Look At The State Of The Carpet

Look At The State Of The Carpet

Look At The State Of The Carpet Rating

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Expect the unexpected and experience the theatre of the absurd where the choices in life are shown to often be irrational, meaningless and out of the box.

Two friends demonstrated the frustrations and bond that occurs over years with layers of history and tolerance. Both actors showed their flair for the theatrics of theatre and the desire to be in the spotlight playing off each other. One living life through a disorganised chaos and the other living life through chaotic order. Both ignoring what they don’t want or need to see in each other or themselves and opening up to the ebb and flow of friendship that requires dedication and tenacity.

In the gritty space of the Old Fitzroy Theatre below the hotel bar, the audience witnessed close at hand, the clash of chaos and order between two different approaches to life. The basic set and lights put a spotlight on the two characters and clothes and music were the costumes of the play. It all added to the nitty, gritty of day to day life that has gone through the normal life stages that each character has experienced and endured.

 

 

As with all relationships, the comments were funny, cruel and often elicited uncomfortable laughter from the audience. At times, the humour was slapstick and visual and other times it was odd and illogical as we stepped in to the minds of the individual friends. Both actors interacted with audience members drawing them in to the day to day emotions blurring the lines between separation and involvement. Each character provided an odd view of their life but also a focus on each other’s choices and mistakes. There was a sense of the unpredictable as they acted face to face with audience members adding to the zany and sense of anything could happen and it did and this was their way of getting through it all.

Using different media, they showed off, sang, emoted and went from woe to glee over the stupidity of it all. A particularly funny piece was miming to a woman’s desire for a more interesting job adding to the zany and illogical choices people take along the way and leaving us wondering why?

Although the comedic pace was at times uneven, the audience appeared to leave having explored the desire and need of two people determined to retain the friendship in spite of their differences and interpretations on how life has impacted upon each other.

To book tickets to Look At The State Of The Carpet, please visit https://www.oldfitztheatre.com.au/look-at-the-state-of-the-carpet-1.

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Coco: The Time-Travelling Tart

Coco: The Time-Travelling Tart

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Fast-paced, a little unhinged, and riotously funny, Coco takes audiences on a journey through the raunchier side of historical events. Already known and loved in the UK, Coco has boldly come to Australia in 2026 to give a sneak-peak into what really happened with many iconic figures such as Napolean, Queen Elizabeth the first, and right back to the original apple-tart herself, Eve.

Typically, there’s the expectation in Fringe season that everyone lets their hair down and just enjoys some entertainment. Intimately seated in the Yurt of the Courtyard of Curiosities at the Migration Museum, audience participation is an absolute must rather than just an option, as your hesitation or failure to respond will often lead you to take a bigger role in the evening’s entertainment that you might have planned. A delightful combination of Clowning, storytelling, and character comedy, Coco feeds off her audience’s laughter, shock, and heckles. Coco, a highly absurdist persona of comedian Max Norman, is a self-proclaimed enthusiast for champagne and shenanigans of the salacious variety throughout her historical ventures. Joyous and irreverent, she channels Patsy from Absolutely Fabulous with her statuesque frame, blonde hair, sunglasses, but with a much cheekier and more devious undertone. Drawing her audiences in with her smooth voice and cheeky grin, she cleverly keeps them engaged through courage and connection as the show progresses. From collaboratively creating pyramids in Ancient Egypt to electing a new Pope, this raucous expedition across time will have you complicit in some of the historical shenanigans that occur.

 

 

While the set is largely minimal, Coco certainly more than makes up for it through charisma and movement through the space. The sound and lighting do play large parts in moving the story along, predominantly through the initial setting of each era and the all-important time travelling taxi. From coloured lights and mini torches, simple sound cues, dry ice, and apples suspended on string, these subtle elements only enhance the performer’s efforts in storytelling.

While the later timeslot may deter some people, it certainly ensures that no one under 18 will likely wander this way. With a couple of warnings and a maturity rating for 15+, it assuredly indicates that this is not the show to bring your family to – unless you’re all adults with a quirky sense of humour. If you’re looking for something fresh, chaotic, and queer this Adelaide Fringe, Coco the Time Travelling Tart will have you laughing from shock and hilarity throughout.

To book tickets to Coco: The Time-Travelling Tart, please visit https://adelaidefringe.com.au/fringetix/coco-the-time-travelling-tart-af2026.

