In this ode to youthful obsession and personal myth-making, two things abound: music and death. Bridget Mackay is a music obsessive with dreams of rock stardom that have taken her from Canberra to London and New York before landing in Melbourne. Georgie McAuley, meanwhile, is fixated on understanding death – the unsexy biology of decomposition and the taboos we embrace to avoid confronting the inevitable demise.

Exit Everything unfolds in a series of semi-autobiographical vignettes. Mackay plays an exaggerated version of her younger self, fully embracing the mythology of the Chelsea Hotel and the 27 club. Her bombastic persona dominates over the more measured ruminations of McAuley, whose narrative is looser and less-defined. In the play’s opening vignettes, the performances feel overwrought, but as the amplified, self-referential nature of the content unveils itself, it becomes evident that Mackay and McAuley are exaggerating their naive younger selves, simultaneously celebrating and poking fun at their own youthful idealism.

The silent star though is the show’s third man and soundtracker, Andrew Dalziell. Dalziell doesn’t utter a word for most of the performance. Armed with a guitar, his main role is to play the sonic backdrop, but he becomes the source of much of the show’s comedy. His expressive and expertly timed reactions offering the perfect foil to Mackay’s and McAuley’s philosophical meanderings, making Exit Everything a compelling and captivating piece of experimental theatre.

Exit Everything runs at the Workers’ Club at 6pm on September 27 and at 7pm from October 1-3. Tickets on sale now through the Fringe website.