Nostalgic, Hilarious, Infectious Fun for Fans Old and New!

Stranger Sings! A Parody Musical

Stranger Sings! A Parody Musical Rating

★★★★★

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The Eternity Playhouse Theatre in Darlinghurst is a perfect blend of plush red velvet and modern design, creating a space that feels rich with history, despite modern touches. To the side of the stage, a small band waits eagerly, giving that unique thrill only live musical theatre provides. Early show wrinkles were handled with humour and camaraderie, immediately setting the tone for a show that thrives on both chaos and connection.

Stranger Sings! The Parody Musical is exactly what its title promises: a satirical, joyfully camp reimagining of Stranger Things. Across 90 minutes, Hawkins is gleefully turned upside down, with the iconic core four; Mike, Lucas, Dustin, and Will; at the story’s centre. Each young performer captures their role with razor-sharp comic nuance. Raven Swinkels gives Eleven both haunting presence and playful edge, while Anouk Macarthur Mitchell leans into Will’s fragility with endearing self-parody. Julien Daher’s winning Dustin brims with charisma, Ruben Aguilera hits the mark as earnest Mike, and Jahzara Mariasson brings fiery energy to Lucas.

And then, of course, there’s Barb. Belle’s powerhouse vocals ensure justice is not just served but belted to the back row, a standout that lit up the night. The wider ensemble provide a constant stream of physical comedy and energy, morphing into bullies, scientists, and perhaps most memorably, a gloriously camp Demogorgon. Together, their knack for timing and willingness to push into parody’s extremes kept the show fizzing with momentum.

 

 

The production is deliberately low-fi in its design, which only adds to its charm. Simple staging is enlivened with clever costumes, witty choreography by Anna Jaques, and inventive ensemble work that makes even the scene changes cheekily entertaining. Musical director Mitch Brown guides the band through a synth-heavy score that perfectly skewers the 1980s vibe, layered with inside jokes and knowing winks to pop culture.

Vocally, the cast are outstanding. Occasional mic issues threatened clarity, but the performers carried through with enough charisma and vocal strength that the cracks only showed how strong the foundations were.

What elevates Stranger Sings! beyond parody is its cheeky breaking of the fourth wall. These playful intrusions make the audience co-conspirators, reminding us all that this is both fan satire and affectionate send-up. Even for those of us who lost track of the show past season three, the humour lands. The references are sharp enough for superfans, yet broad enough to keep casual viewers grinning throughout.

Above all, the joy radiating from this young cast is infectious. They aren’t just parodying Netflix’s most nostalgic property; they’re celebrating the simple delight of putting on a show with gusto, fearlessness, and a palpable sense of fun. To see so much future talent unified in delivering something this funny, smart, and warm is a treat, and a reminder that Sydney’s next wave of performers is already here.

Did I want to leap onto the stage to join them? Absolutely. And that’s the upside-down magic of Stranger Sings!: a parody that revels in its chaos, and a cast that makes you want to be part of the ride.

To book tickets to Stranger Sings! A Parody Musical, please visit https://sydneyfringe.com/events/strangers-sings-the-musical-parody/.

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Adventures Under The Sea, On Earth and To The Moon (And Back)

Twenty Million Thousand Leagues Under The Sea

Twenty Million Thousand Leagues Under The Sea Rating

★★★★★

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To say this show is just a theatre performance would be simplistic. Twenty Million Thousand Leagues Under the Sea by Pummel Squad cannot be boxed into just one category. Presented onstage by creators and performers Harry McGee and Cooper Donald McDonald, together with sound designer and composer Yanto Shortis, the show is a lively explosion of creativity—a brilliant blend of comedy, live-action illustration, and music, all brought to life with quirky narration and the classic overhead projector (OHP)!

The three performers tell the story of Rasthomas Bulge, an ordinary fellow with an extraordinary name, represented in 2D illustration in various poses, depending on the storyline. He’s drawn in 2D but at times is represented by larger than life 3D narrators, who voice his thoughts. At other times, his thoughts are cleverly interspersed and gently made known, projected onto a screen. Combining shadow puppetry with stencils and rolling overlays, along with narration and acting, the creators move beyond the ordinary to present the story in the most original way possible.

