Absolute Trash

Absolute Trash

Absolute Trash Rating

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3

Bawdy, bendy and bootylicious.

Glitter Martini have brought Absolute Trash down from the Gold Coast for a short run at the Sydney Fringe, following sparkly five-star reviews at the Adelaide Fringe.

We live in a world surrounded by trash. Bin juice, trash pandas, floating garbage islands, and the toxic waste dump that passes for social media. When was the last time you said that your life is a dumpster fire? (Confession: last Wednesday for me.)

Absolute Trash gleefully up-cycles our garbage mountain planet with eye-popping circus, wacky comedy and bawdy cabaret.

It’s nice the get the word bawdy out of the house. It’s usually stuck at home doing debauched crochet while the sexier words like saucy and spicy get invited out to play.

If you want to, you can take it easy, sit back and watch, but part of the joy of a Glitter Martini show is their love of playing with their audience. You are invited to share your trashiest stories by text at the start of the show.

Director and performer, Darcie Rae, loves creating a real feeling of connection between the audience and performers. She has fashioned a joyous audience-driven, interactive experience that uses comedy to disarm you as it seductively draws you into the show.

 

 

Natrasha Binit, the Duchess of Debauchery, the Queen of Trash, is your incomparable compĆØre for the night. They’re taller than Sesame Street’s Oscar the Grouch but they share his love of trash and trashy things, with a green plastic wig and a Chanel little black bin bag dress.

Trent Charles, as Natrasha, is the beautiful mutant lovechild of Cara Delevingne and a Monster High doll. You know, in a good way.

Tangly contortionist Bendy Elle spends the show upside down, in the air, inside out and tied up in knots. While smiling impishly.

It’s not every night that nimble and sculpted aerial artists like Miss Amy May and Darcie Rae take to hoops and trapeze, sharing a stage with puppet bin chickens.

I will go to my grave remembering the look of sheer disbelief on an audience member’s guide dog’s face as it stared up at two puppet bin chickens dancing, with squeaky rubber chickens, to Burt Bacharach, ably puppeteered by Charlie Love in platform PVC boots.

That is a sentence I never thought I’d write. And the rubber chicken can-can is a weird, wild and wonderful thing that you need to experience in the flesh.

Absolute Trash ticks all your sustainable boxes in a consensual way you weren’t expecting.

Glitter Martini's Absolute Trash is part of the Sydney Fringe, playing at Fool's Paradise, The Bunker, Entertainment Quarter until 21 September

To book tickets to Absolute Trash, please visit https://sydneyfringe.com/events/absolute-trash/.

Photographer: Josephine Carter, Taylor Scott

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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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Bright Star - A Bluegrass Musical

Bright Star - A Bluegrass Musical

Bright Star - A Bluegrass Musical Rating

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7

The spectacular Bright Star musical presented by Sport For Jove Theatre Company, in association with Hayes Theatre Co, is a spellbinding must-see. Co-Directed by Miranda Middleton and Damien Ryan, Musical Direction by Alec SteedmanĀ and produced by Christopher Tomkinson and Isabella Milkovitsch, this creative team - along with their cast - have created an absolute masterpiece.

The magnificent cast left me in awe of their radiating talent. In the theatre world we talk about ā€œtriple-threatā€ performers who can sing, dance, and act. Well, this sensational cast raised the bar adding instrumental skills into the mix-quadruple threats!

This highly acclaimed production transports audiences to the 1920s and ā€˜40s in the American South. Steve Martin and Edie Brickell were inspired to write Bright Star after discovering an old newspaper article about the ā€œIron Mountain Babyā€ - an incredible true story of a baby's miraculous survival after being thrown from a moving train inside a suitcase. Rescued and adopted by an elderly couple, this miraculous story sparked a reimagining that became this heartwarming, bittersweet tale.

Now to the music: the score is brilliant-one you’ll want to add to your playlist. The powerful bluegrass songs resonate with heartfelt emotion, striking the audience with every note. Congratulations to the Musical Director, Alec Steedman on an outstanding job of directing this talented cast to deliver an exhilarating performance. The impeccable harmonies and the all-round musicianship of the singers and instrumentalists were absolutely inspirational.

 

 

Hannah McInerney is sensational in the lead role of Alice Murphy. She took my breath away from the opening number with her angelic vocals, rich with Southern warmth. Her playful, engaging acting was both charming and humorous yet deeply moving in the poignant moments. At times, I was wiping away tears; at others, laughing in hysterics. Hannah kept me captivated throughout her intoxicating performance.

Kaya Byrne gave an electric performance as the charismatic Jimmy Ray. Kaya sings, plays guitar and harmonica with utmost professionalism, and conveys his character's heartbreak and anguish with depth and honesty. Kaya's emotive performance was deeply impactful, leaving my heart in my throat.

Cameron Bajraktarevic-Hayward is utterly delightful as Billy Cane. Expertly playing the cello during the show, he delivered the role with skill, energy and heart. His agile dance moves and magnetic stage presence enhanced an already brilliant performance.

Deirdre Khoo shines as Lucy, flawlessly showcasing her talents on accordion, vocals, dance and acting. Her show-stopping moves illuminated Shannon Burns’ masterful choreography. Deidre, alongside Jack Green who played the comedic Daryl, brought plenty of laugh-out-loud moments which kept the audience well entertained. Jack Green also played the sincere Daddy Cane, a contrasting character full of emotional depth and sincerity.

