Thank you, Mistress, at Motley Bauhaus

Who is manipulating who and for what purpose?

Inspired by fact, these questions are at the heart of an incendiary new play by Louisa Panucci about sex, money and loneliness.

Thank you, Mistress pits a dominatrix against a multimillionaire (soon to be billionaire). 

Laura (Panucci), 25, who is studying medicine and used to work as a stripper in a club, plays the former.

Fifty-year-old Henry Price (Marc Opitz) is an ultra-wealthy CEO, following in his father’s footsteps, with business interests in Australia and Asia.

Recently separated from his wife of six years but still living with her, he also has a son who has been ruminating a lot lately.

Dropping a thousand dollars an hour is nothing for him and so it is that Laura, known to him only as Mistress, and Henry begin navigating this mistress/servant relationship.

Henry is used to getting his way and it is soon clear that he is developing real feelings for his Mistress.

He pushes to learn more about her, including her real name, which she refuses to give him.

Henry continues to work away at her, until she allows him to cross the working boundary between them.

But there is a lot more going on here than first meets the eye and the twists in the plotting give Thank you, Mistress impetus and bite.

There is some pretty ugly stuff in the mix. Having said that, the intrigue continues until the very end and there are shocks.

I was involved from start to finish, wondering what would happen next. In fact, I became invested in the outcome.

It is a well written first play from Punucci, who takes to the stage in sexy white underwear, a bustier and ultra-high heel, long white boots.

There is chemistry between her and Opitz, both of whom play their parts well, expressing strength and vulnerability as power shifts between the characters.

Also in the frame is the voice of Aiden Gale Miranda, who has an unseen role as Mike, Laura’s needy partner, who she is distancing herself from.

Sounds effects and music also have a part in proceedings, which starts with the song I Know What Boys Like, written by Chris Butler in 1978.

It was released by American new wave band The Waitresses two years later.

The set too establishes the tone.

On stage as one enters the theatre is a red, vinyl chaise lounge with a colourful rubber sex toy perched prominently upon it.

Director Dax Carnay-Hanrahan does a good job keeping the action moving, ensuring interest is maintained throughout.

One hour in duration, Thank you, Mistress straddles the pleasure/pain continuum.

It is tantalising, alluring, darkly humorous and distressing, and is playing at The Motley Bauhaus until 18^th October 2026, as part of the Melbourne Fringe Festival.