Category: Reviews

Melanie Bracewell – A Little Treat

By Bella Jones

Melanie Bracewell is far from the first comedian to be diagnosed with ADHD and write a comedy show about it – a fact that she is aware of. But one of her biggest skills lies in turning ordinary stories into hilarious anecdotes, finding the funny in common experiences.

Her latest show may be titled ‘A Little Treat’, but for the audience it’s more like a smorgasbord of humour and entertainment. The crowd can immediately tell that they’re in the safe hands of Bracewell’s well-proven comedy skills. From her previous stand up shows to writing and co-hosting The Cheap Seats it seems that Bracewell is exactly where she’s meant to be. Every line is written with the intention of getting the most laughs, with quick quips and delightfully satisfying call-backs it’s clear Bracewell is dedicated to creating the best show possible.

Throughout the hour we follow Bracewell’s retelling of the events that lead to her getting an ADHD diagnosis. From air dry clay, dining in the dark, to car manuals, the show is full of just about everything. Not only is it all treated to Bracewell’s sharp wit, but there’s also some touching moments relating to her and her partner Shaun. She excels at drawing the audience into the scenes she’s describing. Her clever use of repeating lines gathers more and more laughter as well as serving as a great connection back to her ADHD. She always seems completely in control, leaving the audience perfectly positioned to enjoy a fantastic hour of laughs.

Bracewell’s shows are worth recommending to just about anyone, A Little Treat is no exception and might just be her strongest work yet.

Melanie Bracewell performs A Little Treat at Max Watts Until April .20

https://www.comedyfestival.com.au/browse-shows/melanie-bracewell-a-little-treat/

Nick Robertson : Everything That Happened At Number 68

By Peter Hodgson

From the second you step into the room for Nick Robinson’s show Everything That Happened At Number 68, you feel welcomed. Literally, because Nick has brought plenty of tea for everyone (“Earl Grey, for sluts”), and even cushions and blankets in case your butt doesn’t like the seats or you feel a bit chilly. There are even snacks. It’s such a literally inviting way to begin this show, which is a collection of stories from Robinson’s first share house experience.

Nick Robinson is endearing, confessional, kind and friendly, but also cheeky, occasionally-dark-but-for-just-a-second, and not afraid to throw in a way-too-personal detail or anecdote (this show has a whole section about who left their butt plug in the bathtub). That’s perfect for a show about the sexed-up, longnecks-and-cones vibe of a 20something share house. Sometimes Robinson is the protagonist of his stories, sometimes he’s an observer, and sometimes he’s dragged wildly between the two poles as his flatmates wreak youthful havoc around him.

Now, let’s make this clear: it’s not a ‘share house from hell’ story. It’s downright heartwarming in a lot of places. We get to know Robinson’s flatmates (including a bunny named George), their habits, their personalities, their quirks. And, helpfully, as each character is introduced, their photo is pinned up from a clothes line hanging across the stage. It’s a great device for people like me who have a hard time keeping up when I’m hearing a story about a bunch of strangers. It’s easy to remember who did what to whom because I can see their photos right there. Thanks Nick!

Occasionally Robinson will stumble over a phrase, rush to a punchline too soon and have to backtrack, or get a little verbally tangled. This would be an issue for most comedians but Robinson creates an environment that makes it completely okay, all from the very outset. It’s just part of the atmosphere, the confessional vibe, the relaxed inviting warmth of sharing stories.

I’ve seen Robinson a few times in recent years, at MICF and spots at comedy clubs. Every year he gets more assured and more bold in his storytelling, more ready to take chances and take big swings. Everything That Happened At Number 68 is a really fun show and very much worth your time, and it hints at the more self-assured comedian Robinson is on his way to becoming. He’s already hilarious but this show contains the seeds of something that has potential to grow to something really unique.

Nick Robertson performs Everything That Happened At Number 68 at The Chinese Museum until April 20

https://www.comedyfestival.com.au/browse-shows/everything-that-happened-at-number-68/

Handful Of Bugs : Bigfoot: In Plain Sight

By Colin Flaherty

Bigfoot : In Plain Sight tells the story of Canadian Bigfoot enthusiast Robert H. McKinley. We witness the tale of his father Robert H. McKinley Senior – his encounters with this creature of mythology and the community that ridiculed him for what they saw as tall stories. Junior makes it his mission to prove that his father was right all along.

