Title: Fireface Presented By: The Velvet Collective & PiP Theatre Genre: Drama / Contemporary Theatre Synopsis: In a seemingly ordinary middle‑class household, teenage siblings Kurt and Olga share a closeness that goes well beyond what their parents understand. The parents, absorbed in their own routines and distractions, fail to grasp the depths of their children’s alienation. Meanwhile, Kurt becomes obsessed with fire‑making and destruction; Olga, restless and searching for identity and desire, reaches beyond the family orbit. When Paul enters the mix, the fragile equilibrium unravels quickly. Tensions build, desires collide, and the family home becomes a battle ground for rebellion, obsession and disintegration. This family is about to explode. Audition Date: Auditions accepted until February 5th, 2026 Audition Registration: Submit a recent headshot and CV or a letter detailing your experience and training to velvetcollectivetheatre@gmail.com Audition Pack: Fireface Audition Pack Performance Dates: June 24th - 27th, 2026 Performer Age: Characters span from teens (18–25) to adults (late 30s–late 50s). Creative Team: Director - Nic Davidson Production Website: The Velvet Collective - Fireface Other Information:The Velvet Collective is an independent multidisciplinary group focused on original and text-based performance work in South East Queensland. Available Roles / Character Breakdown: Kurt – Masculine presenting. Playing range 18–25. Lonely, unpredictable, quietly obsessed. Olga – Feminine presenting. Playing range 18–25. Slightly strange, self-assertive, provocative; grappling with identity. Mother – Feminine presenting. Playing range late 30s–late 50s. Passive, melancholic, caring but struggling to understand her children. Father – Masculine presenting. Playing range late 30s–late 50s. Oblivious, avoidant, emotionally detached. Paul – Masculine presenting. Playing range 20–30. Independent, partly kind, slightly possessive; Olga’s first boyfriend.

The Middle Room , written, composed and directed by Grace Spinks , began life as a single song inspired by family stories. From that seed has grown a deeply nostalgic, quietly devastating, and beautifully intimate piece of theatre that wears its heart on its sleeve. Grace describes these stories as a kind of mythology. The tales that surround us when we are young and shape us long before we understand their significance. That idea pulses through every moment of this work.   In just 60 minutes, The Middle Room  spans decades and somehow makes them feel fleeting. Set in Queensland in the early 1990s onward, the story follows three siblings, Elizabeth, Rae, and Jamie, and their mother Mary, as time quietly but relentlessly reshapes their lives. The Middle Room  is about the family home. What it means to grow up in it. What it costs to leave. What draws us back. Sometimes by love. Sometimes by obligation. Sometimes by grief.   PIP Theatre is one of my favourite spaces in Brisbane, and this show feels tailor-made for its intimacy. The audience was large, the room was full, and the energy was warm and attentive. The kind of crowd that leans in collectively for a show that is built on listening.   The set is simple to suit the small space. A piano and a bedroom, anchored by a small band led by guitarist Jeremy Stafford and bassist Charlie Green. Time passes through unfussy prop choices. Rotary phones give way to landlines, then to smartphones. Fashion subtly updates. Decades slip by without scene changes ever feeling heavy-handed.   This show drips with nostalgia. The songs are melodic, harmonic, and emotionally generous, full of love and light without ever tipping into saccharine territory. There is a strong singer-songwriter soul in Grace Spinks’ writing, and it serves the material beautifully. Dialogue feels like staged thoughts between real people: conversations we have in bedrooms, on late-night phone calls, or the ones we only ever rehearse in our heads.   One of the great strengths of The Middle Room  is how well these performers blend. In an unmiked space, the cast demonstrate exceptional musical discipline. Balancing dynamics, supporting the lead line, and knowing exactly when to step forward and when to melt back into harmony.   Standout musical moments include: Gone , a radiant group number about the joy and invincibility of being seventeen, buoyed by gorgeous ensemble harmonies. Sydney , sung by Elizabeth (Chloe Flanagan) , capturing the exhilaration of leaving a small town: trading a boyfriend in Townsville for a new city and new possibilities. Boyfriend , where Rae (Kate Hudson-James) and best friend Louise (AJ Betts)  rant in parallel about young love and relationships, thoughts spilling out faster than they can be filtered. Their chemistry here is joyful, relaxed, and deeply believable. Unchanged , sung by AJ Betts , featuring the lyric “I think I have a soul for childhood” , which lands like a quiet, devastating truth. They are emotionally precise and musically assured in this stunning solo. My Limits , a beautiful trio between AJ, Kate and Christina is restrained, honest, and painfully relatable. And my personal favourite! With or Without Me , a boppy, bittersweet number marking the growing difficulty of staying connected to your children once they have families of their own. His Room , sung by Mary (Christina Keen) , the most unforgettable piece of the show. She portrays a mother’s rage at the injustice of her child’s health situation with breathtaking clarity. She narrates her strained relationship with Jamie. The son who left home at fourteen…. The so-called problem child. Guilt, grief, anger, and love collide all at once in this confronting moment. The finale, Down the Highway , sees set pieces physically removed as characters leave the space. Mary's lyric “They think they need to hold me or I’ll fall apart”  had me tearing up, thinking about my own mother, grandmother, and uncle.   This cast is made up of six bright-eyed beauties who feel like real people rather than characters. Kate Hudson-James  portrays Rae, the middle child, with quiet authority. The one who manages everything, absorbs everyone else’s emotions, and never allows herself to crack. Chloe Flanagan’s  Elizabeth, the eldest sister, delivers some of the evening’s most affecting moments. From early optimism to the heartbreak of Muscle Memory , a song reflecting on the end of her marriage, Flanagan navigates Elizabeth’s arc with grace and emotional clarity. AJ Betts ’ Louise is deeply compelling. A character navigating queer identity, a strained relationship with their mother, and the refuge of chosen family. There is warmth, humour, and vulnerability here in equal measure.   Andy, Rae’s husband, is played by Max Baldock , and he absolutely earns his small moments. His lead number Open Mic / Get Round To It  is an absolute blast. A delightfully daggy dad doing an open mic night with his mates while his supportive wife films proudly from the crowd. Baldock also shines in Warmth That Remains , a tender duet with Kate Hudson-James . A sleepless night shared between partners while Chloe Flanagan plays piano in the other room. Grace Spinks captures the texture of a long-term, high-school-sweetheart relationship with remarkable sweetness here.   Christina Keen  is extraordinary as Mary: stubborn, grounded, and fiercely strong. Definitely a Virgo or Taurus. Her line “Going from a full house to an empty one is fucking miserable”  lands with brutal honesty. She embodies the Townsville mum clinging fiercely to her home while feeling the pressure to move closer to her children in the city; torn between memory, independence, and proximity.   One of the most striking choices in the show is Jamie, played by Saul Kavenagh . Jamie never speaks. He communicates solely through piano. We learn he has a degenerative neurological disorder that increasingly limits his independence, so his siblings and mother become his carers. It is a brave, sensitive presence that speaks volumes. And the fact that I know  Saul has a stunning singing voice only makes this silence more powerful.   Scenes are short, snappy, and thoughtfully constructed by Grace Spinks , allowing the audience to fill in the gaps while leaving room for future expansion. Partners, estranged parents, and children are mentioned rather than seen, and I loved that choice. It keeps the spotlight exactly where it should be, on this family and the space they share.   As this is a work-in-progress musical, a few gentle notes for future development: Clearer signposting early on in the script, including character names, relationships, years, and locations, or a brief synopsis in the program, would help orient first-time audiences (and because I'm slow on the uptake). On a larger stage, this piece would sing  with three distinct rooms and split-stage moments that lean into the idea of “the middle room”. A vintage upright piano would better suit the period than the electric keyboard. Casting Mary as slightly older could really rip out our hearts! Christina Keen’s portrayal is OUTSTANDING, but a matured actor could add an extra layer of lived history to deepen the emotional impact: the sense of time lived, children raised, and loss endured, particularly in a story so grounded in generational legacy and the quiet endurance of motherhood.   This is one of those rare shows where I felt like I really knew  this story and these characters. The music-filled house. The pressure to move to Brisbane. The stubborn parent holding onto the family home. The sibling who stays. The one who leaves. The one who needs care. It is almost freakish how closely this story mirrors my own family, right down to a musically gifted uncle receiving a scary diagnosis. Watching The Middle Room , I was not just an audience member or a reviewer. I was a participant, quietly grieving and remembering alongside these characters.   At Stage Buzz Brisbane, we champion new Australian stories because they hold up mirrors we did not know we needed. The Middle Room  proves that big, universal stories do not require spectacle to land, only honesty. In an intimate room, with a small, mighty cast and a handful of instruments, this show captures the quiet complexity of family, caregiving, memory, and home in a way that feels deeply familiar and fiercely local. Supporting work like this means so much to me, backing artists at the beginning of their journey. This is a beautiful first outing for a new Brisbane work, and I cannot wait to see where it goes next.

