A Celebration Of All Things Sparkling!

The Bubbles Festival 2026

The Bubbles Festival 2026 Rating

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The Bubbles Festival Melbourne: A celebration of all things sparkling!

Natalie Pickett founded The Bubbles Review 10 years ago, when her first blog educated those who thought Moet was spoken like the end of the word, “ballet”, with a silent T, when really, it’s pronounced “Mo-wett.” Natalie should know. When working as a tour guide in Europe, on a guided trip to Moët et Chandon, she confirmed this exact fact.

Natalie’s ‘Bubbles Reviewers’ Club’ offers members monthly rewards, tasting technique masterclasses and more discoveries and invitations via www.thebubblesreview.com

I met some of her club members on Saturday, 2nd May, for Bubbles Festival Melbourne, at River’s Edge Events in the World Trades Centre – in a room with a stunning view of the Skyline Wheel and Polly Woodside. Holding our complimentary Riedel sparkling glasses (included in our tickets), we were all thirsty to begin when Natalie welcomed our group and spoke about some important terms to remember before sampling the bubbles on offer. She reminded everyone to hold their glass by the stem, as best to view the bubbles in the middle. We were advised to enjoy the experience of each sparkling with each of our five senses; even holding the glass to our ears – as though listening to a seashell on the beach – and to take in the scent with our noses, as far as they’ll go into the glass before tasting.

“Bubbles – Just like a hug in a glass” and “ABC = Always Bring Champagne” slogans called to us from TV screens around the room. After this, we would visit all the Exhibitor tables to indulge in the exquisite selection.

In between tastings, we were served trays of various Canapés – including Truffle and Mushroom Arancini. We also indulged in a succulent seafood station and a cheese station – perfect bubbly food companions.

Ian was the friendly host from Clover Hill. He poured my first tasting with CLOVER HILL TASMANIA EXCEPTIONELLE MULTI-VINTAGE, (59% Chardonnay, 35% Pinot Noir, 6% Pinot Meunier) – a light straw/green hue in the glass, vibrant citrus and stone fruits on the nose and crisp acidity on the palette.

My second tasting was the CLOVER HILL TASMANIA ROSÉ MULTI-VINTAGE (66% Chardonnay, 29% Pinot Noir, 5% Pinot Meunier) with fresh vibrant strawberry notes upfront on the nose. The palate was layered and creamy with red forest fruits, to a balanced, long finish. This one was sweeter than the first and a little too perfumed for my taste – still a lovely sparkling.

My third taste was the CLOVER HILL BLANC DE BLANCS MULTI-VINTAGE – Tasmania with 100% Chardonnay. This one reminded me a tad of the lovely Billiecart-Salmon Blanc de Blancs Grand Cru NV from France. It too, is characterized by aromas of citrus, white peach, and brioche with a creamy texture.

Tasmanian cool-climate sparkling wines are dominating at the moment, having taken out all the trophies at the 2025 Australian Sparkling Wine Show and Clover Hill is no exception, having been recognised by The Real Review as one of the best producers in the country. They are consistently ranked among Australia’s top producers with a 5-star Halliday rating.

Ian had a fourth offer in CLOVER HILL ROSÉ D’ASSEMBLAGE MULTI-VINTAGE (63% Chardonnay, 29% Pinot Noir, 8% Pinot Meunier), which I didn’t get to sample as I felt drawn to the French table while there was a lull in the crowd.

 

 

I met Jean Paul at the Philippe Fourrier table for a quick chat. Since 1847, this family Champagne house located in Baroville, is anchored in an exceptional terroir, the Côte des Bar, in the south of Champagne appellation area.

JP’s first French pour was the CHAMPAGNE PHILIPPE FOURRIER – ROSÉ DE SAIGNÉE (NV) (90% Pinot Noir, 10% Chardonnay) with a light red to deep rosé hue and orange reflections, its fine and persistent bubbles adding elegance in the glass. The nose opened with ripe raspberry and fresh red berry aromas.

JP’s second French pour was LOUIS PERDRIER FRENCH BRUT (NV) – Bordeaux – France (100% Chardonnay), an exceptional French Sparkling. Deliciously toasty notes melt into the scent of golden apples. Gentle and harmonious on the palate with some richness tempering the citrus finish. For me, this was the best sparkling of the day.

The third French pour was CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – Champagne, France (100% Pinot Meunier), with a beautiful pale-yellow hue and fine bubbles bright in the glass. The nose offered fresh red fruit aromas of subtle blackberry, hints of peach and plum. This one seemed a tad light to me after the Brut.

