Written by Rodgers & Hammerstein Directed & Choreographed by Lucy Martin Vocal Direction by David Valks Additional Choreography by Natalie Cassaniti “Don’t talk purty to me!” GCLT closes their 2025 season, celebrating their massive 75-year milestone, with a production of the comforting classic Oklahoma!  The season is basically sold out, and it only takes about ten seconds into “Oh, What a Beautiful Mornin’” to understand why. Now, confession time: I have never seen Oklahoma!  before. Not the film, not a school version, nothing. I walked in a blank slate, and I walked out thinking, “Oh… this is why it’s been revived since dinosaurs roamed the Earth.” So before we dive in, a short synopsis of the classic tale: Oklahoma!  is set in early 1900s America, following the romance between Curly, a charismatic cowhand, and Laurey, a strong-willed farmgirl who is far less immune to flirting than she pretends. As the community heads toward statehood, tensions simmer between farmers and cowmen, all while the brooding, volatile Jud Fry lurks at the edge of Laurey’s world. It is a story of young love, rivalry, community spirit, and the darker undercurrents beneath the prairie sunshine. Sean Curran’s set is a total GCLT special: detailed, immersive, and charming, like a toy-box prairie town that looks real enough to move into. A farmhouse and a barn façade straight from an old sepia photograph are paired with AV projections of rolling countryside and a cozy dance hall. The whole thing creates a subtle forced-perspective illusion that makes this modest stage feel twice its size, beautifully lit by Michael Sutton’s warm sunset tones and moody shadow cuts. Lucy Martin’s costumes are frilly, floral, flannel, and beautifully considered. The colour palettes suit each performer with uncanny accuracy. Isabella glows in soft pastels, and Elysium pops in bright blue and golden yellow that echo the sky and fields. It feels like early-1900s prairie couture with a modern eye for what flatters. Lucy Martin’s direction is light-footed and intentional. She leans into the light joy of Act I: the community riffs, the flirtations, the optimism... while letting the shadows creep in slowly at the edges. There is no live orchestra this time around because the stage simply cannot hold one, so the production leans on the R&H tracks instead. Under David Valks’ vocal direction, the cast sounds steady, strong, and wonderfully unified. Noa Fogarty, a bright young talent heading to the QLD Con next year, steps out to deliver “Oh, What a Beautiful Mornin’”. His tone is warm and golden (and dare I say deliciously James Marsden-coded). You can practically feel the sunshine cracking through the stage walls at his voice. Isabella Wiesenthal’s Laurey is pretty in pink, soft-spoken but steel-spined, and her crystal-clear, supported soprano is the kind of voice that makes you instinctively fix your posture. As the original will-they-won’t-they, Curly and Laurey’s duet “People Will Say We’re in Love” is sweet, flirty, and brimming with early-love coyness. Isabella plays Laurey as demure, but her eye-acting betrays the whole game. She adores every second of Curly’s attention. “Many a New Day” glimmers with sincerity, and the ladies’ dance break that follows is sweet and spirited, all perfect smiles and hopeful twirls. Shoutout to the duo choreography team of Natalie Cassaniti and Lucy Martin. And I believe all the hairdos are real? Ringlets everywhere! Shoutout to hair designer Ann-Britt Riget. If Laurey is subtle charm, Ado Annie is pure chaos and sunshine. Elysium Hipwood steals Act I with “I Cain’t Say No,” a wildly energetic, giggle-laced ode to being a hopeless flirt who simply cannot help herself. She is the original loveable dork who just so happens to have an astonishing belt! Her chemistry with Torrek Elbeb’s Will Parker is absurdly cute, especially in “All Er Nuthin’,” a duet that feels like watching two golden retrievers attempt to discuss exclusive dating. Torrek also leads the lads in a hilariously hyperactive “Kansas City,” a full song-and-dance expulsion of restless boy energy. Ashley Williams as Ali Hakim is a comedic gift. He plays the sleazy travelling peddler with a gravelly Harvey Fierstein-style voice and the timing of someone who has been doing vaudeville since birth. His big number “It’s a Scandal! It’s an Outrage!” is pure musical-theatre serotonin. Louise Thorpe grounds the entire town with a firm hand and a soft centre as Aunt Eller. She is both referee and heartbeat, offering warmth and authority in perfect balance. Then there is Gertie, with Nicolette Ditchburn weaponising perkiness with a giggle that should come with a warning label. Then... the lights shift, the humour drains, and something prickles. Jake Stubbs enters as Jud Fry, the unwashed, isolated, intimidating farmhand. “Lonely Room” becomes an unsettling glimpse into his twisted inner world, alongside beautifully lit staging. His presence around Laurey is genuinely uncomfortable to witness, exactly as it should be. Jud is the embodiment of everything simmering beneath the town’s wholesomeness, and Jake commits fully to the role. The tonal whiplash of Curly singing “Pore Jud Is Daid” is confronting, as Curly literally tries to convince Jud he would be more appreciated if he were to unalive himself. Noa delivers it with a chilling, cheerful darkness. These two young actors, Jake and Noa, are undeniable rising stars. Oklahoma! ’s famous dream ballet lands with a bang, beautifully executed. It moves from soft, sweeping romance — the ladies’ ensemble spinning in hopeful circles, curls bouncing, dresses fluttering — into Jud’s fantasy, a burlesque-style silhouetted nightmare dripping in red light and oppressive power. The use of chairs, shadows, and stage combat is fantastic. It is vivid, brutal, and even prophetic. “The Farmer and the Cowman” plays exactly like the childish campfire brawl it is, joyful, stompy, and silly. I caught myself tapping my feet like I was in an actual square dance. “Oklahoma!” (the song) remains one of the catchiest pieces ever written. Their rendition is rich, full, and bouncy in all the right ways. From here, things get funnier, flirtier, and then the rural bliss fractures. The final scenes unfold with a surprising dose of darkness, a reminder that Oklahoma!  is deceptively complex beneath its cornfed cheerfulness. This production is a sun-drenched celebration of young love, small-town pride, and simple life. A duality of a show, handled with enormous heart by a gifted young cast and a creative team that understands exactly how to blend nostalgia with bite. It is the perfect finale for GCLT’s 75th year. And I am still humming “Oklahoma!” (Help.)

