Funeral – King IV at Midsumma 2026

Funeral

Funeral Rating

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FUNERAL
KING IV
Thursday, 29th January, 2026

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.

@kingivsound

To book tickets to Funeral, please visit https://www.midsumma.org.au/whats-on/events/funeral-king-iv/.

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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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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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Colour and Light: The Art of Sondheim

Colour and Light: The Art of Sondheim

Colour and Light: The Art of Sondheim Rating

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Buckle in. There is going to be a lot of hyperbole in this review. When something is this good, how else can you describe it?

Colour and Light: The Art of Sondheim, presented by Watch This at Theatre Works, is less a musical revue and more a velvet-draped love letter to the genius of Sondheim. It’s the kind of show that slips under your skin, reshapes your idea of what cabaret can be and sets a new standard for how theatre should be made.

Theatre Works is perfect venue for this show. It balances epic with intimate, using the high ceiling to hang long luscious drapes but keeping the audience close enough that we felt every word on the stage. Designer Rob Sowinski has conjured a stage that feels like a plush, lived-in lounge room (art deco drinks trolley and all) with a circle of tiered staging, bathed in the soft glow of vintage table lamps. It’s intimate and luxurious.

What follows is a breathtaking journey through Sondheim’s songbook. Yes, the big numbers are here, but so are the deep cuts and the “why-don’t-more-people-sing-this?” gems. I’m sure Sondheim diehards will know that he wrote songs for the 1990 film, Dick Tracy, but I had no idea and it was a revelation to hear music from the soundtrack on the stage. The show flows with purpose and precision, thanks to the clean, intelligent direction of Melanie Hillman and Dean Drieberg, whose love of the material radiates through every moment. The loose thematic arc is shaped around Seurat’s artistic principles of Order, Design, Tension, Balance, Harmony. The structure gives the evening clarity without ever feeling constrained or contrived. This is cabaret at its best.

And then there’s the music.

 

 

Dr Trevor Jones, who arranges, musically directs and performs from the piano, is the beating heart at the centre of the piece. His arrangements are stunning. They are lush, showy when needed, simple when called for and always with a focus on the emotional truth of the songs. This is some of the finest musical storytelling I’ve heard on a Melbourne stage and reminds me why, when done well, musical theatre is one of the greatest art forms ever.

Johanna Allen is a master of her craft. Her ability to navigate the razor-thin line between vocal fireworks and emotional restraint is unmatched. She brings a knowingness to the stage that draws the audience in and lets us share the humour and pathos in all of her delivery. There are countless moments she channels such precision and ache that you could feel the entire theatre holding its breath. This is vocal acting of the highest order.

Vidya Makan broke my heart multiple times across the night. There’s an emotional directness to her performance that’s magnetic. Her choices are always fresh, never predictable and she elevates everything she touches with nuance and grace. Her I’m Still Here was a stand out moment in a evening of stand out moments. She gave us an exquisitely rendered journey from introspective calm to triumphant exuberance with countless little gut-punches along the way.

Nick Simpson-Deeks, as ever, delivers with polish and pinpoint clarity. He finds the architecture in each song, builds it, then knocks it down with a smirk or a sigh. It looks effortless, but this has to have been crafted and perfected over years. His Send in the Clowns has ruined every other version for me. Honestly. It needs to be bottled and prescribed to every aspiring performer and every audience member.   It is good for the soul.

Jacob Rozario brings vibrant charisma and thrilling musicality. They shift gears effortlessly from the ridiculous to the sublime and their voice is an instrument of total control and warmth. There wasn’t a moment when their performance wasn’t a captivating blend of playful, detailed and vocally dazzling. His delivery of Can That Boy Foxtrot will stay with me for a long time. 

Colour and Light: The Art of Sondheim elicited a palpable love in the room, not just for Sondheim, but for collaboration, for precision, for joy. The audience left buzzing, visibly moved and audibly delighted. As for me? I’ve already booked to see it again.

This is one of the finest tributes to Sondheim I’ve seen anywhere in the world. Don’t miss it.

To book tickets to Colour and Light: The Art of Sondheim , please visit https://www.theatreworks.org.au/2025/colour-and-light.

Photographer: Ben Fon

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