Quirky and Tasty – Chicken in a Biscuit

Chicken In A Biscuit

Chicken In A Biscuit Rating

★★★★★

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It is difficult to imagine a world without animals and the love of a pet. When I was sent by What’s the Show to review Chicken in a Biscuit, I had read the synopsis and the line, “Welcome to the hilarious, heartfelt world of your pet’s inner life”. I was instantly intrigued. The synopsis said that there would be animals such as dogs, cats and bunnies featured and – full disclosure – this reviewer has loved being a pet mamma of two out of three of these animals (not the cat, and also from the title, I have not had chickens either!)

Whether you’ve been a pet parent or not, you’ll be captivated by the stories in this uniquely original play from Fixed Foot Productions. The play combines sharp, witty comedy filled with clever one-liners with moments that are emotionally charged and, at times, confront deeply serious themes head-on. Through skillful acting and seamless transitions between characters, Mandy Bishop and Jamie Oxenbould reveal the raw realities of life as an animal companion and the profound impact pets have on their human owners, and they on us.

Chicken in a Biscuit begins as the audience are being seated. There is a brown dog, later on we discover his name is Truffles Bolton, napping on the lounge in the corner, legs twitching in blissful sleep. The mood is calm; peaceful. When he awakens, Truffles, played by Jamie Oxenbould introduces the audience into his olfactory world. Whereas humans see in visuals, this senior 13 year old labrador dog introduces his favourite smells and how they represents the triumphs and failures of life. He gestures toward his human, Gary, who is affectionately portrayed and projected on the wall. He is head down in the toilet. It was comical as I initially thought his head was in the toilet because he had too much to drink that night. Then Truffles said he was a plumber, so that joke was cleverly woven in.

What follows is a series of monologues, seamlessly performed by the two actors as they alternate between characters, each one delving into five distinct scents, each carrying its own unique story. These scenarios form the basis of a cleverly constructed and connected narrative and the way it is presented showcases pure creative brilliance!

 

 

Bishop slinks onto the stage wearing a velour blue jumpsuit and kitty ears. She was a royal Blue Burmese pedigree kitty, talking disdainfully about her new owner Lisa Wilson, who adopted her from Janelle Paws Animal Rescue. This sassy cat owned the stage and made it damn clear that no-one, not even Lisa Wilson, would dare “own her”. Kitty had the attitude of a queen as she told the story of her previous owner named Vernon, who she seemed to adore but sadly he passed away, and as a result she went into the animal rescue shelter. Bishop was mesmerising as the cat – everything about her was cat-like, from the way she moved to her mannerisms and expressions.(The one time she was not regal, was when she could not help but play and scramble with a bag, a relatable type of cat play which had the audience laughing) Her description of Lisa Wilson was that of the stereotypical ‘cat lady’ which was very funny!

Dr Graeme Nestbender (Oxenbould) was next, a dentist who, after his marriage fell apart, fell in love with the simplicity of the life of his pets, the many rabbits who lived at (overtook) his house. The story was a strong one, and was presented to the audience as though we were the board, and had the power to take away his practising license. As his explanation for how he came to be in this position formed, it became clear that the underlying message was not about crime. Dr Nestbender was torn between two species, being cocooned safely in a rabbit suit which felt right, and his loneliness as a human. Oxenbould’s emotional performance as the dentist was outstanding, his character far different from how we had previously seen him as Truffles.

Bishop followed, this time portraying a dog. Super loyal to her owner Pam, this dog named Maximus, Decimus Fonzerelli was fiesty! His unwavering love for Pam and the absolute dislike and distrust for Pam’s boyfriend Terry left him in a pickle. He was tied up with a bark collar and although he was tethered by the leash and banished by the awful Terry, this dog would do anything to protect his beloved Pam.

Oxenbould returned to the stage as the beloved owner of Paisley, a pug who had attained a cult following on his Instagram page because of his variety of gorgeous outfits. In this monologue, the owner was grieving, doing a live eulogy online (with the cutest pictures projected for us to see) and telling Paisley’s story, which turned out to be a warning of the ups and downs of stardom.

Before Truffles came back to close the play, one more character’s story was told – Janelle, played by Bishop. We hear Janelle interviewing Lisa Wilson at the time when she had applied to adopt Fonzerelli. Told from this point of view, with Janelle’s relentless and sharp questions fired like bullets into the phone, combined with the Burmese Blue’s description of her, I felt like both had completed the character of Lisa so clearly that she was indeed another character in the play.
The writers, Jamie Oxenbould and Mary Rachel Brown, skillfully incorporated the unseen characters from the monologues, making this two-person play feel like it had a much larger and lively cast. Congratulations to them both on their Australian premiere, and especially to Brown, who also directed this gem.

