REVIEW: Carrie: The Musical — QAEMT

Title: Carrie: The Musical

Presented by: Queensland Academy of Excellence in Musical Theatre and QPAC

Venue: Cremorne Theatre, QPAC

Directed by: Gavin Mitford

Musical Direction: Heidi Loveland

Choreography: Dan Venz

Meet Carrie White: the queen of revenge, misunderstood power, and… maybe just a little bit of overreacting?

Based on Stephen King's chilling 1974 novel, Carrie: The Musical is a darkly tragic coming-of-age tale with a supernatural twist. At home, Carrie is shackled by her mother’s oppressive religious fundamentalism. At school, she is humiliated for not understanding menstruation and persecuted for simply being different. In between, she burns quietly—yearning for belonging, suffocating under shame, and unaware of the telekinetic power that simmers within her. When a cruel prank pushes her too far, prom night becomes a turning point no one would ever forget. Her tragic descent reminds audiences of the importance of empathy, the danger of conformity, and the silent struggle of those marginalised by society.

From the opening number, "In," the vocals were sharp, the energy was high, and the standard was immediately set. This semi-professional showcase of rising talent from the Queensland Academy of Excellence in Musical Theatre’s graduating class—based at Griffith University—highlighted the exceptional calibre of the Conservatorium’s students. They tackled this mammoth show with impressive vocal and emotional stamina, along with a stage presence strong enough to hold their own on any mainstage. It was a clear glimpse into the next generation of powerhouse performers, and evident that immense training and care had gone into every element of this production.

Cast Highlights

Kate Hudson-James brought a haunting fragility to the role of Carrie (with Ellie Carragher listed as the alternate). From her belted introduction—“That’s not my name!”—her voice sliced through the taunting noise with anguish and defiance, immediately establishing a powerful presence. Kate handled this emotionally layered role with a quiet strength that grew more palpable as the story unfolded. Portraying such a complex character comes with immense pressure, and while there were moments where a touch more fire could have heightened the transition from submissive teen to vengeful force of nature by the end of Act One, she carried the emotional weight of the role with a noticeable, simmering rage.

Olivia Horne, as Margaret White (with Christina Keen listed as the alternate), was a chilling standout. Her operatic vocals were haunting, and she embodied the conservative, abusive, and terrifying essence of Carrie’s mother with unnerving precision. Olivia’s acting skills were particularly striking—her face radiating an expressive desperation, while her eyes remained eerily detached, creating a deeply unsettling contrast. Her duets with Kate, “And Eve Was Weak” and “Evening Prayers”, were both vocally stunning and harrowing. Olivia's final solo, “When There’s No One,” was delivered with gripping intensity, though the dramatic impact was slightly undercut by staging that left her partially obscured behind a table.

Ella Harding devoured the role of Chris Hargensen with wicked glee. She had the pipes, the presence, and the perfect mean-girl energy. “The World According to Chris” was a total showstopper; sassy, sharp, and packed with vocal firepower—every belt hit like a punch! Ella chewed up every scene she was in, owning the stage with an effortlessly commanding presence. During the prom climax, her vocal stamina and sheer intensity were especially jaw-dropping. Croft Phillips brought an unpredictable, intimidating edge to Billy Nolan. His physicality amped up the menace in Chris’s schemes, and the chemistry between them was electric. Together, they were a magnetic villainous duo—wild, unhinged, and all too believable.

Charlie Preston’s Sue Snell was soft-spoken and naïve, but ultimately compassionate—bringing a much-needed sense of heart to the story. Her rendition of “Once You See” was tender and beautifully sung, and she carried Sue’s emotional arc of guilt and growth with quiet grace. Sam Henderson brought a gentle charm to Tommy Ross, with “Dreamer in Disguise” serving as a brief but lovely showcase of his vocals. His chemistry with both Sue and Carrie felt genuine, adding a softness that helped temper the show’s darker edges. However, he was occasionally hindered by staging—most notably during his visit to Carrie’s house, where he was placed behind a fence panel that left him difficult to see from side seats and frustratingly hard to light.

Niamh Cadoo-Dagley (Miss Gardner) delivered an endearing performance, and her duet with Carrie, “Unsuspecting Hearts,” was both heartfelt and subtly humorous. Her Southern accent added character, though it stood out in contrast to the largely neutral dialects maintained by the rest of the cast. Max Baldock offered a grounded, solid portrayal as Mr Stephens, anchoring the classroom scenes with ease and always ready with a witty comeback. Notably, although the performers portraying the adult roles were the same age as their student counterparts, their physicality and vocal maturity made the character distinctions entirely believable—no easy feat, but executed with real finesse.

The ensemble was incredibly cohesive—vocally crisp, sharply rehearsed, and brimming with energy. Background characters made distinct, thoughtful acting choices that added colour and personality to each scene. A special shoutout to the guy dancing solo at prom—sir, your vibe was immaculate.

