Stamptown is pure, unfiltered chaos in the best possible way. A wild mix of stand-up, absurd characters, unhinged audience participation and glorious unpredictability that feels more like a live experiment than a comedy show. You might love it, you might leave stunned, but you will absolutely remember it. We rate it a raunchy 4 out of 5.

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James Mustapic Yourself Up is a soft-voiced, quietly chaotic hour of queer joy where James turns every microaggression, hate comment, flatmate disaster and awkward life moment into pure comedy gold. Vulnerable, weird, relatable and absolutely hilarious. We rate it a triumphant 5 out of 5.

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Playfight is a haunting, dreamlike coming‑of‑age story set beneath a magical tree where three girls navigate desire, danger, and the blurred lines of consent. Beautifully staged, chilling in its honesty, and impossible to shake. We rate it a compelling 4 out of 5!

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Annie Guo’s Artificial Infidelity is warm, sharp and effortlessly funny. A classic stand-up hour packed with smart observations about dating, culture, family and her increasingly chaotic A.I. boyfriends. Light, relatable and full of charm. We rate it a friendship-inducing 4 out of 5.

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Booth the Clown’s Kissing Booth is late-night queer chaos at its finest. A hidden cellar, pom pom chairs, rogue nipples, Uber door revelations and the most tender, unhinged audience interaction you will ever experience. Warm, weird, intimate and unforgettable. Go. We rate it a convincing 5 out of 5.

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Handsome Man is Anthony Crum at his most chaotic and divisive. It’s an hour of anti‑jokes, long silences, surreal bits and gorgeous Sinatra‑style singing that never connects to anything. A few people were in hysterics, but most sat in confusion watching a talented performer commit fully to a show that feels intentionally structureless. We rate it an uneven 3 out of 5.

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Brynley Stent’s Bird of the Year is a hilarious, unhinged triumph. A PowerPoint meltdown turns into pure comedy gold as she improvises, storytells and spirals through bat facts, drama and questionable snacks. Chaotic, clever and completely delightful. We rate it an absurd 5 out of 5.

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Robyn Reynolds’ What Doesn’t Kill You is a fast-paced, high-energy dive through a childhood full of chaos and an adulthood that somehow doubled down on it. She turns every piece of trauma into sharp, self-aware comedy, mixing storytelling, songs and quickfire crowd work to keep the room laughing instead of sinking into sympathy. We rate it an honest, messy, and warm 4 out of 5.

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Richie Fa'avesi’s Living Proof mixes charm, chaos and sharp personal storytelling. With Keegan Govind warming the room, Richie dives into growing up Polynesian in New Zealand, family pressure, identity shifts and the messy contradictions of modern life. It is crass, warm, unfiltered and full of potential, with real heart beneath the rough edges. We rate it an uncompromising 3 out of 5!

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A warm and lively family comedy show that had tamariki laughing, parents joining in, and the whole room buzzing. Suzy Cato and her friends delivered music, jokes, crowd fun, and an open mic that let the kids shine. A joyful Mother’s Day highlight for our whanau. We give it a family-friendly 5 out of 5!

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Stephen K Amos proved once again why he remains one of the most reliable voices in comedy. Smart, honest, and effortlessly funny. A standout hour that left the whole room buzzing. We give it a 5 out of 5 for effortless charm!

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Rebecca and Bridie delivered a lively throwback to simpler times with games, silliness, and a room full of people ready to play. Their chemistry carried the night and even when the jokes missed, the joy never did. A warm, playful show with real potential. We rate it a nostalgic 3 out of 5!

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Marshall Lorenzo’s Serving Can't is a frantic, funny and painfully accurate dive into retail life, gig economy burnout and the absurdity of consumer culture. A rapid-fire mix of characters, sketches and musical bursts, it exposes the inner monologues behind every forced smile and upsell. Sharp, chaotic and wildly relatable. We rate it a frantic 3 out of 5!

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Evie Orpe’s Tell Me! is a chaotic late night fever dream of sharp news jokes, wild monologues, dance breaks and dark humour that somehow stays light. Heavy topics, big laughs, and a crowd that cannot get enough. A messy, clever blast. We rate it a rambunctious 4 out of 5!

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Harrison Keefe barrels through the wildest broadcasting complaints of his rookie radio year with absolute confidence, turning filthy, unfiltered chaos into some of the hardest laughs of the festival. A bold, shameless and ridiculously fun hour that proves he is somehow still employed and absolutely worth seeing. 5 out of 5!

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Butterfly Pavilion is a jittery mix of sharp one liners, weird tangents and beautifully awkward moments. Benny Feldman turns Tourette’s into part of the rhythm and the result is messy, honest and surprisingly funny. We rate it an unpredictable 3 out of 5!

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Rhiannon McCall’s Nosferatu is chaotic, clever and completely irresistible. A wild mix of clowning, improv and unhinged romance that had the whole room howling. Nosferatu is far better than that other count. I would swipe right. We rate it a flirtatious 5 out of 5!

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Anita Wigl’It turned bingo into a glitter-soaked riot of comedy and chaos. Drag Bingo a go go was sold out, unhinged, and absolutely unforgettable. Filthy jokes, fierce looks, and a crowd losing its mind. Pure joy from start to finish. We rate it an in your face 5 out of 5!

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& Juliet turns Shakespeare into a glitter-soaked pop celebration. Huge vocals, wild choreography, and nonstop Max Martin hits create a night that feels more like a party than a play. You'll leave the theatre buzzing. We rate it an energising 5 out of 5!

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A stark, stunning take on A View From The Bridge. Minimal staging, huge emotional impact. Silo Theatre delivers a performance that feels real, raw, and impossible to shake. We rate it an uncompromising 5 out of 5!

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