What’s on at the Sydney Fringe Festival, and what should you see this year?
With literally hundreds of shows at this year’s Sydney Fringe Festival and only so much time on which to write about them, our editor Justin has condensed his reviews in this one handy spot for you to read at leisure.
From immersive theatre that’s dripping with cocktails and secrets, to bold, new First Nations storytelling, family circus delights, and comedy regulars, the 2025 Sydney Fringe Festival lineup promises something for everyone. Whether you’re a Fringe rookie, or a seasoned Fringer, you can get an idea on what you should put on your 2025 Fringe list by reading through these reviews!
*Come back throughout the Sydney Fringe Festival to see the updated reviews as they come in
Shows in this article:
- When Night Comes
- Elixir Revived
- A Succulent Chinese Musical?!
- Train of Thought
- Dorothy in Oz: An Immersive Cocktail Adventure
- Definitely NOT a Hungry Game: A Parody Musical
- She Threaded Dangerously
- Motel
When Night Comes
Tickets FROM $71.50
22 AUG TO 27 SEPT | 1 hour 5 minutes
Sideshow at The Rocks – Union Bond Store
Tickets: https://sydneyfringe.com/events/when-night-comes/
4 STARS
Decadence meets immersive theatre in one of the Sydney Fringe’s most unique experiences
Let your senses explore and your inner curiosity be piqued
Alice in Wonderland for adults where Shakespeare, Gothic, and Greek literature combine
Is When Night Comes worth seeing in Sydney?
Elixir Revived
Tickets $45.00 – $49.00
29 Aug – 12 Oct | 55 minutes
Fool’s Paradise- Entertainment Quarter – The Vault
SHOW IS RATED: R18+
Tickets: https://sydneyfringe.com/events/elixir-revived/
4 STARS
These men are more than just washboard abs and long flowing locks, they have comic timing and enough swagger to make any audience member swoon
The stunts come thick and fast, and the audience members’ are in a constant look of awe and shock; some even close their eyes with fear.
What kind of show is Elixir Revived?
A Succulent Chinese Musical?!
Tickets $42.00
03 – 13 Sep | 1 hour
Off Broadway Hub – Eternity Playhouse
Flight Path Theatre
SHOW IS RATED: M
Tickets: https://sydneyfringe.com/events/a-succulent-chinese-musical/
3 STARS
Ask any Aussie millenial that was on the internet during the introduction of YouTube and the meme what the most iconic Australian viral video was, and most likely you’ll hear them uproariously claim in their most Shakespearean accent, “A succulent chinese meal!”
Ah yes, I see you know your meme history well. The fraud company that leaked the call to the police of the arrest of a highly wanted man, the arrival of the reporters who captured the now worldwide famous footage that’s been viewed more than eight million times, and the sergeants committing the arrest would never have known the man they pulled out, one Jack Karlson, was about to utter some of the most famous lines of internet history. Nor would they have known his greater connections to the criminal underworld of Australia in the late 20th century.
Now at the Sydney Fringe Festival for its New South Wales’ premiere, A Succulent Chinese Musical?! takes the viral sensation of Karlson and gives audiences a peak behind the curtain of his life, in a very tongue-in-cheek musical retelling of a very watered down (and infamously much darker) period of time in Australia.
With book, music and lyrics by Rick Butler and Kate Stewart, ASCM very much honours the Karlson of the famous meme in a sort of “in memoriam” format. We hit the highlights (or should I say lowlights) of Karlson’s life, from an abusive history in a boys youth home, to one of many jailbreak escapes, his marriage to Eve Karlson (one of many women in his life), and his friendship with other criminals of the era such infamous playwright Jim McNeil.
Musical direction by Vincent Huynh highlights the many intricacies of Butler and Stewart’s music and lyrics which are actually damn well catchy as you leave the theatre. A sign of a succulently good musical indeed. Throughout, they play with the 105 words that are uttered in Karlson’s monologue in the viral clip to great comedic effect. There are odes to other musical stylings, such as a Les Miserables “One Day More” ensemble piece, and Sondheim patter song. The culmination of the main songs in the finale (“A Succulent Chinese Megamix”) play out the entirety of Karlson’s YouTube arrest and the crumbs that are layed out come crashing together in an unqequivocally brilliant finale.
