Odd-all assessment

I reviewed 133 shows this year, which does not sit well with my compulsive preference for even numbers, but does equip me with a breadth of exposure and nuanced perspective to make assessment as to the standout moments and exceptional performances amongst 2025’s body of Brisbane professional and amateur work. Here are my favourites:

1. The Visitors (Moogahlin Performing Arts and Sydney Theatre Company)

Thanks largely to Jane Harrison’s incisive script, the touring production’s mid-year season at QPAC was a compelling reframe of the arrival of the First Fleet, at once haunting and humorous in its “12 Angry Men” style debate and challenge of first-hand First Nations characters’ opinions about the arrival of the visitors to their shore.

2. Trophy Boys (Soft Tread Enterprises)

A sharp script from Emmanuelle Mattana also elevated the touring production of “Trophy Boys” at QPAC, which sort to expose the hypocrisy of a debating team of privileged elite schoolboys forced to prepare (in real time) their response in affirmation of the topic that feminism has failed women. Casting female and non-binary actors in masculine drag underscored the themes and allowed for performances that were both bold and nuanced at the same time, also enabling much humour, especially relatable to those who regularly interact with young people like its protagonist debaters.

3. MALACAÑANG MADE US (Queensland Theatre Company)

Jordan Shea’s Queensland Premier’s Drama Award–winning work “MALACAÑANG MADE US” packed a lot into its celebration of culture, history, protest and family. The sweeping exploration of the impact of the 1986 People Power Revolution in the Philippines gave us a vibrant blend of humour and humanity and, as the first Filipino-Australian story on a major mainstage, offered audiences something vitally different from usual theatre fare.

4. A Few Good Men (Queensland Theatre Company)

Queensland Theatre Company’s production of Aaron Sorkin’s courtroom drama “A Few Good Men” was elevated in its tension thanks to Daniel Evans’ precise and pacing direction, powerful performances and effective use of sound, lighting and set design.

5. Calamity Jane (Queensland Theatre Company)

The transformation of Queensland Theatre’s Bille Brown Theatre space into the immersive Golden Garter of Deadwood South Dakota’s “Calamity Jane” enabled a vibrant communal celebration of a classic film, soundtrack and protagonist that continued long after its narrative’s conclusion. And Naomi Price’s multifaceted presentation of the titular American frontierswoman was one of brashness layered with loyalty and compassion, making its storytelling all the more memorable.

6. Sweet Charity (Prospero Arts)

Prospero Arts’ final In Concert production for the year saw the musical story of eternally optimistic Charity Hope Valentine elevated through electric realisation of Bob Fosse’s iconic choreography and atmospheric video design transport through the story’s New York City locations.

7. In The Heights (Joshua Robson Production)

Joshua Robson Productions’ Australian tour of Lin-Manuel Miranda’s musical “In The Heights” saw The Gold Coast’s Home of the Arts erupt in a celebration of colour, culture and carnaval, with the score’s infectious blend of hip-hop, salsa, merengue and soul sounds, combining with energetic choreography to provide an evocative consideration of the American Dream through the lens of immigration.

8. A Chorus Line (Queensland Academy of Excellence in Musical Theatre) 

Effective staging ensured that Queensland Academy of Excellence in Musical Theatre’s production of the musical “A Chorus Line” allowed its audience to see the step, kick, kick, leap, kick, touch of Broadway musical auditionees from multiple perspectives, in enhancement of performers’ unique characterisations, elevating it to a cinematic-like experience.

9. A Night with the Villains (Mira Ball Productions)

Dynamic choreography and detailed, cohesive costumes, ensured that Halloween’s “A Night with the Villains” at the Ron Hurley Theatre remained as fresh as ever, despite being now in its third year. Its inventive villain-themed musical parodies were brought to life by a cast of strong vocalists and standout comic character portrayals, making it an infectiously energetic celebration of obvious and obscure musical villains alike.

10. tick, tick… BOOM! (Good Times Theatrics)

Even when being presented by alternate performers, Good Time Theatrics’ intimate production of Johanthan Larson’s semi-autobiographical “tick, tick… BOOM!” at PIP Theatre showcased an engaging balance of humour and poignance thanks to the little touches of its authentic, casual workshop staging and tone.

