Show Up! And Be Entertained By Surprise Acts

Show Up!

Show Up! Rating

★★★★★

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“Show Up!” is a variety-style of entertainment show, which reminded me of a nostalgic live taping which was then beamed into our living rooms via the television. The act would be filmed, with the camera now and again panning to the audience to see their reactions, and then back to the act. When that finished, an interview with the performer would happen. Then in the next episode, we would see different performers and acts, introduced by the host. “Show Up!” may have been intended to fill the live event space with their format similar to this, and had been billed as having “great performers, great stories, great surprises and a room filled with people willing to embrace the unexpected”. It is a monthly event, with different guests from across music, theatre, comedy, cabaret, circus and dance disciplines.

Created, produced, and hosted by versatile Australian entertainer Nick Hardcastle, this show offers a platform for both established and emerging artists to perform. One of its original features is the element of surprise, as the audience never knows in advance which act they will see. This format is especially appealing to those who enjoy spontaneity and discovering new talent, as well as fans who might be delighted to catch a performance by one of their favourite Australian artists or comedians. An interview with each performer after their acts adds another layer to the show.

I attended the first show at The Darling Quarter Theatre in Sydney on the 19 October. “Show Up!”featured performances from the “Dance Nikki Webster” dance studio, a burlesque act, a comedic musical act, solo songs and a strong and heartfelt 20th Anniversary tribute to one of Australia’s well known and loved musicals, “Priscilla, Queen of the Desert”. Plus of course, there were a couple of acts from iconic drag performers.

Being both a comedy and musical enthusiast, it came as no surprise that one act particularly appealed to me.The satirical boy band “Fuccbois” delivered a memorable and comedic performance that perfectly captured the essence of the archetypal “cool guys.” Dressed in oversized shirts, backward caps, and sporting penciled-in moustaches alongside shaded penciled -in stubble, these female artists presented a distinct and exaggerated image. Bursting onto the stage in coordinated track pants emblazoned with their logo, they sang pop songs in harmony while executing deliberately swaggering dance moves. Their confident, cocky demeanour was amplified by playful flirting and winks directed at the audience. Their infectious energy and original songs (most notable one named The Gaslight Shanty) made their performance thoroughly entertaining and hilarious.

Watching Tony Award nominee Tony Sheldon take the stage was a treat. Best known for his iconic role as Bernadette in “Priscilla Queen of the Desert” across Australia, Toronto, Broadway, and the West End, Sheldon delivered an impressive lip sync performance. Though he appeared without the signature drag costume and makeup of Bernadette, the vibrant presence and charisma of this character shone through. Following the performance, Sheldon engaged in an informal and insightful conversation with the host, offering the audience a rare glimpse behind the curtain.

 

Andrew Broadbent, a seasoned Australian performer with a rich history in musical theatre, captivated me with his rendition of “I’ve Grown Accustomed to Her Face” from the Broadway classic “My Fair Lady”. His flawless English accent and nuanced mannerisms vividly brought to life the character of Professor Henry Higgins, transporting me to England and perfectly conveying Higgins’ deep, sentimental longing for Eliza Doolittle after her departure.

Another standout act was from duo Rhea Robertson and James Vidigal performing a burlesque act. The sexy, sultry undertones of Robertson’s voice, combined with confident and strong exotic dancer Vidigal, melded together to create an incredible multimedia performance.

Before the intermission, Hardcastle invited audience members who felt confident to come forward and showcase their entertainment talents in a “Show Off” segment. If you would like to have ‘a minute in the sun’ go along and register! Well done to audience participants Susan, Alex, Joanne and Patrick – it takes confidence to perform onstage in front of strangers if it’s not your profession, and kudos to Hardcastle for giving them that opportunity.

The dancers from the “Dance Nikki Webster” studio looked to be students of school age. They had bright costumes and danced with high energy and even higher kicks. One dancer incorporated some backflips into their routine, to the audience’s delight. While they danced, a video of their routine played simultaneously in the background. However, the slight mismatch between the live performance and the video, created a somewhat jarring effect.

The show concluded with a tribute to “Priscilla Queen of the Desert”. A video of past performers from all over the world was played on screen, recounting their experiences during their run with the show over the years. Afterward, a few past cast and crew members, some of who were in the audience, were invited onto the stage to sing “We Belong” altogether. It was a touching finale and created an insight into the bonds that form inside the entertainment industry.

