lowkey | MICF2026

Click here if you liked this article 0

https://www.comedyfestival.com.au/browse-shows/lowkey/

Date Reviewed: 04/04/2026

Louis Prandolini explains at the outset that the show is named “Lowkey” for four reasons, but the show’s average quality suggests a fifth meaning. Overall, “Lowkey” is solid and consistently delivers big laughs, but it is targeted to a limited audience and speaks to Prandolini’s potential rather than his present ability.

It’s understandably hard to play a room jam-packed with eighteen individuals: peak moments are quiet, and anything short of a zinger results in muddled laughter. Despite this, Prandolini delivers a reliable set. His delivery, rather than his writing, restricts the show's laugh-out-loud moments. As a general rule of public speaking, if it’s not uncomfortably slow for the speaker, it’s too fast for the audience. That advice would be well placed here. His rapid pacing comes off as anxious rather than intentional. Especially for audience members unfamiliar with his accent or references, the quick tempo makes it hard to understand the crux of a few key phrases, resulting in staggered laughter as different parts of the audience catch on at different times.

This advice might not matter at local joints on casual nights, but as part of the Melbourne International Comedy Festival, catering to international ears is essential. While it’s fair to acknowledge that small audiences make it difficult to judge the true reach of a punchline, it’s hard to imagine that most Melbourne crowds consist only of individuals within Prandolini’s own cohort. They say local jokes get local crowds, but the same is true across generations as much as geographies.

For those within Prandolini’s target audience in terms of age and background, the comedy is undeniably good. The question lies not in his ability to structure and craft jokes, but in his view of the world and what constitutes comedy on an international stage. Jokes about savers, Perth, and dressing up as jizz for J-themed parties don’t resonate as much outside of Prandolini’s own demographic.

Thus, the frustrating aspect of “Lowkey” is that it reeks of potential. Prandolini can make a callback out of thin air. Even in a few stumbles or crowd shouts, he powers through like a pro. Plus, after studying acting and writing at three different universities, it is fair to assume he has the chops to go all the way.

Despite this technical training, however, there is a lack of perspective that makes the comedy register as largely unrelatable. Prandolini’s focus on self-reflection and retrospection comes off as vaguely premature. He reads as young and inexperienced while speaking as if he is now more seasoned.

The lack of perspective is hardly a comment on technical age. Taylor Tomlinson came to fame at roughly the same age but made a career of understanding the world from the perspective of a young person who dealt with real problems. Prandolini seems to simply lack the darkness and understanding that maturity inspires. It’s not, after all, that he can’t get a laugh. Without question, he will. It’s just that when you leave the theatre, it feels he’s thought a great deal about himself, so there is little reason to consider his act further.

Reviewed by Kate Himonas