Title: 17 Again – The Musical Presented By: Beenleigh Theatre Group Genre: Pop/Rock Contemporary Musical Comedy Synopsis: Based on the hit 2009 film starring Zac Efron and Matthew Perry, 17 Again follows Mike O’Donnell — a 35-year-old father who thinks his best days are behind him. A former high-school basketball star with big dreams, Mike’s life didn’t turn out as planned: his marriage is failing, his kids don’t respect him, and his job is going nowhere. When he magically transforms back into his 17-year-old self, Mike sees a chance to rewrite his past — but in doing so, he discovers the deeper beauty of the life he already has.With a contemporary pop-rock score from Alan Zachary & Michael Weiner (First Date) and a heartfelt book by Marco Pennette (Ugly Betty, Mom), this uplifting musical explores love, family, and the timeless question: “What would you do if you could do it all over again?” Audition Date: Sunday 2 November 2025 Audition Time: 9:00am – 6:00pm (dance + individual slots throughout the day) Audition Location and Address: Crete Street Theatre, Beenleigh QLD 4207 Audition Self-Tape Due: Accepted for those unable to attend in person — due by Friday 31 October.Include both prepared songs, your side read, and the dance routine (choreo video will be emailed to you). Callbacks: Monday 3 November 2025, from 6:00pm Audition Outcomes: By Friday 7 November 2025 Audition Requirements: Dance Call Sunday 2 November, 9:00am Everyone must attend. The dance call will include a short routine to assess movement, stage presence, and storytelling through performance. Focus is on energy, character, and connection — not just technique. Individual Audition (singing/acting) Begins 10:00am onwards (10-minute slots). Register for a 1-on-1 session with the audition panel. Prepare two contrasting songs (approx. 32 bars / 1 minute each) in the style of the show. One may be from 17 Again. Songs should show range, character, and emotional flexibility. Bring your own backing track, cued and ready. A speaker and adaptors (AUX, USB-C, Apple) will be provided. Each audition will be filmed. Side Read: Choose an excerpt for the character(s) you connect with (from BTG website). Perform with an American accent. Audition Information: Beenleigh Theatre Group Audition Registration: Book Here Audition Pack: Download Here Scheduling: Performance Dates: Fri 6, 13 & 20 February 2026 – 7:30pm Sat 7, 14 & 21 February 2026 – 2:00pm & 7:30pm Rehearsal Schedule: Tuesdays & Thursdays: 7:00–10:00pm Sundays: 5:00–9:00pm Rehearsals begin Sunday 9 November 2025. Warnings: Mild adult language, family tension, teen relationships. Performer Age: 15+ Creative Team: Director: Lachlan Dodd Musical Director: Mark Mirhan Vocal Director: Ruby Tate Choreographer: Meggie Ryder Assistant Choreographer: Kaitlyn Burton Production Manager: Bryce Berrell Production Website: https://beenleightheatregroup.com Other information: This is a community theatre production – all roles are voluntary. Cast must hold Beenleigh Theatre Group membership ($10 per calendar year). Membership required for 2025 and 2026. Bring a picture of yourself to use for identifying Available Roles / Character Breakdown: Mark / Young Mike 15–25, male Vocal range: Bb2–Bb4 Mike’s 17-year-old self. Charismatic, athletic, and still full of teenage energy. Must balance youthful charm with emotional maturity beneath the surface. Strong singer/actor and confident mover. Older Mike 35–45, male Vocal range: G2–G4 The adult version of Mike. Disillusioned and bitter; a man who’s lost sight of what matters. Emotional depth essential. Scarlet 35–45, female Vocal range: F3–E5 Mike’s estranged wife. Warm, grounded, independent, rediscovering her own happiness. Strong belt and emotional vulnerability. Alex 15–25, male Vocal range: A2–G#4 Mike and Scarlet’s awkward son; insecure but lovable. Doubles as Young Ned. Maggie 15–25, female Vocal range: A3–D5 Mike and Scarlet’s daughter. Straight-A student who’s fallen for the wrong guy. Smart, strong-willed, with a pop mix. Ned 25–35, male Vocal range: Bb2–G4 Mike’s best friend — a loveable geek-turned-tech-millionaire. Comic timing required. Naomi 30–45, female Vocal range: Bb3–Db5 Scarlet’s sassy best friend. Upbeat, confident, and full of advice. Principal Masterson 30–45, female Vocal range: Bb3–G5 Authoritative, no-nonsense principal. Coach Murphy 50–60, male Vocal range: Eb3–A4 Gruff basketball coach who doubles as the mystical janitor who gives Mike his second chance. Stan 15–25, male Vocal range: D3–A4 Maggie’s handsome, cocky, dim-witted boyfriend. Must have comedic chops and swagger. Chelsea / Young Scarlet 15–25, female Vocal range: Bb3–C5 Sweet, innocent teenage girl. Doubles as Young Scarlet The Brittanys 15–25, female Vocal range: Bb3–F#5 A trio of high school “it girls” — sharp, sassy, and funny. Pop vocal blend preferred. Additional Ensemble (15–50, all genders) Students, parents, teachers, and townsfolk.

