Lots of Pop – Just Not Enough Snap or Crackle

The Breakup Variety Hour

The Breakup Variety Hour Rating

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Ariana & the Rose arrives at the Melbourne International Comedy Festival with The Breakup Variety Hour – a wry cabaret-style journey through the six stages of romantic recovery and she brings with her genuine charm, vocal talent and the kind of infectious energy that makes you root for her from the moment she walks on stage. The Trades Hall, with its intimate rooms and slightly scuffed historic charm, is a fitting venue for a show about the unglamorous business of losing love.

The show’s structure is clever: six stages, neatly framed, moving from the wreckage of a relationship toward something that resembles wisdom. Ariana guides us through each with a mix of comedy banter, personal anecdotes and occasional audience participation, the familiar toolkit of the solo festival show. But it’s in the final stage – a philosophical, even quietly spiritual, reflection on what breakups really reveal about us – that the show finds its most resonant ground. It was a genuinely satisfying way to close, offering unexpected psychological depth after the performance and pizzazz, leaving the audience with something to carry home beyond the glitter.

Where The Breakup struggles is in finding its identity. The original songs, (written by Ariana herself and available to buy on CD), are genuinely good and surprisingly moving but they are almost at odds with the rest of the show. They don’t quite gel with the comedy banter surrounding them and the collision between the two never quite resolves. We found ourselves watching what felt like two shows running in parallel – a moderately entertaining comedy set and a mini pop concert – each quietly undermining the other’s momentum. The songs, which we expected to be more snippy, funny comedic offerings instead spoke of genuine feeling and heartache; the comedy parts were too brief and held the audience at too much of a distance. Holding these two different styles at once is a difficult ask of any audience and on the night we attended, it created a sense of awkwardness that the show never fully settled.

 

 

Comedy, as anyone in the industry will tell you, is brutally hard work. The hours behind a single hour of stage time are extraordinary – the writing, the refining, the killing of darlings, the courage required to simply show up and do your thing in front of strangers and hope it lands. The fact that The Breakup has sold out in Ariana’s native New York and toured major international festivals, including our own Melbourne Comedy Festival, speaks to a genuine audience connection that is clearly working somewhere. On the night we attended, the crowd was small and a little cool and she handled it with professionalism and grace, working the room with warmth even when it didn’t quite warm back.

But for those of us who came hungry for laughs, the show could lean further into personal storytelling – the messy, specific, mortifying anecdotes of dating life that make comedy truly land. What we got felt, at times, more like a vehicle for the music than a cabaret style comedy show. The personal glimpses Ariana did share were genuinely engaging, we simply wanted more of them. More of that rawness, more of those stories – the ones that make an audience wince in recognition and laugh in relief and then the balance would tip in a way that could make this genuinely special. It probably didn’t help that in our audience most people were happily coupled, so for a comedy that’s all about break-ups and needs to bounce of the singletons in the room, it wasn’t quite able to find its mark. Nonetheless, the bones of something very funny are here. They just need more flesh on them.

As it stands The Breakup is an enjoyable, well-intentioned romp through familiar romantic territory, performed by someone with good stage presence, a strong voice and a lot to offer. Ariana & the Rose is a performer still shaping her show into its fullest form – and if the philosophical heart of that final act is any indication of where she’s heading, the best may well be yet to come.

To book tickets to The Breakup Variety Hour, please visit https://www.comedyfestival.com.au/browse-shows/the-breakup-variety-hour/.

Photographer: Sidewalk Killa

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Umm…What Else? Mitch Dale Entertains Everyone at The Comedy Store Too

Umm...What Else?

Umm…What Else? Rating

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I imagine that being a comedian would be quite a challenging job. Some people are naturally funny, but that doesn’t necessarily make them a “born comedian”, as one may think. To do this for a living, comedians need to be multitalented – they are both specialty writers and actors (cue the timing and the delivery of a joke) with a certain amount of bravery to be up onstage with a microphone. They need to have a quick wit and response time when interacting with an unpredictable audience. I watched Mitch Dale at The Comedy Store Too at Moore Park in Sydney, and he had all of these talents! His one hour set for Umm…What Else? was a hilarious!

