theatre - Whats The Show

The Human Centipede Parody Musical

10/10/202610/10/2026 Amanda Harrison⭐🦉

The Human Centipede Parody Musical Rating

★★★★★

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The Human Centipede Parody Musical is a Horrifying yet Hilarious time that knows how to poke fun at itself, the source material and the audience. Liam Hartley and Oliver Catton take us on a journey that follows the disturbing goals of Dr. Heiter (Beau Wykes) to create a ‘Human Centipede’ from three people. Heiter sets his sights on Lindsay (Rae Rose), Jenny (Georg Gleeson) and Katsuro (Chris Nguyen) but as the missing persons pile up; Detectives Kranz and Voller (Casey Martin and Douglas Berry) give chase. This chaotic musical does delight with appropriately absurd characters, catchy show-tunes and exciting choreography. Maureen Bowra and Liam Hartley should be commended on their fantastic use of the space and inventively funny choreography, dance numbers tied to wheeling office chairs is quite an achievement. There was a lovely attention to detail in set pieces, styling and design that kept the story flowing and the audience immersed.

There were moments where the comedic timing was a little out, and the pace lulled quite drastically at the beginning of act two; however the energy from this cast was more than enough to hold the show strong. Martin and Berry brought ecstatic levels of energy to their roles, never wavering no matter what they were doing. Rose and Gleeson were exceptional in their characterisation, bringing earnestness and energy to Lindsay and Jenny. Wykes was fantastic as Dr. Heiter, unsettling yet impressive, especially when showcasing some masterful tap skills. Nguyen brought a loveable innocence to Katsuro and relatable distress to his other child character, showcasing his range between deluded and grounded. Although, the audience should be alerted that the front row is a ‘splash zone’ for fake bodily fluids from Nguyen and to stick to the back if you’re squeamish.

If you’re left wondering how they pulled off a human centipede on-stage, credit must be awarded to costumer Jemma Crowhurst for her design. It is not incredibly graphic but it is an impressive illusion that was definitely uncomfortable at times, which was exactly the point in those moments. The illusion was unfortunately ruined by a dream sequence which allowed the actors to move freely in their pieces of the costume, making it more obvious how it was done. A costume change or blocking change would have preserved its integrity. Another detail that was missed was the lack of blood when bullets eventually fly, in such an intimate setting it is easy to see missing details such as these. Fortunately, these things did not detract much from the overall performance and the confident vocals presented.

The highlight of this performance, other than the choreography, would be the beautiful vocal arrangements. All cast members showed immense confidence and control in their songs, fantastic timing and well executed harmonies. The cast did not falter at the wide variety of song style choices, or singing in extreme accents; it was handled skillfully across the board. This absolutely made the show a toe-tapping good time with huge congratulations to the cast, musical director (Nate Stevenson) and composer (Thomas Currie). Whilst the song that carries our Detectives through the show can get a little repetitive at times, the soundtrack is one that will sneak its way onto your musical sing-a-long playlists. The production was well lit, well mixed and well managed making it easy to engage with the performance. Overall, The Human Centipede Parody Musical is a Disgusting Delight that is definitely worth checking out, and unfortunately, you won’t want to look away.

To book tickets to The Human Centipede Parody Musical, please visit https://piptheatre.org/the-human-centipede-parody-musical/.

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Consent, Connection and Queer Dating: Before We Begin

10/10/2026 Nicole Salinger🥈⚡🎭😂🎪

Before We Begin Rating

★★★★★

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Upon walking into the majestic heritage building of the Trades Hall, it feels like I am being whirled back in time, to a centuries-old educational institution. Much like a long-standing university, with soaring arches, intricate, ornate wall stencils, and wide, uneven stairs. Where I already sense the joy and delight of education within its walls, housing steeply-tiered lecture theatres, seminar rooms, and instructional spaces.

Similar to Hogwarts in the Harry Potter films, I am led up to a casual, black box 70-seat lecture theatre called ‘The Quilt Room’, not knowing quite what to expect. Set up like a classroom talk, a primarily young audience mill on in. DJ music plays overhead, and a large projection screen frames the back of the stage, with the show’s moniker, ‘Before We Begin’. This is then followed by a paragraph – explaining that there will be a photographer present, and as such, we are giving consent as to whether we are comfortable with this. If we are not, we can voice this to the team after the show.