“Well hello, Dolly… it’s so nice to have you back where you belong.” Step aside, modern revivals! Savoyards are here to remind Brisbane why the Golden Age classics endure. Their glittering new production of Hello, Dolly!  is a tribute to big hats, bigger feathers, and grand personalities. Under the warm, witty direction of Kristen Barros , the show feels both timeless and freshly polished, a brilliant finale to Savoyards’ 2025 season. Known to many through Barbra Streisand’s 1969 film adaptation, Hello, Dolly!  is set in 1890s New York and follows professional matchmaker, meddler, and all-round businesswoman Dolly Gallagher Levi as she skilfully weaves her way into the life (and wallet) of wealthy store owner Horace Vandergelder. Along the way, she plays cupid for a string of mismatched lovers: clerks Cornelius and Barnaby, the hat-makers Irene Molloy and Minnie Fay, and the hopelessly-in-love Ermengarde and Ambrose. The wigs, costumes, and accents are perfectly fitting to immerse us in this bygone world without ever feeling dated. Miranda Selwood  strides in as Dolly Levi, resplendent in an apricot-coloured frock, feathers in her hat, and a knowing glint that says, “I’ve already made up your mind for you.” She perfectly embodies Dolly as the mischievous and endearing busybody, yet beneath the sparkle reveals a woman of real depth; a confident façade concealing flashes of loneliness for her late husband. Watching the young lovers dance, she reflects, “I’m like an oak leaf… without colour, without life.” Her Act I showstopper Before the Parade Passes By  is a triumph of spirit and sincerity, as Dolly resolves to “rejoin human life,” her voice soaring while a literal parade moves through the aisles. Kat Suschinsky  delivers a glowing performance as Irene Molloy, captivating the audience with her old-Hollywood voice, smooth as velvet in the enchanting Ribbons Down My Back . Her interpretation is a heartfelt expression of longing as she flips between delicate notes and passionate belts like it's no big deal. Katyia Wills brings bright, exuberant energy as Minnie Fay with her comic charm and natural spontaneity, prompting laughter with lines like, “That hat is far too provocative for a widow!” Warryn James  gives a grounded performance as Horace Vandergelder, revealing the man beneath the bluster. His number It Takes a Woman  becomes an unexpected highlight thanks to the male ensemble’s rich harmonies and silly swagger. Conor Ensor  and Zach Price  as Cornelius and Barnaby are the show’s embodiment of youth and optimism. As they lead us into the exuberant Put On Your Sunday Clothes , the simple yet striking ensemble blocking lets the audience share their excitement as they prepare for a day of adventure (and I was left humming its infectious refrain for days on end!). Conor Ensor  and Kat Suschinsky  later share the tender It Only Takes a Moment , a duet so full of hope and romance it almost makes you weep. Speaking of tears, Stephanie Lee-Steere’s  perpetually sobbing Ermengarde is a delightful treasure. Then there's that iconic staircase moment: Dolly’s grand entrance, cutting quite the figure in her red sparkling gown, framed by a string of golden light and crowned with a feather plume big enough to make a peacock jealous. She commands the room and everyone in it with complete authority. Kristen Barros’s  direction leans into the comedy in all the right places, ensuring every laugh is well-timed and every moment of slapstick shines. Add the delightful chaos of Motherhood March , the laugh-out-loud dinner disaster of The Polka , and the tap-dancing whirlwind of Hello, Dolly!  (complete with a kickline, of course), and you have a show that never stops delighting. From the opening vocals of Call on Dolly , you know you’re in safe hands. Under the music direction of Jacob Cavanough , the orchestra sounds lush and full, with rich brass and soaring strings that instantly transport you to turn-of-the-century New York. The sound design by Ethan Houley  and David Sowdon  is impeccable, perfectly balanced in those full ensemble harmonies that lift the entire theatre. Savoyards always excel at the classics, but this Hello, Dolly!  might be their most visually sumptuous yet. The costume team, Cody Newnham  and Kim Heslewood , with wigs by Lynne Swain , deliver a true feast for the eyes. Every fabric, parasol, hoop skirt, glove, and bustle sings with period perfection. (Side note: can men please start dressing like this again?) The set design by Glenn Anderson  and Greg Heslewood  is cleverly dynamic, with moveable pieces, multiple levels, and swift transitions that keep the action flowing. Gabrielle Burton’s  lighting bathes each scene in a golden cinematic glow, and I didn’t spot a single mishap all night. Bec Swain’s  choreography sparkles, particularly in Dancing , where the featured dancers twirl and glide like porcelain dolls come to life. And I do love a good dancing-waiters moment: The Waiters’ Galop  delivers dazzling, over-the-top joy that had me grinning the whole way through. Hello, Dolly!  is grand, funny, heartfelt, and old-fashioned in the best possible way. It’s the kind of show that reminds you why musical theatre endures, because sometimes a little colour and joy are exactly what we need to rejoin human life. The detail, the discipline, the evident love, it all radiates from the Savoyards stage. I feel genuinely privileged that Miranda Selwood was my introduction to Dolly, and that Savoyards was my introduction to this musical. If I could hire Dolly Levi to sort out my love life, I absolutely would. Until then, I’ll happily settle for this dazzling dose of musical matchmaking. Don’t let the parade pass you by; catch it before 11 October. Tickets here. Photography by Sharyn Hall

