By Mama Natalia
Bent Burlesque crawled out of the shadows at the height of the Australian Burlesque revival, one of a handful of subversive and deliciously dark shows designed to flaunt the self-imposed rules of propriety, turning the concept of what was acceptable both within the art of tease and the nature of live entertainment on its head at a time when it was more than sorely needed. Created by Imogen Kelly, Australia’s First Lady of Strip-Tease and 2012’s World Queen of Burlesque (Burlesque Hall of Fame, Las Vegas), it has over the years played host to some of the country’s finest and most outlandish artistes, providing a forum for entertainers to spread their creative wings (and legs) beyond the feathers and the faff in favour of more raw, honest and oft times absurdist fare. It’s latest Melbourne Fringe Festival foray, The Fuppets – a cheeky and subversive parody of Jim Henson’s Muppets with a detour through the back ends of Sesame Street – does not disappoint on this front, embodying everything that’s wild, irreverent, and unapologetically fun about burlesque, from the very first note to the final feathered flourish.
MC Christa Hughes gives fair warning from the outset – if you are looking for a fancy, classical or pretty show, you’re rifling through the wrong trash bag. Lines are drawn in the sand quite early on (sex offenders, rapists and incel dudebros need not apply), and an opening sequence featuring some elaborate puppet fisting, full frontal nudity and farts serves to set the evening’s tone, leaving no one in the audience under any illusions about the utter chaos that lies ahead. What’s immediately striking about the show is how unabashedly silly it is. The wigs, the fancy costumes, and the exaggerated puppet-like movements are all in place, and it’s clear that the performers are having an absolute blast with the material. The ensemble (a troupe of misfits much like the Muppets themselves, made up of the cream of the Australian entertainer crop) share a sense of camaraderie and fun that propels the show forward. All the usual suspects are here, both from the Muppet and Burlesque worlds, and all are bringing their A-game.
At the helm of this chaotic circus is the inimitable Imogen Kelly, the show’s creator and visionary. Known for her bold and provocative approach to art, Kelly infuses The Fuppets with slathers of her own mischievous charm, her years of experience allowing her to easily embrace the messiness while keeping everything grounded in both anarchy and fun. Kelly’s ability to make the ridiculous seem sublime is one of the show’s standout qualities. Other highlights of the evening came in the form of recently crowned Melbourne Rubber 2025 title holder and Wiradjuri/Gamilaroi artist Kitty Obsidian, whose Miss Piggy number was an audience favourite, owing in large part to Kitty’s infectious personality and commanding stage presence. Ira Luxuria’s Count Von Count was also a nostalgic gem, taking us back to the good old Youtube parody days with a saucy take on The Song of the Count. I have never seen a performance that Ira has not completely nailed (in this case literally) – the costuming, choreography and comedy of the piece were deliciously on point.
While the decision to host this show at Melbourne Fringe is a no-brainer in terms of both audience reach and marketing, in this instance it works to the detriment of the art – the quick turnover time for bump ins/outs and the stark emptiness and high ceilings of Trades Hall does nothing to compliment the madcap mayhem of the show and its players. Such a piece as this deserves to be put on in a purpose-built theatre in the round, where set dressing and a more immersive atmosphere would really capture the chaos. The cast are of more than up to the task, using their energy to fill the void to the best of their abilities – but I look forward to seeing this show in a setting more deserving of its vivacious lunacy in the future, if only so the performers don’t have to work so hard to be larger than life.
There’s something beautifully imperfect about The Fuppets. In a world where burlesque shows often pride themselves on polish and precision, this production embraces its flaws. The choreography isn’t always in sync, and the timing can feel a little loose at times, but that’s exactly what makes the show so good. It’s a celebration of the raw, unscripted chaos that burlesque, at its best, embodies. The lack of polish gives it a sense of authenticity, making the audience feel like they’re watching something truly happening in the moment. This is not a mindless display of artful technique – it’s a revolutionary act of joyful expression.
With its low-brow humor and playful energy, The Fuppets hearkens back to the golden age of burlesque revivals – where sexuality and subversion were shaken up in a cocktail of hilarious absurdity, and politics were sprayed across audiences faces like semen in a circle jerk. If you’re looking for something polished and refined, this is definitely not the show for you. But if you crave an experience that’s raw, laugh-out-loud funny, and unashamedly bawdy, then The Fuppets is an unpolished gem that demands your attention.
