The Melbourne Fringe Festival is in full swing and the Motley Bauerhouse in Carlton plays host to the debut performance of Other Gods.
The lights brighten to a minimalistic stage, a small room as though the audience have been invited in to an intimate moment in time.
It’s here we meet Tom (Sorab Kaikobad), a priest who has sworn celibacy. Yet as the play unfolds we see Tom face his most soul searching moment when he meets the enchanting Marina ( Emily Kruse). Tom must face the most difficult choice in his life- his love for the Gods he worships, or his heart.
Other Gods is an intriguing story, one that is set in a mysterious place and time.
It explores the themes of conflict, love, religion and identity.
Whilst the actors all give heartfelt performances though, the story never really takes off. It feels as though we are invited into the story half way through and there are pieces of the puzzle missing. The religion that is mentioned is only half explained, the characters don’t have a strong story arc, and the concept just feels a little unfinished.
The minimal set design does let the audience focus on the dialogue, which is effective and the soft lighting gives a nice atmosphere. The intimacy of the room makes the performance seem like we are strangers invited into a world and a snapshot in time.
Where does this intriguing world fit into ours- the question is never really answered, we only get a glimpse. However we know that it’s mythical- as the worship of Gods is mentioned several times.
A quite entertaining play, Other Gods certainly raises some interesting questions, exploring themes of love, conflict and turmoil.
The cast give good performances, the dialogue is intellectual and are enjoyable. There are moments of humour with Asher Griffith-Jones as Ant giving a comedic performance, bringing lighthearted moments to the play.
Other Gods is a play that even with it’s unusual fantasy setting manages to explore themes of love and inner turmoil in a way that is pleasant to watch and it is interesting to be allowed into the fantasy world the characters inhabit.
FRIDAY, 3RD OCTOBER – ‘SOUL DIVAS’ AT MEMO MUSIC HALL, ST KILDA
There’s Soul…and then there are Soul Divas.
On a balmy Friday night in Spring, it was time to head to the live music institution that is MEMO Music Hall, for “a celebration of one the greatest female voices of all time, sung by Sarah C” and backed by her very tight and talented band.
On entry to the venue, I met some energetic characters working the door and behind the bar, each of them obviously proud in playing their parts in vibing with members of the audience at one of Melbourne’s finest live music jewels, Memo, a space that offers an intimate room with rich and clear sound supporting a plethora of performers.
Waiting excitedly at my cabaret table, I knew I would be listening to some timeless soulful hits once sung by famous divas, but I had no idea how close Sarah C’s voice, and her talented band would come to the authenticity of those favourites.
Sarah C is known for her powerhouse voice and dynamic and glamourous stage presence. She’s done lead vocals on TV’s Dancing with the Stars and backing vocals on ‘X Factor’ as well as backing for big names like Kylie Minogue, Jessica Mauboy, Paulini, Tania Doko and Ross Wilson – but this lady belongs front and centre.
Sarah’s ‘Forever Whitney’ show tours nationally and has sold-out venues across Melbourne, including The Palms at Crown. Now an international recording artist, her recent credits include singing for Oscar winners, Goldie Hawn and Susan Sarandon.
That’s not surprising. Her voice is both powerful and emotive, technically excellent and, by taking us on a journey through every song, inspiring of human connection.
Sarah has also created original music – a debut EP, ‘Fearless’; working with Mobin Master (as her alias, ‘Carerra’) on the track ‘Werk’, gaining two million streams on Spotify; and has collaborations with dance/house gurus including Ian Carey, Jolyon Petch and Ron Carroll, with releases on Ministry of Sound, Hed Kandi, Vicious, One Love, Safari and Shock records. So, Sarah C is clearly versatile as well as vivacious, but it was her tribute to the soul divas of the world we were there to hear that Friday night and her incredible ‘Soul Divas’ show not only took on some of the most iconic voices of all time, she’s totally conquered some of the most iconic songs of all time.
While many singers take a whole show to lead up to a couple of these hard-hitting soul classics, Sarah gifted the audience with her unique talent and power straight up over two hours and with hit after hit.
Singing ‘Love is a Losing Game’ and ‘Back to Black’ from Amy Winehouse’s second and final studio album of the same name, Sarah and the band exquisitely captured the mournful mood in ‘Back to Black’, contrasted against its’ retro/60’s Pop girl sound.
I was delighted to hear Renee Geyer’s inclusion in the mix of Soul Divas, Renee’s powerhouse voice irreplaceable since 1975. I was so “Ready to Deal” with Sarah’s rendition of ‘Heading in the right direction’ and she nailed it. After that, Sarah slipped an original into the mix, ‘My World Was you’, her own soulful invention, that fit comfortably, smoothly and stylishly amongst this nights’ repertoire, just as slick as any of the classics we were here to love:
– Tina Arena’s power ballad, ‘I’m in Chains’; – Adele’s ‘Set fire to the rain’; – Aretha Franklin’s ‘Natural Woman’; – Tina Turner’s ‘Rollin’ on the river’ …and so many more great songs were mastered.