Those expecting a long comical slog through the forest in search of Bigfoot will be surprised that he encounters the cryptid quite early on, partly because the timeline jumps all over the place but mostly the beast just appears. Instead it becomes a hilarious quest to follow the trail left behind by his father and all the lunacy that encompasses.

Emerging from a tent in tighty whiteys, performer Alex Donnelly executes this one handed play perfectly. He mimes his way through all sorts of wacky situations and interacts with other characters using some brilliant vocal gymnastics and wonderful comical expressions. A pair of disbelieving local yokels are given plenty of stage time with their complicated menage a trios as they exchange banter at a breakneck pace that has Donnelly rapidly changing vocal and physical mannerisms expertly so that we can easily follow the conversation.

This tightly scripted piece manages to include some gentle audience interaction. These exchanges do not affect the plot in any way but cleverly relies on Melbourne audiences’ reluctance to participate – giving him nothing so that he can make a joke about their silence. I wonder how he handles an eager, vocal punter?

The soundtrack to this mayhem is a beautiful cacophony of cartoonish sound effects. Wacky soundbites of pop cultural voices pop up, adding to the craziness with some extra giggles. While this performance is primarily through mime, brilliant use of props feature throughout with some impressive hat acting. Some great visual spectacles happen in this onstage campsite that are milked for laughs as we marvel at the technical aspects.

This a brilliant show that had the audience in hysterics throughout and gasping at the huge bombshell of an ending. Lace on your hiking boots to ascend the many stairs of The Malthouse to witness this awesome show.

Bigfoot: In Plain Sight is on at The Malthouse until April 20

https://www.comedyfestival.com.au/browse-shows/bigfoot-in-plain-sight/

Pierre Novellie – Must We?

By Peter Newling

With a French first name and an Italian surname, Novellie was born in South Africa, raised on the Isle of Man and now resides in London. It’s of little surprise that his onstage persona is worldly – more surprising that it is quintessentially British.

Novellie’s schtick is classy, erudite and unwaveringly polite – perhaps a product of his Cambridge education (where he served as Vice President of Footlights). Adorned in suit and tie and pocket handkerchief, he is the polar opposite of unwashed stoner type of comic.

But in no way is this a gimmick or an exaggeration of the thoroughly British, standoffish stereotype. His delivery is warm and engaging. There is nothing caustic or petty in his choice of material or his delivery. It’s quite charming.

Much of his material is based on the impact of autism on his life, and how it informs his choices and decisions. The need for order – to have rules and incentives to follow those rules – is the bedrock of this. His reflections on when this order breaks down – when logic and fairness and reasonableness fail – are absolutely hilarious.

His choices of material to illustrate this are first rate. He covers a fair bit of territory, including his experiences with clothes shopping, being gaslit by algorithms, and his relationship with food. He doesn’t rely on self-deprecation, rather he invites us to see things as he sees them. He has a unique talent for verbal imagery. Every story, like every word, has been carefully chosen.

Novellie’s diagnosis of autism at age 30 led him to write his book “Why Can’t I Just Enjoy Things?: A Comedian’s Guide To Autism”. That, like his show, encourages us to think about how our lack of empathy toward neurodivergence exacerbates the pain of the condition. This is bought into sharp focus in the discussion on autism loss of life toward the end of the set. It’s eye opening and really powerful.

Must We? marks Novellie’s first appearance at the MICF, and hopefully the first of many. Fans of beautiful turns of phrase, cargo cults and thoughtful material will love this show.

Pierre Novellie – Must We? is playing until April 18 at the Westin – Three, at 7:25pm and 6:25pm on Sundays.

https://www.comedyfestival.com.au/browse-shows/pierre-novellie/

Clara Cupcakes : Aspic – The Joys of Gelatinous Cooking & Home Maintenance: The Ultimate Guide to Womanhood

By Colin Flaherty

Perfect housewife and best selling author Clara Cupcakes has hit the big time landing her own television show. As part of the studio audience, we witness the pilot episode featuring, hopefully, famous guests and various gelatinous creations.

This is on odd period piece. Advertised as being set in 1974 with the Women’s Liberation Movement in full swing in the background somewhere. Our host however seems to be stuck in the 1950s in both appearance and demeanour, oblivious that full time housewife is a role that’s kinda on the way out. 2025 also kicks its way into this reality as we delight in Clara dealing with modern attitudes while interacting with the audience and looking confused when the younger folk fail to understand her references.

