A One-Man Cabaret by Mario Acosta-Cevallos

Caminare - The Echo Of My Steps

Caminare – The Echo Of My Steps Rating

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Caminaré, The echo of my steps.

A ONE-MAN CABARET BY MARIO ACOSTA CEVALLOS

(MELBOURNE FRINGE FESTIVAL, 2025)

For anyone passionate about life’s unique narratives, expressed through human movement or dance, this new Latin cabaret show at Gasworks is for you.

Venezuelan-born Director and Dramaturg, Clary Riven, used, “The fire of Latin dance blended with the soul of cabaret to form a tale of culture, rhythm, pride and pain” to shape this new piece, her motivation being “inclusive stories that connect deeply with audiences.”

Starring World Salsa Champ, Mario Acosta-Cevallos, who created this cabaret, we watch as Mario bares his soul, via his life’s memories, confronting personal revelations and dancing his way through the complicated discovery of ones’ identity, self-doubt, and finally, healing.

Through music and movement, Caminaré reveals episodes of Mario’s past, from his introduction to Latin music growing up in a migrant household, to the glitter of the stage, to embracing his truth as a queer Latino performer, each episode disrupted by one of Mario’s energetic, professional, technically perfect Salsa routines – a joy to watch – some which defined him as Number One, others which didn’t. This drew a clever analogy to the way our lives ebb and flow.

Mario Acosta-Cevallos’ choreographed the show with Laura Anderson, who also produced the show. Laura has worked with some of the industries’ leading artists and companies, across musicals, live music, television and, theatre, her motivation to “push the boundaries of dance as a powerful form of expression.”

 

 

The audience sees Mario’s amazing routines that defined him as a winner but more interestingly, we see Mario’s sense of humour, his vulnerability, his competitiveness and ambition, most of all, we see his heart.

Stage manager, Seamus Allan, set the stage like a dressing room or backstage area, including some of Mario’s past glittering costumes and accolades.

Lighting Designer, Tom Vulcan, warmed the stage rosy at times, but mostly in bright red lights, that gave off an intensity when required.

Handsome and physically gifted, looking every bit the leading man, while this star is an openly gay artist, I noticed Mario had as much admiration from multiple ladies in the audience as gentlemen. Many were holding flowers to present to him after the show. After all, Mario is a 10+ time World Salsa Champion, touring internationally and performing on some of the world’s biggest stages, including the acclaimed, ‘In the Heights’.

Mario shows us he has learned life is not always about coming first, rather, it’s a moving feast, a constant buffet of lessons and of growing wiser. He is obviously a giver, a teacher, and a friend to many.

I liked his lines, “Hurt people hurt people” and “Who are you dancing for?”

Also, another dance analogy to life and relationships with, “….the push and the pull.”

The brochure offers, “This show is for everyone who’s ever questioned where they belong – and for those who found the courage to keep moving forward anyway.”

Many of us could learn from that.

• Caminaré – the Echo of my Steps, is playing at Gasworks until 11th October.

To book tickets to Caminare – The Echo Of My Steps, please visit https://www.melbournefringe.com.au/whats-on/events/caminare-the-echo-of-my-steps.

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Greeking Out

Greeking Out

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Greeking Out reminded me why I love fringe theatre. At its best, fringe is lean and mean, a little scrappy, full of wit and invention and always just outside the norm. Rebecca Perich’s show delivered all of that in spades. This was peak fringe and I loved everything about it.

The premise is deceptively simple: a lecture on Greek mythology, given from a stool with a projector and an easel as props. Yet from that stripped-back set, Perich created an hour of comedy, storytelling and mythological deep-diving that was as enlightening as it was entertaining. The projector doubled as a lecturer’s whiteboard, lighting shifts offered just enough atmosphere and the black cloth-draped brick walls of the pop-up venue made the room feel like the kind of black box theatre where ideas are meant to spark. Even the old school seating added to the classroom vibe. It was, in every sense, authentic fringe.

What struck me most was Perich’s ability to master two seemingly opposite demands: making the audience laugh while also making them think. The show had proper laugh-out-loud moments There were cheeky asides, call-and-response games and even bursts of light choreography that pulled us into her world. But it also had a depth that stayed with me long after. I really loved how Perich didn’t just retell myths. She unpacked their cultural resonance, wove them into pop culture touchpoints and reminded us why these ancient stories still matter. Her skill lay in making the complex simple, without ever dumbing it down.

 

 

Fringe theatre can sometimes alienate, but Perich did the opposite. She met her audience exactly where we were, adapting her pace, her explanations and even her jokes to ensure accessibility. She was like that favourite teacher who can’t help but share their hyperfocus with you, dragging you joyfully into side quests and tangents like the naming of Europe or the complex family tree of Greek gods. These digressions were never wasted, they added texture and charm, much like the best detours on a road trip.

The 60-minute format was exactly right. As one of my favourite theatre sayings goes, “Everything good is better shorter”. Perich clearly understands this. The show was tight, sharp and left me wanting more. By the end, I wasn’t just entertained, I was ready to sign up for Mythology 201.

Rebecca Perich is a gifted storyteller, part comedian and part lecturer, who has found a form that feels utterly her own. She can take a myth thousands of years old and make it feel like gossip you’ve just overheard at the bar. That’s no small feat. Greeking Out was smart, funny and brimming with charm. More importantly, it was a reminder of why myth still holds power in our lives.
I laughed, I learned and I can’t wait for the next class. That’s my takeaway and I suspect anyone lucky enough to see this show will feel the same.

To book tickets to Greeking Out, please visit https://www.melbournefringe.com.au/whats-on/events/greeking-out.

