Whenever you go to a party, unless it is preceded by the word ‘tea’, it’s expected there will be a certain level of pizazz and entertainment. And often commitment to the cause of getting drunk. When you’ve received an invitation from Dionysus, none other than the god of wine, sex and revelry himself, the stakes are higher – you know things will be kicked up a notch.

The banter between Dionysus and his father Zeus, his dry humoured slave Xanthius, and the sporadic musical numbers, turned out to be the highlights of the show. However, one is left with a somewhat underwhelming performance, heightened by disappointment that the writers of the piece didn’t do their homework properly.

By and large it is not required to have a solid knowledge of Greek mythology in order for the show to proceed with success, though it aids in some of the more obscure jokes. Unfortunately, it might even be said that the less you know, the easier it is to sit back and enjoy yourself.

Creative liberties such as Hades and Heracles being performed by female burlesque dancers (traditionally masculine deity and demi-god, respectively), was an entertaining and anachronistic choice. A slightly disturbing one at that, with the added padding in their pants contrasting their curvaceous femininity–something that Hermaphroditus would be proud of.

Zeus scolding Dionysus, that his “grandfather would be disappointed” drew some laughs, as the irony was that Chronos would probably have revelled in the chaos, and even his complaint that Dionysus’ ‘mother’ was “trying to sleep upstairs” was chuckle-worthy.

It was with Artemis’ presence at the party that the biggest potential joke was missed; this gave the first inkling to the disappointment described here. The fact that Artemis, an eternal virgin, with no interests outside hunting, attended the party of Dionysus, the god of sex, with the likes of Aphrodite, was swept under the rug. There was no suggestion of sexual awakening or playing with the original narrative, and her appearance onstage in a caged pleather one-piece was a disappointment and left little to the imagination. The first thing that was noticeable in almost every performance was an abundance of bare flesh, which resulted in a lack of titillation and anticipation burlesque is famously known for.

Perhaps with more research and many more rehearsals it could have been the beginning to a witty, sensual and seductive performance. Using Greek mythology as a framework for a burlesque show is clever, considering the infidelity and misdemeanours which can be found in abundance, particularly with mischief makers such as Dionysus and Aphrodite in attendance. However, with only shallow roots in the original text, what was left was underwhelming: fun but not fabulous. A plateau from beginning to end, initial high expectations dropped to leave audiences with a painful tumble from Olympus’s heights.

Empire of Desire runs until Sunday the 22nd of February, and you can find tickets via the Fringe World guide here.

Fringe World, Sugar Blue Burleque

Theater

If you had one minute to talk about yourself, what would you say? If you had sixty, would that make it any easier? Is it experiences, beliefs, flaws or history that make up what it is to be a human being, or is it all of the above?

An exhibition on humanity, honesty and exploration of performance and the self, Daniel Cabrera explores three dimensions of his personality through skills in photography and storytelling. The narratives of the artist, teacher and performer, enhanced by audience participation and the occasional dance number result in a three act show comprised of a mixture of live performance and film, designed to entertain and provoke thought about the self, as much as the performer.

Though very entertaining, particularly for those of a Latino or Latin European sense of humour, the ingenuity of the performance lies in its honesty and raw confessional quality. Though part scripted performance, Dani allows his life to be picked at; isolated incidences are chosen and spoken of from memory from a slideshow of selfies, audience members become family substitutes, and a father, mother, brother and sister all participate in his narrative to evoke his true thoughts and feelings on certain moments and relationships in his life.

After a while, the performer on stage becomes a man, conflicted and striving. Humans have never been extremely competent in explaining their thoughts and feelings, particularly to those with whom they have close ties, and so, he tells them to strangers: his audience. Though ever the clown and entertainer, his thoughts are always on the value of something outside of its usual purpose, it’s value in the bigger scheme of things. It’s organic, entertaining and melancholy, there is no apology for content nor the time taken to tell a story.

So, who is Dani Cabs? An artist, teacher and performer: Australian born descendant of Uruguayan migrants who has a penchant for selfies and orange (be it the colour or the fruit). Part performance, part biography, part exhibition, it’s self expression in a raw form: entertaining, confronting and provocative, just as life can be.

Who is Dani Cabs? runs until Sunday the 15^th of February.

FRINGE WORLD, DANI CABS

The tent darkens dramatically and a sole spotlight highlights a small square of red mat. Smoke crawls along inside the tent, creating a thick moving carpet. The seats are filled with excited little bodies and flapping fans which attempt to compete with the stifling heat. The microphone briefly squeals and a voice comes whipping through the speakers: “We are! The Lords of Strut!”

A hint of Freddie Mercury, a tiny bit Blades of Glory, and a Disney level of concealed adults jokes; this show is exactly what you didn’t know you needed. In their Australian premiere, Ireland’s favorite acrobatic sons, Seamus and Sean-tastic flip, dance, bicker and banter their way through the show. An impressive mix of scripted shenanigans, dance numbers, breath-holding acrobatics and cheesy animal print costumes (with distinctive eighties flair) is an impressive feat in its own right, not to mention performing in the Australian heat. “Our wardrobe is for Ireland” Sean-tastic confesses, gesturing to his full tracksuit and velvet cap, “it’s not made for thirty seven degrees!”

