Lots of Pop – Just Not Enough Snap or Crackle

The Breakup Variety Hour

The Breakup Variety Hour Rating

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Ariana & the Rose arrives at the Melbourne International Comedy Festival with The Breakup Variety Hour – a wry cabaret-style journey through the six stages of romantic recovery and she brings with her genuine charm, vocal talent and the kind of infectious energy that makes you root for her from the moment she walks on stage. The Trades Hall, with its intimate rooms and slightly scuffed historic charm, is a fitting venue for a show about the unglamorous business of losing love.

The show’s structure is clever: six stages, neatly framed, moving from the wreckage of a relationship toward something that resembles wisdom. Ariana guides us through each with a mix of comedy banter, personal anecdotes and occasional audience participation, the familiar toolkit of the solo festival show. But it’s in the final stage – a philosophical, even quietly spiritual, reflection on what breakups really reveal about us – that the show finds its most resonant ground. It was a genuinely satisfying way to close, offering unexpected psychological depth after the performance and pizzazz, leaving the audience with something to carry home beyond the glitter.

Where The Breakup struggles is in finding its identity. The original songs, (written by Ariana herself and available to buy on CD), are genuinely good and surprisingly moving but they are almost at odds with the rest of the show. They don’t quite gel with the comedy banter surrounding them and the collision between the two never quite resolves. We found ourselves watching what felt like two shows running in parallel – a moderately entertaining comedy set and a mini pop concert – each quietly undermining the other’s momentum. The songs, which we expected to be more snippy, funny comedic offerings instead spoke of genuine feeling and heartache; the comedy parts were too brief and held the audience at too much of a distance. Holding these two different styles at once is a difficult ask of any audience and on the night we attended, it created a sense of awkwardness that the show never fully settled.

 

 

Comedy, as anyone in the industry will tell you, is brutally hard work. The hours behind a single hour of stage time are extraordinary – the writing, the refining, the killing of darlings, the courage required to simply show up and do your thing in front of strangers and hope it lands. The fact that The Breakup has sold out in Ariana’s native New York and toured major international festivals, including our own Melbourne Comedy Festival, speaks to a genuine audience connection that is clearly working somewhere. On the night we attended, the crowd was small and a little cool and she handled it with professionalism and grace, working the room with warmth even when it didn’t quite warm back.

But for those of us who came hungry for laughs, the show could lean further into personal storytelling – the messy, specific, mortifying anecdotes of dating life that make comedy truly land. What we got felt, at times, more like a vehicle for the music than a cabaret style comedy show. The personal glimpses Ariana did share were genuinely engaging, we simply wanted more of them. More of that rawness, more of those stories – the ones that make an audience wince in recognition and laugh in relief and then the balance would tip in a way that could make this genuinely special. It probably didn’t help that in our audience most people were happily coupled, so for a comedy that’s all about break-ups and needs to bounce of the singletons in the room, it wasn’t quite able to find its mark. Nonetheless, the bones of something very funny are here. They just need more flesh on them.

As it stands The Breakup is an enjoyable, well-intentioned romp through familiar romantic territory, performed by someone with good stage presence, a strong voice and a lot to offer. Ariana & the Rose is a performer still shaping her show into its fullest form – and if the philosophical heart of that final act is any indication of where she’s heading, the best may well be yet to come.

To book tickets to The Breakup Variety Hour, please visit https://www.comedyfestival.com.au/browse-shows/the-breakup-variety-hour/.

Photographer: Sidewalk Killa

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One Man, Two Guvnors

One Man, Two Guvnors

One Man, Two Guvnors Rating

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Melbourne is no stranger to unusual, intimate show venues, but it takes a lot of creativity, planning and passion to make full use of unconventional stages. This is especially true for a play like 1 Man 2 Guvnors by Richard Bean, which opened at London’s National Theatre and was a major career stepping-stone for James Cordon. As a company, J&L Presents clearly rises to challenges like this, explaining that “each production [of theirs] is carefully tailored to its surroundings, with the venue itself becoming a character that informs and enhances the narrative”.