Chicken in a Biscuit offered a funny yet tender and heart-wrenching exploration of what it means to be truly known, regardless of species. It reflects on the stereotypes we hold about those we think we understand, and highlights the transformative power of love in shaping our lives. As we exit the Old Fitz Theatre, we are invited to contemplate the thought-provoking question posed by the wise old chocolate lab at the beginning, Truffles Bolton: “What does your life smell like?”

Season run: 3 October – 18 October 2025 at the Old Fitz Theatre, 129 Dowling St, Woolloomooloo Sydney
Run Time: 80 minutes no interval
Tickets: www.oldfitztheatre.com.au/chicken-in-a-biscuit

To book tickets to Chicken In A Biscuit, please visit https://www.oldfitztheatre.com.au/chicken-in-a-biscuit.

Photographer: Becky Matthews

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Brothers Bare

Brothers Bare

Brothers Bare Rating

★★★★★

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Tucked away in Theatreworks’ blink-and-you’ll-miss-it supplemental venue, the aptly named Explosives Factory, “Brothers Bare” explodes with creativity, menace, and an unnerving relevance. This darkly comic, sharply observant production takes the fertile soil of Brothers Grimm folklore and replants it in the uneasy terrain of modern life — specifically, the digital dating world, social media perfectionism, and the real-life horror of hidden agendas. It’s as confronting as it is captivating.

Written by Jessica Fallico and Iley Jones, the play takes classic nursery rhymes and fables — often sanitized for contemporary children — and strips them back to their grim roots, before repurposing them as cautionary tales for today’s world. The result is an inventive and affecting piece of theatre that blends rhyming prose, movement, and shadow puppetry in ways that surprised and disarmed the audience.

The space itself — small, industrial, and intimate — works to the show’s advantage. There’s something unnerving about being so physically close to the action, especially in a production so focused on exposing the hidden terrors of seemingly safe, everyday situations. It amplifies the tension and vulnerability on stage and makes the audience complicit in the dark journey unfolding.

The ensemble — Grace Gemmell, Elisheva Biernoff-Giles, Charlie Veitch, and Dion Zapantis — is formidable. Each performer brings a distinct intensity to their roles, switching between characters and archetypes with remarkable fluidity and precision. Whether embodying twisted versions of familiar childhood figures or portraying modern personas lost in digital disconnection, their performances are sharp, committed, and often deeply unsettling. It’s rare to see such consistency in an ensemble cast — each actor not only held their own but elevated one another in moments of shared stage time.

 

 

Choreographer Cameron Boxall deserves special mention for crafting sequences that punctuate the narrative with physical storytelling that is both poignant and restrained. Movement here isn’t ornamental; it deepens the emotional and thematic weight of the show. One particular sequence, exploring the disintegration of identity through curated online personas, was particularly memorable — beautifully composed, visually haunting, and emotionally resonant.

The use of shadow puppetry is another triumph. Rather than gimmickry, the technique is deployed with precision and purpose, often representing the lurking fears and dark fantasies that exist beneath the surface of our everyday lives. These moments — brief, almost ephemeral — leave a lasting impact, suggesting more than they show and allowing the audience’s imagination to fill in the gaps with dread.

What elevates “Brothers Bare” beyond clever concept is its unwavering commitment to its message. Rather than lecturing us, it seduces the audience into familiarity before pulling the rug out. This is theatre that plays with expectations — and with its audience — to make us question the safety of the stories we grew up with and the realities we now inhabit.

Despite its modest setting, this is a production with big ambitions. Its themes are bold, intellectually sharp, and emotionally potent. The fusion of form and content — from the lyrical script to the expressive choreography and visual flair — is remarkably cohesive, making for a rich, multi-sensory theatrical experience.

As a highlight of this year’s Fringe Festival, “Brothers Bare” proves that some of the most powerful theatre can emerge from the smallest of spaces. With its relevant themes, inventive execution, and standout performances, it wouldn’t be surprising to see this production return — and on much larger stages. It’s a haunting, timely reminder that the scariest monsters are no longer in the woods, but often behind screens or waiting with open arms and hidden intentions.

Don’t blink — you’ll want to remember “Brothers Bare”.

To book tickets to Brothers Bare, please visit https://www.melbournefringe.com.au/whats-on/events/brothers-bare.

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A Step Into The Unknown

Other Gods

Other Gods Rating

★★★★★

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The Melbourne Fringe Festival is in full swing and the Motley Bauerhouse in Carlton plays host to the debut performance of Other Gods.

The lights brighten to a minimalistic stage, a small room as though the audience have been invited in to an intimate moment in time.

It’s here we meet Tom (Sorab Kaikobad), a priest who has sworn celibacy. Yet as the play unfolds we see Tom face his most soul searching moment when he meets the enchanting Marina ( Emily Kruse). Tom must face the most difficult choice in his life- his love for the Gods he worships, or his heart.

Other Gods is an intriguing story, one that is set in a mysterious place and time.

It explores the themes of conflict, love, religion and identity.

