Chuck Moore reviews about...

2 May 2018

Friends growing up in Bathurst, Ange Lavoipierre and Jane Watt don’t need to worry, despite expressed fears of what their comedy tales will do to their “likability” chances – worry about finding Comedy love at least. The crowded venue (correctly) adored their share show. “Luxury Split Bill” lives up to its title claims: a comedy double bill that is – refreshingly - a perfect, complementary match: extra points there since much of the joking is about sex – good natured, fun and sometimes surprising (as, lets face it, sex should be). Both comedians also lay claim to “it gets better...” stories. Lavoipierre kicks off: calm, deceptively quiet, and claims her confidential exterior is an act (a cat has her measure apparently), yet delightfully mischievous. A religious background, with that “they see and created all”, made her a bit “perverted” (her word), and might just be the reason for being, well, stimulated in all the weirdest places (Motor Registries for example). And penning side-splitting odes to her body biology. And... .And as she dead-pan cynically proves that a 15 year old leukaemia patients can be as much delightfully ‘take what you can get’ as anyone else (“you won’t like me after this...” – wrong, Ange). Watt, just as funny, is theatrical, flamboyant, and revels in her improv skills (her character based “Gate 64” also demands your #SydComedyFest time https://tinyurl.com/y976jswz)... possibly expected as the youngest sister of four, with all still sharing a (different) house as adults. Born in the town finishing second to battle for geographic centre of NSW (“runner up” is recurring Watt-life theme), this is the tale of small town issues – most people are related and everyone knows everything (dating/bedroom recreation options were therefore limited, so make your own fun), “whoops” jobs on escaping, family gatherings that don’t go to plan (hilariously so) on returning. Not to ignore being the “home town” second most notable celebrity, behind the one who is famous for a second placing in “Oz Muso Idle Career Jump-start” named Shannon (You’re better Jane). There’s also a "terrific together onstage at last" finale punch line, with the pair revelling in their own distinct comedy personas. And what a great couple of comedy story-telling tours to get there. Individually the pair are worth going to see. Sharing the same show... ridiculously good deal. Get. Along. And. Enjoy+Enjoy. #SydComedyFest

Sydney Comedy Festival: 2,4 May

15 April 2018 (6:15PM)

“You’ll be singing this song when you leave the show…” a happy Gillian Cosgriff, well, sung as a (shhh) finale/promise number in her “Greatest Hits” show for #MICF 2018. Lots of her songs actually. The musical comedian picks out some of the most popular songs (and the stories behind them) from a ten year (and counting) career, and it’s a blast: there’s a lot of back-cat material to building-block a show. Cosgriff’s skills as a narrator have never been in doubt, and the delightful visual comedy she’s added as her career confidence grew is there as well: it starts with the opening, and the laughs and warmth flow for the next 60 minutes. Accompanied by a show tag-team of cellists, and showing how she deals with not getting onto stuff (that darn shiny internet) by writing songs within the hour. Literally, with the suggestions of one of her now-fav ever audience strangers Moose turned into a song by the shows end. Snaps shots of her life to date, the songs and their singer are a joy. Lucky for those who love laughter her letter to 16 year old Gil came true: playing shows that are about singing little songs she composed. Wonderful. #gilliancosgriff #MICF

https://www.comedyfestival.com.au/2018/shows/gillian-cosgriff-so-far-so-good

http://www.gilliancosgriff.com/

17 March 2018 @ 10PM

16 March 2018

31 March 2018

An hour of mighty hilarious, unfiltered negative nippy thoughts from Becky Lucas, told with a smile on her face almost as broad as those worn by the delighted packed Regent Room audience at Melbourne Town Hall? Yes. Sign up (‘buy a ticket’ in Festival-practical speak) now. A chirpy teller of ‘wow… she went there…’ comments, shares and ideas, this is the even better version of the brill LOL-ing preview show that delighted the Giant Dwarf audience back in February. The self described lazy feminist has a wonderful personal style, and Lucas deserves just as strong word of mouth and packed shows as word-of-mouth hit  Fern Brady – both were off to a great start on this same evening, and Lucas, while different in style and content, shares the same smart+sharp wit and humour. The comedian is like a much loved pet that’s destroyed the room with what she says, but does it in such an adorable way (and afterwards remains, well, whichever bits of the current show title you chose, long as you add “hilarious and brilliant”), she still has the audience onside. “I get reviews… not good ones” Lucas commented at one point. (By that definition that isn’t a Lucas review then, and one of plenty like it). She’s witty, great show company, and most importantly – super funny. If you haven’t seen Becky Lucas yet, correct this oversight now (to be a bit neggo: provided there are seats left…) #MICF #BeckyLucas

