Lano & Woodley: Moby Dick

Reviewed by Lisa Clark

We all had hobbies during lockdown and Colin has learned to play the tin whistle and has a bit of fun with it though he is clearly still on his Learner’s Plates. He’s also spent time reading Moby Dick and wants to tell us the classic tale, but of course Frank has other ideas.

If you are looking for hard and fast political standup these are not your guys. Those familiar with Lano & Woodley’s work, will know that Colin Lane is the straight man trying to keep the show on track while Frank Woodley – The Silly One – is constantly, and with the best intentions, derailing it with a lot of hilarious tomfoolery and physical escapades. Last time we saw them in the show Fly, (now available for streaming), Colin tried to tell us about the history of the Wright Brothers and failed miserably due to Frank’s diverting diversions. This year Colin is attempting to tell the tale of Moby Dick and if you’re worried that you won’t get to the story, don’t worry, you WILL have it told to you, twice.

Alright, I’ve never read Moby Dick by Herman Melville, it’s one of those huge bloated books that sits on a shelf reminding you that you are a failure for not finishing it. One day I will conquer you…. Apparently it teaches you a lot about whales and killing them. I’m not sure if Frank & Colin are giving us an accurate rendition, but if they are, god bless them for reading the tome for us. And also for turning it into an hour of hilarious entertainment.

The opening epilogue is a song that takes the audience through the general plot points of the novel, taking on the ancient theatre tradition of preparing us for the bigger play to come. You might not catch all the events in the song, but that’s fine because they will play out during the show, which you will follow better because you had that preview at the start…. This is especially useful as things become more and more chaotic on stage and the night I saw it there were some real sound issues that stopped the show and added to the chaos. The lads soldiered on and led us through the maelstrom like the well-seasoned professionals they are. It was hard to tell if it was part of the show, at first, considering they used to “accidentally” set fire to a suitcase on stage every night and sometimes audience members would actually call the fire brigade.

As is often the case, the unscripted moments were often the funniest and though they are not really topical comedians, there was a sprinkle of excellent topical gags, throughout the mayhem. At times I felt the warm camaraderie was missing, that Colin was a bit too shouty and angry with the hapless Frank but then they get to a bit of the story where Captain Ahab has become soooo horrible and unhinged that his sidekick and friend Starbuck plans a mutiny. Aha, I see what they are doing…. I think that must be it anyway.

The elephant, or white whale, in the room, sadly wasn’t. There was some brilliant, artistic light and sound design, in evoking the scenery, sea life etc, but considering the huge eye popping props that have appeared in previous Lano & Woodley productions I was really looking forward to meeting the titular mammal and must admit to being a little disappointed.

The best thing about a Lano & Woodley show is you can take the family, especially older kids who don’t want to feel like they are at a “kid’s show”. They have an amazing way of entertaining all ages and will leave you at times breathless, then smiling for days when you think about bits of it.

Lano & Woodley Perform Moby Dick at the Comedy Theatre til April 24

Lano & Woodley in Lano & Woodley

By Nick Bugeja

It’ll serve as no surprise that the stars of Lano and Woodley are, indeed, Lano and Woodley, one of the most successful Australian comedy duos ever. After formally reuniting after 20 years in 2018 with the show Fly, the coronavirus pandemic interrupted their revived partnership for the best part of a year. But now they’re back (again), this time delivering a show, full of sketch and slapstick skits that will please their fanbase and newcomers alike.

Lano and Woodley isn’t easily describable, but anyone with the faintest familiarity with them would immediately recognise their chaotic, frenzied comedic style. Yet, there is also a meaningful design to the proceedings; it’s amply clear that much planning has gone into the choreography and rhythm of individual scenes and the show as a whole. The songs – of which there are many – demonstrate this quality, especially when Lano and Woodley sing together in unwitting, conflictual duets. Of course, both of them are equally capable improvisors, with Lane playfully berating some front-row latecomers over the entire show, while Woodley humorously riffed off an audience member’s unexpected profession. Even when one of them misspoke stuttered over a line, that sometimes spawned new comedic openings. Lesser performers would have let this temporarily derail their show.

Although both excellent comedians in their own right, Lano and Woodley go up a notch together. The essence of their partnership is the oppositional styles they adopt. Lano is irritable and supercilious, Woodley credulous and blinkered, comedically embodying the ancient Yin and Yang principle. The set-up is often similar, but always rewarding: Woodley persists in his idiocy – like believing ‘Artica’ is a real place – to the point where Lano cannot help but unleash his frustration.