The Lovers  by Shake & Stir Theatre Company Queensland Performing Arts Centre in association with Brisbane Festival Book, music, and lyrics by Laura Murphy Directed by Nick Skubij Choreographed by Yvette Lee Designed by Isabel Hudson Lighting Design by Trent Suidgeest Sound and Video by David Bergman Fight and Intimacy Direction by Nigel Poulton Musical Director Heidi Maguire Shakespeare has been leading us into the enchanted forest of A Midsummer Night’s Dream  for over 400 years, and each time we stumble back out a little transformed. That’s the magic of the Bard. His themes remain universal, elastic, and endlessly ripe for reinvention. The Lovers  grabbed that legacy and sprinted straight into club culture, neon fantasy, and full emotional meltdowns. I was lucky enough to see The Lovers  twice, once in preview and again closer to closing, and I could easily have gone back a third time just to relive the collision of Shakespeare’s wit with Laura Murphy ’s electrifying score. Her original songs were unmistakably pop-inspired, but never felt like a carbon copy of anything. It stood confidently on its own, full of punch, humour, and those little lyrical zingers that kept the audience laughing. The design team went all in and spared no expense. Isabel Hudson ’s set was a visual feast, beginning in structured Grecian drapery and columns before transforming into a lush, glowing forest dripping in pinks, florals, and soft fantasy textures. A central tree bloomed mid-stage, surrounded by cascades of petals, starry projections, and layered curtains that shimmered like a dreamscape. The production design was Shake & Stir at their boldest: cinematic projections, non-stop lighting, and not one but three  revolves to create a hypnotic carousel of bodies and chaos that only director Nick Skubij could wrangle with such precision. The upstage band laid down killer beats, and the entire thing looked like the glittery love-child of Six , & Juliet , and 2am at The Beat. Trent Suidgeest’s lighting carved the stage into hypnotic slices of color and shadow, sometimes exploding with strobe-heavy chaos and other times melting into romantic softness. David Bergman’s projections and video design wrapped the world in movement, and his sound design gave the five-piece band a fierce, pulsing presence. Costume-wise, the transformation was just as satisfying. The Athenians began in structured, slightly frumpy layers with ruffs and muted tones, before shedding them in the forest for vibrant, modern, playful looks. Hermia stepped into a pastel skort costume that gave her complete freedom to jump, roll, and run around. Puck and Oberon wore elaborate circus fantasy outfits, as if they were the ringmasters of the chaos. Jayme-Lee Hanekom  burst in as Puck with a rapid-fire rap introducing the lovers with flair. Nimble, mischievous, and completely unbothered, she bounced through the show with cheeky confidence, belting out “Nailed it” after being a magical menace. Stellar Perry’s  Oberon was the definition of electric. Stellar floated in as the hottest cupid-core deity I have ever seen, tearing through “Down to Love (DTF)” and “Magic Touch” with endless riffs, powerhouse vocals, and enough stage presence to make the gods jealous. Loren Hunter  as Hermia was a pocket rocket of confidence and determination. “Perfect Little Princess” showcased her strength early, while later numbers like “Wrap Around Me” saw her leaning into that confidence with full rom-com heroine energy. The disco ball moment in that number was giving full awkward high school prom night. By Act 2 she had descended into unhinged chaos with crazy eyes and full feral energy. Her verbal annihilation of Helena was vicious as she shifted from pretty princess to deranged woodland gremlin. The nightmare sequence, “Hiss Hiss Bitch,” with Puck and Oberon rapping in cages, was pure club fever dream - very TS Reputation  album meets Mean Girls' Someone Gets Hurt .   Natalie Abbott  as Helena completely stole hearts. She was the ultimate third-wheel bestie: faking joy for her coupled-up friends, frustrated at her own failures, and always dancing on the edge of heartbreak. Her solo “Chasing My Tail” is my new life anthem. She has the PERFECT pop tone, sparkling comedy, and aching puppy love all rolled into one.   Jason Arrow  swaggered in as Demetrius; a gold-dripped, charm-soaked, unapologetic f*boy. He dripped false dreams and false confidence, relentlessly chasing Hermia while harshly rejecting Helena, aching to ‘taste forbidden fruit’. He had the audience grooving through his number "I Want What I Cannot Have", which carried an RnB edge, a little Ne-Yo ache, and a touch of MJ flair. And then there was Matt Verevis ’ Lysander, the adorable goof of the story. Boy band meets Elvis, with a voice to match. His lovesick, spellbound behaviour was played for maximum comedy; the embodiment of the heart eyes emoji. The duet “Start Over” with Loren was pure rom-com bliss, dripping with swoony clichés, sincerity, and that line about Taylor Swift suddenly making sense because “now I know what she’s singing about”. Choreographer Yvette Lee  laced the show with movement that never stopped pulsing. Her work exploded in the number “Gimme Gimme”, where the boys zipped across the stage like golden retrievers in heat while the girls tried desperately to wrangle them with their 'nay-nays'. Nigel Poulton’s  fight and intimacy work threaded tension or tenderness into every tangled moment. The “To Die For” quartet delivered exquisite harmonies and dramatic use of the revolves.   I have seen several versions of A Midsummer Night’s Dream , but the Demetrius vs Lysander fight over Helena in this production topped all of them. Act Two surprised me with its emotional depth. The show found moments of sincerity in the heartbreak, the confusion, the best-friend fallout (which can hurt more than romantic heartbreak), and what it means to love authentically without losing yourself. The final number “How To Love” landed with enormous cheers and a wave of warmth across the room.   Laura Murphy’s adaptation didn’t simply modernise Shakespeare. It remixed him, reclaimed him, pumped him full of pop adrenaline, and let the women take the reins. The original prose sat proudly in the script, sprinkled with added jokes like “Remember a time when we didn’t have to swipe right?” The score was entirely original. There was no jukebox familiarity here. Just fresh, fearless bangers threaded with hilarity and heart. The comedy was constant, often driven by exaggerated physical acting that helped bring Shakespeare’s prose to life in a way that felt clear, accessible, and rightly ridiculous. Pop culture references were scattered throughout, landing easily with the knowing audience members. The women were fierce, the men were soft and vulnerable, and love was treated as the glorious battlefield it is in the original. I walked in wearing my best fairy outfit hoping to see a little magic. I walked out buzzing, heart full, head spinning, already counting down until I could see it again. If you’re into Six , &Juliet , feminist remixes, or simply want Shakespeare shaken, stirred, and dipped in glitter, The Lovers  was an absolute treat. If this is what Shake & Stir Theatre are brewing, I can’t wait to see what mischief they conjure next year!