Melbourne Comedy Festival 2018: 29 Mar-22 Apr, Town Hall (Regent Room)

https://www.comedyfestival.com.au/2018/shows/becky-lucas

http://www.beckylucas.com.au/

http://www.twitter.com/Becky_Lucas89

15 Feb  2018

From start to finish The General Public’s “Noughty Girls” delighted the opening night Fringe crowd at The Producers: as funny, quick witted, killer dance moved, and affectionate/kindly about the fads and “fun” of growing up (or living through) the noughties as the outfits the Genny P’s wore. (They are the gals dressed in loud pink trackies). Courtney, Kim and… Hannah (stop assuming) get an Facebook invite to their ten year school reunion, which triggers various degrees of enthusiasm, strength, (fear), “investigations” (oft stalking) via old and new social media, and trips down memory lane (complete with growing pains, crashes, detours and even some happy moments)… It’s OK though, ‘cause Dear Dolly Doctor is still there to hand out advice, having survived the demise of snail mail and now a rockin’ DJ. Part sketch comedy, part gal power/resistance, part musical, large part dancing, and all parts smart, toe-tappin’, “yeah, I remember/survived that…” hilarious fun. With sharp writing and performing, and likable characters, “Noughty Girls” (and the Genny P’s other show “Holy Guacomole”: same venue, on before) is a brill, highly recommended way to kick off your evening, after doing exactly that at Sydney Fringe 2-noughty-17. #GeneralPublicTC #ADLFringe #NoughtyGirls

Adelaide Fringe, The Producers: 15 Feb-2 March 2018

https://www.facebook.com/events/152604745524559/

https://www.adelaidefringe.com.au/fringetix/noughty-girls-af2018

01 April 2018

A “free up space in your festival calendar” call-out for 21 year old Charisa Bossinakis. As she points out, “Boss” is definitely not another millennial/ ethnic gimmick comedy/character/performer (even with a staging at The Greek Centre) –she just happens to be a young Greek woman living in Melbourne, and as promised, never mentioned again. Instead Bossinakis comes with a fully formed debut show of good, funny material, written and delivered in her own style: as the most shrewd, social-street wise, person in her group of friends (and the room), and often a few logic steps ‘ahead’. Not that it always (or even often) saves her in the real (off-comedy stage) world. Fashion (clothing and human); dating and Tinder (not the same thing); drinking out (a “stylish”, well known Melbourne early morning niteclub gets a starring role). Yoga won’t save you with the instructors Charisa has; not all waitresses can hide their personalities; not all pillow talk is RomCom effective; people on alcohol fuelled decision and dance making don’t, well, get it right. “Boss” is great fun, a tasty comedy meal from ingredients that only ‘sound’ familiar: well constructed with quiet assurance, “yeah, right…” smart (alec/alexis), and always funny. And it’s always nice to see comedians using pop-culture - songs, movies, celeb-singers - in a smooth way that doesn’t need a social media hash tag, or stopping the show, to make sure everyone got the point. If Charisa Bossinakis was playing sport, she’d be on the “one to watch, she can handle it” short-list for a run in the top grade. In comedy terms that means: Yes, go out, get a ticket now, and give her an hour of your laughter time that you won’t want to take back.

MICF 2018: 29 Mar-22 Apr, Greek Centre (L2: Aphrodite’s Room)

https://www.comedyfestival.com.au/2018/shows/boss

29 March 2018

The mightily multi-comedy skill equip Rose Matafeo comes to #MICF fresh from her fine work on ABC’s hilarious ensemble comedy “Squinters” (she and Susie Youssef were the best mates whose yoga studio plans got derailed by a poorly chosen employer promotion), with another great show about a young woman in the real and comedy stage world. Keep reading. She’s only kissed nine men in her life, but that’s only the starting point of the show: it’s actually about passion, and shame, she says, on the mate who suggested that title after submitting the show. “Horndog” has funny stories to tell and funny ideas to share, offers a “can like pass card” theory to fallen celebs (pick one and one only), and Matafeo really shines with physical comedy: acting out/syncing dialogue between the lyrics of Judy Garland’s numbers, explaining (read: claiming) what was really going on when recording some of those great 80s pop songs, and reading out one of many insane Facebook rants out there (not hers), and - even in a comedian claimed rough, work-in-progress state - It’s super funny and great entertainment. Rose Marafeo is a formidable, formidably funny- and authentic human being – comedian and performer. #RoseMatafeo #MICF #RoseMatafeoHorndog