And of particular note…

Best Dramatic Performance

Justine Clark – Julia (Queensland Theatre presents a Sydney Theatre Company and Canberra Theatre Centre production)

As is required of a one-woman show, Justine Clarke gave a commanding performance in “Julia”, merging from an every woman narrator into the titular character, embodying the former leader’s poised and precise manner of speaking, but also shading the masterful monologuing of her ‘Not now, not ever” manifesto with a layered balance of emotional intensity in exasperation at the reality of public life for a high-profile female politician.

Natalie Bassingthwaighte – Shirley Valentine (Neil Gooding Productions and Woodward Productions)

Natalie Bassingthwaighte inhabited the role of unassuming middle-aged Liverpool housewife Shirley Valentine, feeling trapped in the mundane routine of domesticity. The one woman play had its Twelfth Night Theatre audience attentive throughout thanks to the elevation of her storytelling though nuanced characterisations in recalled impressions.

Best Comic Performance

Darcy Brown – Calamity Jane (Queensland Theatre Company)

Darcy Brown almost stole the “Calamity Jane” show as visiting song and dance man Francis Farmer, if not in his energetic musical numbers, then through his perfectly-pitched delivery of some of the show’s funniest lines.

Peter Wood – A Night with the Villains (Mira Ball Productions)

Peter Wood’s always-in-role strong stage presence and sharp timing in “A Night with the Villains” showcased a performance of unending, exaggerated comedic energy to perfectly capture the absurd persona of tyrant Lord Farquaad.

Best Performance in a Lead Role

Fletcher Colfs – Grit (Perseverance Street Theatre Company)

As the primary storyteller of Perseverance Street Theatre Company’s “Grit” Fletcher Colfs inhabited each character with vocal inflections suited to the distinct language structures of their respective vernaculars, embodying each character at the crossroads of its anthology of real-life Gympie stories.

Octopolis (Observatory Theatre and PIP Theatre)

Observatory Theatre’s “Octopolis” saw Caroline Sparrow give a magnetic, nuanced performance as the complex recently-widowed professor George whose only relationship was (initially at least) with the intelligent Frances, an octopus she obsessively studied, endearing the lengthy experimental work’s consideration of big questions around love, grief and animal sentience to its PIP Theatre audience.

Best Performance in a Supporting Role – Stephanie Collins – Secret Bridesmaids’ Business (Ipswich Little Theatre)

Although her character only arrived on the “Secret Bridesmaid’s Business” scene during Act Two, Stephanie Collins’ Naomi was a highlight of the Ipswich Little Theatre production due to her comic timing and committed physicality in convey of her character’s heightened emotion and essential awkwardness.

Best Musical – Come From Away (Savoyards)

The Brisbane community theatre premiere of the musical “Come From Away” was not only a powerful celebration of the humanity of ordinary people in extraordinary situations, but a detailed exercise in dynamic storytelling thanks to its efficient staging and the fluid precision of its stylised choreography.

Best Musical Performance – Amy Lehpamer – Dusty, The Musical – In Concert (Prospero Arts)

Amy Lehpamer was sensational as the titular trailblazer in Prospero Arts’ “Dusty, The Musical – In Concert”, capturing the complicated protagonist through her stylised movement, nuanced gesture and rich, versatile vocals.

Best New Work – We’re All Gonna Die! (La Boite Theatre and Dead Puppet Society)

The dynamic world premiere new work “We’re All Gonna Die!” elevated its Brisbane storytelling through its design-led Dead Puppet Society inclusions, versatile performances and accessible for-everyone humour, ensuring appeal to adult and youth audiences alike beyond just the truth of its environmental themes.

Most Moving – Back to Bilo (Belloo Creative)

Belloo Creative’s Queensland Theatre work, “Back to Bilo” was incredibly affecting in its tell of the Tamil Murugappan family from Sri Lanka who were long-term residents of the central Queensland town of Biloela before they were taken into immigration detention in 2018 and faced with deportation. The powerful true-life testimony to people power was one told with clear care, making it compelling in both its on-stage moments and post-show linger of audience members stopping to hug each other in recognition of the very special experience in which they had all just shared.

Funniest – The Play That Goes Wrong (GMG Productions & Stoddart Entertainment Group)

Eight years after my first experience of the work and “The Play That Goes Wrong” is still the funniest show I have ever seen, thanks to its layering of multiple forms of comedy into one chaotic theatrical experience. And 2025’s touring show season at HOTA showed even with knowledge of the play within a play unfolding in the worst possible way in front of the audience, there are still many ways that a talented cast can put its own stamp on things, in this case leaning into the chaos while maintaining control without even a hint of break amidst the plethora of disasters befalling the characters.