Presented by: Taree Arts Countil at Manning Entertainment Centre Director / Choreographer / Costume Design: Ayesha Haeata Musical Director: Jess Evans Stage Manager: Lia Wrigley Set Design: David Denning Props: Helen Grooteman Lighting & Tech: Nathaniel Keegan Photography : Dave Evans Yes, this is Stage Buzz Brisbane and yes I’m reviewing a show in regional NSW. But it’s my former theatre company and frankly I can do what I want. So let’s start with the important question. What if Juliet didn’t die? That little question drives this joyful pop musical that flips one of theatre’s most famous tragedies and replaces the tears with glitter, girl power, and an alarming number of 2000s hits. Instead of ending in a tomb beside Romeo, Juliet chooses life and sets out to discover who she might become without the expectations of Shakespeare’s original script. As good-old Willy Shakespeare attempts to tell his tragic love story, his wife Anne Hathaway interrupts and insists Juliet deserves a better ending. What follows is a playful rewriting of the narrative in real time, sending Juliet beyond Verona into a glittering world of friendship, self-discovery, and pop anthems that audiences (particularly millennials) will instantly recognise. Built around the catalogue of pop hitmaker Max Martin, the show blends chart-topping songs with a theatrical twist. Banger after banger! The question becomes how many songs we can squeeze into one show? And this is a big show. But Taree Arts Council embraced that scale wholeheartedly. From the moment the actors appeared for some cheeky pre-show entertainment, it was clear this company had come ready to play. Then the opening number “Larger Than Life” exploded onto the stage and the show truly kicked into gear. For a pro-am production, their design ambition was striking. David Denning’ s set construction was impressively elaborate. A checkerboard floor, revolving set, aerial wires, and a looming mausoleum created a bold visual playground for the story. Graffiti artwork added modern texture while projected map visuals marked Juliet’s journey beyond Verona. The costumes, selected by director Ayesha Haeata , leaned fully into the show’s contemporary pop aesthetic. Corsets paired with sneakers and strong wig styling created a playful fusion of Shakespearean and modern fashion. Anne and May’s looks were particularly standout, while Juliet’s Act Two outfit was gorgeously eye-catching. Nathaniel Keegan’s lighting design was also spectacular, shifting from intimate storytelling to full concert spectacle. Pop musicals thrive on visual energy and the lighting here kept the stage buzzing with colour and movement from start to finish. Kate Simpson  shone in the central role of Juliet. She did not stay heartbroken for long once she learned of Romeo’s… extracurricular activities across Verona. Kate captured that pivot beautifully. Wounded, then empowered, then unstoppable. A true pop powerhouse, she tackled the demanding score with stamina and flair, particularly in Demi Lovato’s “Confident,” Britney Spears’ “Oops!... I Did It Again,” and the far too short “Stronger.” There were occasional microphone inconsistencies affecting Juliet and Shakespeare, which is unfortunate in such vocally demanding material. When balanced correctly though, Kate’s voice soared through the MEC! Travis Cross  was an undeniable scene stealer as Francois Du Bois. His outrageous accent, sassy stage presence, and natural comedic instincts made every appearance entertaining. It quickly became difficult for me to imagine anyone else playing the role. Katy Perry’s “I Kissed a Girl” was staged brilliantly, and Travis proved he had chemistry with the entire cast, particularly Juliet. Their friendship dynamic grounded the show nicely amongst all the noise. The Bois Band moment performing Backstreet Boys’ “Everybody” was a nostalgic highlight for this millennial reviewer, while Travis’ commitment during NSYNC’s “It’s Gonna Be May” earned plenty of cheers. Adam Gordon  fully embraced the theatrical absurdity of the lovably self-obsessed William Shakespeare. His portrayal leaned into the character’s ego and drama while maintaining playful self-awareness as he keeps quoting himself and inserting himself into the story. The cast committed well to the show’s British accents too, helping ground the action in Shakespeare’s world. Jessie Davidson  was a revelation as Anne Hathaway. Her adorably dorky, passionate characterisation injected heart and bite into the story, and her mix belt was phenomenal. Celine Dion’s “That’s the Way It Is” became one of the show's most sincere moments. Kim Stevens  was perfectly cast as Angelique, Juliet’s nurse. Katy Perry’s “Teenage Dream,” which turned into a mash-up with Ariana Grande’s early hit “Break Free,” became a delightfully absurd sequence alongside Dean Snook , while her performance of P!nk’s “Perfect” provided a genuinely lovely moment with Kate Simpson. Layla Clarke  showed wonderful promise as May, a talented young performer absolutely blooming. May’s story felt earnest and contemporary, and Layla handled it with maturity. Dean Snook  provided great comic support as Lance Du Bois, while Emily Ryan’ s Benvolio brought so many entertaining moments to Act 2. Meanwhile, Romeo feels like the “princess track” that pops up when least wanted. Just when you thought the show had moved on from him... His surprise rooftop return during Bon Jovi’s “It’s My Life” was peak ick, and Alex Blenkin leaned right into the character’s smouldering arrogance. His self-aware line “I am a douche!” may have been the most honest moment of the night. The twenty strong ensemble rarely stopped moving. They pranced, lifted, spun, and filled every corner of the stage with energy. Ayesha Haeata’s choreography was punchy and demanding, particularly during “Roar,” where the quick change moment was epic. The light-up jackets and fans in “One More Try” created striking visuals, even if the duet itself wandered pitch-wise at times. Musical Director Jess Evans  guided both cast and band through a vocally demanding score. With jukebox musicals like this the stamina required from everyone is enormous, and the band delivered the hit after hit soundtrack with finesse. Offstage singing was mostly clean as well. Other standout musical numbers included Jessie J’s relentless “Domino,” Kelly Clarkson’s famously difficult “Since U Been Gone,” and the beautiful duet Adam Lambert’s “What Do You Want From Me.” Director Ayesha Haeata  clearly understood the vibe of &Juliet . The production leaned fully into the camp, satire, and absurd humour that define the show. After all, the original Romeo and Juliet  is pretty ridiculous when you think about it. Two teenagers hook up, fall in love, marry, and die within a matter of four days. Producing & Juliet  is a huge undertaking for any company. Taree Arts Council rose to the challenge, assembling a talented cast and creative team who clearly had a lot of fun bringing this story to life. Most importantly, the production captured the show’s central message. Juliet’s story no longer belonged to tragedy. Instead it became a celebration of self-love, friendship, and the courage to choose your own ending.

