MARVELous: A Risqué Parody delivers exactly what its title promises — a cheeky, adults-only romp through the superhero universe, wrapped in humour, spectacle, and more than a little irreverence. With Deadpool at the helm, reading the audience a decidedly grown-up bedtime story, the stage is set for a night that doesn’t take itself too seriously.
I’ll admit, I arrived expecting a stronger overarching storyline. Instead, the show leans into a series of standalone character acts. It felt less storyline and more a burlesque/boylesque show. While this structure sacrifices narrative cohesion, it does allow each performer their moment to shine — and shine they do.
One of the most inventive elements is the rolling cube set design. These clever structures act as mini studios for each act while doubling as elevated platforms, giving the staging a dynamic, ever-changing feel. Add in bursts of aerial work and impressive physicality, and the visual interest rarely dips. Yes, plenty of skin is bared, but it reads less as overt sexualisation and more as a celebration of strength, athleticism, and control.
The undisputed highlight of the evening was Captain America and Bucky attempting — somewhat unsuccessfully, thanks to a rogue shield — to preserve their modesty while dancing to (I’ve Had) The Time of My Life. It was chaotic, playful, and had the audience roaring.
I desperately wanted to love the Spider-Man song-and-dance number, but persistent audio issues and unreliable microphones dulled what should have been a standout moment. Unfortunately, sound proved to be a recurring villain throughout the night.
Still, with nearly every beloved Marvel hero making an appearance, the show remains accessible even for those without encyclopedic MCU knowledge. MARVELous is bold, creative, and packed with personality — a fun night out.
Host and MC Paul Dabek takes the audience on a nostalgic stroll through the London of his memories — and honestly, who doesn’t love a wander down memory lane? When that journey is punctuated by performers of this calibre, it becomes something truly special.
Framed around stories of a childhood train trip to visit his grandad and wide-eyed visits to London’s iconic landmarks, each anecdote is cleverly paired with a complementary act. The result is a show that feels cohesive rather than just a string of variety performances. And what performances they are! We’re treated to dizzying suitcase spinning, a breath-taking aerialist, juggling (with his mouth!), mesmerising hoop work — human slinky, anyone? — magic, illusion, and shadow puppetry that has absolutely no right to be that exciting. Seriously, highlight of the night.
The show is completely family-friendly… but learn from my mistake and maybe don’t bring your kids. Mine mocked me relentlessly while I cringed through audience participation and then finished me off by asking about the “old” references and music. Nothing like your children to humble you after an epic night out.
Having seen more than a few Fringe shows this season, London’s Calling is a genuine standout (thank you to the friend who told me to do myself a favour and book tickets — excellent life advice). The performers are immensely skilled, Dabek keeps the energy soaring, and the staging elevates the entire experience. The projected backdrop transforms ‘plastic chairs in a disused tennis court’ into faraway streets, effortlessly transporting the audience across the globe.
In short: clever, polished, and wildly entertaining — this is one call you definitely want to answer.
Inspired by the words; “It’s time to lay your old self to rest — and be reborn as the ultimate version of yourself, as you were always meant to be. This is your ending. This is your beginning. This is FUNERAL”, I ventured over to Howler in Brunswick on 29/1/26 to see ‘Funeral’, a “live music performance from dark, electronic, alt-pop phenomenon, KING IV.” (Pronounced I-V-Y.)
‘Funeral’ is the live performance of KING IV’s dance-pop album, ‘Psychopomp: the other side.’ Melbourne artist, Cheyenne Harper, is professionally known as King IV, who imagines herself as a conduit between two worlds, which provides her – and in turn, us – with a feeling of freedom and power.
The MIDSUMMA festival program is made up of diverse art forms and genres, so I knew ‘Funeral’ by King IV would be far from vanilla. I certainly got more than I expected – as I’m sure crowds discovered from King IV’s past gigs at Beyond the Valley, Melbourne Music Week and previous live and large events.
