Deal Me In’s Beautiful Chaos

Deal Me In!

Deal Me In! Rating

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After a brisk walk along the piers at Dawes Point with nothing to guide us but Google Maps and pink lights in the distance, we stumbled into the Rebel Theatre for the final night of Deal Me In!, a “glitzy Las-Vegas style dance cabaret featuring some of Sydney’s best variety artists!”

Under the guise of a simple game of poker, Deal Me In! follows a group of hapless players through their game as it descends into chaos, flirtation, and sleight of hand. The 90-minute cabaret effortlessly maintained a perfect balance of comedy, storyline, circus, and glamour, with hilarious moments of audience participation that kept the room engaged from beginning to end.

Walking into a lush theatre, the incredible mood lighting and show logo displayed on the curtains perfectly set the scene, alongside a killer pre-performance playlist. As the lights went down, singer Vivienne Stone (Songbird Siren) made herself known at the back of the audience, floating down the stairs towards the stage in a glittering silver corset and star headdress.

We then met Frankie St. James (Zak Vasiliou), a self-proclaimed Short King, who kept the show moving seamlessly between acts with stand-up, Pringles-themed ASMR, and more. He also ran an audience-wide competition, where poker chips were handed out based on participation with the individual holding the most chips at the end of the show receiving a prize. This really made the show stand out, and I enjoyed how it encouraged the audience to participate more without pressure.

Philipe le Scripte (Courtney Robinson) was the first solo act of the evening, dancing around the stage to “Smiling Faces Sometimes” by The Undisputed Truth in an electric red suit, with trousers that unzipped up the sides and a hidden plushie snake.

 

Following in quick order was a flirtatious swing dance between Theo Sparkes (Justin Sacco) and Daisy Fontaine (Alanna Hocking), who stunned the audience with their effortless spins and flips. Sparkling under a pink spotlight, Lola Champagne’s (Nicole Aspinall) attempt to give a reading to a member of the audience went astray when she pulled the Death card. She escaped to the stage for an incredible burlesque number that began with her spinning out of a skirt and ended in a life-sized martini glass, all under the same pink spotlight. Unfortunately for Lola, she had accidentally brought her Tarot cards to the poker table instead of playing cards, and thus was forced to fold.

Frankie returned as a masterclass of scripted improv as he skillfully and hilariously foiled a front row member’s attempt to pilfer Lola’s skirt. After the theft was averted, he took someone backstage with him while Vivienne taught everyone else a dance. Frankie returned with his audience volunteer dressed up as Elvis Presley, and I have to give her so much credit for her enthusiastic and immediate commitment to the role.

Vivienne’s solo consisted of a jazz ballad cover of Poker Face by Lady Gaga, before Theo Sparkes returned for a tap number that featured a surprise – a seventh poker player! (Cooper Cossettini)

Affectionately dubbed as “Sound Guy” by myself, Theo and the surprise cast addition engaged in friendly competition through a synchronised dance that featured canes, brooms, and a conspicuous prop that wobbled in time with their jumps and spins. This quickly devolved into a full-cast bar fight/dance number, with the cast taking turns beating up the interloper while he lunged at Theo.

Scarlett Voss (Etana Wasley) then took the spotlight for a “solo” magic act, but Sound Guy was quickly discovered as her hidden assistant. Their every attempt became increasingly disastrous, escalating until Scarlett was trapped in her own slacks during a quick-change trick. Philipe then came back on stage for a fire-eating solo, lighting his own hands, arms, and tongue on fire to keep the torches lit. After another Frankie interlude had him commentating on a game of snap, the flirtation between Theo and Daisy finally came to fruition through an incredible aerial set that received an audible “Wow!” from the audience while Vivienne sang.

The poker game came to a tense close as Scarlett decided to try and cheat the house to win the game. The final group number featured a comically large card that was tossed about between the cast as they danced and flipped and rode tables across the stage. The final surprise of Deal Me In! arrived in the form of Frankie St James’ tearaway pants as he delivered an impassioned speech on late-stage capitalism and posed in his golden hot pants.

To book tickets to Deal Me In!, please visit https://www.dealmeintheshow.com/.