Mitch’s comedy style for this show varied from quick quips/ play on words/ short funny interactions with the audience, to delivering longer amusing tales about growing up in Australia. He is a talented storyteller who captured my attention from the beginning. For example, when he talked about casseroles and how after being slow cooked by the end of day, everything has turned to mush, yet the potatoes still have some crunch! And rugby. The interesting thing about Mitch’s delivery of his material was that he did it in a very understated manner where he cleverly picked a point and wove it into his story. It was like a dropped hot chip surrounded by seagulls – there’s a small beat as the audience listened to his words, and then once we realised his point, we jumped on the joke, laughing! “I played rugby, because I’m from Queensland, and I have a dad.”

 

 

The topics of the night were ones that were aimed to amuse all ages in the room. Mitch talked about personalised number plates, uber drivers and his trip to Japan – all of which was relatable to most of the audience, going by their enthusiastic responses. Mitch also catered for the older generation. It was interesting that he mentioned his childhood and how his parents had him answer the home phone as if he were in an office. It’s amusing because it’s true – back when families had landline phones, some parents made sure everyone answered in a formal manner. I remember calling my friend on their landline, and the younger five year old sibling of my friend answered the phone like this, it was very cute. I suppose there is a generation now who wouldn’t have had the experience of this, or of waiting a few weeks for a computer to be built so that it could go into it’s own special room in the house lovingly nicknamed “The Computer Room”.

Mitch also talked about how he got his name and shared some experiences with his health, and amazingly, he managed to turn even these more serious subjects into something funny. He had the knack of telling a life situation with honesty and humour.

During this set, Mitch was quick to respond to the audience. Instead of picking on that person and teasing them mercilessly, he interacted in a respectful and humorous manner. He clearly has a talent in quick thinking and response situations. In the lead up to Christmas last year, when he was working for a company, his entire job that weekend was to get busy people out of any social commitment they were trying to dodge. The company set the challenge for people to head into a particular store and Mitch will deliver an excuse for them. “He’ll make the hard call – you get the clean break and a guilt-free afternoon back.” From watching Mitch in Umm…What Else?, I am sure that he would have risen to this challenge.

Keep a lookout for this comedian Mitch Dale. Although this was a one-night show in the lead up to Sydney’s Comedy Festival, it won’t be the last you’ll hear about him. It was a sold out event at The Comedy Store Too tonight, so next time be sure to buy your tickets quickly so you don’t miss out.

To book tickets to Umm…What Else?, please visit https://www.neuralle.com/talent/mitch-dale.

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The Game Is Afoot… And Slightly Off The Rails

Innes Lloyd - The Lost Casebook of Sherlock Holmes

Innes Lloyd – The Lost Casebook of Sherlock Holmes Rating

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I had the pleasure of attending The Lost Casebook of Sherlock Holmes by Innes Lloyd last night as part of the Melbourne Comedy festival and it was one of those intimate, slightly chaotic and genuinely enjoyable theatre experiences that remind you what live performance can feel like when it’s happening right in front of you and, occasionally, almost on top of you.

The venue, the Impro Melbourne Theatre, was comfortable but tiny and we were seated so close to the stage I could have comfortably rested my feet on it. My companion described it perfectly, it didn’t feel like watching a play so much as watching people. There’s something disarming (and slightly voyeuristic) about that level of up close and personal proximity. You can see every flicker of expression, every moment of hesitation or delight. At times it made it harder to fully drop into the world of the story, but it also created a kind of immediacy and shared experience that larger productions can’t replicate.

The premise is a clever one: three legendary “lost” Sherlock Holmes case files, mysteries Sir Arthur Conan Doyle himself hinted at across his impressive written works but cases that while connected to existing Sherlock Holmes tales, are entirely improvised – which gives clever improv actors an awful lot of room to play in! From this simple starting point, the four-person cast built a series of unfolding stories, moving fluidly between characters and locations. We met the foul-mouthed Victorian street urchins (the Irregulars), various members of the landed gentry, Dr Watson, Sherlock Holmes himself plus his corpulent brother, Mycroft and bumbling, dim-witted Inspector Lestrade with a particularly memorable foot fetish. There was also a funny thread involving Cluedo that wove its way through the third story, adding another layer of playful absurdity.

