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10 April 2026

Walking into The Woman On The Edge, felt spiritual in nature. To see a WIP from one of the world’s current best theatre makers is an honour - and to unwind the inner workings of Elf Lyon’s brain is even more exciting. I was prepared for the “in progress” parts to be evident, but that was not the case here. What Lyons has cooked up with The Woman On The Edge is already at a place of great power. 

Watching Lyons as a woman scorned was mesmerising, a sputter of shrewdness with an energy akin to a valium-laden, Real Housewives-lite, jittery foster cat. The way Lyons embodies the titular Woman is totally unique to her, limbs flying at all times. It’s also just plain and simple, funny stuff. 

I was wary that the mixing of Apollo 13 metaphors to “inside baseball” dunking on Melbourne clowns was going to be above my intelligence but I shouldn’t have had any fears. Lyons is so considerate of playing for the audience while portraying pathos through a lip sync that left me truly sobbing at the end.

It was healing to experience and grand all the way through. I don’t know what the next iteration of this show will look like when it’s already so close to perfection but I am delirious to see what’s next.

Reviewed by Maddison Verduci

Melbourne International Comedy Festival acknowledges the traditional custodians of the lands upon which we work and live. We acknowledge the Aboriginal and Torres Strait Islander peoples' spirit, imagination and rich history of storytelling and humour that is an inspiration to all Australians.

We accept the invitation to walk together with First Nations people towards a more positive future for Australia, as described in the Uluru Statement From The Heart.