Best Scenic Design

The 39 Steps (Neil Gooding Productions and Woodward Productions) 

Sophisticated scenic design ensured some stunning film noir moments in the satirical homage to Alfred Hitchcock’s films at the core of “The 39 Steps”. James Browne’s geometrically bold greyscale evoked the sharp camera angels of classic cinema in contribution to a visually cohesive and sophisticated piece of theatre.

A Few Good Men (Queensland Theatre Company)

Queensland Theatre Company’s final 2025 work featured memorable scenic design that amplified the play’s inherent tension through its set of stark lines, combined with strategic sound cues and bold lighting, yet also fluid scene transitions of Simone Romaniuk’s elegant but brutal stage design.

Best Sound Design – Macbeth (La Boite Theatre)

The visceral sound design of La Boite Theatre’s production of the Scottish play was an integral component of its creation of atmospheric power through the amplification of the supernatural undertones that define the tragedy. The layered effects of Brady Watkins’ design added to the aesthetic to immerse the audience in the story’s natural and unnatural worlds, and easily evoked nature’s fury in realisation of the work’s intended lean into the environmental undertones of Shakespeare’s text.

Best Lighting Design – A Few Good Men (Queensland Theatre Company)

Ben Hughes’ lighting design was a standout element of Queensland Theatre Company’s “A Few Good Men’, becoming almost a part of the show, not just in illumination or thematic emphasis, but in its strategic manoeuvring. It was an active part of the storytelling in its guide through tonal shifts and thematic contrasts at the core of the work. 

Best Direction – Daniel Evans – A Few Good Men (Queensland Theatre Company)

Daniel Evans’ precise yet pacey direction of Alan Sorkin’s dialogue-heavy legal drama ensured that its tension remained tight. Stunning design elements were integrated in dynamic ways to position the audience as observers to its legal proceedings and appreciate the contrasting perspectives of miliary and legal counsel characters, with choreography of movement adding to the visual rhythm of what could so easily have been static storytelling.

Most memorable moments 

Sweet Charity (Prospero Arts)

Worth the price of admission alone, ‘The Aloof’ number, as part of the iconic ‘Rich Man’s Frug’ sequence, was a perfectly executed illustration of Bob Fosse’s distinct angular style of cool, detached movements and expressionless demeanour, with enchanting ensemble execution of all of the number’s precise snaps, swivels and thrusts.

Gatsby and The Green Light (Presented by Brisbane Festival in association with Blackbird Brisbane and Twelfth Night Theatre)

When Gatsby’s yearn for the past was captured in Spencer Craig’s stunning ‘Dancing on My Own’ aerial spin through Gatsby’s moving need of the ‘no ordinary love’ of an up-high Daisy, it illustrated the work’s easy weave in of elements of Fitzgerald’s classic novel of and about the Roaring Twenties of its era.

Teapot attempts

A Teapot Tale

PIP Theatre

December 11 – 12

Toucan Club’s “A Teapot Tale” starts with a bang as a Chinese lion dance drum performance takes us into the debut work’s introduction of businesswoman Josephine Johnson and friend who have a meeting in a hotel in an ultra-modern Chinese city, keen to establish a beneficial business connection to source hotel supplies. It’s early 2020 and hints appear cleverly with Jan-Marie Clarke’s script foreshadowing the coming year to remember, however, these are but red herrings in terms of the narrative’s direction. Similarly, while performers do well to bring their characters to life, gaps in the script affect engagement in their story.

Unfortunately, the tone appears inconsistent; talk about teapots allows for puns aplenty but also some poetic descriptions, while initially ambiguous conversational dialogue between the central characters doesn’t provide much in terms of audience orientation. Indeed, it takes a while for us to draw meaning to appreciate the nature of the unfolding business meeting, though especially Josephine’s attempts at earnestness and resulting inconsistent professional respect, makes this, at times, questionable. Then, when the central pair meet with Mr Ho, it is clear that the company manager is esteemed but not what his company does and thus his role or motivations in the potential trade alliance. And though, in terms of dramatic function, ‘old mate’ Jay’s role is clearly one of comic relief, his narrative purpose is never really outlined, and the reason for Josephine’s animosity towards him is not clearly revealed. This makes it difficult to empathise with the play’s protagonist, meaning that when things escalate in an unexpected and unexplained turn towards an abrupt ending, we are only left feeling confusion.