With plenty of audience participation to keep little minds focused, and just enough naughtiness for the children to giggle and wonder if someone will get into trouble, the duo keep up a lively and believable brotherly banter, attempting to both share the stage and claim the limelight all at the same time.

Impressive stunts throughout have sell-out audiences sit in anticipatory silence, only to turn to raucous applause as each feat is completed. Their energy is astounding and needs to be commended: their charm, sharp wit and good humour keep things lively and you never know where they’ll take you next. With these two there are no lulls, you take each corner at full speed until you hit the finale with a bang.

Their intense concentration and professionalism smoothly transitions into winning smiles as they lap up the audience’s delight, and, as you sit there clapping, cheeky glimpses of something more peek through the child-friendly antics – it’s apparent that there’s much more to these two than just what you are seeing. I plan to buy tickets to their concurrent Fringe show CHAOS to find out more about this talented duo.

Lords of Strut: The Family Show will have their final performance Sunday 8th February. You can find tickets via the Fringe World guide here.

Fringe World, CHAOS, The Lords of Strut

Just like a bag of Bertie Bott’s Every Flavor Beans, each performance at The Blue Room’s 600 Seconds is like a taste tester for something you could enjoy more of: if only you could find it amongst those other flavors you’d rather avoid.

Since it’s conception in 2013, The Blue Room Theatre has challenged and encouraged new and experienced artists from all over the country to take part in what is trending as a highly anticipated sell-out show. With two line-ups set to alternate over the two performance weeks, there is no knowing who, or what might turn up onstage. Whether a man in a monkey suit, a laughter yoga instructor, or comedic news-anchors with tight pants, performers pull out all the stops to deliver brave and new works which invite people to think, feel and laugh in equal measure. As the only restriction is a ten minute time cap, and there are no rules on content or creativity, sometimes you’ll find yourself wondering ‘when will this finish?’ and at other times more desperately, ‘where’s the rest of it?’

With an audience voted ‘best of’ show to top off each week, there is excitement in the unique opportunity afforded to audience members: the chance to have a say. Executed with wonderful charisma and charm, the unusual narrative of Bill de Bord, told by a chatty sea-man, was a personal favourite. Taking you on the comic adventure of a womanising rogue, the performers brought forth hoots of laughter, tears of joy and brief moments of wonder at dialogue that C. S. Lewis would be proud of.

Hidden behind the buzzing Blue Room bar, the intimate theatre space has a transcendent quality, moving past the busy-ness of everyday life to evoke the world the performer creates. Embracing, at heart, what it is to be a part of Fringe, 600 Seconds is an eclectic mix of thought provoking moments, inviting the adventurous and young at heart to strike out and be brave, and challenging mainstream theatre-goers to try something new.

600 Seconds runs until February 14. For tickets, click here.

With its plush patterned carpet and wooden bar, Rigby’s Basement Lounge recalls the Tower’s 70s decor. An intimate setting with a distinct British feel, the Basement Lounge makes you want to order “a gin and orange lemon squash, and a scotch and water, please!”. The air is filled with animated chatter as young and old alike anticipate the arrival of Britain’s most famous hoteliers. It is only when when Manuel squeezes past with an apologetic “scusi!” and a toothy smile that you realise, with childish delight, that the show has begun.

Amongst the eight teams circulating the world, and regular shows in London, and now New York, for this trio’s Basil (Rob Langston), Sybil (Karen Hamilton) and Manuel (Anthony Sottile), the show’s four week stint at the Perth Fringe marks the first stop amongst twenty countries to be visited this year alone. Beginning in Brisbane in 1997, the three-course, two-hour spectacle has garnered international acclaim from all over the world, and for good reason.

For well versed viewers of the show, the unmistakable physicality and distinctive voices are flawless from all three actors, impressively maintained throughout the highly improvised performance. Snippets of the show’s memorable dialogue are quoted, and amongst the scripted antics, dinner is served. The food, standard British fare with a distinctive 70s flair, is tasty, well cooked and presented, though a word to the wise: choose carefully when to take your next mouthful. Laughter is guaranteed, and you cannot be sure where your spoonful of soup might end up.

For individuals who are not as familiar with Fawlty’s mishaps, the show is bountiful in stand-alone moments. For one reason or another, tables and individuals are targeted for comedic pranks as Manuel sits on laps, Sybil trills ‘happy birthday’ whilst guiding Rigby’s choir in serenading birthday diners, and Basil’s withering comments fly about the room. No-one is exempt from a curt word or two, least of all individuals with dietary requirements who are “rabbit food eaters” or  “afraid of a little gluten”.

Whether a food or theatre lover, Fawlty quoter or newcomer, Faulty Towers the Dining Experience is top nosh, guaranteed to leave you with a belly full of food, and a belly full of laughs.

Faulty Towers the Dining Experience runs from Saturday 24 January to Sunday 22 February 2015. You can buy tickets here.