Named in response to a comment that was made in a review in 2021, Black Puddin' works to reclaim the phrase by amplifying voices of people from culturally and linguistically diverse backgrounds. Elements of drag, cabaret, burlesque, and song have been incorporated into this show, with the aim of electrically charging feelings of empowerment and affirmation around having various cultural identities preserved and protected.

The show is jam-packed with a myriad of talented and loveable individuals, who enthral audiences with their genuine dynamics with each other, their vibrant personalities, their sassy comebacks, their stellar delivery and execution of their acts, and the audacious and ambitious nature of raising their voices and speaking out their truths in the rawest of forms. Hosted by femme powerhouse Victoria Falconer-Pritchard who can work the room with her eclectic personability, what follows is a series of performances (solo and combined) that make the audiences erupt with waves of laughter and hearty applauses. We are treated to multiple instances of Kween Kong's iconic splits and unreal lip-synching abilities. We witness Nastia Drag's insane acrobatics in stilettos as high as the sky. We see Sela's mesmerising dance moves that trigger senses of admiration and arousal. We fall in love with Chocolate Boxx's hair-flipping drag act that also simultaneously gives you all the wardrobe envy. We experience a daring and intimate experience with Serenity that cannot be described in words (because it stuns too much in person) but leaves audiences howling for more. We are left speechless by the actions of Dale Woodbridge-Brown who dons himself in a First Nations flag suit that shines brighter than the spotlight on him and performs a jaw-dropping sword-swallowing act. By classifying themselves as being part of the "apology addicts anonymous" crew, each individual act depicts themes of defense (examples: repression, denial, projection and rationalisation) that are quickly broken down, thereby stressing the importance of understanding that an apology goes beyond simply uttering the word "sorry".

Black Puddin' by the Haus of Kong is everything you'd expect it to be - it's loud, it's outrageous, and it perfectly encapsulates the essence of the Adelaide Fringe festival. It also goes beyond by pushing the boundaries, where it openly discusses the importance of creating a safe space, which is effortlessly depicted by the versatility and diversity of individuals - each with their own stories and talents - that make this performing arts piece a show of significant importance that needs to be watched again and again. Black Puddin' is an excellent response to the comment that the crew was subjected to at last year's Fringe season, where they have honed in on their resilience and camaraderie to stand up against the unnecessary remark in a way that leaves the audiences with goosebumps and tingles down their spines for all the right reasons. It is not common for me to be moved to tears in an Adelaide Fringe show, but this piece did exactly that and also validated the ongoing struggles that people of colour face on a regular basis in a society riddled with white privilege. Black Puddin' will make you think, reflect, and become passionate in more ways than one and I implore you to catch a glimpse of this masterpiece, should they decide to return next year (and I truly hope they do).