Lastly, I met Kathy at the Sutherland Estate stand – a small, second-generation family-owned enterprise located at a picturesque location in Dixon’s Creek, a mountainous area, past Yarra Glen in the Yarra Valley. Her first pour was SUTHERLAND ESTATE – 2021 BLANC DE BLANC SPARKLING – Yarra Valley (100% Chardonnay). Made from 100% Chardonnay in the Méthode Traditionelle, with secondary fermentation and ageing in the bottle.

Kathy’s second pour was her SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO (100% Tempranillo.). This renowned sparkling red is unique because we don’t often see a Tempranillo here in Australia. Sutherland have been making it for more than 12 years, and it’s all grown onsite. It has spent twelve months in seasoned barriques before undergoing secondary fermentation on lees in the bottle made Méthode Traditionelle, having a powerful burst of mid-palate fruit of berries, dark cherries, a bit of liquorice, with peppery spice and earthy undertones to finish. The palate is medium-bodied and well structured, with fine tannins and a persistent bead. A great match with cheese and charcuterie. It had the power of a sparkling Shiraz and I’m keen to visit their Cellar Door for more.

I tried the SUTHERLAND ESTATE – 2025 SPARKLING ROSÉ (with 100% hand-picked Pinot Noir). Whole bunches of Pinot are harvested from the vineyard and come into the winery and straight into the press immediately leading to the gorgeous pale salmon colour. The aromas are bright and enticing with rose petal, strawberry and perfume. On the palate were strawberries and cream. A delightful summer’s drink, but for the last glass of the day, I had to return for one last taste of the Sparkling Temperanillo.

Illustrator, Susan Kerian, who some recognised from her work with retailer, ‘Blue Illusion’, returned to showcase her original illustrations – perfect for ‘Emily In Paris’ fans and Francophiles.

All sparkling wines and Susan’s artwork could be purchased on the day so, I happily departed with my order for delivery of four of the LOUIS PERDRIER FRENCH BRUT (NV) from Bordeaux, two of the CHAMPAGNE PHILIPPE FOURRIER – PINOT MEUNIER BRUT (NV) – from Champagne in France and six of the SUTHERLAND ESTATE – 2023 SPARKLING TEMPRANILLO from the Yarra Valley, because according to F. Scott Fitzgerald, “Too much of anything is bad, but too much Champagne is just right.” Well, that’s my excuse and I’m sticking to it!

All of the exhibitors offered great deals for purchasing on the day. I’ve never understood why tastings sometimes don’t allow that, but at Bubbles Festival, you could take the wine with you on the day, or get it delivered later, which was ideal.
$5 from each ticket went to the Sacred Heart Mission, St Kilda. Natalie chooses a different charity to donate to in each of her state’s events.

It was a sunny 25degree day in Melbourne and I tasted some new and exciting Sparklings and Champagnes, met like-minded and vivacious souls, feeling the fresh bubble of life, therefore, I thoroughly recommend attending the Bubbles Festival.

Here are the other states’ Bubbles Festivals, coming soon:

Brisbane – 9 May 2026 – Get your tickets here!
Sydney – 22 & 23 May 2026 – Get your tickets here!
Adelaide – 6 June 2026 – Get your tickets here!
Perth – 20 June 2026 (TBC) – Join waitlist here!

To book tickets to The Bubbles Festival 2026, please visit https://thebubblesreview.com/the-bubbles-festival/.

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Howl

Howl

Howl Rating

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The pamphlet guide to the Omega Ensemble’s new composition of works entitled Howl promises audience members “riot, rapture and release”. Ensconced within a beautiful wood-panelled studio situated in Walsh Bay, it was clear that those who sat down to see the first performance of this show were bearing witness to an intriguing and complex arrangement of music.

The show began with a rendition of a piece called Tooth and Nail, which involved a talented soloist skillfully wrangling his viola to an eerie and circular backing-track. To me, the piece was haunting and reminiscent of the feeling of chasing and being chased by something sinister. It was a piece that woke the audience up; a true skill for the musician to play this kind of music in a way that is suspenseful without being shrill.

Following the first piece, two more violinists and a cellist joined each other on stage, and the blue curtain behind them was at once lit up by a fluorescent green/pink background. This was in preparation for a piece entitled Tuggemo; my least favourite composition of all that were played. According to the guide, Tuggemo is a word that has fallen out of usage and means “a swarm of birds or flies”. It was clear the musicians were mastering their instruments, and perhaps the flurry of activity in the last portion of the piece was building into something sharper. However, when the piece ended abruptly, what was left seemed to be a confused purpose. It felt to me as if the purity that strings are capable of was being eschewed in order to replicate the impossible. However, I am not an experienced musician and the audience seemed to be okay with it, which may simply mean that something had been lost on me.

