I went into Inferno with high expectations. I was hoping for something with the same calibre and polish that shows like Fuego Carnal delivered years ago — tight curation, seamless transitions, and a real sense of theatrical build. Unfortunately, Inferno didn’t quite reach that standard.

There were some talented performers involved, and individual moments showed potential. However, the overall structure felt disjointed and poorly curated. The pacing lacked cohesion, and instead of building momentum, the show felt more like a series of loosely connected acts.

The hosting was another challenge. The MC appeared to rely heavily on her notes and, at times, even announced acts in the wrong order. That disrupted the flow and made the production feel under-rehearsed rather than intentionally edgy.

The tone also leaned more toward strip-club-style entertainment rather than a high-calibre theatrical production. There’s nothing inherently wrong with that style, but it didn’t match the expectations set by the branding or the comparisons to more refined fringe experiences for the price point.

Overall, Inferno had the ingredients for something compelling, but the execution and curation let it down. With tighter direction, stronger hosting, and more attention to flow, it could evolve into a much stronger production.