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Title:  The Woman in Black Presented By:  The Lind Theatre Genre:  Horror / Thriller Play Synopsis: Adapted by Stephen Mallatratt from Susan Hill’s chilling ghost story, The Woman in Black  is one of the most successful plays ever staged, combining gripping storytelling, theatrical ingenuity, and spine-tingling atmosphere. The play follows Arthur Kipps, a solicitor sent to settle the estate of a deceased client in a remote village, where he encounters unsettling events tied to the mysterious Woman in Black. A story within a story, it blends drama with terror, relying on imagination, sound, and performance to evoke fear. Audition Date:  Monday, 6 October 2025 Audition Time:  7:00pm Audition Location and Address:  The Lind Theatre, 16 Mitchell Street, Nambour QLD Audition Requirements: Cold reads from the script. Applicants should demonstrate strong physicality, presence, and emotional range as appropriate to the role. Audition Registration:  Inquiries and expressions of interest to Director Kathy Hickson – 0400 446 197 or kathyhicko59@hotmail.com Performance Dates:  13–21 February 2026 Performance Location:  The Lind Theatre, 16 Mitchell Street, Nambour QLD Rehearsal Dates:  Beginning November 2025 Warnings:  Production includes supernatural themes, suspense, and horror content. Creative Team: Director: Kathy Hickson Adapted by: Stephen Mallatratt Original novel: Susan Hill Production Website:   The Lind Theatre – Auditions Available Roles/Character Breakdown: The Actor  – An energetic younger man, versatile, capable of playing multiple characters throughout the play. Requires strong storytelling and adaptability. Arthur Kipps  – An older man, haunted yet determined. Requires emotional range, ability to carry the narrative, and depth in portraying trauma and fear. The Woman in Black  – Non-speaking role. A silent spectral presence. Requires strong physicality, commanding stage presence, and the ability to terrify without words.

Title:  Charlie & The Chocolate Factory Presented By:  National Academy of Performing Arts (NAPA) Genre:  Musical Theatre – Family Synopsis: Join NAPA’s Summer School for a spectacular production of Charlie & The Chocolate Factory . This vibrant adaptation brings to life Roald Dahl’s timeless classic, as Charlie Bucket and a cast of colourful characters journey into Willy Wonka’s magical chocolate factory. Packed with imagination, humour, and iconic characters, this production is a unique opportunity for both children and adults to shine on stage. Audition Date:  Sunday, 7 December 2025 Audition Time: Lead Child Roles: 4:00pm – 6:00pm Adult Roles: 6:00pm – 8:30pm Audition Location and Address:  NAPA Studios, 3 Stevenson Ct, Burleigh Heads QLD 4220 Audition Requirements: Child Leads:  Must also be officially enrolled in the Summer School program to audition. Materials will be sent upon enrolment and submission of the audition form. Adult Roles:  Prepare audition materials as outlined in the pack (sent after form submission). Headshot and CV required for both children and adult applicants. Audition Registration: Child Leads: Summer School Child Audition Form Adult Roles: Adult Audition Form Performance Dates: Thursday 22 January 2026 – 6:00pm Friday 23 January 2026 – 6:00pm Saturday 24 January 2026 – 6:00pm Sunday 25 January 2026 – 11:00am & 6:00pm Performance Location:  NAPA Studios, Burleigh Heads QLD Rehearsal Dates: Lead Child Roles Additional Rehearsals:  10, 11, 13, 14, 15, 16 December 2025 and 13, 14, 15, 16 January 2026 Summer School Intensive:  17–22 January 2026, 10:00am–3:00pm daily. Performer Age: Summer School Ensemble: Ages 5–14 Adult Ensemble: Ages 15+ Child Leads: Ages 10+ Adult Leads: Ages 18+ Production Website:   https://napa.com.au/auditions Available Roles/Character Breakdown: Child Leads (10–17 years): Charlie Bucket Augustus Gloop Mike Teavee Violet Beauregarde Veruca Salt Lead Dancer (ages 8–14) Adult Leads (18+): Willy Wonka Grandpa Joe Mrs Bucket Mrs Gloop Mrs Teavee Mr Salt Mr Beauregarde Grandma Josephine Grandma Georgina Grandpa George Ensemble: Featured Ensemble (ages 17+) General Ensemble (ages 15+)

IONA Performing Arts Centre Directed by Andrew Cockroft-Penman, Musical Direction by Steven Days, Choreography by Kaitlin Hague Lights rise on a bare wooden stage. A few tables and chairs are scattered about. The band sit in a semi-circle upstage. Within moments, twelve actors transform this simple space into a bustling airport, a sleepy town, and a world changed forever. This is Come From Away . A stirring, deceptively simple musical inspired by the remarkable true story of the 7,000 passengers stranded in Gander, Newfoundland, following the 9/11 attacks. Amid a global crisis, the population of Gander doubled overnight and this small community welcomed strangers with open arms — providing food, shelter, clothing, medicine, phones, and, above all, compassion. Based on real events of September 11, 2001, when 38 planes were unexpectedly diverted to the small town of Gander, Newfoundland, Come From Away  reveals the best of humanity during the worst of times. Newfoundland (for anyone who forgot Year 10 geography) is a rugged island off the east coast of Canada, affectionately known as “The Rock.” When US airspace was shut down, Gander became the unexpected crossroads of the world. While the townspeople sprang into action, most passengers remained stuck on the tarmac (watching Titanic and drinking tiny bottles of spirits), with no phones, no seat-back screens, no internet, and no real answers. It is almost wild to imagine now: confusion, language barriers, jet lag, and drunk strangers singing along to “My Heart Will Go On.” Director Andrew Cockroft-Penman (who also designed the set) guided the story with a steady hand, blending humour, urgency, and reflection. There were no elaborate set pieces or costumes — just fluid transitions, tight blocking, and the pure magic of storytelling. He placed the audience directly into the passengers’ confusion and the townspeople’s scramble, grounding the production in documentary-like realism (but with far better music!). Scenes of cultural tension and language barriers were handled with sensitivity, especially in “On The Edge,”  which simmered with stress as a hurricane loomed and emotions frayed. Kaitlin Hague’s choreography was pure functional elegance. Every chair rotation, table shift, and walking pattern was deliberate, transforming the space into airports, buses, shelters, and pubs. Her staging of “28 Hours / Wherever We Are”  perfectly conveyed the fatigue of passengers trapped on a plane for over a day, enhanced by Chloe Harrison’s evocative lighting in dusky pinks, oranges, and purples. In joyful contrast, the rauc ous “Heave Away / Screech In” exploded with energy, complete with string lights and party chaos. Together, Cockroft-Penman and Hague captured the intense technical precision this show demands. Come From Away  is not a show built on big solos or applause breaks, instead it thrives on razor-sharp timing, overlapping narration, and seamless character changes. With over 50 roles split between just twelve performers, it is a marathon requiring complete commitment, intelligence, and trust. Not a single actor faltered (at least that we could tell). Every line, change, and prop move had to be exact, and they were. Carolyn Latter stood out as Beulah, radiating warmth and maternal grounding throughout, with particularly moving scenes opposite Vanessa Wainwright as Hannah, a mother