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Bev & Myrt and the Scrolling of Doom

01/02/202630/01/2026 Emelia May⭐🦉

Bev & Myrt and the Scrolling of Doom Rating

★★★★★

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Aliens, lesbians and eighties music: three surefire ways of getting me in a room. All three…together? Let’s just say I was first in line to catch the opening performance of ‘Bev & Myrt and the Scrolling of Doom’ at the Motley last night.

Presented by How Delightful Theatre, ‘Bev & Myrt’ follows a secret society of alien investigators defending the Hoddle Grid from extraterrestrial terrors: galactic parasites, sentient robots, conservative real estate agents. When AI threatens to absorb the minds of Melburnians, Bev (Jenny Lovel), Myrt (Amanda Owen) and their son Jamie (Jackson Eather) must take down evil tech conglomerates all the while navigating their own growing pains at home.

Writer and producer David Innes, producer and dramaturg Dr Stayci Taylor, and director Cale Dennis clearly had a distinct vision for the show. With a razor-sharp script and just enough fourth-wall stroking to keep things perfectly meta, ‘Bev & Myrt’ was an unapologetically nerdy and hilariously queer little slice of theatre. Think Douglas Adams meets ‘Ghostbusters’: irreverent, witty, weird, and so on the nose. It was quintessentially Melburnian too, so full of in-jokes the crowd spent more time laughing than not. With a runtime of an hour, ‘Bev & Myrt’ is a masterclass in short-form playwriting and I only wish it ran longer for my own selfish reasons.

Jenny Lovel, Amanda Owen and Jackson Eather were outstanding to watch as a unit, with brilliant chemistry on stage and some unforgettable physical comedy. Liliana Braumberger, Kitt Forbes, Alex Joy and Donna Prince effortlessly navigated several roles all the while puppeteering tentacled robots and throwing around props left right and centre. The sound and lighting design never missed a beat either, which is a testament to just how much work was put into this show by the entire cast and crew.

It would be easy to fall into all shenanigans and no substance in a show like this (especially given the short runtime) but I’m happy to report that wasn’t the case. ‘Bev & Myrt’ was fun all the way through, but it was the moments of queer love that resonated so personally in an otherwise unworldly story. It was at heart a celebration of our elder queer heroes: the people who loved and fought for us and the people we can hope to become ourselves—aliens or no.

You can catch ‘Bev & Myrt and the Scrolling of Doom’ at the Motley Bauhaus until the 8th of February!

To book tickets to Bev & Myrt and the Scrolling of Doom, please visit https://tickets.midsumma.org.au/event/396:1014/.

Photographer: Mark Gambino

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Briefs: The Works

24/01/2026 Emma Basc ⭐

Briefs: The Works Rating

★★★★★

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Briefs: The Works

Whenever I ask for recommendations on what to see at the FRINGEWORLD Festival, Briefs is always on the list. It’s a fan favourite for good reason, and there’s a reason people return season after season to see the new show. This year is no exception — and it absolutely does not disappoint.

In 2026, Briefs celebrates its 18th birthday, with 13 of those years right here in Perth. The Works is a celebration of that journey, bringing together and reimagining some of their most loved elements to create a bold, brand-new show.

What you get is Briefs’ unmistakable blend of sparkle and sass; risky and risqué; oh my god and Oh. My. God! (IYKYK).

The show begins the moment you step into the venue. Performers roam the space, interacting with the audience and setting the tone for what’s to come — and oh my goodness, what does come. How do you sum up Briefs in 300-ish words? Think jaw-dropping strength, grace, and power from the aerialists; flawless acrobatics paired with pitch-perfect mime; the hairiest man I have ever seen (and oh my goodness did we see a lot of him!) dancing en pointe — and jumping en pointe (my toes hurt just watching). Add the grossest thing I’ve ever seen done with a balloon, fire nipple tassels, audience interaction, and, of course, the infamous splash zone and you get a bit of an idea of what Briefs – The Works has to offer.