Title: Matilda JR. (Workshop + Performances) Presented By: The Dance and Theatre Factory Genre: Family Musical (JR. Edition) Synopsis: Rebellion is nigh! Matilda Wormwood is brilliant, brave, book-obsessed—and armed with a touch of magic. With the kind Miss Honey in her corner and a school full of “revolting children,” Matilda stands up to the tyrannical Miss Trunchbull in this funny, fast-paced musical about courage, imagination, and choosing your own story. Audition Date: Thu 4, Fri 5, Sat 6 December (individual slots) Audition Time: Thu 4 Dec: 3:15–4:15pm Fri 5 Dec: 4:00–6:30pm Sat 6 Dec: 12:00–3:00pm Audition Location and Address: On the Boards Theatre Company, Unit 1/433 Wondall Rd, Tingalpa QLD Audition Requirements: Performer age: 8+ Prepare two contrasting musical theatre songs (approx. 32 bars each). Panel may not hear both. Bring a backing track on an AUX/Bluetooth-capable device Acting side: Familiarise one excerpt from the audition pack to read in the room. Notes: Only audition if you want a speaking/lead role. No audition required for ensemble participation. Audition Registration: Register Here Audition Pack: Download Here Performance Dates: Sat 17 – Sun 18 January Rehearsal Dates: Workshop block: Fri 9 Jan – Fri 16 Jan (January school holidays) Rehearsal Times: 9:00am–5:00pm daily during the workshop Participation Fees: 10-day program (9–18 Jan): $495 (principal roles) 6-day program (12–18 Jan): $375 (ensemble roles) Payment plans available on request. Fees include: costumes, rights/royalties/scripts, insurance, technical & creative staff, sets/props, venue hire. Available Roles/Character Breakdown: Matilda Wormwood (D5–Bb3) – Brilliant, fiercely independent, and compassionate; escapes into books and discovers surprising powers to outsmart injustice. Miss Honey (D6–Bb3) – Gentle, brave teacher who champions Matilda’s gift despite her own difficult past; warm mix/soprano with heart. Agatha Trunchbull (F#5–C4) – Comic villain; the iron-fisted headmistress who relishes rules and punishments; commanding presence and timing essential. Mr. Wormwood – Blustering, small-time schemer; dismissive of Matilda and hilariously deluded by his “business genius.” Strong comedic patter. Mrs. Wormwood – Vain, self-absorbed dance devotee; prioritises looks and TV over parenting; larger-than-life comedy with dance flair. Michael – Matilda’s monosyllabic brother; minimal lines, deadpan comedy. Mrs. Phelps – Kindly librarian who delights in Matilda’s storytelling; warm, supportive presence. Escapologist (F3–E3) – Heroic, grand figure from Matilda’s tale; bold, theatrical delivery. Acrobat (A4–D4) – Graceful counterpart to the Escapologist within Matilda’s story; lyrical performance quality. Bruce (F#4–C3) – Good-natured classmate who faces Trunchbull’s infamous chocolate-cake trial; requires comedic stamina and featured vocals. Lavender (D5–C4) – Matilda’s upbeat bestie; resourceful and loyal; featured lines and song moments. Nigel (D4–C3) – Sweet, anxious classmate who gets flustered but pulls through; comic beats and small solos. Amanda (Eb5–C4) – Spirited classmate with the iconic pigtail-toss moment; featured solo lines. Hortensia (D5–C4) – Confident truth-teller among the kids; solos and dialogue. Alice (D5–C4) – Classmate with featured vocal lines. Tommy (Eb4–C3) – Classmate with featured vocal lines. Rudolpho – Mrs. Wormwood’s flamboyant dance partner; movement/dance feature and comic swagger. Sergei – Intimidating but ultimately pragmatic client; brief featured scene with Matilda. Ensemble – Russians, Little Kids, Big Kids (incl. Big Kid 1–3), Kids, Mums, Dads, the Cook, the Mechanic. Ensemble sings, moves, and creates the show’s world; plenty of featured moments.

