At the peak of the Black Plague Dr Rapere, or the Plague Doctor as he soon becomes known, begins his “experiments” to discover the truth behind the plague. Fascinated with rats and guided by the seven archangels, Rapere’s decisions are both disturbing and cringe-worthy. His hallucinations soon lead him down a path filled with murder, revenge and disease.

The second the lights go down, audience members are entranced by the lonely figure on stage, who is dressed in an elaborate costume and painfully struggles with each and every breath. Armed with a walking stick he props himself up and begins the terrible story of Dr Marrok Corvus Rapere.

Starting off with the history of the Black Plague in 1348, the narrator depicts a perfect scene of London during that dreadful time. The story quickly shifts to a horrific story of murder (or should I say murders) and the killings are so graphic they make Dexter look like child’s play.

Due to the vivid descriptions of the script your brain is sent into imaginary overload, and as a result this isn’t a show to simply switch off and enjoy.

While the first half of the show is impressive and thoroughly mesmerising, not much happens beyond this point. The script, still unfalteringly amazing and loaded with macabre poetry, is something that should be praised to no end. However, the sound effects become mind-numbing and repetitive and Dr Marrok’s end is predictable.

In saying this, however, the acting exhibited by Alphonse Cheese-Probert is faultless and if the show was just 30 minutes shorter (instead of coming in at a lengthy 90 minutes) then it would easily keep its momentum.

Considering the main aim of The Laudanum Project is to educate and cause discomfort, Ballad of The Plague Doctor has accomplished this, and with their grim and gruesome story audience members will be left disturbed for days.

Ballad of the Plague Doctor has finished its run at the Fringe Festival.

Mitch Jones, who plays Captain Ruin, isn’t your average stage performer. It could be said that he is a troubled lad – or maybe it’s just that trouble has a way of finding him. After being jailed numerous times, one being a not-so-pleasant bout in a Turkish prison, Mitch Jones is a novelist’s dream.

One Night Stand is an ode to his time in prison and instead of focusing on the confinement, Mitch has focused on that wonderful moment of freedom, and he does so through an enlightening and humorous monologue.

The show starts from the moment we’re ushered in, as an angry prison warden rudely flashes a torchlight in our eyes and sternly directs us to our seats. A pandemonium of music, talking and static echo through the small room and Captain Ruin is thrown aggressively onto the stage (or, unfortunately for him, his prison cell. His suitcase is soon to follow his path, and holds the contents of the night’s entertainment.

Circus tricks, dancing and comedy are weaved in seamlessly to the shows script and as a result the audience are constantly challenged for different reactions. At one moment the audience may be in a fit of laughter and the next will be appreciating the wise words of Captain Ruin. The show doesn’t only serve as entertainment and could even be said to be educational, if learning about anarchy and Smith & Wesson handcuffs is up your alley.

At times you begin to question Captain Ruin’s sanity, as he plays with fire and lets loose a manic (and worrying) laugh, but soon you become to realise that this is just the emotional process of being locked in a cell that only measures six by four metres.

Throughout the show Mitch Jones has the doors to his life not just open, but snapped off at the hinges and never to be seen again. In one skit Mitch tells the tale of his life via his assortment of tattoos; unsurprisingly, this skit soon turns into something reminiscent of a scene in The Full Monty.

Leaving the show you can’t help but have a grander appreciation for freedom and it’s almost as if your zest for life has been heightened, all thanks to Captain Ruin. In only 60 minutes One Night Stand manages to make you experience a handful of emotions, question what it means to be free – and know the importance of carrying a safety pin.

One Night Stand has finished its run at the Fringe Festival. For more information on Captain Ruin’s future projects, visit his website.

In a far-off land, on the Greek island of Lesbos, a handful of priestesses perform their “sacred service” for the slightly unconventional goddess of love, Aphrodite – but when the women in the temple find that there are no men left to get work from, they must use unconventional means to find new clientele. From online chatting to mail order brides, Aphrodite’s Bordello is clear proof that sex sells.

Don’t be fooled by the small scale of the stage in the Revolt Melbourne ballroom, as the stage is all around you. Girls in fishnets and lingerie twirl and kick around you, lean on your chair and even reach out to slightly caress your face. Nothing is off limits in this cabaret and not even your drink is safe! Combined with the live music, which ranges from a violin to banjo, the performance becomes a vivid sensory performance that not once becomes uninteresting.

As the curtain closes between each skit the audience erupts in applause and pitchy jeering, and the mood suddenly shifts to one of anxious excitement. Attempts to guess the setting of the next skit are always shown up every time the curtain opens to reveal a highly original and unsuspected set – in Aphrodite’s Bordello, the domestic bliss of a washing machine, an impromptu talent show and an odd auction are fair game for cabaret.

The jokes are quick and often reveal the humour behind being a woman – feminists, eat your heart out! The social commentary by the women in the show is inescapable, with numerous skits poking fun at the daily routine: bra stuffing, Brazilian waxing and cleaning get a mention. This may make it seem like a show only for women, but there’s definitely something in it for the men as well. (After all, the girls are in fishnet stockings and skimpy costumes.)

Throughout the show the characters’ (slightly-exaggerated) personalities are maintained flawlessly. With characters like the over-achieving goody-goody and the socially awkward one it’s hard not to relate; whether it’s a mirror image of yourself or someone less familiar, you can always find a connection.

A tad inappropriate but always entertaining, Aphrodite’s Bordello successfully delivers an original dance cabaret to the Fringe Festival program. This is a not-to-be-missed show and hopefully there are many more of Miss Friby’s productions in the years to come.

Aphrodite’s Bordello runs until 14 October at the Ballroom, Revolt Melbourne. Full ticketing information is available on the Fringe Festival website.

When reading the summary of Choir Girl it’s hard to know what to expect. The story follows a dedicated, and at times slightly manic-obsessive, chorister who joins not her first, but third, choir. Pair this with the aid of 14 choristers to tell the story and it’s hard to imagine just where the story will go.

As you walk in, Sarah Collins sits quietly on a box listening to her Walkman, blending into the stage and her surroundings. As the show starts, Collins’ charismatic voice filters through the audience, delivering her witty – if somewhat awkward – lines. The show starts off quite slowly, giving you a deep insight into the life and mind of choir (-obsessed) girl, Susan. Take note: the start is pivotal to being able to follow the rest of the story and it’s best to listen with a keen ear!

The show keeps on with its slow pace until the 14 choristers enter and the fun really begins. Wearing matching dresses, they harmonise, give background noise and serve as props to Susan’s strange fantasized scenarios. The use of the choristers is a highly original concept and adds an extra element to the performance.

Throughout the show Susan’s personality flits from seductress to bordering insanity and Collins breezes through these changes with her highly expressive face and fluent speech. Although this is essentially a one-woman show – aside from the choristers – there are a handful of characters to help Collins story along. These characters, as depicted by Susan, seem to have endless imperfections and almost make Susan seem “normal”.

Choir Girl is Sarah Collins’ third play and her experience and creativity really shine through. It’s a show for lovers of singing and all things odd – there’s even something for the Britney Spears fans out there, with several of her songs making an appearance. During the show audience members attempted to fight back laughs as Collins’ clever script delivered joke after joke. This is a high-quality performance that gives you an insight into an unusual world and is well worth your time.

Choir Girl runs until 13 October at the Ballroom, Lithuanian Club. Full ticketing information is available on the Fringe Festival website.