YOUNG SQUIZZY & MCRIZZ: THE WORLD TOUR

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https://www.theatreworks.org.au/2026/young-squizzy-%26-mcrizz%3A-the-world-tour

Date Reviewed: 07/10/2026

With a title such as "Young Squizzy & McRizz: The World Tour", At Theatre Works, Expolosives Factory on Wednesday 07 October, I arrived expecting an entertaining evening of theatre. What I hadn’t anticipated was witnessing two fictional rappers uploaded into cyberspace in a post-ironic musical odyssey through the internet’s more questionable corners. It was absurd, somewhat sophisticated and unexpectedly delightful.

Melbourne comedians Louis Prandolini and Hugo Postregna bring Young Squizzy and McRizz to life in a rap musical that skewers internet culture with considerable wit. Their characters are a study in contrasting masculinities: McRizz, effortlessly self-assured, mentors Young Squizzy, an anxious and hypersensitive aspiring rapper navigating the perilous pursuit of rizz, aura and nonchalance. One suspects the latter could benefit from a long weekend and a digital detox.

The show opens with tracks including Chugging, Cha Ching and New Kicks, whose deliberately ridiculous lyrics conceal a surprisingly astute comic sensibility. Gambling is celebrated with a knowing wink, drinking becomes a musical preoccupation, and the pair's carefully cultivated rap personas are rendered all the more amusing by their apparent inability to embody the effortless cool they profess to possess.

Naturally, tensions escalate. An argument, a disastrous encounter with the wiring of their 'Fortnite' game and an unfortunate electrocution later, the pair find themselves trapped in cyberspace. What follows is a wonderfully chaotic journey through an internet wasteland populated by AI-generated oddities, thirst traps and Mark Zuckaberg, a delightfully sinister caricature of the technology overlord. His most formidable weapon? The doom scroll: a device capable of rendering its victims entirely oblivious to the world around them. Uncomfortably plausible to be fair.

Here, the production finds its sharpest edge. Beneath the absurdity lies an incisive critique of our increasingly algorithmically mediated lives. The show understands that the internet is both a source of connection and a machine for monetising our attention, often at the expense of our sense of self. Its satire is irreverent without being cynical, finding genuine humour in the peculiarities of a generation raised on digital performance.

The musicality is another pleasant surprise. While the opening numbers gleefully parody mediocre rap, the production reveals impressive vocal performances, intricate counterpoint and evocative musical arrangements. Mark Zuckaberg's sinister introduction is a particular highlight, demonstrating a musical sophistication that sits deliciously at odds with the show's deliberately ridiculous premise.

The ensemble cast deserves considerable credit, too. The company brought welcome depth, energy and theatrical texture to Prandolini and Postregna’s gloriously eccentric universe. They help transform what might otherwise have remained an extended comedy sketch into a more fully realised theatrical production. Their contribution gives the surreal world-building greater dimension, while supporting the musical’s shifts between broad comedy and unexpected sincerity. It is a pleasure to see an ensemble embrace material this unapologetically peculiar with such commitment; the show’s chaotic charm relies on more than its two central personalities, and the wider cast helps make the madness land.

There are occasional opening night stumbles and moments of silly inaccuracy. Yet these feel almost thematically appropriate in a production so preoccupied with artificial intelligence and digital perfection. The occasional glitch is a welcome reminder that humans, unlike algorithms, are allowed to be imperfect.

Ultimately, Young Squizzy and McRizz: The World Tour is a clever, musically accomplished and gloriously eccentric Fringe offering. Its message is refreshingly simple: put down your phone and venture back into the wonderfully chaotic and imperfectly perfect journey that is real life. 

Enjoy the Tour.

Reviewed by Vivien Lynch