Review by Markus Hamence – Mother. Performance date: Saturday 09 May 2026. Nineteen Ten, Adelaide, South Australia.
There are good burlesque shows, there are fun cabaret nights, and then there are productions like Mother. Thanks to the very keen eye and direction of Miss Curvella – this production was a gloriously chaotic, sensual, hilarious and fire-fuelled celebration of femininity, motherhood and the beautifully messy art of being human. Taking over the rooftop stage aside the pool at Nineteen Ten, Miss Curvella delivered a one-night-only spectacular that balanced glamour, grit, comedy and pure theatrical madness with the confidence of a production that knew exactly what it wanted to say.
“this production was a gloriously chaotic, sensual, hilarious and fire-fuelled celebration of femininity, motherhood and the beautifully messy art of being human…”
Markus Hamence
From the second the Host Libby Trainor Parker hit the stage with maximum confidence and crowd control, the room shifted into party mode with her quick lines, comedic timing and engagement talent. Sharp, witty and effortlessly charismatic, Parker tied the evening together with a perfect mix of heart and cheek, guiding the audience through a lineup that constantly escalated in intensity. Side mention: You need to hear her sing ‘Muther F*cker’, it set the wild tone we ached for. The cast itself felt like a love letter to Adelaide’s alternative performance scene, with every artist bringing a wildly different flavour to the rooftop. It was the finest quality Potpourri of Adelaide Burlesque.
Lyra LaBelle delivered powerhouse burlesque energy as always (and immaculate in presentation) with commanding stage presence and polished precision, while Lizzy Baker (a duo with Lyra) and Diana Divine injected vintage glamour and seductive theatricality into the night. Leopard Lass and Kraken turned the rooftop into an inferno of danger and beauty, their fire work sending waves of heat and excitement through the packed crowd.
Then came the unpredictability that made Mother feel so alive. Granny Flaps absolutely stole moments of the evening with outrageous comedy that had the audience cackling one second and gasping the next. Vivienne Von Coffin brought dark cabaret energy dripping in gothic elegance, while Letitia Sitch added playful theatrical flair that kept the pacing electric.
And then there was Miss Curvella herself. Armed with a metal grinder showering sparks across the stage, she transformed burlesque into something almost industrial-rock in spirit – fierce, dangerous, sexy and completely unforgettable. It was one of those moments where the entire room collectively leaned forward. Loud. Bold. Unhinged in the best possible way.
“Saskia (She’s totally bonkers and I f*cking love her for that)… brought athleticism and striking visual storytelling…”
Markus Hamence
Saskia (She’s totally bonkers and I f*cking love her for that) and Delza Skye rounded out the cast with performances that brought beauty, athleticism and striking visual storytelling to an already overflowing production. What made Mother work so brilliantly was its refusal to stay in one lane. It was burlesque, yes, but also circus, comedy, cabaret, fire ritual and feminist celebration all wrapped into one glitter-soaked rooftop fever dream.
The atmosphere inside Nineteen Ten elevated everything further. The venue’s speakeasy glamour, rooftop energy and deep connection to Adelaide’s burlesque community made it feel less like a performance space and more like the natural home for a production this daring and alive.
Mother was wild, empowering, funny, seductive and beautifully chaotic – exactly the kind of immersive late-night spectacle Adelaide needs more of. Miss Curvella didn’t just produce a show. She created a full-blown experience.
Can we make this a yearly event? Please. And I’m gonna bring my mum.