Melbourne Comedy Festival 2018: 29 Mar-22 Apr, Town Hall (Regent Room)

https://www.comedyfestival.com.au/2018/shows/horndog

https://www.facebook.com/RoseMatafeoComedian/

http://www.twitter.com/rose_matafeo

29 Mar 2018

How does whip smart, thinking comedian Alice Fraser follow up a wonderful progression of her comedy world from “Savage”, to “The Resistance”, to building an “Empire”? Brilliantly. Many (many) years back, a Fraser relative built the world’s first computer – “Golem”, in Prague. Now his (mumble times)-great granddaughter has an artificial intelligence computer called “Ethos” (named after what a wise bloke, even more many years back, broadly defined as the ideals and beliefs binding together a society and behaviour). Ethos is trying to understand comedy, sex, love and being human, and it’s not as simple as the A.I. calculates. Fortunately, Fraser is on hand to banter and explain. Ethos’ binary, ‘Mr Spock’ cynical computer logic programming provides a delightful comic back-and-forth with the host (next time you hear about ‘mechanical scripting’, shake your head and mention this as the ‘how to’ good thing). The star attraction though is the funny, witty and relentlessly intelligent Fraser, who delights by keeping her feet – and mind – firmly on solid ground (or in human-speak, Alice picking on Alice – sometimes A.F. vs A.I.): Hilariously unpacking and crafting comic examinations/point making of everything from social media, technology, a mighty take-down of sexual harassment (especially in “the industry”), and how jokes actually work in a way that a robot (sorry Ethos: ‘A.I.’) “knowing the definition” can’t recreate. Add in a typically spiky musical break, and the ongoing journey of love and closeness in Family Fraser - and beyond. “Ethos” was great when under construction at Adelaide Fringe, which has also provided a Clipsal cameo nailing racism/male agro/car fan-ship: all at once. Now fully programmed in #MICF, it’s become, as expected, another mighty show from a comedian who, fortunately for those who love a (very) smart, (very) funny laugh-and-think show, stepped away from a career at a Law firm. How many other comics would – could? - base their show around a philosophical definition, and the notion of humans will fail (and that’s OK) - and succeed in making it relatable and mega-byte funny? Even the micro fact-checking Ethos would agree. #AliceFraserComedy #AliceFraserEthos #MICF

(and incidentally, there’s a one off, triple bill of those A.I./A.F. prequel shows on 21 April… Ethos would say don’t miss that either)

Melbourne Comedy Festival 2018: 29 Mar-22 Apr ex Mon, Chinese Museum (Tea Room)

https://www.comedyfestival.com.au/2018/shows/ethos

www.facebook.com/AliceComedyFraser

22 April 2017

The comedy equilivant of a 20-20 cricket match (except good). It’s Australia v England, cricket’s most enduring “never be a peace treaty” skirmish, and sets two talented teams of 4 comedians loose for 2 minutes each, under the playing captaincy  of comedians themselves Mick Neven and Dan Wallis- all to make (and count up) people laugh as loud and long as possible. Nothing really to do with cricket – It keeps the scoring systems of runs (1/2/3/4/5/6), last man (in this particular Test they were all blokes) as the decider, scored via crowd applause and laughter volumes and with a neutral NZ umpire (personally, England were robbed in this, the deciding match of the 5 show #MICF series). 20/20 cricket is all in-the-moment noise and fury, the equlivant of fast-forwarding a RomCom to find any nude bits, but the formula works perfectly here – the performers are just after laughs, and with material ranging from the smart to smarmy to “oh wow they went there”, that’s exactly what they produce – if you don’t like one of the jokes, 5 seconds later there’s a different one. Grab a drink, wear your country’s sporting shirt and have a lot – a LOT – of laughs. Touring worldwide. #AshesComedyShowdown

