2020 Fringe at the Edge of the World
2019 Toronto Fringe
2018 Melbourne Fringe
UNTITLED NO. 7
Best Performance Nominee - 2020 Fringe at the Edge of the World
Best Cabaret Writing Nominee - 2019 Green Room Awards
Best Performance Nominee - 2018 Melbourne Fringe
Full of pop culture poetry, punk rage and a healthy dose of interpretive dance, this multi-award-nominated solo performance will make you laugh, let you cry, and encourage you to tell Disney where to stick his happy endings.
Untitled No. 7 combines storytelling, cabaret and spoken word, in a fiercely alive and honestly heartbreaking exploration of success, happiness, and the dreams and realities of being an adult.
Written and performed by: Telia Nevile
Dramaturgy by: Ash Flanders
Composition by: Andrew Callaghan
Generously supported by Craig Semple, Rosemary Walls & Pinky Watson, as part of ShowSupport. Extra special thanks to Perri Cummings, Cameron Powell, James Welsby, Gabi Barton & Abbie King.
★★★★ "A refreshing rebuttal to stories we’re told as children” NOW Magazine (Toronto)
“A fractured fairy tale so fierce and fabulous that you might actually start believing in yourself” Sometimes Melbourne
“A beautifully empathic performer and an effervescent burst of joy… This really is a performance from someone at the top of their game. If you have ever experienced self-doubt and crippling indecision or thought that maybe, just maybe, you aren’t where your 8-year-old self thought you would be, then this is the show for you.” Arts Review
“It’s heartfelt and heartbreaking. The present that Untitled No. 7 gives the audience is that we can be happy, even if we’re not on the path to where we thought we would be.” Keith Gow
“As the story progresses and you feel like you know exactly where it’s going, Nevile flips it on its head and turns this fairy tale into an extremely personal story that instantly strikes a chord with everyone in the room. It is a powerful moment for all present.” My Melbourne Arts
★★★★ "Featuring a musical rebuttal of all Walt Disney’s promise, accomplished spoken-word interludes, and wry segues into interpretive dance, this show cuts between fable and modern-day social observation without apologising. Nevile’s opening night earned a standing ovation.” The Age