Woodley has the better of the two roles, and more comic freedom to generate the biggest laughs. He is Australia’s best ‘wacky’ comedian by some distance. Though Lano is hardly left the scraps, and makes the most of the spotlight on several occasions over the course of the show. His rendition of the ‘moving’ song, ‘100 green bottles on the wall’, just about matches Woodley’s ludicrousness.

At one stage, Lano remarked to no one in particular ‘I’m not sure if this qualifies as entertainment’ in the aftermath of an especially risible episode. The crowd, cheering, clapping, and laughing throughout, most certainly thought so. Of all the shows veering outside the parameters of traditional stand-up, Lano and Woodley is probably the most memorable of them.

Lano and Woodley is showing at the Arts Centre (Playhouse) until 4 April.

Melbourne International Comedy Festival Awards for 2018

This year instead of being presented in the middle of the night at the Festival Club as is traditional, The Melbourne International Comedy Festival Awards were instead presented at 1pm in the afternoon at Belleville. It was more relaxed and civilised with drinks and nibblies (and better lighting for photos) and it was great knowing that everyone in the room was involved and invested in the results, but sort of sad that it was restricted to invite only. I was very lucky to be invited, but other fans on the rim of the festival, but just as invested would have been sad (as I was when this happened once in the past) to not be a part of that middle of the night wild excitement and joy when a favourite, or someone you’ve discovered wins an award.

I can’t deny that there was some surprise as well as delight for Sam Campbell’s win. Although he has been performing in Sydney for a while and getting some TV work (you may have seen him on The Checkout), he’s still pretty much under the radar of the general public. We fell in love with his work when we saw Zanzoop! early in it’s run in 2016 and spent the rest of the Festival telling anyone who would listen that they should go and see the strange talk show hosted by a wise cracking alien in a back alley nightclub. This year we loved both shows he was involved with; his own, The Trough and Anne Edmond’s Helen Bidou – Enter the Spinnaker Lounge where he played Helen’s long suffering, very awkward son Connor.


Hannah Gadsby Presenting The Barry Award from New York

Barry Award, for the best show: Sam Campbell The Trough  

Nominees for The Barry Award:
Alex Edelman (USA)- Just for Us 
Anne Edmonds – as Helen Bidou – Enter the Spinaker Lounge
Tim Key (UK) – Megadate
Lano & Woodley (Colin Lane and Frank Woodley) – Fly!
Rose Matafeo (NZ) – Horndog!
Celia Pacquola – All Talk
Natalie Palamides (USA) – Laid


The Best Newcomer: Danielle Walker Bush Rat 

Danielle Walker

This award was presented by Sarah Dodds of Soho Theatre who will be bringing Danielle to London to make her Debut at The Soho Theatre.

Nominees for The Best Newcomer Award:
Paul Williams(NZ) – Summertime Love
Stephanie Tisdell – Identity Steft
Garry Starr – Performs Everything
Lewis Garnham – The Smartest Idiot You’ll Ever Meet
Nadia Collins – Virgin Bloody Mary


The Golden Gibbo Award (for an artistic independent production): 

Cam Venn

Cam Venn for 
Charles Horse Lays An Egg
The prize is a Bottle of Red Wine and was presented by Lynda Gibson’s Niece Emma Maye Gibson, also known as Betty Grumble

Nominees for The Golden Gibbo Award:
Sophie Joske and Anna Piper Scott  – Almost Lesbians
Garry Starr  – Performs Everything 
Julia Rorke & Elysia Hall – Not Another F***** B**** In India
Michelle Brasier & Laura Frew
(Double Denim) – Double Denim Adventure Show]

Lano & Woodley

People’s Choice Award:
Lano & Woodley – Fly!

This award signifies that Fly! sold the most tickets at this year’s Festival.


The Directors’ Choice Award:
Michelle Brasier and Laura Frew for Double Denim Adventure Show



The Pinder Prize: Demi Lardner – I Love Skeleton 
This Award funds her trip to the Edinburgh Fringe
to perform at Assembly Festival.



