23 Results

With a bubbly and infectious presence and an innocent on stage charm, Shappi Khorsandi presents an interesting but at times traumatic portrayal of family life, writes Matt Smith.

News reporters don’t consider them journalists and artists don’t consider them a legitimate part of the art world. The reviewer is a writer with no home: A perpetual Auslander, writes Josh Kinal.

Comedy is a tough gig, like most industries dominated by men. But only lazy thinking and ignorance of feminism can take you from “male-dominated” to “women aren’t good at it,” writes comedian Ben McKenzie.

An Audience with Charles Barrington is the perfect first base for Melburnians yet to charmed by Barrington’s hilarious brand of faux Euro sass, which comes on like a smooth malted scotch, writes Luke Buckmaster.

Lawrence Mooney talks to Matt Smith about donuts, his habits of procrastination, the web series The Match Committee and his recent forays into more serious acting roles.

At his Melbourne International Comedy Festival show, Reginald D. Hunter appeared to be a bit drunk. His material was half written and shaky, writes Matt Smith.

In Charlie Pickering’s new show he canvasses controversial subjects such as disasters, circumcision and swearing. The image he projected was of an interesting guy with many hilarious stories, writes Meghan Lodwick.

Lawrence Leung talks to Matt Smith about his love of jetpacks, time travel, his ABC television show Choose Your Own Adventure and an upcoming production.

Comedian/DJ Fiona Scott-Norman’s new show Disco: The Vinyl Solution lacks cohesiveness but Scott-Norman’s gangly charm carries it across the line, writes Luke Buckmaster.

Catherine Deveny’s “comedy” show gives atheism a bad name. Atheists aren’t arrogant – they’re just smug, she claims. None more smug than her, writes Matt Smith.

Andrew McCelland’s new autobiographical comedy show isn’t pun heavy, so it relies on McCelland’s stories and command of language. Simply put: it’s brilliant, writes Matt Smith.

Can’t Get No is everything Generation Y could wish for: an excuse not to get married, have kids and become the modern-day workaholic, writes Siobhan Argent.

Matt Keneally’s Melbourne International Comedy Festival show The Great Escape is politics-based but rather safe middle ground entertainment, writes Siobhan Argent.

The apparent ease with which Lawrence Mooney recites consistently hilarious material must rankle the spirits of other thoroughly decent comedians who seem to work twice as hard for half the result, writes Luke Buckmaster.

Here’s a lesson to remember: never go and see a show thinking “I really wanted to see this guy in my university days”. You’ll regret it, warns Siobhan Argent.