It is safe to say, that Australians have always been obsessed with the outlaw. From Ned Kelly to Mark “Chopper” Read, there’s a unique fascination that white Australia holds when it comes to its convict roots – despite how bloody the hands of the criminals in question are. So it’s no surprise that we hold Jack Karlson up on the same pedestal.
So when it comes to seeing satirical musical spoofs such as A Succulent Chinese Musical?!, it is one to both enjoy and seek to explore further. Moments of catharsis can lend itself to curiosity, which then lends to further investigation and interrogation of our own collective obsessions and history. So too can it force us to look at corruption from those in power. Such is the beauty of theatre.
Ta ta and farewell.
Train of Thought
Tickets $31.00
02 – 06 Sep | 50 minutes
Queer Hub- Qtopia Sydney- The Loading Dock
SHOW IS RATED: PG
Tickets: https://sydneyfringe.com/events/train-of-thought/
4 STARS
A train of thought is, mostly, a metaphor. For others, it can feel physical, corporeal, that locomotive that’s constantly shooting through your mind at a different pace. Most days it’ll stay on the tracks. Others, it’ll derail and send the passenger (i.e. your brain) spinning all over the place into some very odd or sometimes frightening places.
Written and performed by Tori Bullard, Train of Thought takes this metaphor and places themself on a simple train ride where their imagination meets catastrophic spirals as their story turn into the dramatic, and the very musical. It feels extraordinarily heartfelt and deeply personal at the same time, whilst also offering writing that sends you into cackles. In short, it’s an impressive solo debut at the Fringe!
Bullard sits silently reading a book as the audience enters; some voiceover of trains of thought may have helped set the tone as we waited for the doors to close. Then Bullard wakes, snapping us into attention as they dive right into the setup about simple routines of the day in the head of a neurodivergent brain. What may seem an easy decision for some, what to eat for lunch, can spiral into questions about life, death and the existence of everything as one struggles to get out the door.
With direction by Sarah Campbell, there’s a purposefulness in everything that Bullard does in the setup for Train of Thought. They own the space immediately. Joined by Lillian Hearne (musical direction) on the piano, Bullard impresses with a mix of pop and music theatre throughout the piece that compliments the situtation they’re going through.
Now, I know that me (ME) of all people never thought he’d type this, but here we go…there’s probably one too many songs (GASP!). Before you get the pitchforks, just read on. The flow of Bullard’s writing created a strong foundation on which they stood on: living in the day-to-day mindset after a train is delayed and the brain ultimately derails. Perhaps this was purposeful, perhaps not. However, it created a reality in which to sit and a throughline on which to progress.
We see Bullard discuss small choices that turn into grand scale ballads and blends reality with fiction as they create romances at sideways glances on the daily commute. About the midway point, Train of Thought becomes a bit unfocused as one song after another is sung (beautifully I may add) and we lose connection on which elements they complement.
It’s not until Bullard delves deep to explore the noises in our head and the pressure we face to “get things right” that the piece regains the foundation it stood on at the start. It does, however, end well, arriving at its final destination as it exits the station.
For a first time Fringe solo show, Tori Bullard deserved the riotous applause in Qtopia’s Loading Dock. Playing as part of the Queer Hub at the Sydney Fringe Festival, I implore you to put this on your list and let Bullard help quiet your mind as you share space with their own.
Dorothy in Oz: An Immersive Cocktail Adventure
Tickets $45.00 – $65.00
03 – 28 Sep | 1 hour 20 minutes
Cabaret Hub- Marrickville Town Hall- Main Hall
SHOW IS RATED: G
Tickets: https://sydneyfringe.com/events/dorothy-in-oz/
3 STARS
Taking the whimsy and wonder of L. Frank Baum‘s classic book series based in the magical land of Oz and giving it a magic cocktail twist, Dorothy in Oz: The Immersive Cocktail Adventure takes the makeup of an escape room and dresses it with immersive, improvisational theatre.
