A Queer Little Manslaughter?

A Queer Little Murder

A Queer Little Murder Rating

★★★★★

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My favourite thing about Pride Fest so far is no two shows I’ve seen have been even remotely alike and Savannah Hankinson’s “A Queer Little Murder” was no exception to this. In fact, it was super different from anything I’ve seen recently. The concept is a whodunnit Agatha Christie type murder mystery but everyone is gay. No seriously, Hankinson plays six different, lesbian characters and the whole thing is VERY gay. I loved it.

New York resident, Hankinson, has also trained in London and Russia. As such, her accent and character work were impressive and if she ever messed up switching between all of these, she was able to correct herself in the voice of the narrator and protagonist named ‘Try-Hard’. She mentioned at the start that she had just finalised and printed a new script that day, and I guess that’s Fringe* baby! This was a very meta, intellectual exercise which was a little bit more like going to a script reading crossed with a one woman show. However, there were parts that came more naturally when Hankinson really got into the flow, and these were super fun.

 

 

There were some very funny lines and lots of queer references which made for an enjoyable Tuesday night outing. I usually go into shows without reading much into them, or the performers, so I’ve only just now looked into Hankinson’s bio. She has taken this show to a very impressive list of Fringe festivals including in Hollywood, San Diego and soon she is going to Edinburgh! I see that it has sometimes been a full length play and sometimes the plot has been different, I wonder how often it changes? It would be cool to see Hankinson go script free to really connect with the audience and utilise the space more. Maybe in future shows she will.

My main gripe, as a lawyer, is that the murder was more like manslaughter and the evidence is not assessed very carefully. The whole thing wraps up quite quickly, and I wanted more depth and less background…

The set and lighting were fairly simple, but effective for telling the story as was Hankinson’s costume as ‘Try-Hard’ a pandering softmasc lesbian. There was quite a small crowd on Tuesday night at Qtopia, but everyone was gripped and willing to participate. It was marked as audience participation, so I was mentally prepared for this but honestly there could have been more!

Overall, Hankinson was a wonderful performer and I really liked the concept. A must see for anyone who loves crime shows and/or is gay.

*/Fringe adjacent festivals like Pride Fest

To book tickets to A Queer Little Murder, please visit https://tickets.qtopiasydney.com.au/Events/A-Queer-Little-Murder.

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Monty Python’s Spamalot Is Bound For Australia!

Feature-Monty Python's Spamalot

THE SHOW THAT SET BROADWAY BACK 1,000 YEARS IS BOUND FOR AUSTRALIA! THE TONY AWARD–WINNING BEST MUSICAL COMEDY – LOVINGLY RIPPED OFF FROM THE MOTION PICTURE MONTY PYTHON AND THE HOLY GRAIL

The legendary search for the Holy Grail is officially headed for Australia! After a spectacular season at Perth’s Planet Royale in May, Drew Anthony Creative has today announced that the Tony Award–winning Best Musical, MONTY PYTHON’S SPAMALOT, will gallop into Melbourne and Sydney for a limited engagement during September and October this year.

This riotous retelling of the adventures of King Arthur and his loyal Knights features a book and lyrics by Monty Python’s very own Eric Idle, with a celebrated score by John Du Prez and Idle. The hilarious and clever production ruthlessly—and affectionately—parodies the staples of musical theatre, showcasing a truly unique blend of powerful Broadway-style vocals, tap-dancing knights, and even the occasional flying cow!

Since its 2005 Broadway debut, where it garnered 14 Tony Award nominations and secured three wins including Best Musical, MONTY PYTHON’S SPAMALOT has established itself as a landmark of contemporary musical theatre. Renowned for its anarchic comedic style and sharp absurdity, the production features a legendary score with infectious classics such as “Find Your Grail,” “The Song That Goes Like This,” and the iconic “Always Look on the Bright Side of Life”.

This highly anticipated run will commence at Melbourne’s Athenaeum Theatre before travelling to Sydney for performances at the Sydney Event Centre and the Sydney Coliseum Theatre.

“After celebrating 20 years since the original production last year, it is a great honour to restore MONTY PYTHON’S SPAMALOT’s place on Australian shores for fans who have longed for its return and for new audiences to meet the Knights of the Round Table for the first time,” said producer Drew Anthony. “I’m thrilled to bring this hilarious show to audiences at a time when we all need to look on the bright side of life!”

“Camp, comical, and bursting with talent, this is a show not to be missed.” Out in Perth

“It’s a very entertaining night out whatever your favourite flavour of theatre.” Broadway World

“Monty Python devotees will undoubtedly love Spamalot and have a joyous time reliving the hilarious and timeless scenes from the movie.” Australian Arts Review

“Lovingly ripped off” from the 1975 cinematic masterpiece Monty Python and the Holy Grail, the award winning musical offers everything a theatregoer could desire – French taunters, killer rabbits, fish slapping, and the magnificent Lady of the Lake.

While casting and further creative details are to be shared at a later date, the arrival of this beloved classic promises an unforgettable theatrical experience for east coast audiences.

MONTY PYTHON’S SPAMALOT will play at the Athenaeum Theatre from 16 September until 11 October. The show will play at the Sydney Event Centre from 15 – 18 October, before transferring to Coliseum Theatre, Rooty Hill where it will play from 22 – 25 Oct 2026.

Audiences can sign up for the waitlist for both Melbourne and Sydney here.

Tickets will go on sale to the general public for Melbourne on Friday 19 June and for Sydney on Monday 29 June via www.ticketmaster.com.au. This production is recommended for audiences 12 years +.

 

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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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