“I’m 31, queer, and still a hot mess.”
You know a show is going to be good when it already has a pun in the title. Australian Open, presented by 7th Floor Theatre at the PIP Theatre, is a sharp-witted, fast-paced comedy that volleys love, relationships, and politics with hilarious precision. Playwright Angus Cameron has expressed that Australian Open is a story worth telling because there simply isn’t enough queer joy in theatre—and this production certainly delivers on that front. Under the skilled direction of Hayden Burke, the show bursts to life with witty dialogue, dynamic characters, a playful exploration of modern societal politics, and plenty of queer celebration.
The story centres on Felix, a 31-year-old navigating life in an open queer relationship with Lucas, the world’s third-ranked tennis player. As Lucas prepares for the Australian Open, the couple gets tangled up in their family’s messy, often hilarious dynamics. Felix and his sister Annabelle meddle in their parents' marriage, while Lucas and Felix endure an awkward interrogation and pressure for marriage from Felix’s parents, Belinda and Peter. This leads to Belinda and Peter rethinking their own marriage. The dialogue is fast-paced, filled with sharp observations about love, commitment, and the complexity of modern relationships—all with a hearty dose of Aussie humour. It's a rare and refreshing treat to see a play set in Brisbane, making it feel all the more authentic and relatable.
I was lucky enough to catch the alternate cast on the night I attended, and if the primary cast is even half as brilliant, audiences are in for a treat. This stellar ensemble featured Dean Noffke as Felix, Hayden Parsons as Lucas, David Scholes as Peter, Ellen Hardisty as Belinda, and Amanda Devlin as Annabelle. Each actor brought a unique and compelling energy to the production, creating a wonderfully cohesive and hilarious performance. Particularly notable is the chemistry between the characters, and how the five actors play off one another in their one-on-one moments. Some standout moments include the discussion between Felix and Belinda as she expresses an interest to climb Everest, the intimate conversation between Peter and Lucas at the tennis centre, and the late-night conversation between married Belinda and Peter that feels incredibly real. But my personal favourite was the father-son scene between Felix and Peter at The Beat nightclub—a funny, awkward, and surprisingly heartfelt exchange.
The performances are fantastic across the board. Dean Noffke brings warmth and humour to Felix’s insecurities (and surprisingly he isn't portrayed as the bottom in the relationship). Hayden Parsons nails Lucas’s somewhat-cocky-yet-charming sports star persona, with electric and endearing chemistry between him and Noffke. Ellen Hardisty steals the show as Belinda, delivering all the best quips with impeccable comedic timing, while David Scholes adds unexpected depth to Peter as the plot develops. Amanda Devlin as Annabelle is a comedic powerhouse, her meddlesome demeanour and perfectly timed bombastic side-eyes making her a delight to watch. Annabelle kicks off the show as a TEDx speaker, living in Switzerland, and a scientist with an introductory talk on gravity (or something like that—it’s a bit over my head, but it doesn’t really matter). But once she’s back in Australia, she quickly transforms into the classic little sister again—full of mischief and attitude. And her costumes are consistently fabulous.
A standout moment is the Christmas family scene, where rapid-fire dialogue flies across the stage with the precision of a high-speed tennis rally. Another highlight is the dramatic escalation between Peter and Belinda, which veers into unexpected territory—let’s just say that what’s under Peter’s silk robe is not what you’d expect. The script is packed with brilliant dialogue. A favourite recurring theme of mine: “Have you ever been to Perth?” Beat. “Ew, no.” The comedy flows seamlessly, keeping the packed-out audience laughing from start to finish.
The production design is a standout, with every element working together to enhance the story. Claire Yorston’s lighting, Ziggy Enoch’s sound and visuals, Tye Shepherd’s vibrant costumes, and the inventive set design by Hayden Burke and Jennifer Ashlan all come together beautifully. The costumes, in particular, are gay in the best way—colourful, vibrant, and comfortable, adding an extra layer of flair to the production. One delightful detail? The tennis-themed decor: overhead lights shaped like tennis balls, and a hanging tennis net doubling as a lighting screen for setting transitions. Whether we’re in Tenerife, Newstead, Felons Brewery, or the Australian Open itself, the setting changes are communicated well. Another fun touch? Drinking glasses pinned to the curtains, all of which are eventually used in the show.
By the end, Australian Open lands a perfect shot with a satisfying and heartwarming conclusion. It plays out like an Aussie rom-com/family sitcom, filled with charm, chaos, and an abundance of laughs. This is the kind of theatre that makes you glad you showed up—fun, fresh, and brimming with personality. Don’t miss the chance to catch this gem before it disappears off the court.
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