If Melbourne does anything well, its pretentious arty people.

They are the city’s loved and loathed life-blood – the backbone of our funny stories, sarcastic tweets and witty repartee at parties. And Melbourne Fringe show, ‘Media Release,’ taps into this love affair with ‘luvvies’ beautifully.

In just a span of 50 minutes, this whip-smart show cracked through ambition, morality, feminism and even coffee art.  It is the story of April Fuller, played by the elastic boned Isabella Valette, who claws her way to tepid fame through selling out her family.

We open with her impersonating Kiera Knightley at a flop of an audition. We stay with her as she sings her way through her struggles, reaching the dizzying fame of triple digit twitter followers.

The strength of ‘Media Release’ is its dialogue; quick, snappy and slick with superb one-liners. The sobbed, “everyone needs a painted egg from time to time!” had the audience sputtering on their inhaled beer.

Quips, such as looking like over-sexualised 5 year olds, take a bow Ariana Grande, makes the show resonate with the early 20s crew. But ‘Media Release’ kept the older audience entertained too. It nailed middle class Melbournian mockery, with a sweetness that made the audience giggle instead of bristle.

Its satirical tone is apt, lively and constant. It carries the piece and audience through what is essentially a conventional plot. But even if the plot has a touch of Hollywood predictability, the dialogue, delivery and comic music makes the show so funny that you don’t care.

Isabella Valette captured her character’s glory lust perfectly. April reeked of raw ambition, and made a chillingly convincing narcissist. Valette  herself was in-fatigable. She pumped energy into the night, wiggling and kicking her way through dances, twirls and comic musical adaptions. Which, I should note, she sang with a power that was quite astonishing in such a small space.

Maddie Chaplain, playing girlfriend/friend, talent agent and various cameos, radiated hilarity. Her cameos were scene stealing and her voice work was particularly superb. She created the arch bitch agent, Sandy, almost wholly through tone shifts and a grating accent. Luke Chaplain, who also played the husband/brother, shone as an oozing, oily, outrageous media mogul. Strangely, it was more believable than his turn as the straight character, the voice of reason, George. In contrast, when Oliver Waters played his everyday character Jacob, a barista with a fondness for foam swans, with impressive accuracy. His morally scant reality TV star, Phil, had a killer east end accent and nicely improvised crucifix kissing. But his Phil felt like a parody, whereas the caffeinated Jacob felt like superbly satirical reality.

I came away from Media Smart laughing. And whilst I wasn’t blown away by the plot’s self-discovery theme, it was funny, sharp and sexy. Go. It’s pure entertainment.