Immediately, I sense this is no ordinary show. Judging from the excitement from the audience, and a preview of a poster of a banana encased in the throws of a condom, this is no ordinary lecture either.

For this is pure interactive entertainment on a modern scale not seen yet in conventional theatres or institutions. Is it a confessional show about life experiences? Partly. Is it a show about ‘consent’ in an intimate setting? Definitely. Is it a step-by-step guide for the the world of queer online dating? Most certainly.

For in this show, we are invited by a deeply-charming host, New Zealand-born theatre-maker and master coach Hamish Annan, who turns the idea of consent on-it’s-head. He pushes the boundaries to create an interactive see-saw of participation between him and a live audience of liberal-minded individuals. In particular, on how to embody the idea of consent and sexual awareness in a sometimes, deeply-complicated, queer online dating world.

How does one begin this journey of teaching consent? Well, firstly, with a great deal of honesty. With gentleness. With sensitivity. By not only challenging us with what consent looks and sounds like; but with the likes of ‘showing’. By using the tools of interaction and participation. By getting the audience to choose to engage in formula-tic exercises – in order to open up their minds to the fact that life is about the choices we make; and that we have the right to exercise these, when it comes to our sexual wellbeing.

In so doing, Annan manages to gradually break through the third wall and engage the audience in a well-written plethora of priceless moments – from enlightening and hilarious; to spicy and risqué; but amazingly so, all within a safe environment.

But as with most shows at the Melbourne Fringe, this queer-based show is not for the faint-hearted for those who choose to participate. To be frank, this is an interactive, volunteer-based audience game-show for those who are not shy, but proud of their identity. For those who seek to learn, or who are just seeking to have some participatory fun. Always being asked the same question repeatedly throughout: How was that for you?

For Annan’s real mission? Is to teach queer dating around the element of safety. To learn one’s rights around consent, as in the past, one had to find this out the hard way. When, if one was stuck in an uncompromising position, one felt silenced, or deeply misunderstood. Where one would have to suffer under a cloud of shame.

Therefore, Annan pushes the limits in this show, not to necessarily shock the audience on purpose, but to remind them of their worth.

The show’s antics that the audience chooses to participate in are no doubt cheeky, slightly racy, and sex positive. They are mainly the truisms of the actions that define the queer dating culture. One’s chosen by Annan to entertain his audience greatly.

From a ‘touch me’ consensual coaching lesson to playing a game of Rizz to a 1-minute dominance exercise. From a darkened slow dance featuring mobile flashlights swaying, to a ‘deep throat’ condom lesson on a banana promoting safe sex.

Annan is an example of a unique presenter worth his weight in comedy gold, leaving the audience in stitches.
Yet underneath it all, he sticks to his own personal mission – of keeping the power of human connection alive. Of having the courage to tell his own personal story of overcoming sexual violation. Of being able to evoke more perspective and positivity to queer experiences of a sexual nature, for those who are still trying to navigate it themselves.

In all, this is a highly-entertaining show that is reliant on audience participation. It breaks the rules and smashes stereotypes, leaving you smiling and satisfied; from top to toe.

To book tickets to Before We Begin, please visit https://www.melbournefringe.com.au/whats-on/events/before-we-begin.

Photographer: John Rata Photography

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Living The Dream

08/10/2026 Oscar Bray🥈🎭

Living The Dream Rating

★★★★★

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Here’s a genre you may not have heard of: ‘suburban gothic’. It’s considered an offshoot of American gothic horror but instead of taking place in creepy castles or Antebellum mansions, the stories are set in, well, suburbia. Rather than external threats, suburban gothic tends towards modern human horrors; small, insular communities far from main cities that encourage if not mandate conformity to a culturally imposed ideal of ‘the good life’. The worst and most absurd consequences of this lifestyle are shown off in Living The Dream: a hilarious, riveting and quintessentially Australian suburban horror play that deconstructs Victorian suburbia with scintillating nuance and insight.

James (Ryan McInerney) has just moved into Arcadia: a pristine Victorian suburb populated by colourful characters. ‘The Boys’ quickly take a shine to him, as Cluey (Ed Wallis) and Damo (Oliver Qubrusi) attempt to bond with him over cricket, drinking and complaining about their wives. James always keeps a little distance, though, especially from Rich (Julian Machin), the de facto, overly smiley leader of the posse. He also bonds with their wives, along with Alison (Dempsey Doyle), the only single woman in town and the most normal-seeming person around. They start a relationship but as the months go by, everything unravels. The neighbours cross more and more boundaries, Alison and James argue about their future, and it becomes clear that James’ past city life is more complicated than he lets on.

