There’s plenty of entertaining and hilarious queer stuff in Anna Piper Scott’s None Of That Queer Stuff at the 2024 Adelaide Fringe, which she has made enjoyable and inclusive for all kinds of audiences. Anna’s one-woman show entertainingly pulls you into the life of popular Australian comedian, Anna Piper Scott, beginning cleverly with a story about her unknowingly interlingual transphobic experience on a Melbourne tram, which neatly ties up the end of the show. The filling in-between is made up of a cohesive patchwork of personal tales from her world, such as when she first loudly came out as trans and her personal (and hilarious) interactions with her polyamorous partners, to her journey of living with ADHD and Autism (which many may find comfortingly relatable), and more serious interactions with those who tell her not to expect much from the world simply because she is trans. For those not identifying within the queer space or as trans, or with ADHD and/or Autism, this is a great learning experience, with plenty of humour utilised to ensure all audiences feel comfortable in the space. Some trans history is even thrown into the mix, where the audience learns about one of the first (documented) trans people, which is still controversially argued against by cis historians and those who refuse to accept a queer history for the world. As you’ll learn, Roman emperor Ela Gabalus lived a fascinating life, from pushing for women’s rights to participating in recreational sex work – you can even get yourself a commemorative sticker about Ela from Anna after the show. Of course, jokes are made about the (truthful) basic-ness of straight people, with humorous references made to the majority-straight casts of tacky free-to-air TV shows like The Bachelor and Married At First Sight, and how much like carbon copies of each other they are. But alongside Anna’s playful jabs at the straight community, she is also able to make fun of herself as well and her differences, reinforcing the idea that we’re really not all that different and that everyone has things that can playfully be made fun of. There are some passionately-made humorous comments about the police and politicians, though a true frustration at these often harmful institutions and professions does underlie the humour – a pain and frustration that is felt throughout many minority communities within Australia. Throughout the show, the banality of Anna’s queer life is emphasised, which is in stark contrast with the sexually explicit, drug-fuelled, orgiastic, child-influencing, perversely sadistic behaviour narrative that is pushed by homophobes and transphobes worldwide. This continues to emphasise the ridiculousness of a divide that these haters try to enforce, when in reality, their day-to-day lives probably aren’t that different to Anna’s. Anna neatly wraps up the show with a return to the incident on the tram which results in an important self-realisation for our protagonist after taking the audience along on this journey of self-discovery. This finalisation is comforting and provides a neat ending to what otherwise could feel like a random skit-filled show – it’s a smart theatrical element to have utilised within her stand-up routine. This show is for all, and though some may feel incredibly challenged by Anna’s content, others will feel like they’ve found the comfortable space they’ve been searching for. Anna’s commanding stage presence and confidence in herself is a blast of fresh air, especially when discussing topics that can be challenging.