Final Two - Reprise Theatre Company

Reviewed by Kate O'Sullivan

---

Reprise Theatre’s Final Two arrives with the promise of a campy queer comedy, and its premise is immediately delightful: two finalists on This Funny Feeling—a deliciously off-brand Bachelor-style dating show—accidentally unleash the ghost of a former contestant the night before the finale. As the supernatural chaos spreads through the slumbering set, the pair must track down the runaway spirit and confront the forces shaping their lives. It’s a clever framing device, and the show is strongest when it leans into that skewed reality TV logic.

The concept absolutely works, and the satirical world-building around the dating show is both recognisable and fun. The ending, however, feels less certain in its intentions. Without giving anything away, the final reveals don’t quite offer the clarity or emotional grounding the story seems to build toward. We’re left without a concrete sense of how or why these characters ultimately arrive where they do, softening the overall impact.

Performances across the cast offer a mix of strong character work and moments that feel less anchored. Jarrad Whitehurst (Declan/Assistant) and Zachary Borthwick (Matt Maker/Michael) quickly establish heightened yet believable characters, delivering a grounded foundation for the show’s surreal comedy. Their scenes feel lived-in, giving the audience something real to latch onto amid the chaos.

Phoebe Eames (Chloe) and Maia Whitelaw (Shaz) show flashes of this same grounded energy, though at times the reasons to connect with their characters become less clear. Even in the most exaggerated worlds, the audience still relies on truthful relationships to hold the scene work together, and there were a few stretches where that underpinning slipped away.

Marquis Tajaran (Vanessa) brings infectious energy and charisma, especially early on, and their sassier moments are genuinely joyous. Later, the performance does become a little uneven, tipping into a level of intensity that obscures the character’s earlier heart and leaves the final moments feeling a little muddied.

The set design is effective and suits the premise well. The projector is used cleverly, though occasionally its spill light becomes distracting. Some blocking—particularly in the hallway scenes—created silhouettes that interfered with the projected visuals, diminishing their intended impact. On a stage as wide as Hayman Theatre 1, there were also moments where actors inadvertently upstaged themselves, creating disconnect in scenes that relied on visual focus.

Final Two is a bold, imaginative concept with flashes of sharp character work and clever theatricality. With clearer narrative resolution and more consistent grounding in relationships, it has the potential to hit even harder. As it stands, it’s an inventive and enjoyable piece that embraces its campy, chaotic spirit while still aiming for something deeper.

Reviewer Note: Tickets for this review were provided by the theatre company.