If you don’t mind not knowing who will be performing onstage, “Show Up!” at The Darling Quarter Theatre may be for you!

“Show Up!” was 2 hours, with a 20 minute interval.
Tickets: www.showuplive.com.au/tickets
Darling Quarter Theatre, Sydney

To book tickets to Show Up!, please visit https://showuplive.com.au/.

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Twisted Tales

Twisted Tales

Twisted Tales Rating

★★★★★

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Does Jessie, the cowgirl from Toy Story 3, prefer a buzz or a woody? Could Elphaba and Galinda actually be lesbian lovers, and who says that Ursula is a villain, especially when she holds a legally binding contract! She’s just misunderstood. These questions and more are explored in Twisted Tales, the extremely NOT child-friendly cabaret show at the Sydney Fringe Festival, fresh from their success in Adelaide.

Guided by the hilarious and charming Magic Mirror, Twisted Tales uses well-known children’s characters as the basis for a cabaret of acrobatics, music, and burlesque. The premise on the tin is to explore the twisted truths and hidden realities of classic fairy tales, but that’s not really accurate. Modern Disney movies and children’s stories (most of them not actually fairy tales) merely serve as a thematic launching pad for the bright costumes and various acts in a fast-paced mixture of rebellious mischief and wicked mayhem. My favourite was the Cinderella story. I won’t spoil it, but the twist here was both hilarious and genius. The show’s tongue is firmly in cheek, the cast seemingly having as much fun performing as the audience is watching. There is plenty of course language, adult humour, and exposed flesh, so again, the show is 18+ and not suitable for children.

 

 

The space was cavernous but somehow still intimate, the whole audience sitting close to the action and feeling involved and connected. A leaking roof and a large storm outside merely proved a small distraction from the glitter, flesh, and laughter. Some of the acts felt repetitive, such as the multiple burlesque numbers merely changing performer and costume but effectively doing the same thing all over again, but they were still fun and cheeky (literally) so it didn’t really matter. Everyone was having a great time, constantly laughing, clapping, whistling, and hollering in support. And isn’t that the point?

Also, a shout-out to the stage crew. Off to the side I could spot a few people clad in black trying to go un-noticed, working all night hoisting the performers up and down on various acrobatic apparatus, pulling hard on ropes with choreographed precision. It didn’t look easy.

Twisted Tales is part of the Sydney Fringe Festival and playing at The Bunker, Fool’s Paradise, Moore Park Entertainment Quarter until the 21st of September.

To book tickets to Twisted Tales, please visit https://sydneyfringe.com/events/twisted-tales/.

Photographer: Georgia Moloney

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Showgirl Grit, Cabaret Wit: The Soul of a Siren

Confessions of a Drama Queen

Confessions of a Drama Queen Rating

★★★★★

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This is burlesque with bite. I walked into Confessions of a Drama Queen expecting fishnets and feathers, but what I got was something far bolder: a woman reclaiming her life, body, and sexuality, on her own terms and in her own glorious style. Yes, it’s sexy but also soulful, self-aware, and delightfully risque; equal parts sparkle and steel.

Behind the lashes, lingerie and big belt vocals of Songbird Siren is Megan Walshe. A seasoned Sydney burlesque bombshell who’s earned her stripes wowing crowds from sultry lounges to cruise ship catwalks. She was also a finalist in the MX Burlesque NSW 2024 competition, with the scars and strut to prove it.

The structure of this one-hour show is deceptively loose and fanciful; a lively blend of skits, strips, vaudeville flair, memoir melodies, and clowning, all seamlessly stitched together. Occasionally, live piano flirts with a syncopated rhythm, adding a wink to the unfolding scenes. Songbird leads us through a raucous, rhinestone-strewn maze of glamour, heartbreak, and hilarity. The journey is a playful yet pointed provocation.

Confessions of a Drama Queen isn’t just cabaret. It’s a backstage pass to the gritty reality of performance life in Sydney through the eyes of a kick arse woman who spins sugar from the sour. It’s a tale of grit and staying power, of clutching your calling tight even when the world buries it beneath bills, rejections, and relentless grind. So while you get the naughty tassels and tease galore, you’ll also be caught in the sweat and stamina.

 

 

There’s something deeply compelling and ironically voyeuristic in our fascination with what goes on behind the scenes: the heartbreak and the side hustles that fund the dream. While recounting her 27 no-skill jobs, from fairy floss spinner to Macca’s drive-through worker, she performs a fabulous ABBA medley that turns her struggle into something defiant, delivered with flair and self-deprecating humour.