Rasthomas is a car salesman with a bushy moustache. He is drawn with three curly springs of hair sprouting from his head, bright eyes and a snappy suit. As the audience is being seated, his creators are sketching him to life on the overhead projector bit by bit. It was fun watching Rasthomas become himself, and it felt like we were getting an art lesson as the lines morphed into a cartoon man.

He’s got a steady job, a steady social life, (albeit with a shady school friend, drawn to “look bad, and is worse on the inside”) and a steady, ordinary life with his family. At the heart of the story is Rasthomas, feeling unsatisfied with this steady life. He is clearly experiencing a mid-life crisis where he feels that there’s something missing. After meeting and selling a sportscar to a man who surprisingly looks a lot like him, Rasthomas goes in search of adventure.

 

Following Rasthomas to literally the ends of the Earth and sky, the audience is entertained with stories of him travelling from the depths of the ocean to the moon and back. In a nod to the novel Twenty Thousand Leagues Under the Sea written by Jules Verne, there’s danger, daring escapes, sea monsters and even a bit of Casablanca cleverly woven in that ties right back to his wife. He realises after he has stepped out of his own shadow, that his ordinary life is something to be treasured, and perhaps looking at things from a different perspective brings acceptance.

Along with the lo-fi music and an almost continuous sound design accompaniment to the show, musician Yanto came out from his music station at the side to take centre stage. Standing in front of the screen, he sang an original song with his banjo ukulele as the projection rolled along, with the drawn buildings floating past with song. The audience loved it!

A memorable moment for me was one where we were introduced to Rasthomas’ four sons, drawn in lines, their portraits smiling. Their names were announced and revealed, read aloud as a list, with the first three son’s names rhyming, culminating with the youngest son being named Rasthomas Junior, which made me laugh as it was so silly. It was these witty bits of comedy, seamlessly woven in and delivered at surprising moments throughout the show, that gave the show a comedic charm which I thought was reminiscent of Roald Dahl.

Twenty Million Thousand Leagues Under the Sea was a 50-minute performance that seemed at times to be an improv. However, the Pummel Squad team cleverly crafted their skills to only make it seem this way, involving tag teaming the precise placement and flipping of stencils on the OHP, and quick delivery of quips and cheeky lines. Part of the 2025 Sydney Fringe Festival and already an award-winning show, this is one quick-draw scribby art combo comedy show (I did say it was hard to categorise it!) which will capture your sense of humour and your heart. Don’t miss this truly unique performance—there’s nothing else like it!

Season: 10- 13 September (matinee and evening performance on Saturday 13 September)
Run time: 50 minutes
Venue: New Theatre, 542 King St Newtown
Tickets: www.sydneyfringe.com/events/twenty-million-thousand-leagues-under-the-sea

To book tickets to Twenty Million Thousand Leagues Under The Sea, please visit https://sydneyfringe.com/events/twenty-million-thousand-leagues-under-the-sea/.

Photographer: Tom Noble

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The Balloon Dog Bites

The Balloon Dog Bites

The Balloon Dog Bites Rating

★★★★★

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The Sad Clown trope has been done to death, so it’s very refreshing to get a new type of clown; the type that loves their craft but has to perform for the obnoxious children of a wealthy family while coming down from a wild night and sporting a queer sex injury. Yep. The Balloon Dog Bites is a one-and-a-bit man comedy at the Old Fitz Theatre that manages all kinds of wrong in all the right ways.

Paulie Accio loves being a clown, leaning in to his goofy, fun-loving nature it’s his calling in life. Having studied the craft in France, he now struggles to make a living and often has to resort to accepting children’s birthday parties. It’s a humiliating necessity for a serious artist. That’s where we find him today, reflecting on his training in France and his attempts at being a serious clown while dealing with bratty children and demanding corporate-world parents at a birthday party in Birchgrove. The children and adults alike constantly belittle his occupation, with escalating humiliations culminating in a grim tragedy and moment of cathartic revenge.

I say one-and-a-bit man because while written and performed as a solo act by Michael Louis Kennedy, he employs the use of five audience members to read out the parts of several children at the party, which was a fun and fresh way to expand the story and involve the audience.

 

 

While the show is short and sharp, coming in at fifty minutes, the pacing is spot on. The story takes it’s time and is never rushed, with plenty of jokes to keep you laughing. Kennedy has a great sense of timing, not only when he tells the jokes but also in telling the story as Paulie, often mimicking other characters as he brings the events to life. It often felt like a stand-up comedy act, with careful pauses to allow for laughter or dramatic effect.