The Mousetrap – New Farm Nash Theatre Written by Agatha Christie Directed by Sharon White As is customary, the last performance of the year at New Farm Nash Theatre takes us into Agatha Christie territory, which means two things: an abundance of suspicious characters and a vow that I must never reveal the murderer's identity to anyone. I take my oath very seriously… Although I did quietly guess correctly right near the end and feel extremely smug about it. The Mousetrap first hit the stage in 1952 and holds the title of the world’s longest-running play. Under Sharon White’s direction, its vintage charm is beautifully honoured, with the script serving up a buffet of clues, contradictions, twists, accusations, and red herrings, all delivered through genuine drama and self-parody. For a short, spoiler-free synopsis: The Mousetrap follows a newly married couple, Mollie and Giles Ralston, who have just opened their remote country guesthouse during a heavy winter snowfall. As their guests arrive one by one, news breaks of a recent murder in London. When a police detective reaches the house on skis, he warns that the killer may be hiding among them. With the phone line cut, the roads blocked, and every guest harbouring secrets, tensions rise as the unwilling group attempts to uncover the truth before another murder takes place.... Dun dun dun! Designed by Sharon White, Phil Carney, and Rob Crook, the set places us in the front room of the cozy British guesthouse. Picture green walls, a multitude of doorways, period furniture, embroidered artwork, a rug by the fireplace, a crackling radio, a writing desk, and luggage that looks as if it has lived many lives. It’s described as a “bit of a maze” and it certainly feels like one. There’s so much for the eye to catch, and it creates a deliciously claustrophobic space for this group of strangers who suddenly find themselves snowed in and forced to get along. Or not... Who knows? Helen Barrett and Matthew Hobbs star as Mollie and Giles Ralston. Matthew stepped into the role only two weeks ago, which is wild, because his dry wit and grumpy-gentleman presence fits right into the show’s rhythm. Their arguments feel incredibly real, especially as the paranoia in the house rises. Helen brings a sweet innocence to Mollie, always smiling/grimacing even when she probably shouldn’t be. I find myself wishing for even more emotional punch from her big dramatic beats, but she handles the sheer volume of dialogue with impressive dedication. The guests themselves are absolute characters. Brendan James as Christopher Wren is chatty, excitable, and bouncing off the walls like a kid who’s had too much cake at a birthday party. Chris Sibley’s Mrs Boyle is the “perfectly horrid woman” everyone loves to hate. She sweeps through rooms with wild eyes and a tongue sharp enough to slice through any peaceful moment. Matt McNeice’s Major Metcalfe is as friendly and warm as a cozy Irish pub. Philippa Dwyer’s Miss Casewell is a standout for me, sharp and composed with a mysterious air that keeps my attention every second she’s onstage. Then there's John Stibbard playing Mr. Paravicini, the "unexpected guest" who seems like he just stepped out of a gothic Italian opera. He's theatrical, intimidating, and has this creepy demeanour that makes the audience squirm and chuckle at the same time. He glances directly at audience members to make us uneasy (but technically he’s just staring at the wall). It’s such a clever, unnerving effect. One of my favourite little lines of the night comes from Mr Paravicini, who looks Mollie dead in the eye and purrs, “You and your husband are very trusting…” At last, Tyson Hargreaves bursts in as Detective Sergeant Trotter, the dashing cockney cop who insists, “this is a serious mah-ah!” His arrival accelerates the tension. Suddenly, clues pop up like everywhere, accusations fly, and the whole house turns into a tangled web of “he said, she said.” There are no phones, no fact-checking, and the unsettling realisation that every person in this house is carrying a past they would rather hide. The fun is trying to figure out who is here by coincidence and who is absolutely not . Phil Carney’s lighting and sound design support the mystery well, especially the dramatic radio music and the recurring, creepy tune of “Three Blind Mice.” Every time it plays, the tension in the room tightens. Costumes and hairdos suit the time period pretty nicely, with coats, hats, gloves and layers to emphasise how cold it is outside. The accents throughout the show are mostly well done, with the cast leaning into various flavours of British regional dialects. What I really admire is how Sharon White leans into the self-parody of Christie’s writing (and the whole detective mystery genre) without ever mocking it. She lets the humour coexist comfortably alongside the tension; like “There are more important things than meals!”, as Mollie tries to duck out of a murder interrogation so she can go cook dinner. Priorities... I get the sense that Sharon White has told every actor from day one to behave like they are the killer, and it works, for I am constantly adjusting my inner suspect list. The audience was thoroughly engaged throughout, letting out dramatic gasps and buzzing with whispered theories. To the performer behind the murder… the way you shifted character to unleash that charged intensity in the reveal was genuinely chilling. It looked like an absolute thrill for you to play that role. Bravo. Tickets are wonderfully affordable, which makes this a great night out for anyone who loves a classic mystery. The season wraps up on 6 December, so make sure you grab a ticket here while you can. My lips are now sealed.

Presented at Twelfth Night Theatre Directed by Deian Ping Music Direction by Nicky Griffith Choreography by Julianne Burke Photography by Creative Street & Pif Productions "There's a dream in the future. There's a struggle that we have yet to win." There are certain shows that never fail to lift your heart, and Hairspray  is firmly on that list for me. Queensland Musical Theatre clearly understands the joy baked into this story and jumps right in from the start. For anyone who's somehow dodged this musical/film, Hairspray  follows Tracy Turnblad, a Baltimore teen with a big heart, a bigger dream, and absolutely no interest in shrinking herself to fit anyone’s expectations. She fights for a spot on her favourite TV dance show, tumbles head over heels in love, breaks down a few terrible social norms, and pulls everyone toward a brighter future. The script is intentionally riddled with the attitudes of the era (racism, fat-phobia, ableism, etc.) so that the story can give them a good ol’ smackdown. This production keeps the set simple to allow room for the enormous cast, but it never feels bare. Bright costuming and wonderfully ridiculous retro projections do a lot of the visual lifting. Every time a new colourful graphic splashes across the back wall, it is so kitschy that you can’t help but giggle. Hairspray is notoriously tricky to cast — you need performers who can sing, dance, and have the right character "look". Big applause to director Deian Ping for putting together a team this large who can keep up with the show's demands! From the moment Eloise Newman springs out of bed for “Good Morning Baltimore”, the show takes off like a rocket. She is a brilliant Tracy, with a voice that balances sweetness and power, nailing every big number like it’s a piece of cake. “I Can Hear the Bells” is especially fabulous. She throws in an opt-up, with gorgeous harmonies (and handheld bells) swirling around her, while the haze and lighting create a dreamy rom-com glow. Eloise shines brightest when she leans into Tracy’s dorky humour. Eloise is an absolute joy both on and off the stage. Her later performance in the “Baltimore Reprise” is another standout, especially with the line “I’ll eat some breakfast then change the world!" Nicholas Joy as Link and Wednesday Reign as Penny both appear right at home the second they walk onstage. Nicholas vocally dazzles in “Without Love,” with the full band energising his committed, lovelorn acting. His chemistry with Eloise feels warm and endearing, and his solo “It Takes Two” is beautifully enhanced by excellent lighting. Wednesday’s portrayal of Penny is excessively dorky, and her voice is remarkable, particularly in “Mama I’m A Big Girl Now”. Seaweed, played by young Joshua Davis, is one of the show’s most exciting discoveries. For his first time stepping out of junior theatre, he's unbelievably cool, groovy, and confident. He breezes through “Run and Tell That” with suave ease. Shoutout to Little Inez (AvaLyn Doherty) and Gilbert (Johnathan Vongdara) — always fully engaged, dancing with passion, and totally enjoying the moment. Rudo Banya doesn’t arrive as Motormouth Maybelle until later in Act 1, but when she does, the whole room lifts. Making her grand entrance into the world of