Created and performed by Rose Callaghan
Lamenting our achievements and celebrating the journey after going viral in the corporate world.
Reviewed by Rachael Vassallo
TIC Swanston, Melbourne
Until 13th April, 2025
Tickets: https://www.comedyfestival.com.au/browse-shows/i-m-not-a-girlboss-not-yet-a-womanboss/
Type: Feminist, standup, intimate
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4 STARS
Rose Callaghan went viral with a LinkedIn post talking about how parenting is a business and children are an investment. It wasn’t how she thought she would become famous, but attendees of her show I am not a Girlboss, not yet a Womanboss will discover it was not the first time she became victim to the butterfly snowball effect. Regardless, this show does not trail on infamy, rather it lends itself to its own, contemplating the concept of a ‘girlboss’ in a grinding culture. With only herself and a glass of wine on stage, the performance takes place in a makeshift performance space located at the top of the Nicholas Building.
Callaghan has stuck her fingers in many pies, juggling seven jobs at any given time with a resume that would impress even the most intrepid CEOs. She sold domain names to Tinder, copped a 40k fine and dated the CEO of an evil AI company. The ‘girlboss’ archetype is controversial. My previous experience of learning about the ‘girlboss’ was informed by a presentation by the Monash University Socialists regarding how the girlboss concepts appropriates feminism for exploitation under capitalism. Girlboss feminism is inseparable from its corporate roots smashing the glass ceiling. The girlboss never says no to an opportunity as she climbs the corporate ladder with the end goal as far as she can go.
In this production, Callaghan brilliantly celebrates her flaws and honours her mistakes. She does not shy away from the struggles of thriving but not always winning, and admitting to not reaping the financial rewards that come with corporate life. Instead, she chooses to celebrate what makes her happy even if it’s not the most lucrative profession. Callaghan might not have gone the mainstream way, but makes it clear she is happy with her achievements and where she is in her life, which begs the question; What is an achievement? Some may say the biggest achievements are the richest or most awarded, though people can contribute exceptionally to this world without making a single dollar, or they can be valued with a modest factory job. Girlboss seeks to dismantle the very patriarchal structures of office culture but not do away with corporatism or capitalism entirely.
Billed as a very scripted performance, it did not feel that way, and it would have not worked well with both scripted and improvised elements simultaneously. I enjoyed the repeated changes of topic and narrative storytelling progression throughout this piece. There were times when more structure would benefit the show, though as it is refined, I think it will converge to an ideal mixture of both through ongoing development.
Rose managed technical difficulties on the night, adapting to proceed without the accompanying PowerPoint presentation she’d prepared. This raw standup nature gave the show a more relaxed and impromptu atmosphere, a true case where the booboo brings out brilliance.
I was excited to see this work by a comic who came to us from a corporate career-change. I was able to see parts of myself within the narratives depicted, celebrating mistakes and honouring growth. I adored the diversity and relatability of subject matter discussed and the frequent topic shifts throughout. I can definitely prospect we will be seeing more of Callaghan in the future. Capitalistic success has been the measure of the girlboss, but living true to yourself is the sentiment of “I am not a Girlboss, not yet a Womanboss” left us with.
Theatre Thought: Are we loving what we do or loving the paycheck?
Book tickets to the Melbourne International Comedy Festival 2025 here.