 

 

The third piece; Interference Patterns seemed much closer to its intent. When the green and pink lights fell away from the blue fabric of the curtain, it was as if the music had become orchestral and cinematic again, and the audience was taken to another place. The piece was foreboding and ominous while at other times clean and exquisite. The friend I had brought with me (who previously played as a classical violinist in her home country) said she loved it. To the question of why she liked it so much, she answered that it was ‘nostalgic; like something in the past but at the same time hasn’t been heard before’.

Interference Patterns set the tone perfectly for what was to come next; the piece the show is named after and which uncoincidentally shares a name with Allen Ginsberg’s infamous poem. The musicians playing Howl did well to capture the nightmarish intensity of the infamous work. It was sharp rather than chaotic and the strings were haunting but never sad. Particularly effective was the clarinetist, who commanded the room, and led the audience through what seemed to be a faultless performance. I felt that the music did not unravel in the same way the poem does, however technically and thematically, the notes were mastered by their respective musicians.

Following the end of the fourth piece, pianist Vatche Jambazian took to the stage to introduce himself as the musician playing Danny Elfman’s composition; Piano Quartet. He seemed to at once take command of the beautiful Steinway and Sons grand piano in the centre of the room to express himself through the music, rather than merely playing it. The animated performance provided music that was interesting, creepy and captivating.

And so, as a non-musician who loves music and knows it is for everyone, I can only review this performance from the honesty of my own lens. In this way, I think the collective attentiveness of the audience showed that they were grateful for being gifted with this experience. As an admirer of poetry, I would say that it is perhaps impossible to emulate the intensity of Ginsberg’s Howl without the words by which it expresses its sentiment. However, I am adamant in my judgement that the standalone performance here played out in the final piece; Piano Quartet. The pianist was a definitive and shining gift in the program, fully embodying its genre and showcasing inherent musicality.

3 ½ stars

To book tickets to Howl, please visit https://www.omegaensemble.com.au/howl.

Photographer: Gxbriellemxry

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Waitress Australian Premiere In Melbourne This Week

Feature-WAITRESS

Broadway’s smash-hit musical WAITRESS has its Australian Premiere on Thursday night, 7 May at Her Majesty’s Theatre, Melbourne. Preview audiences have been effusive in their praise of the show, with heart-felt standing ovations each performance.

Tickets are on sale for both the Melbourne and Sydney seasons at waitressthemusical.com.au

“This inspiring show was a massive hit on Broadway where it played for almost four years, and was a huge success in the West End and across the world. And now WAITRESS has arrived in Australia,” said producer John Frost for Crossroads Live. “With its inspiring music by Sara Bareilles and universal themes of hope and resilience, WAITRESS has fast become a ‘must see’ musical. We have a sensational Australian cast, led by Natalie Bassingthwaighte, Rob Mills, John Waters, Gabriyel Thomas and Mackenzie Dunn, and preview audiences are loving this moving and original musical. Get your tickets now while you can.”

Leading the cast as Jenna is Natalie Bassingthwaighte (Chicago, Shirley Valentine), while Gabriyel Thomas (Cats, Sister Act) and Mackenzie Dunn (Grease, Annie) play Becky and Dawn, Jenna’s coworkers at the diner. Charismatic star of stage and screen Rob Mills (& Juliet, Wicked) is Dr Pomatter, and legendary actor John Waters (Jesus Christ Superstar, Oliver!) plays Joe, the owner of the diner. Keanu Gonzalez (Annie, West Side Story) is Earl, Gareth Isaac (Elf the Musical, Mary Poppins) plays the role of Ogie, John Xintavelonis (The Wizard of Oz, The Lion King) plays Cal, and Annie Aitken (Guys & Dolls, The Sound of Music) is the Jenna Alternate.

The ensemble and swing cast comprises Cameron Boxall, Alexandra Cashmere, Ethan Jones, Dwayne P. Mitchell, Joseph Naim, Conor Neylon, Belle Parkinson, Emily Robinson, Elandrah Tavares, Bree Tipoki and Stephanie Wall. Lulu is played by Stevie Denton (5 years old, from North Warrandyte), Lola Inman (5, from Langwarrin), Ruby Marshall (5, from Port Melbourne) and Evie Papas (6, from Templestowe).

Inspired by Adrienne Shelly’s beloved film, and brought to life by a trailblazing female-led creative team, including a book by acclaimed screenwriter Jessie Nelson, an original, uplifting score by Grammy winner Sara Bareilles (Love Song, Brave) and direction by Tony winner Diane Paulus, WAITRESS is the irresistible Broadway hit about resilience, friendship and hope that has captured hearts worldwide.

This heartwarming and empowering musical tells the story of Jenna, a small-town waitress and expert pie maker who longs to escape her rocky marriage and start again. When a baking contest, an unexpected new romance and the support of her fellow waitresses offer her a taste of change, Jenna discovers that the secret ingredient to happiness might be closer than she ever imagined.

