REVIEW: Melbourne International Comedy Fest (Updating)
- Brad Oakman
- Apr 16
- 9 min read
Circus Oz: Here, There and Everywhere
If you’re a fan of the circus, comedy or just all around goofiness then this is the show for you.
Circus Oz’ “Here There and Everywhere” presents itself as a comedy of errors, slowly and carefully revealing the cracks and flaws throughout their acts. Directed by Nicci Wilks, this extravaganza had a plethora of acts with a variety of skill sets including aerialists, acrobats, trapeze artists, clowns, and so much more. The entire show was supported by a two person pop rock styled band, making sound effects and using a variety of peculiar instruments throughout the show like the flute and a giant bell worn as a helmet. The score played behind these acts added to the chaotic and erratic nature of the show and it was very effective in creating the tension between the eager audience and the incredibly eclectic circus cast. It was incredible to witness and a feat in itself being able to gather so many talented individuals together on one stage.
The aerialists were the showstoppers in this production for me. Each one of them took to the skies with tricks that I had never seen before in some cases. Performer Angelique Ross was exceptionally memorable with her work as an aerialist. With each new trick she gave new meaning to defying gravity as she spun her way through the sky, even flying out over the audience at one point.
There was one cast member who was almost deemed the MC of the evening, Debra Batton. Her charismatic facial expressions and commanding announcements made us all feel slightly more at ease amidst the mayhem and craziness of the show. Her bubbly yet unhinged presence onstage was always felt, making it more and more exciting each time she came out on stage.
The costume designs by Jarred Dewey were very effective, both visually and practically. They were able to have these incredibly large frilled sleeves on all limbs and still perform tricks that required their full physical capabilities. It was quite impressive to watch them literally doing flips over each other, whilst holding themselves in the air, and they still managed to keep their costumes intact.
The Town Hall was the perfect setting for this colourful and energetic show. Its larger auditorium allowed the performers to reach the highest heights in their tricks, making the end result even more electrifying. The sound quality throughout the show was top notch and the two-person band, Chris Lewis and Carl Polke, very cleverly filled that space well. There were some point throughout the show where I thought if I had closed my eyes and listened, I would imagine a full band playing some of those songs.
There were definitely some acts that made a lasting impression. Most of these were the trapeze performers and their ability to use stamina and skills to even swing out over the audience. There were some tricks that were quite repetitive for a large duration of the performance, for example there was a trapeze bar act where each cast member took a turn doing a very similar trick. All and all it was indeed impressive but perhaps creating a sense of diversity in the tricks will keep the audience engaged the whole time.
All in all this one is definitely a show to see. If you love chaos, clowns and quirky humans doing quirky things onstage then this is a show you don’t want to miss. Definitely a family friendly production and lots of children in the audience present, though there was some partial nudity and a big S bomb dropped towards the end, whoops.
'Here, There and Everywhere' by Circus Oz is playing at The Melbourne Town Hall until the 18th of April.
Joseph Green: Mushroom Lady and Me
This one was a hoot! Joseph Green’s The Mushroom Lady and Me took us on a journey to the supreme court where we heard his first account on the Trial of Erin Patterson, the infamous mushroom killer. As someone with an interest in law and criminology, I found this show to be very intriguing and the minor anecdotes told really gave us some context into just how humorous, or not humorous, the Supreme Court is.
The show began with a supporting set from Eddie, whom we also see later on but we’ll get to that later. Eddie gave the crowd the warmup it needed from Melbournes frosty night's weather. I will say the vibe of his comedy was significantly different from what was to come, which isn’t necessarily a bad thing but I think some correlations in style and sense of humour between the two comics would've been nice. He had a very blase, casual approach to his comedy, which made us all feel very comfortable. At times though I wondered whether he was too casual, particularly in moments where he was checking his watch multiple times or just looking around, seeming like he just wanted to get off the stage. I’ll be frank though, my experiences with stand up are not vast so I wasn’t sure if this type of approach was the norm.
Green has an incredibly engaging way of telling a story. From the first step to the next, you’re able to follow each anecdote and understand his law lingo. He was especially good at helping to fill the gaps in knowledge when it came to terminology, and even though he’d ask the crowd first if they knew what he was talking about, he would still clarify with the audience so we were all on the same page. Green was able to invoke an array of emotions to tell his stories, with the most surprising being romantic whimsy, given the context. His pacing through his storytelling was perfection and he was one of those people who you could listen to for hours. The comedy fit so seamlessly throughout these intriguing tales, and I think that is what made his humour so effective.
The whole concept of this show felt very on brand for the comic. It was incredible to hear his first account of interactions and moments shared with Erin Patterson as well as hearing his stories of his time in the supreme court. I think Green is proof that to be a good comic, life experience or even having a broader perspective on life is crucial.
For anyone with an interest in the Mushroom Lady trial, I implore you to give the House of Maximon a visit. And I won’t give away any spoilers, but let's just say there's a surprise visitor at the end of the show that you don’t want to miss out on.
'The Mushroom Lady and Me' by Joseph Green is playing at The House of Maiximon until the 19th of April.
Shamaine Othman: Who's That Girl?