Presented by Salad Days Collective at PIP Theatre as part of Brisbane Festival Directed by Rebecca Day “Clicking yes I am over 18 with a clear conscience is every 17 year old’s dream.” The Natural Horse  (by T. Adamson) was one of the strangest theatrical escapades I’ve experienced in quite a while. Presented almost like an experimental theatre piece: a collage of vignettes, surreal humour, family chaos, queer teen angst, architectural deep-dives and naturally… a horse chilling in a suburban Wisconsin lounge room. I truly had no idea what to expect next, and judging by the confused chuckles around me, neither did anyone else. The story follows the Kareninas, an ex-Soviet immigrant family whose comfortable home quickly becomes a circus when daughter Masha brings home a horse she found while walking back from school. Masha, played with moody teenage accuracy by Jasmine Prasser , stomped around in baggy pants, heavy eyeliner, purple streaks, a choker necklace and an attitude. She shamelessly flirted with her unsure best friend Charlotte, creating a hilarious tangle of queer longing and awkward sexual tension that felt real enough to sting. Neve Francis performed as the painfully sweet Charlotte. Young, nervous and trying her absolute best to be pure and polite in a household that was anything but. Their scenes together were oddly fascinating, veering between deep confessions, bizarre questions, whispered secrets and very questionable decision making. Calum Johnston played the cheery Soviet dad Anton who rambled, overshared, and embarrassed everyone in his orbit. Lachlan Orton was their exhausted, quietly dissatisfied, heavily pregnant mother Svetka, relying on expressive facial acting to say almost everything he needed. Every sigh, side-eye and drooping shoulder landed. Lines like “I want both of you girls to drink every boy under the table” absolutely flattened the audience. And both their accents were so good that I am convinced half this cast must actually speak Russian. Lauren Dillon  delivered some of the most bizarrely hilarious moments of the show. As Kirk, the neighbour sporting an enormous handlebar moustache, she delivered a monologue that absolutely refused to end and later launched into a karaoke moment that felt like a full acid-trip detour. Were the lyrics improvised? Because I swear they were... And then there was Lil Gemini. Georgina Sawyer was a standout as the autistic-coded, hyper-fixated younger sister who communicated primarily in lists, facts, and wide-eyed stares. Her flat delivery, sudden monologues about Timothée Chalamet, childish tantrums, and oddball conversations were some of the funniest moments of the night. She also had entire conversations with Goodboy the horse, who narrated back in an unexpected posh British accent. Speaking of Goodboy, the horse puppet was golden. (I can't find a photograph of it!) Designed with ramshackle charm and operated with incredible precision by Calum Johnston and Neve Francis, the physical comedy was unforgettable. The poor performer in the back half crouched and shuffled around furniture, squeezed through doorways, humped the couch, conquered stairs and generally caused domestic chaos. The production design leaned into the surreal. Designed by Ada Lukin , the Wisconsin living room was a comforting blend of browns, wood textures, a fireplace, embroidered artworks and a casually mounted gun above it all. Noah Milne’s lighting carved strange and beautiful visual moments, especially during the snow sequence, and New Resource’s sound design heightened the madness with little pockets of whimsy and music. One thing this play captured beautifully was sisterly friction and parental tension. The sniping. The eye rolls. The petty emotional warfare. The dialogue often overlapped like a real family speaking over each other. Then suddenly someone would snap into a monologue, or the lighting would shift, or the horse would trot through the scene, and we were suddenly back in pure absurdism. Scenes were introduced with projected excerpts from Frank Lloyd Wright’s writing. I’ll be honest. I was lost. Utterly lost. Masha even presented a PowerPoint about his work and I still had no idea what architectural rabbit hole we had fallen into. At two hours without  an interval, the play certainly asked a lot of its audience. It felt long and occasionally exhausting. I wasn’t particularly compelled to attempt to decode any deeper meaning either (if any). But I did genuinely care about the characters (and the horse), and the performances across the board were exceptional . Would I watch it again? Probably not. But am I glad I saw it? Absolutely. The Natural Horse  was unlike anything else in Brisbane Festival’s program this year. Salad Days Collective committed wholeheartedly to this wild piece, and while I would love to see them take on an Australian work next, I admire their willingness to go big, go weird and go boldly into the unknown.

I deeply admire that a group of young performers can put together a full-length musical in just one week. Memorising lines, learning choreography, navigating microphones, and for some, stepping into their very first lead role. That takes courage. That takes teamwork. That takes heart.   Second Star Youth Theatre’s holiday production of The Lightning Thief  was exactly that: heartfelt, ambitious, and full of young artists giving it everything they had. Based on the novel by Rick Riordan, The Lightning Thief  follows Percy Jackson, a teenager who discovers he is the son of Poseidon. Thrown into the world of Greek gods and demigods at Camp Half-Blood, Percy must embark on a quest to retrieve Zeus’ stolen lightning bolt and prevent a war among the gods. Along the way, he learns that the very things that make him feel different might actually be his greatest strengths.   With a large and enthusiastic cast, the opening number burst to life with strong energy. From the outset, it was clear this group was committed. The plot of this show moves at lightning speed (pun absolutely intended), and while it can be tricky to follow every detail, I just enjoyed it for the vibes. Jayce Parkin (Percy)  anchored the show as our unconventional hero. I found Jayce to be a talented actor who puts a lot into the role. Slowing down dialogue in scenes will emotional moments to land even more clearly, especially in a show that moves at such a fast pace. Ruby Rowe (Annabeth)  delivered strong vocals, particularly in her big feature “My Grand Plan”. While pitch wavered at times, her clarity of articulation and confident stage presence stood out. There’s a solid leading-lady foundation there. Isabel Notari-Markey (Grover) really dedicated herself to the sidekick role. With more experience, her confidence will definitely boost. Isabelle Harris (Sally)  offered a very sweet vocal tone, with “Strong” living up to its name as one of the more musically secure moments. Harper MacGregor (Luke)  impressed with a strong contemporary sound, particularly in “Put You in Your Place,” which featured fun battle-style blocking. It was one of the more theatrically cohesive numbers of the show. Mia Morrison (The Oracle) , whose vocal performance in “The Oracle” cut beautifully through the space. A clear standout vocal moment. Sacha Fleming (Mr D)  gave consistently strong character acting. The cameo appearances from Nevayah Cullen (Ares) , Ivy Harle (Poseidon) , and Jeremy Sievers (Hades)  added fun theatrical flair and helped bring the mythological world to life. Musically, “Killer Quest,” “Drive,” and “Son of Poseidon” were energetic highlights that showcased the ensemble’s stamina and commitment. Directed and musically directed by Lauren McNamara , with choreography by Sonya Wyer , the production moved briskly. The plot of The Lightning Thief  is dense, and while you don’t necessarily need to follow every beat, clearer diction and slightly slower pacing in dialogue would help storytelling land more easily. Microphone balance proved a bit challenging throughout the performance. A little tip for our budding performers: microphones amplify you. So giving clear, supported speech will carry further than shouting or pushing your voice into "screech mode". Costuming was simple and age-appropriate, fitting the tween-camp aesthetic of the show and allowing the performers to move comfortably.   This was a charming production, buoyed by courage and enthusiasm, which is often the nature of ambitious holiday youth productions. What stood out most was not perfection, but commitment. You could see young performers learning in real time, stepping into leadership roles, and supporting one another. The talent is clearly blooming here. Strong comedic instincts exist within this group, so I think leaning into either a more defined comedy or a more widely known title in future seasons could allow the performers to settle into material more quickly and confidently. Youth theatre is about growth, courage, and finding your voice. And there was plenty of that on display here! Second Star Youth Theatre is a promising new presence in Brisbane’s youth arts community, and I look forward to seeing how they continue to develop.