For this show, their chosen ‘character’ is Piano On Swan in Richmond, and an otherwise unassuming bar space is converted into a traverse stage. The small audience takes up half the walkway in front of the bar and a little nook close to the entrance, the tech operator looms above the bar and needs a ladder to get down, and the only exits are out the front door and up a small flight of stairs to the toilets. In short, there’s not a lot of space and plenty of obstacles for the actors to navigate – and they do so beautifully.

The play itself is set in Brighton in 1963, and follows the unemployed working-class Francis Henshall (played by Daragh Wills). The character quickly becomes a dogsbody to two employers: gangster Roscoe Crabb (Zoe Rose), and white-collar criminal Stanley Stubbers (Johno White). As Francis struggles to meet the demands of two masters, other subplots pile onto the whirlwind hilarity, including a twin sister posing as her dead brother; a ‘love triangle’ between Crabb, aspiring actor Alan (Dylan Mazurek) and dimwitted socialite Pauline (Emilie); and Francis falling for the feminist bookkeeper Dolly (Sharon Wills). Trust me – it’s much easier to follow when you watch it unfold over two hours, with plenty of slapstick, wordplay and melodrama in between.

 

 

The script itself was popular fifteen years ago for a reason. It was inspired by an Italian commedia dell’arte play from 1743 and takes a lot of inspiration from classic British period comedies from the likes of P. G. Wodehouse. However, the writing sprinkles in modernisms that add to the comedy instead of distracting from it. The swearing, gender swap shenanigans, fourth wall breaking and audience participation keep the gags constant, fresh and fun. The ensemble cast’s perfect sense of timing augments every joke; they aren’t afraid to let awkward silences sit because they make the moments of chaos even more uproarious.

J&L Presents’ love of performance space shows to the fullest, as every inch of the small barroom is used. Actors stand on the bar, fall behind it, rush out onto the street and back in, haul heavy trunks and trolleys every which way – everything is frenetic and chaotic in the best way possible. The blocking was also impressive because aside from a scant few times when some people’s faces weren’t visible, nothing was missed and every visual joke was clear to see. Wills is a fantastic lead getting laughs from the minute of walking onstage and had us in the palm of their hand. The other cast members fantastically embody their characters, understanding that ‘more is more’ and pushing their mannerisms and their voices to the maximum. The comedy was tight and well-planned, but also had a fluidity which made so many moments feel improvisational and any gaffes like additions to the fun. Everyone was enjoying themselves so much that they could do no wrong.

After this show, I can’t imagine 1 Man, 2 Guvnors being performed on a larger, traditional stage. The closeness cultivated between the audience and the characters feels integral to the show working as well as it does. There was a constant sense of excitement, not knowing which character was going to pop out of where, or how things could possibly get worse for our comic heroes. When I went, the audience ranged from very young kids to older people, and from the conversations I heard in the interval and afterwards, everyone seemed to have a fantastic time. This production is intimate, clever, packed with laugh-out-loud moments, and a perfect theater experience for most if not all audiences.

To book tickets to One Man, Two Guvnors, please visit https://www.comedyfestival.com.au/browse-shows/one-man-two-guvnors/.

Photographer: Darcy K Scales

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The Game Is Afoot… And Slightly Off The Rails

Innes Lloyd - The Lost Casebook of Sherlock Holmes

Innes Lloyd – The Lost Casebook of Sherlock Holmes Rating

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I had the pleasure of attending The Lost Casebook of Sherlock Holmes by Innes Lloyd last night as part of the Melbourne Comedy festival and it was one of those intimate, slightly chaotic and genuinely enjoyable theatre experiences that remind you what live performance can feel like when it’s happening right in front of you and, occasionally, almost on top of you.

The venue, the Impro Melbourne Theatre, was comfortable but tiny and we were seated so close to the stage I could have comfortably rested my feet on it. My companion described it perfectly, it didn’t feel like watching a play so much as watching people. There’s something disarming (and slightly voyeuristic) about that level of up close and personal proximity. You can see every flicker of expression, every moment of hesitation or delight. At times it made it harder to fully drop into the world of the story, but it also created a kind of immediacy and shared experience that larger productions can’t replicate.