awaiting news of her son; a firefighter in NYC. Jackie Fredericksen brought strength to Beverley Bass in “Me and the Sky,” a vocally demanding solo that felt slightly underpowered on opening night due to what seemed to be a mic issue with the guitar backing. Still, the emotional arc of her journey as the world’s first female American captain came through with clarity. Jason Kiger carried the pragmatic authority of Claude with dry charm, while Lonnie Toia’s Bob was a comedic highlight, landing every punchline will brilliant timing. Mark Rickell and Rushad Katrak gave the Kevins an easy humour, with Katrak also shining as Ali, who faces suspicion and racial prejudice with quiet dignity. Priya Shah was bright-eyed and believable as Janice, the eager young reporter suddenly thrust into a moment of history. Mike Zarate charmed as the ever-helpful Oz. Jenna Murphy was wonderfully no-nonsense as Bonnie, the town’s unofficial animal ambassador (8 dogs, 9 cats, and 2 chimpanzees were on those planes!) As she fiercely reminded us, “All animals are affected by stress, not just people,” we saw the full breadth of this show’s heart. Natalie Lennox and Joshua Langdon captured the sweetness and awkwardness of Diane and Nick’s unexpected romance with tender chemistry. The entire cast moved with such fluidity, each switching characters, accents, and energy without ever feeling rushed or confused. Even when exhaustion set in toward the end of this 100-minute one-act, their stamina never wavered. Musical Director Steven Days led a phenomenal onstage band that gave life to the show’s Celtic-Canadian score with vibrancy. The orchestra featured Days on keyboard and accordion, Ben Mathieson and Lucas Fisher on guitars, mandolin and bouzouki, Rowan Bowyer and Scott Heiner on bodhrán, Latin, African and Irish drums, Phil Kan on bass, Sophie Willis on flute, whistle and pipes, and Melinda Coles on violin. It was a lush, textured soundscape that elevated every moment. With the musicians visible on stage, they fed energy directly into the action. While opening night’s sound mix had a few hiccups (with varying mic levels and some spoken lines lost), the richness of the score and script still soared. The technical elements supported the narrative with finesse. Chloe Harrison’s lighting carried us from the claustrophobia of airplane cabins to the glow of Canadian sunsets. Costumes (Kim Heslewood) and hair and makeup (Lynne Swain) were understated and versatile, enabling instant character shifts. The backstage crew and dressers deserve huge credit for the speed and smoothness of costume and prop changes. You could almost forget how complex this show is to stage! As Cockroft-Penman reflected in the program, Come From Away  remains as relevant now as it was 20 years ago. In a world still navigating pandemic aftershocks, growing divisions, and collective fatigue, this story feels like a warm hug, reminding us that compassion can be contagious. It is a story about neighbours made out of strangers, about humour softening grief, and kindness crossing oceans and belief systems. Photography by Sharyn Hall

Title:  Spring Awakening Presented By:  Gold Coast Little Theatre Genre:  Rock Musical / Coming-of-Age Drama Synopsis: Spring Awakening explores the journey from adolescence to adulthood with poignancy and passion. This electrifying, Tony Award-winning musical fuses morality, sexuality, and rock and roll in a daring celebration of youth, rebellion, and self-discovery. Based on Frank Wedekind’s play, the story follows a group of late 19th-century German students as they navigate teenage self-discovery and coming-of-age anxieties, confronting themes of abuse, sexuality, love, and tragedy. Audition Date:  Saturday 27 September 2025 (from 10am) Audition Location and Address:  Gold Coast Little Theatre, 21A Scarborough St, Southport QLD Audition Requirements: Teenage roles: Prepare two contrasting songs (90 seconds each) showcasing vocal/acting/character ability. Bring backing track (USB or Bluetooth/Aux). Adult roles: Prepare two contrasting monologues showcasing acting/character ability. All performers must be 18+ and use an American accent. Callbacks: Monday 29 September 2025. Audition Registration:   Register here Audition Pack:   Download audition pack Performance Dates:  30 January – 21 February 2026 Performance Location:  Gold Coast Little Theatre Rehearsal Dates:  Starting Sunday 5 October 2025 Rehearsal Times:  Tuesdays & Thursdays 7–10pm; Sundays Warnings:  Contains depictions and themes of abuse, sexual assault, rape, suicide, and partial nudity. An intimacy coordinator is involved to ensure performer safety. Performer Age:  18+ Creative Team: Director: Nathan French Musical Director: Taylor Holmes Production Website:   GCLT Auditions Available Roles/Character Breakdown: Wendla Playing Age: 18–30 Voice: Female, E3–E5 Innocent, curious, and sheltered; fascinated by the world and her changing body. Vulnerable yet eager to learn, she explores newfound sexuality with Melchior. Intimacy: Requires simulated sex scene and staged abuse with Melchior, plus partial nudity (intimacy coordinator provided). Melchior Playing Age: 18–30 Voice: Male, G2–B4 Intelligent, headstrong, atheist, and rebellious. Struggles with passion and radical ideas while falling in love with Wendla. Intimacy: Simulated sex scene and staged abuse with Wendla, partial nudity (intimacy coordinator provided). Moritz Playing Age: 18–30 Voice: Male, C3–A4 Anxious and awkward, desperate to please but plagued by failure. Haunted by erotic dreams and crushed by academic pressure, leading to despair and eventual suicide. Must portray onstage suicide with a gun. Ilse Playing Age: 18–30 Voice: Female, E3–E5 Martha’s sister. Escaped abuse to live freely in an artists’ colony. Bohemian, outwardly carefree, but deeply scarred. Martha Playing Age: 18–30 Voice: Female, E3–E5 Quiet schoolgirl who endures physical abuse from her father. Holds a secret crush on Moritz. Sensitive, bruised, but resilient. Hanschen Playing Age: 18–30 Voice: Male, Ab2–D5 Narcissistic, witty, and self-assured in his sexuality. Uses charm and intellect to seduce Ernst. Doubling as Rupert. Intimacy: Requires onstage kiss with Ernst. Ernst Playing Age: 18–30 Voice: Male, Ab2–A4 Naïve, romantic, and vulnerable. Falls earnestly in love with Hanschen, forming a sincere connection. Doubling as Reinhold. Intimacy: Requires onstage kiss with Hanschen. Thea Playing Age: 18–30 Voice: Female, E3–E5 Wendla’s dreamy, innocent best friend. Optimistic, girlish, and idealistic. Anna Playing Age: 18–30 Voice: Female, E3–C5 Martha’s optimistic, naïve friend. Struggles to grasp the severity of Martha’s abuse. Cheerful, loyal, and innocent. Georg Playing Age: 18–30 Voice: Male, Ab2–D5 Clumsy and comic. Infatuated with his piano teacher, often played for laughs. Doubling as Dieter. Otto Playing Age: 18–30 Voice: Male, Ab2–D5 Classmate of Melchior. Struggles with repressed, “inappropriate” desires. Doubling as Ulbrecht. Adult Woman Playing Age: 40–50 Voice: Female, D3–A4 Plays all adult female roles: Frau Bergman (Wendla’s mother), Frau Bessel (Martha’s mother), Frau Gabor, and teachers like Fraulein Knuppeldick and Fraulein Grossebustenhalter. Adult Man Playing Age: 40–50 Voice: Male, D3–F4 Plays all adult male roles: Herr Sonnenstitch (teacher), Headmaster Knochenbruch, Herr Steifel (Moritz’s father), Herr Neumann (Ilse’s father), Herr Rilow (Hanschen’s father), Father Kaulbach, Doctor von Brausepulver, Herr Gabor (Melchior’s father), Schmidt, and others.