Photography by Creative Street Lisa Alsop (Kate), Samantha Sherrin (Elizabeth), Isaac Brown (Lucas) What if one choice — left or right, yes or no, answer or ignore — could change everything? Every choice leads us somewhere, opening one door while closing another. If/Then  is a musical all about those little choices that change our lives in big ways. With its powerhouse score, clever sliding-door narrative, and bold ballads, it’s a rare Broadway gem now landing in Brisbane. This VOX Theatre Arts production is brought to you by producer Rhona Bechaz, director Hayley Gervais , choreographer Ruby Thompson , and music director Alex Angus . I’m here to give you the insider scoop from the team about their own “what if” moments, the challenges of telling two stories at once, and why this production is so special to us. Cameron Rollo (Josh) and Sam Sherrin (Liz) A RARE BROADWAY GEM The story will whisk you away to New York City, where Elizabeth’s life branches into two possible paths: one as Liz (the one with glasses) and the other as Beth , following her down the roads she takes and the ones she leaves behind. Samantha Sherrin  ( Guys and Dolls, Xanadu, Jekyll and Hyde ) takes on the monumental role(s) of Elizabeth. Playing opposite her is the “how can someone so handsome be so awkward” Cameron Rollo  ( Jekyll and Hyde, Company ) as Josh, the army medic whose chance encounter with Liz alters everything. For Samantha, stepping into a role originated by musical theatre royalty Idina Menzel ( Frozen  and Wicked ) has been both daunting and exhilarating. But she is thrilled for audiences to finally see this special show: “There’s so much happening across the multiple timelines that everyone will find something to relate to, especially us over-thinkers and people pleasers!” And for anyone wondering what lesson she takes from Elizabeth’s journey? Samantha believes the message is clear: “This show tells us that whatever is meant for us will find us, and not to get lost in the ‘what might be’s.’” Lisa Alsop  ( Legally Blonde, Carrie ) brings fiery passion as Elizabeth’s fiercely loyal neighbour Kate, alongside Micheal Enright  ( Fun Home, The Addams Family ) as Kate’s partner Anne. Making her stage debut is Amiel Morris  as Elena, Beth’s confidante through her toughest life decisions. Dominic Bradley  ( The Crucible, The Importance of Being Earnest ) takes on the role of Beth’s boss Stephen, while Isaac Brown  ( Ride the Cyclone, Jesus Christ Superstar ) plays her activist friend Lucas, with Jackson Muir  ( My Fair Lady, Chess ) as his romantic interest David. Phew! You still with me? I asked Rhona Bechaz , artistic director for VOX Theatre Arts, what drew her to this stunning 2014 Broadway musical. Confession time: I myself had only ever heard two songs from it now... I know, extremely slack for someone who lives and breathes musicals! Rhona explained: “I was drawn to If/Then for its raw, real stories and characters, and the incredible musical score. I knew that Hayley’s fresh take on the story would be incredible, and I really wanted to see it come to life under her direction.” She’s talking about Hayley Gervais , the well-known artistic director of Phoenix Ensemble, who has directed countless productions and brings her signature heart to this multiverse tale. Micheal Enright (Anne) and Lisa Alsop (Kate) SONGS THAT HIT HARD Our music director Alex Angus  deserves superhero status for steering us through this score and for conducting the formidable 13-piece orchestra. The rhythms in This Day  are wild, the key changes in It’s a Sign  are relentless, and some numbers split into eight-part harmonies that make my brain do flips! For many cast members, the music is what makes this show so powerful. Cameron Rollo  admits: “Isaac’s solo ‘You Don’t Need to Love Me’ hits the hardest for me, with ‘I Hate You’ a close second. Sam’s acting breaks my heart so much that it makes me reluctant to leave the stage, even though my character must do so.” Lisa Alsop  agreed that the emotions come thick and fast when “Samantha Sherrin sings literally anything. She is my theatre crush! ‘Love While You Can’ (a stunning duet between Kate and Anne) is almost impossible to get through without crying.” For Amiel Morris , the impact is equally powerful: “I’ve literally never made it through this show without crying… ‘Always Starting Over’ (the mammoth five-minute ballad from Sam) has a special place in my heart.” And Ryan Bascle , also making his stage debut, added: “‘No More Wasted Time’ knocks my socks off every time. The harmonies of these four powerhouses at once reverberates within my soul. Couple that with a message of breaking out of patriarchal expectations and you get to the heart of what I think this show is about: forging your own path regardless of the direction or outcome.” From my own spot in the ensemble, I can confirm there’s no lull in this score. It’s a true no-skip album, with numbers like What the F*ck ?, Ain’t No Man Manhattan , Surprise , and of course What If?  Each is a multiverse adventure that will leave you breathless to see how profoundly the timelines diverge. Rounding out the ensemble is Molly Parker, Alicia Brite, Casper Haringcaspel, Ryan Bascle, Mark James and yours truly, Samantha Hancock . And let me just say: this ensemble is the hardest-working bunch of NPCs I have ever worked with. We might be background New Yorkers, but we give it our all in every crosswalk, coffee sip, and subway shuffle. Isaac Brown (Lucas) and Jackson Muir (David) CHALLENGES AND REWARDS Tackling a Broadway show this complex isn’t a walk in the park. For Cameron Rollo , the challenge is vocal: “handling the high G# I have to keep singing!"   Jackson Muir  is breaking new ground: “This is the first time I’ve been in a role where my character is in a relationship.”   