musicals, her rendition of "Big, Blonde and Beautiful" was such a blast that I wanted to sing along too! And “I Know Where I’ve Been” was a total showstopper, lifted higher by the gorgeous ensemble vocals. Jason Kiger and Steve Beck are perfect as the daggy Turnblad parents. Traditionally, a guy plays Edna, and Jason brings the sass, hilarity, and rocks that v-neck dress with some seriously epic fake cleavage. I was honestly worried they might accidentally pop out at one point! Steve Beck is the ideal match as Wilbur. Their duet “You’re Timeless to Me” is packed with humour, terrific vocals, and just the right touch of cheeky chemistry. As the villains go, Liana Hanson’s Velma von Tussle is perfectly detestable — polished cruelty, snappy lines, and a wig-and-dress-suit combo that screams "evil chic." Her vocals in “Miss Baltimore Crabs” are astounding and definitely one of the musical highlights. Jade Plaistow as Amber goes all in on a high-pitched, Tour-Guide-Barbie persona. Her slightly doll-like movements fit the character choice perfectly. Whether or not the character choice is your cup of tea, you have to admire Jade's strong commitment. Lachlan Gleadhill, playing Corny Collins, makes an impressive debut. With a stunning voice and charisma, I believe he has the potential to bring even more to the character! Gabriel King perfectly embodies Mr. Spritzer with his game-show-host grin and voice, fully embracing the character. Choreography in Hairspray  is no small task, and Julianne Burke has clearly worked hard to shape a cohesive world for such a large ensemble. “The Madison” is a particularly fun number with dance style switch-ups and a full stage of slick moves. The brief tap break in “The Big Dollhouse” was a welcome surprise that got a great reaction. Just a tiny tip for “It Takes Two”: remember that even though the spotlight is on Nicholas, audience members can see where your eyes go, so keep your adoration locked in on him! “Nicest Kids in Town” is strong and could be even more so. This show thrives on excess, and you simply cannot be "too much" in this number! Eighteen musicians, led with precision by Nicky Griffith, fill the room with that irresistible sixties pop sparkle (shoutout to the horns especially for that extra punch!) There are small moments where the pace dips or dialogue lags, but these feel like natural opening-week tweaks. There is a touch of upstaging from a few actors, though not in a way that derails scenes. It’s the kind of enthusiastic energy that naturally happens in large amateur ensembles and would be less noticeable if the whole cast matched that energy intensity. Some costumes look slightly ill-fitting and may affect performer comfort, but the overall aesthetic is colourful, bright and very sixties: colourful skirts, high hair, and groovy silhouettes. The lighting complements the colourful costuming, retro vibe and the sixties-TV-style backdrops, and there are some fun set pieces and effects sprinkled throughout. “You Can’t Stop the Beat” is notorious for being one of the hardest finales in musical theatre because it never stops and barely allows a breath, but this cast powers through with big smiles and bigger stamina. The entire ensemble throws themselves into it, but Nicholas in his dazzling jacket, gives more energy than anyone out there and absolutely owns the final moments. Overall, this is a big-hearted, enthusiastic production of Hairspray  full of emerging talent, strong vocals, colourful characters and genuine joy. You can feel the love and effort behind it. With a few polish points it will soar even higher, but as it stands, Queensland Musical Theatre offers a vibrant, fun night out that celebrates community, inclusivity, and the huge spirit of Hairspray .

Written by Emma Dean | Directed by Belinda Raisin | Musical Direction by Tony Dean Performed by Cheep Trill at Thomas Dixon Centre for the Brisbane Festival Photography by Barbara Lowing   Warm, hilarious, and overflowing with heart, Community Choir: The Musical  captured everything that makes Brisbane’s arts scene so special: the joy, the quirks, and the undeniable sense of community that ties it all together! As part of Brisbane Festival , this show was the perfect opener; a homegrown story bursting with local pride, creativity, and plenty of laughs. Written by Emma Dean and directed by Belinda Raisin , this original musical told the story of a ragtag Brisbane choir (Cheep Trill) that somehow found themselves accidentally invited to the prestigious National Choral Competition in Sydney. What begins as a simple rehearsal quickly spirals into a whirlwind of excitement, panic, drama, and a sprinkle of magic when the flamboyant Spirit of the Song  appears: a glittery guide that only one choir member can see and hear. What followed was a touching and laugh-out-loud journey through self-doubt, friendship, and finding your voice (literally and figuratively). Early on a line struck me: “People say choir is my whole life. They are correct.” At that moment, I knew we were in for something both hilariously relatable and sincere. As audience members entered, we were greeted by an interactive pre-show that made it feel like we’d stepped right into their rehearsal hall. Posters decorated the stage (“Used dentures for sale” one definitely caught my eye), and a haze-filled atmosphere set the tone for the most hauntingly beautiful Acknowledgment of Country I have ever witnessed , performed and written by Michelle Roberts under stunning lighting design. The three-piece band, led by MD Tony Dean on drums, pumped the theatre full of energy throughout. The moment the full choir launched into Welcome to the Choir , the entire theatre lifted. Their harmonies were full-bodied and joyful, and the lyrics “You are welcome, even if you can’t sing” summed up the show’s inclusive spirit perfectly. This particular performance featured the Northside Brisbane cast , and what a team they were! With more than a hundred singers of all ages and abilities, this was community theatre in its purest form. The ensemble wore bright, casual outfits that felt straight out of a local rehearsal; a beautiful visual of authenticity and colour. Jen Codognotto as Judith was a standout, delivering her scenes with comic precision and warmth, while Lucy Sweeney as the Spirit of the Song sparkled – literally and vocally – in a fairy-angel ensemble that glittered under the lights. John Catania as Johnno was hilariously endearing, especially in his solo The Chosen One . His newfound superpower: the ability to hear everyone’s thoughts through song, was a stroke of genius and had all the charm and heart of a Zoey’s Extraordinary Playlist  episode. There were so many memorable songs. Carve Out My Place , performed by Helen Beauchamp ( Harriet ), was a vocal highlight, her a strong belt holding heartfelt conviction. All By Myself  by Jaspa Woolford-Clark ( Connie ) captured the aching vulnerability of self-doubt in a crowded room. Waiting Room  was wonderfully choreographed, with furniture blocking that ticked in perfect time, while Weetbix Song  managed to be both silly and moving. Belinda Raisin’s direction was clever and clearly grounded in love for her performers. She made sure everyone had their moment. The use of risers meant the majority of the choir could always be seen, and the transitions were impressively tight for such a large cast. I adored her cameo as Bernard Dubois , the over-the-top adjudicator in a sparkly tux, complete with a fake moustache, a hoverboard, and what I can only assume was a pillow stuffed under her shirt! By the time Bigger Than Me  arrived, the whole audience was clapping along. The front row even got up to join the flash-mob style finale, and before I knew it, the entire theatre had turned into a mini Pub Choir moment. The original music was catchy and fresh, full of clever lyrics and contemporary choral arrangements. Emma Dean’s writing found that perfect balance of sincerity and silliness. I saw myself in so many of these characters: the Taylor Swift-obsessed girl, the people-pleasing administrator, the bitter ex, the hopeless romantic... and judging by the lughter around me, I wasn’t the only one relating. There was something deeply touching about how honestly these fragile, funny, real people were portrayed. Their flaws made them loveable, their chaos made them human, and their music made them unforgettable. Community Choir: The Musical  was a zesty dose of joy and confidence, a tribute to the power of music and the bonds it creates. For a cast made up of 95% non-professional performers, this was an extraordinary feat. It was personal, passionate, and quintessentially Brisbane . By the end, less like an audience observing a choir and more like a community sharing a unique experience. This original musical was for anyone who have ever sung in a choir, wished to, or simply loves the sound of people coming together to make something bigger than themselves.