Little Shop of Horrors - Presented by Woodward Productions at QPAC Cremorne Theatre Director : Alister Smith Music Director: Heidi Loveland Music Supervision: David Young Choreography: Dan Venz Puppet Design: Brenton Van Vliet Designer: Penny Challen Lighting Design: Declan O'Neill Sound Design: Ben Murray Costumes/Props: Alex Heien Welcome to Skid Row, Los Angeles. A place where dreams go to wilt, hope is perpetually under-watered, and survival feels like a full-time job with no pay rise in sight. It’s a bleak, monochromatic corner of the world where people are told, both explicitly and implicitly, that they don’t matter. And it’s here, of all places, that a strange little plant promises something intoxicating: visibility, success, love.   Little Shop of Horrors  follows Seymour Krelborn, a timid florist’s assistant with a chronic case of bad luck and worse self-esteem. When he discovers a mysterious plant with a taste for blood, his fortunes begin to change. Fame, money and romance suddenly feel within reach — provided he keeps feeding his new green friend. As the plant grows, so too does Seymour’s moral dilemmas.   If you’ve never seen Little Shop of Horrors  before (hello, it’s me), this production is a perfect introduction. This beloved cult classic by Howard Ashman and Alan Menken (yes, those Disney legends) hails from a time when weird and wonderful movie musicals thrived. Think Rocky Horror  and Beetlejuice . Beneath the catchy-as-hell doo-wop score and absurd humour, Little Shop  is a sharp Faustian warning: don’t trade your soul for a shortcut. And whatever you do… don’t feed the plant!   This QPAC season sold out. Then it extended. Then it sold out again. Honestly? They could have filled the Playhouse. Still, the Cremorne Theatre felt electric, with excellent views from every seat. Produced by Alex Woodward , this season is directed by Alister Smith , with choreography by Dan Venz , musical direction by Heidi Loveland , music supervision by David Young , and striking, film-faithful puppet design by Brenton Van Vliet . Smith leans confidently into both the absurdity and the substance of the piece. His vision honours the camp while keeping a firm grip on the show’s darker undercurrents. The pressure to succeed. The hunger to be seen. The quiet terror of believing you’re disposable.   Dan Venz’s choreography propels the story through the doo-wop trio of Kimberley Hodgson, Anna Francesca Armenia and Nykita O’Keeffe. Their rhythmic bopping, attitude and crisp harmonies operate as a playful Greek chorus. The trio are absolute stars. Their harmonies are flawless, their sass is endless, and as ever-present observers of Skid Row, they never miss a beat. I do slightly worry about their necks after all that sassy head action, but it’s a sacrifice clearly made for the greater good. At the heart of the show are two tender, hopeful souls. Maxwell Simon as Seymour is endearingly awkward from the moment he shrinks into himself onstage. His jittery physicality, slightly whiny vocal quality and deeply relatable panic when the plant starts talking make him a compelling and sympathetic lead. His chemistry with Kirby Burgess as Audrey is a highlight. Styled to perfection with a stiff blonde wig and slinky costumes, she brings softness, sincerity and strength to a character that can so easily slip into caricature. Her Somewhere That’s Green  is intimate and heartbreaking. It’s quietly hopeful, painfully modest in its dreams, and sung directly to the audience like a secret confession. Bonus points for giving us an Audrey speaking voice that’s expressive without tipping into “annoying”. Call Back in the Morning  is staged with clever corded-phone chaos, and Suddenly Seymour soars with gospel-style backing vocals and heartfelt sincerity and goofiness. Bryan Probets’ Mr Mushnik benefits from the assurance of a theatre veteran, most evident in Mushnik and Son , where the number lands its laughs while still finding surprising emotional warmth. Stephen Hirst is a comic chameleon, particularly as the unhinged Orin Scrivello, D.D.S. His dentist is sadistic, wickedly funny, and unnervingly at ease locking eyes with the audience. He flips from charm to genuine threat in an instant. Beyond Orin, Hirst shows he's the jack of all trades (and costumes), with a standout turn as the generic rich guy, delivered with sharp satirical bite.   And then there’s Audrey II. A true marvel. Matthew McKenzie delivers a booming yet sass-filled voice performance, paired with Charles Ball’s expert puppeteering. The plant evolves through multiple forms with astonishing effect. From the wilting pot plant, to the Seymour-operated puppet, to the full monstrous reveal complete with roots that move like arms, the puppetry is mesmerising.   The band, Annie Silva on bass, David Whittingham on guitar, Luke Volker on keys, and Steve Fischer on percussion, bring Menken’s score to life with flair. Sound design by Ben Murray, paired with Heidi Loveland’s musical direction, delivers a rich, punchy sound that never lets the energy drop. Feed Me  in particular is a sensory feast, with lighting, sound and staging combining into something almost hallucinatory.   Designer Penny Challen’s painted set and props feel lifted straight from a sketchbook, beautifully echoing the illustrative style of Audrey II itself. The glowing florist signage and lighting strips framing the shop create a constant sense of containment, as though the characters are boxed in from the very start. The opening moments establish a striking visual language: a black-and-white world from floor to wings to flowers to costumes. It feels like a comic book come to life—flat, graphic and stylised—and sets the perfect foundation for a story that’s about to grow wildly out of control. Costumes and props by Alex Heien smartly track the show’s moral descent. Stark monochrome gives way to saturated greens as Audrey II’s influence spreads. The muses’ emerald sparkle is especially satisfying once colour finally floods the stage. Likewise, Declan O’Neill’s lighting is used sparingly at first, the palette deliberately drained of colour. Slowly, green begins to creep in. By Act Two, the visual transformation of the space is genuinely jaw-dropping and the show just keeps getting funnier. And darker. The reveal of the final Audrey II puppet drew audible gasps.   I overheard a teen at interval say, “It’s really murder-y,” which honestly feels like the most accurate review possible. This Little Shop of Horrors  is funny, stylish, musically tight and thoughtful. Beneath the camp lies a warning about capitalism, complicity and the cost of being seen in a world that profits from your silence. I walked in knowing only three songs and walked out completely converted. I would absolutely see it again if it weren’t already sold out!   A bold, brilliant musical by Woodward Productions that reminds us: know your worth, protect your integrity… and never, ever feed the plant. 🌱