Title:  PUFFS (Two-Act Young Wizards Edition) Presented By:  ROAR Academy Genre:  Comedy / Parody Play Synopsis: PUFFS  is a fast-paced parody of the Harry Potter universe, told from the perspective of the underdogs — the Puffs. Following Wayne Hopkins and his friends Oliver and Megan, this hilarious spoof explores what it’s like to be one of the “other” students at a Certain School of Magic. Full of heart, charm, and plenty of comedy, PUFFS  is a story for anyone who has never been destined to save the world. Audition Date: Saturday 13 September 2025, 3:00–5:00pm Tuesday 16 September 2025, 6:00–8:00pm Audition Location and Address:  Theatre 102, 102 Anzac Ave, Redcliffe QLD Audition Requirements: No preparation required; auditions will be cold reads from the script. The director will provide guidance during the audition. Actors are encouraged to audition for multiple roles. Audition Registration:  Email info@roaracademy.com  with your attendance preference. Performance Dates:  28 – 30 November 2025 Performance Location:  Theatre 102, Redcliffe QLD Rehearsal Dates:  From 7 October 2025 Rehearsal Times: Tuesdays 5:00–7:00pm Saturdays 3:00–5:00pm Creative Team: Director: Jake Hollingsworth Producer: Madeleine Johns Production Website:   ROAR Academy Other information: The show can be cast with as few as 11 actors but may expand to include many more. A chance for young performers to explore comedy, parody, and ensemble theatre. Available Roles/Character Breakdown: Wayne Hopkins - The hero – a nerdy wizard boy from New Mexico. Totally uncool, but full of charm and heart. Loyal to a tee. Likes comic books and video games, knows nothing about magic or this weird magic world he is now a part of. He is determined to be the hero, even if another boy with a magic scar steals his thunder. Best friends with Oliver and Megan. Oliver Rivers - One of the main trio. Incredibly smart and cerebral, he is a math wiz, and proud of it; lovingly a nerd from New Jersey. After ending up at wizarding school, he finds out he isn’t the top of his class, and instead begins a fantastical journey of friendship and even some love, better than any algebra class could ever promise. Real comic chops, incredibly appealing, youthful. Megan Jones – A moody puff and one of the main trio; begins the show by only desiring to live up to her mother’s reputation: a dark wizard currently in Wiz Priz for being such a bad-ass Death Buddy in her youth. Favourite store: Hot Topic. Favourite colour: black. Over time, her tough veneer begins to soften, as a budding romance with Oliver becomes apparent. Defiant and headstrong on the surface, the audience begins to see that her adamance of being completely unique and independent really stems from her desire to be loved and accepted. Narrator - The narrator of the story. She/he guides us through our entire show of Puffy-ness. British accent. Must be a great storyteller, as she/he must keep the audience engaged and updated on all the goings-on. Can be a bit of a know-it-all, but still relatable and appealing. Comedy skills a must, improv background is a plus. Leanne - A little distant. A little random. Is possibly a genius or really, really stupid. But has a really strong heart. The Puffiest of the Puffs. Ernie Mac - Proud. Loud. Pretty sure he’s the best. Hannah – A socially awkward and painfully shy Puff. Very shy. Not great at reading social cues. J. Finich Fletchley - Boyish & fun. Chipper and happy except, when his life is in mortal danger. Sally Perks - She just goes to school there. Susie Bones - Sad. Gloomy. Think Eeyore from “Winnie the Pooh.” Constantly in fear of her or her family dying. Cedric/Mr. Voldy - An appealing comic actor to play the pivotal roles of Cedric in Act I and Mr. Voldy in Act II. Cedric: A champion. Athletic, winning, popular, and charming. Everyone’s favorite, but still loyal, patient, and kind. A leading example of a Puff. Mr. Voldy: Evil. Like, reeeaaally evil. Wants to rule the world in shadows and darkness and terror. Other Characters - Harry, Hermeoone 1, 2, and 3, Clumsy Longbottom, Blondo Malfoy, Seamus, Goyle, Viktor, Colin, Frenchy, Zach Smith, Uncle Dave, Hagrid, A Certain Potions Teacher, 1st Headmaster, 2nd Headmaster, Professor Locky, Professor McG, Professor Turban, Professor Sproutty, Professor Lanny, Ghost History Teach, Runes Teach, Ms. Babble, Real Mr. Moody, Mr. Nick, A Fat Friar, Myrtle, Sorted Smart, Rita Scooter, Mr. Bagman, Death Buddy 1, Xavia Jones, Helga, Rowena, Ric Gryff, Sal, Bippy, Scorp

There’s Shakespeare, and then there’s the Bard meets rock'n'roll under the stars, and VOX Theatre Arts’ production of ' As You Like It'  gave us the latter.   For those unfamiliar with this one (don’t worry, you’re not alone), ' As You Like It'  is one of the Bard’s outdoor comedies. Rosalind is banished from court by her usurping uncle, Duke Frederick, and disguises herself as a young man named Ganymede. Along with her cousin Celia and the jester Touchstone, she flees to the Forest of Arden. There she encounters Orlando who has also run away after clashes with his family... What follows is a tangle of lovers, mistaken identities, ridiculous disguises, and musings on love, loyalty, and identity.   This was my first time meeting this particular play (though it was giving Twelfth Night energy, with mistaken identities, cross-dressing, and lovers falling madly at first sight), but the addition of rock classics and a live band meant it had a flavour all of its own. Performed outdoors at the Forest Lake Amphitheatre, under a sky that went from twilight to full "I can't feel my fingers" freezing, this was a quintessentially Brisbane theatre night and worth packing an extra blanket for. The setting itself was stunning, framed by the lake, blooms and bushland. Still, I’ll be recommending a springtime matinee for future seasons for those as golden sunsets and warmer air.   The cast was brilliantly chosen not only for their ability to wrangle Shakespeare’s language and play to a crowd, but also for their comfort in singing, dancing, clowning, and mock-brawling in the middle of a public park. Varni Keioskie was an absolute delight as Rosalind. She played Shakespearean frivolity with just the right amount of playful absurdity, leaning into the running gag about Rosalind’s supposed towering height. Poor Varni is pint-sized, which only made it funnier, and she sold the joke with such conviction that it landed every single time. She handled both the drama and the comedy with ease, sweeping us into her lovestruck scheming and disguise-as-Ganymede antics.   Skye Schultz’s Orlando bounded onstage with lovestruck charisma. Their fun rock number “Are You Gonna Be My Girl”  had the whole audience bopping along (though I ended up receiving the bloom instead of Rosalind — lucky me!). Skye’s stage chemistry with Dom Bradley as his brother Oliver was delicious, whether in their mock-serious wrestling or their simmering sibling rivalry.   And speaking of Dom, he is a truly fantastic comedic actor. Dom made every background choice, sly aside, and “lost puppy” expression count. He’s the kind of performer you can’t help but watch, even when the main action isn’t on him. His knack for stealing focus without ever pulling the scene off-balance was pure joy to witness.   Jack Barrett, as the fool Touchstone, was a revelation. His background as a children’s entertainer was obvious in the best way. He was endlessly engaging, bouncing off his castmates, riffing with the musicians, and dragging the audience into his antics. His dynamic with everyone both on and off stage seemed to glue the whole world of the play together. His goofy and strong rendition of “Working Class Man”  (complete with kazoo-playing) had me very impressed. Plus, he did the noble service of keeping us on track whenever Shakespeare’s plot threatened to lose us.   