Melbourne International Comedy Festival review

In her brilliant, award-winning show Actually, Good, Gillian Cosgriff perfectly captured the post-Covid mood by asking her audience to share how they found joy in small pleasures and celebrating that cautious optimism.

Two years on, and she’s spun 180 degrees, now asking fans to write their biggest worries on slips of paper before the show, and post them into her cardboard version of Pandora’s box.

Thankfully, in a world of war, climate catastrophe and Donald Trump’s petulant demolition of centuries-old democratic norms, the people of Melbourne seem to have more manageable concerns, with the first she pulls out of the box raising the issue of parking in the city.

The petty, relatable subject matter suits Cosgriff’s agenda in finding common ground in a society in which we all inhabit echo chambers, shocked whenever we find someone – whether Uber driver, hairdresser or relative – with an entirely different worldview. Although she gently mocks such people, she remains all about spreading positive vibes, while acknowledging her own, very real, anxieties and the complexities of modern life.

Comedy’s standard icebreaker ‘How’s everybody feeling?’ is not a question that can really be answered with a simple cheer, she asserts. It’s better to admit you don’t know something than double down on your ignorance. And the immortal words of Bobby McFerrin – ‘don’t worry, be happy’ – do not exactly form the basis for helpful mental health advice.  

This is all framed with accessible stand-up routines, teeming with turn-of-the-century pop culture references, from cheesy novelty trends to passive-aggressive Microsoft assistant Clippy. There’s a lovely routine about a friend’s embarrassing trip to a Japanese onsen bath among lighter-weight observational stories about the comedian’s own teenage retail jobs or persistently bad gifts, all universal in their resonance.

Despite the broader themes Cosgriff brings to bear, the routines can be a little superficial and pedestrian, but are elevated a) by her hugely charming presence and b) by the songs that define her act, with near Minchin-level musicality and witty lyricism. Though she could surely make a lot more use of the music, given it’s such an obvious forte and a point of difference in a crowded comedy festival programme. 

While Fresh New Worries doesn’t have the powerful, life-affirming impact of her breakout show, Cosgriff remains a beacon of warm positivity, offering another sweetly upbeat show – even when the topic is pessimism.

Review date: 2 Apr 2025
Reviewed by: Steve Bennett
Reviewed at: Melbourne International Comedy Festival