Radio Gaga is a collection of stories and audio clips of some of the strangest, most hilarious and most indecipherable calls received between the hours of 1 and 6am on a Sunday. For over 250 Graveyard Shifts, Callan played host but also confidante and counsellor to many, as they divulged their Saturday night antics on national radio, which perhaps wasn’t always such a great idea.

Highly entertaining, funny and appropriately bizarre, Radio Gaga captures a world of radio that has to be heard to be believed. The calls chosen by Callan are some of his most memorable, and his continuing astonishment about many of them is both funny and understandable (particularly one call in which the listener spoke coherently and convincingly of his abduction by aliens and subsequent conversion to homosexuality).

Callan breaks up the calls with several clever segments, including an experiment in what Triple J would sound like if it censored music as commercial radio censored Cee-Lo Green’s F*** You, and one segment titled ‘Real Or Fake’, where Lady Gaga makes her sole appearance for the night, and we learn that Grandmaster Flash may not actually be a real Grandmaster.

The calls are funny, but these breaks were appreciated by the audience, for there’s only so much stoner hilarity one can take before it all gets a bit dull. However, there’s no denying that Radio Gaga was a show begging to be performed. And for those who might have missed Callan’s Graveyard Shift, it’s an entertaining insight into the seedy underbelly of early morning radio.

Sweet Child Of Mine is hilarious, heart warming and friendly. Opening with video footage of an interview with Bron’s parents, the audience is instantly welcomed into the dynamic and loving relationship between Jim, Linda and their creatively inclined daughter. Footage from the interview sets up each short scene, as the Battens chat about such things as what makes art ‘good’, before moving further towards Bron’s art in particular and the early days of her performance career.

Though her mother couldn’t be present for Wednesday’s performance, Bron’s father Jim provided some very funny anecdotes and bewildering ‘Dad Jokes’ throughout the show, as well as an incredibly touching pep talk to an audience member whose parents disapproved of her work in the arts. It was a treat to watch Jim and Bron onstage together – although he may not fully understand what she does for a living, his pride and love for his daughter was clear.

But despite the touching moments, in no way is the show overly sentimental. Instead, it pokes light hearted fun at the older generation’s interpretation of ‘good’ art: according to Jim and Linda, something that’s uplifting, easy to understand and leaves one thinking “well, that was a jolly good show.” In contrast with Bron’s hilarious interpretations of the stereotypical contemporary performance art (rolling in paint, interpretive dance, crushing eggs in her hands while blood leaks from her mouth), the insights from her parents seemed honest and charming.

Sweet Child Of Mine is a must-see show for anyone who has ever struggled at family gatherings to explain what they actually do for a living. Lacking any kind of pretension, the show is instead filled to the brim with laughs, captivating stories and refreshing honesty. You’ll want to call your parents afterwards.

The Better Than You Revue sees six women from Brisbane–Alyssa Kitt, Diamond Dahlia, Divina Mercy, La Viola Vixen, Mercy St Just and Charne Louise–bringing their tongue-in-cheek burlesque revival to Chapel street’s own speakeasy, Red Bennies. Each of the girls has a professional background in burlesque and cabaret and a passion for the craft that shines through in their vibrant individual stage presence.

Opening with a song and dance rendition of Lady Gaga’s Born This Way, the dancers seemed slightly lacking in enthusiasm, but the number was saved by the gutsy, pitch-perfect vocal performance by Charne Louise (who claimed at the beginning of the show, “I’m just the singer!”) Throughout the show Charne’s vocal performances proved to be something worth waiting for. One highlight was the altered rendition of ‘Fever’, (unsubtly renamed ‘Beaver’) a prospective anthem for the fairer sex.

The highlight of The Better Than You Revue was quite clearly the striptease and dance, perhaps the inevitable result of the group’s professional experience. These solo performances were interspersed with various sketches, which, although sometimes giggle-worthy, often missed the mark. The real attraction was in the dance – each performer was thoroughly entertaining and clearly accomplished in their individual styles, which at times were stunningly balletic (with the addition of fur, feathers, leathers and lace) and at others, hilariously irreverent.

The Better Than You Revue provides a laid-back introduction to the art of burlesque with a refreshing dose of humour, and the show’s mischievous antics are charming in a way, if you can call fake penises and kinky audience participation charming. It’s worth a look just to find out what all the fuss is about, and who knows, ladies – you might even learn a move or two.