Festival: Toucan Club Festival Venue: PIP Theatre Presented by: Abadon Productions Written by: Liam Donnelly Attended: 19 November 2025 Abadon Productions' burlesque show Keep Yourself Alive: My Life With Queen follows a young lad who first falls in love with the band as a kid, grows up through the halls of QUT, and eventually faces the emotional shift of Freddie Mercury leaving this life. It’s all told through diary narration and a playlist of beloved and lesser-loved Queen tracks, which I absolutely adored, especially Scandal, I Want It All, I Want to Break Free, Another One Bites the Dust, Killer Queen, and The Show Must Go On. The cast, Eddie Ecstasy, Lacey Mclune, Peaches Velour, Tegan Kelsey, Emma Pruss, and vocalist Natalie Wyld, throw themselves into the material with real commitment. Wyld takes on three songs with confidence and flair, though it is an interesting shift hearing a female voice have a go at Freddie. The dancers are a brave and committed bunch, especially considering this is an amateur burlesque troupe tackling some pretty demanding choreography. There is so much floor work that my knees hurt just watching, plus plenty of hairography, chairography, and full-body commitment. You’ve got to admire their stamina. The heels look fabulous under the lights, even if the carpeted stage makes them quite wobbly at times. I really love the darker lighting moments where bursts of colour pulse through the space. Those scenes are the most atmospheric, giving the choreography a gorgeous silhouette effect. Choreographically, there are flashes of brilliance… and flashes of “wait, what comes next?” When the cast remembers the steps, it genuinely looks great. But there are sections, especially the big finale Somebody to Love, where timing drifts apart and the energy gets a bit fuzzy. To be fair, the small audience on the night I attended gave the whole evening a dress-rehearsal vibe. A little extra polish and they’ll be in a solid groove for the remaining shows. The semi-nudity is handled well, with the occasional bit of shock value, but never too risqué. The cast’s willingness to throw themselves into it deserves full admiration and honestly, I can’t fault anyone on that stage. It takes courage to perform burlesque, let alone in heels on carpet, and they’re all doing things most of us would not have the guts to try. If you’re keen to support emerging burlesque performers and want a new spin on Queen’s music, head along to the remaining Toucan Club Festival dates. Bring a friend, fill the room, and give this team the lively crowd they deserve.

Director: Fiona Kennedy Assistant Director & Set Design: Prue Robb Intimacy Coordinator: Heidi Gledhill Stage Manager: Isabel Foland Lighting & Sound Design: Kyle Royall-West Set Build: Scott Lymbery “This is not a spontaneous person you have before you!” Walking into Ad Astra’s brand-new black box space, Pluto , feels a little like déjà vu. There’s an echo of their much-loved Fortitude Valley venue here: close walls, low ceilings, and that quiet hum of anticipation that only a tiny theatre can hold. Upstairs, the Galaxy waits for the big, bold productions… but downstairs? Down here is where intimacy thrives. And honestly, Frankie and Johnny in the Clair de Lune  is the perfect christening. The house lights dim, the theatre drops into darkness, and we are immediately thrown into the unmistakable sounds of enthusiastic lovemaking. Bed squeaks, grunts, giggles... there’s no easing us into this one! Before we even see Frankie and Johnny, we’re eavesdropping on one of the most vulnerable moments two humans can share. When the lights lift, we land in Frankie’s 1987 New York walk-up apartment, a tiny but homely apartment made up of a kitchenette, a cramped bathroom, a bed, and their clothing scattered like evidence across the floor. Candice Hill’s Francis (Frankie) sits right on the edge of that post-intimacy awkwardness: half flattered, half panicking, already tidying the room like she wishes she could tidy away the whole situation. Beside her, Nathaniel Currie’s Johnny is a whirlwind of words, babbling with the confidence of someone who believes he has just discovered destiny. Frankie, on the other hand, is trying desperately to remain polite while pushing him toward the exit in her mind. Candice is mesmerising to watch. Her avoidance of eye contact, the way she curls into herself when he compliments her, the tightrope walk between wanting connection and wanting to survive it; every expression tells a story she’s terrified to speak aloud. Meanwhile, Nathaniel leans into Johnny’s chaotic sincerity. He’s weird, irritating, intense… yet disarmingly endearing, with a perfect Brooklyn accent. When he looks at Frankie, he sees his Brigadoon... a magical place that appears once in a hundred years. When she looks at him, she’s torn between “please leave!” and “please don’t leave me alone.” The natural humour between them bubbles up organically. Their small talk is painfully real; picture the kind of chat you have when you’re half-naked with a co-worker and pretending it’s totally normal. As the night unfolds (well, 3am), their first impressions unravel into something far deeper. They share memories, fears, old wounds. They fight. She explodes, quite literally destroying parts of her apartment in a panic spiral. He stands there, bewildered and bold, insisting that love is worth the risk. “When it comes to love, life is cheap and short,” he says, and even though it sounds like a line from a tragic romance novel, in the moment, it lands with truth. The set by Prue Robb and Scott Lymbery is wonderfully lived in: rotary phone, tiny television, radio humming with soft piano throughout the night, and lighting hat gradually shifts from the sleepy glow of lamps to a gentle morning warmth as the sun rises. Those small production choices make the long night feel real, like time is truly stretching around them. Director Fiona Kennedy and Assistant Director Prue Robb keep the blocking fluid and natural, especially in the scenes where Johnny cooks for them. Watching a real sandwich being made while the pair discuss lost time and lost dreams somehow grounds this heightened night into everyday reality. It’s a clever juxtaposition: grand emotions nestled in the banality of late-night snacks. The two actors seem utterly alone in this room; no audience, no world outside, just two flawed adults battling their own loneliness. Frankie’s terror of being hurt again comes pouring out of Candice, raw and vulnerable. Johnny stands in it, unwavering, offering not perfection but presence. This production celebrates everything black box theatre does best: closeness, honesty, discomfort, humour, and the quiet bravery it takes to be seen. With only 50 seats, every breath of the performance lands directly in your lap. It’s unfiltered, human, and beautifully messy. If you’re after a date night that promises honesty, laughter, and a surprising amount of emotional truth, Frankie and Johnny in the Clair de Lune  is absolutely worth the trip to Pluto. Just… prepare yourself for the first 30 seconds!

