Horse Girls

Horse Girls

Horse Girls Rating

★★★★★

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5

Horse Girls follows a group of tweens who make up the passionate and prestigious Lady Jean Ladies, a dedicated group to all things horses. Lead by the aggressive alpha dog (or horse) Ashleigh (played by Tamzen Hayes) this club, bursting with different personalities, holds their regular weekly meeting that quickly descends in chaotic madness.

Horse girls is a dramatic and fast paced dark comedy, with sharp writing (by Jenny Rachel Weiner) and brilliantly choreographed and directed physical humour (direction by Eugenie Muggleton). This show is camp and silly, a perfect morsel of female adolescences wrapped in a violent twist. The audience is introduced to the club by Camille (Candice Leask), the promiscuous caricature of the group, through the eyes of her newcomer cousin Trish (Mish Keating). Camille quickly explains each girls’ role in the club to Trish, acting as a character guide for the audience.

The Lady Jean Ladies are stupid as only teen girls can be, leading to hilarity and at times surprising depth and gravitas. It was an interesting experience watching young ladies be so naïve and silly, but in that naivety, they were able to express genuine and universal feelings of grief and loneliness. Weiner was able to capture a glimpse of what we all experience through the outrageously loud camp concepts of this show.

 

 

The chemistry and social hierarchy within this ensemble is perfectly balanced. The balance of the relationships allows for on point comedic timing and delivery, cementing the cringe core status of this show. This peaks during the horse song, which, oh wow, contained choreography that teenage me would be so jealous and proud of. The performance in its entirety was acutely accurate and hilarious.

In an attempt to calm the group, the girls try to reach Anne Romney for advice. After the show I conducted my own search on google, it was confirmed that this is the wife of Massachusetts Governor Mitt Romney, and a big equestrian enthusiast. The girls were unsuccessful in contacting Anne, and as a result their connections with each other proceeded to quickly break down into violent discourse. The teetering balance of power ruptured, causing chasms in the group.

Horse Girls embodied the savage way teen girls love and hate. The Lady Jean Ladies Club reflected the passion of my adolescence, with a smattering more drama and violence. This show got audiences continuously laughing for the first 80% of the show, and mouths agape for the final 20%. The passion of the cast was genuine and infectious, I feel like I now need to be careful how I approach any horse enthusiasts.

To book tickets to Horse Girls, please visit https://www.theatreworks.org.au/2025/horse-girls.

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Meet The Performer – Tomas Clifford

Tomas Clifford

Hold onto your hats, folks! Today, we had the distinct pleasure of sitting down with the inimitable Tomas Clifford to chat about his latest musical-cabaret extravaganza, “Tomas Clifford Got Stood Up.” Fresh off successful runs in Perth, Tomas is ready to make his mark at the Melbourne Fringe Festival and beyond. Get ready for a unique blend of humour, music, and heartfelt storytelling.

About Tomas Clifford

What do you enjoy most about acting?

I love connecting to a live audience just like you have a gossip session with your friend over a coffee (or wine) – making everyone in the room feel like they’re the only person being told the story is the aim for me, because it’s that personal connection with the performer than I as an audience member love about cabaret and live performance.

What productions have you acted in before?

Tomas Clifford Got Stood Up has already had two festival runs in Perth, and we’re very excited to announce that this upcoming Melbourne Fringe Season marks the beginning of a national tour of the show (with more dates to be announced for 2026).

Do you want to work in film, live theatre or both?

As a composer, I would love to work on projects across all different media formats – movies, tv, you name it. My heart, however, will always lie in theatre/live entertainment composition, be in the form of a musical or an original cabaret. As a performer, I’m super open to opportunities that may come my way. I’ve never fully imagined myself as a screen actor, but I certainly wouldn’t say “no” – and stranger things have happened.

What strategies do you use to overcome stage fright or nerves before a performance?

I honestly believe that the best strategy to overcome nerves are 1) extreme preparation building up to the performance and having the fullest of confidence that you know what you’re doing; and 2) being ready to throw all that preparation away and respond to what you’re being given by the audience in the moment. It’s that balance of type-a organisation and type-b carelessness that make me more excited than nervous for a performance.

How do you maintain your physical and emotional health while working on demanding projects?

The three s’s: sleep, steam, and silence.

Is there anything else you’d like to add?

My original musical-cabaret Tomas Clifford Got Stood Up will be playing in Melbourne from the 1/10 – 5/10 as a part of this years Melbourne Fringe Festival!

Where can patrons purchase tickets to this production?

To book tickets to Tomas Clifford Got Stood Up, please visit https://www.melbournefringe.com.au/whats-on/events/tomas-clifford-got-stood-up.

Thank you for sharing your insights and experiences with us. Best of luck with Tomas Clifford Got Stood Up at the Melbourne Fringe Festival and beyond. We’re certain audiences everywhere are in for a treat!

Other interviews can be viewed in our Meet The Performer Series.

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The FUTURE is disappointing

FUTURE

FUTURE Rating

★★★★★

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3

The theatre collective PIGEONPIGEON showcased their play ‘FUTURE’ in the Melbourne Fringe Festival 2024. The original concept of taking different predictions about the future and turning them into a theatre production sparked my curiosity, and the hopeful tone of the synopsis intrigued me further.

I was disappointed by the incongruence of the synopsis and the show that I saw. It was very bleak. That’s not to say the show wasn’t without its strengths. I must give props to their use of props- giant jenga blocks and a large tome both full of predictions- were a couple of these that supported the show well. Some props were a little off-putting, such as a large notepad used to give prompts to their on stage “audience member”.