16 February 2018

“Growing up is hard”. So is top shelf, fun and entertaining cabaret – and even if Tash York’s narration suggests her ongoing struggle with “Adulting” is not always (often?) successful, it's led to a great hour of show. The writer-performer starts from a self-created new word (meaning “the process of doing grown up things”), and promptly incriminates herself to show she’s not there yet. Delivers everything the ads are promising (big hair, booming voice). It’s also full of wit, un-preachy and likable (though cutting) attitude and opinion, and perfectly placed, non-soap opera moments of the deeply personal and poignant. Bouncing along beautifully with her piano man/ show traffic cop Jamie Burgess, and running with cabaret staples (songs as originally written, music tunes with new words, and blending songs into the narrative)... That are promptly Tash-ified with “My Life” tales of mis-adventure and twists of plot and cabaret "ah-ha, we know what's coming next", plus a great piece of song improv (audience hint: share). Funny and entertaining, as well as thoughtful, sometimes dirty, and gloriously over-sharing with just the right tone: this ain’t no Walt Disney Princess fairy tale unfolding. It’s better and, most importantly, it’s also great fun. York can, and should be proud of “Adulting”, which needed no drummer on a well attended opening night full of long, loud applause. “Adulting” is developing (would never suggest “maturing”) like a good bottle of wine since its terrific original run at Melbourne Cabaret Fringe 2017. #Adulting #TashYorkInit #ADLFringe

Adelaide Fringe 2018: Gluttony 26-22 April 2018

https://www.adelaidefringe.com.au/fringetix/adulting-af2018

https://www.facebook.com/tashyorkinit/

03 March 2018 (Adelaide Fringe Festival ‘18)

How does whip smart, thinking comedian Alice Fraser follow up a wonderful progression of her comedy world from “Savage”, to “The Resistance”, to building an “Empire”? Brilliantly. Many (many) years back, a Fraser relative built the world’s first computer – “Golem”, in Prague. Now his (mumble times)-great granddaughter has an artificial intelligence computer called “Ethos” (named after what a wise bloke, even more many years back, broadly defined as the ideals and beliefs binding together a society and behaviour). Ethos is trying to understand comedy, sex, love and being human, and it’s not as simple as the A.I. calculates. Fortunately, Fraser is on hand to banter and explain. Ethos’ programming wasn’t complete on opening night (thanks to the background noise of a certain car race stuffing up recording), so Zach Zucker filled in “live” to great, cynical computer logic effect, adding in amusing unplanned comic back-and-forth with the host. The star attraction though is the funny, witty and relentlessly intelligent Fraser, who delights and delivers “punching up” by keeping her feet – and mind – firmly on solid ground (or in human-speak, Alice picking on Alice): Hilariously unpacking and crafting comic examinations/points making of everything from social media, technology, a mighty take-down of sexual harassment (especially in “the industry”), how jokes actually work in a way that a computer “knowing the definition” can’t recreate. Add in a typically spiky musical break, and the search for love and closeness in family and beyond. “Ethos” is going to be another mighty show from a comedian who, fortunately for those who love a (very) smart, (very) funny laugh-and-think show, stepped away from a career at a Law firm. How many other comics would – could? - base their show around a philosophical definition, and succeed in making it relatable and mega-byte funny? #ADLFringe #AliceFraserComedy #AliceFraserEthos

Adelaide Fringe 2018: 3-18 Mar, The Producers

https://adelaidefringe.com.au/fringetix/alice-fraser-ethos-af2018

www.alicecomedyfraser.com/

www.facebook.com/AliceComedyFraser

09 March 2018 (Adelaide Fringe ‘18)

How do Michelle Brasier and Laura Frew follow up their hilarious, intentionally nutty fun hit “Double Denim” (https://tinyurl.com/yd2avorc)? By taking (it) on a brilliant, hilarious, intentionally nutty fun holiday cruise of course. Taking a break from the success of their “party” in Double Denim, the delightfully funny duo decide to join their audience in abandoning (for the story) spouse and kids and heading off on a luxury ocean liner adventure. Laura wants a relaxing, laid back holiday where the gals will be waited on. So putting Michelle in charge of the details shows she – fortunately - has learnt nothing from the party. So the trip doesn’t go to plan, with a minor ship wrecking and then being stranded on a jungle island. And it’s great: cleverly silly, improv and planned, and with even more songs than before. The Double Denim duo pack in everything from: a new musical hero (Australian this time), wild animals, several mysteries in the plot, audience games (step forward), hilarious visual gags, TV “did you hear…” moments, BFFs battling for their musical solo moment (music video included)… and what it means to be close mates. As highly recommended and recommendable as the original that delighted crowds and reviewers at this (and 2017s) #ADLFringe and all the way to Eddy Fringe, this show wonderfully wrecks the “avoid follow-ups, they stink” rule. Do not miss* #thisisaheybossshow #adlfringe #doubledenimshow