Any Moment By Bradley McCaw | Presented at PIP Theatre Duration: 100 minutes (no interval) Experiencing a new Australian musical always fills me with a sense of curious excitement, like opening a Christmas present wrapped in a bizarre shape. There are no preconceived expectations, just the work, the performers, and the moment you’re sharing together. Any Moment , a new song-cycle musical by Bradley McCaw , embraces that uncertainty and turns it into its greatest strength, reminding us that life, much like theatre, only ever happens in real time. Set in Brisbane and unfolding over New Year’s Eve, Any Moment  tracks a single 24 hours as it tumbles toward midnight. Through 24 songs, including short reprises, the show weaves together snapshots of everyday lives: parents, workers, lovers, siblings, strangers, and people simply getting through their day. Inspired by John Lennon’s line, “Life is what happens to you while you’re busy making other plans,”  the musical gently asks us to slow down and really look at the ordinary lives moving around us, those moments that might otherwise pass unnoticed. The show’s spine is the recurring group number “Twenty Four,”  which appears in various forms throughout the piece. Launched by Lulu Miskin , it becomes a ticking-clock motif that repeatedly grounds us in the passage of time. Each reprise feels slightly altered and always reflective, mirroring how our perspective shifts as the day unfolds. It is a simple and effective structural choice that gives cohesion to a sprawling song cycle and reinforces the show’s central idea: any moment is just a moment away. Musically, Any Moment  is piano-driven and impressively genre-fluid. The score moves between contemporary musical theatre, soul, ballad, rap, and spoken-word influences. McCaw’s  lyrics are observational, conversational, and beautifully specific, while musical director and pianist William Martineau  supports the storytelling perfectly. Subtle backing harmonies, sometimes onstage and sometimes drifting in from offstage, add texture without overwhelming the intimacy of the work. Many of the numbers are solos, and they are beautifully matched to each performer’s vocal colour and emotional range within this cohort from the Con (QAEMT). These performers are exceptionally skilled and fully immerse themselves in the stories. “Top Shelf”  is a witty, laugh-out-loud number about punching above your weight in a relationship, executed with poise and awareness by the hilarious Connor Chadwick . “Stuck in the Elevator,”  performed by Orlando Vella , spins eight hours of panic, epiphanies, and spoiled pants into a genuinely hilarious and unexpectedly reflective journey. “My Phone,”  performed by Sam Henderson  and Chloe Flanagan , struck a particularly modern nerve, charting our love–hate relationship with technology by recognising the addiction, attempting to stop, and ultimately shrugging and giving up. I felt seen. Painfully so... There are also many moments of vulnerability throughout the show. “Next Time,”  led by Lulu Miskin , explores sisterly dynamics with warmth and openness, her vocal delivery carrying genuine affection and ease. “Before the Story Passes By”  was a standout for me. Chloe Flanagan  delivers the number, about a journalist working through New Year’s Eve, with striking emotional intelligence, balancing ambition with frustration. I don’t say this lightly, I am seriously in love with Chloe’s voice. There were moments of musical shaping and melisma that made me turn just a little green with envy. That level of vocal craft is echoed across the cast. “Doin’ It For the Kids,”  performed by Lucy Ross  and Croft Phillips , injects humour and heart into the realities of parenthood and early morning football games. “Rover’s Song,”  performed by Niamh Cadoo-Dagley , is a joyful, chaotic stream-of-consciousness burst. It plays like a child’s ADHD thought spiral set to music and thrown into the room with complete commitment by Niamh and her "dog". “Church on Murphy Street,”  sung by William Kasper , is quietly devastating, presenting a lone figure at a wedding and capturing a particular kind of isolation. Will has a remarkable ability to sit in vulnerability without overplaying it, allowing the stillness to do the work, and it pays off beautifully here. His later number, “Rest of Our Life,”  delivered as a eulogy for a grandmother, is so intimate and tender that I genuinely felt like I was intruding on something deeply private. Lucy Ross  repeatedly commands attention, particularly in “White House Down the Road.”  Her performance was so vividly internal that I found myself closing my eyes to fully visualise what she was narrating. She stared out into nothingness, seeing the story unfold in front of her, while we could only listen. So I closed my eyes and let McCaw’s lyrics wash over me. And it was devastating. The duet “Door Duet" (Take My Hand),  performed by Connor Chadwick  and Sam Henderson , is also heartbreaking (whyyy?!), capturing the end of a relationship with restraint and emotional clarity. It is one of the show’s most affecting moments, understated and painfully real. Place is central to Any Moment . Brisbane isn’t a vague backdrop here. Aussie accents are proudly used, and “Coming In From the Suburbs”  injects groove and wit into the mundanity of suburban life. One of the show’s most compelling ideas is how our city quietly links these lives together. “Long Night”  lands as an anthem for anyone who has ever worked a miserable, unappreciated New Year’s Eve shift while the rest of the city celebrates. As midnight approaches, the emotional stakes heighten. “Light,”  an exquisitely delicate solo by Madeleine Ford , captures the ache of longing, the desire to be reunited with love in the afterlife rather than face another new year alone. Elsewhere, a child is born and a brother and sister meet the baby for the first time during the countdown. Life ending. Life beginning. All happening at once. By the time the ensemble gathers for the finale, “Turn the Page,”  the cumulative impact is undeniable. The full vocal sound of the cast swelled through the space and genuinely took my breath away. Yes, the show leans into big morals and earnest quotes, some unabashedly cheesy. But it earns that sincerity through craft, commitment, and heart. Visually, the production is intentionally minimal. There are no elaborate sets or lavish costumes, with Noah Milne’s  lighting doing much of the work to suggest time, place, and emotional weight. This restraint suits both the song-cycle format and the PIP Theatre space, keeping the focus squarely on the performers and the writing. Acoustically, the cast proves they barely need microphones at all, though balance occasionally wavers when voices overlap. Understanding the context behind Any Moment  only deepens appreciation for what’s onstage. Writing began in 2018, followed by a concept album in 2019 and years of workshops, revisions, and small performances. Writer Bradley McCaw  has spoken about the show evolving from offcuts of other works into something more focused: a piece centred on ordinary moments that don’t usually get musicalised in larger productions; such as fighting through a closed door, being stuck in an elevator, or the neighbour we live alongside but never truly know. Influenced by song-cycle writers like Jason Robert Brown, the work has taken many years, and many artists from around the country, to reach this pilot production. Any Moment  feels like the beginning of something rather than the final word, and that is its greatest promise. I left the theatre wanting the backstory to every song, every character, every fleeting moment, and reflecting on moments of my own and those unfolding around me. I have no doubt this won’t be the last time we see this thoughtful new Australian musical, because some stories are simply too alive to stay still.

