There’s a new ape in town, and they’re doing everything they can to redefine the fringe by putting ticket sales back into the artists hands.
With some excellent characterisation, genuine wit, and a sense that everyone in the room is in on it, THE ORACLE delivers a riotous, fun, and light-hearted night out.
In a devastatingly effective takedown of the rampant sexualisation of young girls, Jamie Mykaela delivers a long overdue throat punch to the music industry.
High impact, yet unnervingly surreal, The Nose is a thrill to experience. We're captivated, watching as the three performers shift between characters—darting on, off, and around the stage.
Elena Mazzon works to redress the omission of Clara Schumann nee Wieck’s life, accomplishments, and humanity in her one-woman show, CLARA: Sex, Love and Classical Music.
A rambunctious display of superb modern clowning positively teeming with lively physical comedy.
Tomás Ford reveals more of himself in an hour than his audiences have seen over his whole career.
Whether you’ve ever felt inclined to explore sailing or not, Scott Murphy: Sailing Lessons is a show you’ll enjoy.
The eponymous comedy burlesque phenom presents Clara Cupcakes: Top Bits—a largely autobiographical and wholly entertaining journey through her career to date.
Fate, belief, and an incredibly detailed prediction are explored in the hilarious and touching You’re a Good Man, Dr Pirate.
Maniacal genius of alt-comedy, Claire Sullivan annihilates the audience’s sense of reality with Toast Rat.
The Bride is an unbridled (if you will), strange, and wonderful work that leaves audiences enchanted and with a newly-warped view of comedic theatre.
This is a showcase with a theme that you'll get no prizes for guessing based on the title, although you may get actual physical prizes during the show.
ELLIPSIS was a show that had all the promise of an absurd and mind-bending experience but sadly missed the mark.
Ragnarøkkr is an hour of rock music, in essence a concept album performed live, telling the story of Ragnarok from a fresh perspective.
The Flanagan Collective & Gobbledigook Theatre have produced another brilliant show. The Gods The Gods The Gods is sure to delight audiences.
The strength of Talkback lies with the effective use of space, audio and light to create the physical experience of a haunting in contrast to the flat, clear light of normality. This is a solid play for those who love thrillers.
BITE ME is a bittersweet romp through the world of desire, body image and self-worth from the perspective of an avocado, a chilli, and a steak on the shelf at the local supermarket. This sounds like a setup for a joke, and BITE ME delivers on that promise.
Josh Glanc is a crowd favourite at FRINGE WORLD for a very good reason; he’s an absolute gem of a comedian who at any moment is liable to bring forth that which his audience least expects.
QUOKKA APOCALYPSE is a fun, satirical, and thought provoking show that succeeds in depicting a much-needed, albeit fantastical, revolution. Cultural criticism at the heights of hilarity, it's an anthropomorphic joy to witness.
Written and performed by Iskandar Sharazuddin, Post-Mortem neatly dissects a relationship long since dwindled.
Milk Box Theatre Company presents a strong piece of very smart social commentary and a powerful call to action, with a brilliant ensemble cast and a control of tone that manages to entertain as much as it educates.
The Flanagan Collective & Gobbledigook Theatre deliver another beautiful show, with a unique format and enthralling narrative.
STYX is an evocative experience combining music, history, myth and neuroscience to recreate the myriad ways in which the mind constructs narrative and memory.
A crimson vision in a slinky bustier, with immaculately curled hair and a delightfully glittered beard, not to mention her waxed moustache points, this seven-foot siren delivers on the premise of the show title.
KAFKA’S APE is brilliant as much for the moments it adapts Kafka’s original as for the moments that remain faithful to it.
CHAMELEON is a hilarious production that takes a frank look at gender and identity, using the chameleon as a metaphor for the way women construct their public personas.
In These Trees The Autumn Leaves Alone, Wil Greenway tells a story of moments, connected through time and fallibility.
In Queer and Present Danger, comedy mastermind and self-titled voice of a generation Anna Piper Scott delivers a performance that entertains, enlightens, and astounds.
Weaving spoken word, storytelling, punk rage, and dance together in an eminently eloquent fashion, Untitled No. 7 explores notions of potential and constructs of success from a personal but entirely relatable point of view.
In 1900-Lisa-Skye, Lisa Skye delivers a playful performance loosely structured around stories from her time working for a phone dating agency.
Second Chance Theatre is well known for exceptional independent theatre in Perth. Thrilled to learn of the award-winning theatre company’s upcoming show Playthings, running at The Blue Room Theatre this November, we had a chat with Writer and Director Scott McArdle.
Third Culture Kids, a Perth-based theatre company with roots that stretch worldwide, is bringing their show Sharbat to The Blue Room Theatre. We spoke with Writer and Performer Dore Khan about the show ahead of opening night.
