Colin Ebsworth – Me, My Cult & I: Bold Storytelling

Colin Ebsworth - Me My Cult & I

Colin Ebsworth – Me, My Cult & I Rating

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Colin Ebsworth’s show at the Melbourne Fringe Festival was held at the Trades Hall, the festival’s bustling hub. The show, titled Colin Ebsworth – Me, My Cult & I, takes the audience on an intense, multi-layered journey through Ebsworth’s life, family, and the cult that brought them together.

Ebsworth was raised in a South Korean-led religious movement, the Unification Church, commonly called the Moonies. In the 1980s, Reverand Moonie, a man who claimed to be the reincarnation of Jesus Christ, married Ebsworth’s parents at a mass wedding in Madison Square Garden. From this extraordinary beginning, Colin unfolds a complex and deeply personal story.

With a mix of rapid-fire storytelling, music, and a PowerPoint presentation, Ebsworth passionately recounts growing up in a cult and grappling with undiagnosed ADHD. There’s a lot to unpack here, and while the show was sometimes overwhelming with its myriad storylines, it was also packed with poignant moments and humour.

Ebsworth’s narrative darts between his parents’ arranged marriage, their move from the US to Australia, and the emotional isolation they experienced due to the cult’s restrictive nature. The disconnection from his father’s family in Perth because they weren’t part of the church added layers of complexity to the story.

 

The show isn’t just about the cult, though. It’s about belief systems, family dynamics, and the ongoing search for identity and hope.

Ebsworth’s delivery is fast-paced and almost breathless, and as an audience member, you need to be fully attentive or risk missing important details. It’s a challenging ride that feels meaningful, as different sections of the story will resonate with different people. The overarching theme does emerge: while we can’t undo the past, we can still move forward.

There’s no doubt that Colin is a gifted storyteller. Still, his choice to cover so many intricate layers made it hard to resolve everything cleanly. That said, his passion and energy kept the audience engaged throughout. It’s the kind of show that leaves you with much to think about and will spark conversation afterwards. I’d like to see how this performance evolves in the future as Colin continues to live and tell his story.

Overall, it’s an insightful and enjoyable show full of witty observations and heartfelt reflections. It’s definitely worth checking out if you enjoy performances that make you think and challenge your perceptions.

For tickets, book @ https://melbournefringe.com.au/event/colin-ebsworth-me-my-cult-i/

Dates 09 – 13 Oct – Time 7:00pm, 6:00pm (60 minutes)

For further information about Colin Ebsworth, please follow: https://linktr.ee/colinebsworth

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Shrapnel

Shrapnel

Shrapnel Rating

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6

‘Shrapnel’, performed by Natalie Gamsu at Fortyfive Downstairs, is a distinctly charming recital depicting Gamsu’s life from being a young Jewish girl living in Namibia to performing in underground cabaret venues in Johannesburg to her life in Australia. Written by Natalie Gamsu and Ash Flanders and directed by Stephen Niccolazoo, the show is tastefully pertinent and yet totally unique.

The show runs a little over two hours without intermission, as Gamsu pulls the audience through a series of personal chronicles, beginning with her experience as a young Jewish girl dreaming to break free from the humdrum reality of her parents and the restrictive culture she was raised in.

In her opening ballad, Gamsu sets the scene – she is a hopeful young woman pursuing the world and all its wonders. The audience warms to Gamsu as she connects with every pair of eyes in the auditorium, one by one, before amusing the audience with tales of her love for exoticism through animated dialogue.

Gamsu bravely dives head first into describing experiences in matters often unspoken and outlawed as taboo. Her performance evocatively retells deeply personal experiences involving struggles with negative body image, her journey navigating a neurological health condition, and serious contemplations of suicide.

She recalls her experience being the daughter of a white Jewish family during South African apartheid, her love and loss of the black servants who raised her, and the diabolical persecution she witnessed within her community. Gamsu brings authenticity to her stories, which are so painstakingly well-written and delivered with a unique wit, allowing her audience to relax into her two-hour-long recital fully.

‘Shrapnel’ is performed in a way that dignifies Gamsu’s deepest secrets and induces the audience into bursts of laughter through a series of self-deprecating anecdotes and colourful descriptions of her favourite influential figures. Among the most memorable of these are her peculiar first casting agent in Cape Town and the eccentric directors of a cabaret club in Johannesburg.

As the recital nears a close, Gamsu describes a fond, long-awaited love from her mother amid her battle with dementia before closing her performance with ‘A Song For You’, affording herself a well-deserved and heart-felt standing ovation.

