The world of an Influencer is explored beyond a perfect grid and pretty seductive poses in Vivian Nguyen’s werkaholics. From cancel culture to digital hysteria, the show taps into the hilarity of the familiarity, but Nguyen digs deeper, exploring the attention economy and the consequences of online duplicity.
Georgia Oom plays the self-proclaimed Influencer Queen from Down Under, Lilian. It’s the age of the influencer—when the camera eats first—and Lil is obsessed with creating content. To call Lillian self-obsessed would be putting it mildly—she casually likens herself to Jesus: “He had followers. I have followers.”
Is she aspirational or delusional, thinking she can manifest her way to fame and fortune? Her profile is her brand—but is it truthful? Is she really vegan? Does she actually have the luxury brand deals she flaunts on her carefully curated feed? She’s young and ravenous for followers, offering an idealised version of herself—living the dream influencer life, filtered of course.
Lilian’s bestie, Jillian (Shirong Wu) is completely over it. Her acting career just isn’t taking off, and she’s tired being Lil’s photographer-slash-assistant, done with staging the perfect photos to post for a nanosecond of fame, fed-up with the facade. Even their friendship is a commodity opportunity to Lillian; dismissive of Jillian’s despair, rather than comfort her friend, she sees the content potential in turning the moment into a mini docuseries.
It’s time for the truth to come out. Enter Ruby Duncan as cultural zeitgeist icon Sage, the real girl behind Unmoi, a platform devoted to exposing digital fakery. “You can’t believe everything influencers post,” she warns.
Wu also doubles as Sage’s mum, delivering the role with great comedic effect. She pleads with her daughter to get outside and eat, fearing she’s brainwashed and infected by 5G, as Sage frantically types and swipes deeper into the digital abyss.
The downfall of an influencer—and influencer culture at large—is hilariously executed by this talented cast. Directing online into reality, Nicole Pingon has successfully created artistic absurdist theatre that’s a little bit campy and a lot of fun.
Ruby Jenkin’s costumes are brilliantly selected, from the attention-seeking short skirt and candy-pink jacket to a glittering black evening gown. Multiple changes throughout the show are on-point for each character.
Jenkin’s set design echoes the manifestation vibes with a big fluffy white square box stage and black leather chaise lounge. While her black brick wall backdrop is especially effective for the online flirtation scene—it adds just the right dose of tension and edge.
The hyperpop drama works in sync with the video screen imagery and Christine Pan’s music and soundscape work.
Nguyen’s script is cleverly constructed with poetic monologues and intellectual showdowns, then shifts to emoji-laden banter. Developed in collaboration with dramaturg Zack Lewin, who clearly understands the pulse of internet culture, the writing is sharp and well observed.
Reviews shouldn’t hinge solely on one perspective, but on the audience reaction, and while some words, moments and screen visuals occasionally slipped past my generational grasp, the crowd’s response was a constant wave of laughter, claps and cries for more.
werkaholics is edgy, unhinged and generationally real. This is generation might be obsessed with pouting for the camera, but as shows like this prove, they are worth listening to—and this show is certainly worth seeing.
4.5 stars.
Run time: 80 minutes (no interval)
werkaholics is playing now at 25A Belvoir Theatre until 17 August 2025.
Presented by Purple Tape Productions and Empty Seat Theatre
For tickets visit Belvoir St Theatre
Looking for a pre-show bite? Regina La Pizzeria and Foreign Return are located close by. For more suggestions, check out Bites & Sips.
BACCHUS AT THE THEATRE 
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