The lack of clear character establishment means that there is no steady ground upon which to then build the central satire on trade deals and diplomacy. As a satire, the play is full of business buzzwords around collaboration, shared interests and acceptable outcomes that, taken out of context, lose meaning and impact, resulting in a lay audience that is often lost in its especially initial fast-paced ambiguities which are more distracting than intriguing when never ultimately addressed. This is unfortunate as the bold new work offers much promise in terms of its premise and themes. As Queensland Theatre Company’s “MALACAÑANG MADE US” showed earlier this year, Asian stories can bring fresh and vibrant theatre experiences to our theatre stages, as long as their audiences are supportive in their interpretative labour and guided towards independent meaning making. As the work currently stands, its appeal is less mainstream and more guided towards audiences who favour earnest theatre that comes with the challenge of unresolved ideas.

Word reward

Mum’s the Word

PIP Theatre

December 6

Cabaret, it can be argued, is best based upon trauma, we are told early in “Mum’s the Word” and show writer and performer Frankie Jaiyeola’s trauma is the idea of putting on a solo cabaret show, especially after being ghosted by her initial creative development partner. Filling the timeframe of, as we are repeatedly told, 60 minutes, is no easy task, yet in Jaiyeloa’s hands it goes by in what seems like the shortest of times, segmented as it is, in distinct phases as she takes the stage as characters or sides of herself with retro ad breaks (catering for required costume changes between bits) sharing difficult-to-believe they are real vintage ads of products related to the skits.

For all the interest that this curation brings, Jaiyeola is clearly at her best when playing her mum, stepping in to help out on stage with tell of the hard work of single-handedly bringing up three bi-racial children in changing times, meaning that even without knowing her we can fully appreciate the accuracy at the heart of what is a fully realised characterisation, in part due to her Mancunian accent. Clipped, but also over enunciated vowels and suffix drops combine with natural, but character-revealing, movement to ensure an absorbing performance. Indeed, Jaiyeola’s natural but humorous way of telling an anecdote in this role makes this section a highly entertaining show highlight.

Motherhood is at the show’s core, but not necessarily in the cliched way of so many similarly-themed works given the inclusion of this segment. This creativity in the show’s curation makes it a work of much promise. Movement and dance also represent a key part of proceedings, adding interest and energy that elevate the entertainment. Music is a key component with vibrant choices such as ‘Pump It Up’ and ‘Pump Up The Jam’ energising things and complementing the narrative focus on the frenzy of early motherhood’s more cumbersome aspects. And a post bedtime rap is an energetic outline of what mothers really need in their Mary Poppins-ish bag of parenting tricks. Thankfully sound levels are eventually adjusted during a fun chair yoga keep-fit class from Frankie’s mum.

Jaiyeola’s brave undertaking is a rewarding work for those looking for entertainment in a way that involves its audience in a non-confrontational manner. Its relatable humour brings an easy-to-appreciate resonance through finding the funny in the slice of life tales that resonate even for those who may not be mothers themselves. It’s a perfect festival show that does what it says on the motherhood focus tin … and more, through Frankie’s explanation and exploration of cultural dance, offering high energy laughs and easy audience participation.

Dating distinctions

Dating Disasters (indelarts and KLR Creative)

PIP Theatre

November 28 – December 6

There is a Kransky Sisters type of quirkiness to “Dating Disasters” protagonist Beatrice (writer Karen Lee Roberts), immediately evident through her wide-eyed stare into the audience as she confesses as to how she kinda screwed up in overpowering obsession with a radio personality, making her determined to prove to the court that she understands dating functionality. In the following approximately hour-long cabaret, Beatrice shares stories and some songs in recount of events, in hope of finding an endless love and learning about (healthy) dating, with support from childhood friend Crystal (Tammy Sarah Linde) on piano.

Bea’s stalking story soon moves into share of anonymous contributions of people’s personal dating disaster tales, from awkward first interactions to total romantic trainwrecks, which are told in turn courtesy of voiceover artists, with quick affirming commentary from Beatrice in between. It’s an effective premise that can easily stand on its own merit. Trust in this and lean into a ‘show rather than tell’ faith in the audience could enhance things as using props to add some physical representation to each caller isn’t necessary and is, instead, distracting and impacting upon momentum, especially when voice over artists do such a good job establishing their distinct characters and delivering engaging anecdotes.