All songs are originals, written and composed by Harper and backed by a visual feast of cinematic projections and dark choreography, to live and synth-ed music. Don’t fear or judge the synthesizer. These songs are truthful and from the soul. There is a rawness and honesty thrown artistically and boldly in-your-face, and each track leaves you wanting more.
Beginning with a video wall as wide as the stage and evocative words conveying her “red being” crossing to the other side, we meet a sensual King IV with her 2023 single, ‘See you later’, a song about seeking pleasure and letting the light of passion free one from darkness.
King IV told Australian Music Scene in 2022 the song “…poured out of her after a night out clubbing and being love-bombed by the person she was out with.” When writing ‘See you later’, she was also influenced by psychotherapist, Carl Jung, and his quotes on passion, including, “…they must be on fire even if they make a fool of themselves…”
‘See you later’, is both erotic and clubby so, everyone at Howler moved towards the stage where we could be closer to even more surreal imagery from this extraordinary artist and her voice-over, asking;
“Did you become the forest? Or the space between the stars? The wind crossed through the valley, or the harsh and ancient jars? I reach for you in the wind…. in earth, in flame, in sea. Whatever form you’ve taken, please leave a space for me. Tell me if you’re alright, even if you’re not. Even if you’re gone now. Is your soul forever lost? Welcome to the cosmos and floating on the stars. A break inside the universe. You’re always in my heart.”
She has taken us to the Afterlife. It’s something we’ve all considered, especially after profound loss.
King IV, as her “red being”, then returns with a plethora of pumping poetry.
A funky kick-beat of a song, ‘Wicked’, was one of my favourites. – “We can cross the seasons. We can reach the stars.” I resonated with her “wicked witchy woman” story.
Next, ‘Night and Day’ with IV singing inside a red-lit coffin, standing centre stage. Loved the electric guitar riff on this one. – “I like it when you taste it. I do. I do. I like it when we’re naked. I do. I do.”
‘Murder’ mixed ethereal vocals and electronic layers.
‘Psychopomp’ was a stand-out. – “I’m a fire-breathing dragon. Always ready for some action.”
Ultra-talented Pat Gabriel, composer and musical director – @pattyboomba – plays the keyboard, the strings and other recorded pieces throughout the whole show and, it’s obvious to everyone he loves what he’s doing. Heavy on the bass, he interprets his talents within King IV’s compositions.
The Funeral dancers are fit and fast with dynamic and demonic moves, framing King IV fabulously along this unique journey she’s created for us.
‘Psychopomp; the other side’ is an excellent electronic, dance compilation, moody and theatrical, exploring hedonistic lifestyle, personal transformation and pushing each of us to claim our own unique identity. – “To truly transform, you must let the old self die – and trust that something greater is waiting to be born.”
Words of wisdom to live by as we venture into 2026.
Purchase King IV’s ‘Psychopomp: the other side’ album from Bandcamp, an online site that directly support the artists who make music.
I wasn’t sure what to expect as I entered The Jonesway Theatre in Northbridge to watch I am Grease Grillson, one of the many shows currently on for the Perth Fringe Festival.
For those who are unaware, the Fringe Festival is an opportunity for various performers and artists to showcase their talents.
Having met at clown school in France, yes there is such a thing as clown school, performer Elise Wilson and director Duncan Young teamed up for the creation of I am Grease Grillson.
You may come away from this show thinking what on earth was that all about. In this instance, it would be best to go to the show with an open mind.
The show opens with solo performer, Elise dressed in character as Grease Grillson in heavyweight lifting attire topping it off with a drawn-on moustache and body hair, lifting an elephant, not real of course as it’s all mimed.
The storyline is, by design or by limitation, a little thin. Grease Grillson, a heavyweight lifter who moves through life with a persistent belief that he is “not enough,” punctuated by flashbacks from his time in an orphanage through to his eventual success. The orphanage material usefully signals the origin of the character’s insecurity.
Nonetheless, as a performance grounded in clowning, mime, and physical comedy, it delivers consistent entertainment, proving that, even when the storyline is light, rigorous physical craft can carry the evening.