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Wasteworlds

Wasteworlds

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There’s something magical about a space that not only invites you to witness art, but also lets you get your hands dirty and dive right into the creative chaos. The “Wasteworlds” fashion show at the Abbotsford Convent did just that—transforming the stunning venue into a playground for artistic expression, where the boundaries between audience and artist were beautifully blurred.

The weather couldn’t have been more perfect, with the sun casting its warm glow over the convent’s historic grounds. As I stepped into the space, I was immediately drawn to the centerpiece of the event: the gigantic patchwork-sewn moth. Its enormous open mouth spilled a black-and-white checkerboard runway that looked as if it had come alive from the pages of a surreal dream. It felt like an invitation to step into a world of pure imagination, where fashion was no longer just something to admire—it was something to create, to play with, and to wear proudly.

The layout of the convent’s Magdalen Laundry Room was equally inspired. Each quadrant had been cleverly labeled to represent iconic directional districts: Northland, Southland, Eastland, and Westfield. These weren’t just names—they were microcosms of creative possibility. As if stepping into different parts of the world, each district held a different energy and vibe, encouraging exploration and collaboration. It was the perfect environment to let loose and experiment with fashion in a way I hadn’t done in years.

The theme of the day was all about fun and free artistic expression. The best part? The audience was encouraged to participate. The organizers had laid out huge piles of pre-loved clothes—donated and ready for transformation—and provided our artistic tools: scissors, sewing machines, pins, and fabric galore. You were free to grab what you could and get to work. No judgment, no pressure. Just pure creative freedom.

 

 

I couldn’t resist the urge to dive right in. I grabbed some fabric, a few scraps of old tulle, and set about crafting a Dune-inspired veil—thinking of how the desert winds would billow it dramatically as I strutted down the runway. With my best Heidi Klum impersonation in mind, I took to the catwalk, feeling the playful, liberated spirit of the day wash over me. But it wasn’t just about making something to wear—it was about making something fun. The people around me were so full of joy, whether they were fashioning stuffed toys into elaborate coats or cutting up old pants to turn them into quirky face masks. One woman turned a handful of doilies into a delicate springtime fascinator, and children used fabric to create a fantastical characters. The sense of possibility was intoxicating.

Adding to the atmosphere was the witty and light-hearted commentary from the catwalk judges, who added an extra layer of humor and playfulness to the whole experience. Their jokes and quips had the crowd laughing, cheering, and feeling like we were all part of something truly special.

What I loved most about the event was the way it embraced sustainability without being preachy. The focus wasn’t on lecturing us about fast fashion—it was about making us feel empowered to take something “wasted” and transform it into something beautiful, something new, something uniquely ours. The concept of reimagining pre-loved clothes as a medium for artistic expression was a brilliant commentary on our relationship with materialism, consumption, and creativity.

“Wasteworlds” was more than just a fashion show; it was an experience—a celebration of creativity, community, and the power of giving discarded materials a second life. It reminded me that fashion doesn’t have to be about perfection—it’s about playing, experimenting, and making something that feels right for the moment. And that’s exactly what we all did on that gorgeous day in Abbotsford.

To book tickets to Wasteworlds, please visit https://fastfashun.com/wasteworlds.html.

Photographer: Theresa Harrison

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Till Death (Or Court) Do Us Part

Till Death (Or Court) Do Us Part

Till Death (Or Court) Do Us Part Rating

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Written and performed by Jai Cameron, “Till Death (Or Court) Do Us Part” is a heartwarming and hilarious comedy cabaret that delves into the complex emotions of love and marriage. The show, set in the intimate Bluestone Church, delivers an engaging mix of comedy, audience interaction, and musical moments.

Cameron, who played Keith, a celebrant navigating the ups and downs of love, brought an infectious energy to the stage. His comedic commentaries were topical, and he had a natural connection with the audience that made the experience feel immersive. The show’s lighthearted moments, often accompanied by a cheeky sense of self-awareness, were balanced by deeper reflections on love and relationships, making for a dynamic performance.

Josh Tooth, in his supporting role, provided an earnest contrast to Cameron’s more comedic portrayal. Tooth’s portrayal of the Bunnings tradie Lee, added depth to the narrative, and his witty interactions with Cameron kept the audience engaged. The back-and-forth between the two performers felt genuine, with the chemistry between them elevating the humor and heart of the piece.

 

 

The real highlight of the performance came during a moment of introspection. In an unexpected turn, Cameron slowed the pace and took the energy down to a soft poignancy, reflecting on his own experiences with love and longing. This shift in tone was masterfully executed, and it’s during this moment that the show transcended the typical comedy cabaret. Cameron’s rendition of Make You My Love was a beautifully sung number that added an emotional depth that resonated long after the performance ended.

What truly set “Till Death (Or Court) Do Us Part” apart was its ability to blend humor with vulnerability. The show’s mix of audience participation, witty dialogue, and musical moments kept things fresh and engaging throughout. This wasn’t just a comedy show—it was an exploration of love, commitment, and the longing for connection. The cabaret format allowed for a fluid, intimate experience that felt personal while still being accessible to all.

“Till Death (Or Court) Do Us Part” was a delightful exploration of love in all its forms, wrapped in the charm of a comedy cabaret. Cameron’s wit, emotional depth, and vibrato vocals made for a compelling evening of entertainment. This show should be commended for its combination of humor, reflection, and music, leaving the audience with a smile and a thoughtful reflection on their own relationships.

To book tickets to Till Death (Or Court) Do Us Part, please visit https://www.melbournefringe.com.au/whats-on/events/til-death-or-court-do-us-part.

Photographer: Jeremy Guzman

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