REVIEW: A Chorus Line - QAEMT

Queensland Academy of Excellence in Musical Theatre (QAEMT) Third Year Cohort, QLD Conservatorium Griffith University

Queensland Conservatorium Theatre – Directed by Alister Smith, Choreography by Dan Venz, Musical Direction by Nigel Ubrihien

There are some shows you can see over and over again and still leave breathless. A Chorus Line is one of those for me.  QAEMT’s third-year cohort at Queensland Conservatorium Theatre cemented it yet again as a highlight of 2025’s already stacked season.

This production, directed by Alister Smith, was much more than just another student showcase. It was a perfect marriage of material and performers – a show about young artists baring their souls, performed by emerging triple-threats who were, in many ways, telling their own truths too. With the Conservatorium celebrating its 50th year, QAEMT its 15th, and A Chorus Line turning 50 itself, the production felt like a milestone moment of synchronicity.

A Chorus Line is unique in its DNA. Set on the bare stage of a Broadway theatre, the musical follows seventeen Broadway dancers auditioning for eights spots in a chorus line. It was built from real-life interviews with dancers. It gave voice to the anonymous chorus… no fictional characters, but working-class performers of New York City telling their stories. At its core, it celebrates resilience, desire, and the dream of being seen. And what better vehicle for a graduating cohort to step into than this?

The opening number exploded with energy as the entire cast (with small and welcome appearances from the first and second year students) leapt into Dan Venz’s demanding choreography. It wasn’t quite the choreography I was expecting, but it was every bit as precise, exhausting, and impressive. As the line was taped across the bare stage and the spotlights lowered, the audition truly began. Penny Challen’s design – mirrors and a line, just like a rehearsal studio – gave the performers nowhere to hide, a perfect metaphor for reflection and exposure. Steve Thornely’s sound design was highly effective, letting the music of Nigel Ubrihien’s orchestra soar without drowning out the voices.

One of the joys of A Chorus Line is meeting each character through their stories and numbers, and this cast delivered them with colour, humour, and heartbreak. Croft Phillips as Mike bounded through “I Can Do That” with splits and leaps, already impressive so soon after the frenetic opener. Chloe Flanagan brought delightful chaotic energy as Judy, while Kate Hudson-James (Bebe) and Charlie Preston (Maggie) joined Brydie Faith Hall’s pitch-perfect Sheila in a hauntingly beautiful “At the Ballet,” a number that captures the pain of the past and the salvation of the stage. Their voices blended with sweet vulnerability, enhanced by ballet lifts from Mateja Sardelis (Diana) and Ella Rose Harding (Cassie). Brydie embodied Sheila’s alluring attitude perfectly: confident yet uncertain about exposing her soul.

Cooper Swain (Bobby) had the audience in stitches with his monologue, his sharp delivery balancing comedy with honesty. Christina Keen was charming as the delightfully tone-deaf Kristine, her comedic “Sing!” duet with Saul Kavenagh’s standout Al landing perfectly. Watching Christina screech off-key with such control (never easy to do as a trained singer!) was fantastic, while Saul’s charisma and smooth vocals marked him as a highlight among the men. Max Baldock led the cheeky “Hello Twelve, Hello Thirteen, Hello Love” – the TMI anthem of puberty – with outstanding choreography and an ensemble that leaned into every awkward moment brought on by adolescence.

Mateja Sardelis’s Diana shone in “Nothing,” her effortless belt and charisma making the number unforgettable. Niamh Cadoo-Dagley (Richie) tore up the stage with vocal runs so high and effortless it was almost dizzying. Ned Kelly (Greg) and Olivia Horne (Val) milked every laugh in their saucier moments. Olivia’s “Dance Ten, Looks Three” was particularly striking, switching seamlessly between belt and falsetto before topping it off with a knockout opt-up.

Sage Del Carmen’s Paul gave the show its most poignant moment. With a chocolaty vocal tone, natural delivery, and exquisite storytelling ability, their monologue held the room in utter stillness. Meanwhile, Samuel Henderson’s Zach boomed from behind us, the unseen yet omnipresent director commanding the stage even in absence. Ella Rose Harding’s Cassie was luminous: a true triple threat. Her monologue-duologue with Zach was electrifying: a tense exchange about ambition, dreams, and past love. Her performance of “The Music and the Mirror” was a complete tour de force; a blend of lyrical arms, bouncy jazz choreography, and dazzling vocal power. She pulled off a back-bend to die for, some mesmerising mirror moments, and still managed to sing with crystal clarity. Her long lines, her bouncy curls, her hypnotic presence… she was impossible to look away from. The orchestra, made up of Conservatorium musicians under Nigel Ubrihien’s baton, went wild for this number. And honestly, so did I.

The ensemble impressed me endlessly, working as a tight unit then always returning to their “character pose.” They never broke from character, sustaining excellent dialect work that reflected dancers from every corner of the U.S. Of course, the emotional core of A Chorus Line lies in its existential questions: what happens when the dream ends? What do you do when you can’t dance anymore? “Dreams don’t pay the rent. Bodies don’t last forever,” Zach reminds them, as starkly as only a director can. And then that line: “Am I copping out? Am I growing up?” – the character considering teaching as a backup plan. I felt that one in my bones...

 As the cast sang “What I Did for Love,” I was riveted. It remains one of my favourite ensemble numbers in all of musical theatre, and this group delivered it with aching sincerity. And like Greg says, sometimes it’s about taking it one day at a time, enjoying your youth while you have it.

The finale was everything you want it to be: gold sparkles, full-power vocals, impossibly tight choreography, and the famous kickline that seemed to stretch on forever. Seeing the orchestra revealed upstage only heightened the thrill of the final image: a unified, dazzling company of performers, each one a star in their own right, coming together as “One.”

This production of A Chorus Line was the perfect vehicle to showcase the depth, range, and resilience of QAEMT’s graduating class. Each student bared not just their character’s story, but a glimpse of their own artistry and future. Under Alister Smith’s direction, Dan Venz’s choreography, and Nigel Ubrihien’s meticulous musical direction, it became a masterclass in commitment and passion. With design by Penny Challen, and the polish of Keith Clark’s lighting and Steve Thornely’s sound, the show was as technically strong as it was emotionally resonant. With passion pouring out of every beat, it was clear: these dancers, singers, and storytellers have something vital to say and a long line of stages ahead of them.