Type – Cabaret, Variety Performance
If you liked – Smashed: The Nightcap, Bernie Dieter: CLUB KABARETT
Wake: Life and death is evoked in this variety cabaret performance that often struggles to find its true course
The setting for Wake is that of an Irish wake. One embodying a celebration of life, a ‘no holds barred’ attitude and freedom to express in wild and wacky ways. The ‘Priestess/Storyteller’ played by Felispeaks proclaims in her opening monologue: “…your clothes still fit but your life doesn’t” and of a life of “breathing deep but not easy.” Supposedly urging the audience to embolden themselves, to shake into a new life, and that Wake may or may not encourage them to do so – but bears no responsibility whatever happens.
The general energy of the show is not unlike a variety cabaret performance. There are aerial performers, breakdancers, tap dancers, pole dancers, folk singers, a parody DJ, ‘Balloon Head’ dancers (dancers with gigantic balloons affixed to their heads), and an Irish folk band playing all the way through.
Philip Connaughton stands out as the ‘Drunk Uncle’ with physical comedy and spot on drunk foolishness as he plays the fool and tumbles downstairs, holding his pint all the way down and recovering only to tap dance and sing a rendition of “I Wanna Be Seduced”. His movements are precise, character driven, and satisfyingly clear as to keep us laughing throughout his performance.
The aerial performance by Jenny Tuft is at times mesmerising. Strong vocal performances from members of the ensemble support and enliven Tuft’s movements which are further heightened by ethereal light work by Sarah Jane Shiels. The light glints and plays off her body, the shapes she makes, and this element of the show produces one of the more moving and beautiful moments of storytelling through pure shape and movement.
Lucia Mac Partlin gives a riveting performance with her fiddle virtuosity, and it would have been great to see more of her musicianship throughout as the confidence and ease with which she bent the audience around her playful, quick tune was a moment of real fun. One of the more surprising moments in Wake was in a moment of audience participation, as an audience member willingly and confidently went along with the entirety of the song in good humour, dancing onstage and responding almost as if she was a part of the show. Audience engagement was done by the performers with a relaxing confidence and ease, and more of it would have been welcomed.
Is Wake Worth Seeing in Sydney?
Wake goes after a depth of engagement from the audience, invoking themes of death and rebirth. At times these didn’t quite land throughout or felt unclear. In some moments, a clearer reasoning for why songs were being sung, why some motifs were being repeated or engaged with at all, and a more cohesive and clear view of how each moment moved the story along could have given the performances more weight and impact. There was great, fun, moments in Wake, and there were also moments that felt simplistic in choreography and dance motifs. A slight over reliance on the popularity of certain songs was fun but at times repetitive. At times, the vocal energy needed to really communicate what was being intended, was lacking.
Wake runs as a part of Sydfest at Carriage works until the 25th of January 2026.
Tickets and Practical Info for Wake in Sydney 🎟️
Created by Jennifer Jennings, Phillip McMahon & Niall Sweeney
Directed by Jennifer Jennings & Phillip McMahon
Season 14-25th of January
Tickets: https://www.sydneyfestival.org.au/events/wake