 

 

What stood out most was the ensemble’s commitment to the form. Improv, at its best, is a kind of high-wire act – a balance between structure and spontaneity, where performers are constantly listening, adapting and building something together in real time. There were a few inevitable fluff-ups (it was opening night), but rather than detracting from the show, these moments often became highlights. The cast leaned into them, supported each other and turned small stumbles into shared jokes, which delighted and deepened the connection with the audience.

That willingness to embrace imperfection is part of what makes improv so engaging to watch. You’re not just seeing a finished product – you’re witnessing the process unfold. There’s a generosity in it – a sense that everyone, performers and audience alike, is in on the same experiment.

The audience appreciated the small facts and trivia woven in about Sherlock Holmes and his creator, Sir Arthur Conan Doyle and are apparently something of an integral part of all Innes Lloyd shows. These touches added a layer of texture and gave the show a gentle nod to its literary roots, even as it gleefully departed from them.

The overall feeling of the performance was one of enthusiasm, wit and genuine enjoyment. The cast clearly put their heart and soul into it and that energy carried the show. Improv is rarely about polished perfection, but rather about play, presence and the joy of watching something take shape in the moment.

All in all, it’s a lively, inventive and warm-hearted night out – especially for anyone who appreciates the unique magic of improv and the thrill of seeing something created right before your eyes.

To book tickets to Innes Lloyd – The Lost Casebook of Sherlock Holmes, please visit https://www.comedyfestival.com.au/browse-shows/holmes-unbound-the-lost-casebook-of-sherlock-holmes.

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Sorry I Hurt Your Son (Said My Ex to My Mum)

James Barr: I’m Sorry I Hurt Your Son (Said My Ex To My Mum)

James Barr: I’m Sorry I Hurt Your Son (Said My Ex To My Mum) Rating

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Sorry I Hurt Your Son (Said My Ex to My Mum) is a vulnerable piece of stand up comedy about trauma and domestic violence. In his comedy hour, James Barr explained how he had to kiss many, many, many frogs, before he found his boyfriend. Through his honesty and openness, James creates a rapport with his audience. Throughout the show James shares a spectrum of intimate moments, from deeply joyful occasions, to moments that echo with shame and anger.

James notes early on in his set that Colleen, his mum, asked if he was sure he was gay when he first came out to her. This was after she made sure no neighbours could hear their conversation. James returns to the opinions and quirks of Colleen periodically throughout the show. In particular, Colleen’s thoughts and reflections on James’ partner continuously resurfaces. James explains, Colleen liked his boyfriend.

 

 

James sweetly described how he met his boyfriend, and vulnerably shares the start of their love story. He laughs at the heteronormativity of being in a committed long-term relationship. James then somberly notes that 1 in 3 queer people experience domestic violence. He asks the audience “How do you tell off a violent person for being violent?” Very quickly James pulls the audience in, creating tension as he describes a more dangerous version of his boyfriend. James builds and breaks the tension with honesty and vulnerability.

James continues the show, sharing how shame and anger dominated his relationship, and slowly took control of his life. James stated that he couldn’t recall the first time his boyfriend hit him, but he remembered the first time his boyfriend attacked the dog. James confessed, “I told myself I deserved it. A dog doesn’t deserve it.” The complexities of abuse are difficult to pinpoint, but James highlights how little moments broke him down, until his sense of self was erased.

James finishes his set with an explanation of why he wrote this show. Why he shared this experience, opened himself up and become so vulnerable to a faceless audience. This show requires a profound sense of bravery, and James was inspired by a nurse he met who left an abusive partner. Hearing her talk about leaving, James understood what he hadn’t until that point. That sharing stories of abuse, highlighting the bravery of the people who leave, can inspire others to do the same. James noted that it was easy to stay with his boyfriend, but it was the story from the nurse that gave him the bravery to leave.

To book tickets to James Barr: I’m Sorry I Hurt Your Son (Said My Ex To My Mum), please visit https://adelaidefringe.com.au/fringetix/james-barr-sorry-i-hurt-your-son-said-my-ex-to-my-mum-af2026.

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