Bubbling with youthful sass, silly humour, and queer-friendly laughs, HIGH PONY provides a peek into the chaotic creative minds of performers Mel and Sam through the forms of cleverly-written and produced original musical numbers and a mixture of skits. The energetic due open the show with a bangin’ original track about “net-f*****g-ball”, with acted out lyrics conveying the typical netball experience, from de-layering your bibs to the fight to be captain and flip the coin – plus plenty of sly and friendly lesbian jokes slipped in throughout the song. After their punchy netball tune, the duo introduce the show, alongside an explanation of HIGH PONY being different to the previous story-structured Fringe performances of their award-winning No Hat, No Play and Sh*t-Wrecked, all while dressed in attention-grabbing outfits of racy black crop-tops paired with flared pants covered in a dramatic lightning pattern. Musical and theatrical skits throughout the show include a slower, humorous ballad about not being found by the world until you find yourself, while referencing the star of children’s book Where’s Wally, all while dressed in red and white striped clothing. There are also mini-skits of impersonating ego-filled, gum-chewing lifeguards at water parks, and watching helicopter mums in the wild at David Jones. Some of these skits do work and have the audience in bursts of laughter, while others receive more of a chuckle, and probably need a tad more workshopping as they don’t quite hit the mark, such as the Smiggle sales assistant sketch. A memorable performance from the show is the very amusing song about cancelling babies, because – really – who has time for a flesh blob that can’t feed itself, hold its head up or wipe its own bottom? The duo’s theatrical impersonations of eshays (a youth with specific clothing, crude language and volatile social practices) dressed in the signature polo top, sneakers, speed dealer sunnies, cap and cross-chest bum bag, who are looking to make a life change are very entertaining. Like some of their other topics, this musical skit again references current Australian pop-culture with the subculture of eshays running prevalent throughout the youth of Australia. HIGH PONY is definitely suited to a younger adult audience, as older audiences will find most jokes, pop culture references, and some youthful language going straight over their heads, and may not be as entertained by skits featuring severely hungover twenty-somethings coming down from MDMA, pointing out the ridiculousness of having babies, or sh*****g in Ikea display toilets. The show is also proudly queer focussed and friendly, so those with homophobic leanings will also find themselves quite challenged. Although not quite living up to the silly comedic success and brilliant acting of No Hat, No Play, HIGH PONY will still entertain those who like some silly and wacky light-hearted humour. The varied skit-model of a show can be a tricky one, and potentially creating more of a storyline to ground the various mini performances may create more flow and cohesiveness for the show. In saying that, younger audience members seemed to love many of the skits and performances, so it may just be more suited specifically to a younger adult audience.