First things first, if you think you know what you’re stepping in to, you don’t. This is part cocktail making class, part theatre, part escape room, all covered in Wizard of Oz attire.
I think it’s best not to give away the entire secrets of this experience so you can find it all out in real time, but I’ll give you a rough outline of what to expect. You’ll at first be greeted by our silver shoed Kansas protagonist, Dorothy (Bethan Williams – changing roles) and before long a twister will sweep you past the haystacked makeshift bar into the realm of Oz, where the Scarecrow (Adam Watts) awaits you…if only he could remember why you were invited.
After some awkward exposition, you’ll be tasked with summoning a witch to help you begin your journey, but with the Wicked Witch of the West recently watered down to oblivion, you’ll need the help of Glinda the Good (Kirsty McGuire) to aid you on your journey. Thankfully, you have the helpful guidance of Tip (Makenzie Bonney – changing roles) if you struggle in the task.
Where Dorothy in Oz stumbles is in its setup and reasoning of why we’re there for. Most who have bought a ticket will have been tantalised by the “Immersive Cocktail Adventure” element of the title, but it’s not very clear how, or indeed why we are getting to this end goal. Instead, the break out room styled adventure is sort of suggested instead of directly indicated as you eventually pick up the laminated sheets on your tables.
Once you get going on the journey though, and your newfound teammates on your table are once united in a common goal, the task becomes much more enjoyable. This all depends of course on your role that you play when it comes to team challenges. Are you the goal oriented, hands on type? Are you the sit back and watch others do it type? Or are you the obsessive leader who has to read and keep the group on task type? This may make or break your team!
For those non-alcohol drinkers, you are allowed to have your mocktail at the end – whether it’s worth the admission price or not is up to an individual’s tastebuds. And for those who think this would be a grand outing for the little ones, there is also a kid friendly showing at the earlier show times. You can find tickets and info below.
Concession – $55.00
Full Price – $65.00
Group (6+) – $60.00
Family (4+) – $45.00
Deadly Tix – $52.00
Until 28th September at Marrickville Town Hall
Definitely NOT A Hungry Game: A Parody Musical
Tickets $49.00
16 – 20 Sep | 2 hours
Off Broadway Hub- Eternity Playhouse
SHOW IS RATED: M15+
Tickets: https://sydneyfringe.com/events/definitely-not-a-hungry-game-a-parody-musical/
4 STARS
Legally speaking, Definitely NOT a Hungry Game: A Parody Musical is in no way affiliated with a similar sounding Suzanne Collins hit book series with a subsequent hit series of box office blockbuster films starring Jennifer Lawrence and subsequently more prequel films and novels. Dramafreak Productions and L&D Projects return to Sydney after a successful run at the Adelaide Fringe Festival and a previous appearance in Sydney Fringe with an update to their growing cult-hit musical that is packed with laughs for the chronically online and lovers of said Collins series.
Created by Robbie Alexander (Effie Trinket – in stunning drag), Freya Moore (Katniss) and Alexandra Gonzalez (the hilarious Everdeen matriarch), there is a palbable energy to Hungry Game throughout with the large ensemble giving every ounce of energy they have to the piece throughout.
In the mining town of District 12, we meet Katniss, a bleak, monotone girl who is less than popular with the other residents of the district due to her obvious “main character energy”. She fawns over her Gaston-esque hot Aussie bogan boyfriend Gail while ignoring the hopeful and lovelorn Peeta and his floppy bread rolls he bakes for the town. After reluctantly stepping in to take her foul-mouthed sister’s place in a set of deadly games, Katniss and Peeta (Peter? Patrick? Pluto? She can’t remember) travel to the Capitol for a fight of survival. Together, they’re faced with killers, drunkards, influencers, Gen Z’s, sweaty dance numbers and main character songs along the way.
Direction by Edan Mcgovern is bold with large set pieces wheeled in and out to craft stair cases, trees and podiums led by stage manager Nic You Lee. It’s perhaps a bit too clunky for the piece, especially with the stacked cast. The complicated scene changes make for great distractions, despite Mcgovern placing action and dialogue in front of the crew as they re-dress the set. In a parody musical, bold is brilliant, but simple is often chique.