The script is crafted to make use of rule of three comic rhythm and include hints as to its ultimate narrative direction, however, transitions between voice-over segments and return to recall of the escalation of Beatrice’s story could be less cumbersome. Still, this is still a work of much potential for those looking for an easy-to-watch comedy cabaret. The dry humour of Robert’s delivery of Beatrice’s matter-of-fact dialogue is a little one-note, however, this awkwardness is what brings much of the show’s humour. Her commitment to the brash character is evident as she takes us into uncomfortable stares and pauses to elevate its impact upon audience members having a great time with the humour that comes from her remote, hyperbolic storytelling and characterisation. And when Bea makes her way into the audience in hold out for her hero, we get to see Roberts’ in-the-moment comic skills.

The work’s two performers bounce well off each other, especially vocally, in delivery of a melodic ‘Scar’. Robert’s vocals are vibrant throughout, regardless of song choice, though she does make Alanis Morissette’s scornful ‘You Oughta Know’ just a little bit scary, in a very funny way. If ever things take a turn to darkness though, a well-timed droll comic observation or detailed suggestive metaphor quickly brings us back to the show’s light-hearted intent beyond the framing device of Beatrice’s look for a happy ending.

Whether, like Bea, you are tired of swiping through countless strangers or are conversely thankful to be off the dating scene merry-go-rounds, “Dating Disasters” offers an appealing, light-hearted comic approach on a relatable theme, making it an effective inclusion in a festival such as PIP Theatre’s annual Toucan Club. The two-hander cabaret may be chaotic, but it’s the type of chaos that kind of captures the experience of not just surviving, but thriving, through love going wrong.

Great at eight!

Christmas Actually (The Little Red Company)

Home of the Arts

December 19

Like the iconic film of its inspiration, The Little Red Company’s “Christmas Actually” is the kind of playful cabaret show that can be revisited time and time again, as evidenced by the Gold Coast outing of its 2025 pre-Christmas tour. The popular tis-the-season show created by Adam Brunes and Naomi Price in 2018 is inspired by the 2003 rom-com film “Love Actually” and so delivers a sack load of musical hits, wrapped up in charming comic entertainment. And while the show features a rotating cast of performers, the consistency of its balanced song curation, interwoven with audience engagement, comedy and iconic character appearances continue to be central to the work’s identity.

In this instance it is a very capable Libby O’Donovan OAM at the helm. The richness of her vocal tone adds emotional weight to numbers like Norah Jones’ soulful ‘Turn Me On’ wrapping around the audience with a quiet intensity that feels intimate and honest, despite the large HOTA theatre space. O’Donovan is also engaging in her share of anecdotes, such as about growing up in Broken Hill, easily riffing off what audience interaction might reveal, and while a few ‘slow release’ gags might initially fall flat with the audience, it is not long before everyone is having a fabulous time thanks to the high-energy appearance of Drew Weston in a share of Hugh Grant’s impulsive ‘Jump (For My Love)’ that takes him into all parts of the audience.

As O’Donovan’s own ventures into the stalls reveal, the audience does include some people who have never seen the source material movie. Perhaps not for them, or those who watch as an annual festive season ritual, but for those in between, anoccasional reminder of where songs appeared in the storytelling would perhaps have aided the audience experience. Still, the production’s transition of some of the film’s iconic moments into a live cabaret‑theatre setting remains strong, culminating in Tom Oliver’s appearance as the nativity lobster featured in one of the film’s most delightfully absurd moments.

The live band contributes to the atmosphere, which is complemented also by Sam Gibb’s rich lighting design that blues us through the Sugababes’ moody ‘Too Lost in You’ and adds some sultriness to ‘Smooth’ by Santana featuring Rob Thomas, before warming us towards the fragile bittersweet hopefulness of a vulnerable ‘Songbird’. Like the film’s storylines threads, the soundtrack of “Love Actually” offers something for everyone, making it easy to appreciate the role of “Christmas Actually” as a staple of the silly season, now it its eighth year of evolution. The production’s re-imagination of the film’s soundtrack sees songs by Mariah Carey, Joni Mitchell, Norah Jones, Eva Cassidy, Kelly Clarkson, The Beach Boys and The Beatles thoughtfully curatedto give light and shade to its 90-minute journey, even with just a stand-in brass band for ‘All You Need is Love’.

