On the 9th of August, Ghostlight Theatre presented their new cabaret show, Broadway Murderers, at the Ron Hurley Theatre. The event paid homage to some of Broadway's more sinister characters, with proceeds aimed at supporting their next mainstage production. But I’m already crossing my fingers that this theme becomes a regular cabaret fixture at Ghostlight. Who knew a night with Broadway’s baddies could be so much fun?
The audience was full of theatre buffs who could not resist lip-syncing along to each number. The cast were a veritable murderers' row of talent: Rhea Basha, Yasmin Elahi, Adam Goodall, Patrick Oxley, Benjamin Oxley, and Maegan Weir. Each of these Brisbane performers brought something unique to the table, showing off an impressive range of vocal abilities. I have witnessed all of them perform in the past, yet this time they each stopped into the spotlight in a brand new way. Backing them were musicians from Viva La Musica, featuring a piano, percussion, cello, and flute. These musicians were the unsung heroes of the night, bringing richness, colour, and a fresh sound to every number. Despite not having a Sitzprobe until the day of the show, their smooth performance made it hard to believe the tight turnaround.
The night started with a bang—or should I say, a ballad—as the whole cast gathered for the 'Ballad of Sweeney Todd.' It was a dark and fitting opener, setting the mood perfectly. Reagan Warner, our fabulous host for the evening, slinked onto the stage as Sweeney himself, exuding menace with his sonorous voice and mysterious coat. Patrick Oxley then took over the role of Sweeney, with Maegan Weir as his equally twisted partner in crime, Mrs. Lovett. Their duet was a delightful dance of eerie and playful, with Patrick’s gleaming blade and Maegan’s sly grin.
Rhea Basha transformed into Ursula from The Little Mermaid for 'Poor Unfortunate Souls'. Rhea is the kind of performer who could sing the phone book and make it mesmerising, but as Ursula, she was electrifying. Her vocals were impeccable, and the juxtaposition between her real-life sweetness and the character’s villainy was simply brilliant to witness.
The evening took a turn with a rock version of 'Phantom of the Opera.' Yasmin Elahi and Patrick Oxley delivered a lively and dynamic rendition that revitalised the classic duet. Patrick’s demeanour made him an excellent Phantom, while Yasmin’s melodious voice twinkled with emotion, even if I was left scratching my head about Christine’s supposed murderous tendencies during 'Wishing You Were Somehow Here Again.' Patrick then swooped back in with 'Music of the Night'. His impressive control and vocal range were on full display, captivating the audience with every note.
Rhea and Ben rocked the stage with their sassy rendition of 'The World Will Remember Us' from Bonnie & Clyde, followed by Adam Goodall unleashing his inner villain with 'Raise a Little Hell'. His gritty and raspy performance as he stared down the audience created a suspenseful vibe. It's a tough song, but Adam crushed it.
Maegan Weir brought the house down with 'Bring on the Men' from Jekyll and Hyde. This was her moment to shine, and she did not disappoint, balancing powerhouse vocals with sultry softness. Patrick followed up with a beautiful rendition of 'This is the Moment', a personal favourite of mine, and he did it complete justice.
The night’s energy ramped up with a dip into Heathers territory. 'Seventeen' was a treat, with Rhea and Adam serving up harmonies that hit all the right spots. Adam looked every bit the part of JD, and Ben’s turn in 'Freeze Your Brain' had me convinced that he could play any one of these villains with ease. Ben's vocals always sound so effortless, and his acting was spot-on.
Rhea surprised everyone with a gender-bent rendition of 'Hellfire' from Hunchback of Notre Dame. Donning a hood and cloak, she had everyone spellbound, drawing them into the darkness of the song. Then, the cabaret took another unexpected turn with 'Playing His Game' from Death Note the Musical. Adam and Ben gave it their all, despite the challenge of learning so many lyrics in a short time. It’s not a well-known number, but it was a great addition that added some zing to the show!
Maegan showcased her versatility with 'Somewhere That’s Green' from Little Shop of Horrors. Her talent for transforming into different characters was more pronounced than anyone else in the cast. Each role felt distinct, not just in how she altered her vocal delivery, but also in the subtle nuances of her body language and expressions. She embodied Audrey’s vulnerability just as convincingly as she did the sultry power of Lucy. While the others certainly brought their A-game, Maegan’s adaptability and commitment to each character brought a fully-realised persona to every song she performed. The duo of Rhea and Ben delivered a sweet rendition of 'Suddenly Seymour', a crowd-pleaser that may be a tad overdone—though they still managed to bring a fresh warmth to it.
The night’s penultimate number was 'Unworthy of Your Love' from Assassins, a hauntingly beautiful duet between Yasmin and Adam that added a final note of darkness before the grand finale. And what a finale it was! The cast united for 'Cabin in the Woods' from Evil Dead the Musical. It was an surprisingly upbeat, chaotic, and wonderful way to end the night filled with some of Broadway’s most notorious characters.
If I had to nitpick, my one tiny letdown was that Reagan Warner, who was our wonderful host, didn’t have a solo number of his own. With such a commanding presence, it felt like a missed opportunity. But overall, Broadway Murderers was a killer night out—pun fully intended—and I am eager to see what Ghostlight Theatre has in store for their next production.
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