It’s Melbourne Fringe time again – hooray! This can mean the chance to watch some bizarro new creature (something like Dr Frankenstein’s creation?) struggling to be born. That’s the case for the vampire-themed musical comedy Mona and Spooky – Life Post Mortem, where the commitment and charm of the performers largely overcame technical glitches and some unexplained genre inconsistencies.
It’s around 1700 and vampire Mona (Simone McGennisken, also the show’s writer) is alone in her castle. She recently lost her life-partner/sire Victoria at the hands of nearby villagers. Victoria did “the dirty work” of going out for human blood, but Mona prefers the safety of being inside the castle walls.
After some lonely years she’s created a patchwork, not-quite-right-looking cat, Spooky (mostly animated and voiced by Ellen McGennisken) for company. Together they will celebrate Victoria’s life (and pass the time) by writing a musical. But as Spooky would soon find, Mona will be an obsessive taskmaster once the sun sets…
The vampire angle is a good hook, but its execution seems a little curious at times. Offerings like Buffy or The Vampire Diaries cause us to expect vampires to follow certain rules unless we’re instructed otherwise, which didn’t happen here.
Under the standard tropes, it doesn’t make much sense for Mona to have a huge bedazzled Christian crucifix on her sleeping coffin, or grasp a cross later, and yet there’s no effect. Talk about vampire Mona’s soul is also a bit confusing given what we expect of the undead.
Similarly, given the vampire vulnerability that contributed to Victoria’s demise, it’s odd to have a song comparing Victoria to Icarus in wanting to fly too close to the sun, even given a metaphorical intention.
The first half of the show was quite lively, with upbeat original songs (there are 11 in total), surprising Steampunk flourishes, and possibly everyone riding a wave of adrenaline as props misbehaved and the performers had to deftly make running repairs to keep the work on track.
The momentum slowed in the second half, maybe due to some latish exposition, repetition, and fewer surprises. We could get slightly distracted about what Mona’s actual motivation is for all of the years of creative effort spent with Spooky.
Whilst there might be story quibbles, there’s a lot to admire about the kooky work of the McGennisken sisters here, who both sing well throughout. Spooky is a pretty basic puppet, and so it was very easy to become absorbed in watching Ellen’s often gleeful movement and expressions in guiding her feline charge, right up to the time where Spooky starts to have regrets about living with Mona.
Simone had most of the keyboard duties, and showed herself capable in a range of styles. Even though it was used selectively, her Eurotrash accent, combined with regular teeth baring, helped to give the piece an amusing schlock-horror vibe, as well as being a front for a character not completely comfortable with their non-mortal life.
There was a good sprinkling of amusing songs, especially one about how Mona structures an evening of work on the musical. The sisters also had some snappy banter, although when a recorded track was used, the volume could make some wordplay difficult to hear.
If that coffin was dodgy, Mona’s costuming is outstanding, with velvet and lace, complemented by costume jewellery of large, dark gems, being an effective blend of gothic style with the Early Modern period.
Although it’s early days, based on dark humour and novelty, it’s conceivable that Mona and Spooky (which ends Sunday) will stake a claim to being one of the more memorable shows at Melbourne Fringe 2026.
Those partial to this kind of blend will find staying for the wacky Mrs Lovett’s Famous Meat Pies Grand Reopening Extravaganza directly afterwards makes for a highly satisfying night at Trades Hall.
Mona & Spooky – Life Post Mortem
Festival Hub: Trades Hall – Music Room, Corner Lygon & Victoria Streets, Carlton
Performance: Wednesday 30 September 2026 (7.00pm)
Season continues to 4 October 2026
Information and Bookings: www.melbournefringe.com.au
Image: Mona & Spooky – Life Post Mortem – photo by Michael Simpson
Review: Jason Whyte