Ballet Theatre Queensland – Alice in Wonderland Choreography, Direction & Story:  Clare Morehen Music, Orchestrations & Story:  Lucas D. Lynch Costume Design:  Rebekah Ellis Set Design:  Josh McIntosh Lighting Design:  Ben Hughes Sound Design:  Wil Hughes Orchestra:  Cadenza Chamber Players Photography:  Quince and Mulberry Studios Fresh off the success of Snow White  and Cinderella  in 2025 — and well-earned Stage Buzzie Awards — Ballet Theatre Queensland has built a reputation for taking familiar stories and refusing to treat them familiarly. With Alice in Wonderland , the company delivers an exhilarating reimagining that whisks Lewis Carroll’s iconic tale out of the rabbit hole and onto a bustling 1930s Hollywood film studio. Think sepia Art Deco and Depression-era grit colliding with neon signage, sequins, and big-band pizzazz. It was the kind of Golden Age glamour most of us only know through classic films and theme-park recreations… until now. From the moment audiences arrived on opening night, there was a very particular kind of buzz in the air: the “we’re about to be thoroughly spoiled”  variety. The whole venue felt celebratory before a single note was played. And when that first note did  arrive? Oh, it wasn’t a gentle invitation. It was a wink and a warning: time is ticking. Lucas D. Lynch’s  score leans into this tension, with ticking motifs and whimsical descending phrases creating a sense of urgency that never quite lets the audience relax; as if the entire world is behind schedule and only Alice is curious enough to question why. It’s an immediate signal that this production isn’t just pretty to look at; it’s purposeful, playful, and packed with ideas. Composer–choreographer collaborations of this depth are a core strength of BTQ. And it shows! Because every scene is purpose-built, musically and physically intertwined, rather than layered after the fact. With performers drawn from 24 different dance schools, this production doesn’t just showcase excellence in dance, it showcases community. The stamina required across this predominantly young cast — from rapid sequences, cramped backstage, stylistic shifts, and relentless pacing — cannot be overstated. Sepia Streets to Technicolour Dreams The ballet opens in a world of restraint and repetition: a muted, post-depression street scene. Alice enters in a brown schoolgirl outfit and boots, nimble and grounded, reading her copy of Alice in Wonderland. Around her, similarly dressed townsfolk drift beneath a dull Hollywood sign, some seeking work, others simply passing time, all caught in the monotony of routine. The action shifts into a classroom overseen by a domineering Headmistress, ruler in hand, complete with an actual blackboard (where did they find one of those nowadays?!). The children are drilled through repetitive, nonsensical exercises, their movement stripped of individuality and joy. As the teacher twirls around the room with oppressive precision, the choreography by Clare Morehen  beautifully captures control masquerading as order. When Alice follows the flustered White Rabbit down a steam grate and straight through the orchestra pit, the transformation on stage is exhilarating! The music slides into jazzy intrigue, the palette bursts from sepia into shimmering colour, and Wonderland is revealed not as the rabbit-hole fantasy we know, but as the luminous imagination of Golden Age Hollywood alive with possibility! This is an Alice  built not on whimsy alone, but on industry, imagination, and the cost of creativity. A Wonderland That Never Stops Moving Once inside the Hollywood film studio, the eye is constantly drawn everywhere at once, thanks to Josh McIntosh’s  set design. This Wonderland never stands still. Dancers move the set pieces themselves with impressive coordination, meaning transitions happen mid-motion and momentum is never lost. Doors appear, dressing rooms materialise, and entire worlds shift before you’ve even registered the last one. The use of double-tiered staging at the rear of the set allows for even more visual surprises, particularly during large ensemble numbers. While one group dazzles front and centre, another is already building the next picture behind them, creating a constant sense of activity that mirrors the frantic energy of a real working film studio. Top hats off to the creative team and dancers (especially given the Concert Hall’s lack of wings or a fly tower!) Around them, neon signs — including a clever glowing “Drink Me”  vanity and “Eat Me”  diner sign — illuminated props, glowing puppetry, and sequinned showgirl flamingos flood the stage. Glamour and Glitter The costuming is nothing short of extraordinary. Rebekah Ellis’  designs lean fully into 1930s Hollywood glamour while still allowing complete freedom of movement. Alice’s transformation into her Wonderland attire is a visual delight: pink satin, golden sequins, and a signature purple ribbon that keeps her instantly recognisable amid the chaos. The attention to detail given to every costume piece of this large ensemble cannot be understated (all the way down to the colourful pointe shoes!) Even the littlest performers — dressed in tiny pink hearts, and dapper suits, they were utterly charming and brought audible “awws” from the audience. The onstage costume changes of the Diva and Alice (clearly necessitated by the venue’s constraints) become part of the spectacle rather than a distraction. Genevieve Schofield’s  Alice absolutely glistens with imagination. From her first entrance, she captures that essential sense of curiosity and wonder, balancing childlike movement with highly assured technique. Schofield blends ballet, jazz, and theatrical storytelling with ease, adapting her physical acting as Alice grows in confidence and agency. Her solo moments shimmer with dreaming and possibility, and she remains the emotional anchor of the production throughout. Jordan Lennon’s  Leading Man ( the Blue Caterpillar ) is suave, commanding, and undeniably cool, complete with a fabulous suit-and-hat design — with actual smoke  coming from his jacket somehow (?!). His movement quality is smooth and confident as he toys with Alice through riddles and gorgeously fluid lifts. As the Mad Hatter-turned-film director, Jayden Grogan  delivers one of the production’s biggest highlights. His bluesy, jazz-laced showstopper crackles with energy and showmanship, unapologetically bold in its eccentricity. The percussion section was clearly having the time of its life, propelling the number forward and pulling the audience along for the ride. One of the evening’s biggest laughs comes courtesy of the diner kitchen scene, led by Matilda Kimlin’s  gloriously frazzled Cook and Scarlett Hutley’s  serenely oblivious Duchess. Paired with a frenetic strings score and staged with gleeful screwball chaos, the comedy hits the mark. Kimlin’s reactions — especially in the later slow-motion dressing-room meltdown — had me absolutely cackling . Tweedledum and Tweedledee — Chloe Hough  and Zara Strelen  — appear as mischievous wardrobe assistants in vibrant dresses, sunglasses, and beautifully styled wigs, stitching themselves directly into the story. As the perpetually flustered film producer, Matthew Erlandson’s  White Rabbit is everywhere at once and utterly brilliant at it. Darting across the stage in a vibrant orange tuxedo, he leaps like he’s got springs in his shoes and captures the stressed-out energy. Kohei Iwamoto  as the Diva’s devoted and long-suffering PA ( King of Hearts ) brings big attitude and big hair to the role. Lily Pietsch appeared as the energetic Cinematographer ( March Hare ), and Hadley Hooper’s adorably exhausted PA to the Director ( Dormouse) , whose commitment to perpetual fatigue was both so real and hilarious. And then there is the Diva ... Sophia Gougoulas  makes an entrance worthy of legend, arriving in a Daimler-style '30s shiny red vehicle. Draped in red fur, crowned with an enormous hat, and adorned with a dazzling heart-shaped necklace, she commands immediate attention… and fear. I literally said “YAS QUEEN”  as she stepped out. Her Queen of Hearts is deliciously dual: impossibly glamorous and soft-focus romantic when the cameras are rolling, yet ruthlessly volatile the moment they stop. Gougoulas navigates this split with relish. A romantic pas de deux in a slinky white gown and bouncy blonde wig opposite Jordan Lennon  reveals her at her most refined — all old-Hollywood grace and luminous poise. This “Action!” sequence is underscored by a score that feels like My Fair Lady  meets La La Land … but better. Then, just as quickly, the glamour unravels. Her off-camera dressing-room meltdown — staged in slow motion — is a masterclass in theatrical comedy. Music, Movement & Spectacle Lucas D. Lynch’s  ambitious score throws its arms wide and fully commits, drawing from jazz, blues, Broadway, and classical with nods to Gershwin, Porter, and golden-era film composers. Lynch makes full use of his expanded brass and winds orchestration, and at times it feels as though every instrument and sound effect at his disposal is in play at once. From smoky nightclub moods to glorious big-band blasts, the score never settles into predictability. The Cadenza Chamber Players rise admirably to the challenge of this demanding new music, navigating its rhythmic complexity with impressive stamina and cohesion. With a full 46-piece orchestra in the pit, the sound has a cinematic sweep rarely heard in dance productions of this scale. Filmic sound effects — including the whirr of a rolling film reel — heighten the Hollywood illusion and immersion, while Ben Hughes’  lighting design expertly guides the audience through the visual feast, drawing the eye precisely where it needs to be amid constant motion and layered staging. The choreography by Clare Morehen features extensive use of canons, particularly in the feathered fan sequences, creating ripple effects across the stage that are both visually thrilling and technically demanding. Full-throttle jazz explosions accompany kicklines, parasol and feather-fan movement, and exuberant Charleston sequences (while wearing pointe shoes I might add!) Every number somehow manages to top the last. A particular highlight is the Cheshire Cat — a large, glowing, fragmented puppet. Cleverly concealed puppeteers and low lighting create the illusion of floating, disembodied body parts and a mischievous grin, prompting audible gasps from the audience. It’s theatrical magic at its most delightful, and yet another reminder of the ingenuity on display throughout this production. The courtroom scene swings into a deeply jazzy blues groove, anchored by a sultry bassline and shimmering cymbals that ooze drama. From there, the production launches headlong into its finale, erupting into glorious, organised chaos. Hats off to Stage Manager Emma Healy , because the sheer coordination required in these final moments is breathtaking. With onstage costume changes, fast-moving set pieces, and a cast pouring in and out of the action, the energy never drops. I found myself holding my breath, acutely aware that just beyond the makeshift wings there must have been absolute mayhem. Alice returns to a world that appears unchanged... but she is not the same girl who left it. Inspired, emboldened, and full of possibility, she pulls out a notebook and begins to write. It’s a simple, quietly powerful ending that lands beautifully, reinforcing the production’s central message: that adventure can be found through books, through imagination, and through the act of storytelling itself. I couldn’t agree more.

