This eclectic group of rabble-rousers seek to open your mind through music and comedy, and the night takes the form of a diverse variety show. The bill boasts a host of different performers, from drag queens in immaculate wigs, to stand up comedians, all-out activists and local musicians.

MC Shayne Hunter was a definite standout of the night, coupling witty quips and biting political commentary. Musically, Robert Bindley, Zac Martin, and Alex on Sax did a particularly good cover of a Gil Scott-Heron song, and really nailed the gravelly undertones of Scott-Heron’s signature jazz poet beats.. There was also a great taste of local talent from Millie whose song about iPhones taking over the world was uncomfortably relatable.

It is great to see such a collection of different people of varying ages and talents get up on stage and do their thing – and that’s one of the many great things about the Sydney Fringe Festival. Though at times a bit grating, the performers did make some thought-provoking points. If nothing else, you’ll get to see a lot of different wigs, hear more vomit and diarrhoea sound effects than you ever thought you would (a-la Gene Belcher from Bob’s Burgers), and if you’re lucky you might even be accosted by a person in a large sweaty rabbit costume yelling, “I’m Mr Rabbit!” in red budgie smugglers.

It’s difficult to sum up The Comics Are Revolting, and is really something that has to be experienced. If you hold particularly conservative views, don’t expect it to be to your taste, however if you have an open mind (and a few drinks in hand) then you might enjoy some of the funnier moments of this activist-inspired talent show.

Reviewed by Hattie O’Donnell

Several themes are explored in these fascinating films: time, lust, death, travel and the nature of reality. Often the films are eerie and surreal, bringing you in and out of the present. The stock footage and editing effects of slow motion, inversion and the organic after-effects of restoring highly damaged film lend a unique tonal quality to the footage, plunging the viewer into a dreamlike past.

Two stand-out pieces were Aloha Hawaii and Henry Weston Smith. Aloha Hawaii is culled from 16 reels of 8mm technicolour home movies that were filmed in Hawaii during the 1960s. Initially, the film is alluring and tropical, the crooning soundtrack typical of the time period. But as the film progresses, Lawrence utilises slow motion and a darker soundtrack (created with antique synthesizers) to create an atmosphere which can only be described as a geriatric LSD trip.

Henry Weston Smith is similarly jarring, and centres around three people on a road trip through Mount Rushmore National Park, to visit the grave of famed preacher Henry Weston Smith. This morbid journey is made bizarre by the decayed film, the appearance of a Native American man in traditional headdress, and the jumping focus from bleak roadside landscapes and pine forests, to the laughing travellers. It also features a stunning shot of Mount Rushmore, bathed in a pink light as a result of the damaged film.

Lawrence is a master of his craft, and the films are sewn together seamlessly, often juxtaposing the soundtrack and subject content of the footage. Super 8 Dreams is an incredibly insightful installation, and watching these short films is witnessing an expert at work.

Reviewed by Hattie O’Donnell

In the opening musical number, disgruntled archaeology students poke fun at the main character, heroic child-hater Dr Alan Grant, setting the scene and tone of humour. The portrayal of Richard Attenborough’s character (a crazy scientist grandfather with a small-man complex and a penchant for buying islands and tampering with dinosaur DNA) was great, as was Dr Ian Malcolm, agent of chaos. It was disappointing to see how the female lead was portrayed as a brain-dead blonde palaeobotanist, though this was more commentary on how the character was depicted in the original film. Though, the jokes surrounding her character got quite repetitive.

Now I know what you’re thinking – how did they do the dinosaurs? Well, as one of the songs harmonised – “we spared no expense!” In true community theatre style, these fabulously frugal, and at times fragile costumes were largely comprised of elongated cardboard tubes and canvas drop sheets painted in varying shades of green. No words can adequately describe the exclamation of mirth that escaped the crowd as the first brachiosaur stepped on to the stage, so you’ll just have to see it for yourself.

The humour is both bitingly witty and incredibly lame. Some of the best gags come from simplifying characters down to their idiosyncrasies and utilising (an almost surprising number of) plot inconsistencies to their advantage. This makes it particularly accessible for people who haven’t watched the film in a few years.

Definitely unsuitable for children, this musical attempts to tread a fine line when it comes to racial and gender stereotyping, though at times falls very short – this one’s definitely not for people with any sense of political correctness, and will probably make you cringe.

The band and singing were nothing spectacular, but what the cast lack in TONY award-winning talent, they make up for with amazingly terrible puns, hilariously homemade costumes and at least four tap-dancing velociraptors. Despite the amateur elements of this parody, the laughs are well worth the more tedious moments of the production by Lazy Suzann Productions.

Reviewed by Hattie O’Donnell

Trapped in his own world, Chris Miller portrays the mental unraveling of isolated father Travis, with a confronting intensity. Miller oscillates between hyper-aggressive, softly spoken and depressed, though quiet moments in his performance don’t last for long. Out Of Out of Fear is an engaging, and provocative play that isn’t afraid to be in your face. It tackles issues of men’s mental health, divorce and domestic violence, and Witkop has not shied away from portraying these themes with brutal honesty. This can be quite startling in the small space of the Tap Gallery, though it lends an authenticity and immediacy to the play that may otherwise be lost in a larger theatre.

At times Out Of Fear is confusing – we are never sure until the end of the play whether The Man (Matt Thomson) is a projection of Travis’ unhinged subconscious – a symptom of his delusions in the isolated reality he’s created for himself. It often seems as though The Man is a projection of Travis’ longing for stability and morality – and being a good father. Kayla Stanton is another stand-out of the trio, playing the intimidating and tumultuous Lara with gravitas.

The set is both bleak and visually rich; seemingly ad hoc relics of domestic life – the real television, phone, couch, table and lamp – contrast with the transient cardboard cut-out of a car and children’s toys strewn across one corner. The walls are messily papered with images of the Australian outback and desert, presenting a visible projection of Travis’ reality. These images are accompanied by poignant lighting and sound effects, and make for a very immersive experience into Travis’ world.

Overall it was a thought-provoking and intriguing production, with the smaller theatre making for a very intimate performance. Out Of Fear is a great introduction to independent Australian theatre, and not to be missed during the Sydney Fringe Festival.

Out of Fear is showing at the TAP Gallery Theatre until September 14. You can purchase your tickets now.