(*: and as before, show Laura and Michelle you care and dress code as the title. Excuses such as “it’s a delightful mid 30s in Adelaide this weekend – too hot isn’t it?” and “but aren’t we are going to be stuck in a jungle?” are unacceptable and should not pass your lips.)

Adelaide Fringe 2018: 8-18 March 2018 Garden of Unearthly Delights (Thur-Sun only)

https://adelaidefringe.com.au/fringetix/michelle-braiser-laura-frew-double-denim-adventure-show-af2018

https://www.facebook.com/events/1990242197857470/

https://www.facebook.com/doubledenimcomedy

https://www.facebook.com/heybosspresents/

https://www.facebook.com/Gardenofunearthlydelights

16 February 2018

Inspired comedy team and best friends Michelle Braiser and Laura Frew are holding a party – your invites have (maybe) been sent, dress code is the title. Inspired, free wielding audience-using improv comedy nuttiness is so much intentionally silly fun that not one of the guests (the opening night audience) wanted the show to end – or to leave the theatre. (sorry, next performers). Song, song notes, dancing, dance “moves” (ish), jump ropes, party games, audience interaction, skits, dating and lots of other hilarious craziness as the hosts try to keep – or get - this party moving. Great, (intentionally) mad entertainment that is well worth your Fringe Time, and with enough comic energy to power SA for a decade (it can’t be trapped so catch it live). Party at Cuploa in The Garden of Unearthly Delights over the two next weeks at Adelaide Fringe!  #ADLFringe #DoubleDenim

(*: Also, do the title dress code thing and show Laura and Michelle you care. Excuses such as flying in from humid Sydney and having carry-on weight limits are unacceptable, and should not be used).

Adelaide Fringe 2018: 16 Feb-3 March 2018 Garden of Unearthly Delights

https://www.facebook.com/doubledenim17/

https://www.facebook.com/adelaidefringe/

https://www.facebook.com/michellelouisebrasier/

6 February 2017

Old 505 Theatre’s 2018 Freshworks season kicks off with the smart (all definitions), bright, thoroughly smile-able tale about Alice (Amelia Tranter), a young single (31 is still young, despite what her mother thinks), whose parents birthday present her the perfect man – and he’s battery powered. No, not that. A robot named Jack (Mathias Olofsson), who has a naïve charm beyond his adjustable personalities… and (working) reproductive equipment. You thought replicant hunter Dekkard from ‘Blade Runner’ had it tough. Writer/director Ruth Bell’s story lives in the unexpected tender world of “people relationship-stumbling in ways you don’t expect” real-world RomComs like “Sleeping With Other People” (don’t plot assume… or should you?), as well as that Ridley Scott film’s musings about being human/synthetic human. In its staging, Bell and her sight, noise and light creative team (Rececca Lang, Kailesh Reitman, Stephanie Segafredo) give ”Jack Data” a big feel while keeping Old 505 Theatre’s intimate human space intact. Tranter’s Alice makes the perfect plot/comedy anchor, with that wide-eye, over correcting, “shocked-at-why-they-think-that’s-normal” persona that Annie Maynard brings to Bess on TV’s “Upper Middle Bogan”, or the great Bruce Campbell to pretty much anything. She also sells Alice’s simultaneous mix of “not sex with robots (or having kids for that matter)” and growing thawing to Jack as being around and a, well, person, with Olofsson reveling in physical comedy (especially when processing), serious politeness, and no filtering oversharing/honesty of a personality shaped by programming not experiences. And don’t forget the fun of Alice’s” walk in when they feel like” parents, grandchild obsessed mother (Christine Greenough) and tinkering dad (Richard Cotter). Not to mention hilariously opposite marrieds of strong willed cat obsessed Sabrina (Elly Hiranni Clapin) and casually ‘cat’ hunting Ryan (Julian Rumandi). Enjoy without apology, as you will, and then enjoy telling your friends to come along – no need for a remote control to make you do that.