Angelina Mustafay floated across the stage as Audrey with a dazed-and-confused smile that never faltered. Her sweet beauty as the wide-eyed simpleton made her impossible to ignore, even as Touchstone dragged her along like a bewildered prop. Her gentle, airy presence was the perfect counterpoint to the fool’s mischief.   Braithe Ellis played Sylvius, the hopelessly lovesick (and slightly stalker-ish) proclaimed “King of the Losers,” pining with all the subtlety of a Labrador. Hannah McNamara as Phebe met his advances with sharp disdain, even belting out “Sweet About Me”  to drive the point home. Every clueless plea from Sylvius was swatted away by her withering dismissals, making their cat-and-mouse routine one of the funniest dynamics of the night. Eloise Newman as Celia was the ultimate sidekick. With her knitting prop never far away, she offered quiet, knowing commentary while everyone else professed undying love after approximately two seconds of acquaintance (it wouldn’t be Shakespeare without it). Her stillness against the surrounding chaos made the comedy pop even more, especially when she inevitably gave in to love at first sight herself.   Geo Toner gave Jacques a beautifully melancholic edge, her crash-out moment landing perfectly amidst the otherwise joyful forest antics. She balanced gloom with humour so well that her presence always shifted the energy in interesting ways. Tim McQueen was so convincing as the villainous Duke Frederick that the audience booed him every time he entered or exited… surely the ultimate compliment!   And then there was Mark James, doubling as Duke Senior and musician, who brought the park down leading us all in a rousing rendition of Hunters & Collectors’ “Holy Grail.”  Alongside Molly Parker (also MD) on guitar and Phoebe Parker on percussion, this small but mighty trio powered the show’s unique “Bard meets Aussie pub rock” vibe. Harmonies in “Throw Your Arms Around Me”  soared beautifully through the unamplified night air. We also got a tender and heartfelt duet of “Fall At Your Feet”  from Varni and Skye, with Eloise knitting awkwardly beside them as the perfect third wheel. The finale, a gleeful singalong of “From Little Things Big Things Grow,”  sent everyone home grinning, humming, and feeling like part of the company.   The set and costume design matched the playful spirit of the play. Tamzen Hunter’s floral structures framed the amphitheatre with springtime blooms, even dressing up the musicians’ area. Costumes were colourful, vibrant, and perfectly suited for outdoors, while bright lighting bounced off the greenery of the set and kept the atmosphere lively once the sun went down.   Hannah Herwin’s choreography kept the energy high, ensuring there was always movement and fun on stage, while Max Kingsbury’s direction leaned into both clarity and chaos. Together they balanced Shakespeare’s text with audience-friendly humour, fourth-wall breaks, and cheeky asides that made sure we were never too lost. Bonus: we even got some accidental extra theatre when a contemporary dancer appeared on the pier just behind the stage for almost the entire performance. The cast improvised, the audience stifled giggles, and it only added to the “you had to be there” magic of the evening.   The show wasn’t without quirks. Act I ran long with the addition of music, and the extended intermission (due to the hot drink service and a trek to the bathrooms) stretched the evening. The setup allowed audiences to bring picnic rugs or chairs; very comfortable, though definitely at the mercy of the weather. Still, there was something wonderfully communal about sitting together under the night sky, laughing and singing along. Did I understand every word of the Bard? Not even close. Did I care? Absolutely not. I was too busy enjoying the vibe.   VOX Theatre Arts have proved once again why they’re a company to watch. I adored their Midsummer Night's Dream  last year at New Farm Park, and this show was just as wonderful (if a little colder). I’m already counting down to the next Shakespeare in Bloom, and in the meantime, I am buzzing for their next big musical, If/Then,  at Arcana on 10-11 October, 2025!   Photography by Artist Focused

Elvis Presley may have left the building decades ago, but he was alive and well at Phoenix Ensemble’s All Shook Up , a jukebox musical inspired by Shakespeare’s Twelfth Night . This musical drops us in a small midwestern town stifled by its conservative mayor, until the arrival of Chad… a leather-jacketed, motorcycle-riding roustabout who shakes things up with his blue suede shoes, a guitar, and a wake-up call of rock’n’roll rebellion. Cue love triangles (and squares and hexagons), mistaken identities, and belting out the King's greatest hits at every opportunity. From the very first number, ' Jailhouse Rock' , the cast burst onto the stage with such energy that it literally brought the show to a stop. A mid-scene technical hiccup forced a pause, but the ensemble handled it with such professionalism it barely felt like a disruption. And honestly? It gave the cast a chance to catch their breath before diving back in to the vigorous choreography.   Dugald Lowis embodied Chad with irresistible swagger and charm. Rather than leaning on an Elvis impersonation, Dugald created their own comic groove, complete with a perfect “oblivious dumb guy” voice that landed every laugh. Chad is a role that demands confidence above all else, and Dugald radiated it from the moment they stepped on stage. Matching them beat for beat was Anna Ryan as Natalie, the grease-stained mechanic who disguises herself as Ed to get closer to Chad. Her wide-eyed, love-at-first-sight ' One Night With You'  was adorable, her transformation in ' Love Me Tender' (complete with key changes lowered into “man mode”) was brilliant, and her ' A Little Less Conversation'  was the kind of number that would definitely leave the audience sexually confused. Her big solo ' Fools Fall in Love'  confirmed her as a vocal standout, while her comic instincts shone in some of the funniest background business of the night. Sorry to the director sitting in front of me, because I could NOT stop cackling at Anna’s facial expressions as Ed!   The supporting cast added layer upon layer of humour and heart. Genevieve Tree as Sylvia was my spirit animal: the perpetually single gal who masked her vulnerability with sharp sarcasm. Gen combined the "crazy mum" comedy with her soaring, soulful voice in the ballad ' There’s Always Me' ; a breathtaking highlight that showed off her endless ability to sustain. Grace Clarke’s Miss Sandra looked as though she had stepped straight out of a portal to the 1950s, nailing ' Hound Dog'  with diva-like glamour. Hannah Paul captured the wide-eyed innocence of sixteen-year-old Lorraine beautifully. Her powerhouse vocals and cute chemistry with Joshua Bird’s sweet-voiced Dean made their duet ' That’s All Right'  sparkle. Toby Redwood’s Dennis was the goofy but loveable sidekick, while Caleb Holman was endearing as Jim, Natalie’s widowed and awkward father whose cluelessness made him instantly likeable. Constanza Acevedo Burckhardt was hilarity personified as Mayor Matilda. Tiny but mighty, Connie stormed the stage in a gospel-flavoured ' Devil in Disguise' , declaring that “evil is always attractive” and Chad proving it with a wicked grin. She paired brilliantly with Clayton Eltis as Sheriff Earl, whose silent, all-face acting proved that sometimes no lines at all can be the funniest moments. The ensemble worked tirelessly to keep the show buzzing with stamina, energy and personality. Michael Enright and Kelsey Todd’s expressive faces made them impossible not to watch, while Jackson Poole, Mikey Searle, and Hannah Paul brought extra punch to Jamie O’Donoghue’s high-energy choreography, particularly in ' C’mon Everybody' . A reminder to the dancers to keep your eyes up rather than down, because your joy is best shared with the audience, not the floor...   