Heathers: The Musical – Teen Edition Presented by BG Performing Arts Director : Sam Caruana Music Director: Kate Baxter Choreography : Bella Gordon Photography : By Brit Creative There's a certain excitement when you walk into a jam-packed (and pitch-black!) theatre for a youth production, knowing you're about to see a ton  of talent on stage. That buzz was undeniable at Heathers: The Musical – Teen Edition , with a crowd of about 300+ eager folks ready for a chaotic ride through the halls of Westerberg High.   For the uninitiated, Heathers  is a darkly comic coming-of-age musical, based on the cult classic film, set within the ruthless social hierarchy of an American high school in the 1980s. At the top sit the three immaculate, terrifyingly powerful Heathers, ruling the school with colour-coded confidence and casual cruelty. Enter Veronica Sawyer, an awkward outsider who suddenly finds herself absorbed into their elite clique, along with all the moral compromises that come with it. When she meets the mysterious and volatile J.D., teenage rebellion escalates into something far more dangerous, forcing Veronica to confront popularity, power, and the very real consequences of going along with the crowd. The Teen Edition keeps the show’s sharp wit and emotional core but puts a little bubble wrap around its more risqué bits for the younger performers. That said, it is still very much Heathers . The “cleaned-up” script leans on creative synonyms, sometimes hilariously so ("Oh-my-god!"), yet still includes references to suicide, violence, abuse, implied hanky-panky, and good old-fashioned teenage terrorism. Under the direction of Sam Caruana , with energetic choreography by Bella Gordon  and musical direction from Kate Baxter , this production embraced the dark humour and emotional weight of the material while showcasing just how much these performers could handle.   The stage was absolutely packed with talented performers tackling notoriously demanding material with impressive stamina. Full-cast numbers were a major highlight. Candy Store  was expanded into a large ensemble moment with the Heathers front and centre, while Big Fun  burst with high-energy choreography, including ambitious floor chorie that showed off both skill and endurance. Shine a Light  offered a softer tonal shift, with glowing hand lights adding a cool touch!   Raine Barr  led the show as Veronica Sawyer, delivering consistently strong vocals throughout. Her performances of Beautiful  and I Say No  were as smooth as butter, with riffs and tone that could make even the toughest critic swoon. While Fight For Me  sounded effortless and was elevated by the hilarious slow-motion fight sequence. Dramatically, Veronica was played with a more blasé, laid-back approach than is often seen, which meant some jokes did not quite land as strongly as they could have. From the back of the theatre, some dialogue and lyrics were difficult to catch. Clearer articulation would lift Raine's performance further, though vocally she completely carried the show with confidence. As J.D., William Piper delivered an intense and committed performance that only grew stronger as the show progressed. Freeze Your Brain  had a cool, quiet edge, though vocal fatigue became noticeable as the night went on, with Raine carrying much of Seventeen . By the time William reached Meant to Be Yours , his acting was so intense you could practically see steam coming out of his ears. The clenched jaw, barely contained anger, and laser-focused intensity were genuinely chilling. The tension he held in his body was unsettling, and perfectly suited the volatility of the role. Among the Heathers, Amy Davidson ’s queen bee Heather Chandler stole the show, owning the stage with her confidence and killer vocals. Zofia McGuinness was dynamite as Heather Duke, especially during I Will Never Shut Up Again , where she joined the whole cast with feisty choreography. Tilly Kelly  wowed everyone with a stunning rendition of Lifeboat , smoothly transitioning from a nervous vulnerability to a vocal powerhouse, showing off excellent dynamic contrast. Rose Hancock  gave a beautifully nuanced performance as Martha, with Kindergarten Boyfriend  emerging as one of the emotional highlights of the night. Her gentle tone, clear storytelling, controlled vibrato, and dynamic range completely held the room. A genuinely lovely performance of a heartbreaking song. Comic relief was in very good hands with Toby Bailey and Alex Townsley as Kurt and Ram. The casting felt spot-on, with bold physical comedy and fearless commitment. I was genuinely surprised to see You’re Welcome  included, but it landed with big energy. My Dead Gay Son  was a clear crowd favourite, with Hamish Treeke and Zander Hutson clearly having a blast leaning into the song’s absurdity. Isabella Bonaventura’s Ms Fleming brought a funky, humorous presence that added plenty of personality. Visually, the show was clear, colourful, and easy to follow, especially impressive given the holiday workshop time crunch. The two-level set helped create height and gave most of the cast a chance to be seen, with lockers and simple props like croquet mallets, a 7/11 counter, and a piñata adding to the storytelling without overcomplicating things. I also loved that the ensemble costumes avoided over-the-top 80s clichés. That said, sightlines became a little tricky during extended floor choreography, particularly without tiered seating. Sound was the biggest challenge of the night, with underscoring sometimes overpowering vocals and a few microphone hiccups along the way. Even so, the cast never dropped their energy, pushing right through to the final bow and earning loud, well-deserved applause.   Ultimately, Heathers: The Musical – Teen Edition  by BG Performing Arts was a vibrant, ambitious production overflowing with talent. These young performers tackled a difficult score and complex themes with courage, commitment, and connection. It is always exciting to watch emerging artists push themselves into new territory, and many of these performers are absolutely ones to watch.   (Also, a special shout-out to the ensemble character who became pregnant and ended the show cradling a baby. Iconic long-form storytelling. No notes.)