There was an infectious energy in the audience for the first performance in Hungry Game‘s return to Gadigal land in the reopened Eternity Playhouse, showing there’s a loyal following for the musical. As someone who’d never seen the production, but is intimately aware of parody musicals, I can see where this adoration for the show comes from.
Alexander’s choreography is evocative and meticulous with Effie taking the spotlight in numbers that are a highlight and cement the show’s status as more than “just a parody”. Gonzalez is a crowd favourite, giving the mother (you’d be forgiven for not knowing she was even there in the source material) a much more boisterously funny role – even if it’s pushed a bit too far. Tom Kelly, ignored and forgotten as Peeta at first, becomes fully formed in the show’s later half, with a standout performance in a buzzing Tracker Jacker sequence showing off strong vocals.
Hungry Game is by no means perfect…but it has the potential to be. It’s in dire need of a dramaturg to come in and work with Alexander, Moore and Gonzalez to cut jokes (you could take a good half hour out of it) that unnecessarily stretch the runtime. There’s also a need to chisel down their characters so there is clear foundations for each – Katniss’ “main character” syndrom only really became a highlighted plot device in the second act. But there’s enough here to give bouts of laugh and entertainment for one night.
The challenge that’s raised then? Are Dramafreak Productions ready to kill some darlings in the arena for longevity of their parody musical?
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Until 20th September at Eternity Playhouse
L&D Projects – Nick Leech & Simone Dawson
Dramafreak Productions – Robbie Alexander, Freya Moore & Alexandra Gonzalez
Creators – Dramafreak Productions
Producers – L&D Projects and Dramafreak Productions
Director – Edan Mcgovern
Assistant Director – Aden Abeleda
Vocal Director – Luc-Pierre Tannous
Choreographer – Robbie Alexander
Stage Manager – Nic You Lee
With – Freya Moore, Tom Kelly, Joshua Dormor, Maddie Kunstler, Alex Gonzalez, Holly Severn, Sascha Debney-Matiszik, Katie Staddon, Toby Quast, Isha Desai, Selin Idris, Addy Robertson, Ethan Bourke, Robbie Alexander, Benjamin Olivera, Sascha Rose, Kavisha Karunarathna, Xavier Smith, Daniella Delfin, Dani Le Tessier
She Threaded Dangerously
Tickets $0 – $33.70
18 – 28 Sep | 1 hour 30 minutes
Old Fitz Theatre
SHOW IS RATED: M
Tickets: https://sydneyfringe.com/events/she-threaded-dangerously/
4 STARS
Simon Thomson and Emma Wright create the visceral sexual energy of female youth found in bodies that are yearning for a multitude of changes: the acceptance of oneself, the adventure found in friendship, the desire to simply be desired, and the attempts of youth to fit into a shape society has seemingly carved out for them to fill.
Directed by Claudia Elbourne, She Threaded Dangerously is many things: hilariously engaging, extraordinarily uncomfortable, and poignant in its youthful essence. Thomsona and Wright’s script at times teeters on the precipice of didactism and blurred messaging, as it places us in situations where I found I often couldn’t watch the action that was onstage.
Coming from an education background, I’ve been in the sphere where grooming has, unfortuantely, been witnessed more times than they’ll tell you at University. Seeing it played out on stage in a way that is foreseeable makes it feel as though it was unavoidable, and what Thomson and Wright want their audience to take away is blurred in the end. On the other side of this, witnessing the frivolous actions taking by young minds was both positively cringe and daringly real as the audience are made to remember the lack of understanding in real world consequences that comes with youth.
Stepping into the role of Mel only two days before opening, Elbourne joins Karrine Kanaan, Alyssa Peters, and Larissa Turton as the main quartet of friends. Each brings a full-bodied approach to their characters, which at first feel cookie cutter until they colour in the outlines, adding moments of true shading along the way. As they navigate their own adolescent turmoil, you yearn to know more about them as the show progresses; a result of commitment and awareness of character.
