REVIEW: The Virginmobile - Passion Productions

Virginmobile by Amiel Simpson

Presented by Passion Productions

Directed by Jack Winrow

Passion Productions presents Virginmobile, a fresh Australian play that dives straight into the messy, emotional tornado of being twenty-something. It all unfolds over one long, chaotic night at Mark’s 21st birthday party. If you've ever been the frazzled host, the reluctant designated driver, awkwardly sharing space with your ex, or the tipsy friend spiralling for no clear reason... you will definitely recognise yourself in this cast of characters.

We meet Vienna (Kat Coomber), Mark (Aidan Calleja), Morgan (Cheney Hossack), Shoe (Kodi Ryke), Kake (Midori Cruz), and Asaiah (Liam Wilson). Each is a familiar friend-archetype, coloured with enough bite, insecurity, and emotional truth to feel lived-in rather than one-dimensional. The story by Amiel Simpson is original, sharply observed, and deeply relatable in that “I’ve lived this exact evening” kind of way. Quick heads up: there are mild adult themes and lots of drinking.

Kat only stepped into the role of Vienna three weeks ago while also stage managing, which is highly impressive! Vienna is the one throwing the party (for the boy she has a crush on). She plays the role with a frantic, hyper-responsible energy; fussing over decorations, freaking out when things go south, letting uninvited guests crash, and desperately trying to keep chill while quietly disintegrating on the inside. I really feel for her. Big time.

Morgan, played by Cheney Hossack, nails that perfect blasé vibe, especially when dealing with the nightmare of being stuck at a party with your ex! Kodi Ryke owns the role of Shoe (real name Harry), the loveable douchebag of the group. He blurts out whatever pops into his head, overindulges in alcohol, and whirls through the night on a series of chaotic, misguided decisions. Cheney and Kodi are so natural in their performances that it often feels like they’re living the moments, not acting them.

Asaiah (Liam Wilson) is like that friend who brings cookies for everyone; instantly endearing! He has some of the most vulnerable lines in the show, the kind that make you stop and exhale. “I’m not sure that the people I want to spend time with, want to spend any time with me” lands hard in the middle of all the drunken antics. His articulation is the most clear too, which is a blessing in this echoey space.

Aidan Calleja as Mark, the birthday boy, is a goofy and slightly clueless character who moves through conversations and situations with an innocent charm and random bursts of humour. Aidan’s presence is a total delight whenever he’s on stage, creating an atmosphere of laughter and lightheartedness. Midori Cruz brings a lovely softness to Kake (real name Kate?). Her awkward conversation with Asaiah feels incredibly true to life: that quiet moment where two almost-strangers try to bond at a party.

The final section shifts to Vienna’s car — the infamous “Virginmobile” — where she begins the thankless task of dropping everyone home... with a detour to KFC, of course. Emotions run high as jealousies flare, crushes are exposed, feelings are bruised, and the façade every character has been clinging to finally crumbles. It’s messy, honest, and very well written, even if this last portion feels a bit lengthy. At about 90 minutes without an interval, the pacing dips toward the end, but the emotional payoff held my attention.

The stage setup is basic: snacks, drinks, an inflatable couch, a guitar, and a small birthday poster. The town hall venue is air conditioned (thank goodness) but the old structure unfortunately swallows much of the sound. With rapid dialogue, several actors facing away from the crowd, and the audience seated quite far back, a good chunk of lines become tricky to hear. The sight-lines are also tough, especially since the raised stage doesn’t get used until the final third, and even then it isn’t lit downstage.

Even with these venue limitations, the atmosphere of the party feels wonderfully real. Side chats spark up, juicy gossip trickles through the group, tempers flare, and boozy confessions spill out. It really does feel like eavesdropping on actual friends at 2 a.m. when everyone is a little sloppy and overly honest. The spat between Vienna and Morgan is one of the strongest moments in the show — raw, believable, and uncomfortable in that strained-friendship way. Shoe’s impulsive behaviour, Morgan’s need for control, and Vienna’s people-pleasing tendencies create a compelling emotional triangle.

You can sense the thoughtful direction from Jack Winrow, who clearly understands these characters and the emotional dynamics between them. Despite the occasional missed cues or lines, and the acoustic challenges of the venue, the story remains compelling, relatable, and very well produced. Jack guides the ensemble with a clear sense of rhythm and intention, leaning into the awkwardness, humour, and tenderness that define this night-gone-wrong.

At its core, Virginmobile explores the labels we cling to, the insecurities we bury, and the truths we desperately avoid until they catch up with us. Morgan puts it best: “Maybe you shouldn’t value other people’s opinions so debilitatingly.” If only young adulthood came with a handbook....

Passion Productions takes a strong step in staging this new Australian work by emerging playwright Amiel Simpson. For those craving something original, intimate, and sharply relatable, Virginmobile is well worth checking out!

Tickets available here