Umm…What Else? Mitch Dale Entertains Everyone at The Comedy Store Too

Umm...What Else?

Umm…What Else? Rating

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I imagine that being a comedian would be quite a challenging job. Some people are naturally funny, but that doesn’t necessarily make them a “born comedian”, as one may think. To do this for a living, comedians need to be multitalented – they are both specialty writers and actors (cue the timing and the delivery of a joke) with a certain amount of bravery to be up onstage with a microphone. They need to have a quick wit and response time when interacting with an unpredictable audience. I watched Mitch Dale at The Comedy Store Too at Moore Park in Sydney, and he had all of these talents! His one hour set for Umm…What Else? was a hilarious!

Mitch’s comedy style for this show varied from quick quips/ play on words/ short funny interactions with the audience, to delivering longer amusing tales about growing up in Australia. He is a talented storyteller who captured my attention from the beginning. For example, when he talked about casseroles and how after being slow cooked by the end of day, everything has turned to mush, yet the potatoes still have some crunch! And rugby. The interesting thing about Mitch’s delivery of his material was that he did it in a very understated manner where he cleverly picked a point and wove it into his story. It was like a dropped hot chip surrounded by seagulls – there’s a small beat as the audience listened to his words, and then once we realised his point, we jumped on the joke, laughing! “I played rugby, because I’m from Queensland, and I have a dad.”

 

 

The topics of the night were ones that were aimed to amuse all ages in the room. Mitch talked about personalised number plates, uber drivers and his trip to Japan – all of which was relatable to most of the audience, going by their enthusiastic responses. Mitch also catered for the older generation. It was interesting that he mentioned his childhood and how his parents had him answer the home phone as if he were in an office. It’s amusing because it’s true – back when families had landline phones, some parents made sure everyone answered in a formal manner. I remember calling my friend on their landline, and the younger five year old sibling of my friend answered the phone like this, it was very cute. I suppose there is a generation now who wouldn’t have had the experience of this, or of waiting a few weeks for a computer to be built so that it could go into it’s own special room in the house lovingly nicknamed “The Computer Room”.

Mitch also talked about how he got his name and shared some experiences with his health, and amazingly, he managed to turn even these more serious subjects into something funny. He had the knack of telling a life situation with honesty and humour.

During this set, Mitch was quick to respond to the audience. Instead of picking on that person and teasing them mercilessly, he interacted in a respectful and humorous manner. He clearly has a talent in quick thinking and response situations. In the lead up to Christmas last year, when he was working for a company, his entire job that weekend was to get busy people out of any social commitment they were trying to dodge. The company set the challenge for people to head into a particular store and Mitch will deliver an excuse for them. “He’ll make the hard call – you get the clean break and a guilt-free afternoon back.” From watching Mitch in Umm…What Else?, I am sure that he would have risen to this challenge.

Keep a lookout for this comedian Mitch Dale. Although this was a one-night show in the lead up to Sydney’s Comedy Festival, it won’t be the last you’ll hear about him. It was a sold out event at The Comedy Store Too tonight, so next time be sure to buy your tickets quickly so you don’t miss out.

To book tickets to Umm…What Else?, please visit https://www.neuralle.com/talent/mitch-dale.

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Moving, Off-Beat, And Deeply Tender

Tonsils + Tweezers

Tonsils + Tweezers Rating

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3

As we enter the theatre, an actor in boxers, a singlet, and a sleeveless tuxedo top is already on stage, catching our attention with a scientific riddle and collecting our answers as we take our seats. When the lights focus on them, the show officially begins, the riddle now in the hands of two figures we come to know as Lewis (Tweezers) and Tonsils, our excitable and endearing narrator.

The set, designed by Bella Saltearn, is deceptively simple; vintage wallpaper, a small corner kitchenette, two chairs off to the side. It grounds us in a space that slips gently through times, ages, and memories.

Early on, we’re warned something terrible will happen in eight minutes, setting an urgent emotional pace for Tonsils as they try to save Lewis from whatever fate lies ahead.

