REVIEW: The Lightning Thief: The Percy Jackson Musical - Hanson Creative

Presented by: Hanson Creative at BackDock Arts, Fortitude Valley

Book by Joe Tracz, Music & Lyrics by Rob Rokicki, adapted from the novel by Rick Riordan

“Out there in the real world, that’s where the real monsters are” (…but thank god for musicals, right?!).

Hanson Creative’s one-weekend run of The Lightning Thief packed a thunderbolt’s worth of enthusiasm into the tiniest of spaces. A five-piece live band shared the stage, demigods swung swords within arm’s reach, and audience members ducked stray toilet paper (you had to be there).

If you thought your high-school years were wild, try surviving algebra and monsters. That’s the world of The Lightning Thief, a favourite for youth theatre companies. This plucky new crew at Hanson Creative hurled themselves into the full version with high-octane enthusiasm. With a band squeezed beside a set barely big enough to fit a trident, it was the theatrical equivalent of a can of red bull!

For anyone not fluent in Percy Jackson lore (oops, guilty), the story can feel like being tossed into Mount Olympus without a map. Luckily, Percy is just as clueless. He's an irregular kid who learns he’s the son of Poseidon, sent to a camp for demigods, and accused of stealing Zeus’s lightning bolt. So now, he and his friends Grover and Annabeth are off on a hero's quest to the Underworld to clear his name and save his mom. Talk about family drama!

Right from the opening number, the stage was electric (pun absolutely intended). Kyle Armstrong embodied Percy Jackson — youthful, cheeky, and entirely convincing as the reluctant hero. The only hiccup? In real life, Kyle seemed just a tad too cool ha! His big number “Good Kid” soared (even when his mic didn’t), showing off a rich belt, crisp articulation, and emotional honesty that anchored the show.

Aimee Sheather’s take on Annabeth was smart, self-assured, and relatable. She captured that fierce daughter-of-Athena energy, and her performance of “My Grand Plan” was heartfelt and optimistic, even when she seemed a bit nervous. Extra credit for the clever sword sheath built into her shorts — both practical and perfectly in character.

Elton Jun’s Grover was the crowd's sweetheart: the cheerful and loyal satyr (a boy with goat legs and horns), overflowing with charm and cuteness. Even when his microphone misbehaved, his warmth carried every moment. His lead in “Drive” was a highlight — upbeat, funny, and just the pep Act Two needed. He's certainly the type of friend you'd want by your side on a monster-slaying road trip.

Ruby Gleeson proved herself the ensemble MVP, morphing from a shrieking Fury, to the swaggering Clarisse, to the hilariously unbothered Aussie receptionist Charon of the underworld. Her “Put You in Your Place” was fiercely fun, and “D.O.A.” was a meet-and-greet with the afterlife's VIPs featuring Mozart, Janis Joplin, and Kurt Cobain.

Mia Lierich brought gentle warmth in the role of Percy’s mother, Sally Jackson, serenading us with the beautiful ballad “Strong” with sincerity and a lovely vocal tone. Later, she did a complete 180, channeling her inner snake lady as Medusa during “Lost!” Anna Ryan, who also choreographed, was a total chameleon. She stepped in late as the grumpy Mr. Dionysus and made the role her own, to the point where I didn't recognise her at first! Even if the vocal range in "Another Terrible Day" sat a bit low for her natural tone, her commitment sold it. Later, she returned as Thalia in the haunting “Tree on the Hill” and danced like nobody was watching, as Elton sang in one of the most unexpectedly touching moments. Anna's group choreography throughout was crisp and fun, using the small space to its fullest potential.

Reid McWha pulled off a juggling act with Mr. Brunner and Chiron, complete with a tail (thanks to a ponytail wig) that transformed him into a centaur; a guaranteed laugh every time he trotted by. Henry Dollar delivered a beautifully sung performance as Luke while strumming “The Campfire Song” on guitar, only to later surprise us with a fiery cameo as Ares. Thomas Sinclair rounded out the ensemble with boundless energy and some scene-stealing comedic antics. And Poseidon, rocking a Hawaiian shirt and a laid-back LA surfer vibe, had me obnoxiously cackling (“The god of drama, am I right?” he quipped about Zeus).

Director Emma Hanson led a five-piece band through Rob Rokicki’s notoriously tricky score. On the night I attended, she conducted beside the keyboard for visibility, meaning the cast couldn’t actually see her — but you’d never have known because they stayed tight throughout. Plus, I don’t know the score well enough to know any different! Yes, there were a few moments where instruments or vocals got a little lost in the mix, but given the live setup and limited space, who can blame them?

BackDock’s intimate setting is both a blessing and a curse. The sound was powerful (at times too powerful that I half-considered earplugs during the group vocals), but the proximity also meant we caught every expression. When mics failed, the performers carried just fine. Visually, the production was resourceful. Minimal set, maximum imagination, and an especially cool lighting effect lit up the trident reveal.

Was it confusing at times for the uninitiated? Sure. Was it ambitious, chaotic, and gloriously scrappy? Absolutely. The Lightning Thief felt like a Starkid show colliding with a Greek myth. Like Percy himself, this cast faced difficult odds, dodged a few technical monsters, and still came out heroes.