Booze & The Bard: Macbeth! The Scotch Play

Booze & the Bard: Macbeth! The Scotch Play

Booze & the Bard: Macbeth! The Scotch Play Rating

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With the show’s title named Booze & The Bard: Macbeth, I had a feeling this wouldn’t be your typical Macbeth play. As part of Perth’s annual Fringe Festival, five young actors bring a loose adaptation of Shakespeare’s infamous Macbeth to the stage.

Held at Four5Nine Bar at the Rosemount Hotel, a cosy little venue, the audience and the actors had no idea how the play would pan out. The concept reminded me a little bit of those “choose your own adventure books” where the reader’s choices determine the main character’s actions.

The play started off smoothly; all the standard lines are acted out with an injection of modern language sprinkled throughout (I loved this because, as someone who myself am not a big follower of Shakespeare’s plays, it made the play easier to follow and understand). When the play continued too smoothly, that’s when the actors shook things up a bit. There were drinking games (audience members could also participate if they wished), but either way, the actors are drinking throughout the play.

The major shakeup of the show was the spinning wheel. The spinning wheel had a variety of rules that the chosen actor had to follow when the tab landed on any of these rules, and this could happen at any moment throughout the entire show. The narrator would usually bring the spinning wheel to an audience member to spin.

 

For example, when it landed on ‘accent’ the chosen actor had to say his lines in an Irish accent for remainder of the play. I especially though it was funny when it landed on ‘western’ and the actor playing Macbeth, Ethan Milne, had to act out the rest of the play as though he was in a western movie, topping it off by wearing a poncho.

There were moments when the actors would be calling out ‘noooo’ when the spinning wheel was pulled out. I could feel their pain. It would not be easy to recite a Shakespeare play and then force put a spin on it at the last minute.

It’s ironic that Macbeth is actually a tragedy, but this show was far from tragic. The Booze & the Bard’s Macbeth, the Scotch Play was a fun, chaotic, silly, comedic retelling of a Shakespeare classic with many twists.

You certainly do not have to be a Shakespeare fan or understand Shakespeare to enjoy this show. It’s clear the actors were all having a lot of fun, and this naturally pulled the audience in.

If you are looking for a light-hearted show with plenty of laughs and, of course, drinking, then this is the show for you.

To book tickets to Booze & the Bard: Macbeth! The Scotch Play, please visit https://fringeworld.com.au/whats_on/booze-the-bard-macbeth-the-scotch-play-fw2025

This year’s Fringeworld Festival Perth runs from 17 January to 16 February. For more information, please visit https://fringeworld.com.au.

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I Watched Someone Die On TikTok

I Watched Someone Die on Tik Tok

I Watched Someone Die on TikTok Rating

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1

With the show’s title, ‘I Watched Someone Die on TikTok,’ I had no idea what to expect from this show. All I knew was that it would be a one-person show. Sometimes these can be the best sorts of shows without any preconceived ideas.

As part of the Perth Fringe Festival, WAAPA alumnus Charlotte Otton delivers a quirky, commentary-style and partial biographical performance involving her relationship with the internet and social media.

Although the performance is delivered in a humorous manner, it touches on serious topical issues such as social media addiction, minors on social media, cyber-bullying and the multitude of disturbing content found on the internet.

Charlotte takes the audience on a journey from the early stages of the internet in the early 90s to the colossal digital platform it now is.

She makes a point of how the internet is filled with so much dark content and how easily accessible this content is to any person of any age. This content she refers to includes people dying in hospitals, beheadings and people being beaten to death. In the early internet days, it may have been a bit tricky, but certainly not impossible, to access such content, but nowadays, videos, regardless of whether they are age-appropriate or not, so easily pop up in social media feeds.

The strong grip social media has on people’s lives is real, and Charlotte brings this to focus. In one segment, the absurdity of some of the TikTok challenges is brought to life as she playfully takes up the challenge that the audience selects for her.

Any person who is guilty of doom-scrolling will relate to Charlotte’s commentary.

I found this show immensely entertaining and Charlotte to be an outstanding solo performer. I never knew which way the show would go or what Charlotte would do next. Mirroring much of how Tik Tok operates, she performs multiple segments in the show at a fast pace—keeping the attention of the audience glued to the stage.

To book tickets to I Watched Someone Die on TikTok, please visit https://fringeworld.com.au/whats_on/i-watched-someone-die-on-tiktok-fw2025

This year’s Fringeworld Festival Perth runs from 17 January to 16 February. For more information, please visit https://fringeworld.com.au.

Photographer: Sophie Minissale

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Delicious Aerialicious

Delicious by Aerialiscious Entertainment

Delicious by Aerialiscious Entertainment Rating

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3

Delicious is a scrumptious hybrid show mixing your favourite Burlesque and Circus acts, all themed around food and drink. The show as a whole imbues the audience with ecstatic energy, and satiates our hunger for entertainment.

It seamlessly blends comedy, acrobatics and eroticism in an extravaganza for any appetite. Our fantastic hosts, Chocolate Boxx and Clara Cupcakes bounce off each other brilliantly with quick witted remarks to introduce us to the world of ‘Delicious’ and its’ acts.

