The broad themes of the show explore loneliness, alienation and failure, and it is precisely this ability to mine the darkest aspects of humanity (or not) that make Randerson’s work undeniably unique and compelling. Past works have included her brother shooting her point-blank with a rifle, and a gypsy washerwoman dipping McDonald’s fries into the bloodied crotch of her baby daughter’s corpse. Understandably, this kind of material does not always generate laughter, but often it does, which can be very surprising – both for Randerson and for the audience themselves.

Randerson seems fascinated by the audience reaction to her borderline humour. As noted before, her material bombs outrageously as often as it succeeds, plunging Randerson into depression and causing us to doubt her sanity in subjecting herself to this kind of failure. Yet she persists, never diluting or compromising her work but delivering it raw and uncensored.

If any label can be applied to Randerson’s weird, perverse, and wildly variegated comedy, it’s that elusive word ‘cult’. Randerson’s work is ‘cult hit’ material if ever there was such a thing, and she has already established a small, baffled and bemused following among Melbourne audiences. Whether amused, confused or genuinely amazed by her material, people seem compelled to come back for more.

Troubling and difficult it may be, but Randerson’s work is also very intelligent. She has a swag of aussie plaudits to attest to her brilliance’a Golden Gibbo for Carry On Randerson (2004) and ‘Best Comedy Melbourne Fringe’ for Cracks in the Garden (2003). She has several strings to her bow besides performance, including two published volumes of short fiction (The Spit Children and The Keys to Hell), and a sideline career as a registered marriage celebrant. She recently collaborated with eminent New Zealand physicist Paul Callahan for ‘Are Angels OK”?a Victoria University lecture series pairing writers with scientists.

What drives Jo Randerson is uncertain, but one thing is clear – her comedy is unlike anything else on this earth.

The premise of Skazzle Dazzle (‘an ancient alien abandons her prodigy on planet earth as an experiment’) doesn’t really connect to the rest of the show; it’s more like an excuse for Randerson to wear a silly alien costume, then launch into a series of unforgettable character based routines.

While there is no real plot, there is nautical flag-waving (‘Do you guys know sophomore’?), satirical militarism, an incongruous priest who might’ve been in the first draft of Waiting For Godot, existential puppetry, and enough visual gags and bad jokes for half a dozen crappy shows.

All of Randerson’s characters are losers, who fail in their various attempts to entertain the crowd. This is not always funny – in fact, sometimes it’s downright painful to watch. But I can’t help thinking that this is the point. Skazzle Dazzle is a funny show about failing to be funny; an absurdist meta-comedy that makes you question your desire to laugh in the first place.

While many of the routines in Skazzle Dazzle feel like brilliant ideas that need more workshopping – more polishing’this lack of polish also makes Randerson’s show unique, courageous and haunting. I reckon Samuel Beckett would approve.

The absurdity begins when Algernon (played by Haynes) asks his butler Lane to answer the door. ‘Lane’ (Woods) walks upstage, takes off his jacket, covers his bald head with a wig, and is suddenly ‘Jack Worthing’. This is fine, until Algernon calls for Lane again??and so on.

These increasingly rapid and unconvincing on stage costume changes are hilarious, especially when the duo has to begin cross-dressing. However, the shtick does get a bit exhausting. There were moments towards the end when it was like watching two guys in mismatched costumes reciting Wilde’s play, rather than acting out distinct characters. That said, the overall effect is spectacular.

For those familiar with The Importance of Being Earnest, the show is an ambitious, irreverent deformation of the old classic. For the philistines who haven’t seen it before (like me), the show is doubly satisfying, as Wilde’s script is full of enough witticisms and twists to keep you tittering and guessing till the end.

The show isn’t cheap, but it is farken brilliant.