The Australian connection with Tall Poppy Syndrome is as deeply ingrained as beach in summer, vegemite on toast, and referring to Kylie Minogue as “Our Kylie”. But, much like most other famously identifiable Australian icons (Pavlova, Russel Crowe), it’s stolen; Gabbi Bolt is here to explain how, and why success is important to her now more than ever.

Small Poppy is a journey through success both quiet and viral. Seeing Bolt’s journey from one award-winning hit comedy to the next, she’s most definitely consolidated her technique here, as well as her voice in both lyrics and soul. She enters the stage with a confidence in form, bouncing from piano to accordion and loop station with ease. But here, she also leans into her identity as a musical comedian, unafraid to remain behind each instrument or rely on powerpoint to grab our attention.

Throughout, Bolt’s incredible ability to write, play, and cross genres proves herself to be a true musical comedienne. Everything from Hamilton to Charlie XCX inflitrates each segment that journeys through the notions of success and fame, Bolt’s rapping Roman history lesson on the origin of the Tall Poppy Syndrome being a highlight. You’re right Gabbi, audiences with a white majority can only learn history this way now.

If there’s one thing that stumbles the journey, its the desire to walk the line between appealing to her returning audience as well as pleasing newcomers. Does this ruin the flow? Not necessarily. After all, Bolt’s discussion of the new age comedians constant journey for viral fame will ultimately bring fans from online into real life, and that’s showbiz baby.

But underneath it all, there’s a sharp tongue targeting the wealthy. Billionaires beware, Gabbi Bolt is coming for you. Beyond the “undiagnosed, but definitely peer reviewed” tangents, there’s a true depth and soul to Bolt’s words. She is a comedian whose trajectory is ever journeying skywards, with this new work being a Fringe Must.