The on-stage band (AJ Hall on basses, Mick Easterman on drums, Daniel Khoury on keys and Hemi Timer on guitar) does not miss a beat and, in trademark Little Red Co fashion, musicians are each given their moment to shine, most notably Timer in a bewitching slowed-down share of one of the film’s more gentle instrumental numbers. In each instance, arrangements add character to numbers and cater to vocalist strengths. Alisha Todd delivers a pitch-perfect ‘Here With Me’, that conveys the Dido number’s aching emotional resonance. Tom Oliver, meanwhile gives us a dynamic ‘White Christmas’ with a difference, filled with a range of characters in show of his vocal versatility, and demonstrates his impressive vocal precision with a long-sustained falsetto in a later Barry Gibb moment. And with his also infectiously energetic jingle bell playing, the journey towards the joyous conclusion of carols by candlelight and Mariah Carey style sing-a-long is made all the more buoyant.

“Christmas Actually” captures both the spirit of the season and the charm of “Love Actually”, with audience members singing and swaying along from its opening, re-appropriated ‘Love Christmas is All Around’. Although the show has been on the scene for a number of years, it has clearly been refined over time and kept fresh with an updated stack of cue card messaging for flip through in summary of the year and resulting messaging towards the future. And while different audiences will of course contribute uniquely to each show’s sensibility, at its core the cabaret remains a genuinely great crowd pleaser for audience members aged, in this instance, from 10 to 87.  

Foxy feminism and fun

The Foxy Morons Presents: TV Guides

PIP Theatre

December 11 – 12

The Foxy Morons (Xanthe Jones and Phoebe Ballard) Toucan Club offering does what it says on the tin really with the multi-award-winning duo’s “TV Guides” touring the highs and lows of Australian television’s memorable moments. The result is a very funny hour-long experience, jam packed with reminders of our beloved cultural touchstones.

After welcoming us on board upon entry into the PIP Theatre space, the flight-attendant attired pair are soon diving straight into their sharp satire, cheeky humour, and musical parodies. And the energy never stops through to concluding fervent celebration of ‘Untouched’ unofficial national anthem (particularly among younger generations). Dance breaks feature throughout to emphasise key points, like a rave-like mention of Bunnings in lead into a country song share of ‘Sausage Fest’ experience for women at the hardware store (and other places) and even a later tap dance break. There is a singalong too, which, in trademark Foxy Moron’s style, touches on discomfort by holding up a societal lens to, in this instance, what footy game day can be about.

The exposé of culture as defined by our cooking, kids and game shows … and even a little sport, begins with a tongue-in-cheek Playschool parody Welcome to Australia song, that comes with warning to those, like Big Ted, who are not ‘true blue’. And what follows from there is all a bit loose, in only the best possible way, only adding to the pair’s endearment. And when they are taken out of focus by our reaction to some jokes, the spontaneity only enhances the joy of the show’s collective experience. Indeed, it’s difficult not to have fun at a comedy cabaret featuring songs like ‘This Summer’s Going to be a Doozy’.

Preceding this weather report, news segments bring some of the biggest laughs, until the participation sections which see select audience members playing a Wheel of Fortune / The Price is Right / Deal or No Deal game show mashup exploration of the cost of living and then competition in a Ready Steady Cook style pavlova decorating face-off. Coverage of the chaos, charm and cringe of Aussie TV means that there is no shortage of content for inclusion in the show’s journey, meaning that things move quickly. The high energy of the performers ensures that we are there for the entire ride, though obviously more so when we come with nostalgic memories of the television’s classics being parodied. And it is wonderful to see a highlight ad break section leading to organic audience sing along to the Cottee’s cordial commercial’s famous jingle, before recreation of RACQ’s classic charter boat ad has those of that vintage laughing before the performers even get to its punchline.  

The Foxy Morons is a dynamic duo and their lean into lampoon of Australian culture continues to allow for a unique blend of physical comedy, music and theatricality that makes for a memorable experience, for those who don’t struggle with sarcasm. The duo’s cultural critique with a side of feminist satire is only enhanced by their trademark wit and clever reappropriation of the television that shaped a nation, showing how even tough social topics can be made palatable through the power of on-stage satire and irony.