Melbourne Reviews

The term “hotsy-totsy” was coined during America’s “Jazz Age” of the 1920s, initially to describe something delightful. Later the term was used to describe an attractive woman. For the physical comedy show Hotsy-Totsy, maybe the performers aspire to evoke both meanings, or maybe it’s just a hint of their show’s eccentricity.  There’s also a sense that, like the term, the show recalls something of an earlier era, whilst having the brisk pace of modern entertainments.

The show is performed by artists based in New Zealand: rubbery-faced Peggie Barnes (dark hair, taller), and Ava O’Brien (lighter hair colour, slighter, with maybe an American accent?). Hotsy-Totsy comes to us having been nominated for three awards at 2026 NZ Fringe, winning two. It is curious to see the show listed in the “Cabaret” category of the Melbourne Fringe guide, as its format (self-described as “variety”) is rather less predictable than cabaret tends to be, which contributes to its appeal.

Our performers seem to reference Vaudeville or Burlesque shows from around the time of “hotsy-totsy” in their outfits. They wear fish-net stockings with some kind of leotard having frills at the hips. But unlike the early 20^th century outfits of black and white, there are colours here, as we might see in Anime. The subversion of expectations has already started …

The show starts with Barnes and O’Brien edging down the aisle in an oversized t-shirt that keeps them pressed together. We quickly discard the idea that they are conjoined twins, as we learn that it is O’Brien’s birthday, and we the audience are party guests. We would quickly see that the birthday girl doesn’t particularly want to share the festivities with her on-stage partner.

The pair has some of the tension seen in Lano & Woodley’s shows, with O’Brien recalling the former’s stern manner as Barnes mucks around a bit like the latter. But there’s also a touch of the competitiveness — and outright oddity — of The Kagools in the mix.

These factors would conspire to give us a diverse, very entertaining array of short spots, often drawing on clowning. At times we would be pulled back to the birthday party as it was time for O’Brien to open another of the gifts placed amongst the audience before the show.

The surprising vignettes could relate to a widower snail, work with balloons, or a gifted flamingo, giving regular opportunities for snappy costume changes and deft use of props. The routines deliver humour and move on without overstaying their welcome, showing discipline in the show’s construction that keeps the laughs coming.

At times O’Brien would end a scene with a stern “Stop that. She’s here.” – suggesting a higher power overseeing proceedings. If we had to quibble, this becomes a slightly distracting puzzle as it doesn’t develop any further.

After the show O’Brien mentioned that the work was partially about competitiveness in female acts. This works for our benefit here, as scenes of rivalries between Barnes and O’Brien were some of the most amusing and memorable of the assortment. The post-show insight might lead us to wonder if the feeling of being joined to someone else through an act, and having to compromise whilst trying to retain individuality is the inspiration for that close-quarters opening? (If so, it could be interesting to see that be more than an opening flourish.)

However, the show is also aiming for silliness, and its successful realisation here is certainly a nice change of pace from the worries of the modern world. Those looking to wring a bit of extra fun and surprise out of the last gasp of Melbourne Fringe for 2026 would find Hotsy-Totsy lives up to its title.