Daddy Daycare

Daddy Daycare

Daddy Daycare Rating

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2

Imagine: you walk into the Motley Bauhaus Theatrette (a place well renowned for its indie theatre) to the tune of the Playschool theme song, as well as other childhood classics like Twinkle Twinkle Little Star and The Lion Sleeps Tonight. In front of you sits a cosy children’s set complete with plastic kids teapot and painted field back drops. That’s right, it’s Daddy Daycare time, a place where lost daddies go to get their working with womens check whilst discussing consent, anatomy and having fun all at the same time!

After sitting down, what followed was an hour of the most raucous children’s entertainment I have ever seen! Not only was our host (Steph Crothers) beyond hilarious, energetic and devilishly suggestive, but she also really, ah, took care of us, if you catch my drift.

Now heads up, this is a show that features a lot of audience participation. But if you are happy to moan, yell ‘YES MUMMY’ and sing songs about the more delicate parts of a woman’s physique, then you are in the right place. And as part of the audience, it was hard not to get swept up in the energy of it all. Crothers perfectly breached the line between suggestion and play, bringing forward act after act that had myself and the viewers around me gasping for breath in between laughter. Her skills with clowning and comedic timing left even me (one trained in such skills) a little bit speechless!

 

 

The tech of the show also strongly enhanced the whole experience. When things were light and playful, so was the sound. When things got darker, so did the lights. And the prerecorded sounds used in the show perfectly complemented what was happening on stage. It was a master class in not too complex tech and how it can truly bring a show together. Thematically, this show also explores that intersection between child and adult, taking me back to a nostalgic period with an adult twist. And boy, would I visit there again!

In total, this is a show that is great fun, but it has more substance than just this. It does bring up real questions of the consent culture within our society. And it did make me think afterwards, but I also just had a really excellent time with it. And my stomach and mouth hurt from smiling and laughing which is never a bad thing.

But look at that, it’s time on the rocket clock for this review to end! As a general rule, do go see this show, bring your friends (especially those of the sheltered persuasion just to watch their little minds be blown) and get up on stage! This is a show that deserves a whole lot of love.

To book tickets to Daddy Daycare, please visit https://www.eventfinda.com.au/2026/daddy-daycare/melbourne/carlton.

Photographer: Nick Robertson

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If You’re Hearing This

If You're Hearing This

If You’re Hearing This Rating

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Ally Morgan is a new kind of supernova performer. In her 2026, Melbourne Comedy Festival show, If You’re Hearing This, she swoops us up and takes us on a whirlwind tour for the ages.

Morgan starts her show with a burst of optimism and the idea that things out there can be really, really good, even when they are clearly not that good at all on home soil. She’s fashion forward in a suit that is halfway between a NASA 1950’s one and something that the babes from Wet Leg might wear, showing her preparedness to get down and rock her world with some serious songwriting and lyrical talent. Morgan’s departure from earth is on a fast paced countdown. She’s on a do it yourself mission to save herself from Armageddon. Planet Earth is in a right pickle so the logical thing to do is eject herself into the atmosphere and take a chance — interplanetary Survivor style.

There, in the outer limits of space Morgan finds she has a lot of time on her hands so what better way to keep her sanity and her cool zeitgeist narrative alive than by doing an up to the minute broadcast over the space airwaves — even if no one’s listening. Her set is simple but effective. She knows how to transform a space. Musical instruments, a keyboard, a DIY screen, a squishy gold helmet and she’s away.

 

The brilliant songs allow Morgan to address all sorts of crisis points and her talent and skill in nailing where we all are right now lies in leaving no stone unturned. She pans manosphere podcasters, references the lost innocence of the early 2000’s, and employs visual gags from major film makers to billionaire asshats, as well as giving us a running commentary on news and politics. Morgan sings folk tinged songs that Joan Baez would be proud of. Her songs are at once poignant, hilarious, urgent and ironic. Her transitions from mother earth guardian, to digital information purveyor includes themes on life and death; the point of relationships and human connection; the vagaries of big C, Capitalism; tales from her youth and neurodivergent ways of being.

She calls out the force with which man tries to destroy everything good and calls out her own ambivalence when called to action as well. If anything the themes are so wide reaching and profound that maybe a slight edit would serve the overall project? But Morgan sings, moves and delivers ballads as sweet as The Sundays juxtaposed with political fight-the-power style black and white documentary narration that nevertheless ignites us all. She asks us to think deeper about how we got to a time when a girl who just wanted to have fun lost all that in the Black Mirror-esque way we live our lives now.

Morgan shows us that even though innocence has been washed away by a zillion screen time hours and the “encyclopaedia” of ChatGPT use, that in fact, love is still what humans want. It’s a very savvy well written show filled with modern day ennui. But is anybody really listening? Is Morgan just screaming into the void? Will she ever be saved? Her teabags and fuel are running low and she’s scared and utterly alone…well, for a while at least.

