Fairies Anonymous is Marcus Maitland’s directorial debut and captures many classic characteristics of cabaret – a celebration of individuality, political edge and subversive glamour.
With vibrant pop covers from vocal powerhouses like Laura Dawson and Songbird Siren alongside a whole lot of dance, it’s a chaotic but fun time for audiences who are already familiar with the genre.
The show features fairies sharing their stories through live vocals, dance, drag and burlesque, all underpinned by key themes such as finding community and identity despite erasure and societal rejection – all familiar themes for the queer community. The show’s biggest strength lies in its vocal performances. A mischievious Shakespearean sprite Puck (Dawnson) and the Absinthe Fairy (Songbird Siren/Megan Walshe) are powerhouse singers who command attention whenever they take the stage. Their performances provide genuine moments of brilliance that elevate the production. Another memorable moment is Kiri Jensen’s operatic number as Fairy Bread, supported by the Cactus Fairy (Angeline Pearl Concubierta). The juxtaposition of Jensen’s serious opera solo and Concubierta’s comedic acting is thoroughly enjoyable and the act feels novel.
The direction and choreography by Maitland is fun and plentiful, but requires more consideration and restraint. This evident early in the show – the Fairy Odd Parents Cosmo (Nicholas James Whymark) and Wanda (Lauren Holmes) share their story through a contemporary ballet routine to Shake it Out by Florence and the Machine. The dancers are blocked, with the vocalists belting at the front of the stage. Without a distinct focal point, it splits the audiences’ attention and is almost overwhelming in an intimate space such as the Eternity Playhouse. The group choreography, while energetic, relies too heavily on canons and becomes cluttered with overly busy moments that lack precision. However, the show also does well to engage and showcase the whole cast throughout the hour as most pieces integrate vibrant group choreography.
Where Fairies Anonymous falters most significantly is in its premise which needed stronger development. The fairy characters lack clear definition – while the iconic Shrek 2‘s Fairy Godmother provides a recognisable anchor, confusing introductions and unnamed fairies make it difficult for the audience to genuinely connect with the show. Many references feel tenous (fairy bread fairy, fairy penguin) or simply too niche (Puck – English folklore), stretching the concept thin. The execution of the premise would also have benefitted from elevated and clearer costuming (Josephine Tan) as it lacked a consistent quality amongst the cast. The show promises a bold, glitter-filled spectacle tackling interesting themes, but ultimately struggles to deliver a cohesive experience.
Despite these shortcomings, Fairies Anonymous still delivers fun and remains an admirable effort from first-time director Maitland. While the show bursts with energy and features some undeniable vocal talent, confusing staging and a weak premise prevent it from reaching its full potential. The show’s heart is in the right place, and there’s genuine joy to be found in its unapologetic queerness and commitment to celebration. With tighter staging and clearer character and plot work, this could be the glitter-cannon spectacular it aims to be.