Bahala/o was one of those shows that hit me with a wave of energy the moment I walked in. Creator and performer Buddy Malbasias and co-star Clare Dark were already onstage sweeping mounds of rice off their catwalk, a lone pedestal fan whirring at one end, haze drifting from underneath the stage, and a full house buzzing with excitement. I sat front row and immediately learnt two things: cover your bags and drinks unless you want them seasoned, and prepare to get up close and personal with the rice. Framed by the Filipino philosophy of “Bahala na” (whatever happens, happens), Bahala/o was both playful and cheeky, yet deeply tender and intimate. This genre-bending, rice-rattling explosion of physical theatre was a joyride through contemporary dance, prose, mime, rave, sensuality, and a hint of musical theatre. It was designed for those living in diaspora or balancing multiple cultural identities, without ever feeling too heavy handed. The duo onstage were a brilliant match, slipping between intense dance sequences, precise partner work, and random little comedic throwaways like “oh naur Cleo!” or the Camp Rock choreography tribute (we love a millennial moment!). We even got to throw rice at them! They encouraged it. They wanted it. Here, rice was more than just a prop. Flinging handfuls into the air added to the beautiful mess of the performance and embodied that Bahala na spirit. Costuming was also a captivating slow reveal. Layers from their underwear, white flow-flowing cottons, and bristly thatch jumpsuits were slowly peeled back and reassembled, like shedding and reclaiming different versions of self. The sweat was real too. Physical theatre of this calibre is no joke and they truly exerted themselves for every moment. I was exhausted just watching them and could only imagine how brutal it must be under the lights, with rice sticking to your feet! One of the biggest highlights was the spoken segment on "How to make rice: a staple food that transcends cultures." On paper it sounds simple. In practice, it turned into one of the most impressive multi-genre duologues I have seen. A bell would ring and the style shifted instantly. We heard rice cooking instructions as theatrical declamation, in another language, in a robotic manner, as a seductive spiel, as earnest storytelling, and even as brilliantly expressive nonsense. It was a “dance script” brought to life, constantly flipping between modes of performance and identity. The audience was completely transfixed. The lighting design took everything up a notch, pulsing from every angle, above, below and along the sides of the catwalk in the round, perfectly synced with the sound effects and high-energy beats. The music alone would have pumped you up, but combined with the strobes, haze and nonstop movement, it genuinely felt like stumbling into a weird-themed rave party. Bahala/o was messy, sweaty, hilarious, culturally rich and endlessly inventive. Underneath the chaos sat something very heartfelt: a meditation on family, legacy, queer joy and belonging. It lagged a little near the ending (the dancers literally crawling like snails through the rice), but even then it kept its heart firmly in place, like it wanted to give you a moment to sit with everything you had just witnessed. For me, it was one of my favourite physical theatre pieces this year. If you love genre chaos, bold storytelling, Asian and queer perspectives, or you simply adore rice as much as they do, this one was an absolute must-see!

A Night at the Musicals closed out their 2025 season with a spectacular final chapter: Disney: In Concert . With three shows at the beautiful Talbot Theatre in the Thomas Dixon Centre, this production celebrated the power of Disney music with world-class talent. I was already pumped to see my friends dazzle us, but as soon as the orchestra began the overture of When You Wish Upon a Star (Pinocchio)  / A Dream Is a Wish Your Heart Makes (Cinderella) , I knew we were in for a real treat! Twenty musicians filled the stage with a rich, nostalgic sound, conducted by the brilliant Michael Keen. Brisbane is unbelievably lucky to have this musical director. His conducting shaped the entire evening with finesse and that unmistakable Disney glow. And speaking of glow… the cast! Thirteen incredible vocalists stepped onto the stage in shimmering ballgowns and velvet jackets. Producer Sophora Cliff and Director Alex Watson assembled an A-team of singers who blew me away. The audience was mostly Disney adults and musical-theatre fans, with surprisingly few kids around. A grown-up crowd for a grown-up concert, and honestly, the arrangements chosen completely suited that demographic. It felt like the team had reached into my head and picked out all of my favourite songs. I can't even imagine how tough it was to choose the setlist! Be Our Guest (Beauty and the Beast)  burst to life with Liam J O’Byrne leading as Lumière, all charm and fiery French flair. If happiness had a sound, it was this. With a full vocal ensemble of familiar faces tying everything together, we were treated to a night of rich, full-bodied choral sound. The concert moved through heroes, villains, princesses, comedic classics, and underrated gems. A Postmodern-Jukebox-style Bare Necessities  brought jazzy fun. While Wild Uncharted Waters   (Little Mermaid 2023) by Jordan Koulos and the If Only  quartet delighted me to no end. Although, four songs from The Little Mermaid  still wasn’t enough for me. As Ariel says, I want more... Carly Bettinson soared through Waiting on a Wish  ( Snow White 2025) . This song is notoriously difficult — I’ve taught it before, and it is no walk in the park — yet she delivered it with clarity, control, and princess-perfect tone. The orchestral support here was phenomenal too! Chloe Rose Taylor unleashed delicious villainy in Mother Knows Best (Tangled) , blending her classical tone with some wicked belting. Natasha Veselinovic stunned in Home (Beauty and the Beast)  and You’ll Be In My Heart (Tarzan) . The latter was arranged in gorgeous four-part harmony for Natasha, Carly, Timothy Aaron Cooper and Cody Arthur. This stunner by Phil Collins slowed the pace of the show down and immediately produced soft sniffles around the auditorium. The opening notes of any Alan Menken song always give me chills, but Go the Distance from Hercules is on a whole other level. Sean Sinclair did this one justice and then some. The way it builds from a solo piano to a full orchestra splendour, topped with that epic key change and final belt, was definitely one of those goosebump moments of the whole show. Before the break, the boys took charge with I’ll Make a Man Out of You from Mulan . Timothy Aaron Cooper, Cody Arthur, Liam J O’Byrne, and Jordan Koulos delivered tight vocals, comical choreography, and just the right amount of heroic gusto. And I couldn’t resist singing along! A medley from The Hunchback of Notre Dame opened Act Two and shook the Talbot Theatre with its epic magnitude. The Bells of Notre Dame is only possible with an orchestra and choir of this size and calibre. Alex Watson’s direction shone here: bold, dramatic blocking that heightened the powerful storytelling. Timothy leading the solo Out There, perfectly balancing Quasimodo's sweet, gentle moments with passionate belts that felt like they came from the bottom of his soul. Chloe, Vivien Emsworth, and Carly teamed up for a princess medley of three songs. It sounded technically vocally amazing, but someone started rushing their song, which messed up the blend a bit. And honestly, this number was begging for some tiaras! Vivien delivered the pop version of Reflection (Mulan) . Her soulful tone was gorgeous, but she kept her eyes closed for the majority of it; something jazz singers often do, and really noticeable in a ballad that’s so introspective. Taylah Johns absolutely killed How Far I’ll Go (Moana) , a song that is a vocal minefield in the upper register. She navigated every leap and belt with confidence and clarity. No cracks. No stress. Just pure princess power! The first Frozen  moment arrived with a gender-bent Into the Unknown  sung by Liam. He nailed the high belts (even opting up!) and the flautist deserves a big shoutout for the crystalline tone during the iconic “Aah-aah-ahh!” moments. In my opinion, this is the hardest Frozen  song, and