Brisbane review - The Agent: absolutely hilarious

By David Wilson

The Agent

Director: Mel Poole

Assistant Director: Bas Skubala

Producer: Zebramez

Creative Writer / Creator: Meryn Cooper

Choreography: Jamie Delmonte

Combat Coach: Sam Herbertson

Character & Movement Consultant: Megan Hind

Musical Director: Ross Evans (Smax Entertainment)

Technical & Realisation: Daniel Endicott (Odyssey Entertainment)

Stage & Props Manager: Isabel Follan

Where:  Warehouse 25, 25 Finchley Street, Milton

When: 20, 22, 23, 27, 28 & 30 May 2026Duration: 60 minutes

Genre: Comedy / Spy Spoof / Original Work

Festival: Anywhere Theatre Festival Brisbane 2026

Tickets: Priced from $40 and available here https://anywhere.is/event/the-agent-5/

There is something particularly satisfying about walking into a performance space not quite knowing what to expect, and then, within minutes, realising you are in very capable hands. That was very much the experience with The Agent, an original work from Zebramez Creative presented as part of the 2026 Anywhere Festival.

Staged at Warehouse 25 in Milton, this 60-minute production is an absolutely hilarious, slightly risqué 007-style spoof that takes direct aim at the shenanigans of the infuriating world of real estate. It is sharp, self-aware, and unapologetically bold in its caricature of an industry driven by big egos, appearances, and a certain brand of superficial ambition. Importantly, it lands consistently.

This is an original work, and a very good one at that. It is genuinely wonderful to see new and fresh work of this calibre coming out of the independent Brisbane creative scene. The writing is tight, clever, and cutting, with humour that is both immediate and layered. There is a rhythm to the dialogue and staging that allows the comedy to breathe, and when it hits (which is often), it hits hard.

At the centre of it all is Meryn Cooper as Michelle Schrödinger, who is quite simply brilliant. Not only the creative force behind The Agent, Cooper delivers a performance that is perfectly calibrated—ambitious, relentless, and entirely absorbed in her own narrative as the star of her own action film. It is a character that could easily tip into excess, but here it is controlled, precise, deliberately borderline and consistently funny.

Jamie Delmonte is outrageously good as Schrödinger’s assistant Brad Hardbns. Camp, flamboyant, and physically fearless, his performance is a masterclass in comedic physicality and timing. Never has physical culture and egg-white shredding been so hilariously realised on stage. It is a performance that commits fully—and reaps the rewards.

Sam Herbertson is equally impressive, particularly as the unhinged “junk mail man” , before pivoting seamlessly into Jock Lovegrove - the golden tonsils behind the golden microphone - a turn that is as unexpected as it is spot on. His versatility adds real texture to the production.

Sarah McNally plays office assistant Joan McGroan with a grounded assurance, providing a welcome counterbalance to the heightened world around her. Her portrayal carries that subtle undercurrent of “but I don’t really care anyway,” which works beautifully within the broader dynamic.

Phoebe Maher is excellent as Jane Bond, the arch nemesis to Schrödinger’s agent. Her character work is sharp throughout, with standout moments—particularly when undercover as a bogan buyer—that showcase both range and comedic instinct.

Damien Smith is wonderfully versatile, with his exaggerated awards night MC a particular highlight—very funny indeed, and pitched exactly right for the tone of the piece.

Vivien Rose brings a genuine sense of freshness as Joanna Bambini. Positioned as the future of real estate (and perhaps society more broadly), she delivers a brief performance full of promise. She may be “just a kid” in the context of the show, but there is no doubt she is a kid with a very bright future.

Under the direction of Mel Poole, supported by Bas Skubala, the production maintains a strong sense of cohesion amongst the madness. The inclusion of movement, choreography (Jamie Delmonte), and combat elements (Sam Herbertson) adds a physical layer that elevates the work beyond a straightforward comedy. The broader creative team has collectively delivered a polished and highly engaging production.

A word too on the Anywhere Festival itself. It continues to be one of the most important platforms for independent performance in Brisbane, providing space—both literally and creatively—for work like this to exist. The Agent is exactly the kind of production that thrives in this environment. Warehouse 25 proves to be the perfect venue, its industrial character complementing the tone of the piece and contributing significantly to what is, ultimately, an excellent evening of entertainment.

The play is very cleverly done, and I am genuinely keen to see more work from Meryn Cooper and the team at Zebramez Creative. If this is any indication of what is to come, there is plenty to look forward to.

I encourage you to get along to see The Agent while you can.