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Kaboom! A Cracking Science Show for Kids

Kaboom! A Cracking Science Show for Kids

Kaboom! Do you like ice cream? What about your air conditioning? I’ll bet you especially enjoy not having Polio, don’t you?

If you think science is a boring subject best left to school kids, you might be surprised to know that all the things named above were created by, you guessed it, science! Just ask Magnus Danger Magnus (yes, it’s his real name!).

Magnus is a supercharged, multi-award-winning, high-energy entertainer with, as he tells you himself, absolutely no qualifications whatsoever. We spent a delightful Saturday afternoon in his company as he shared his gleefully explosive science with happy, lively crowds of kids and parents at the Comedy Festival.

With his ‘safety third’ approach to experimentation (first comes flammability, second, wow factor), Magnus rampages across the stage excitedly, armed with the curiosity and energy of a toddler and some seriously dangerous chemicals. He fascinates, educates, and draws you in with his absolute love of science and his absolute disregard for his own safety.

The audience revelled in Vortex Cannon smoke rings and liquid nitrogen experiments that delighted and wowed as they exploded (safely), boiled and turned into foaming colourful messes all over the auditorium. He drew young helpers from a very eager crowd. Everyone, parents included, joined in all the yelling, whooping, and clapping throughout, especially when he sang the periodic table as he turned water into fire all over his hands. Don’t try this at home, kids!

Magnus’s infectious enthusiasm for science makes him the perfect example of someone who believes in teaching things in a curiosity-led, hands-on, fun way that will create a whole new generation of science-loving people.

Kaboom is a show that is not to be missed, especially if you have curious kids.

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Melbourne Comedy Festival – Necrophilia

Melbourne Comedy Festival - Necrophilia

Don’t be fooled by this deliciously named one-act play “Necrophilia” by Aussie writer Lincoln Vickery. This tightly written dark comedy, directed by Ben Ashby, is making a return season at the 2024 Melbourne International Comedy Festival after winning Melbourne Fringe Judges Pick in October 2023. Whilst humour is derived from the awkwardly taboo subject matter, this play has a sensitive side. There are no visually disturbing scenes and the play treats all characters with respect as humans trying to cope with their bizarre situations.

The play opens in a morgue, with a sheet-covered cadaver on a trolley. The Motley Bauhaus Theatrette’s small stage and bare bricks perfectly conveyed the feeling of being in a cold basement mortuary. Darren (Declan Clifford) and Mark (Gene Efron) are in mid-conversation whilst preparing a body for viewing. The contrast between the usually unseen business of “making dead bodies look hot as shit” and the desensitised workers bickering about a “victimless crime”, especially when we realise that Darren has just confessed to feeling a rush when defecating in a certain street near his house under cover of darkness. He cleans it all up immediately, he explains, so, whilst technically a crime, no one gets hurt. He also explains the origin of the fetish – an accidental experience accompanied by unexplained pleasure that then becomes a fascination and a repeated behaviour that reinforces the rush.

These themes of fetishism and its origins and whether or not they affect others are explored within this play, and the quality of the writing really shines – there is no dull moment and lots of laughs. If you have come for the comedy, you won’t be disappointed. Vickery doesn’t miss any opportunity to bring out the hilarity of the situations in which he places the characters. For example, bumping into your boss at a sex shop, walking in on your boss dancing in a blissful moment of private surrender. However, the treatment of the underlying themes brings substance to this play.

Amanda (Gillian Mosenthal, who also produced this) is the necrophiliac and boss in question and the only character who reveals her insecurities directly to the audience. Instead of judging, we are invited to journey with her in her struggle and shame. I was impressed with the attention to psychological detail in the writing, particularly with the reveal of Amanda’s childhood trauma. Vickery has done his homework on this psychiatric condition. But there is no schmalziness here. It’s just a fact.

The minor characters shed more light on the question of whether necrophilia is a victimless crime. The recently bereaved daughter starkly contrasted with the mercenary med student who rents out cadavers to fund her studies. “Dead people are tools. I don’t care what you do”. Both characters were ably played by Joanna Halliday, who stole the scenes with her fearless performances.

However, the exploration of loneliness and the desire to connect in the face of shame draws us in. The actors have a lovely chemistry that brings the relationships to life. They really care about each other, and so do we. A developing romance between Mark and Amanda is at the heart of the narrative. But will it withstand the shame?

Come and see Necrophilia for the laughs, but you will be in grave danger of taking away a dose of heartwarming humanity.

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