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Garabari

Garabari

Garabari Rating

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‘Garabari’ opened at the Wollongong Town Hall for a limited run, with just two shows in Wollongong this weekend, and two shows at the Dapto Ribbonwood Centre on Saturday February 14th.

The performance was unlike anything I’ve seen. From the moment you walk up the street to the Town Hall, you are part of the experience. On the footpath out the front, a smoking ceremony was being held prior to the commencement of the show. Passersby without tickets were stopped to watch and enjoy the culture that was on display. It felt equally intimate and yet also incredibly inclusive to any and all people who were around.

Before entering the performance space, the choreographer and Wiradjuri artist Joel Bray shared the story of the creation of the Murrumbidgee river and how ‘Garabari’ was a reflection of that dreaming story. He also told us that this was going to be an interactive experience where the audience was to be encouraged to move around and see different aspects of the performance, and to not be afraid to get up and dance alongside the artists.

Walking into the space, it felt almost entirely brand new, despite having been in that same hall a hundred times before. The technical elements and the use of sound and lighting, with shadows and screens was exceptional. It felt like walking into an art gallery whilst also getting a taste of our very own Night at the Museum where the history comes to life and tells us their stories.

The dancing was captivating. Technique and culture came together to bring people into the story itself. (I would recommend wearing comfortable shoes, or ones you can kick off to allow yourself to move and breathe in the art.) The dancers were simply outstanding. You could tell they were enjoying themselves. Interacting with the audience, with each other, and with the space. It was so obvious that this was a labour of love, and those are always the most enriching to watch. To all the dancers, and creatives who are involved in this, thank you, and congratulations. You should all be incredibly proud of the work you have done and what you have created for so many to be able to experience and be a part of.

 

 

To put it simply, this was a lot of fun. It’s not all the time you get to dance around the space with perfect strangers who were enjoying themselves in exactly the same way. It was inviting and brought together a wide variety of people from all walks of life, Indigenous, non-indigenous, it didn’t matter. In that space, it was just a group of people who loved art and dance, telling and listening to stories.

Normally, I’d use ‘show’ and ‘performance’ interchangeably, but with this experience, it felt less like a performance and more like a group of people showing us the ins and outs of their culture and stories, which is just phenomenal and incredibly gracious.

If you haven’t already gotten tickets to the remaining performances, I would highly recommend this experience. If traditional theatre is not really your thing, go and experience ‘Garabari’. Walk in with an open mind and be receptive to anything and you will not be disappointed.

Get yourself tickets at the Merrigong Theatre Company website and put on your dancing shoes for a beautiful celebration of culture and connection.

To book tickets to Garabari, please visit https://merrigong.com.au/shows/garabari/.

Photographer: Stephen Wilson Barker and Jeff Busby

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How To Stay Married Without Exploding!

How To Stay Married Without Exploding!

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Do you remember that trapped feeling we had while in lockdown during the pandemic? Well, imagine being confined not only to your house, but to less than a square metre in your living room for 10 years. This unlucky predicament is exactly what Francis Molloy found himself in when forced to stand with both feet on top of an unexploded landmine in his living room.

Set in Berlin in 1955, Francis turns this strange turn of events into content by creating the reality TV show “How to Stay Married Without Exploding!” It’s the 400th episode, and it’s auspicious because his wife, Annette, plans to make her debut during this episode. Given the circumstances, you would think that marriage would be the least of Francis’ concerns.

This one-man production raises so many questions. Some answers are organically revealed, and others, the audience asks while acting as the TV audience. It’s the kind of show requiring a certain degree of suspended disbelief, and I challenge you to ask a question that Francis doesn’t have an answer to.

 

 

Played by the American-born theatre-maker Matthew J. Young, with further development, this has the makings of being transformed into a podcast or YouTube channel.

If you’ve ever felt trapped in any facet of life or relationship, you’ll relate. Performed at three historic venues, including Julio’s Italian Restaurant, the character-filled settings are the perfect backdrop to this nostalgic performance. It’s only fitting to order a martini as you cheer Francis along on his dark journey of self-discovery.

“How to stay married without exploding!” Plays from Friday 23rd January to Friday 13th February at Julio’s Italian, Midland Junction Arts Centre and Mahogany Inn and Distillery.

To book tickets to How To Stay Married Without Exploding!, please visit https://fringeworld.com.au/whats-on/how-to-stay-married-without-exploding-fw2026.

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