Two clowns (Alexis Hutchinson and Carla Field) provided sharply timed satire as her assistants, and a third silent-yet-essential presence, Jared Jekyll, quietly and comically tidied the trail of costumes and props left in her wake. Together, they conjure a world of slapstick and sincerity with pitch-perfect absurdity whilst effortlessly layering the commentary onto the main story.

Throughout the show, Songbird unfolded her personas much like Gypsy Rose Lee’s life, marked by reinvention and resilience behind the glamour. From desperate musical theatre graduate to cheesy cruise ship numbers, then a very clever slow transition from strip club kitten to full-blown Showgirl Glamazon. This final form shimmered with self-possession. Her performance of “Never Smile at a Crocodile” was a standout. A song I’d never thought much of became, in her hands, a metaphor for staying away from those who diminish you or refuse to see you. She sang it with such tender poise and knowing, it struck a quiet, powerful chord.

Hayes Theatre Co has carved a reputation as Sydney’s home for bold new work where musicals get gutsy and cabaret sharpens its edge. Their Winter Cabaret Season champions fearless voices in an intimate jewel box that consistently punches well above its weight, giving Sydney’s most adventurous performances the audience they deserve.

Confessions of a Drama Queen is less a performance and more a full-body reveal; a sparkle-soaked chronicle of survival and sheer showbiz grit. Equal parts showstopper, confessional, and comeback story, it’s the backstage juice we’re all secretly dying to hear. Don’t miss it; sass up, sparkle on, and get ready for a truth-telling strip with heart.

To book tickets to Confessions of a Drama Queen, please visit https://hayestheatre.com.au/event/confessions-of-a-drama-queen/.

Photographer: @Apart.Photography

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A Campy, Quirky, Delightful Emotional Rollercoaster Ride That Will Delight

Madame Martha's Parisian Cabaret

Madame Martha’s Parisian Cabaret Rating

★★★★★

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Madame Martha’s Parisian Cabaret is a campy, quirky, delightful emotional roller-coaster ride, that will hit you in all of the feels, over a truly captivating hour of queer joy.

What better place for my first theatre review than my beloved Old Fitz, which I fell in love with with “Cut Chilli”, and have since frequented as a viewer, and even performed in their “Senseless & Fitz” Shakespeare night. The vibe is funky and atmospheric. The bartender very accommodating of requests for a “lemonade top up” when I realised that Negronis may look cool, but taste rather vile.

The welcome is warm as we enter the theatre. The set is very much in line with Parisian cabaret. Deep burgundies and mixed glass lampshades, doorways adorned with “show lights”. I sit in the second row, knowing all spots in this delightfully intimate theatre are a winner.

Then our beautiful trio enter; graceful, careful, flowing and enchanting as they fill they space with their bodies and soon their harmonic voices. With Meg Hickey having absolutely no limits to what can be achieved with those vocal pipes… and an accordion to boot. Their costumes are gorgeous and each artist moves with their own unique elegance as they dance and sing a rendition of “Bad Guy”.

It becomes clear their physical freedom, poetic exploration and musical gifts feed off the shared talent of the trio and their reverie is only broken by the omnipresent, fearsome watchful eye of “Madame Martha”.

The choreography is stunning. Every movement is full-bodied and intentional. There is a collective heart between this troupe that keeps you captivated, entranced and SAFE as deep themes are tackled through the many facets and layers of “cabaret” with a touch of Vaudeville. Be prepared for tits and tips (well, more than that, but I couldn’t resist the alliteration). The actors bare themselves both literally and figuratively on the stage with full abandon and celebration of their forms.

My eyes filled with tears as Iva Rosebud delivered a deeply moving “What Makes A Man A Man” taking us on a heartfelt musical journey.

Jens Radda is giving “Mother” energy and keeping the three of them connected and intertwined throughout.

The crowd favourite was clearly the extraordinary “Pink Pony Club” where the harmonies slayed, and the audience were ready and rearing when it became clear we could now sing and clap along.

This show lets you all the way in and touches you in deep places. It was a delight!

To book tickets to Madame Martha’s Parisian Cabaret, please visit https://www.oldfitztheatre.com.au/madame-marthas.

Photographer: Solitude & Co

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