I Feel Fine is a show that explores our existence and contradictions. We were intrigued by the way the audience is invited to become congregation members in a church dealing with eco-anxieties, hope and despair, so we had a chat with Zachary Sheridan ahead of the show’s opening.
In Floor Thirteen, presented by The Blue Room Theatre and Director Marshall Stay, we see a woman isolated and yet surrounded. Phoebe is stuck in a lift, ruminating on past events. We had a chat with Elise Wilson about the show.
In a time when consumer-authored media is largely a product of digital communities, Flopfest Film Festival is something truly different.
Written by multi-award winning playwright Katy Warner, and brought to FRINGE WORLD by New Ghosts Theatre Company, Paper Doll promises to enthral audiences and challenge some preconceived notions.
Rock-comedy legends PickUp are back at FRINGE WORLD with a mini-festival of their own. We had a chat with the duo, Alia Vryens and Colin Craig, about this run of shows and their performances in general.
Ahead of his show, opening for the final weekend of FRINGE WORLD 2019, we got the chance to chat with Sven Hopla, the man behind the greasepaint behind the rope behind Fisticuffs.
Damien Warren-Smith, who brings Garry Starr to life in ebullient fashion, was generous enough to chat with us. Here’s what he had to say.
Created by the team behind the last year’s FRINGE WORLD award-winning show The Cockburn Incident, GRACE sets out to tell a story about mental health, family, and consequences with playfulness and humour.
If you haven’t heard of Cassandra Barbitoll don’t worry, neither had we. Sophie Joske’s solo show Woman of the Hour promises to bring audiences up to speed on all things Cassandra in just 50 hilarious minutes.
Not Romeo and Juliet, created and performed by inimitable clowns Kimberley Twiner and Lily Fish, is coming to FRINGE WORLD 2019. We can’t wait to see it for ourselves, and we had a chat about the show with Lily Fish to satisfy our pre-Fringe cravings.
Amber Topaz takes us on an anecdotal romp that interweaves cabaret with comedy, and the sex education that we’ve been sorely missing.
Anna Thomson, founding member of PO PO MO CO and formidable powerhouse of queer clowning, delivers a masterpiece of modern grotesque comedy in Madame Nightshade’s Poison Garden.
Mr James Hancox - as he really, really, likes to be called - has created a show that is simultaneously everything it says on the tin and completely unexpected.
Most shows start after you’ve found your seat, but this one is an exception. We are wildly entertained from the outset, finding ourselves ushered into the Casa Mondo venue by a frantically excited ticket collector.
Chiptunes, sprite graphics, and all the hallmarks of late 80s video games provide the setting, but Clara Cupcakes is the meat of this show, and deliciously madcap octopus meat at that.
When Tor Snyder hits the mark, she’s hugely entertaining. In Dating Naked, healthy doses of self-deprecation and the comedy stalwart theme of an artist not being able to get their life together do actually work, albeit sporadically, to deliver laughs.
Imagine, if you will, a frantic, breathless reshaping of Tchaikovsky's Swan Lake, performed in a parrot costume and interwoven with an internal monologue that regularly swims to the surface.
Sometimes, reality is simultaneously all too much and not enough. Sometimes, we need to see the world in distorted segments before we can rediscover the wonder of it all.
Many fringe shows claim to be weird, and wonderful, and pushing the limits. Many shows are dirty liars. Not so with Danger Cabaret’s latest offering.
Packed with comedic tropes, none of which are delivered in the ways we’re accustomed to, Yolav & Graham: Jovial Trauma goes well beyond a conventional stand-up performance.
Science, dick jokes, politics, pop parodies, and improvised rap. This is just the beginning when it comes to Matt Kilpa’s show.
Storytelling doesn’t have to be entirely relatable and anyone who claims they can relate to every single element of Lisa Skye’s show is probably lying. Either that, or they’re actually Skye wearing a fake moustache in an attempt to trick you.
Sophie Joske and Anna Piper Scott set out to achieve a surprising number of goals, but conforming to patriarchal narratives isn’t one of them.
A plane crashes. The pilot and co-pilot are left to fend for themselves. They’re amusingly underprepared, with just a few crackers in their ration box, but there’s no better sustenance than their irrepressibly whimsical zest for life.
Some stand up shows... well, they stand out as opposed to up and Struan All Over the World is one of them.
Attempting to be the perfect woman can feel like a wrestle. Rather than wrestle another flesh-and-blood person, though, you’re wrestling yourself and the many – oh so many – impossible standards set for the female gender.
In a darkened room, we listen to the thoughts of a mind wracked by insomnia. They bubble up despite the protagonist's best efforts to push them aside.
Stuart Bowden takes us on a journey, all the way to our own planet via our emotional cores in a pensive, lonely and, finally, uplifting story.