Whilst the actors all give heartfelt performances though, the story never really takes off. It feels as though we are invited into the story half way through and there are pieces of the puzzle missing. The religion that is mentioned is only half explained, the characters don’t have a strong story arc, and the concept just feels a little unfinished.

 

 

The minimal set design does let the audience focus on the dialogue, which is effective and the soft lighting gives a nice atmosphere. The intimacy of the room makes the performance seem like we are strangers invited into a world and a snapshot in time.

Where does this intriguing world fit into ours- the question is never really answered, we only get a glimpse. However we know that it’s mythical- as the worship of Gods is mentioned several times.

A quite entertaining play, Other Gods certainly raises some interesting questions, exploring themes of love, conflict and turmoil.

The cast give good performances, the dialogue is intellectual and are enjoyable. There are moments of humour with Asher Griffith-Jones as Ant giving a comedic performance, bringing lighthearted moments to the play.

Other Gods is a play that even with it’s unusual fantasy setting manages to explore themes of love and inner turmoil in a way that is pleasant to watch and it is interesting to be allowed into the fantasy world the characters inhabit.

To book tickets to Other Gods, please visit https://www.melbournefringe.com.au/whats-on/events/other-gods.

Photographer: Tom Noble Creative

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Meet the Director and Playwright Emily McKendry

Once Upon A Grimm Night

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Emily McKendry is a multi-talented director, actor and playwright originally from Taree in NSW. Her first two plays, “The Haunting” and “Murder by Invitation” were very well received. Emily co-founded Odyssey Theatre in 2023 alongside Rebecca Smith and Caitlin Addinell. Today we take the time to meet Emily, writer and director of “Once Upon A Grimm Night”, an immersive storytelling escape room experience currently being performed in Sydney.

About Emily McKendry

What’s your favourite fairy tale from childhood? Why?

It’d have to be Cinderella. I used to love the Disney film with the little mice and their corn, then was a bit shocked when I read the Brothers Grimm version: naaaasty. The live action remake is right up there with my favourite comfort films.

Which character from Once Upon a Grimm Night is most similar in personality to the actor/actress who plays them, and how?

I’d have to say Jared as The Narrator and myself as The Witch. Originally, I had thought that I would play the role of The Narrator but I always like to hold open auditions because you never know who will walk through the doors. We’d asked Jared to prepare for The Grimm but when he came in he’d prepared for The Narrator instead. His take on this wonderfully cabaret manic style Narrator inspired me to totally rewrite the character for him. As for The Witch – she’s socially anxious and prefers cats and crosswords to people – I did not set out to write myself but here we are.

What makes your show different from other interactive experiences?

I think the various types of interactivity blended within the one show whilst still maintaining a strong narrative structure. Most of the show is in fact scripted narrative, then on top we’ve got audience improvisation, escape room puzzles, and interactive potion making.

 

Why did you decide to perform your theatre experience at Old Government House?

You just can’t beat the immersive nature of an actual heritage location. We could try and replicate it somewhere else but it would cost a pretty penny and still never achieve the same ambience. One of my favourite parts of the show is when the audience enter The Witch’s lair – the gasps and audible appreciation of the setting give me little bursts of joy every time.

Do you have any funny or interesting stories of how people reacted during the last season of your show?

How long do you have? Audience interaction means that no two shows are the same. Unfortunately, a lot of them reveal spoilers for the show but The Witch scene always gets some hilarious audience responses.

There is a section where The Narrator asks the audience to consider their futures. One show Jared walked up to a lady and joked that he saw a lot of cats in hers, then with absolute glee she ripped her jacket open and revealed a T-shirt that was printed with the faces of all her 10+ cats. We couldn’t have written that better if we’d tried.

I know you’ve written 2 plays in the past. What inspired you to write this storyline in particular?

I used to write and be a Theatre Production Manager for Dark Stories Theatre, and a few years ago they got approached to create a production in a winery for a winter festival. It didn’t end up happening because there just wasn’t enough time to create it, but I got inspired by the idea of winter and harvest. Traditionally what would you do at that time of year? You’d gather around a fire and tell stories. BOOM; Grimm was born.

If there was any magical object you could bring into this Earth realm from Ever After…what would it be?

I’ve got to go with a classic – a magic wand. I grew up on Harry Potter and desperately wanting to be a witch and not a muggle. I’ve got my bibbity bobbity boo and levi-o-sa down pat.

Is there a sequel in the pipeline so we can see the adventures The Witch and Grimm Volkov get up to next?

You know, so many people have asked me that! I did leave the play open ended on purpose purely because I love the stories that linger with you and make you consider different possibilities. When writing the ending I’ll confess I created a rough outline of their future adventures but as for a sequel, who knows? Never say never.

Where can patrons book tickets?

To book tickets to Once Upon A Grimm Night, please visit https://www.odysseytheatre.com.au/once-upon-a-grimm-night-parramatta.

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