Old 505 Theatre, 5 Eliza St, Newtown: 6-11 Feb 2018

https://old505theatre.com/shows/freshworks-1510960947.html

https://www.facebook.com/events/168547390582875/

25 January 2017

Spare tickets were as scarce as a meaningful relationship for the play’s title character during Sydney festival 2018. There‘s 60 minutes of very good reasons for that. Writer Phoebe Waller-Bridge’s hilarious, genuine and powerful one woman play comes to Oz via Festival awards and an acclaimed BBC series. The 26 year old Londoner of the title (Maddie Rice) is coping (or not) with life via ongoing bouts of naked wrestling (sometimes alone) in her “office” (bedroom), instead of wrestling with a horrible tragedy and its ongoing ripples. A “slip”-up during a job interview leads into “Tell me about yourself” resetting, and she does just that… an intense, funny monologue about life, drinking, porn and shagging. She also does a great routine in social punchline putdowns, and has no safety switch at all. Gutsy to have such an up-front, cocky, often crude heroine, but creator Waller-Bridge pulls it off via writing an authentic personality, and actor Rice (terrific as she takes the role for the Australian tour from the writer) breathes her to genuine life – and, crucially, makes her fun, warm and real, despite being That Mate who just says (and does) THAT. Which means when life catches up, despite her attempts to avoid hangovers (relationship wise) by staying “drunk”, it means something to the packed audience too. There’s stuff Fleabag wants to hang onto, but she is too busy shagging, drinking and living in the moment … which is another way of hiding being scared and sad about what’s going on: with Hillary (the guinea pig at her Guinea Pig Cafe), Boo (best friend), the struggling Café itself that she runs and its regular customers, her dad (now in another relationship) and her sister (who is always tense, especially that once a month moment- see the over-sharing?) Chaos to those who get into bed with her (literal or otherwise) and great fun, hook up with “Fleabag” during her 2018 Australia tour, through festivals including Adelaide Fringe and Melbourne International Comedy. #SydFest

https://www.sydneyfestival.org.au/2018/fleabag

https://www.facebook.com/SydneyFestival/

https://www.facebook.com/carriageworks/

carriageworks.com.au/events/fleabag/

https://www.adelaidefringe.com.au/fringetix/fleabag-af2018

https://www.facebook.com/events/1593231127380753/

24 January 2018

The staggeringly good comedy minds behind “Wild Bore” – Zoe Coombs Marr, Ursula Martinez, Adrienne Truscott – strike back, bring to life, and revel in the literal words of nasty and bad-tempered write-ups about shows, including their own, and how much those critics hated what they saw. They won’t be using this review onstage then. “Infantile, vulgar….” Yes, and it’s great, and more than just that. Critics always have their own behinds in their work: talk-write out of them, say the stuff that comes out of them…. You can heard the lordly (snobbery) proclamations from on high, written with liquor delivered by servants, so it’s great seeming their words kicked off their perch. And so the targets perform, tele-prompt (aka read), analyse the past, and pre-review this very show, for a hilarious hour of the kind of apparently disorganized, insider winking chaos that only the best comedy minds and writers can create. (There’s also sly, wink-y fingers to the more pompous ar-Tist! types and fans, who just might deserve those golden nuggets in angry reviews). Starring (initially) with an inverted variation of the famous chin-puppet act that graces many an ad, and filled with every use of bottoms you can imagine (and some you couldn’t even begin too), plus playing with every theatre staging cliché imaginable and sometimes (as fans of this trio would know) attired for the hot, humid Sydney summer, Zoe, Urusla and Adrienne (plus a late unbilled appearance to make a subtle yet genuinely impactful point*), take the “words that might hurt you…” excuse of those who write them… and wreck those reviews right back to raw, hilarious effect. “Wild Bore” sees Sydney Festival letting it’s hair, and most everything else, down. #SydFest #Wildbore

*: Krishan Istna, a 2015 Rainbow List ‘one to watch’-er

Sydney Festival 2018, Carriageworks- 24-28 January 2018

https://www.youtube.com/watch?v=N5No4Wrwn5k

https://www.sydneyfestival.org.au/2018/wild-bore

https://www.facebook.com/SydneyFestival/

https://www.facebook.com/carriageworks/