Being a jukebox musical, the songs really are the driving force, and music director Rae Rose’s work was fantastic. ' Heartbreak Hotel' had spine-tingling group vocals, while ' Can’t Help Falling in Love'  unfolded into a gorgeous patchwork of unrequited love. But the crowning moment came with ' If I Can Dream' , staged with the cast lined up in rainbow-colour; a beautiful visual statement of their unity. Jamie O’Donoghue’s choreography hit just the right mix of nostalgic 50s/60s dance and theatricality. ' Blue Suede Shoes'  was a crowd favourite with sharp ensemble moves (and props to the costume team for those endless pairs of blue shoes!).   Design and direction tied it all together. Ruby Thompson's direction kept the pace snappy, balancing the over-dramatics of instant love with the sincere connections. The show was brimming with delightful surprises, like the cleverly staged bus prop and bike chase during ' It’s Now or Never' . Ruby's eye for detail also made the background tableaus a comedy treasure trove, rewarding anyone who looked beyond the main action. Ruby's diner set, with pastel walls, a jukebox, and a black-and-white checkered floor, was pure retro charm. Lachlan Hall’s colourful quick-change costumes and fabulous hairdos sealed the aesthetic, with a wink of cheeky modernity through the Converse sneakers. Maddy Bosando’s lighting and Luke O’Hagan’s sound added a final layer of polish, particularly in constantly-appearing song 'One Night With You'.   This was the kind of production that reminded me why community theatre is so special: true joy created on stage, and joy mirrored right back from the audience. The satire of Shakespeare’s Twelfth Night  (or She's the Man anyone?) gleefully winked through as lovers tumbled in and out of infatuation at lightning speed and disguises fooled everyone but the audience. By the time the company launched into the finale, ' Burning Love' , the theatre was buzzing with laughter and applause. Yes, the plot was Shakespearean nonsense dressed in blue suede, but that was exactly the point. Phoenix Ensemble’s All Shook Up  leaned into its own absurdity with open arms, delivering heart, humour, and some of the most-beloved songs in history, proving that Elvis really did have a song for every scenario life can throw at you. Photography: By Brit Creative, Creative Street, Stageshots

Presented by Queensland Shakespeare Ensemble (QSE) and PIP Theatre Director:  Angus Thorburn (Assistant Director Rebecca Murphy)   Shakespeare’s 440-year-old comedy still sparkles as fresh and funny as ever, transporting us into an enchanted forest where lovers bicker, fairies scheme, and a troupe of well-meaning players stage the most hilariously dreadful play-within-a-play. Director Angus Thorburn promised a “beautiful mess,” and that was exactly what unfolded on the PIP Theatre stage.   Josh Murphy’s set of simple green draping and branch structures gave the stage an immediate woodland charm, conjuring the forest with naturalistic ease. I couldn’t help but imagine how a sprinkling of fairy lights would have elevated the magic even further. Harmony Barath’s layered fabrics lent the Athenians, Lovers, and Mechanicals an earthy timelessness, while the fairies shimmered in elaborate costumes and masks, their strangeness heightened by almost insect-like physicality.   Emily Croft’s Puck glowed under striking makeup that gave the trickster a mischievous glow and Claire Pearson’s Titania caught the eye as she glided across the stage crowned in flowers and shimmering fabrics, every inch the regal queen. Lighting by Ziggy Enoch interlaced enchantment throughout, with the lullaby sequence in particular glowing with haunting atmosphere. And while I longed for a touch more glitter — on faces, costumes, even the magic flower — I appreciated the practical choice, knowing the cast were doubling roles and quick-changing. Music played a vital role in this production. With original compositions by Liliana Macarone and Rob Pensalfini, the show included moments of cast singing and even playful choreography. These interludes deepened the fairy magic and gave the ensemble opportunities to shine as a collective. I did wonder if we needed the lullaby sung in full twice, but it was beautifully performed. The cast embraced Shakespeare’s chaos wholeheartedly, throwing themselves into comedy, mischief and heartfelt moments. Mikala Crawley made a wonderfully dramatic Helena, leaning into her desperation with both gusto and humour. Her heartfelt conviction that she was being cruelly mocked drew a real pang of sympathy amid the laughter. Leah Mustard’s Hermia was a fiery pocket rocket, sparking with energy and chemistry opposite Meg Bennett’s Lysandra, whose playful, queer-coded partnership with Hermia added freshness to the familiar text. Their quarrels with Eamon Langton’s Demetrius became deliciously childish playground fights, full of flailing limbs and petty insults.   Dom Tennison stood out across multiple roles (Egeus, Snug, and Mustardseed), commanding the stage with presence in parts that often fade into the background. Rob Pensalfini stole scene after scene as Bottom, buzzing with the irrepressible chaos of what I can only describe as 'the original ADHD character.' His Jack Black–style energy was unpredictable, quirky, and uproarious, particularly once transformed into a donkey with a broad Aussie accent.   Liliana Macarone brought grounded leadership to Quince, delighting the audience with an unexpected turn on guitar as a one-woman band. James Enwright shone as Flute, especially in his dainty, wigged performance as Thisbe. His gloriously sincere “bad acting” paired perfectly with Pensalfini’s overblown Pyramus, their tragic finale a masterclass in comedy.   Emily Croft bounded through the play as a hyper, gleefully mischievous Puck, her presence always eye-catching and playful. Rebecca Murphy highly impressed me in the dual roles of sly, manipulative Oberon and the smaller but memorable Starveling. Claire Pearson’s Titania radiated regality, every inch the haughty fairy queen. Rounding out the ensemble were Jason Nash as a sharp-eyed Theseus and playful Peaseblossom, and Paris Lindner as Hippolyta and Moth, both strong in their dual roles.   The show brimmed with moments to remember. The lovers’ squabbles, full of petulance, never failed to raise a laugh. Helena’s monologue, convinced of cruel trickery, offered rare vulnerability amidst the chaos. I adored the petty side-business that constantly bubbled at the edges of the stage: sharp glances, silent gestures, and background mischief rewarding every watchful eye. “What fools these mortals be” landed with delicious bite, while the running gag of the heavy sleepers oblivious to the forest’s mayhem never failed to amuse me.   The play-within-a-play was the jewel in the crown. Pensalfini’s melodramatic death, Enwright’s wobbly Thisbe, and Macarone’s interruptions as Quince created the perfect storm. It felt like I was truly watching a gloriously awful amateur production. Jason Nash as Theseus gave harsh yet enthralled critique of their play; conjuring the knowing eye of a director who knows he could have done better, yet secretly relishes every second of the disaster before him.   QSE’s A Midsummer Night’s Dream  captured both the beauty and the ridiculousness of Shakespeare’s world. The ensemble used every inch of the space with commitment, their verse delivered with clarity and ease, never once faltering. The audience was full and audibly responsive throughout, laughing, gasping, and relishing the madness of love and live theatre.   This was only my second time seeing this play, and the novelty certainly has not worn off. With magic, music, pettiness, and a cast unafraid to embrace both frivolity and poetry, this was a joyful trip through the forest.   Photography by Benjamin Prindable