“Treat yourself to a slice of 5 Star musical pie” – The Times
“Sweet, sassy, passionate & delightful!” – New York Magazine
“Simply delightful! A glorious reminder that life is messy and wondrous!” – The Washington Post

WAITRESS made history on Broadway with the four top creative spots in a show being filled by women – Sara Bareilles (music and lyrics), Jessie Nelson (book), Lorin Latarro (choreography) and Diane Paulus (direction). It opened on Broadway in April 2016 at the Brooks Atkinson Theatre, where it ran until January 2020. WAITRESS was originally produced by Barry & Fran Weissler and Norton and Elayne Herrick.

Sweet, sassy and soul-stirring, WAITRESS is “a little slice of heaven” (Entertainment Weekly) and “made from the finest ingredients” (Time Out). It’s a feel-good celebration of second chances, and the magic of a well-made pie.

Everyone deserves a slice of happiness!

MELBOURNE SEASON DETAILS
Venue: Her Majesty’s Theatre
Season: To 19 July
Performance Times: Tue-Thurs at 7pm, Fri-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm, 3pm or 6pm (performance times vary each week)
Prices: From $69.90 (Transaction fees apply)
Bookings: waitressthemusical.com.au or phone 13 28 49
Groups 8+ call (03) 9662 9571

SYDNEY SEASON DETAILS
Venue: Sydney Lyric Theatre
Season: From 1 August
Performance Times: Tue-Thurs at 7pm, Fri-Sat 7:30pm, Wed 1pm, Sat 2pm, Sun 1pm, 3pm or 6pm (performance times vary each week)
Prices: From $69.90 (Transaction fees apply)
Bookings: waitressthemusical.com.au or 136 100
Groups 8+ email groups@ticketmaster.com.au

 

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Raw and Feral – Rachael Sue Ragland at The Factory

Feral

Feral Rating

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Rachael Sue Ragland is a self-confessed Feral. That’s what she has named her stand-up comedy show. Depending on your definition of the word, she may well be, and that’s a compliment. It’s used to describe someone wild and fierce. After seeing her performance at The Factory in Marrickville Sydney, I would agree with Rachael, and add the words “untamed” and “authentic” to round out the honesty of her show.

Ragland’s shared storytelling of some deeply personal health issues was delivered in a way that allowed the audience to collectively bond together. Her recount of a certain wholistic physiotherapist had everyone voicing their indignation, and with the timing of a good comedian, her next sentence had us laughing. The push and pull switch was done seamlessly.

This was not the first time her experiences with health professionals had us groaning at the unfiltered and unprofessional things that had been said to her on life’s path. The stories were not for sympathy grabbing, more of a recalling and sharing of her life’s journey, and her responses to those rude people that had me cheering for her.

Ragland was unafraid to highlight physical attributions about her own body. Performing her set in a bikini under lights, in front of an audience takes some confidence indeed. She embraced her natural attributes in a way that was very admirable. In her own words, she referred to her ‘thick thighs’, her ‘oak tree legs’ on multiple occasions. But instead of lamenting on them, she told the audience how she turned her thighs to her advantage, making them star in their own show!

 

 

Originally from the United States, Ragland told stories about living in Australia. Of course, beach volleyball and sweaty sandy backs featured which was relatable to her audience members. She told us that being the only girl in a predominately male family made her competitive. Quite a few times, she shared golden nuggets of advice from her father, Tom Ragland.

When attending a comedy show, it’s a gamble to sit in the front row. Some comedians mercilessly pick on people in the front row. Ragland went gently on them! She did involve her audience by asking us to close our eyes as she recounted a dream. She even gave out Squishy Mallows to the audience to hug, to set the scene of gently falling asleep, a sweet gesture.

There were moments of clever wordplay – “clench my clam” – and visual pictures painted for the audience. After her show, I can still see this flame red, long haired beauty in a hospital bed, with a shaved head and three cornrows close to the head, and it makes me smile.

Rachael was part of Sydney’s biggest annual event, the Sydney Comedy Festival which runs from early April to mid-May. She is not the usual punchline joke telling comedian. Instead, Rachael took us back to her childhood, her sporting life, to her doctor’s appointments and beyond, and invited the audience warmly in, to sit there with her. There is a vulnerability shown that is uncovered during her time onstage, it is all Rachael Sue Ragland, bare and fierce. Proudly Feral.

Rachael Sue Ragland – Feral
Saturday 2 May 2026
Performance time: approximately 70 minutes
The Matchbox at The Factory
107 Victoria Road, Marrickville
The Sydney Comedy Festival 2026

To book tickets to Feral, please visit https://www.sydneycomedyfest.com.au/event/rachael-ragland-feral/.

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