Beauty and the Beast: The Broadway Musical Brisbane Musical Theatre Director : Jesse Bradford Musical Director:  Mark Beilby Choreographer:  Ava Moschetti Lighting Design:  Spencer Mitchell Costume Design : Geena Lukin & Andrea Halter Photography : Artist Focused Brisbane Musical Theatre wrapped up their season of Beauty and the Beast with a packed final performance, after the earlier show I was supposed to attend was unexpectedly cancelled due to a power outage (thanks, Brisbane weather!). The closing night turnout was massive, with a crowd so warm and supportive, it could have melted even the Beast’s heart. Everyone was eager to finally catch this beloved Disney classic and cheer the cast across the finish line! From the moment the overture began, it was clear this production was reaching wholeheartedly for fairytale magic. The projected backdrops were a thing of beauty, clearly establishing the village, castle, woods, and tavern with storybook charm. The opening sequence featuring the Enchantress and the Prince was particularly effective, using costume, fog, narration, and lighting to create a strong sense of atmosphere that pulled the audience into the story right away. The opening number, “Belle,” seemed a bit overwhelmed by its own enthusiasm. With a very full stage, a few missed lines/early microphone hiccups, the scene seemed quite hectic, but undeniably bustling! The little village set pieces were a thoughtful inclusion, but with such a large ensemble, the cast seemed like they were trying to squeeze one more shopping trolley down an already crowded grocery store aisle. Musically, the show was in excellent hands under Musical Director Mark Beilby, whose orchestra delivered a polished and superb performance. The iconic sweeping score was handled beautifully, and the ensemble vocals in the large group numbers were consistently strong — something Brisbane Musical Theatre does particularly well. A standout of the evening was Reagan Warner  as Gaston, who entered to immediate cheers and clearly knew how to command the stage. His voice acting, physicality, and commitment to character were spot on. His bravado-filled solo “ Me ” was staged with playful flair, allowing his rich tone to shine. “ Gaston ” was a riot: full vocal power, coupled choreography, and clever use of tankards and props. While “ The Mob Song ” carried real urgency and menace (his eyebrows doing some very heavy lifting indeed!). And though the “ Gaston Reprise ” between Reagan and Alex Sturdee  had great energy and character interplay, the harmonies were not present. Nonetheless, Reagan looked like he was having an absolute blast playing the villain. Dan Pohlman’s was a roaring success as the Beast. He used gruff vocals, heavy movement, and growls to establish presence, with the elevated staircase staging cleverly enhancing his authority. Vocally, Dan was excellent; “ If I Can’t Love Her ” was beautifully sung and well-staged and lit. As the character softened, his awkward, dorky charm emerged, making the Beast’s transformation feel genuine by the end. The final fight with Gaston was intense and impressively committed — including Dan yeeting himself down the stairs like he was in an action movie! Leah Harford was lovely as Belle, showing off some impressive vocal power and a consistently strong belt. Her performance of “ Belle Reprise ” had that classic American princess style, while “A Change in Me ” highlighted her contemporary musical theatre strengths. Dramatically, Belle’s emotional journey felt a bit surface-level. Numbers such as “Home”  lacked authenticity and emotional shaping, which felt more like a blocking or directorial matter than a lack of effort from Harford herself. The enchanted household characters brought warmth and humour in abundance. Jose De Andrade leaned fully into theatrical melodrama of Cogsworth, while Michael Chazikantis  was a wonderful highlight as the funny, sincere, and flirty Lumière with an excellent French accent, comic timing and an easy rapport with his fellow cast members. Together, their performances balanced charm and heart beautifully, grounding the humour without tipping into caricature. Annie Sutherland’ s Babette matched them well with her confident accent and playful characterisation. Lauren Bull played the sassy wardrobe Madame with her beautiful operatic tone, while Melissa Beilby’s  Mrs Potts offered warmth and sincerity, particularly in “ Beauty and the Beast .” Chip — a shared role between Olivia Cowdrey and Ashton Nowers  — earned plenty of well-deserved “awws” from the audience. Alex Sturdee’s  Le Fou made hilariously unsettling expressions that, on reflection, felt absolutely spot-on for the goofy character. The Silly Girls ( Elloise O’Connell, Emma Johnstone, and Tobey Ogilvie ) lived up to their name — perky, intense, and delightfully unhinged — they injected bursts of energy whenever they appeared. As Maurice, Barry Haworth  was sweet and kooky, though his delivery sometimes lacked genuine urgency. “ No Matter What ” would have benefited from emotional shaping to give the moment more weight and some movement to give audience a better view of both characters. Choreography by Ava Moschetti  was ambitious for the size of the stage and the cast! “ Be Our Guest”  delivered excellent ensemble vocals and high energy, though spacing around the large staircase set piece was tight. The featured dancers impressed with fouettés and tap moments, even if the costumes lacked that essential visual dazzle for me. “ Human Again”  was vocally gorgeous, though movement was minimal again. The wolf stage combat was a howling success, with choreography that packed a punch. “ Beauty and the Beast ( Tale as Old as Tim e)” was sweet like a sugar-coated donut. Director Jesse Bradford  clearly leaned into family-friendly fun, and many scenes looked like an absolute joy to perform. The castle set was a standout, particularly the clever transformation of the West Wing into the library. The wilting rose was a lovely effect. While most leads entered and exited fully in character, the ensemble at times appeared to be searching for their marks. The makeshift wings were clearly a circus side stage — so maybe letting characters come in through the aisles or downstage entrances could have helped ease congestion. Shoutout to the crew for handling those frequent scene changes! It did cause the runtime to feel long, with some moments dragging as a result, but they clearly did their best. Some spoken dialogue also felt a bit bland, which is understandable in a story audiences have known for over 30 years, and likely far more exciting for the younger audience members who are very much the target demographic. Speaking of, when it comes to kids the lack of tiered seating can affect sightlines, but they worked well for me except during the final "death" scene. Costume design by Geena Lukin and Andrea Halter  shone most clearly in the furniture character costumes. The Beast, Gaston, Le Fou, Lumière, Cogsworth, Madame, Mrs Potts, and Chip were all thoughtfully designed and well suited for movement. Belle’s blue-and-white village dress and later pink and yellow ballgowns were less effective, with fit and styling choices that didn’t quite serve the character as well as they could have. Lighting design by Spencer Mitchell  was effective overall, contributing strongly to the show’s atmosphere. I did find the extended strobe effects during the transformation quite intense, and audience members seated close to the speakers (myself included) may have found the volume overwhelming at times. Despite this, I thoroughly enjoyed the commitment and energy of the wonderful cast, who maintained strong momentum through to the final bow, with the show met by generous applause from the audience. Beauty and the Beast  is a demanding musical — vocally, technically, and logistically — and Brisbane Musical Theatre approached it with clear affection. With several standout performances and moments of theatrical excitement, this production continues BMT’s commitment to delivering accessible, family-friendly musical theatre for Brisbane audiences.