I cannot say enough good things about this show — but a word of warning: this is not one to take your young children to, and there is a lot of swearing. If bad language or adult content offends you, this isn’t for you. But if you’re up for a wildly entertaining night out filled with aerials, acrobatics, drag, sequins, and unapologetic attitude, this show will absolutely fill your cup.

Briefs: The Works is showing for the entire FRINGEWORLD season (except Mondays). If, like me, you’ve been hearing about Briefs for the last 13 years and wondering whether you should book a ticket, take this as your sign — book now.

More information:
https://fringeworld.com.au/whats-on/briefs-the-works-fw2026

To book tickets to Briefs: The Works, please visit https://fringeworld.com.au/whats-on/briefs-the-works-fw2026.

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A Promenade of Shorts – The Red Phoenix Theatre Company

17/01/2026 Rob McKinnon🌟🎭

A Promenade of Shorts Rating

★★★★★

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The concept of A Promenade of Shorts was born out of COVID restrictions in April 2020 when crowd sizes had to be limited to a small number. Due to the previous success of the concept, in 2026 the Red Phoenix Theatre Company presents season 3 of A Promenade of Shorts now at the Goodwood Theatre whereby 29 actors perform in 9 plays each of 10 minutes. They are performed in different areas of the theatre with great success. The plays are expertly executed over 3 sessions with 2 breaks and provide a highly entertaining experience.

Over the course of the evening, Tour Guides (Anne Doherty, Kate Prescott and Olivia Jan Parker) lead 3 groups of audience members through the distinct performance spaces where 3 plays are performed at each space.

In the Main Theatre the following are performed:

1. In Farce (written by Steven Bucko, directed by Norm Caddick)

Cast:
Front Desk Staff Jo Coventry
Man Matt Chapman
Husband Adam Tuominen
Wife Anita Zamberlan Canala
Plot Device Krystal Cave

2. Chilled Wine (written by Dorothy Lambert, directed by Alicia Zorkovic)

Cast:
Charlotte Jessica Corrie
Louise Laura Tregloan
Gemma Monika Lapka

3. Go to the Light (written by Laurie Allen, directed by Alicia Zorkovic)

Cast:
Roxie Peta Shannon
Sophie Cheryl Douglas
Dad Malcolm Walton
Will Tom Tassone

In The Bar the following are performed:

4. Bottle for a Special Occasion (written by William Kovacsik, directed by Hayley Horton)

Cast:
Martin Stuart Perce
Judith Lyn Wilson

5. On Queue (written by Morey Norkin, directed by Hayley Horton)

Cast:
Man 1 Jack Robins
Man 2 Jethro Pidd

6. Choices (written by James McLindon, directed by Hayley Horton)

Cast:
Debt Counselor Rebecca Kemp
Prospective Client Laura Lines

In The Studio the following are performed:

7. Road Trip (written by Jan Probst, directed by Libby Drake)

Cast:
Allen Lindsay Dunn
Mary Joanne St Clair
Aunt Pat Katie Packer
Uncle Joe John Rosen
Jack Jai Pearce
Michael Charlie Butler

8. When I Fall in Love it Will Be … (written by Susan Middaugh, directed by Libby Drake)

Cast:
Florence Campbell Lisa Lanzi
Ed Ferris Adrian Barnes

9. Mrs Thrale Lays On … Tea! (written by Rob Taylor, directed by Libby Drake)

Cast:
Mrs Thrale Sharon Malujlo
Polly Zoe Battersby
Dr Johnson Michael Eustice

Over the 9 plays the audience learns the ordinances in the town of Farce, not to trust a man working his way through the alphabet, how many Facebook likes you could get on your death bed, what’s the best wines for a cheating husband, how 2 men can make a queue, how to repay your student loan, how to plan a family road trip, how to cope with spouses who have dementia in residential care and what Mrs Thrale and Dr Johnson do after tea – very naughty!