Dom Bradley  reflected on walking the fine line between Stephen’s flaws and his humanity: “He could be played as a complete asshole, but I like to think he’s got good qualities.” Lisa Alsop  added that part of the reward has been the process itself: “This show has so many different ways it can be interpreted, so it’s been really rewarding hearing each actor’s perspective for their character and working with such a talented group of people to present a considered and impactful performance.” Lisa Alsop (Kate), Amiel Morris (Elena), Sam Sherrin (Beth), Micheal Enright (Anne) WHAT AUDIENCES CAN EXPECT What makes If/Then  unique is its sliding-doors structure. Dom Bradley  said: “I think audiences will enjoy all the times we see a scene twice. There are many moments we do a scene, the worlds swap, then we see it again in the other timeline.” There are plenty of hidden gems too. Lisa Alsop  hinted: “The saga of Kate’s ring is something the audience might not notice, but we’ve put thought into.”  Plus, my own little background romance with “sexy guitar guy” might not be something audiences consciously notice, but it’s a detail we’ve woven into our tracks because this show is all about those unseen choices and connections. Rhona Bechaz adds, “I hope the audience finds special moments of reflection in the story. I personally find so many places where theatre mirrors life, and I know our audience will see themselves in the characters and their stories. I hope they leave with both a tear and a smile — our goal in theatre is to make our audience connect with our stories, and this one absolutely ticks ALL the boxes!” And after being part of the rehearsal room, I can safely say Rhona was right. ADVICE FOR ELIZABETH When asked what advice they’d give Elizabeth, the cast had plenty to say. “Choose out of love, not out of fear,”  said Cameron Rollo . Lisa Alsop’s  response was lighter: “Have a bev and chill out a bit.”   Dom Bradley  went straight to the point: “Make a f* cking decision. Don’t worry about the what-might-have-beens. Just think about what could be.” Ryan Bascle  offered this thoughtful advice: “I think I’d tell Beth the same thing I try to remind myself and others often — trust yourself. You never know if a decision is right until after you’ve made it, so trust yourself to handle it when things don’t go the way you’d hoped, and to be able to appreciate the good things that come while they’re there.” Sam Sherrin (Beth) and Dominic Bradley (Stephen) Like Elizabeth, I have plenty of “what if” moments that replay in my mind. What if I had stayed in the career I was building before COVID pulled the rug out from under me? What if I had never posted that video of me singing, the one that was seen by the right person and swivelled my life in a completely new direction? Would I still be here, telling stories on and off the stage? Or would I be sitting in an office somewhere wishing I had followed the music instead? The roads not taken are always tempting to imagine. That’s why If/Then  hits home for so many of us. It’s not just Elizabeth's story, it’s all of ours. Every decision we make, or don’t make, nudges us in a new direction. Being part of this show reminds me that while we can’t live both timelines, we can choose to embrace the one we are in fully. As the lyric says, “You learn to love the not knowing...” Yes, you’ll laugh, you’ll cry, and you’ll leave reflecting on your own “what if” moments. Performances run at Arcana, 46 Evesham Street, Moorooka on Friday 10 and Saturday 11 October. Tickets are $49 (concession $45, groups 10+ $39) and are available now ! One woman. Two paths. Infinite possibilities.

Ipswich Musical Theatre Company | Book, Music & Lyrics by Irene Sankoff & David Hein Directed by Thomas Armstrong-Robley Music Direction by Matt Rofe Choreography by Simon Lind Photography by Justin Marriner Ipswich Musical Theatre Company delivered a deeply moving and impressively polished production of Come From Away , a story that has travelled the world yet somehow felt right at home in this community setting. Before the show even began, the pre-show airport announcements, the sticker map marking where audience members were “from,” and the fully visible set instantly transported us to Gander Airport in Canada. Wooden and plastic crates, metal sheeting for wings, and crisp multimedia projections created a rugged environment that looked part-airport terminal, part-makeshift shelter. For anyone new to the show, Come From Away  recounts the astounding true events of September 11, 2001, when airspace over New York shut down and 255 planes were diverted across Canada. Thirty-eight of those planes landed in Gander, Newfoundland, dropping almost 7,000 stranded passengers into a town whose population nearly doubled overnight. Among them was Beverly Bass, the first female captain of American Airlines. Drawing from interviews with locals, pilots, and flight crews, writers Irene Sankoff and David Hein crafted this musical capturing five extraordinary days of fear, generosity, humour, and humanity. It remains one of the most powerful reminders of how compassion can (and should) rise from tragedy. Director Thomas Armstrong-Robley  and choreographer Simon Lind  embraced the show’s famously complex staging with intensity and precision. With each actor playing multiple characters and the set constantly shifting through chairs, tables, crates, and bodies, this production required perfect timing. The pacing felt urgent without being rushed, driven by pounding percussion, jet-engine soundscapes, and an ever-present undercurrent of chaos because... “I can’t watch the news anymore!" Grant Couchman  set the tone with his commanding voice in “Welcome to the Rock,” leading an ensemble that worked with near-military discipline. From there, the performances never dipped. Amy McCormick  brought youthful sincerity and excellent