To book tickets to If You’re Hearing This, please visit https://www.comedyfestival.com.au/browse-shows/if-you-re-hearing-this/.

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Bev & Myrt and the Scrolling of Doom

Bev & Myrt and the Scrolling of Doom

Bev & Myrt and the Scrolling of Doom Rating

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6

Aliens, lesbians and eighties music: three surefire ways of getting me in a room. All three…together? Let’s just say I was first in line to catch the opening performance of ‘Bev & Myrt and the Scrolling of Doom’ at the Motley last night.

Presented by How Delightful Theatre, ‘Bev & Myrt’ follows a secret society of alien investigators defending the Hoddle Grid from extraterrestrial terrors: galactic parasites, sentient robots, conservative real estate agents. When AI threatens to absorb the minds of Melburnians, Bev (Jenny Lovel), Myrt (Amanda Owen) and their son Jamie (Jackson Eather) must take down evil tech conglomerates all the while navigating their own growing pains at home.

Writer and producer David Innes, producer and dramaturg Dr Stayci Taylor, and director Cale Dennis clearly had a distinct vision for the show. With a razor-sharp script and just enough fourth-wall stroking to keep things perfectly meta, ‘Bev & Myrt’ was an unapologetically nerdy and hilariously queer little slice of theatre. Think Douglas Adams meets ‘Ghostbusters’: irreverent, witty, weird, and so on the nose. It was quintessentially Melburnian too, so full of in-jokes the crowd spent more time laughing than not. With a runtime of an hour, ‘Bev & Myrt’ is a masterclass in short-form playwriting and I only wish it ran longer for my own selfish reasons.

 

 

Jenny Lovel, Amanda Owen and Jackson Eather were outstanding to watch as a unit, with brilliant chemistry on stage and some unforgettable physical comedy. Liliana Braumberger, Kitt Forbes, Alex Joy and Donna Prince effortlessly navigated several roles all the while puppeteering tentacled robots and throwing around props left right and centre. The sound and lighting design never missed a beat either, which is a testament to just how much work was put into this show by the entire cast and crew.

It would be easy to fall into all shenanigans and no substance in a show like this (especially given the short runtime) but I’m happy to report that wasn’t the case. ‘Bev & Myrt’ was fun all the way through, but it was the moments of queer love that resonated so personally in an otherwise unworldly story. It was at heart a celebration of our elder queer heroes: the people who loved and fought for us and the people we can hope to become ourselves—aliens or no.

You can catch ‘Bev & Myrt and the Scrolling of Doom’ at the Motley Bauhaus until the 8th of February!

To book tickets to Bev & Myrt and the Scrolling of Doom, please visit https://tickets.midsumma.org.au/event/396:1014/.

Photographer: Mark Gambino

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A Step Into The Unknown

Other Gods

Other Gods Rating

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1

The Melbourne Fringe Festival is in full swing and the Motley Bauerhouse in Carlton plays host to the debut performance of Other Gods.

The lights brighten to a minimalistic stage, a small room as though the audience have been invited in to an intimate moment in time.

It’s here we meet Tom (Sorab Kaikobad), a priest who has sworn celibacy. Yet as the play unfolds we see Tom face his most soul searching moment when he meets the enchanting Marina ( Emily Kruse). Tom must face the most difficult choice in his life- his love for the Gods he worships, or his heart.

Other Gods is an intriguing story, one that is set in a mysterious place and time.

It explores the themes of conflict, love, religion and identity.

Whilst the actors all give heartfelt performances though, the story never really takes off. It feels as though we are invited into the story half way through and there are pieces of the puzzle missing. The religion that is mentioned is only half explained, the characters don’t have a strong story arc, and the concept just feels a little unfinished.

 

 

The minimal set design does let the audience focus on the dialogue, which is effective and the soft lighting gives a nice atmosphere. The intimacy of the room makes the performance seem like we are strangers invited into a world and a snapshot in time.

Where does this intriguing world fit into ours- the question is never really answered, we only get a glimpse. However we know that it’s mythical- as the worship of Gods is mentioned several times.

A quite entertaining play, Other Gods certainly raises some interesting questions, exploring themes of love, conflict and turmoil.

The cast give good performances, the dialogue is intellectual and are enjoyable. There are moments of humour with Asher Griffith-Jones as Ant giving a comedic performance, bringing lighthearted moments to the play.

Other Gods is a play that even with it’s unusual fantasy setting manages to explore themes of love and inner turmoil in a way that is pleasant to watch and it is interesting to be allowed into the fantasy world the characters inhabit.

To book tickets to Other Gods, please visit https://www.melbournefringe.com.au/whats-on/events/other-gods.

Photographer: Tom Noble Creative

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