This show made me want to call up my friends and have a Kiki! Malaysian comedian Shamaine Othman from the get go serves you her exuberant personality and wild stories, and I’m talking wild. Othman was one of those performers who felt like you were just having a conversation with one of your friends, very personable and very likeable. She talks to the crowd about her experiences being a single woman of colour, growing up Muslim and Hindi and her thoughts on having children.
She was able to float through each topic with ease and able to put a button on each story before moving on to the next. Her sense of humour at times was quite crude, which I LOVED. But at times I think the placement of the crude jokes weren’t as effective as they could’ve been. All of the content was very humorous but the delivery was sometimes lost and came at times unexpectedly.
Sound was the biggest issue for me and this show. My seated position was somewhat close to the speaker, but the microphone gain was so loud that Othman’s voice was peaking the speaker throughout the whole performance. It was to the point where I was losing a lot of punchlines and unsure of some things that were said. The sound system used was operated by Othman whilst she wasn’t onstage, so when she was onstage performing there wasn’t any way for her to adjust the sound. Perhaps a second person in operating sound would’ve been useful in troubleshooting these problems.
Seriously though, sound quality aside, the talent is incredible and Othman is definitely on my list of performers to watch. If you love your comedy with a lil bit of dirt then the self proclaimed “friendly pervert” is definitely a show you’ll wanna catch.
'Who's That Girl' by Shamaine Othman is playing at The Motley Wherehaus until the 19th of April.
Maitreyi Karanth: Maitriarchy
Self proclaimed “Maitriarch” Maitreyi Karanth is the definition of worldly and relatable all in one. Though her career began only ten years ago, she holds herself with the level of charisma, uniqueness, nerve and talent of a true comedic veteran. Karanth was very resourceful through her comedy, choosing random patrons in the audience to ask where they had come from and then seeing if she had any stories she could share from these travels. She wasn’t afraid to share her thoughts on marriage, love, the upkeep of body hair and the state of the world's politics. She was able to glide through each topic, always finding something intelligent but humorous to contribute to the conversation.
The venue that was chosen for Karanth's set, Ballers Clubhouse, had an initially comfortable atmosphere. Plenty of space, with access to a bar and even a seated booth area towards the back of the room. The sound quality was polished and there were strong transitions between her entry and exit to the stage.The lighting however that was used onstage was one spotlight that was very white and dull in tone, which unfortunately washed out her incredible style and glittery gold makeup. It’s unfortunate because it would have been just so fabulous to really see her shine onstage, both figuratively and literally.
Maitreyi was very personable from the start, asking the people in the front row, “the brave ones” what their names were. As she continued her act, she would keep coming back to this pair of work colleagues, engaging with them through her comedy in really effective ways. There was an older couple located just behind these patrons that she used as well, as part of a short story she “wrote beforehand”. This kind of flawless and connection-focused crowd work was really effective from Karanth. Her ability to converse and then jump straight back into her set is a skill she has mastered. And I’ll applaud Karanth as well for maintaining her strength and ferocity as a comic, not holding back in her set, whilst dealing with not a very reactive audience. This was a feat in itself which she handled masterfully.
The “Queen of Comedy”, and CEO of Koma Karanth Foundation, has definitely found her calling. Her stories on world travels and feeling “frisky” are filled with laughs and relatability for all to enjoy
'Maitriarchy' by Maitreyi Karanth is playing at Ballers Clubhouse until the 19th of April.
Jayne Steer: Addickted
Jayne Steer’s painfully hilarious new show Addickted is a love letter to grief, mental health and the things that keep us going through incredibly tough life events. Her heartfelt but incredibly dark sense of humour led us through Steer's life events for the past year, both the highest highs and the lowest lows. This piece felt deeply autobiographical and raw, as Steer guides us through her life experiences and the certain key events that led to her mental break in 2025.
The show was presented in almost a TEDTALK style, with a supporting Powerpoint that was colourful and very visually satisfying. The presentation allowed us to see visuals and statistics created by Steer to support the stories and jokes she was telling, even giving images of some of the places and people that she introduced to us. There was even a returning game show segment that would allow us to choose what moment we thought was the performers rock bottom! A comedic game about comparing your most traumatic moments? Sign me up! All of the above with the backdrop of a tropical rehab paradise really allowed some colourful stories to be told.
The overall sense of humour for the show was very dark but very effective, and I loved every moment of it. There was a vulnerability to this show that provided the space to trauma bond and connect to Jayne in a way that made the comedy and storytelling so authentic. I was truly so invested in this demonstration of honesty and being able to laugh at it provided healing for both the performer and the audience. I was deeply moved by her reflections on her experiences with her mother, especially in the context of MND (Motor Neurone Disease). Having also lost multiple family members to this devastating illness, her story resonated strongly with me. Even as she describes a relationship shaped by difficulty and pain, her enduring grief is clear, and it’s a kind of grief I recognise all too well.
I was really blown away by how raw this one was. Steer wears her heart on her sleeve, and presents you a show that is both gut-punching and witty in delivery. For those who are looking for a space to heal and to hear some insightful philosophy on grief and how to have a cheeky menty-b then look no further than Jayne Steer's Addickted.
'Addickted' by Jayne Steer is playing at Underground Comedy until the 19th of April.
