Thanks to recent jaunt in the South African jungle via I’m A Celebrity Get Me Out Of Here, Joel Creasey will be infinitely more well known by the 2015 MICF audiences than he was in previous years and likewise plays at a bigger venue than in the past, at the ACMI galleries. It’s a pity that crowds this size didn’t see his more polished 2014 show Rock God, as it better demonstrated Creasey’s craftsmanship in making a complete well-rounded routine.

Regardless of its lack of focus, The Hurricane is still very entertaining and Creasey has lost nothing, bar a few kilos from IACGMOOH starvation, of what makes him the wicked prince (or queen) of the Australian comedy scene. As always, Creasey never lets the truth get in the way of ensuring an anecdote is as devilishly funny as it can possibly be, and therefore tales of sex parties involving a local soap star and Beverley Hills soirees with demanding hostesses have enough vigour to ensure that even audience members who have only turned up due to their love of reality TV, stay engaged for the full hour.

In general though, Creasey won’t be everyone’s cup of tea. Television requires a more PG rated quip that the Comedy Festival doesn’t expect, so blue language and sexual references of the homosexual variety come thick and fast. But hopefully this newly acquired mainstream popularity will mean that some less aware minds will be opened to the virtues of out and proud comedy. I’m sure it’s fair to say that most Theatre People would have met and made friends with more than one funny and fabulous gay man in their time around the theatre and Joel Creasey is a man who likes his musicals too. Therefore, one could equate that The Hurricane is like spending a night out with your most fabulously funny gay mates, but with more celebrity anecdotes.

The finale of The Hurricane is the only true letdown of this show as Creasey slavishly follows a formula that he has used at least since Rock God, in finishing his routine in a wacky costume. The wait required and ultimate laugh it receives is not worth the effort. Director Janelle Koenig should make a mid-season revision to find a better punchline for an otherwise entertaining production.

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