Genevieve Goldman, as the comedic relief character Margo,brought dynamic energy to the story. With fabulous comedic timing, striking vocals and impressive acting, Genevieve provided an engaging performance.

As the villainous Mayor, SeƔn van Doornum was remarkable. Portraying a detestable character convincingly can be difficult, but his superb performance captured the proud, unfeeling, and truly evil nature of the role.

Katrina Retallick and Rupert Reid as Mama and Daddy Murphy were a powerhouse duo. Katrina’s stunning vocals, especially her harmonies with Hannah, were unforgettable. Her raw intensity in the harrowing scenes amplified the emotional impact. Rupert’s portrayal of an uncompromising father, weighed down by regret, was equally striking—his natural, convincing delivery perfectly suited the show’s era.

Bright Star will make you laugh, cry and fall in love with its story and musical score. This impactful production, with its incredible stellar cast, is not to be missed. I am certain you will fall in love with it, just as I have.

To book tickets to Bright Star - A Bluegrass Musical, please visit https://www.sportforjove.com.au/bright-star-2025.

Photographer: Robert Catto

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Adventures Under The Sea, On Earth and To The Moon (And Back)

Twenty Million Thousand Leagues Under The Sea

Twenty Million Thousand Leagues Under The Sea Rating

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2

To say this show is just a theatre performance would be simplistic. Twenty Million Thousand Leagues Under the Sea by Pummel Squad cannot be boxed into just one category. Presented onstage by creators and performers Harry McGee and Cooper Donald McDonald, together with sound designer and composer Yanto Shortis, the show is a lively explosion of creativity—a brilliant blend of comedy, live-action illustration, and music, all brought to life with quirky narration and the classic overhead projector (OHP)!

The three performers tell the story of Rasthomas Bulge, an ordinary fellow with an extraordinary name, represented in 2D illustration in various poses, depending on the storyline. He’s drawn in 2D but at times is represented by larger than life 3D narrators, who voice his thoughts. At other times, his thoughts are cleverly interspersed and gently made known, projected onto a screen. Combining shadow puppetry with stencils and rolling overlays, along with narration and acting, the creators move beyond the ordinary to present the story in the most original way possible.

Rasthomas is a car salesman with a bushy moustache. He is drawn with three curly springs of hair sprouting from his head, bright eyes and a snappy suit. As the audience is being seated, his creators are sketching him to life on the overhead projector bit by bit. It was fun watching Rasthomas become himself, and it felt like we were getting an art lesson as the lines morphed into a cartoon man.

He’s got a steady job, a steady social life, (albeit with a shady school friend, drawn to ā€œlook bad, and is worse on the insideā€) and a steady, ordinary life with his family. At the heart of the story is Rasthomas, feeling unsatisfied with this steady life. He is clearly experiencing a mid-life crisis where he feels that there’s something missing. After meeting and selling a sportscar to a man who surprisingly looks a lot like him, Rasthomas goes in search of adventure.

 

Following Rasthomas to literally the ends of the Earth and sky, the audience is entertained with stories of him travelling from the depths of the ocean to the moon and back. In a nod to the novel Twenty Thousand Leagues Under the Sea written by Jules Verne, there’s danger, daring escapes, sea monsters and even a bit of Casablanca cleverly woven in that ties right back to his wife. He realises after he has stepped out of his own shadow, that his ordinary life is something to be treasured, and perhaps looking at things from a different perspective brings acceptance.

Along with the lo-fi music and an almost continuous sound design accompaniment to the show, musician Yanto came out from his music station at the side to take centre stage. Standing in front of the screen, he sang an original song with his banjo ukulele as the projection rolled along, with the drawn buildings floating past with song. The audience loved it!

A memorable moment for me was one where we were introduced to Rasthomas’ four sons, drawn in lines, their portraits smiling. Their names were announced and revealed, read aloud as a list, with the first three son’s names rhyming, culminating with the youngest son being named Rasthomas Junior, which made me laugh as it was so silly. It was these witty bits of comedy, seamlessly woven in and delivered at surprising moments throughout the show, that gave the show a comedic charm which I thought was reminiscent of Roald Dahl.

Twenty Million Thousand Leagues Under the Sea was a 50-minute performance that seemed at times to be an improv. However, the Pummel Squad team cleverly crafted their skills to only make it seem this way, involving tag teaming the precise placement and flipping of stencils on the OHP, and quick delivery of quips and cheeky lines. Part of the 2025 Sydney Fringe Festival and already an award-winning show, this is one quick-draw scribby art combo comedy show (I did say it was hard to categorise it!) which will capture your sense of humour and your heart. Don’t miss this truly unique performance—there’s nothing else like it!

Season: 10- 13 September (matinee and evening performance on Saturday 13 September)
Run time: 50 minutes
Venue: New Theatre, 542 King St Newtown
Tickets: www.sydneyfringe.com/events/twenty-million-thousand-leagues-under-the-sea

To book tickets to Twenty Million Thousand Leagues Under The Sea, please visit https://sydneyfringe.com/events/twenty-million-thousand-leagues-under-the-sea/.

Photographer: Tom Noble

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