Sorry I Hurt Your Son (Said My Ex to My Mum)

James Barr: I’m Sorry I Hurt Your Son (Said My Ex To My Mum)

James Barr: I’m Sorry I Hurt Your Son (Said My Ex To My Mum) Rating

★★★★★

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Sorry I Hurt Your Son (Said My Ex to My Mum) is a vulnerable piece of stand up comedy about trauma and domestic violence. In his comedy hour, James Barr explained how he had to kiss many, many, many frogs, before he found his boyfriend. Through his honesty and openness, James creates a rapport with his audience. Throughout the show James shares a spectrum of intimate moments, from deeply joyful occasions, to moments that echo with shame and anger.

James notes early on in his set that Colleen, his mum, asked if he was sure he was gay when he first came out to her. This was after she made sure no neighbours could hear their conversation. James returns to the opinions and quirks of Colleen periodically throughout the show. In particular, Colleen’s thoughts and reflections on James’ partner continuously resurfaces. James explains, Colleen liked his boyfriend.

 

 

James sweetly described how he met his boyfriend, and vulnerably shares the start of their love story. He laughs at the heteronormativity of being in a committed long-term relationship. James then somberly notes that 1 in 3 queer people experience domestic violence. He asks the audience “How do you tell off a violent person for being violent?” Very quickly James pulls the audience in, creating tension as he describes a more dangerous version of his boyfriend. James builds and breaks the tension with honesty and vulnerability.

James continues the show, sharing how shame and anger dominated his relationship, and slowly took control of his life. James stated that he couldn’t recall the first time his boyfriend hit him, but he remembered the first time his boyfriend attacked the dog. James confessed, “I told myself I deserved it. A dog doesn’t deserve it.” The complexities of abuse are difficult to pinpoint, but James highlights how little moments broke him down, until his sense of self was erased.

James finishes his set with an explanation of why he wrote this show. Why he shared this experience, opened himself up and become so vulnerable to a faceless audience. This show requires a profound sense of bravery, and James was inspired by a nurse he met who left an abusive partner. Hearing her talk about leaving, James understood what he hadn’t until that point. That sharing stories of abuse, highlighting the bravery of the people who leave, can inspire others to do the same. James noted that it was easy to stay with his boyfriend, but it was the story from the nurse that gave him the bravery to leave.

To book tickets to James Barr: I’m Sorry I Hurt Your Son (Said My Ex To My Mum), please visit https://adelaidefringe.com.au/fringetix/james-barr-sorry-i-hurt-your-son-said-my-ex-to-my-mum-af2026.

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From ‘seinfeld Of Japan’ To Accidental Lawyer: Nick Abrahams Returns To Stand-up Having Finally Graduated

Feature-The Accidental Lawyer

At this stage of life, many people are invited to give inspirational speeches at graduation ceremonies. Nick Abrahams has not been invited. So instead, he wrote a comedy show about giving a terrible one. He will debut The Accidental Lawyer for Melbourne International Comedy Festival and Sydney Comedy Festival and has already sold out both shows!

The Accidental Lawyer is a sharp, fast-paced stand-up show that takes aim at the graduation speech and the comforting illusion that anyone really knows what they’re doing with their career. Nick has some insights here; he’s gone from stand-up to TV presenter to Hollywood producer to lawyer to tech entrepreneur to Professor to keynote speaker and back again!

In the show, Nick plays the last-minute replacement keynote speaker at the fictional Wangaratta Community College & Squash Centre graduation ceremony. Unfortunately for the graduates, the original speaker has cancelled and Nick has some very different advice. “I’m the inspirational speaker you get when the inspirational speaker cancels.” Says Nick. “Most people don’t choose their careers. Their careers slowly trap them like a possum in a wheelie bin. You go to one networking event in your twenties, then wake up, and you’re in middle management with a mortgage.”

Instead of urging audiences to follow their dreams, Nick explores the more common reality: careers are often about finding something that works for you, frequently by accident. Nick’s own career path has been anything but linear. Before law, he was a successful stand-up comedian in Japan, hosting his own television show and billed as the “Seinfeld of Japan.” He later worked as a creative executive at Warner Bros in Los Angeles on ER and The West Wing and produced and appeared in a film with Woody Allen.

Returning to Australia, Nick spent 25 years as a senior partner at a global law firm and also founded the legal AI company Lawpath, now with over 600,000 customers. Drawing on that experience, The Accidental Lawyer reflects on how careers unfold, often unpredictably and tackles the growing impact of artificial intelligence on the future of work. “We’ll know the tipping point has arrived when robots start posting on LinkedIn about how ‘humbled and honoured’ they are to share their career updates.” Says Nick.

The show is for anyone whose career hasn’t quite gone quite according to plan. It also finds plenty of humour in the contradictions of legal life. “Being a lawyer is a dream job if your dream is working sixteen hours a day arguing over commas.” Says Nick. “It’s like being a poet—you write thousands of words nobody will ever read. But ultimately, lawyers are just trying to make the world a better place… six minutes at a time.”

This is a brilliantly structured send-up of the graduation speech – dry, insightful and packed with laughs. The Accidental Lawyer premieres at the Melbourne International Comedy Festival this April.