Production Elements Presented in the Cremorne Theatre at QPAC, the stage design was immediately striking. A two-level structure dominated the space, enclosed in parts by chain-link fencing that gave the set the feel of a cage. Looming upstage was a large stained-glass window depicting Eve and the Serpent, with serpent motifs curling their way along the fences—boldly reinforcing the show’s central themes of corruption, shame, and original sin.

A movable staircase facilitated innovative re-blocking, with a transparent compartment underneath where Carrie was frequently confined. This clever design choice provided the audience with an unfiltered view of her psychological distress, keeping her in our sight even when isolated. The levitating crucifix and floating book were delightful uses of theatrical special effects. Used sparingly, these moments of supernatural activity felt grounded in Carrie’s lived reality—which was arguably even more haunting.

Costuming was kept fairly simple, mainly consisting of school uniforms until the pivotal prom scene. Carrie’s outfit was noticeably more conservative than her classmates’—a subtle but powerful choice that reflected how tightly she had been “buttoned up,” both literally and figuratively. That said, her hair could have been styled more modestly in the beginning to better visualise her repression and enhance the transformation later on.

Unfortunately, Carrie’s prom dress didn’t quite land. The shiny light pink fabric and awkward cut felt more distracting than deliberate, and it didn’t convincingly read as “homemade”—especially after a previous scene showed her sewing a powder-blue gown. The design also looked impractical for movement and dancing; Kate appeared visibly uncomfortable, often adjusting it. Most disappointingly, the iconic blood-drop moment lost visual impact against the pale pink fabric—a missed opportunity in an otherwise visually thoughtful production.

Keith Clark’s lighting was both atmospheric and purposeful, particularly during the climactic destruction scene, which was executed with precision. Steve Thornely’s sound design was excellent—clean mics, balanced levels, and crystal-clear diction ensured that no dialogue or vocal nuance was lost in the chaos. The striking final image of prom—Carrie blood-drenched, standing at the top of the stairs like a queen of ruin beneath her crown of thorns—was a moment of haunting beauty. A nightmare coronation indeed.

Artistic Choices

Gavin Mitford’s direction showed great vision but occasionally missed the mark. While the direction was overall thoughtful and effective, there were moments where simplicity would have served the storytelling better. For instance, Carrie’s solo “Carrie” lost emotional intimacy by being staged with classmates frozen in tableaux around her—a visually interesting concept that unintentionally diluted the personal impact of the moment. Similarly, “You Shine,” a romantic duet between Sue and Tommy, began with a sweet, symbolic touch using ensemble members holding torches and props, but the effect became cluttered and distracting as the number progressed. That said, the need to showcase as many cast members as possible—given the nature of a tertiary course—was understandable.

The relationship between Sue and Carrie could have used deeper exploration. As a result, their final scene didn’t land with the emotional weight it deserved. The show also didn’t conclude as strongly as it began—the framing device of Sue’s interrogation felt like it was building toward a final callback that never came. Still, it’s important to remember this production is just one milestone in what will be long, exciting careers for these emerging performers. I’m especially looking forward to their next venture, A Chorus Line, which will no doubt offer many of them a well-earned moment in the spotlight.

Pacing throughout the show was tight—sometimes too tight. Transitions were so rapid that several musical numbers passed before the audience could applaud. A bit more breathing room between scenes would have allowed the performers to absorb the well-deserved recognition and given the audience time to process the emotional rollercoaster they had just experienced.

Heidi Loveland’s music direction and Dr. Melissa Agnew’s vocal coaching were outstanding. The ensemble’s harmonies were on point, phrasing was expressive, and every voice served the emotional landscape of the score. The vocal cohesion and control across the cast—particularly in complex group numbers—was seriously impressive.

Dan Venz’s choreography was slick and character-driven, combining classic musical theatre vocabulary with teen angst and hormonal chaos. Every movement felt purposeful and true to character. “A Night We’ll Never Forget” was a standout—bursting with energy, attitude, and a feverish prom-night intensity. The ensemble matched the music’s pulsing momentum with a delicious mix of sass and tension that helped bring the prom scene vividly to life.

This production of Carrie: The Musical delivered a haunting, heartfelt take on one of the most emotionally demanding pieces in the canon. It spoke powerfully to a modern audience, tackling difficult themes—religious trauma, social alienation, blind conformity—and the result was a performance that lingered. You could feel the audience leaning forward, breath held, as Carrie exacted her bloody vengeance. The cast’s raw, emotional performances—especially from Olivia, Ella, and Kate—anchored the show’s tragic heart.

Yes, there were moments that could have been sharper, scenes that might have landed harder, and staging choices that occasionally obscured performers from key vantage points. But none of that detracted from the truth at the core of this performance: the audience was hooked. Some songs passed so swiftly that applause couldn’t catch up—not due to lack of appreciation, but because the production swept us up and didn’t let go. Maybe that’s the point. Carrie doesn’t let you breathe. It drowned you in dread, then set the whole thing alight.

To every young performer involved: your voices were powerful, your presence undeniable, and your commitment deeply felt. The Queensland Academy of Excellence in Musical Theatre has once again proven itself to be a breeding ground for the stars of tomorrow—and if Carrie is anything to go by, the future of Australian musical theatre is thrillingly bright.