On Saturday night (11 April), audiences filtered into Spiegel Haus Melbourne for 'Briefs: The Works', a late-night offering that wastes no time establishing its tone. By the time the lights settle, the show is already in motion, unfolding as a high-energy mix of drag, burlesque and circus that leans fully into its after-dark billing.
At the centre is Fez Fa’anana as Shivannah, a commanding MC who sets the rhythm early. His delivery is sharp and assured, moving easily between comedy and something more grounded, anchoring a show that could otherwise tip into excess. It’s a performance built on control, even when everything around him feels deliberately unrestrained.
The structure draws from nearly two decades of material, blending returning favourites with newer work. The result feels less like a retrospective and more like a carefully-paced variety show, one that understands when to escalate and when to pull back.
Each performer brings a distinct energy. Benjamin Butterfly opens with a polished, physically demanding routine that immediately sets a high bar. Dylan Rodriguez follows as a clear highlight, delivering an aerial act defined by precision and control, balancing strength with a sense of effortlessness that holds the room.
Hollywould Star shifts the pace, drawing on classic showgirl traditions while keeping the tone firmly within the show’s modern, self-aware edge. Nastia and Bendy Ben push further into spectacle, combining drag with acrobatic movement in performances that are both technically impressive and deliberately theatrical.
Image © Sean Breadsell
Closing duties fall to Mark Winmill, whose finale leans into the show’s more chaotic instincts. It’s a high-impact ending that commits fully to the scale and energy the production has been building towards.
Across its runtime, 'The Works' maintains a careful balance. It is overtly sexual, at times deliberately confronting, but rarely feels gratuitous. There is a clear sense of intention behind the provocation, with humour and physical skill grounding the more outrageous elements.
The show’s late-night slot works in its favour. At 10pm, there’s a willingness from the audience to meet it on its own terms, allowing it to push further without losing engagement. That relationship between performer and audience becomes central, particularly in larger ensemble moments where the energy in the room peaks.
What stands out most is the consistency. There are no obvious lulls, no moments where momentum drops. Instead, the show builds steadily, layering spectacle with smaller, more intimate beats before expanding again into full-cast sequences that feel both chaotic and tightly controlled.
'Briefs: The Works' delivers exactly what it promises: a bold, high-energy production that blends technical skill with a strong sense of identity. It’s polished without losing its edge, and confident enough to let its performers take centre stage.
In a festival built on variety, it stands out by knowing exactly what it is and committing to it.
