Yummy: Joy Machine is a high-energy spectacle of dance and drag that will leave you breathless. The performers, with their impossibly long legs, lithe bodies and fabulous costumes seamlessly blend masculine strength with ultra feminine wiles. The ensemble is polished and professional and the choreography muscular and high camp, combining jaw-dropping death drops with hilarious duck walks, hair flips, dips and lip synchs. The energy is high voltage at the start of the show with throbbing dance beats designed to make you wanna get up and shake ya booty, and electric performances.
Benjamen Hancock (AKA Bendy Ben), in particular, commands attention with a stage presence that is both powerful and slightly terrifying. Towering in seven-inch heels, she demonstrates extraordinary flexibility, executing high kicks that practically graze her forehead, then insane splits in said heels, all while exuding tremendous charisma, sass and swagger.
The show is skillfully directed by award-winning artistic director James Welsby, a VCA dance graduate with an impressive resume that includes collaborations with Moira Finucaine, BRIEFS, David Sedaris, and Hannah Gadsby. Welsby’s choreography is slick, polished and expertly executed by the talented ensemble.Â
WAAPA music theatre graduate Milo Hartill brings charisma and impressive vocal skills to the stage, particularly in a hilariously high-camp rendition of Dorothy from The Wizard of Oz. Witnessing her shake her voluptuous plus-size booty in a magnificent twerk is a moment of pure joy and body positivity.
The costumes are a visual feast. From sci-fi, to 50s housewife to a magician’s ensemble, each outfit is creatively conceived and beautifully executed. Particularly memorable are the two outfits covered in mouths which the performers cleverly manipulate to have tongues lolling out during the song ‘Lippy’ that recall the iconic Rolling Stones album cover. The highlight is undoubtedly The Wizard of Oz suit that magically transforms into a Melbourne tram and showcases the designer’s ingenuity.
While the show is mostly a triumph of choreography, costume, and performance, there were a few moments that could benefit from refinement. Some performances, like the parody of 365 Party Girl by Charli XCX, and Milo’s first song about ponies, lacked context for audience members unfamiliar with the source material. When Milo held the mic out for the audience to sing the chorus she was met with radio silence. We just needed a little more schooling in order to join in. Providing brief introductions to the pieces or program notes could enhance the audience’s understanding and appreciation of these pieces.
Unfortunately, the night this reviewer attended was also marred by several wardrobe malfunctions, including a final reveal that missed its mark and tongues that refused to roll out on cue. These mishaps contributed to a sense that the show wasn’t firing on all cylinders.
Read: Performance review: Adore Händel’s Little Black Book, FRINGE WORLD
Despite these minor shortcomings, Yummy: Joy Machine is a highly entertaining and visually stunning production. It’s easy to see why it has garnered rave reviews at the Edinburgh Fringe and elsewhere. With a little more attention to detail and context, this show has the potential to be an absolute knockout.
Yummy: Joy Machine
Tickets: $48.50-$60
Yummy: Joy Machine‘s final performance at the Rechabite as part of FRINGE WORLD will be tonight 22 January 2025.
