Posts Tagged Burlesque

Dusty Limits Leads a Wild, Joyous Burlesque Night at the Liquid Rooms

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★★★★★ Burlesque nights at the Fringe can be hit‑and‑miss, but the Liquid Rooms delivered one of those gloriously chaotic evenings that reminds you why cabaret survives every cultural cycle. Hosted by Fringe stalwart Dusty Limits, whose sly crowd work and razor‑edged asides are well‑documented in his cabaret appearances at The Voodoo Rooms , the night had that unmistakable mix of glamour, grit and mischief that marks out proper burlesque from the pretenders.

Limits is a natural ringmaster — sardonic, warm, and just dangerous enough to keep the room alert. His genuine love of performance, noted in reviews of his Bowie‑themed cabaret work , carries over effortlessly here. He knows how to hold a crowd, tease it, and then hand it over to the performers at exactly the right moment.

The acts themselves were a lively blend of classic strip‑tease, comic burlesque, and magic. The Liquid Rooms — usually a nightclub and live‑music venue  — proved surprisingly intimate for burlesque, helped by tight lighting and a crowd that arrived ready to play along.

What made the night work wasn’t polish but personality. The performers were bold, funny, and gloriously unafraid of leaning into the absurd. One moment you’re watching a sultry slow‑burn strip, the next you’re hit with a comic number that breaks the room open. It’s the kind of cabaret chaos that feels alive — messy in the right ways, sharp in the right moments, and carried by performers who know exactly what they’re doing.

If you wandered in expecting a tidy, packaged Fringe show, you’d be in the wrong place. But if you wanted a late‑night hit of queer joy, camp theatricality, great dance performances and a host who knows how to work a room, this burlesque night more than earned its applause.

Reviewed by Pat Harrington

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Unbelievable: Lucy Best’s Intimate, Charming Fringe Debut

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★★★★★ Lucy Best arrives at the Edinburgh Fringe with a suitcase full of stories and the kind of presence that immediately warms a room. Although she’s a familiar face at festivals across Australia — from Fringe World Perth to Melbourne Fringe and Adelaide Fringe — this is her first time stepping onto the Edinburgh stage with Lucy Best: Unbelievable , a solo show that feels less like a performance and more like being invited into her home for an hour.

The venue’s intimate setup suits her perfectly. Lucy thrives in close quarters, where she can talk directly to the audience, tease them a little, and pull them into her orbit. There’s an easy conversational flow to the show; people laugh, gasp, and occasionally sit in quiet attention as she shares the kinds of personal stories that only come from a life lived at full tilt. Her reflections on gender, identity, mishaps, adventures and small triumphs are delivered with a sincerity that never feels forced.

One of the more delightfully absurd truths she reveals is that she has travelled all the way from Melbourne with a step ladder in tow — a detail that sums up her resourceful, slightly chaotic, always‑prepared nature. Lucy is, at heart, a hustler and a survivor: a photographer, an environmental advocate, a social justice campaigner, and someone who seems to collect experiences the way others collect postcards.

There’s a moment in the show when she speaks about a baby dolphin, and it catches her off guard. A tear slips out, and she doesn’t hide it or apologise for it. That openness is what makes her so compelling. Lucy doesn’t present a curated version of herself; she offers the whole thing — the humour, the grit, the vulnerability, the conviction. It’s refreshing, and it’s deeply engaging.

Unbelievable is charming, captivating, and consistently entertaining. It’s the kind of Fringe show that sneaks up on you, leaving you unexpectedly moved and thoroughly entertained. A genuine standout — and absolutely one not to miss.

Lucy is also appearing in other shows across the Fringe, and her creative life stretches far beyond this production. Under the burlesque persona Lucy Lastic, she performs with Maison Burlesque — Australia’s largest burlesque academy — and has taken part in their Cherry Poppers Solo Showcase, choreographed by multi‑award‑winning performer Domino de Jour. The next Cherry Poppers Showcase takes place on 11 October 2026 in Melbourne, promising a glittering flurry of feathers and rhinestones.

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More about Lucy’s work can be found here

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Blip Blarp: An Alien Love Story Lands at the Fringe

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The fringe is often at its best when it throws you something you weren’t expecting, and Blip Blarp: An Alien Love Story does exactly that. Alicia Queen’s solo show is an inventive blend of physical theatre, clowning, dance, burlesque and multimedia that manages to be very funny while also exploring some very human feelings.

The set-up is delightfully absurd. Blip Blarp lands on Earth intending to conquer it by producing a thousand offspring, only to find that modern dating is far tougher than intergalactic conquest. What follows is a comic but unexpectedly touching scramble for love, acceptance, and connection.

One of the production’s greatest strengths is its imaginative use of technology, which creates a convincing sense of interaction beyond the solo performer. Queen’s physical performance is outstanding, comic, graceful, and unashamedly sensual when the story calls for it. I loved the music too!

There’s room for the humour to stretch into stranger or sharper territory, given how bold the premise already is.  Much of the humour has a deliberately dry edge, which suits the character, but a broader range of comic styles could widen its appeal. The audience when I attended was smaller than the show deserved, but this is one that warrants a much bigger crowd.

Cleverly conceived, technically inventive and anchored by a terrific central performance, Blip Blarp is bold and quintessentially Fringe.

Reviewed by Pat Harrington

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Read an interview with Alicia here

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