Presented by Songbird Siren, in association with Hayes Theatre Co.
Stunning. Glamorous, and honest. Drama Queen, Songbird Siren promises to paint the town red
Reviewed by Andrea Bunjamin
Hayes Theatre Co
18 June – 19 June 2025
Type: Heart-warming, Divine, Passionate
If You Liked: Bernie Dieter’s Club Kabarett, Tired Ass Showgirls, La Clique
Picture this: A bedazzled crucifix twinkles on top of a huge wooden chest while “Fever” by Peggy Lee sizzles sensually in the air. Not long after, a glamorous drama queen pops out, her hands in a prayer. “Forgive me Father for I have sinned…” How does she choose to repent? By strutting and stripping. Songbird Siren smirks before cheekily delivering a stunning rendition of Brittany Spears’ “Toxic”. If tonight was about sultry confessions, then she certainly had us glued to our seats.
Burlesque dancer and singer, Songbird Siren (Megan Walshe) returned back to her familiar stomping grounds in Kings Cross to feature her dazzling 60-minute show on the trials and tribulations of being a performer. Playing as a part of Hayes Theatre’s Winter Cabaret Season, Walshe took us on a journey of self-discovery and found power in a notoriously grueling industry.
After captivating audiences in Adelaide, Confessions Of A Drama Queen is also set to take Sydney Fringe Festival 2025 by storm this September. The story follows her life before she became the Queen of MX Burlesque Sydney. From demoralising auditions, odd jobs, and navigating questionable personalities (i.e. insecure men) – you know, the whole shebang. With her extensive background in musical theatre and dance, Songbird puts on a display of stubborn optimism in her musical numbers that is infectious to her audience. Accompanied by three ensemble members and Joanna Weinberg’s direction, every bold confession was filled with vibrant choreography and relatable humour.
Nothing screams liberation louder than Songbird’s stripper heels and glove pulls.
Alexis Hutchinson and Carla Field joined the stage as her hilarious partners-in-crime. Whether it’s by elevating moments through character switches or improvising diss songs about heartbreak, they brought just the right amount of absurdity that complements Songbird’s big numbers. Jared Jekyll strolled in as Trolley Bob, the show’s endearing theatre fairy who jovially picks up props and costumes, his comical mannerisms helping us reset from all the action.
Musical director, Zara Stanton, upped the revelry on the keys, effortlessly transitioning through multiple genres from jazz, pop, R&B and much more. The quirky sound design and audio effects blended well with the live music during silly one-liners. The production’s lighting fluidly set the mood between warmer intimate moments and the seductive nightlife atmosphere, with much of the credit being given to the random tiny details incorporated into the show’s jokes. Unexpecting subtle nod to Les Mis’s Jean Valjean or hearing the Maccas jingle traumatically ring in a song being a highlight.
Songbird’s upbeat and soulful vocal range along with her athleticism created a mesmerising experience that felt honest and raw. One of the most satisfying parts of the show was seeing her confidence grow throughout this journey without an ounce of hesitation or regret. When recounting some of the bleaker parts of her story, she held fast to the things she believes in. This is a performer who is generously open with her crowd and genuinely has fun doing so. Behind her sultry and fierce demeanour, her welcoming presence comes from someone who has learned a lot and has so much to share to those who feel alone.
Her extravagant abilities are just as captivating as her costumes, pieces and silhouettes resembling Old Hollywood aesthetics of burlesque. Her tantalising movements mixed with the flamboyance in her elaborate outfits showcased the very definition of self-empowerment. Nothing screams liberation louder than Songbird’s stripper heels and glove pulls.
Confessions Of A Drama Queen reminds us that a life in the arts comes with a love-hate relationship to your craft, and a lot of the times, to yourself. But despite all that, Walshe convinces us that our dreams do have a place in the world.