THE ACCIDENTAL LAWYER
Nick Abrahams

Melbourne International Comedy Festival 2026
VENUE: Crowne Plaza, Studio 2, 1 Spencer Street, Docklands, Melbourne
DATE: Friday 17 April: 7:30pm
DURATION: 45 minutes
TICKETS: $15 (inc GST)

Sydney International Comedy Festival 2026
VENUE: Enmore Theatre, 118-132 Enmore Road, Newtown
DATE: Saturday 16, 9.10pm & Sunday 17 May 8.10pm
DURATION: 45 minutes
TICKETS: $20 (inc GST)

WEBSITE https://www.accidentallawyer.info

 

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Bev & Myrt and the Scrolling of Doom

Bev & Myrt and the Scrolling of Doom

Bev & Myrt and the Scrolling of Doom Rating

★★★★★

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6

Aliens, lesbians and eighties music: three surefire ways of getting me in a room. All three…together? Let’s just say I was first in line to catch the opening performance of ‘Bev & Myrt and the Scrolling of Doom’ at the Motley last night.

Presented by How Delightful Theatre, ‘Bev & Myrt’ follows a secret society of alien investigators defending the Hoddle Grid from extraterrestrial terrors: galactic parasites, sentient robots, conservative real estate agents. When AI threatens to absorb the minds of Melburnians, Bev (Jenny Lovel), Myrt (Amanda Owen) and their son Jamie (Jackson Eather) must take down evil tech conglomerates all the while navigating their own growing pains at home.

Writer and producer David Innes, producer and dramaturg Dr Stayci Taylor, and director Cale Dennis clearly had a distinct vision for the show. With a razor-sharp script and just enough fourth-wall stroking to keep things perfectly meta, ‘Bev & Myrt’ was an unapologetically nerdy and hilariously queer little slice of theatre. Think Douglas Adams meets ‘Ghostbusters’: irreverent, witty, weird, and so on the nose. It was quintessentially Melburnian too, so full of in-jokes the crowd spent more time laughing than not. With a runtime of an hour, ‘Bev & Myrt’ is a masterclass in short-form playwriting and I only wish it ran longer for my own selfish reasons.

 

 

Jenny Lovel, Amanda Owen and Jackson Eather were outstanding to watch as a unit, with brilliant chemistry on stage and some unforgettable physical comedy. Liliana Braumberger, Kitt Forbes, Alex Joy and Donna Prince effortlessly navigated several roles all the while puppeteering tentacled robots and throwing around props left right and centre. The sound and lighting design never missed a beat either, which is a testament to just how much work was put into this show by the entire cast and crew.

It would be easy to fall into all shenanigans and no substance in a show like this (especially given the short runtime) but I’m happy to report that wasn’t the case. ‘Bev & Myrt’ was fun all the way through, but it was the moments of queer love that resonated so personally in an otherwise unworldly story. It was at heart a celebration of our elder queer heroes: the people who loved and fought for us and the people we can hope to become ourselves—aliens or no.

You can catch ‘Bev & Myrt and the Scrolling of Doom’ at the Motley Bauhaus until the 8th of February!

To book tickets to Bev & Myrt and the Scrolling of Doom, please visit https://tickets.midsumma.org.au/event/396:1014/.

Photographer: Mark Gambino

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Ethnically Ambiguous

Ethnically Ambiguous

Ethnically Ambiguous Rating

★★★★★

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Ethnically Ambiguous is a silly and heartfelt comedy that explores three actors disappointing experiences as culturally diverse individuals in a shallow industry. Max Nunes-Cesar, Jo Malta and Zac Rose created and performed Ethnically Ambiguous as an exploration and presentation of their upsetting experiences as actors. This show contained a skit like format, moving between storytelling, faux game shows, musical numbers, and heartfelt monologues. This show also broke the fourth wall in frequently funny ways.

Ethnically Ambiguous contained a plethora of clever self-referential jokes and audience participation. The most powerful audience participation is the game of ‘guess the ethnicity’ with a wheel of origin as a practical gag. This worked well in combination with the actors and creators, it had an immediate and powerful impact on the audience. This skit was a clear and powerful moment of the actors creating tension, and using themselves and their experiences to cut the tension and connect with the audience.

The actors felt authentic, which makes sense given their roles as creators of the show, sharing their own experiences of the world. In particular, Zac Rose stood out as a powerful story teller, conveying his experiences and personal narrative in a touching and meaningful way. Rose was able to explore his ongoing feelings of shame and guilt, accepting that his ancestors were discriminated against because of the colour of their skin, and acknowledging that he carries the trauma of those experience, with the understanding that no one can see it, and he doesn’t experience it himself (due to his white passing presentation). Rose is told by his friends that “you choose what defines you,” as he decides to reclaim his sense of self, and falls into a space of acceptance.

 

 

The show’s theme of disconnection of perception and sense of self was well established and maintained. However, the show at times lacked direction and focus, with skits between the characters stagnating the pacing of the show. There were moments of the show that felt non-sensical. A sharp and clear perspective was missing at times, which meant the impetus of the show fell flat. As a result, the long-lasting impact of the show might not be as clear as the creators intended.

Acting is a visual and audible job, how you look and sound impacts how you are perceived, and although Nunes-Cesar, Malta and Rose don’t state it, to me it felt that it important to recognise and accept that there are things you cannot change, like the colour of your skin. This show reminded me that one’s sense of self, confidence, and acceptance of self should be tied to who you are, rather than the success you find in your career.

Ultimately, I came out of this show with the knowledge that pursuing a career in acting is risky, idealistic and irrational, and I’m glad Nunes-Cesar, Malta, and Rose are doing it.

To book tickets to Ethnically Ambiguous, please visit https://www.melbournefringe.com.au/whats-on/events/ethnically-ambiguous.

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