Heath Franklin

Piece of Wood Award (Peer Award from other comedians):
Heath Franklin – Bogan Jesus 


Funny Tonne Winner: Alasdair Bryant (76 Shows)

Deadly Funny National Grand Final winner: Leon Filewood (QLD)

RAW Comedy Grand Final Winner: Bec Melrose (NSW)  
Bec has won a trip to The Edinburgh Fringe Festival to compete in So You Think You’re Funny?.
RAW Runners-Up: Gavin Sempel (VIC), Emma Holland (ACT)

Class Clowns National Grand Final Winners Liam Adam, Carlin Carruth & Kyle Bennett (QLD) as ‘Awkward’!
Class Clowns Runners-Up:
Dusty Diddle (VIC),
Nina Cowley-Mousinho (QLD)
Shiloh Rea (QLD)
Nicholas Doring (NSW)

Frank Woodley – I, Woodley

By Lisa Clark
Frenk Woodley

I’ve not seen or read I, Claudius, so this may have been the entire plot told in a clever way, but I doubt it. I do know that it is a historical fiction of Claudius Caesar who was wrongly considered by his family to be an idiot so there are clearly some parallels. The only direct reference to Roman times was a cute song about watching gladiators. It certainly pleased the crowd.

The show itself started a bit shakily, not unlike Frank’s clown persona. He seems to be struggling somewhat with his identity; how does he give the audience the persona they are expecting and still grow as a performer? The show gradually emerges and in amongst all the silly clowning absurdity, it actually felt very personal. Frank rarely gives much of his private life away in his comedy. In this he refers to his wife and child and also seeking therapy. He keeps it all light-hearted and doesn’t go down any dark holes, like many of his comedy peers this year, but there’s his anxiety. The voice in his brain is personified as a grumpy homeless man who does and says terrible things, but Frank is kind to him anyway.

I Woodley is a show about putting on a show, using his life for inspiration, trying it out on audiences with varying levels of success. Frank is an engaging storyteller and a genius mime, but the highlights for me were when he broke out of it to chat to audience members directly and particularly when he improvised funny material with them. It was like comedy magic. Not all comedians are comfortable talking to audience members, but Frank made it look like he genuinely enjoyed getting to know them and they enjoyed helping him with part of his show.

Frank needn’t be too nervous about ageing, as his comedy is ageless and his audience is made up of all ages. I, Woodley was not the most hilarious show that Frank has ever put on, more gentle laughs than heavy guffaws, but always goofy, charming and delightful. It was also a fascinating insight into the working mind of a master entertainer.

I, Woodley is on at The Fairfax Studio, Melbourne Arts Centre until April 16

Interview With Frank Woodley

By Alanta Colley

Frank Woodley; the lovable man child has been part of our lives for as long as we can remember.  Appearing at one of the first ever Melbourne Comedy Festivals in the late 80s as part of a trio,  Frank went on to decades of success as part of the dynamic duo ‘Lano and Woodley’, has performed an array of on-stage physical theatre pieces, produced the ABC hit ‘Woodley’, as well as larking about on social media. He talks to Squirrel about the early days of the Melbourne Comedy festival, how his work has withstood the test of time, what being a Dad is like, what he finds funny off stage, and what advice he has for newer performers. He also gave us the scoop on what we can expect to see in his MICF show Fool’s Gold.

Alanta: A whole generation of us grew up watching you on Lano and Woodley, and seeing you on stage, both doing theatre as well as stand up. As a comedian who has kept their fame for so many years, how have you evolved your style of comedy to suit the ever changing needs of the audience?

Frank: I haven’t really evolved that much. There was a big change in going from the duo to going solo. Up until that point I could just be a child on stage. It was Col’s job to manage the practical realities of putting on the show. I’d sabotage whatever he was trying to do. If I went too far he would just berate me saying “the audience aren’t enjoying this you stupid little skinny man”.  When I went solo for about six months I’d go off on tangents but I wouldn’t really know how to stop. It is a bit like seven year old kids going into their classroom, and the principal introduces them to their new teacher and he’s also a seven year old, and chaos just erupts. I’ve had to develop the bit of my brain that is also responsible for the direction of the show.

But really basically my whole career I’ve just been trying to create the kind of comedy that comes naturally to me. From an audience perspective I can enjoy all sorts of styles of comedy, it’s not like the thing I do is the only kind of comedy that I enjoy watching.

I’m sure things have evolved, but not in a way that’s been conscious to me, if that makes sense.

Alanta: That makes sense. I guess when you’re playing the funny man to the straight man, you are reacting to the situation they create, which changes when you’re doing solo work.

Frank: Exactly. I have to create the situation, and when I go off on flights of fancy there still has to be some ‘don’t worry, ladies and gentlemen, I’m in control’, and it took a little while for me to find that balance.

Also, it became easier when I developed the technology. I now have a large animatronic colon on stage.