Presented by: The Really Useful Group & QPAC Venue: Lyric Theatre, QPAC It wasn’t every day I walk into an Andrew Lloyd Webber musical that I have never really vibed with and walked out feeling like I’d just been baptised by rock and roll and thrown into a holy fever dream. Jesus Christ Superstar , the iconic 1970 rock opera by Webber and Tim Rice, tells the story of the final days of Jesus through a modern lens. It is a high-octane blend of biblical narrative, political unrest, and soaring electric guitars. I know the score like the back of my hand (thanks to my mum’s vinyl collection), but this brand-new, Olivier Award–winning production wasn’t just a revival… it was a reinvention. To my surprise (and mild annoyance), I was absolutely blown away. Let’s get one thing straight: this version of Superstar  was more concert than traditional theatre. If you’d gone in expecting sweeping emotional arcs or classical storytelling, you may have been left a little bewildered. This was a stripped-back, stylised, visually minimalist staging that favoured raw vocals, rhythmic energy, and striking imagery. It was a warehouse rave in ancient Judea: gritty, pulsing, and unafraid. This production was reimagined by London’s Regent’s Park Open Air Theatre where it originated and was helmed by director Timothy Sheader and choreographer Drew McOnie. Completing the creative team was design by Tom Scutt, lighting design by Lee Curran, sound design by Nick Lidster and music supervision by Tom Deering. The Australian creative team comprised Associate Director Shaun Rennie, Musical Director Laura Tipoki, Resident Choreographer Bree Tipoki, Associate Lighting Designer Gavan Swift and Associate Sound Designer Michael Waters. The set, a towering multi-level structure, loomed over the stage, housing the onstage rock band. A crucifix structure stretched out to dominate stage left, meaning most of the main action unfolded stage right. And the sound was LOUD. So loud, in fact, that lyrics were occasionally swallowed up by the sheer wall of sound, especially during complex ensemble numbers. When diction got murky or vocal melismas dominated, it was tricky to catch some emotional nuances if you weren’t already well-acquainted with the score. This production also used handheld microphones throughout, a fantastic choice that leaned into the concert aesthetic and ensured the lead vocals were amplified in the best possible way. The choreography was precise, stylised, and hypnotic (especially the group formations when viewed from the balcony seating). At times, though, it felt more like watching an impressive music video than a piece of musical theatre. The ensemble stormed in from the audience itself: hoodie-cloaked apostles bursting through the aisles with parkour energy for " What’s the Buzz".  Their movement was intense, strange, and oddly mesmerising. The more you surrendered to the choreography, the more it pulled you in. That said, the scale and constant busyness of the ensemble occasionally pulled attention away from key emotional beats, particularly those involving Jesus (like the forty lashes scene). This production lived and breathed through its vocals... and the cast delivered. Javon King as Judas was an unstoppable force, bringing grit and soul to every second he was onstage. His vocals were out-of-this-world, and his emotional volatility made him utterly magnetic. Michael Paynter as Jesus was all range and rockstar presence, commanding the infamous falsetto sections with control and force. He opened " Gethsemane"  playing his own acoustic guitar in a spotlit, soul-baring moment that grew into an arena-worthy concert à la Steven Tyler. He was a rock god with a halo, nailing those sky-high notes like he had a direct line to the heavens. Mahalia Barnes was sublime as Mary Magdalene, her velvety voice wrapping around " Everything’s Alright"  with tenderness. Her powerful voice honestly felt like Adele had wandered into Jerusalem. She was flanked by incredible soul singers Danielle Matthews, Calista Nelmes, and Stellar Perry, whose blended harmonies and pure vocal tone elevated every group number. " I Don’t Know How to Love Him"  was a moment of confessional peace in an otherwise pounding score, and " Could We Start Again Please"  (with Tana Laga’aia as Peter) became one of the production’s best (and few) genuinely tender scenes. Reuben Kaye stole every millisecond of his stage time as King Herod, embracing full chaos in his unhinged, outrageous, deliciously bizarre number. His Herod was serving Mugatu-from- Zoolander  as he milked every moment of his 15 minutes of fame. It was as if Rocky Horror  met Moulin Rouge  and decided to crash this biblical rock opera with a cabaret villain twist. While some may have found it tonally jarring, it was undeniably one of the most memorable scenes of the night. Peter Murphy’s Pilate was another standout. His voice had that classic rock grit and gorgeous adaptability across scenes. His " Pilate’s Dream",  complete with self-accompanied guitar, was a gentle, eerie moment of introspection amidst the storm. Meanwhile, Elliot Baker as Caiaphas and John O’Hara as Annas delivered otherworldly vocals in " This Jesus Must Die" ... those low notes were unreal! Other highlights included Graeme Isaako’s electric " Simon Zealotes",  which was a personal favourite, and the intense, primal choreography of " Damned for All Time",  paired with Judas’ emotional collapse. The lighting design was just as much a character as any of the performers. From the balcony, the almost reflective floor amplified the colours, turning group movement into living artwork. The blocking was swift and dynamic — the only figure to float slowly and almost divinely through the chaos was, appropriately, Jesus. Now… a little real talk. The one thing that detracted from this otherwise stellar production wasn’t the show... it was the audience. Or rather, the lack of theatre etiquette. A full row behind me seemed to think they were at a pub, loudly talking even during the crucifixion scene. Despite several shushing attempts from our row, the ushers never stepped in. It was disheartening, and unfortunately, it’s becoming a trend at QPAC. When audiences spend that much on a performance, they deserve the chance to experience it without distractions. I'm all for enjoying yourself, but please Brisbane, respect the art, the performers, and your fellow audience members. Now back to the finale! The title number was everything you’d want it to be — a rock anthem explosion, with Judas backed by powerhouse soul singers in a number that felt seconds away from a mosh pit. The crucifixion that followed was staged with haunting reverence: sparse but beautiful. I just wished I could have fully immersed without distraction. This production of Jesus Christ Superstar  wasn’t traditional (and that was the point). It was stylised, concert-like, and unapologetically contemporary. It didn’t always prioritise clarity or emotional connection, but it delivered a full-throttle theatrical experience unlike anything else. Whether you were a lifelong fan or, like me, on the fence.... this production might just have converted you. Hallelujah! Photography By Brit Creative

