Till Death (Or Court) Do Us Part

Till Death (Or Court) Do Us Part

Till Death (Or Court) Do Us Part Rating

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2

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.

To book tickets to Till Death (Or Court) Do Us Part, please visit https://www.melbournefringe.com.au/whats-on/events/til-death-or-court-do-us-part.

Photographer: Jeremy Guzman

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Threadbare

Threadbare

Threadbare Rating

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5

After being involved in the theatre scene for almost 16 years, it still surprises me just how articulately live performance can capture a unique experience and make it feel universal. Seeing Threadbare was one such experience. Regardless of background, status or age, the audience were invited with open loving arms to sit and feel this story of identity, belonging and fading memories.

We follow Sasha who has some exciting news they would like to share with their beloved gran Elaine. But the repercussions of sharing this part of their lives might damage the relationship between them. Elaine also has dementia. Time seems fleeting and memories are fading. But luckily Sasha has the safety net of a home filled with the love of the family they have chosen.

Multidisciplinary artist Tomas Parrish-Chynoweth embodies the character of Sasha with beautiful vulnerability. Etched on their face and voice was the fraught complexity of navigating through love, identity and memory. Rebecca Morton’s Elaine was simply divine to watch. Every time we saw the light of recognition fade from her eyes, our hearts would crumble to pieces. Sasha’s partner Kaden was played by Blake Appleqvist. Their ability to expertly balance softness, heat and comedy added dimension to the budding relationship that few actors would be able to achieve. Matisse Laida’s Riley gave the audience permission to find humour in some of the more absurd aspects of queerness. Comic timing is no joke but Laida used it with graceful ease.

 

 

Completing the family was Sarah Fitzgerald as Kahani. Their performance perfectly encapsulated the exhausting burden of being the “caretakers” of the family. Each actor moved with fluidity, trust and conviction. This can be credited to Manali Datar’s adept and careful direction. Congratulations on this triumphant directorial debut! What this team has achieved with Tomas Parrish-Chynoweth’s poignant script is nothing short of brilliant.

Leaving the theatre space, I could see I was definitely not the only audience member with tears in their eyes and a smile on their face. Sometimes tolerance and forgiveness can feel like wounding yourself especially if you are the oppressed. And sometimes it is too much to bear at the risk of disturbing your peace. But if you can do it, it can also be the greatest gift you give yourself and another person. Love is love is love and at its heart, Threadbare is a celebration of acceptance in all its forms and love in all its forms. I can still feel it holding me close like the warm embrace of my grandmother. Threadbare is showing at the St Martins Youth Arts Centre until the 19th of July.

To book tickets to Threadbare, please visit https://stmartinsyouth.com.au/event/threadbare.

Photographer: Liv Morrison

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Breaking the Castle

Breaking the Castle

Breaking the Castle Rating

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2

Creating a successful one-man show is a Herculean task. It requires an enduring assurance of self, vigour of spirit and bold leaps of faith. If you have furthermore chosen to stage an autobiographical story, then the courage and confidence that is required of you is tenfold. Writer and performer Peter Cook has achieved great critical acclaim and impressive mileage from his one-man play Breaking the Castle currently showing at Theatre Works until the 19th of July. Since its premier on the Canberra stage in 2020, this show has undergone a few iterations and is promised to continue developing. If you don’t manage to catch it before the weekend, just quickly zip over to the Sydney Opera House where it will be showing from the 23rd to the 26th of July. Or keep an eye out for the film that will be sure to come out soon.

Upon entry the audience is greeted with a thrust stage (pun intended) designed by Raymond Milner. A menagerie of detritus from half-eaten takeaway containers, books by Shakespeare, alcohol bottles and lines of cocaine litter the space. Eminem’s proclamations of strength and grit fill our ears as we find our seats in one of three sides of the audience. It starts and we begin the journey of this man’s struggle with addiction, ambition and self-actualization.

 

 

Enter Davey: an aspiring actor who loves Shakespeare, one-night stands, alcohol and drugs. But this love affair comes at much too high a price. The cost of numbing yourself from unprocessed trauma means that you also lose touch with reality and who you want to be. To be or not to be, indeed.