Sean Bedlam takes his audience on a journey through the anarchic workings of his mind, loosely themed around the socio-political issues plaguing America.
The history of war is often told through sweeping engagements and the grand stroke of the tacticians pen. In Eleanor’s Story, however, we have a uniquely singular and human narrative.
In Giant & Angry, Gillian English paints a picture with which we can all identify. Whether anger is shoved down where no one else can see it, or held forth in an act of empowerment, it is unquestionably present.
In her debut clowning performance, Marina Margarita breathes life into the heavily pregnant form of Odette - the cleaning lady that everybody loves to love. Well, maybe not everybody. Everybody who isn’t a bastard, certainly.
This fast-paced tale is at once surprising and, for many, all too relatable. English shares it masterfully, her comedic skills keeping the audience in a constant state of enraptured fascination.
Explaining the universe in under an hour might seem a big ask. If anyone can do it, though, that person is Joey Page.
Little Death Club, a show offering a rotating lineup of the strangest people you're likely to see gracing a stage, is a fantastic way to close an evening at FRINGE WORLD.
You’d be forgiven for assuming that a manifesto would be delivered by an insane person. In this case, though, Anna Piper Scott is seemingly the only sane voice in an unhinged world.
While the show carries us through history, we see what did and did not happen through the lens of the She Wolf making a visit from hell to set the story straight.
This twisted live-action text adventure game promises a riotous hour during which Robertson variously leers at, cajoles, and tortures the crowd as they navigate the digital confines of the titular room.
Imagine a quiz night, compèred by a fragile narcissist with a razor sharp wit and a complete disregard for the participants’ enjoyment.
We were in no way prepared for what this show would deliver, despite going into it knowing full well that it would be confronting.
With some excellent characterisation, genuine wit, and a sense that everyone in the room is in on it, THE ORACLE delivers a riotous, fun, and light-hearted night out.
In a devastatingly effective takedown of the rampant sexualisation of young girls, Jamie Mykaela delivers a long overdue throat punch to the music industry.
High impact, yet unnervingly surreal, The Nose is a thrill to experience. We're captivated, watching as the three performers shift between characters—darting on, off, and around the stage.
Elena Mazzon works to redress the omission of Clara Schumann nee Wieck’s life, accomplishments, and humanity in her one-woman show, CLARA: Sex, Love and Classical Music.
A rambunctious display of superb modern clowning positively teeming with lively physical comedy.
Tomás Ford reveals more of himself in an hour than his audiences have seen over his whole career.
Whether you’ve ever felt inclined to explore sailing or not, Scott Murphy: Sailing Lessons is a show you’ll enjoy.
The eponymous comedy burlesque phenom presents Clara Cupcakes: Top Bits—a largely autobiographical and wholly entertaining journey through her career to date.
Fate, belief, and an incredibly detailed prediction are explored in the hilarious and touching You’re a Good Man, Dr Pirate.
Maniacal genius of alt-comedy, Claire Sullivan annihilates the audience’s sense of reality with Toast Rat.
The Bride is an unbridled (if you will), strange, and wonderful work that leaves audiences enchanted and with a newly-warped view of comedic theatre.
This is a showcase with a theme that you'll get no prizes for guessing based on the title, although you may get actual physical prizes during the show.
ELLIPSIS was a show that had all the promise of an absurd and mind-bending experience but sadly missed the mark.
Ragnarøkkr is an hour of rock music, in essence a concept album performed live, telling the story of Ragnarok from a fresh perspective.
The Flanagan Collective & Gobbledigook Theatre have produced another brilliant show. The Gods The Gods The Gods is sure to delight audiences.
The strength of Talkback lies with the effective use of space, audio and light to create the physical experience of a haunting in contrast to the flat, clear light of normality. This is a solid play for those who love thrillers.
BITE ME is a bittersweet romp through the world of desire, body image and self-worth from the perspective of an avocado, a chilli, and a steak on the shelf at the local supermarket. This sounds like a setup for a joke, and BITE ME delivers on that promise.
Josh Glanc is a crowd favourite at FRINGE WORLD for a very good reason; he’s an absolute gem of a comedian who at any moment is liable to bring forth that which his audience least expects.
QUOKKA APOCALYPSE is a fun, satirical, and thought provoking show that succeeds in depicting a much-needed, albeit fantastical, revolution. Cultural criticism at the heights of hilarity, it's an anthropomorphic joy to witness.
Written and performed by Iskandar Sharazuddin, Post-Mortem neatly dissects a relationship long since dwindled.
There’s a new ape in town, and they’re doing everything they can to redefine the fringe by putting ticket sales back into the artists hands.
Milk Box Theatre Company presents a strong piece of very smart social commentary and a powerful call to action, with a brilliant ensemble cast and a control of tone that manages to entertain as much as it educates.