Shrek the Musical Communication in Action Talbot Theatre, Thomas Dixon Centre Directed: Tim Hill Music Director: Jacqui Devereux Choreography: Justin Anderson  Photography: By Brit Creative Walking into a completely full Talbot Theatre is always a promising sign, and Shrek the Musical wasted no time proving why every seat was taken! The show leaned fully into what makes Shrek so much fun: outrageous characters, bold humour, and joyful theatrical silliness. The musical honours the film while giving the comedy a fresh stage twist, with plenty of jokes that flew straight over the kids’ heads and landed squarely with the adults.   Henry Marsh as Shrek brought warmth, humour, and a very solid accent to the role. Vocally, he handled the demands of the score with confidence, as did the other boys across the cast. “Who I’d Be” was a lovely, sincere solo that showed the gentler side of the character. I would have loved to see Shrek lean even further into that fed-up frustration at times, but overall his performance of this tremendous role was incredible. Hamish Treweeke as Donkey was an absolute highlight. Donkey has to be a speedy talker, crystal clear, and relentlessly energetic, and Hamish delivered all of that with sass to spare. He was a walking encyclopaedia of pop culture references, a constant ball of energy, and absolutely nailed “Don’t Let Me Go,” cementing the Shrek-and-Donkey dynamic as the strongest duo on stage.   Murphy O’Connor as Princess Fiona was a complete standout. She played Fiona as the glorious crackpot she is, with bold physicality, dramatic gestures, and excellent comic timing. Vocally, Murphy was fantastic, switching effortlessly from a bright musical theatre belt to a sweet, delicate classical tone. (“ the waiting! !!!!” moment was chef’s kiss.) “I Know It’s Today,” shared with Aria McGregor (Young Fiona) and Dottie Reisener (Teen Fiona), was beautifully layered, confident, with harmonies that blended seamlessly. Archer Grounds’ Lord Farquaad was iconic, from the sparkly outfit and sassy attitude to the impressive knee-sprinting across that enormous stage (no small feat... pun fully intended). Henry Woodwar d as Thelonius added to the laughs and was the perfect sidekick in Farquaad's scenes. Ella Reynolds as Gingy was a joy. I loved that she didn’t lean into the overly squeaky voice we so often hear. Her natural voice was divine and gave the character warmth and sympathy. Ariella Meehan ’s Pinocchio was full of personality, and the nose effect was a very fun visual gag for the audience! Alessia Lily Monteverde as Dragon brought serious funky energy to “Donkey Pot Pie,” complete with spotlights, a killer outfit, and strong support from the Knights. Without the option of a giant dragon puppet, the moment relied entirely on Alessia, and she delivered vocally in a big way! I would have loved to see that sass shared with the audience a little more (face us more cause we want to see you!), as the blocking had her chasing Donkey all over the stage in her stilettos. “Story of My Life” was a delightful explosion of fairytale chaos, with an absurd number of characters filling the stage! It was cleverly cast to spread featured moments among the more senior performers. The fairytale creatures truly shone in “Freak Flag,” which completely blew me away. The commitment to character was fantastic, the choreography was high-energy, and the whole number felt joyfully unhinged. Standouts included Bella Pietrobon ’s Wicked Witch, Saana Chang ’s Ugly Duckling, Neil Marco Il Aballe ’s Big Bad Wolf, and Stephanie Dortolina-George as Mama Bear. Visually, this production was stunning. The massive digital backdrop looked like storybook paintings brought to life, and the lighting on this stage was, as always, fabulous. The designer made excellent use of patterned lights to add texture without overwhelming the action. I also loved how the audience walkway was used during the travel sequences, giving the staging scale and helping the world feel bigger than the stage. “Welcome to Duloc” was a fun ensemble moment, full of bright energy and costumes. I would have loved to see even more plastered grins and crisper articulation to really lean into that aggressively cheerful dystopia. “Morning Person” was a crowd-pleaser, with strong choreography, though I couldn’t help wishing the tap sections had been performed in actual tap shoes. Let those rhythms sing! “I Think I Got You Beat” was a standout musical moment between Fiona and Shrek, with great chemistry and comic timing. Donkey observing from further upstage meant some of his reactions were lost, and I think perching him closer to the stage edge would make that moment even stronger. The ensemble as a whole was a real strength of this production. Their commitment, energy, and character work lifted every scene. Bonus points as well for the Princess Bride reference at the wedding, which absolutely tickled me. Under the direction of Tim Hill , with choreography by Justin Anderson and music direction by Jacqui Devereux , Shrek the Musical was fun, fast-moving, and full of heart. It embraced the ridiculous, celebrated its performers, and left the audience smiling.

The Little Mermaid Jr - Valmy Academy, Camp Neverland Holiday Program Valmy Academy’s holiday production of The Little Mermaid Jr  was a bright, bubbly reminder of just how much young performers can achieve when they’re given trust, encouragement, and a tsunami of creative fun! Presented as part of Camp Neverland, this wasn’t just a show... Across one intensive week, performers aged 7–17 rehearse and perform a youth musical (alongside excursions and activities!) It requires focus, flexibility, teamwork, and stamina; and that effort was absolutely visible on stage. This junior adaptation, based on Disney’s beloved The Little Mermaid  film and the 2008 Broadway musical, was guided with care by Clara Hutton (Director and Choreographer), Eli Ball (Music Director), and Maureen Bowra (Assistant Director), under the leadership of Lee Valmy , whose program continues to nurture young performers in a supportive and confidence-building environment. Staged at the Hope Centre (my first time there and my first Valmy Academy show!) complete with full seating on the floor and tiered sections, air conditioning (bless), dazzling lights, a raised stage, and screens... the show burst with colour to create a party under the sea! Georgina Bell led the cast as Ariel, delivering Part of Your World  with a strong, clear pop vocal and a confident American accent. She captured Ariel’s curiosity and longing beautifully and carried the role with ease. As Prince Eric, Josh Starnes brought warmth and sincerity, particularly in One Step Closer , where his stunning pop-style vocals had a very contemporary feel (very much giving “young Bieber” talent, in a good way!) Blayde Holmes was a standout Sebastian, oozing charisma and showmanship with a natural dancer’s presence and strong stage instincts well beyond a junior level. Willow Massingham’s Flounder was utterly adorable, earnest, sweet, and vocally strong, winning over the audience every time she appeared. The six mermaid sisters absolutely nailed She’s in Love , which emerged as a standout number of the show, a polished combination of vocals and choreography that burst with youthful excitement. Aurora Messer leaned all the way into the chaotic joy of Scuttle, delivering excitable physicality in Human Stuff  and keeping the energy sky-high whenever she hit the stage. Charlotte Birmingham’s Chef Louis was, quite frankly, hilarious, with Les Poissons landing as one of the biggest laughs of the show. Samantha Loomans’ Ursula absolutely slayed, with bold stage presence, striking lighting, fierce makeup, and a deliciously villainous accent. Poor Unfortunate Souls  was a major highlight, packed with confident opt-ups and full theatrical commitment. Jorja Mugford and Polly-Jean Nemetala added loads of personality as the slithery Flotsam and Jetsam, complete with eel-inspired looks (giving Taylor Swift’s Reputation  era). Jasmine Denman’s King Triton anchored the underwater world with authority and heart. Visually, the production sparkled! The mermaid costumes were pretty and glittering, the colour palette was vibrant and fun, and Sebastian’s makeup was particularly awesome. Working with music tracks can be a bit tricky, and there were a few moments where timing and pitch wobbled, but the cast handled it like pros. Kiss the Girl could have borrowed some of the collective razzle-dazzle energy in Under the Sea, but the vocals were still a treat for my ears. What shone brightest was just how much this production looked like FUN. The joy, pride, and collaboration onstage were unmistakable, and that’s something you can’t fake. The Little Mermaid Jr  was a joyful, energetic celebration of youth theatre, and a lovely reminder that when young artists are supported, challenged, and encouraged, the results can be absolutely fin-tastic!

