Melbourne International Comedy Festival review by Steve Bennett

Once upon a time, in a magical place called Comedy, there lived a girl called Rama who had the mystical power to transform into other beings and enchant people with her singing and her words. And if there’s any justice, her story will have a fairytale ending, too.

For Nicholas oozes star qualities in this fabulously entertaining romp, based in the world of the Brothers Grimm – but set long after the stories we all know from childhood have ended. Snow White’s looks are fading as middle age encroaches, Mr Wolf is just ending a 20 stretch for grannycide and Hansel’s sweet tooth has blossomed into a full-on eating disorder.

As Nicholas says in her preface, resplendent in raven costume, the original stories were not meant for children, and nor is this uproarious adult update that’s more Tarantino than Disney.

She’s performing in a broom closet, but committing to it like she’s on Broadway, including belting out an impressive range of songs, with music by Rob Kidd, that wouldn’t be out of place in a Lloyd Webber musical. With witty lyrics, they range from a Seven Dwarves rap (well, they practically invented the use of the word ‘ho’ in lyrics) to seductive, blues-tinged lounge songs.

A versatile and engaging actor, Nicholas uses her malleable features inhabit 15 wonderfully defective characters, all made distinctive with just a change of facial impression even before she imbues them with their comedy accent. Some are glimpsed only fleetingly – I’d like to have seen more of the morose Rapunzel or the Cockney Cinderella – as the love-hate relationship between Red Riding Hood and Wolf takes centre stage.

While the dark and gruesome story is necessarily overblown, there’s plenty to delight in its telling, with gags squeezed into every chunk of dialogue from silly dick jokes to knowing topical references. There’s a good physicality to the show, too, as Nicholas isn’t afraid to look ridiculous for a laugh.

After Ever After is comedy with a broad appeal, but makes meticulous effort to stand out in every aspect of writing, performance and production. A bigger stage surely awaits – and hopefully a sequel too.

Review date: 16 Apr 2014
Reviewed by: Steve Bennett