REVIEW:
werkaholics at Belvoir 25A
Reviewed by: Bridget Whitford
Photo Credit: Lucy Parakhina
Three Words: Modern. Clever. Fast-paced.
Similar To: The Bling Ring meets The Social Network
Watch If You Feel Like: Being intellectually stimulated, morally provoked, and culturally targeted (in the best way)
Best Line of Dialogue: "I just got out of Pilates and was feeling SO relaxed!" — The perfect mix of satire and social commentary.
Audience Reaction: A quieter crowd tonight, perhaps due to the generational skew of the show. This is definitely a piece that resonates most with younger audiences fluent in Instagram aesthetics, TikTok trends, and the dark underbelly of hustle culture. That said, the skill of the three performers and Vivian Nguyen’s razor-sharp writing still kept the room attentive and engaged.
If I Could Change One Thing: More of Shirong Wu’s ‘mum’ character. She was a hilarious, scene-stealing reprieve from the chaotic world of marketing girlbosses — but her purpose felt slightly underexplored. Was she comic relief, social commentary, both, or something else? A deeper payoff might have helped.
Lighting: Frankie Clarke’s lighting design is a triumph. It creates seamless transitions between locations, moods, and states of mind — from sterile boardrooms to dizzying digital rabbit holes. Atmospheric and precise, it gives the show its energetic pulse.
Set/Costume: Minimal, but spot-on. The two screens mounted on the 25A walls act as both visual anchor and storytelling device, keeping us orientated as the chaos unfolds. The raised platform and the influencer chaise lounge felt ripped straight from a high-gloss YouTube set — simple, effective, and thematically spot-on.
Acting: An exceptionally strong trio.
Georgia Oom makes an impressive post-drama school debut as Lilian, walking the tightrope between self-preservation and manipulation with ease.
Shirong Wu is reliably brilliant, capturing Jillian’s internal conflict with nuance — torn between buying into the influencer dream and dismantling it.
Ruby Duncan shines in the comedic moments, especially in a sexting scene that’s as absurd as it is sharply observed.
Writing: Vivian Nguyen’s writing is electric — punchy, darkly funny, and culturally fluent. The play juggles elements of satire, thriller, and social critique with real finesse. While a few threads could use more breathing space, it’s hard not to admire the ambition and clarity of voice. A compelling 90-minute deep-dive into how late-stage capitalism has twisted connection, identity, and ambition.
Directing: Nicole Pignon has pulled off something impressive: shaping a production that feels theatrical yet grounded, surreal yet alarmingly familiar. Her direction is precise — she teases layered performances from her actors, supports the story through a sleek design vision, and ensures the message of the play lands without ever becoming didactic.
Overall: 25A remains one of the most exciting platforms for emerging theatre-makers in the country, and Werkaholics is a testament to that. This is bold, contemporary storytelling that doesn’t talk down to its audience — it dares them to keep up. For just $25 (seriously, where else can you watch theatre that cheap?), you get a wild, witty ride through the marketing-industrial complex that might just make you rethink your phone, your feed, and your five-year plan.
My Review in Emojis: 📱💅🔥
Diamond Rating (out of 5): 💎💎💎💎
Runs Until: 17 August
🎟️Tickets available at: https://belvoir.com.au/productions/werkaholics/