Bibbity Bobbity Boorloo is a five-star triumph that fuses Australian border control with fairytale magic in a way that is funny, sharp, and unexpectedly moving. Inspired by true events of deportation and Australia’s tough border laws, this show manages to be playful and profound at the same time.

The premise begins with a strange and delightful collision of a long-lost princess meeting a no-nonsense customs officer under fluorescent lights that “make me look and feel like s**t.” From there, humour patiently builds in a slow burn of smart wordplay. The result is deeply relatable, particularly in its portrayal of life inside border security’s rigid systems, relentless procedures, and the quiet human cost beneath them.

At its heart, this is a story of idealism versus realism. The working mother, a manager in a same-sex relationship, navigating a male-dominated team that doesn’t quite see her as an equal, stands in contrast to the princess, who represents tradition and an “ideal” femininity. Their unlikely bond is the lifeblood of the show and forms its structural spine. Each challenges the other. The princess offers hope and softness, while the officer teaches resilience, pragmatism, and a sharper kind of feminism. Both learn. Both change.

The feminist commentary is layered and clever, especially in moments where the princess grapples with concepts like free will and a woman loving another woman. A subtle anti-technology thread (no passport, no visa, no phone) adds a depth that gently critiques imperial, procedural thinking. This opens space for reflections on colonial worldviews and Indigenous experiences.

Excellent singing, strong performances, and a genuinely original concept make Bibbity Bobbity Boorloo feel fresh and necessary. It’s funny, thought-provoking, and quietly powerful. It proves that difference isn’t a weakness—it catalyses transformation.