They built pace effectively to demonstrate a crescendo when reading through scripted predictions contained in a box, with the bits of paper left scattered around them. Following this an emotional monologue was delivered, where the very real, confronting, question many of us struggle to reconcile was raised- Is it fair on a child’s welfare to be brought into this world, when the climate crisis threatens their safety and wellbeing in ways we cannot yet even fathom. Unfortunately, the poorly synced text that was projected on the large screen behind them significantly detracted from the actor’s performance, and continued to irritate me throughout the entire show.

‘FUTURE’ felt structurally confused. I’d expected they would be dramatising different predictions on the future, instead it felt very bitsy with large chunks of the show entirely relying on audience participation. At the start of the show, they warned the audience about any loud sounds or bright lights to expect, painstakingly demonstrating the level of intensity that could be expected with each. This information was already provided in the ‘event warnings’ of the show summary. I’m sensitive to sound myself, but when I go to a play I expect my senses to be engaged and surprised throughout.

 

What I think was intended as a sensitive warning came across as pedantic coddling, delivered without any snappy energy to relieve the tension. It felt ironic, but I don’t think that was the intention. It provided an interesting subtext on the pervasive fog of anxiety Gen Z have grown up in, and the pendulum swing between action and inertia that often manifests. It would seem the entire framing and response is technology based, the cell phone is the gatekeeper, gateway, and fence. I wonder the level of awareness PIGEONPIGEON had on this, or if it was intrinsic.

A sore point for me was the en masse bagging of Taylor Swift from the cast and audience for her use of a private plane- is there really a practical alternative? As if she is the only carbon emitter on the planet, would she be so demonised if she wasn’t a powerful woman. Yet many far-left identifying people seem to have no issue fueling this hateful rhetoric. They might be surprised to know that her donations to various local UK foodbanks covered a years worth of meals for those organisations. I linger on this detail for two reasons- 1. It really frustrated me, and 2. It is emblematic of the show- a lot of negative commentary with little consideration for solutions.

I thought the “audience member” who came on stage had a certain charisma and levity that injected a bit of life into the show. Unfortunately, this impression waned as a function of the poor writing. The hope that was promised was hard to find. I think it was all strained into a bit about crabs that felt like it may have been inspired by The Hitchhiker’s Guide to the Galaxy type absurdism, but rather missed the mark. Maybe if I was born 7 years later the show would have resonated with me more.

I did attend ‘FUTURE’ with another person who is of that generation who found the show stilted as I did; so, it’s not entirely a function of age as to whether the humour that was given was perceived as having landed or not. If you’re looking for some hope, I’d avoid ‘FUTURE’, unless you really like crabs and awkward jokes.

For further information about PIGEONPIGEON, please checkout: https://www.pigeonpigeon.co/

Photographer: Jaimi Houston

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Jack And Millie

Jack and Millie

Jack and Millie Rating

★★★★★

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4

So, a story about cancer. A topic and illness infamously known as a big damper on pretty much everything. How does one convey a story with a sense of positivity, of movement, of life still continuing through this unpredictable time?

Enter Alain Beek, Actor and Director with Essence Productions whose story was told through Jack and Millie. And what a story it was!

Beek was joined on stage by Phil Cameron-Smith (who played Jack) and Ross Daniels (who played every other character) in this heart-touching story. Truly a loaded theatre cast!

Beek not only shared this story, but when she was on stage, I felt every one of her emotions, her eyerolls and her smiles. Beek is an inspiring story teller and the depth of her character was highly tangible to each audience member. She helped me understand this story in ways that just reading a script would not. Beeks’ character Millie felt wonderfully lived in, like a familiar coat you put on or a close friend to confide in. And that just helped to draw me in even more.

Cameron-Smith is Jack in this play and represents all the thoughts that Millie has about cancer. Some do hit home hard, but I was surprised to see how many of these thoughts were also comedic. Cameron-Smith had me laughing a lot and helped to put a more wholesome and positive spin on what should be quite a downcast story. He was funny, deadpan and at times unapologetic in his views which made for all the more riotous viewing! I would happily see a play all about Jack and his thoughts and feelings.

And filling in every other character we have Ross Daniels, and my, what stage presence! It was so easy to watch Daniels as he went between characters, especially in the Zoom scene (trust me, watch it and laugh a lot, because I have never seen anything more relatable). Daniels had this incredible focus to him, even off stage, and managed to play characters ranging from cold and informative to a supportive friend and buddy. And each one of these characters was so believable! Daniels also had these unique little movements or actions he would do to get into each character which was fascinating to observe.

As an audience member, I really enjoyed some of the choices that were made by the Director Nigel Sutton, especially props wise! The stage was only set with 2 big white boxes which were used in such simple ways and yet transported me to a restaurant or the park seamlessly. The costming for this play was also very simple, just plain whites for each character. And I think this all needed to be understated to let the story shine through which was more than successfully achieved. 

I did also want to commend the creative uses of sound effects, especially the ring tones for each character that gave such a unique insight into that character. The assumptions were handed to the audience with very little to go off and my imagination thoroughly enjoyed filling in the blanks. And other members of the audience afterwards expressed similar thoughts to me – this was a truly enjoyable experience.

So, in conclusion, please see this play if you can! This is a funny story full of life’s ups and downs, but left me feeling positive. It is said in the program of this show that this script is deeply loved by those who feature in it, and even as an audience member I was able to feel this. This was not a sad story, just an eventful one filled with delicious morsels of laughter to help you on the way. And one (I can confidently say) I would happily see again!

For further information about Essence Theatre Productions, please follow: https://www.essencetheatre.productions/

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