Presented at Queensland Multicultural Centre Performed by the graduating class of Queensland Conservatorium 2025, with additional students swelling the ensemble, Welcome to Thebes  was a bold, gutsy, and timely reimagining of the Greek tale. In this version, Thebes has emerged from civil war and is taking its first fragile steps into democracy under newly appointed President Eurydice. When she invites Theseus of Athens to provide aid, their uneasy diplomacy spirals into a gripping clash of politics, ego, misogyny, and the brutal cost of power. From the first glance at Claira Ruthenberg’s set, a chaotic sprawl of dishevelled fabrics and disarray accompanied by the noise of helicopters, it was clear we were placed in a world scarred by war. Costumes blurred eras, with gleaming gold jewellery and the occasional toga paired with contemporary military uniforms and sharp business wear. Keith Clark’s lighting and projections bathed it all in an unsettling haze. Time felt fluid here: gods and cell phones, togas and guns, ancient warcraft and modern bureaucracy all colliding in a world that was both mythic and eerily familiar. The cast rose brilliantly to the challenge of this sprawling story, with the script giving generous space for each performer to shine. At its centre was Angela Lal as Eurydice. Her performance was outstanding: a leader both dignified and fearful, balancing the demands of diplomacy with the weight of personal loss, all underpinned by a steely will. Her restraint, followed by the raw emotional release of her Act Two monologue, left the room completely hushed. As she described the war’s devastation on her family, it felt as though her piercing words were drawn straight from a mother’s soul. Opposite her, Matthew Ianna’s Theseus was the embodiment of smug entitlement, a condescending superpower leader who offered aid with one hand while twisting the arm with the other. His character summed up by his own statement: “one fist is for force and one for peace”, was a fascinating arc into vulnerability and understanding. His Act One debate with Eurydice crackled with tension, as he dismissed her and her nation’s plight with bored contempt. Women in the audience audibly groaned at his arrogance; a perfectly delivered mansplaining masterclass. Later, his full-blown tantrum was comedy gold, a petulant ruler crashing against a stateswoman who refused to yield. On the other side of the political spectrum, Riley Fahey’s Prince Tydeus was terrifying in his charisma: a former warlord and current opposition leader dripping with misogyny and violence, who relished in the power of being feared. His partnership with Cecilia Varese’s Pargeia (the Barbie/Melania to his Ken/Trump) was sinister and magnetic. Varese nailed the duality of smiling diplomat on camera and razor-edged manipulator in private; a deliciously duplicitous performance throughout. Jordana Wenke’s Antigone was tortured heartbreak in motion, caught between grief for her brother and horror at his crimes, while Ari Banerjee’s Ismene sparred with her in a spirited sibling debate that gave space to both tenderness and fire. Together, Antigone, Ismene, and Eurydice found a kind of sisterhood — comforting, arguing, listening — that felt like true girlhood in extremity. Emma Kidd’s opening monologue as the armed woman was another gut-punch, reminding us with raw conviction that: “Women gave us peace.” Rushad Katrak as Scud, the child soldier, drove home the horror of war when he erupted into gunfire mid-diplomatic meeting; a sequence staged with jarring intensity, flour exploding as “blood” in a brilliantly visceral touch. Another deeply affecting moment came from the mechanic character, who relayed the death of his son at Tydeus’ hands with such detail that it etched itself painfully into my imagination. There were also flashes of humour amidst the brutality: Grace Faint as the deadpan secretary Thylthibia was a perfect foil to the chaos, and Liam McMahon’s Tiresias went gloriously over-the-top as the dramatic seer. But it was the themes that resonated most: the fragility of democracy, the cycles of authoritarianism, the exploitation of post-war nations by so-called allies, and the human cost of political games. The lines that seemed to echo straight into today’s headlines gave the play its lasting bite: “Are your wars more advanced because you don’t hear the screams?” “It can happen anywhere there is tyranny. Are you scared?” “The best of us keep quiet. Those who shout the loudest always win.” Each landed like a warning bell. The final image of refugees walking towards Athens, uncertain whether they would meet open gates or be turned away — was haunting in its relevance. Welcome to Thebes  was not just a retelling of an ancient downfall; it was a mirror held up to our own world, exposing fragile democracies and the dangerous spaces where tyrants thrive. This play was a terrific choice to showcase both individual talent and a cohesive piece of group theatre. The director, Timothy Wynn , ensured this sprawling ensemble had room to shine, delivering a production that was urgent, intelligent, and emotionally charged. With its heady mix of myth and modernity, this was an ambitious and fiery finale for the Conservatorium’s graduating class; proof that student theatre can tackle difficult political material with nuance and artistry. Warnings: Violence, sexual assault, suicide, grief, gun use, death.

L.A. Dance Project | Benjamin Millepied Presented by Brisbane Festival, Tourism and Events Queensland, and Brisbane Economic Development Agency, in association with QPAC 4 – 7 September, Playhouse Theatre   Before we even set foot inside QPAC, Brisbane Festival had us moving to the beat. A welcome procession: drumline pounding, trumpeters gleaming, performers in hot-pink bejewelled costumes, marched the crowd across the Neville Bonner bridge from Queen’s Wharf into the theatre. It was theatrical pageantry at its best, setting the stage for what was to come: Gems , Benjamin Millepied’s contemporary ballet trilogy, performed in full for the first time anywhere in the world.   Gems  reimagines George Balanchine’s legendary 1967 Jewels  for a new era, drawing on the same inspiration of Van Cleef & Arpels’ history of dance partnerships, but speaking in Millepied’s distinctly modern vocabulary. Each chapter: Reflections (Rubies), Hearts & Arrows  (Diamonds), and On the Other Side  (Emeralds), was a different jewel cut, a new way of refracting light through bodies, music, and visual art.   Now, let me be clear: I’m no dance scholar and I don’t pretend to understand every avant-garde choreographic choice. What I can tell you is how it felt .   Act One: Reflections On a painted red-and-white floor, Barbara Kruger’s word art looming behind: first “Stay,” later dropping to “Go.” Pianist Tony Bai wrestled with David Lang’s minimalist score, music so fractured it honestly sounded like my cat walking across my piano, and somehow the dancers matched every offbeat step. The choreography switched from quick, jagged movements of Courtney Conovan and Clay Koonar to the more lyrical connections of Daphne Fernberger and Noah Wang, their gaze locked as if tethered by invisible thread. How Millepied even managed to choreograph to this score I’ll never understand, but the result was endlessly inventive. You will never guess their next move, and that was the case with both the movement and the music in Act 1.   Shu Kinouchi bounded around the stage in a solo that was equal parts rabbit-like joy and sheer stamina. At one point Shu and Noah slid into a floorwork sequence performed in complete silence… deliberately awkward to witness, but riveting. The costumes of grey with flashes of red trim, loose fabric, hair undone, were striking against the bold backdrop. In contemporary ballet, I’ve learned to expect the unexpected, and Reflections  absolutely delivered that.   