The world of Clara Cupcakes is a strange and often terrifying place. The repeated attempts at fetching her aspic masterpiece features creepy lighting and a loud visceral reaction from Clara. A number of surreal sequences left me scratching my head trying to understand the logic of it all. There was likely some symbolism I didn’t pick up on or the randomness is simply there to keep us on our toes.

Repetition plays a major role in the show with concepts often pushed to breaking point. A disturbing burlesque routine-cum-advertorial goes on and on and gets messier and messier until Clara is an exhausted wreck. Kitschy musical interludes introducing each segment play for slightly too long as we giggle watching her awkwardly dance along.

The larger than life Clara is a whirlwind of energy on stage. Everything is done in a hilarious frenzy and the props end up all over the place. She throws herself into silly mimes and some laughably bad impressions. When she does slow down, it’s to portray her wonderfully droll Grandmother with her indeterminate European accent.

She can be a rather monstrous character with terse exchanges when punters fail to perform the exact task to her vague gestures or correctly respond to her prompts. The increasing list of guests, each with someplace better to be, pushes her to breaking point before she explodes and lays bare the artifice of the show with some cheeky jibes at the theatrical world. There are several tragic tales from her family providing some darkness to the light and garnering empathy towards her.

Being the second show of the run, it was a little rough around the edges. We laughed at the obvious errors happening and not all the jokes landed. These are things that will be ironed out as the season progresses but it is already a fascinating show.

Aspic – The Joys of Gelatinous Cooking & Home Maintenance: The Ultimate Guide to Womanhood is on at The Motley Bauhaus until April 20

https://www.comedyfestival.com.au/browse-shows/aspic/

Frankie McNair & Isaac Haigh – The Booth Variety Spectacular & Formal Apology Hour!

By Peter Hodgson

One of the great pleasures of the past few years of Australian comedy has been watching the rise and rise of Frankie McNair. Frankie’s standup? Hilarious. Frankie’s improv? Virtuosic. So when I saw the first hints of what would become Tabitha Booth, I was already all-in. Tabitha has been described as ‘a heavily medicated lounge singer’ that’s probably the best place to start. Tabitha’s in-universe lore includes a stint on a classic sitcom as Long Fork Lady, a prop comedy character stretched (ha!) to the limits, forever trying to break free from a one-gag character that the pubic just won’t let go of. That’s where we found Tabitha at last year’s festival: living in the present day, trying to claw back her identity outside of a lady with a comically long telescoping fork. This year Tabitha takes back to 1969 for The Booth Variety Spectacular & Formal Apology Hour!, placing us right there in the studio as Tabitha bids a bittersweet farewell to her televised variety show.

This is a much bigger production than McNair has previously presented, with a bigger stage, more props, a bigger cast and more stuff, and it also introduces audiences to Isaac Haigh, Tabitha’s TV sidekick and soon-to-be replacement, all warm rapport and Ray Martin hair. Now, there’s a version of this show on YouTube in the form of a fundraising live special for the Tabitha Booth YouTube series The Telling Of The Untold Truth Of Tabitha Booth, and it’s hilarious. But I’m glad I waited until after seeing the MICF version before watching it because Haigh’s character has morphed between then and now as a more sympathetic one. He’s more mindful of Tabitha’s feelings even while taking her job. We don’t see him as someone who is trying to edge her out, but someone who is seizing his career moment just as she would have. It makes Tabitha’s story more tragic: despite all her chemical and emotional freakouts, it’s not really a case of Tabitha losing her TV gig so much as TV just moving on without her.

Special shout-out goes to Matt Jenner, who for most of the show plays a harried stagehand but who also makes an appearance as the human embodiment of the Long Fork itself. His energy as the fork is utterly chaotic in the most Tabitha-appropriate ways and it really helps to land the show’s ending. The variety show format also allows for guest appearances every night: the evening I attended included Maddy Weeks as a recently divorced ventriloquist whose wife even took the doll.

This show may be set in 1969 but 2025 is definitely Tabitha’s year. Between The Telling Of The Untold Truth of Tabitha Booth and the Booth Variety Spectacular & Formal Apology Hour, McNair is really afforded the chance to go deep with Tabitha, to see what the character will do when placed in different situations in different eras. There’s so much potential. And given that McNair had already established a comic voice prior to arriving at Tabitha, it’s unlikely that they’ll become typecast as just ‘The Long Fork Lady Lady.’

The Booth Variety Spectacular & Formal Apology Hour! Is playing until April 20

https://www.comedyfestival.com.au/browse-shows/the-booth-variety-spectacular-formal-apology-hour/