Alanta: I see. That must be difficult to take touring.

Frank: Extremely difficult.

Alanta: You stand out in the Australian comedy scene as a comedian who uses a lot of physical theatre in your work. Australia seems to have a scarcity of comedians with a strong physical theatre bent. How did this become part of your world? Who were your inspirations?

Frank: It’s always perplexed me that not more people do it. I didn’t look for it as a niche market. I just did the thing that came most naturally to me.

The things that influenced me when I was a kid were things like Get Smart and the Goodies and movies like the Clouseau movies and Jerry Lewis, so I just naturally reflected that.

At school I was always mucking around being the clown. Showing off on the diving boards to impress the girls. I never did impress them very effectively. I thought I’d been this kind of Adonis on the diving board. I met a girl from school just the other day and she remembered me on the diving board and she described me as ‘a bag of bones’.

So it surprises me that there aren’t more people who do physical theatre. The vast majority of comedians do straight stand up, which is great as well, but I don’t understand why there isn’t more people running round like dickwits.

When I was 15 I dressed up as a hobo clown and went down to the local street festival and did roving, just for my own interest. And when I look back on it I think that’s a really peculiar thing for a teenage boy to do. It’s a mystery to me. There’s no performers in my family. It’s not as if old Uncle Larry has done some clowning.

Alanta: Well, I have a feeling you may have inspired a generation of people to start it, even if there wasn’t one when you started.

The process of sitting down and writing jokes for a stand-up comedy show sounds difficult. However, the idea of sitting down and writing a physical comedy show sounds impossible. What is your process for developing new pieces?

Frank: There’s really no secret. I just tinker around with ideas. For example I’m at a friend’s place at the moment. As I came up the road someone came around the corner driving on the wrong side of the road towards me. And it scared the absolute bejesus out of me. And I know there’s not a comedy routine in that. But if something like that happens to me, I just file it away in interesting experiences. And when I have to start writing a show, I’ll start drawing on a thousand little possible things like that. Maybe ten of them, I’ll find there’s actually something in this, and I’ll start teasing out the possibilities.

The secret is to not wait until you’ve got a brilliant idea. Start with anything that seems a little bit interesting and work with it. It’s like the art of conversation. You don’t wait until you’ve got something brilliant before you start talking to your friends, but through the process you’ll find hilarious things. It’s an intuitive instinctive skill we all have.

It’s almost like I have to pretend there’s a whole group of me standing around shooting the breeze with an idea. Like creating a brainstorming environment where I’m bouncing ideas off myself, you know ‘what if…maybe you could…wouldn’t it be funny if…’

Alanta: After years it must be good to have that sort of trust in knowing what you find funny others will find funny as well.

Frank: The great thing with comedy is that you can do trial performances, so with new material I’ll do about five trial shows before I start expecting people to pay to watch it. So when I use a piece of material I’ve usually got about an 80% strike rate of things that generate some kind of laughter and half of that will have legs. So only about 40% of it is strong material. And luckily, that other 60%, no one ever needs to hear about again. When it comes to the point of doing a show you can give the actual illusion of being more talented than you are.  It’s great! By the final product it all seems spontaneous, but in reality I’m pulling the wool over people’s eyes. I’m nowhere near that funny.

Alanta: You and Colin Lane first appeared at the Melbourne International Comedy Festival in 1993 with ‘Fence’. How has the festival changed much since those days?

Frank: Well, ‘Fence’ was when we performed with Lano and Woodley but we performed as a trio for 4 or five years before that. So I think I did my first comedy festival in 1989. It’s weird to think that there are people with grey hair in comedy now who weren’t even born when we started doing comedy. I mean, it would be premature greying, but still, it’s weird.

But the festival has just grown and grown and grown. ’89 was either the first or second year of the festival. At that stage it was about twenty acts. Very much a Fringe kind of event. Nobody really knew much about it. There was about five venues. And its just gone from strength to strength. I think that a lot of people in Melbourne take it for granted. I think they imagine every city has an incredible comedy festival once a year like this. But it’s a very special thing.

The Edinburgh Fringe festival is huge but it’s different in terms of it being a Fringe festival, not just a comedy festival. And the Montreal comedy festival is different because its curated, which means you don’t have that same crazy sort of experimental ‘anything goes’ quality to the shows.