The premise is a clever one: three legendary “lost” Sherlock Holmes case files, mysteries Sir Arthur Conan Doyle himself hinted at across his impressive written works but cases that while connected to existing Sherlock Holmes tales, are entirely improvised – which gives clever improv actors an awful lot of room to play in! From this simple starting point, the four-person cast built a series of unfolding stories, moving fluidly between characters and locations. We met the foul-mouthed Victorian street urchins (the Irregulars), various members of the landed gentry, Dr Watson, Sherlock Holmes himself plus his corpulent brother, Mycroft and bumbling, dim-witted Inspector Lestrade with a particularly memorable foot fetish. There was also a funny thread involving Cluedo that wove its way through the third story, adding another layer of playful absurdity.

 

 

What stood out most was the ensemble’s commitment to the form. Improv, at its best, is a kind of high-wire act – a balance between structure and spontaneity, where performers are constantly listening, adapting and building something together in real time. There were a few inevitable fluff-ups (it was opening night), but rather than detracting from the show, these moments often became highlights. The cast leaned into them, supported each other and turned small stumbles into shared jokes, which delighted and deepened the connection with the audience.

That willingness to embrace imperfection is part of what makes improv so engaging to watch. You’re not just seeing a finished product – you’re witnessing the process unfold. There’s a generosity in it – a sense that everyone, performers and audience alike, is in on the same experiment.

The audience appreciated the small facts and trivia woven in about Sherlock Holmes and his creator, Sir Arthur Conan Doyle and are apparently something of an integral part of all Innes Lloyd shows. These touches added a layer of texture and gave the show a gentle nod to its literary roots, even as it gleefully departed from them.

The overall feeling of the performance was one of enthusiasm, wit and genuine enjoyment. The cast clearly put their heart and soul into it and that energy carried the show. Improv is rarely about polished perfection, but rather about play, presence and the joy of watching something take shape in the moment.

All in all, it’s a lively, inventive and warm-hearted night out – especially for anyone who appreciates the unique magic of improv and the thrill of seeing something created right before your eyes.

To book tickets to Innes Lloyd – The Lost Casebook of Sherlock Holmes, please visit https://www.comedyfestival.com.au/browse-shows/holmes-unbound-the-lost-casebook-of-sherlock-holmes.

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Yeah Nah Pavlova: The Laughs Keep Coming

Yeah Na Pavlova

Yeah Nah Pavlova Rating

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As the audience arrive into the cosy yet intimate venue that is Club Voltaire in North Melbourne, we are handed an ANZAC biscuit and asked to pick a side. Who invented the pavlova is the ultimate question.

Comedy duo Loud Jess (Jess Loudon) and Sandra Pace are immediately likeable, and the show hasn’t even started.

For one hour, they cover everything from politics to men, moving to New Zealand, rugby and the friendship between the two nations.

The main theme tying this show together is the age-old question: Who invented the Pavlova?

With audience participation that makes the show engaging, the duo are quick with their retorts, snappy one-liners, and they bounce off each other with incredible energy.

The women have great banter with each other, reminiscent of a young Gina Riley and Jane Turner ( Kath and Kim), and they’re incredibly comfortable in front of an audience. There’s no forced interactions, these two are naturally funny.

The show is dotted with dark humour. The subject of politics is candidly explored, and they look back on the era of Covid lockdowns, amongst other things, while talking about their lives in New Zealand – affectionately known as ‘ Across the ditch’.

The two have great energy, which is important in any comedy duo, but having a strong theme helps to tie the show all together, so it’s not just two loud girls rambling. It’s thought out, well-written and leaves just enough breathing room for improv and unplanned moments.

As for whether pavlova was invented in New Zealand or Australia, not to give away the ending, but we do get an answer as promised.

The comedy festival is wrapping up for another season, and before it goes, make sure to get down and have a laugh with Sandra and Jess. Their show is an hour of light-hearted comedy that never takes itself too seriously and is a refreshing reminder on why Australians and Kiwis love to give each other a hard time.

Yeah Nah Pavlova will be showing until April 20 at Club Voltaire in North Melbourne.

To book tickets to Yeah Nah Pavlova, please visit https://www.comedyfestival.com.au/browse-shows/yeah-nah-pavlova/.

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