Initially we are met with Aline Chapet who performs a quirky routine with ‘Champagne’ bubbles. Her act brings the awe of a magician and the skill of a bartender to the stage, creating bubble art and playing with trapping and releasing smoke. Her act creates suspense and wonder as we wait for bubbles to pop, or not, as she skillfully crafts them. We were then rewarded with other unique acts such as Indie Berlin who performed a hilariously creative ‘Bread-lesque’ routine.

This combined the glitz and glam of burlesque with the comedic premise of feeding pigeons lots of bread; which was executed with elements of mime as well as expert choreography. Another creative act was Cello Bordello and her ‘hot-dog’ routine. This showcased a spunky burlesque number and a twist on sword swallowing except with a balloon. We were also delighted by some women’s Jelly Wrestling (Grace Law and Rachael Gibson); where you were still in the splash zone multiple rows back, causing eruptive laughter from the audience.

Our final unique act was Johnny Gash presenting a sweet ‘Candyman’ styled Drag King performance. Johnny Gash gave us the only vocal performance of the night, which was absolutely phenomenal and all but identical to Christina Augileira herself.

The circus acts included were incredible, with Andrea James Lui skillfully showcasing her amazing floorwork and Aerial Pole skills. With a quirky mad-hatter style, but incredible strength and fluidity she dazzled from the air. Elena Khaw graced us with an incredible show of contortion and flexibility, all whilst glazing herself in honey, keeping to the sweet theming.

Ambrose and Latonya brought some classic circus action with trapeze and Hula Hoop acts. Their Flow Art was smooth and polished, taking much coordination and strength. Finally, Tami Dawson presented hair suspension to close us out, which takes incredible, hair-raising skill.

With such a smorgasbord of talent, the audience was engaged and cheering from the start and this did not lull for the entire performance. The lighting and use of haze made all the performers look spectacular whether they be on the ground or in the air. The song choices were recognisable and energizing, bringing much enjoyment.

This show exudes confidence and really comes together beautifully, a perfect collection of talent, theming and taste. The cast and crew should be applauded for a delightful addition to the Melt Festival line-up.

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The FUTURE is disappointing

FUTURE

FUTURE Rating

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2

The theatre collective PIGEONPIGEON showcased their play ‘FUTURE’ in the Melbourne Fringe Festival 2024. The original concept of taking different predictions about the future and turning them into a theatre production sparked my curiosity, and the hopeful tone of the synopsis intrigued me further.

I was disappointed by the incongruence of the synopsis and the show that I saw. It was very bleak. That’s not to say the show wasn’t without its strengths. I must give props to their use of props- giant jenga blocks and a large tome both full of predictions- were a couple of these that supported the show well. Some props were a little off-putting, such as a large notepad used to give prompts to their on stage “audience member”.

They built pace effectively to demonstrate a crescendo when reading through scripted predictions contained in a box, with the bits of paper left scattered around them. Following this an emotional monologue was delivered, where the very real, confronting, question many of us struggle to reconcile was raised- Is it fair on a child’s welfare to be brought into this world, when the climate crisis threatens their safety and wellbeing in ways we cannot yet even fathom. Unfortunately, the poorly synced text that was projected on the large screen behind them significantly detracted from the actor’s performance, and continued to irritate me throughout the entire show.

‘FUTURE’ felt structurally confused. I’d expected they would be dramatising different predictions on the future, instead it felt very bitsy with large chunks of the show entirely relying on audience participation. At the start of the show, they warned the audience about any loud sounds or bright lights to expect, painstakingly demonstrating the level of intensity that could be expected with each. This information was already provided in the ‘event warnings’ of the show summary. I’m sensitive to sound myself, but when I go to a play I expect my senses to be engaged and surprised throughout.

 

What I think was intended as a sensitive warning came across as pedantic coddling, delivered without any snappy energy to relieve the tension. It felt ironic, but I don’t think that was the intention. It provided an interesting subtext on the pervasive fog of anxiety Gen Z have grown up in, and the pendulum swing between action and inertia that often manifests. It would seem the entire framing and response is technology based, the cell phone is the gatekeeper, gateway, and fence. I wonder the level of awareness PIGEONPIGEON had on this, or if it was intrinsic.

A sore point for me was the en masse bagging of Taylor Swift from the cast and audience for her use of a private plane- is there really a practical alternative? As if she is the only carbon emitter on the planet, would she be so demonised if she wasn’t a powerful woman. Yet many far-left identifying people seem to have no issue fueling this hateful rhetoric. They might be surprised to know that her donations to various local UK foodbanks covered a years worth of meals for those organisations. I linger on this detail for two reasons- 1. It really frustrated me, and 2. It is emblematic of the show- a lot of negative commentary with little consideration for solutions.

I thought the “audience member” who came on stage had a certain charisma and levity that injected a bit of life into the show. Unfortunately, this impression waned as a function of the poor writing. The hope that was promised was hard to find. I think it was all strained into a bit about crabs that felt like it may have been inspired by The Hitchhiker’s Guide to the Galaxy type absurdism, but rather missed the mark. Maybe if I was born 7 years later the show would have resonated with me more.

I did attend ‘FUTURE’ with another person who is of that generation who found the show stilted as I did; so, it’s not entirely a function of age as to whether the humour that was given was perceived as having landed or not. If you’re looking for some hope, I’d avoid ‘FUTURE’, unless you really like crabs and awkward jokes.

For further information about PIGEONPIGEON, please checkout: https://www.pigeonpigeon.co/

Photographer: Jaimi Houston

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