Melbourne is absolutely amazing . It’s fantastic to see it grow and grow. I saw a bunch of shows last year and couldn’t help thinking that it was incredible art that goes straight from the artist to the audience. Most of the art we receive is through television and movies and because it’s expensive to make there’s many producers and all sorts of people who have an opinion about the content before it gets to the audience, which makes some of it homogenised. Whereas live comedy is just some lunatic with an idea going straight to the audience which means that the material is unique and personal. The shows I saw I felt that they couldn’t have been made by anybody but that person. It was great. You know, someone like Paul Foot. You just know no one else in the world could or will do anything like that. It’s brilliant and wonderful. I love that aspect of the comedy festival.

Alanta: The physical theatre that you undertook in ‘Possessed’ and ‘Inside’ among others must be intensely physically demanding and to a degree dangerous. How do you develop the skills to not kill yourself? Training must be a big part of your regime?

Frank: I have simple straight forward exercise regime that’s nothing special. I try to keep myself healthy and strong. But most of the physical stuff I do probably anyone could do if they applied themselves to it and did a bit of practice. It’s not high-level skill for most part, much more about choosing where to place things in terms of creating the meaning. For example in Possessed there was an opening sequence of me falling down the stairs. When I was making that I actually went to the christening of a friend there was a little set of stairs going up to the altar of the church and all these kids who were about 4 or 5 just started tumbling down stairs, and I was agog. I thought I could not do what these kids were doing. It humbled me. What I do in my shows is very controlled. I’m being careful I don’t actually hurt myself. You know, if the audience believes you to be a world class acrobat and you do a double somersault, they’ll think ‘we’ll that’s good, but there’s someone out there who can do a triple somersault.’ But if you get your sleeve caught on a doorhandle as you enter the room and then fall on your bum, then the audience relates to you as a normal person, and any stunts after that have high impact.

I’ve still tried to push myself to the limit of what things I’ve tried. But even the major stung in Possessed, just about anyone could do the technical trick if you talk them through it and they’re prepared to try it.

Alanta: Well, you had us all convinced that it was a death defying stunt, falling down the stairs.

Frank: Oh, I shouldn’t have told you all that then. To do the physical comedy I do, you just need to have no self-respect, really.

And with Inside the thing is Simon Yates – my co-performer and long term friend, is actually a world class acrobat and he is actually elite. I kind of got a bit of reflective glory working with him. And because we look quite similar, some people thought that I’d done some of the stunts he did!

Alanta: Inside depicted a dystopian tale of two prisoners in a sort of 1984 style prison camp, which flew in the face of the more whimsical and light-hearted comedy that you’re known for. What lead to you exploring such a bleak theme? And how did people react?

Frank: I was really proud of that show. It was a combination of Simon and mine imaginations and areas of work. When put heads together and followed our noses. There was a lot of love in the relationship between two brothers. The show definitely explored the much darker themes of suffering. Only about a third of my regular audience came and only about 60% of them enjoyed it. And maybe the remaining 40% found it a little bit too difficult or were disappointed that it wasn’t as light-hearted as other stuff. But I feel that in order to keep my comedy alive, and not getting too stuck in formulas or repeating myself…there’s a fine line between repeating and refining a skill, and becoming jaded and playing it safe. If that happens all of the playfulness will just leach away from the performance. So it was an important thing for me to do, to throw myself into the unknown. It was like going back to my first days of comedy; feeling ‘I don’t know how this works; I’m excited and unsure about this’ which is a good thing ultimately. 

And ultimately while the character was a simple Russian brother, the differences with my normal character were superficial, it was still the core of the character I’ve played my whole career of the innocent child-man, with the same guileless quality.

Alanta: Woodley the television series was just beautiful and moving. You managed to explore some of the sadder realities of family life and death of loved ones, while still maintaining a whimsical and humorous air to the whole thing.  How much of yourself did you put into the show? Where does Frank Woodley the character end and the man start?

Frank: My wife thinks it’s a documentary! There are parts of me in there; I am a romantic. I do believe that the love between people is really all that matters. I do have that sentimental perspective in my real life.

I’ve seen in the silent movies this blend of broad clowning and sentimentalism and pathos. You don’t see it very much anymore. Most modern broad physical comedy doesn’t allow for that sentimental poignancy. And because I love that genre I wondered if you could do a show that sort of references them but is not a parody or replication of the silent films; is still a modern show that is somehow integrating that pathos and broad comedy in a way that feels cohesive. That was the challenge I set myself. It was an absolute labour of love. I’m really grateful to the crew. They really elevated it to something beyond what imagined. I was very rapped with that.