Act Two: Hearts & Arrows The curtain rose on exposed light rigs and a new sense of urgency. From the first note, Hope Spears and Clay Koonar led with fierce precision, joined by the rest of the ensemble in relentless, kinetic streams of movement. This act was accompanied live by Camerata performing Philip Glass’s propulsive string quartet right in front of us. Their sound was so immediate it felt like a second set of dancers.   Audrey Sides’ central number stood out, her falls and recoveries framed beautifully by the shifting lights and the ensemble physically supporting each other back to standing. Meanwhile, Tom Guilbaud and Robert Hoffer seemed to defy gravity, their jumps reaching dizzying heights. The choreography was so quick, so relentless, that I felt I had to glue my eyes open for fear of missing a single detail (as Aerosmith would say, “I don’t wanna miss a thing”).   At one point the wings and back wall lifted to reveal the bare bones of the Playhouse Theatre itself. It felt strangely voyeuristic, like peeking behind the jewel’s polished surface. The interplay of light and shadow was exquisite, dancers vanishing and re-emerging as though refracted beams within the diamond itself.   Act Three: On the Other Side The final act returned to piano: more Philip Glass, more fiendishly difficult fingerwork for Tony Bai, who never once broke focus even as he checked Courtney Conovan’s every step during her solo. This was Millepied at his most lyrical, painting sweeping arcs of joy across Mark Bradford’s painted canvas backdrop. I was a big fan of this set design, as well as the choreography in this act. Not super sold on the costumes, but I did like how each one was unique, like a jewel is.   Here, we saw some of the most emotionally resonant duets of the night. Robert Hoffer and Tom Guilbaud’s pas de deux was a rare treat: two masc. dancers in seamless counterpoint, strength yielding to fluidity. Later, Daphne Fernberger and Courtney Conovan delivered an intense duet, their lifts and balances set against Glass’s furious piano. Daphne and Shu’s endless lifts and lightning-fast catches were so smooth, I half-joked to myself their “lift call” must last longer than rehearsal! Courtney’s solo, framed by beautiful tableaus of the rest of the dancers lit around her, was another highlight. I found that Hope, Daphne, and Shu danced with SUCH pure joy, I could feel it pulsating from them. Everyone else clearly danced with a huge passion too, but those three really made an impression.   Final thoughts With two intermissions, this show clocked in at just over two and a half hours. That’s a lot of dancing!  The stamina required was staggering: dancers and musicians alike pouring themselves into every phrase. And Brisbane audiences responded in kind, erupting in applause after each act.   Across three acts, Millepied took us from fractured longing, to communal urgency, to lyrical resolution…. each a jewel in its own right, and together a glittering triptych. It’s not every day that Brisbane plays host to a world premiere of this calibre, and it truly felt like a once-in-a-lifetime performance. And even if, like me, you’re quite daft when it comes to dance… the sheer spectacle of the daring lifts, the live music, the athleticism, and artistry was enough to sweep anyone along. Photography by Jade Ellis, Laurent Philippe, Rose Eichenbaum

Presented by La Boite Theatre, Sydney Theatre Company and Singapore Repertory Theatre in association with Brisbane Festival Directed by Courtney Stewart Written by Merlynn Tong   Forget quiet pre-show chit-chat in the foyer. Congratulations, Get Rich!  didn’t ease us in, it hurled us headfirst into the night. Classic karaoke tunes pulsed through the courtyard of La Boite Theatre as a lion dance exploded across the space; a joyful nod to Singaporean culture that primed us for the chaos, comedy, and catharsis to come. On Riverfire night no less, Brisbane was already buzzing, but inside La Boite the energy was about to burn brighter, louder, and a whole lot weirder.   We arrive at Money Money Karaoke, Mandy’s beloved business, where golden trimmings, a giant karaoke screen, and an army of lucky cats (maneki-neko) promise that prosperity is only a song away. This grand opening extravaganza also happens to coincide with People’s Day, the seventh day of Chinese New Year, when it is everyone’s birthday! It’s also Mandy’s 38th, which should be a reason to celebrate… except her soul and her business are both on shaky ground.   Playwright Merlynn Tong grew up in her parents’ lush and decadent karaoke bars of Singapore. When she was six, her father passed from cancer; when she was fourteen, her mother took her own life. It is this lived history she pours into Mandy. You can feel the love, grief, and nostalgia in every word, every face-pull, every manic outburst. At times she’s a crazy-intense businesswoman barking rules, and at others, a terrified daughter pleading: “Tell me my strengths, Mummy!”  Tong is a magnetic presence that is equal parts hilarious, heartbreaking, and utterly unfiltered.   Enter two unexpected guests: Mandy’s mother (Seong Hui Xuan) and her sassy grandmother (Kimie Tsukakoshi), both long dead. These ghosts burst into Mandy’s world and, after a fair bit of valid panic, her grandmother vows to help Mandy get rich. “Of course I want to be rich, I’m Chinese!”  quips Mandy. The rules of the night are quickly upended: sing in this room, and you’ll be sucked into the TV, suddenly performing a full-blown number (complete with unintentional choreography). These Singaporean ladies are extra in the best way, spilling over with sharp banter, outrageous ballads, and a fair dose of intergenerational tension.   Their comedic trip to the past is illustrated through inventive song numbers as we learn what happened to Mum and Grandma and why they both died at age 38. Performed live against recorded backing vocals, Guy Webster’s original compositions are catchy, emotive, and full of surprises. Tsukakoshi’s voice cuts like crystal, while Seong delivers vocals that send shivers down the spine.   Xavier, Mandy’s goofy Australian partner (Zac Boulton), brings plenty of comic relief with his daggy dad jokes and awkward attempts to help. The humour can be absurd (think hungry-ghost exorcist vibes), but the heart beneath it is undeniable. Beneath the karaoke glitz and humour lies some darkness. Themes of suicide and the weight of parental blame are never far away. The question “Why did you leave this world at 38?”  echoes like a refrain, haunting mother, grandmother, and daughter alike. The lighting (Gabriel Chan) and sound (Webster again) use violent bursts, strobes, and noise to fracture scenes, pulling us deeper into Mandy’s disoriented world. Courtney Stewart’s direction keeps all of this chaos finely tuned. The tonal shifts between hilarity and gut-punch grief feel precise, never jarring. She lets the absurdity run wild, but always anchors it in truth, ensuring that the humour doesn’t undercut the heaviness, it balances it. One minute you’re laughing at Grandma’s sass ( “Is it time for a song? Or food?” ), the next you’re gut-punched by her monologue about trying to control an uncontrollable world: “That’s what grandmothers are for, dropping truth bombs.” The magic of this production is its refusal to stay in one genre. It’s sci-fi meets musical meets madcap comedy. There’s even a cheeky fourth-wall moment I won’t spoil… but trust me, it lands.   Congratulations, Get Rich!  is a 90-minute whirlwind of transformation. Through outrageous comedy and supernatural song, Mandy reckons with her past and claws towards hope. “I live on in you”  caught me off guard, offering unexpected comfort for my own current grief.   My advice? Lean into the chaos. This show is a portal, and once you step through that string-curtain doorway, you won’t want to leave.   Trigger warnings:  This production contains coarse language, strobe lighting, loud noises, and themes of suicide, intergenerational trauma, death.