I caught that satirical musical at the Melbourne International Comedy Festival that in no way, shape or form represents Australian Olympic breakdancer Rachael “Raygun” Gunn. Nope, Breaking: The Musical was a tale about a young lass named Sprachael aka “Spraygun” from the Hornsby Shire in Sydney, who fulfils her dreams of going to the Paris Olympics to compete in breakdancing and any similarities to anyone living or dead is completely coincidental.
I put those disclaimers in as it turns out Raygun is a bit litigious when it comes to protecting her “brand” and famously threatened comedian and musician Stephanie Broadbridge with legal action last year when she first announced plans for the comedy musical, originally to be called Raygun; The Musical. Gunn objected to the production and sent a cease-and-desist letter to Broadbridge, claiming the show misused her name and likeness without permission.
The situation quickly gained media attention. In response to Raygun’s legal threats, Broadbridge rebranded the show as Breaking the Musical, changing names and references while keeping the core story intact—now framed as a broader satire about fame, sport, and the absurdity of the entertainment
Ironically, the legal challenge drew more interest in the show. The controversy fueled public curiosity and ticket sales, and Breaking the Musical went on to become one of the more talked-about productions of the festival.
Broadbridge leaned into the absurdity of the situation, using the reworked show to comment on the very idea of ownership and public image,
The show is a sharp, satirical take on the journey of an aspiring Aussie breakdancer aiming for the 2024 Paris Olympics. It’s fast-paced, funny, and packed with clever musical numbers that had the audience laughing from start to finish.
Broadbridge is brilliant in the lead—her background as a jazz singer really comes through in the musical moments, and her comedic timing is spot on. She’s backed by a talented ensemble who switch between characters with ease, keeping the energy high and the story moving. The production manages to feel both polished and delightfully unhinged at the same time, which adds to its charm.
What I appreciated most was how the show balances its humour with genuine commentary. Beneath the absurdity, it touches on themes like privilege, cultural appropriation, gender bias in sport and the pressure to succeed. There’s also a great meta-layer around the legal drama that surrounded the original version of the show – rather than derailing the project, that controversy seems to have added even more bite to the final product.
At just over an hour long, Breaking the Musical is a tight, punchy piece of theatre that manages to be funny, thoughtful, and surprisingly moving. I’d give it a solid four stars—it’s a fresh, bold production well worth catching if you get the chance.
