EDINBURGH 2026: Review: Millicent Sarre Is Too Tired to Smash (Patriarchy), Assembly Roxy
A brilliant, sharp, and cathartic feminist cabaret on systemic burnout and modern fatigue.
Taking the stage with a keyboard, a loop station, and a fiercely clear perspective, Australian cabaret force Millicent Sarre delivers a brilliant exploration of modern exhaustion in Millicent Sarre Is Too Tired to Smash (Patriarchy). The third chapter in her feminist show trilogy charts the relatable shift from wide-eyed twenty-something optimism to the heavy fatigue of her thirties, framing burnout not merely as personal failure, but as a systemic issue.
Sarre possesses a voice that demands attention in every sense, combining rich, expressive vocal power with a sharply defined artistic viewpoint. Her original score moves fluidly across distinct musical styles, ensuring the pacing never feels repetitive or stagnant. Her lyrics balance sharp social observations on mental labor and ethical dilemmas with genuine warmth and self-deprecating humor.
Adding to the show's theatrical charm is her partner, Cameron Nichols, who accompanies on guitar while doubling as an inspired piece of subversion: serving as her on-stage "Wheel of Fortune girl." There is a cheeky, feminist delight in casting the very man she paid to meet via a dating app feature into the role of glamorized stage assistant.
Sarre retains absolute command over her narrative arc right through to a triumphant final sing-along. The result is a funny, cathartic, and remarkably astute hour of cabaret from an artist who knows precisely what she wants to say and exactly how to sing it.
Millicent Sarre Is Too Tired to Smash (Patriarchy) plays at Assembly Roxy (Roxy Downstairs) until 30 August 2026.
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