Alanta: Well, it really came together, the music, the visual style and the characters. It also had an Australianness combined with physical comedy I hadn’t seen elsewhere.

Frank: More gushing. I love it.

Alanta: Hah, yes. Sorry. You described yourself once in an interview as: the child-man who hasn’t grown up. Have you felt that character need to evolve as you’ve grown older? As a Dad?

Frank: Yes. I don’t tend to talk about my private life, but I am a father. That is a genuine tension as a father and a clown. It’s like I was talking about stepping away from the duo and I had to integrate the adult responsible character into my own; parenthood is a bit like that I’m sure for all people becoming parents; we’re all just little kids going ‘Ooooh, I don’t know what to dooo!” It is kind of terrifying for sure.

I think as I grow older I can still maintain that fundamentally innocent perspective. Even when you’re 85 you can still have that befuddled and bemused reality just below the surface. So it’s not as if I suddenly need to become mature and knowing. Though ageing does subtly change what the audience expects of you I think.

Alanta: We’ve sort of touched on this already; you’ve done trios, duos, television, stand up, and intensive physical theatre. With such a long and successful career to date, how do you keep challenging yourself as a performer?

Frank: I don’t have conscious strategy; I just try to keep it interesting I guess. I try to avoid being fearful. If you are feeling fearful you start playing it safe and losing that sense of adventure.

Alanta: I put the question out to a few friends what they would like to ask you and there were a few marriage proposals; but I said I wouldn’t pass them on –

Frank: Well I mean, send me some photos. I mean I have been married for over 25 years but if somebody better comes along –

Alanta: I’m assuming your wife isn’t in the room.

Frank: I’m sure if she was she’d appreciate that was a JOKE.

Alanta: It would seem you’re a keen observer of the inherent humour of day to day life. What’s the funniest thing you’ve seen off stage?

Frank: Well, it might have just been the mood I was in, but I saw a guy in Ackland street in St Kilda wearing his pants low slung, being cool, you know how you usually see jocks above the pants? He had no shirt on, which added to the laissez faire effect. He had no undies on, and you could see his entire buttocks, then at the front you could see all of his pubes and just the suggestion of penis. And he was swaggering down the street so confident that he was on the cusp of a fashion revolution. I must admit I followed him for a while.

I actually tried to recreate that moment on stage one time and the audience just said: ‘No. We don’t want to see your pubes.” That was one of those examples of the 60% of material that no one ever needs to see again.

Alanta: Thousands of people now follow your YouTube and Facebook pages. How do you use those media to in relation to developing your work?

Frank: I had a crack at that for about three months- I tried to be prolific but don’t know if can actually keep doing that. Almost taking up too much of mental space just thinking about it. I don’t like just posting things that haven’t been considered. There’s no doubt though that the internet is an amazing in way artists can go straight to audience.  

Alanta: You’re an inspiration and a mentor to many young physical theatre performers and comedians. What advice would you offer those early in their career?

Frank: The main thing I would say is: find opportunities to perform in front of audiences. However you can.  Whether its busking, or open mic nights, anything you can find to get out in front of audiences and perform.

Alanta: What style of comedy can we expect to see in ‘Fool’s Gold?’

Frank: It’s a classic stand up show with a mix of performance types a bit like Bemusement Park and  it’s got everything from exploring how the Nazis came up with their salute, to a crocodile tour, to a couple of songs and physical theatre. Basically anything I can think of to stop the audience thinking that they wish they were somewhere else.  A whole bunch of disparate ideas but hopefully a good night out.

Thanks Frank!

Frank Woodley performs Fool’s Gold at The Melbourne Town Hall

Backstage at the Melbourne International Comedy Festival.

Melbourne collective Little Picture Box have been busy producing “Backstage” at the Melbourne International Comedy Festival.
Headed by Amanda Reedy, Little Picture Box and her team have produced a couple of seasons of Channel 31′s Studio A and have also produced comedy short films and sketches for online.

The “Backstage” project is a collaboration between Reedy, her team at Little Picture Box and comedians Tommy little, Dave Thornton and Nat Harris. They’ll be producing exclusive online content including interviews, sketches and other funny stuff during the festival plus a half hour Comedy Festival special to air on Channel 31, April 14 at 8.30.

There’s a bunch of videos online now including Tommy Little interviewing Tom Green, Frank Woodley, Tom Ballard, Paul Foot and more. Here’s a few of our fav’s. You can check out more on Little Picture Box’s YouTube Channel.