The Year of Magical Wanking is Neil Watkins’ one man monologue: a year of dealing with his HIV, living in his dead grandfather’s apartment, with an obsession with violent porn.

Here, we are given an assertive and confident production of a piece which fills an essential place in the musical theatre canon. A Chorus Line is the production you would expect to see.

Perhaps because of the performance aspect of Harlow’s interaction with us, in a show that is about the terrible treatment Harlow showed to his subjects, I was left with a clinical detachment to the man.

As you might guess from a title as lyrical and expressive as I Left My Shoes On Warm Concrete and Stood In The Rain, in this dance piece often the words are just as important as the choreography.

Darkness. Silence. Through the dim, white. A large blank page, several meters high by nearly the stage wide. In front, sits the stage. Empty.

With its World Premiere at the 2011 Adelaide Cabaret Festival, Der Gelbe Stern (The Yellow Star) is a promising but as-yet under-developed cabaret show.

In McLeish’s affable and personable cabaret show, The World Is Winning, he walks us through his rise to fame, and his life as an entertainer in what is rather less than he’d hoped for

Long Live The King is a personal story of Nathan’s parents’ relationship, a story of an encompassing love for an artist, and the story of immigration from India to Australia.

Dealing with the major theme of science and its place in belief systems, Alex Vickery-Howe’s Molly’s Shoes is a confused look at the place of the religious belief of creation theory in modern science.

Africa is a story of the resilience of children, of their ability to move into a fantasy world, to create new lives from tales on television and clutter in toy rooms.