the orchestra and Liam delivered an exceptional arrangement. Jordan and Tymyka Adele Wines brought tender warmth to I See the Light  from Tangled . Their voices were gorgeous, but the lighting strangely stayed neutral. This number is made for golden glow and lantern-inspired hues. Still, I loved Jordan’s entrance from the side of the audience, singing like none of us existed except her... Tymyka also took centre stage for Let It Go and absolutely delivered, minus the famous Elsa quick change of course. Sophora Cliff in her stunning green gown tackled Part of Your World (The Little Mermaid) . She absolutely floored me. Effortless placement, clean opt-ups, and pure Disney-princess sound. I was green with jealousy, perfectly matching her dress. I only wish she had sung the reprise too! Cody Arthur completely slayed Poor Unfortunate Souls (The Little Mermaid) . He embodied Ursula with such vocal command and commitment that I genuinely want to see him play the role now! Chloe and Natasha tore into Badder  from Disenchanted . It’s from the lesser-known sequel to Enchanted , and the salsa-inspired groove of the two-villain dynamic made it a brilliant addition to the setlist. Alex’s blocking shone again here, giving the number bite and attitude. Taylah and Sean took on A Whole New World (Aladdin) , which sparkled vocally. I’d say it’s Disney’s best romantic duet. And although the magic carpet may not have been present, their blend delivered that same lift. Just a little reminder to the singers, the handheld mics can really hide your mouth, so make sure to smile with wist and wonder (Not that I’m one to give advice to performers of this calibre!) Jo-Anne Jackson and Cody united for a gorgeous pop-version of Beauty and the Beast . Their tricky harmonies and synchronised riffs were handled with elegance, their love radiated, and the warm golden lighting created a perfect little pocket of magic. Shadowland  from The Lion King , led by Jo-Anne, was otherworldly . Her voice poured through the theatre like molten gold with grit, power and emotional weight. My jaw was hanging open the whole time. And shoutout to the marimba player for adding that earthy Lion King texture. The company united for Can You Feel the Love Tonight  (Elton John pop version) featuring three ensemble singers who also served as swings, joined by the full company for the epic key change I was absolutely waiting for. A tender acoustic medley of Remember Me (Coco)  and When She Loved Me (Toy Story 2) , sung by Sophora and Liam with only piano and guitar, tugged at the heartstrings. I don’t know if they had eyes on a conductor screen, so if not... big props to everyone! The show wrapped with a joyful stage-version medley from Mary Poppins , sending the audience out on a cloud of nostalgia. This concert rekindled childhood wonder while celebrating the sophistication of live musical theatre. With outstanding orchestration, professional casting, thoughtful direction, and arrangements that felt both nostalgic and fresh, A Night at the Musicals proved exactly why these songs endure. The short season has concluded at the Talbot Theatre, but I sincerely hope Disney becomes an annual tradition. There are so many treasures still waiting in the vault! Photo credit: Megan Birdy Peacock

Virginmobile by Amiel Simpson Presented by Passion Productions Directed by Jack Winrow Passion Productions presents Virginmobile , a fresh Australian play that dives straight into the messy, emotional tornado of being twenty-something. It all unfolds over one long, chaotic night at Mark’s 21st birthday party. If you've ever been the frazzled host, the reluctant designated driver, awkwardly sharing space with your ex, or the tipsy friend spiralling for no clear reason... you will definitely recognise yourself in this cast of characters. We meet Vienna (Kat Coomber), Mark (Aidan Calleja), Morgan (Cheney Hossack), Shoe (Kodi Ryke), Kake (Midori Cruz), and Asaiah (Liam Wilson). Each is a familiar friend-archetype, coloured with enough bite, insecurity, and emotional truth to feel lived-in rather than one-dimensional. The story by Amiel Simpson is original, sharply observed, and deeply relatable in that “I’ve lived this exact evening” kind of way. Quick heads up: there are mild adult themes and lots of drinking. Kat only stepped into the role of Vienna three weeks ago while also stage managing, which is highly impressive! Vienna is the one throwing the party (for the boy she has a crush on). She plays the role with a frantic, hyper-responsible energy; fussing over decorations, freaking out when things go south, letting uninvited guests crash, and desperately trying to keep chill while quietly disintegrating on the inside. I really feel for her. Big time. Morgan, played by Cheney Hossack, nails that perfect blasé vibe, especially when dealing with the nightmare of being stuck at a party with your ex! Kodi Ryke owns the role of Shoe (real name Harry), the loveable douchebag of the group. He blurts out whatever pops into his head, overindulges in alcohol, and whirls through the night on a series of chaotic, misguided decisions. Cheney and Kodi are so natural in their performances that it often feels like they’re living the moments, not acting them. Asaiah (Liam Wilson) is like that friend who brings cookies for everyone; instantly endearing! He has some of the most vulnerable lines in the show, the kind that make you stop and exhale. “I’m not sure that the people I want to spend time with, want to spend any time with me” lands hard in the middle of all the drunken antics. His articulation is the most clear too, which is a blessing in this echoey space. Aidan Calleja as Mark, the birthday boy, is a goofy and slightly clueless character who moves through conversations and situations with an innocent charm and random bursts of humour. Aidan’s presence is a total delight whenever he’s on stage, creating an atmosphere of laughter and lightheartedness. Midori Cruz brings a lovely softness to Kake (real name Kate?). Her awkward conversation with Asaiah feels incredibly true to life: that quiet moment where two almost-strangers try to bond at a party. The final section shifts to Vienna’s car — the infamous “Virginmobile” — where she begins the thankless task of dropping everyone home... with a detour to KFC, of course. Emotions run high as jealousies flare, crushes are exposed, feelings are bruised, and the façade every character has been clinging to finally crumbles. It’s messy, honest, and very well written, even if this last portion feels a bit lengthy. At about 90 minutes without an interval, the pacing dips toward the end, but the emotional payoff held my attention. The stage setup is basic: snacks, drinks, an inflatable couch, a guitar, and a small birthday poster. The town hall venue is air conditioned (thank goodness) but the old structure unfortunately swallows much of the sound. With rapid dialogue, several actors facing away from the crowd, and the audience seated quite far back, a good chunk of lines become tricky to hear. The sight-lines are also tough, especially since the raised stage doesn’t get used until the final third, and even then it isn’t lit downstage. Even with these venue limitations, the atmosphere of the party feels wonderfully real. Side chats spark up, juicy gossip trickles through the group, tempers flare, and boozy confessions spill out. It really does feel like eavesdropping on actual friends at 2 a.m. when everyone is a little sloppy and overly honest. The spat between Vienna and Morgan is one of the strongest moments in the show — raw, believable, and uncomfortable in that strained-friendship way. Shoe’s impulsive behaviour, Morgan’s need for control, and Vienna’s people-pleasing tendencies create a compelling emotional triangle. You can sense the thoughtful direction from Jack Winrow, who clearly understands these characters and the emotional dynamics between them. Despite the occasional missed cues or lines, and the acoustic challenges of the venue, the story remains compelling, relatable, and very well produced. Jack guides the ensemble with a clear sense of rhythm and intention, leaning into the awkwardness, humour, and tenderness that define this night-gone-wrong. At its core, Virginmobile  explores the labels we cling to, the insecurities we bury, and the truths we desperately avoid until they catch up with us. Morgan puts it best: “Maybe you shouldn’t value other people’s opinions so debilitatingly.” If only young adulthood came with a handbook.... Passion Productions takes a strong step in staging this new Australian work by emerging playwright Amiel Simpson. For those craving something original, intimate, and sharply relatable, Virginmobile  is well worth checking out! Tickets available here