Every performance adds depth to stereotypes of Aussie life we’ve all seen. As the leads, McInerney and Doyle have great chemistry, and their cynical characters give much-needed grounding and perspective to a strange world. Cluey and Damo may be degenerate, alcoholic archetypes of toxic masculinity, but they’re also given moments of vulnerability. We don’t excuse their behaviour, but it’s clear that they’re extremely damaged people who, like James, are seeking to find their place in the world. Rich, on the other hand, is much more malevolent, and Machin’s portrayal of him is fantastic to watch. He reminded me a lot of Patrick Bateman, with a façade that falls into the uncanny valley between psychotic and charming.

The characters and performances of ‘the wives’ – Rachel (Bridgette Kucher) and Jill/Joyce (Crystal So) – are just as strong and important. While Kucher perfectly sells the delusion and denial of someone ensconced in a hostile environment, So’s character reaches a terrifying breaking point; even her physicality seems broken, like a marionette being jerked on its strings. It’s clear that the entire cast has given so much energy and thought to who their characters are and how they see the world, and it is an absolute delight to watch them all bounce frenetically off each other.

There are so many details in the show’s design that add to the eeriness of Arcadia, from obvious idiosyncrasies, like characters talking about a beautiful painting when all the audience sees is a blank canvas, to the subtly strange, like everyone changing clothes between scenes except for James. The music accompanying the blackout scene transitions is strange, synthy and becomes more corrupted over time, keeping the energy going and giving a real sense of how things deteriorate even when we aren’t watching. Arcadia feels like its own real yet liminal space between the authentic and the absurd.

While the performances are incredible, they have an amazing story and script to work with. Not a word is wasted, every joke hits with an undercurrent of dread and every scene ends in the most perfectly awkward spot. There’s also a clear understanding of how abuse functions in relationships and communities. While James tries to stay afloat and get Alison out of Arcadia with him, we understand exactly how the community manages to draw them back in with gaslighting, blackmail and boundary crossing. The ending epitomizes all this and leaves so many questions unanswered, but in a way that feels only appropriate. We feel just as confused and trapped as the characters are in the Hell they created.

As a horror comedy, Living The Dream knows exactly what tone it wants to strike and hits it out of the park in every respect. There is so much that it does right that it’s hard to single out any particular aspect of it – it’s a production that just…works. It’s polished, fun, thoughtful, heartbreaking and chilling, and I certainly hope it has a life beyond the Fringe festival. I’d certainly be happy to see it again.

To book tickets to Living The Dream, please visit https://www.melbournefringe.com.au/whats-on/events/living-the-dream.

Photographer: David Cui

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Where Little Stars Shine: Coach Mon’s Baby Wonderland

06/10/2026 Nicole Salinger🥈⚡🎭😂🎪

Coach Mon’s Baby Wonderland Rating

★★★★★

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Up the stairs of the multi-story landmark Clocktower building in Moonee Ponds, I come upon a theatre studio lit up in bright primary colours, complete with a giant matted floor, and two rows of seats at the back. With prams parked downstairs in the entrance hall, hoards of parents gladly seat themselves criss-crossed in these roomy surroundings, with their babies and toddlers in tow, eagerly awaiting ‘Coach Mon’s Baby Wonderland’, a musical adventure for infant and tots, to begin.

Among the ohhhs and ahhhs, I am enamoured by a set decorated in pure Australiana. Encompassing a journey over land and sea, a tree is bedecked in thick foliage, representing the Australian bush. An underwater vista set piece is sitting upright, representing the Great Barrier Reef. And finally, a mountain-shaped cutout is brimming with sparkly perfection, representing the Snowy Mountains. A resounding set design, simple yet effective; not unlike ABC’s Playschool, or the imaginary magical kingdom set in Mr. Rogers Neighbourhood.

