REVIEW: An Evening in Concert - QAEMT, Queensland Conservatorium Griffith University

An Evening in Concert

Griffith University Musical Theatre (3rd Year Students)

Director: Amy Lehpamer

Musical Director: Heidi Loveland

Choreographer: Dan Venz

Producer: Professor Paul Sabey

Band: Archie Loveland (Guitar), Heidi Loveland (Keyboard), Marcelle Gunning (Drums)

Not polished into sameness or moulded into industry expectations just yet, but bursting with instinct, curiosity, and individuality, An Evening in Concert is a snapshot of artists right on the edge of stepping out on their own.

This is not a cookie-cutter showcase. Each performer chooses their own material and/or pens their own monologue. You could sense that ownership in every moment. It is like getting a backstage pass to their souls, not just a front-row seat to their skills. The entire cohort has vocal pipes that could knock your socks off. No mics needed; those full forte ensemble sections pack a punch. And when their harmonies click... it feels like the space truly lifts. The band, Archie Loveland (guitar), Heidi Loveland (keyboard), and Marcelle Gunning (drums), kept everything glued together with their expertise.

Songs and monologues are interwoven with ease, and the pacing never drags. Just as one energy settles, something new will shift it. I also appreciate that many of the selections are not the typical MT staples. Sure, there were a few familiar favourites sprinkled throughout, but much of the material was new to me, allowing me to experience the performances without any preconceived impressions.

What I always enjoy most about these showcases is discovering the individuality of each performer, and this group has that in spades. I could already start to see what makes them distinct and the roles they might gravitate towards. QAEMT has produced so many acclaimed performers over the years, and it’s always inspiring to see a new cohort stepping into that space. Honestly, I got the sense that everyone on that stage had found their genuine calling.

Looking at the program as a whole, there was a large mix of emotional tones and a few thematic threads that began to emerge. Saul Kavenagh opened the night with the charming New York (Two Strangers Carry a Cake Across New York), bringing an easy charisma as if he had walked straight out of a Broadway workshop. His monologue, featuring a memorable Nutbush story, had the audience instantly on side. This subtle New York theme kept popping up across the showcase, tying together several pieces in a way that felt unintentional but satisfying. Hannah Mohr added to the romanticised view of NYC in her sparkling rendition of Another New York Love Story (In Pieces). Harry Ince continued that motif with Playbill (It’s Only Life), delivering an intimate performance rich in poignancy.

Zoe Allsopp Lander brought a bright, bubbly energy to Morning Person (Shrek the Musical), while Aarya Doolabh’s So Easy (To Fall in Love) was an unexpected pop inclusion for a musical theatre showcase, but still offered a different tonal texture. Sam Thomas took the stage with Madrid Is My Mama (Women on the Verge of a Nervous Breakdown) and turned it into a comedic masterpiece with animated facial expressions and an engaging storytelling style. And his eyes have a soul-piercing gaze to draw you in.

Lily Bennetts’ Two Little Lines and Caelan McCarthy’s No Turning Back Now both explored impending parenthood, each from their own angle, but with the same level of anxiety and fear in their performances. That introspective tone continued through Priya Gill’s formidable Life As We Know It (My Brilliant Career), Lucas Harm’s bittersweet Mom Could Play Guitar (We Aren’t Kids Anymore), and Lachlan Dunks’ expressive and emotionally stirring It All Fades Away (The Bridges of Madison County). Addisyn Herndon’s Pretty Funny (Dogfight) showcased profound vulnerability, while Lottie Smith's rendition of Home (Beetlejuice) was passionate with a unique tonal quality for this challenging song. Alessia Charman tackled Astonishing (Little Women) with clear and controlled vocals. Jackson Hughesman’s Santa Fe (Newsies) exuded a steady, classic confidence. Ned Kelly’s Waiting For Life (Once on This Island) was delightfully playful, full of character, and a notable standout.

Annika Reilly’s I’m Done (Rocky the Musical) conveyed pure determination and drive, while Tayler Ramsay’s dainty rendition of Sister’s Pickle (Amélie) presented a charming tale of the chatter running through her mind. Changing My Major (Fun Home) seemed like it was tailor-made for AJ Betts, who delivered it with a conversational, cheeky, and unforced flair. There was this sense of genuine thought behind every line, rather than just hitting beats. Plus, the monologue about their, frankly, glorious hair added extra humour and personality, truly capturing their essence.

Written by the performers themselves, the other monologues added an extra layer of vulnerability and creativity to the evening. Some were playful, some reflective, all were personal. Ella Wood’s camel story was particularly memorable, and across the board, it was clear that these students are not just performers, but strong storytellers already.

Visually, the staging remained simple. Mirrors were moved around the space, and costumes were self-selected, which tied nicely back into the theme of individuality. The ensemble numbers brought a great sense of cohesion, particularly Break From the Line, which felt almost symbolic of the entire cohort: a group of individuals all striving to stand out in their own way. That Ball (Shane Warne the Musical) brought a burst of humour that the audience clearly enjoyed, and Taking the Wheel (It’s Only Life) closed the night on an epic, unified note.

Being allowed to watch performers at this stage of their training is always a special experience to me. Griffith’s Musical Theatre program continues to produce singers of an exceptionally high calibre, bursting with skill, individuality, and possibility. I'm eager to witness their complete triple-threat abilities in their upcoming shows and I have no doubt we’ll be hearing many of these names again shortly after they graduate.