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Nothing Rotten Here

House Of Rot

House Of Rot Rating

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‘House Of Rot’, Hayes Theatre, Potts Point, is a stunning piece of cabaret by Dino Dimitriadis and Victoria Falconer. Inspired by the documentary, ‘Grey Gardens’, about an aunt and cousin to Jacqueline Kennedy-Onassis. These two wealthy women suffer a dramatic decline from wealth to poverty and become eccentric recluses. Paul Capsis and Adam Noviello have a blast playing these two lost souls. Capsis is Big Edie and Noviello is little Edie.

The opening number doesn’t feature the two protagonists. Victoria Falconer gives a beguiling rendition of ‘Windmills Of Your Mind’. What a voice! Her vocal skills and piano playing panache have the audience in wonder. ‘Windmills’ also closes the show. It’s such a poignant song for this cabaret. Falconer shines again when she performs a violin solo piece, which is deeply evocative.

Capsis and Noviello talk at the audience a lot. It’s their theatrical trick. This technique is particularly effective for their banter. When Capsis utters “that he misses boredom”, everyone erupts with laughter. Capsis’ comic timing is a skill to behold.

This cabaret has an eclectic mix of songs. ‘I Touch Myself’ ( a nude Noviello playing piano), ‘Tea For Two’, ‘Young And Beautiful’ and ‘I Am What I Am”. When the Capsis and Noviello combination really soars is when they perform a duet of Sondheim’s ‘Send In The Clowns’ and The Cranberries’, ‘Zombie’. It’s such a daring duet that works. Noviello is very tall and slim. (A contrast to the small, stockiness of Capsis). He glides across the stage in a haunted, rebellious fashion. When Adam sings, one can tell that he loves to really launch his voice. It’s powerful. Capsis does more than match this younger performer. It’s obvious these two actors know how to bring the best out of each other.

 

 

‘House Of Rot’, is a special production in a special space. The set with it’s black chairs, black walls and black floor, is striking. The actors are dressed in stylish black ensembles, as well. It all looks very slick.

Hayes Theatre in Potts Point, is quickly establishing itself as the place to be in Sydney. It’s a cosy theatre, which is perfect for the claustrophobic existence of these two recluses. Loneliness, aging and isolation are all put under the microscope.

Any time Paul Capsis goes on stage, there is an expectation that the show will be world-class. Being able to get up close and personal with the performers on this show, is thrilling.

‘House Of Rot’, is a 70 minute romp. The time frame doesn’t make you feel cheated. Quality triumphs over quantity every time. I’m sure Paul Capsis gets a standing ovation whenever he struts his stuff. He did his best to look genuinely surprised when the audience rose as one to salute him, Noviello and Falconer. I love Hayes Theatre too, for its intimacy. Musical theatre is joyous in a cosy space. The acting fraternity feel the same. At every Hayes performance, it’s easy to spot actors in the audience. They adore the place.

You’ll have to be quick to grab a ticket. This production will sell-out. ‘House Of Rot’, provides one of the most amazing theatrical experiences of the year.

To book tickets to House Of Rot, please visit https://hayestheatre.com.au/event/house-of-rot/.

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Examining Beautiful Lies at The Substation

Beautiful Lies

Beautiful Lies Rating

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Matt Hawke’s comedy musical Beautiful Lies at The Substation in Darlinghurst is a cabaret packed full of colourful storytelling, with the theme of lies running through a myriad of original songs. Part of Sydney’s 2026 Qtopia Pride Fest, Hawke is clearly a deep thinker who knows how to involve the audience, by asking questions and getting them to self-reflect. His stories range from general family anecdotes, musings about mental health, sexual self-acceptance, genuine heartfelt personal stories, and the current worrisome state of the world.

He begins with examples of lies that parents tell their kids such as “carrots make your eyesight better” and expanding into those VIP characters that peppered our childhood like Santa Claus and The Tooth Fairy. Hawke delivers these stories melodiously singing and at times, talking to the audience during song, accompanied by his guitar or the keyboard. One of his first songs dedicated to one of his childhood heroes and crushes John Cena reminded me of the style of an early Guns and Roses and Bon Jovi song! This song was dedicated to John Cena after his younger self discovered that wrestling was not real and carried the anger of being lied to.

Alongside this song and the feeling of being duped by John Cena, some of Hawke’s songs were tender. Some were reflective and yet other songs had the upbeat feel of hilarity. Composing and performing such a wide range of songs indicated signs of an accomplished songwriter who understands his audience.