The plays are often funny, sometimes hilariously, but there is also a mixture of sadness, and all are expertly acted. Each performance space presents its own demands which are adeptly and seamlessly resolved by the company’s crew members. Each audience member will have their favourite play of the evening and is also required to vote for it which is a difficult task due to the high-quality of all of them.

The Red Phoenix Theatre Company is to be congratulated for providing a magnificent evening of entertainment with season 3 of A Promenade of Shorts, with something for all audience members, it is in every respect a triumph deserving full houses.

Reviewed by Rob McKinnon
Rating; 5/5

A Promenade of Shorts remaining sessions are:
January 17, 21, 22, 23 & 24 @ 7.30pm. Sunday January 18 @ 2.00pm

Venue: Goodwood Theatre
166 Goodwood Road, Goodwood SA 5034

Tickets: https://www.trybooking.com/events/landing/1419827

To book tickets to A Promenade of Shorts, please visit https://www.redphoenixtheatre.com/nextplay/.

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Blackpill: Redux

15/01/2026 Oscar Bray🌟🎭

Blackpill: Redux Rating

★★★★★

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How can the internet be depicted in other art forms? Many directors and writers across various mediums have tried to showcase the intangible world that most of us live our lives in. Unfortunately, there’s a lot of ways in which these kinds of stories can go wrong; a lack of empathy for particular communities, overly complicated visual metaphors, a reliance on outdated memes and references – the list goes on.

Blackpill: Redux avoids all these pitfalls. This remounting of the 2025 Theatreworks/Paracosm show, written and directed by Chris Patrick Hansen, combines razor-sharp writing, bleak stage design and intricately unnerving performances to create a scintillating dissection of incel culture and the men who fall into its black holes.

Eli (Oliver Tapp) is a self-admitted loser who’s been fired from his job for reasons he is suspiciously cagey about. He’s stuck with no money, no family or friends he can confide in, a desire to make something of his life and a lot of time to spend on his phone. If you’re familiar with stories about ‘the alt-right pipeline’, ‘the manosphere’ and ‘incels’, you can probably see where this train is going. If you aren’t, you can witness his journey from fitness gurus to ‘edgy’ Instagram group chats to voice calls discussing sexual fantasies and male loneliness, down and down and down. Either way, just like a trainwreck, you won’t be able to look away.

It’s clear that Hansen has done an unenviable amount of research into these corners of the internet. It’s all very well to gawk at and shame the flagrant misogyny on display, but Blackpill: Redux goes several steps further by showing in detail how an ‘everyman’ can be seduced by promises of community, justice and self-improvement. There’s a looming loneliness in almost every character, and the grooming mechanisms they practice and fall for (often at the same time) are so clear yet well-paced enough to be believably enticing. The ending (without spoiling it) in particular guides the audience into understanding these men and empathizing with their emotions, without excusing his actions and the damage they’ve caused.

The set is a grey box of platforms dominated by a hexagonal screen and LED-lit wire fragments hanging from the ceiling. It looks like an abandoned spacecraft, and when text and images are shown on the screen, they are devoured by glitchy rotting. The sound design is booming and abrasive, creating a frightening, gloomy and expansive world. At the same time, one of the best things about Blackpill: Redux is that it doesn’t take itself too seriously. The dozen-strong cast are all incredible physical actors and this is often played for laughs, with ridiculous movement sequences depicting common internet memes, cliches in Hugh Grant movies and the stereotypes Eli learns to project onto the people in his life. This show has a very dark sense of humour and knows exactly how to wield it, often making references to internet culture that feel ‘of a time’ but not stuck in an outdated moment.

I’m fascinated that a show about something as nebulous and complicated as online indoctrination could be this physical and raw. The amount of heart, intelligence, wit and pathos in it is incredible to behold, and I couldn’t recommend it more. Check it out while you still can – you’ll be thinking and talking about it for a long time afterwards.

To book tickets to Blackpill: Redux, please visit https://www.theatreworks.org.au/2026/blackpill-redux.

Photographer: Sarah Clarke

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