Max and Beth enter as narrative threads of their own. Their present-day scenes (preparing to perform Macbeth) become a vehicle for reflecting on the past. Gradually, it’s revealed that Max was one of the “Fountain Boys,” childhood bullies of Lewis and Tonsils.

Matthew Phillips’ tightly orchestrated sound design, paired with Poppy Townsend’s nuanced lighting, adds immense texture. What seems simple at first quickly reveals itself to be intricately timed, every shadow and flicker purposeful, especially as moments of puppetry and shadowplay appear.

 

 

Lia T’s delicate compositions, together with handmade props and playful visual touches, bring a sense of whimsy that keeps us laughing even as the story edges toward heartbreak.

This is part of the emotional rollercoaster of this piece; you go from belly laughs to a shocked silence, or deep tenderness in moments. This is the show’s quiet brilliance, sustained by an exceptional ensemble. Ariyan Sharma, as Tonsils, fills every inch of the space with captivating energy, never losing the thread even through unexpected moments (a broken glass in the audience doesn’t faze Ariyan for a second). Caitlin Green and Toby Carey offer depth and grounded humour, while Victor Y Z Xu’s performance as Lewis is a slow-build ache, leaving more than a few of us wiping away tears by their powerful performance in the final moments of the play.

Lucy Rossen’s direction is thoughtful, playful, and deeply human. Lucy navigates Will O’Mahony’s script with care, finding the humour within the heaviness and the truth within the surreal. Tonsils + Tweezers is a darkly funny and haunting exploration of friendship, grief, and the fragile membrane between imagination and reality.

There is a reference to how Macbeth is known as “A tragedy of the imagination…” and this is clearly drawing a correlation between Macbeth and Tonsils + Tweezers. We are seeing what happens when the veil between reality and imagination is held together by the flimsiest thread.

It’s deep themes, and hard subjects are not for everyone but it was truly enjoyable from start to finish, and relatable on so many levels (some you wouldn’t want to share with most people). It was light, painful and incredibly touching all at once. It will leave you tender but grateful.

To book tickets to Tonsils + Tweezers, please visit https://www.oldfitztheatre.com.au/tonsils-tweezers.

Photographer: Nicholas Warrand

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Fasten Your Seat-Belts, This One Soars!

Fly Girl

Fly Girl Rating

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3

I’ll take the chicken, but I have ZERO beef with Fly Girl!

Inspired by the true story of Deborah Lawrie, Australia’s first female commercial airline pilot, Fly Girl hits new heights as a clever, heartfelt and joyously funny but important retelling of one woman’s fight to get off the ground in an era when airlines thought “the fairer sex” should serve the nuts, not fly the planes.

The Ensemble Theatre’s intimate setting is the perfect launchpad. The set bursts with 70s orange, jet-age charm and a black flight tracker hanging centre stage. We’re greeted by flight attendants in high-waisted orange trousers, pinstriped shirts and iconic caps who usher us to our seats with perfect period poise and playful improvisation. The energy before take-off is pure fun; bright, bustling, and buzzing with anticipation.

Writers and performers Genevieve Hegney and Catherine Moore open the evening by announcing we can expect 40 characters, 5 actors and “not one stage crew.” They aren’t kidding. The entire cast (including Cleo Meinck as Deb, Emma Palmer, Alex Kirwan, and the writers themselves) morph seamlessly between roles, each transformation part of the fabric of the storytelling. Props shift and scenes change in full view, yet it never breaks the rhythm. If anything, it adds to the show’s theatrical charm, blending quick wit and creative ingenuity into narrative flow.

 

 

We meet Deb as a determined teen, inspired by her dad’s love of flying. By her early twenties, she’s applying to Ansett, only to discover that no amount of skill will outweigh a hiring policy drenched in sexism. Reg Ansett, rendered here with delicious absurdity, dismisses women as “unsuitable” for flying due to supposedly unpredictable “female issues.” Deb persists, taking on Ansett with a David and Goliath style battle, helped along by the sisterhood collectively engaging in the “Girlcott” of 1979.

The jokes hit hard and fast, weaponising humour to expose the absurdity of systemic discrimination. Real headlines are seen on the prop newspapers including “Pregnancy! Is it a disease?”, echoing the playground logic of the airline’s defence. Amid the laughter, the truth stings. For all its sparkle and comic verve, Fly Girl packs emotional punch.

