The Tripping Troupe: A Traipse Through Truths and Tricks
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Date Reviewed: 07/03/2026
Do you remember the riddle of the two guards? One tells the truth, the other always lies, and they stand before two doors, one to salvation and the other to doom. How do you work out which is which? That familiar logic puzzle sits at the heart of The Tripping Troupe: A Traipse Through Truths and Tricks, though here it’s filtered through something far more whimsical, closer to Alice’s Adventures in Wonderland than a philosophy seminar.
At the final show on March 7 at the Motley Bauhaus in Carlton, there was a huge turnout for the show. The plot centres around a fictional band called Triptych who find themselves caught in a surreal, festival-side adventure where logic puzzles, magical rules and musical theatre collide. The twist is a playful variation on the classic riddle: one band member can only tell the truth, another can only lie, and the third can only communicate by singing. As the trio try to untangle the puzzle and make it back in time for their performance set, the show gleefully embraces absurdity, wordplay and bursts of song.
At the centre are Amelia Lau as Raven, the band’s keyboardist who is bound to tell the truth. Lau plays the piano live while singing, bringing both musical confidence and a dry wit to the role. Claire Steel’s Harper, the band’s vocalist who can only communicate through song, delivers many of the show’s most energetic musical moments while juggling cajón and guitar. Meanwhile, writer and producer Enje Hazia plays Frankie, the guitarist cursed to lie, a literal-minded dreamer whose stubborn logic becomes part of the comedy.
The chemistry between the trio keeps the piece buoyant, even when the narrative takes a few detours. Because the actors perform as a version of their own band, the musical numbers feel organic rather than inserted, and the live instrumentation gives the show much of its pulse.
Adding to the dreamlike chaos is Genevieve Duckworth as Zarold the Zebra, a mysterious zebra who lives in a van and appears as a puppet with cryptic intentions. Duckworth, a seasoned performer stepping into puppetry for the first time, embraces the absurdity with gusto, and the zebra’s strange interjections contribute to the show’s deliberately offbeat humour.
Behind the scenes, director Laine Masi leans into the production’s playful surrealism, clearly enjoying the freedom of staging an original, fantastical musical with friends and collaborators. Hayley Francis-D’Amour’s lighting design, her first solo outing in the role, adds shifting moods that help guide the audience through the show’s dreamlike logic.
Where the piece occasionally falters is in its middle stretch, where the narrative meanders and the logic puzzle risks getting lost in theatrical side paths. Some of the show’s bigger ideas could be tightened. Yet the creativity, musical talent and infectious enthusiasm of the cast make it easy to forgive the wanderings.
On the night we attended, the audience was packed with friends and supporters cheering loudly throughout, and even calling for an encore, which added to the atmosphere of communal celebration.
In the end, The Tripping Troupe is an inventive and charming piece of experimental musical theatre. Its clever premise, lively performances and strong vocals make it an enjoyable ride, even if the journey occasionally takes the scenic route before finding its way back to the stage.
Highlights
• The cute little zine-style program handed out to audience members on arrival
• Strong live vocals and musicianship from the onstage band
• The delightfully odd appearance of Zarold the Zebra
Who’s it for
• Youthful adult audiences and lovers of playful, experimental musical theatre
• Anyone happy to follow a show that isn’t afraid to trip down a few strange paths along the way.
Reviewed by Mary Sinanidis