Each emotional beat of this performance can be credited to director Dr Bridget Boyle and her keen eye for blocking and pacing. There is a strong sense of honest collaboration between the director and writer/ performer and this relationship of trust shines through onstage. You can almost see Boyle’s invisible guiding hand as Cook moves through the space, embodying various characters and voices. The use of Kimmo Vennonen’s soundscape and Ben Hughes’ lighting design further accentuated each dramatic moment as they transpire.

Breaking the Castle is earnest, defiant and deeply personal. It is no easy feat to present your life and bear the vulnerability of self reflection. Yet at its core, this show is about knowing the life you want and daring to pursue it. I wish Peter Cook all the best of luck in finding more things that he likes about himself and the beautiful journey that lies ahead.

To book tickets to Breaking the Castle, please visit https://www.theatreworks.org.au/2025/breaking-the-castle.

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Good Food & Wine Show – Melbourne

Good Food & Wine Show - Melbourne

Good Food & Wine Show – Melbourne Rating

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4

With eager hearts and bellies, we set about the walk down South Wharf to the Melbourne Convention and Exhibition Centre for our first taste of the 25th annual Good Food and Wine Show. This three-day foodie bender had been on our calendars for quite a while and with the Melbourne weather gods on our side, we knew the stars were aligning and we were in for a treat.

Upon entry we were met with an exciting blast of fragrances and laughter. It became clear that we needed a plan of attack for the 300 plus exhibitors before us. Often with these grand-scale conventions it’s easy to feel overwhelmed and spoilt for choice as to where to start. But armed with our complimentary wine tasting glasses, we forged forth into the throng.

The Harvey Norman stage hosted the chocolate queen herself Kristen Tibells. Audiences were treated to the eight distinct flavours of chocolate and the origins of cacao beans. Throughout the day, other A-list celebrity chefs hosted live demonstrations on this same stage. George Calombaris and Shannon Bennett took us through a culinary wonderland, their bubbly dynamic humorously punctuated by the surtitle screen above the stage providing commentary on the action happening below. Miguel Maestre also graced the stage with his infectious smile and delectable “Fiesta En La Cocina” demonstration for passionate cooking.

Being a “curd-nerd” myself (a term I learned from a friendly patron willing to let me jump the cue in front of him), I found myself instinctively gravitating toward the cheese district. First stop was the Smelly Cheese Co. grilling cheese toasties with their Quicke’s English Cloth 18 month Cheddar. Oh my heart. I would die happy. If I had all the time in the world, it wouldn’t have been enough to satiate my desire to sample every cheese stall. One such highlight was Long Paddock Cheese offering handmade artisan cheeses using organic cow’s milk from Castlemaine.

Their Bluestone was reminiscent of a creamy salty stilton and their Driftwood wrapped in spruce bark was baked to gooey perfection that you just wanted to dip a spoon in there and succumb to a cheesy coma heaven. However it was their signature cultured cream salted butter that took the spotlight. Simply spread on some crusty bread, you felt like a 17th century fop giggling over the luxury banquet before you.

Wines, gins and sakes were in abundance presenting flavours and aromas from all over the world. Lychee Estate took my eye with their “Horse’s Neck” cocktail. Located in the small Hong Kong town of Buluo, this distillery prides itself in providing “nourishment to the people and the fruit”. Their award winning lychee vodka and ten-year edition brandy boasts no less than 12 kg of lychees in every bottle. Their “Horse’s Neck” cocktail (a combination of their lychee brandy, ginger ale and lemon rind) reminded me of a great summer drink next to an Aperol spritz.

After sampling an unforgivable amount of sweets, snacks, pastries, condiments and alcohol, it was time for our slow and heavy departure. Word to the wise: next year bring a backpack for all your goodies and be sure to eat something before hitting the wines too hard.

To book tickets to the Good Food & Wine Show in your town, follow the link for session dates and times @ https://goodfoodshow.com.au/.

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