The show begins naturally, gaining the children’s attention with singer and musician Jackson Peele kneeling on the floor with a guitar in hand, dressed in a tracksuit in purple, green and blue hues. Beside him is the show’s star and co-creator, Coach Mon, played by Monique Warren, similarly dressed in a sports hat and uniform wearing green, red and purple. Together, they begin the show in an intuitive fashion, milling around and interacting with the mums, caregivers and toddlers as everyone is still walking in. Feeling as if we will be playing an active role in this upcoming adventure.

Once the door closes, Coach Mon and Jackson start singing a welcome song, pleasantly and gently, warming up the audience and harmonising well. They teach the children to wiggle their fingers and touch their toes. Coach Mon has a beautiful light and poppy voice, drawing the toddlers in with her animated facial expressions and fun, sharp choreography.

The story begins as Coach Mon and Jackson talk about the galaxy, and the stars that light up the night sky. ‘Twinkle Twinkle Little Star’ begins, and everyone joins in. Suddenly, a shooting star crash lands on the stage. They pick it up and a rendition of ‘Little Star’ is then sung, asking where she’s come from, and if she is lost. With a tinkling noise, we discover the star’s name is Stella, and in her fall, she has lost three missing pieces. Coach Mon decides to help Stella find them, so she can fly back out and shine once again in the universal skies.

So ‘off on an adventure’ we go, by singing ‘Walking in the bush’ to find her missing pieces. Where lovely bird sounds are heard, along with ‘Leaves blowing in the wind’, as Coach Mon grabs some bushes off the tree and bounds through the pathways of children – to rustle the bushes on the ground as she walks around.

Creating an exciting sensory experience, the children look up enthralled, as the Old MacDonald nursery rhyme begins to play, with the words updated to reflect the animals seen in the Australian bush: like Kangaroos, Wombats and Koalas. As ‘Ei-ei-oh’ is sung out, a little girl starts hopping up and down out front, as a toddler claps her little hands. As Coach Mon mimics each animal, the children are having an absolute ball. It is so heartwarming to see.

Suddenly? Behind the bush tree – they find a piece of the star. As they shake it, a sound tinkles. They put it back on Stella. But two more pieces are still missing.

And so we venture underwater, with Coach Mon cleverly adding swimming lesson movements. Suddenly, a large sheet of lightweight blue fabric is held by both Coach Mon and Jackson, who manage to float it above the children all around the room, as if the children are sitting under the waves of the ocean. Singing a classic underwater song, we are in the ‘Great Barrier Reef’. But that’s not all. For a surprise ensues, enlightening our morning audience with a huge sparkly jellyfish, who floats ever so gently around the room to an amazing effect. Then lastly? A fish is held blowing bubbles out, to great delight, encouraging the tots to pop the bubbles with their hands for further sensory joy, all under the guise of blue oceanic lights.

After another piece is found? We head up on a steep walk, to the Snowy Mountains, delightfully displayed by Coach Mon and Jackson, who pretend to climb up either side of the mountain cutout, two-by-two, with their fingers.

Suddenly, the temperature drops, and Coach Mon throws out netted white cloths to be used as snowflakes, encouraging parents and kids to wave these cloths up and down. Icy winds are blowing as they sing ‘I’m a little snowflake’ – asking toddlers to touch their face, nose and toes with the freezing snowflake. Then to count to 3, and ‘throw your snowflake back to me‘.

To the children and parent’s delight, the final piece is found, a child yells out, ‘great job’ – and the whole audience laughs uproariously.

As we wave goodbye, Stella is sent back up to the sky. A sweet and heartwarming finale to a great Australian adventure. Ending with a beautiful line, ‘Our friend Stella is now shining down on us.’

All in all, I would highly recommend any parent to bring their child along and be bedazzled by this sweet and delightful show. Hats-off to director and co-creator Laura Aldous for making this children’s production polished and professional, as it contained all the enchanting elements of toddlerdom combined. The children all bopped and danced in dreamy landscapes with smooth transitions, a classic warm up and goodbye song; sensory surprises; kids encouraged to sing and dance, and movement coached clearly throughout. What was especially lovely was the music and singing being so natural and gentle, with an acoustic guitar and no backing tracks. I also loved the Australian landmarks, animals, bush songs and references used across the show, making this production unique for parents, carers and children of all ages.

To book tickets to Coach Mon’s Baby Wonderland, please visit https://www.melbournefringe.com.au/whats-on/events/coach-mons-baby-wonderland.

Photographer: James Rush

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