Alice Tovey paces the stage, quietly waving hello to the audience. Loud music drowns out her footsteps. She wears a green tracksuit with the word ‘dramatic’ printed on it, and on the table sits a sign: ‘I encourage you to laugh at the trauma (lol)’. Glass Houses explores Tovey’s father’s experiences within the Australian prison system and the profound effect it has had on her life. Although the show has the ingredients for a bold dark comedy, it veers off in different directions. Musical segments appear out of place, stories drift, and important points are revealed too late, leading to an ending that feels undeserved.

The performance leans heavily on self-deprecating humour that often blurs the line between comedy and therapy. While some jokes resonate, the audience often sits in silence, prompting Tovey to point back at the sign, a gesture that elicits some chuckles. At times, the piece seeks sympathy for her father, yet this jars with earlier provocative comments on racism, sexism and immigration. Still, Glass Houses is educational, offering insight into the journey of a daughter navigating her father’s incarceration, shifting family dynamics, and even a postponed wedding. This is a love letter, albeit a scattered one. 

Alice Tovey: Glass Houses, Underbelly Cowgate, until 24 August, 9.55pm; main picture: Cassandra Hannagan.