Artistic Director of Holden Street Theatres Martha Lott wrote and co-stars in this ambitious hour-long two-hander, and although she’s amusingly spoken of her nerves surrounding the intimate production via Instagram videos, she seems anything but tense on the stage.
As helmed by Nick Fagan (in his début as Holden Street Theatres’ Director in Residence), this follows a mother and daughter played by Martha and her daughter Amelia Lott-Watson (in her impressive Fringe début). Waiting together for news of whether high schooler Chloe has been selected for a national debating team, we begin with humorous details that demonstrate the many differences between the two: Mum nostalgically reminisces about protesting against HECS in the ‘80s (yet again), and later mentions John Cleese and Graeme Garden, neither of whom Chloe knows at all.
When Chloe is summoned to the unseen headmaster’s office, Martha is alone on stage for what is, essentially, the entire second act, and although she seems to be delivering an enthusiastic, sometimes foul-mouthed, sub-Shakespearean soliloquy, this surprisingly changes when she begins to involve the audience. Roping in tricky themes concerning racism, political correctness, the increasingly ugly side of social media, and more, it’s darkly funny and seriously unsettling.
Oddly bookended by bursts of Nancy Sinatra and The Kinks, Lott’s latest is sure to be, even at this early point, one of 2026’s key performances at Holden Street Theatres (and the Fringe as a whole).
And that’s a truth you don’t need to question.
Rating: Four stars!
For tickets and more information on The Debate, visit: adelaidefringe.com.au or holdenstreettheatres.com