After years of teaching these songs in lesson rooms, I realised that this was actually my first time seeing Matilda  staged! The Dance and Theatre Factory’ s Matilda the Musical Jr  was a high-energy holiday production that celebrated young performers and their love of storytelling. While the one-act format doesn’t offer the full score, it keeps the pacing tight and the audience engaged.   Based on Roald Dahl’s beloved story, Matilda  follows an extraordinary young girl with a sharp mind as she navigates cruel parents, a terrifying headmistress, and discovers her own inner power along the way. From the moment the cast entered through the aisles for Miracle , the show became immersive and playful. The backdrop visuals were vibrant, the costumes were standout, and the coloured blocks — doubling as school seats and ever-shifting set pieces — were constantly rearranged by the cast, keeping the stage picture lively.   Matilda  is not an easy show to wrangle. The lyrics are dense, the rhythms are relentless, and the timing has to be spot on (thanks, Tim Minchin). Naughty  alone is a musical workout, but Lyla McLaren handled it with confidence and commitment. Under the direction of Lyn Pelgrave, with music direction by Robert Clark and choreography by Maddi Hatzioannou , the show moved confidently along. Colourful lighting from Bryce Delayney and clear sound from Murray Keidge supported the storytelling across the full cast performing to tracks. The show was packed with fabulous little performers, all leaning into bold characterisation and consistent British accents. Lyla McLaren’s performance of Quiet  (one of the hardest and BEST songs in the show) was a standout moment, with the ensemble frozen behind her and an echo effect on her mic creating the sense of isolation and mounting frustration.   Emily Carrick played Miss Honey with warmth, sweetness, and clarity. Her solo This Little Girl rang beautifully through the auditorium with a pretty, controlled tone, and her gentle presence felt entirely authentic. I could absolutely see her as a real teacher one day. Mila Price was gloriously nasty as Miss Trunchbull, stomping through scenes with a booming authority, yet singing with a classical vocal tone that suited the role perfectly. Her numbers, The Hammer  and Smell of Rebellion stood out for its staging, with push-ups and sit-ups woven into disciplined, high-energy choreography. Vincent Taylor and Matilda Bradshaw embraced the absurdity of the Wormwoods with their hilariously sharp character choices. Jake Allen brought real confidence and bite to Bruce Bogtrotter, particularly in his solo moments during Revolting Children, where he lead with confidence and attitude. In Bruce  — the infamous chocolate cake scene — the ensemble exploded with energy, delivering one of the most high-octane moments of the show, driven by fierce vocals, big reactions, and a cast clearly having the time of their lives! At times, some leads stood a little too rigid; I would suggest greater use of physical resistance and defiance. When I Grow Up  brought a gentler pause to the action, with strong soloists, pleasing harmonies, and a sweetness that landed particularly with the adults in the room. The ensemble worked incredibly hard in a very full space and handled it admirably. School Song featured imaginative choreography and bold “big kid” acting, including two performers forming alphabet letters with their bodies. The ensemble’s commitment consistently paid off when dramatic choices were pushed and showcased. While I won’t list every featured role and ensemble member here, the collective energy onstage was epic throughout! The company’s inclusive casting felt thoughtful and purposeful, with performers of all abilities meaningfully involved beyond the lead roles. Overall, Matilda the Musical Jr  was a colourful, energetic, and joyful production that celebrated imagination, resilience, and young performers finding their voices. A fabulous holiday show and a clear testament to the talent and heart this company continues to nurture.

Title: Alice in Wonderland Presented By: Village Green Theatre Group Genre: Family Theatre / Adventure / Musical Adaptation Synopsis: Step through the keyhole into a magical world filled with curious characters, eccentric tea parties, and whimsical adventures in this theatrical adaptation of Alice in Wonderland. Join Alice as she navigates Wonderland’s colourful cast - from the Cheshire Cat to the Queen of Hearts - in a playful and imaginative journey for all ages. Audition Date: February 15th, 2026 Audition Time: 12PM – Ensemble 2PM – Leads & Supporting Audition Location and Address: Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Audition Requirements: Register online via the “Book an Audition” link on the VGTG auditions page. Prepare to read from provided scenes and participate in movement/ensemble auditions as needed (details in the audition pack). Check the downloadable Audition Pack for character sides and preparation materials. Audition Registration: Book your audition here Audition Pack: Alice in Wonderland Audition Pack Performance Dates: 3rd - 11th July, 2026 Performance Times: Friday & Saturday evenings 7PM Saturday matinees 2PM Performance Location: Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Rehearsal Dates and Times: Wednesdays & Thursdays - 7PM – 9PM Sundays - 1PM – 5:PM Rehearsal Location: Yarrabilba Secondary College Performing Arts Building, 22/60 McKinnon Dr, Yarrabilba QLD 4207 Production Website: Village Green Theatre Group - Alice in Wonderland Other information: Call‑backs are scheduled for 19 February 2026 from 7:00 PM for selected auditionees. Available Roles/Character Breakdown: Alice - Female, 14+, mezzo-soprano, lead role Cheshire Cat - Any gender, 14+, mezzo/tenor range, lead role Mock Turtle - Any gender, 14+, mezzo/tenor range, lead role Caterpillar - Any gender, 14+, mezzo/tenor range, lead role Queen of Hearts - Any gender, 14+, mezzo/tenor range, lead role White Rabbit - Any gender, 14+, lead role Mad Hatter - Any gender, 14+, alto/baritone range, lead role March Hare - Any gender, 14+, lead role Doormouse - Any gender, 14+, lead role Tweedle Dee & Tweedle Dum - Any gender, 14+, lead role Jack/Knave of Hearts - Male, 14+, supporting role King of Hearts - Male, 14+, supporting role Dodo - Any gender, 14+, supporting role Two, Five & Seven of Hearts - Any gender, 12+, supporting role Loreena/Mother - Female, 12+, ensemble Cards Ensemble - Any gender, 10+ Flowers Ensemble - Any gender, 10+ Characters Ensemble - Any gender 10+

The high-energy variety show, Centre Stage , brought to the stage by Arise Theatricals , Sunnybank Theatre Group , Threeworlds , and Aussie Stage Buzz , was a fiesta of young talent and good old-fashioned live performances!   Produced and directed by William Piper (who also served as host and headline performer), the show embraced the cabaret-style, anything-can-happen energy. William, just 16 years old, was completely at ease with the audience, cracking jokes, playful improvisation, and genuinely impressive magic tricks. At one point he summed up the vibe perfectly with, “We’re just making it up at this point!” His juggling acts with bowling pins, balls, and hoops were intricate and precise, while his handcuff escape trick was both impressive and laugh-out-loud funny.   The variety acts consistently impressed me! Tyrese Jok, only 12 years old, busted some hip-hop moves with great musicality and stage presence. Macca Cloke brought explosive dance energy to the stage (and threw in some unexpected contortions). The acrobatic duo of Mia Krone and Lisa Gardiner performed a stunningly intense routine to a Swan Lake  remix, showcasing extraordinary balance, strength, and trust. It was the evening's visual pièce de résistance!   Vocal performances by Eliza Cullerton added warmth and storytelling. Eliza sang When He Sees Me from Waitress fully in character, with no visible nerves and strong acting choices, though the music track sat frustratingly quiet, making pitch support difficult (was there a technical fallback?) The Little Mermaid's Part of Your World  later in the show was bright, expressive, and emotionally grounded, showing lovely growth across her two appearances. Audience interaction was a constant hoot. William’s balloon animal trick with an unwitting young "volunteer" stole the show; the kid's reactions were priceless. Later, some very bewildered “buff dads” were dragged onstage as volunteers, much to the crowd’s amusement. The room was alive, playful, and supportive, and I was definitely the loudest person cackling in that theatre.   This concept is crying out for more young talent and a cabaret-style seating arrangement next time. The Centre Stage platform is a fantastic, supportive launchpad for budding performers to try out their acts in the spotlight, gain stage confidence, and soak up the applause. Overall, this was a lively, funny, and genuinely impressive night of entertainment that championed young artists across magic, circus, dance, acrobatics, and song. Bravo to the future stars!