Hamish Alexander, Leon Walshe, and Michael Yore feature to touch on opposing notions of masuclinity. Whilst the writing for Alexander and Walshe’s students feels surface level and unexplored (go and watch Adolescence instead), Yore’s on stage prescence is dutiful in a character that I can only imagine being difficult to navigate with truth on stage.
Lighting by Luna Ng creates ominous shades at key moments, which envelops you in a sense of dread and unease, while other harsh, brighter colours take you into different spaces with a vivid imagination. Together with Laila McCarthy‘s simple set design, the locations in space are delineated with ease. Ebbing in and out, Alexander Lee-Rekers‘ sound design infuses energy in metaphorical dreamlike sequences, whilst other moments it sits underneath giving the peace a soft pulse throughout.
She Threaded Dangerously is often a hard watch and the creative team wants you to feel the weight of it once you leave. How we shape our education system to both allow young women to navigate their burgeoning sexuality, sense of self and place in the world is vital in empowering their voices into adulthood. The question then of how we teach young men to do the same is of equal importance, particularly in order to understand the role they play in making sure this too is possible for young women.
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Director – Claudia Elbourne
Producer – Megan Heferen
Writer – Emma Wright
Writer – Simon Thomson
Stage Manager – Oscar Ali
Motel
Tickets $31.00
25 – 28 Sep | 1 hour
NIDA Theatres, Studio Theatre
SHOW IS RATED: M15+
Tickets: https://sydneyfringe.com/events/motel/
3.5 STARS
Three friends meet in a dingy motel room after an anonymous text message from an old burner phone (“Burnie) sends out a time and a place. The air is awkward and stale, both due to the classical styled musty room and the unspoken grievances after five years apart. The night holds the possibility of renewal, of alcohol-fuelled confessions, and the seduction of the motel’s handsomely, dimwitted handyman.
Written and directed by Rose Treloar, Motel is a darkly funny exploration of female friendship echoing in the confines of one boozy, drug-fuelled night in a rundown motel. Treloar’s script focuses on Connie (Treloar), April (Brontë Sparrow) and Brooke’s (Talia Benatar) friendship with moments that take great leaps in tone. One moment it’s a slow-burn mystery as the friends question which of them sent the mysterious text and why, the next it’s a sitcom styled comedy with great belly laughs, then its a dark turn of events where friendship and values are tested.
The play’s opening moments felt stunted as the script found its footing, but Motel really kicks off when all three friends unite on stage and grievances are aired. The humilation from Connie and Brooke at April’s wedding features an hilarious use of recorded audio, while the entrance of Brad Moller‘s Randy gives the piece beats of genuine laughter in his version of Friends‘ Joey meets Home Improvement‘s Tim Allen.
Benatar’s Brooke is vivaciously energetic, a character who comes from wealth but wishes for none of it as she leans into the life of a struggling artist. There feels more to be uncovered from Brooke, her edges not quite filled in yet. Treloar’s Connie feels layered as she starts guarded and uneasy at the reunion, but as the liquor flows, she becomes stupendously silly. She speaks to the comfort that female friendship allows when genuine connection is found. Sparrow’s April holds a tension inside of her, only through moments does she allow it to drop as the night progresses. There’s a stubborn darkness she holds as the friends place her husband Hugo at the centre of her lack of progess in life, with April withholding more than she trusts them to know.
Motel aims to be a dramedy as it plays a teetering game wandering between the two. The final moments – both the friendship group’s real reason for being at the Motel, and a deadly turn – felt rushed as it yearned to be two acts but is combined into one – supposedly for its fringe run. Outside of this fringe season, I could see Treloar’s script developing into its two-act structure where both of these weighty plot pots could carry themselves and explore the very real depths of female friendship that the script speaks to.
As a new work, Motel speaks to a genuine connection in female friendship and inadequacies, the ability to forgive, and what one will do to find a sense of belonging and meaning in life – plus a smidgeon of good old dimwitted humour at the expense of a buff man. Watch out for Motel after it edits itself for the full season run it’s destined for.
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Written & Directed by Rose Treloar
Produced by Loose End Productions
CONNIE – ROSE TRELOAR
APRIL – BRONTË SPARROW
BROOKE – TALIA BENATAR
RANDY – BRAD MOLLER
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