Centenary Theatre Group – Directed by Gary Kliger Sir Arthur Conan Doyle caused quite the stir when he attempted to kill off the Sherlock Holmes character. This play, Holmes and Watson , dives into the murky aftermath of that decision. Holmes is “dead”… supposedly… and three men have appeared, all claiming to be the legendary detective. Dr John Watson is summoned to a remote asylum on Starkhaven Island to determine which of them, if any, is the real Holmes. From there, things spiral into a tangled psychological puzzle. This is absolutely a show that thrives on secrets, so I will tread very lightly on spoilers. Justin Ryan  nails the role of Watson, the proper British chap with a stiff upper lip and expressive stage presence. He moves through the space with confidence, grounding the increasingly bizarre circumstances around him. His back-and-forth intellectual dance with Andrew Wallace  as Dr Evans is one of the standout elements of the show. Andrew’s precise accent, articulate delivery, and slightly slippery demeanour make him a believable authority figure, but also someone I never fully trust. The trio of Holmes wannabes each offer something distinct. Brad Oliver  as Holmes #1 is sure of himself, instantly complicating my early assumptions. Steven Eggington  as Holmes #2 is a standout, strapped into a straitjacket yet commanding the room with frightening intensity, classy diction, and eyes flickering between brilliance and madness. Steve Tonks , as the catatonic Holmes #3, arguably has the toughest job, doing almost nothing while still maintaining presence. Luke Voyer  as Moriarty appears throughout dressed like a true villain, complete with maniacal laugh. He is a promising performer and shines in his moment with Holmes #3. Erik de Wit  is a loveable surprise as the mute orderly, goofy, expressive, and funny without speaking a single line. Michelle Malwkin  brings grounded realism to the Matron, while Martin Navin-Sanders  appears briefly with a great cockney turn as the Inspector during flashbacks. As the mystery deepens, information is held back from Watson, and from us, creating a satisfying stalemate that keeps the audience guessing. Nothing is as it seems and nobody is who they claim to be. The crowd reacts with those collective gasps you hope for in a classic whodunnit. The staging is straightforward, using a table, a few chairs, projected images and videos, and sharp, occasionally harsh sound cues that jolt the atmosphere. The final reveal is fun, clever, and lands well, although I am still not convinced about the music choice being 2001 A Space Odyssey? And to the real Holmes, you know who you are, when the reveal hits, do not cling to your coat. Step into that spotlight, you have earned it! At around an hour and a half with an interval, it is a neat little evening of intrigue and mind games, pulled together with steady, thoughtful direction from Gary Kliger , who guides the ensemble through the twists, secrets, and shifting alliances of a mystery like this with care.

Presented by Ghostlight Theatre at Evilcorp Horror Maze and Bar, Fortitude Valley Directed by Yasmin Elahi Music Direction and Sound Design by William Pipe Photography by Alan Burchill Evilcorp Horror Maze and Bar has transformed into a hilariously horrifying playground for Night of the Living Dead! The Musical! Picture this: you're surrounded by spooky lighting, thick haze, and faint groans from zombies wandering the aisles. The space is like stepping into a '60s horror flick, complete with a fireplace that's puffing smoke, a cobwebbed chandelier overhead, and a short catwalk that gives the audience a close-up view of all the undead mayhem. Night of the Living Dead! The Musical! follows a mismatched group of characters who take refuge in a remote cabin after zombies begin rising from the grave. What could possibly go wrong? As tensions rise and monsters close in, the group must navigate increasingly ridiculous disasters. With each character more clueless than the last, their struggle to survive turns into a wild mix of horror, parody, and musical absurdity. Whether they make it through the night is anyone’s guess, but they will absolutely sing about it along the way! Director Yasmin Elahi clearly knows how to use the venue’s quirks to her advantage, making full use of every corner, level, and unsuspecting audience member’s personal space. Yasmin also juggles choreography, lighting, costumes, and set design, somehow making this horror maze in Fortitude Valley into a stage. She ensures that the dialogue crackles with deadpan wit, and that every actor nails the timing, even when sprinting off for lightning-fast costume swaps. And keep your ears peeled for cheeky musical theatre Easter eggs sprinkled throughout the the script! Every performer plays multiple roles and the ensemble chemistry makes it all sing... literally. From Aimee Segal’s scream-queen moment in “Coming to Get You Barbara”, Aimee showcases her stamina, belting and comedy, making her the ultimate horror heroine. Alex Graves ’ (perfect surname) portrayal of Ben oozes charisma and ego in his soulful, smooth solo “Under Control,” featuring moonwalks and breakdancing that leave Babs speechless. Meanwhile, Erin Lowry steals every scene in her various roles, starting as the free-spirited Judy, then the adorably unsettling child Betty-Lou, and even a chaotic TV reporter declaring “You’re F***ed!” (which, frankly, might be my new life motto). She also handles those impossible costume changes that defy all backstage physics. Molly Parker’s “The Juice” is a show-stopping solo, a salsa-inspired anthem to liquor that leaves the audience delighted. Her character Helen is brash, hilarious, and the life of the party (Seriously, is there a real drink in that flask?). Patrick 'Az' James has seriously time-traveled from the '60s with that accent, while their slapstick expressions seal the comedy. We also see Az as “Dan the Science Man,” spitting out tongue-twisting lyrics under laser beams. The delightfully disturbing duet “Doctor’s Orders” follows, with Erin and Aimee as German doctors dissecting Alex’s corpse. Aden Lowry’s country number “Ain’t My First Rodeo” as a sleazy sheriff, with backup dancers Aimee and Erin, was definitely my favourite song. His southern accent is perfection to deliver lines like “I love the smell of chicken and bigotry!” Then there is the utterly bonkers orgy scene, complete with strobe lights, gyrating chaos, and the cast somehow keeping straight faces through it all, even though I was in tears from laughter! The choreography throughout is playful, especially in the duet “Don’t Go in the Basement,” where Alex and Aden nail the dance-off. In my opinion, the best zombies, Az and Aden, look as if they've just walked out of the ' Thriller ' music video. The title number, “Night of the Living Dead,” is the shining moment of the show, performed entirely in the dark with torches illuminating faces and harmonies polished to perfection. The live band deserves endless applause. Adam Haks and Jasmine Buckley on keys, Nathan Cho on guitar, Corey Truss and Ben Marshall alternating on bass, and Zi Hui Chen on drums keep the energy driving all night. The sound mix is impressively clean for such a small, unconventional space. We even demanded an encore, and bless them, they delivered! For a 90-minute fright fest that is equal parts satire, musical theatre tribute, and pure spooky fun, Night of the Living Dead! The Musical! is the perfect choice. This tiny theatre delivers a monstrously good time. There is something delightfully surreal about sipping a cocktail while zombies stumble past your knees. Shows like this are what make Brisbane’s fringe theatre scene so exciting. It is proof that you do not need a massive stage to make a big impact, just guts, wit, and a few fake body parts. Tickets are limited, so grab them fast. This is one graveyard party you do not want to miss!