But the show also has a serious side, exploring how traditional family structures and views on parenthood often disparages the lives of queer or childless people. Anyone outside of a traditional role in a heteronormalized nuclear family is questioned, mocked, and belittled, with children prioritised over Paulie’s dignity. These ideas were never forced or obvious, yet played a vital role as the thematic foundation.

I had a lot of fun, as did the rest of the audience, who couldn’t stop laughing until the end and then jumped to give Kennedy a standing ovation. Be careful though, this clown act is very much for adults only.

The Balloon Dog Bites is playing at the Old Fitz Theatre in Woolloomooloo, Sydney until the 5th of September.

To book tickets to The Balloon Dog Bites, please visit https://www.oldfitztheatre.com.au/the-balloon-dog-bites.

Photographer: Phil Erbacher

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A Thoughtful, Entertaining, And Faithful Rendering Of A Complex Classic

Rosencrantz & Guildenstern Are Dead - Hunter's Hill Theatre

Rosencrantz & Guildenstern Are Dead – Hunter’s Hill Theatre Rating

★★★★★

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Hunters Hill Theatre’s “Rosencrantz & Guildenstern Are Dead,” Tom Stoppard’s legendary absurdist tragicomedy, delivers a warm and lively take on the tale of two minor Hamlet; characters doomed by fate and their own obscurity. From the outset, the greeting from the Hunters Hill Theatre committee sets an inviting tone, matched by the cheerful note of live music wafting through the space as the audience finds their seats; a particularly thoughtful touch that eased the transition into what would be a lengthy but joyful theatrical experience.

Stoppard’s play pivots around Rosencrantz and Guildenstern, two bewildered courtiers caught on the fringes of Hamlet’s story, who contort through existential wordplay, philosophical meanderings, and a growing awareness of their own lack of agency. The narrative, fragmented and surreal, weaves in and out of Hamlet, placing our protagonists in a landscape where meaning and momentum are perpetually just out of reach. While in theory this absurdist structure invites playful confusion, in practice it can be a genuine challenge for audience members to follow; something I certainly experienced at times.

The sequence of coin tosses, theatre-troupe hijinks, and discussions of fate and free will were made more powerful by the gorgeous old theatre style setting, the reds of the enticing set, the colourful costuming and light design and the interwoven 90s classics as the soundtrack.

Karen Pattinson’s Rosencrantz anchors the show with remarkable vitality, her presence is infectious, and she brings a buoyant, engaging quality to every scene. With a playful physicality, Pattinson makes superb use of the stage, drawing energy from even the most challenging passages and keeping the audience engaged. She manages the lightness and quick wit the role demands, creating a Rosencrantz who is both affable and deeply sympathetic, maintaining momentum even where Stoppard’s existential riddles might otherwise cause the pace to lag.

 

 

Jivan Drungrilas as Guildenstern plays the perfect foil to Pattinson’s cheer, rendering their character with brooding skepticism and philosophical weight. The dynamic between the two is the production’s heart; comic timing and tonal balance keep the core relationship feeling alive, dynamic, and frequently funny.

The supporting cast deserves credit for enlivening the margins with punch and humour, particularly during the play’s meta-theatrical moments and ensemble-driven scenes involving the Tragedians. The use of shadow puppetry adds a whimsical element. Their comic timing and character work bring welcome clarity and relief, heightening the absurdity while never losing the sense of fun.

Practical touches, such as the provision of cushions for the chairs, should absolutely be taken up, as the play’s length is both a testament to the ambition of the company and a point of practical consideration for audiences. These small gestures, along with the committee’s warm welcome, reflect the community ethos that makes local theatre so rewarding.

As with any opening night, there were some small hiccups and moments where the pace snagged slightly, but these did little to diminish the overall energy and connection of the cast. The enthusiasm onstage, particularly in the lead performances, quickly won over the audience and supported the more challenging elements of the text.

The direction of Tui Clark and the well-chosen cast really have taken this piece to the next level. The production offers a thoughtful, entertaining, and faithful rendering of a complex classic.

To book tickets to Rosencrantz & Guildenstern Are Dead – Hunter’s Hill Theatre, please visit https://www.huntershilltheatre.com.au/.

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