the Green Sheep?

Where is the Green Sheep? Rating

★★★★★

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Making brilliant live theatre for small children is tricky, but Monkey Baa make it look easy.

A review of “Where is the Green Sheep?” at The Coliseum Theatre, Rooty Hill.

Small children are the best audiences in the world but also toughest. They don’t clap politely. They don’t pretend to enjoy themselves if they’re not having fun. They will just get up and wander off if they are bored. There was no danger of that during Monkey Baa’s Where is the Green Sheep?

“Where is the Green Sheep?” is a beloved picture book, a modern classic created by Mem Fox and Judy Horacek.

So, how do you adapt a treasured children’s picture book into an immersive visual theatre experience?

You’ve got to think about the size of the stage and the size of your audience. The Coliseum is a very big stage, and the stalls were crowded with hundreds of tiny children, slightly bigger children, and their grown-ups. That means you’ve got to fill that space with wonders. Think big!

You’ve also got to work out how you’re going to make the audio work. Monkey Baa wisely decided not to mic up any of their performers. Each of the three performers got to focus on puppeteering, dancing, movement and miming. The audio throughout is a bouncy mix of sparkly original music and lines read aloud by children from Bankstown West Public School.

The stage is a lovely green field with round hills and a big arched screen in a hill for projected animations. Colourful props are carried or rolled on and off stage throughout the show.

The big projection screen is a mixed blessing. Sometimes the interaction of the screen and puppets works brilliantly, for example with animated splashes for water for the Bath Sheep.

 

 

But it was interesting to watch and listen to the reactions of the children in the audience. Their response switched dramatically between animations projected on the screen and live puppetry on the stage. An animated sheep flying across the screen was watched, like it was a movie in the cinema or an animated show on the TV or a phone. No interaction. Just consuming it like filmed media. The reaction to the real live puppet sheep and live performers was completely different. Happy shouts and interaction, clapping and giggling. The difference was obvious from my seat in the audience.

The animated projections added something beautiful when they enhanced the live puppetry. A live sheep puppet flying a kite on screen. The moon and starry night sky. Rain falling. The interior of the circus tent. This brought the scenery alive. But an animation of a sheep? It’s no longer alive and real.

This was most striking with the Near Sheep and the Far Sheep. The Near Sheep was fully projected on screen, duplicating the pages of the picture book, but with the book, when the Near Sheep fills the page, it does look like that sheep is near to the reader. On the big screen on stage that sheep became the Gigantic Sheep, scaling up bigger and bigger until it filled the whole screen, looming over the three performers like Sheep-zilla.

In comparison the simple effect of the Far Sheep being taken off stage by a puppeteer and up the aisles to the back of the audience in the stalls brought whoops of laughter and instant understanding. The Far Sheep was far away from the people on the stage.

The sheep puppets, made by Kay Yasugi, are fabulous. Big, soft and squishy with some sparkles in their wool that catch the light. The three performers, Ebony Tucker, Michael Ho and Paul Grabovac, are absolutely world class.

Highlights? The Bath Sheep, the Rain Sheep and the Far Sheep.

The simplicity of a performer blowing bubbles was met with a huge cheer of ‘bubbles!’ from everyone and the Bath Sheep, splashing and being dried with a towel had the audience in stitches.

The Rain Sheep is beautiful and colourful, dancing around a lamppost and opening an umbrella, in a woolly tribute to Gene Kelly in “Singing in the Rain.”

Knitted hats off to everyone at Monkey Baa, with special mentions to director and writer for the stage Eva Di Cesare, and puppetry director Kailah Cabanas.

Monkey Baa’s adaptation of “Where is the Green Sheep?” is an absolute delight that everyone will love.

Monkey Baa’s “Where is the Green Sheep?” is touring New South Wales, Tasmania and the ACT.
https://www.monkeybaa.com.au/shows/where-is-the-green-sheep

To book tickets to Where is the Green Sheep?, please visit http://www.monkeybaa.com.au/shows/where-is-the-green-sheep.

Photographer: Robert Catto

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