The cast’s chemistry is electric, their comic timing impeccable, and their energy infectious. The audience was audibly along for the ride, laughter giving way to silent tears as history reasserted its gravity. I overheard someone in the bathroom talking about remembering the whole situation as it was happening and what an amazing experience it was to now watch the show. The hardest emotional landing comes when Lawrie herself joins the cast onstage for curtain call with her solicitor from the landmark anti-discrimination case; a moment that reduced already standing ovation to more applause and greater sobs.

Director Janine Watson keeps the tone perfectly balanced; funny yet furious, heartfelt and powerful. Fly Girl is theatre that entertains first, then quietly takes flight as something greater: a tribute to resilience, equality, and one woman’s fight that changed the course of Australian history.

Fasten your seat-belts… this one soars.

To book tickets to Fly Girl, please visit https://www.ensemble.com.au/shows/fly-girl/.

Photographer: Prudence Upton

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Nostalgic, Hilarious, Infectious Fun for Fans Old and New!

Stranger Sings! A Parody Musical

Stranger Sings! A Parody Musical Rating

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3

The Eternity Playhouse Theatre in Darlinghurst is a perfect blend of plush red velvet and modern design, creating a space that feels rich with history, despite modern touches. To the side of the stage, a small band waits eagerly, giving that unique thrill only live musical theatre provides. Early show wrinkles were handled with humour and camaraderie, immediately setting the tone for a show that thrives on both chaos and connection.

Stranger Sings! The Parody Musical is exactly what its title promises: a satirical, joyfully camp reimagining of Stranger Things. Across 90 minutes, Hawkins is gleefully turned upside down, with the iconic core four; Mike, Lucas, Dustin, and Will; at the story’s centre. Each young performer captures their role with razor-sharp comic nuance. Raven Swinkels gives Eleven both haunting presence and playful edge, while Anouk Macarthur Mitchell leans into Will’s fragility with endearing self-parody. Julien Daher’s winning Dustin brims with charisma, Ruben Aguilera hits the mark as earnest Mike, and Jahzara Mariasson brings fiery energy to Lucas.

And then, of course, there’s Barb. Belle’s powerhouse vocals ensure justice is not just served but belted to the back row, a standout that lit up the night. The wider ensemble provide a constant stream of physical comedy and energy, morphing into bullies, scientists, and perhaps most memorably, a gloriously camp Demogorgon. Together, their knack for timing and willingness to push into parody’s extremes kept the show fizzing with momentum.

 

 

The production is deliberately low-fi in its design, which only adds to its charm. Simple staging is enlivened with clever costumes, witty choreography by Anna Jaques, and inventive ensemble work that makes even the scene changes cheekily entertaining. Musical director Mitch Brown guides the band through a synth-heavy score that perfectly skewers the 1980s vibe, layered with inside jokes and knowing winks to pop culture.

Vocally, the cast are outstanding. Occasional mic issues threatened clarity, but the performers carried through with enough charisma and vocal strength that the cracks only showed how strong the foundations were.

What elevates Stranger Sings! beyond parody is its cheeky breaking of the fourth wall. These playful intrusions make the audience co-conspirators, reminding us all that this is both fan satire and affectionate send-up. Even for those of us who lost track of the show past season three, the humour lands. The references are sharp enough for superfans, yet broad enough to keep casual viewers grinning throughout.

Above all, the joy radiating from this young cast is infectious. They aren’t just parodying Netflix’s most nostalgic property; they’re celebrating the simple delight of putting on a show with gusto, fearlessness, and a palpable sense of fun. To see so much future talent unified in delivering something this funny, smart, and warm is a treat, and a reminder that Sydney’s next wave of performers is already here.

Did I want to leap onto the stage to join them? Absolutely. And that’s the upside-down magic of Stranger Sings!: a parody that revels in its chaos, and a cast that makes you want to be part of the ride.

To book tickets to Stranger Sings! A Parody Musical, please visit https://sydneyfringe.com/events/strangers-sings-the-musical-parody/.

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