 

 

During his set, Hawke recalled stories from when he was dating people named Brad, Emma and Rosanna. He had the audience in stitches from these experiences which touched on a mix of topics that made some of us squirm! There was a moral to these songs, that sometimes for the sake of relationships, lies may be necessary – it can be a kinder choice to make.

The lighting by technician Katie deserves a shout out. In the small intimate space of The Substation, Katie created atmosphere with cleverly chosen lighting colours and focus.

Hawke had a way of smoothly switching from comedy into more serious topics and taking us with him, notably with one song that outlined the way humans tend to automatically default to telling lies. He’d answer “I’m fine” to his mum when she had asked how he was. However, his lyrics following those words outlined how not fine he was feeling. In this one song, it was the lyrics and how Hawke delivered them that stood out for a tremendously powerful ending.

Beautiful Lies was a well-rounded show which felt much more than just a stand-up comedy musical cabaret. Hawke examines the lies that others tell, lies we tell ourselves, and how lies impact our circles of family and friends.

Cheeky and honest, with a teeny-eeny sprinkling of Beautiful Lies, Matt Hawke’s signature musical comedy style is heading skyward. Be sure to catch his cabaret shows in the future!

The Substation, 136 Oxford Street Darlinghurst. Thursday 11 June 2026
Duration: 1 hour

To book tickets to Beautiful Lies, please visit https://tickets.qtopiasydney.com.au/Events/Matt-Hawke-Beautiful-Lies.

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Do You Want Lies With That?

Do You Want Lies With That?

Do You Want Lies With That? Rating

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I love Fringe festivals. And Qtopia’s Pridefest is essentially a Fringe festival for solely queer art so it’s even better! One of the highlights of Fringe is diversity in programming and everyone having space to produce their weird and wonderful shows. On Friday night, I got to peek inside Burger Queen’s mind for an hour. She put on a cabaret/comedy hour about being fiercely queer, proud of yourself and maybe just a little bit jaded with the current dating pool in Sydney.

Though there was only a small crowd on Friday, Burger Queen had something about her that made us want to participate and bring the energy to the room. She is a drag performer from Western Sydney who considers herself an elder queen, a queen of wisdom and advice for younger queens as evidenced with her friendship with Anita Book. Their intergenerational friendship was platformed throughout the show and this was very heartwarming. Anita is a young gun queen who I’m sure has a wonderful drag career ahead of her. She treated us to a lipsync of a classic 80s Bananarama banger in which her attitude and charisma were palpable.

There were some great song choices in the and Burger Queen’s voice was well suited to many of these, especially the song from Muriel’s Wedding. I especially enjoyed her original song which was called “All You Can Eat” – I can’t wait for this to come out on Spotify. Truly inspired. Some of the other songs could have done with some editing, sometimes you can get your meaning across and keep the show moving in a more punchy way by slicing up the songs a little.

 

 

I really enjoyed Burger Queen’s vulnerability. At the beginning she seemed nervous as she wasn’t connecting with the audience much. However, a couple of songs in and with some chatting, she opened up and was both engaging and endearing. Her comedy was relatable, though at times repetitive and often self-deprecating. I loved the cheekiness of referring back to notes (and perhaps resonated with the neurospiciness of this) although I do think this made it harder at times to connect with the audience. It seemed that perhaps every show Burger Queen does is different, depending on how she feels on the night. The show I saw didn’t hit some of the points I was looking forward to based on the description, namely grumpy customer service and an indictment of capitalism.

I would have liked to see Anita Book take a more active role, as it became a little one note with her reading on the side, maybe she could have passed the black folder to Burger Queen, been a back up dancer for some songs or helped facilitate an outfit change to add some dynamics to the staging and the show. The lighting was well utilised and the conversational tone of the show put the audience at ease.

Burger Queen’s subversive statement of wearing crocs on stage and the idea of the costuming, aka wearing whatever you want was powerful, but I believe there could have (always) been more rhinestones. Overall, this show was a big fuck you to the expectations placed on performers and was a really gritty, fringe style, self-produced chaotic hour in a way that makes you love it.

To book tickets to Do You Want Lies With That?, please visit https://tickets.qtopiasydney.com.au/Events/Do-You-Want-Lies-With-That-.

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