Closing my eyes during some of these songs, I could’ve sworn I was sitting right there in the room with Amy or Adele. The show was already amazing and then we got to the finale with Whitney Houston’s songs from The Bodyguard film. It’s unusual to hear anyone sing ‘I have nothing’ or ‘I will always love you’ with the emotion and skill the originals deserve but once more, we were in for a rare treat.
It’s always a pleasure to watch a slick band and while Sarah conducted hers, the band showed us as much heart as they had talent. Multi- instrumentalist, Hayden Baird killed it on the Saxophone and also played keys in the show. His sax solo during ‘I will always love you’ was perfection.
Damien Thomas mastered his guitar riffs.
Drummer, Jay Bruno, a steady strength with every song, syncopated with Billy Cooper on bass.
Billy’s popping slap bass kept us in the pocket all night, Billy also adding some funk to Sarah’s soul – his swag was shades of Larry Grahame from Sly and the Family Stone.
Jade Talbot played the keyboard and contrasted backing vocals, also singing a duet or two with Sarah C, Jade’s dulcet notes of angelic clarity matched against Sarah’s sonorous and smoky vocals.
The band played as one, their camaraderie warm and tangible. The audience could see the respect they had for Sarah and the gentle authority she had with her “family” of musicians.
People of all ages and styles were up to dance before the interval and were also fully focused in fandom towards Sarah and the band on stage.
Like a true diva, Sarah had the audience eating out of the palm of her hand and kept them wanting more.
There’s soul and then there are soul divas. And Sarah Capodicasa is truly one of them.
There’s something magical about a space that not only invites you to witness art, but also lets you get your hands dirty and dive right into the creative chaos. The “Wasteworlds” fashion show at the Abbotsford Convent did just that—transforming the stunning venue into a playground for artistic expression, where the boundaries between audience and artist were beautifully blurred.
The weather couldn’t have been more perfect, with the sun casting its warm glow over the convent’s historic grounds. As I stepped into the space, I was immediately drawn to the centerpiece of the event: the gigantic patchwork-sewn moth. Its enormous open mouth spilled a black-and-white checkerboard runway that looked as if it had come alive from the pages of a surreal dream. It felt like an invitation to step into a world of pure imagination, where fashion was no longer just something to admire—it was something to create, to play with, and to wear proudly.
The layout of the convent’s Magdalen Laundry Room was equally inspired. Each quadrant had been cleverly labeled to represent iconic directional districts: Northland, Southland, Eastland, and Westfield. These weren’t just names—they were microcosms of creative possibility. As if stepping into different parts of the world, each district held a different energy and vibe, encouraging exploration and collaboration. It was the perfect environment to let loose and experiment with fashion in a way I hadn’t done in years.
The theme of the day was all about fun and free artistic expression. The best part? The audience was encouraged to participate. The organizers had laid out huge piles of pre-loved clothes—donated and ready for transformation—and provided our artistic tools: scissors, sewing machines, pins, and fabric galore. You were free to grab what you could and get to work. No judgment, no pressure. Just pure creative freedom.
I couldn’t resist the urge to dive right in. I grabbed some fabric, a few scraps of old tulle, and set about crafting a Dune-inspired veil—thinking of how the desert winds would billow it dramatically as I strutted down the runway. With my best Heidi Klum impersonation in mind, I took to the catwalk, feeling the playful, liberated spirit of the day wash over me. But it wasn’t just about making something to wear—it was about making something fun. The people around me were so full of joy, whether they were fashioning stuffed toys into elaborate coats or cutting up old pants to turn them into quirky face masks. One woman turned a handful of doilies into a delicate springtime fascinator, and children used fabric to create a fantastical characters. The sense of possibility was intoxicating.
Adding to the atmosphere was the witty and light-hearted commentary from the catwalk judges, who added an extra layer of humor and playfulness to the whole experience. Their jokes and quips had the crowd laughing, cheering, and feeling like we were all part of something truly special.
What I loved most about the event was the way it embraced sustainability without being preachy. The focus wasn’t on lecturing us about fast fashion—it was about making us feel empowered to take something “wasted” and transform it into something beautiful, something new, something uniquely ours. The concept of reimagining pre-loved clothes as a medium for artistic expression was a brilliant commentary on our relationship with materialism, consumption, and creativity.
“Wasteworlds” was more than just a fashion show; it was an experience—a celebration of creativity, community, and the power of giving discarded materials a second life. It reminded me that fashion doesn’t have to be about perfection—it’s about playing, experimenting, and making something that feels right for the moment. And that’s exactly what we all did on that gorgeous day in Abbotsford.
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.