accent work to Janice, the local news reporter. Stu Fisher’s portrayal of the diligent policeman Oz was a comedic delight, featuring a booming voice that never failed to make an impact. Kate Retzki  as Bonnie radiated headstrong determination as she cared for the animals onboard, while Jacqui Cuny’s Beulah glowed with maternal warmth. She truly felt like the Gander mother hen, offering comfort to all. Danika Saal delivered a moving portrayal of Hannah. Her far-too-short solo, “I Am Here,” carrying the full weight of a mother’s panic as she waited for news of her son in New York. Georgia Spark’s Beverly Bass was sensational as Beverly Bass, handling the lengthy solo “Me and the Sky” with beautiful vocals and grounded storytelling (pun intended). I loved the way the cast circled her for this number, especially the all-female crew; an image that beautifully honoured the trailblazing pilot she portrayed. Georgia also had a fantastic Texan “teacher voice”, commanding the space with easy authority. Jacob Ballard  offered crystal-clear diction and thoughtful acting as Kevin T, leading “Prayer” with a stunning, angelic vocal line. Michael Fitzpatrick , Daniel Walton , Barry Haworth , Justin Harreman , and Bronte Mitchell  provided humour, heart, and seamless shifts between characters. Special mention must go to Stuart Manuel, who made his stage debut as Ali and gave a wonderfully natural performance, navigating the racial tensions of the moment with honesty and control. Staging-wise, “28 Hours” captured the mass hysteria with clever blocking that eventually settled into humour (the liquor onboard certainly helped!). “Darkness and Trees” was chilling, while “On the Edge” surged with epic lighting design and emotional panic. “Heave Away” offered a joyful burst of live musicians onstage (far too briefly) and treated us to a dance-off with Simon Lind's choreography. Vocally, the show was exceptional. “Somewhere in the Middle of Nowhere” filled the theatre with soaring harmonies, and “Lead Us Out of the Darkness” used reverb to beautiful effect. The nine-piece band, led by MD Matt Rofe , sounded phenomenal and anchored the show throughout, even when hidden from view. The emotional aftermath was handled with great care. “Something’s Missing” was bathed in soft, evocative lighting, with grief and rage flickering across faces as the reality of loss finally landed. I found myself thinking again and again about the exhaustion these real passengers must havefelt: the fear, the homesickness, the survivor’s guilt... and how remarkable it was that this tiny town met them with such kindness instead of hostility. There were almost no flaws in delivery, sound, or staging. This was a huge, ambitious undertaking, and Ipswich Musical Theatre Company more than rose to the challenge. Though I couldn’t name every single performer in this exceptionally large ensemble, please know that each one contributed to a cohesive, special, and powerful piece of theatre. This production honoured the real people and real events behind Come From Away , reminding us once again of the best parts of humanity during the very worst of times.

Title: OZ (Inspired by Wicked and The Wizard of Oz) Presented By: Toowoomba Ballet Theatre (TBT) Genre: Dance theatre – ballet, jazz, contemporary, acrobatics (all-styles) Synopsis: A large-scale, original TBT production inspired by the worlds of Wicked and The Wizard of Oz. Expect an ensemble-driven adventure through Emerald-hued realms with feature moments for classical, contemporary and acro specialists. Created to showcase regional dancers in a full professional venue with cinematic scale. Audition Date: Sunday 9 November 2025 Audition Time: Class times advised after registration (grouped by age) Audition Location and Address: TBT Studios, 9 Railway St, Toowoomba City QLD Audition Self-Tape Due (if applicable): Video auditions accepted; due Sunday 2 November 2025 Audition Requirements: Register online and upload a headshot (clear, recognisable). In-person audition (preferred): short classical technique class (+ pointe if appropriate), taught combos, and an optional solo (≤2 min) in your best style (classical, contemporary, jazz, acro, etc.). Special skills on apparatus (e.g., lyra/silks) may be submitted by video. Video audition option (if you cannot attend): include barre/centre, solo/variation and any skills footage (clearly identify the dancer). What to wear: Plain leotard and ballet tights for classical; fitted shorts/half-tutu permitted for solo. No costumes/props. Hair in neat classical style. You may miss up to three rehearsal days for pre-existing studio commitments (catch-up via rehearsal videos required). Audition Registration: https://form.jotform.com/251982516106861 Audition Pack: 2026 Prospectus (dates, fees, policies): https://www.toowoombaballettheatre.com.au/audition Performance Dates: Sunday 19 April 2026 (matinee & evening) Performance Location: Empire Theatre, Toowoomba Rehearsal Dates: Sundays in Term 1 (Studios): 8, 15, 22, 29 March 2026 School Holidays – Week 1 (Studios): Mon 6 – Fri 10 April Photo Day: Sat 11 April School Holidays – Week 2 (Studios): Mon 13 – Fri 17 April Stage Rehearsal: Sat 18 April Performer Age: 8+ (age as at 1 Jan 2026). No upper age limit. Adults (18+) welcome. Other information: Registrations close: Sunday 2 November 2025 (strict). Fees: Production fee $849 per dancer (includes rehearsals, costume hire, production shirt, 2x tights, videography, insurance/admin). Deposit $250 (non-refundable) secures your place after offer. Adults (18+) receive 50% fee reduction. Payment plans available. Casting is at the Artistic Director’s discretion; some dancers may shadow/understudy roles. Available Roles/Character Breakdown: This is an original, Oz-inspired creation. Casting will be built around the company’s strengths with roles drawn from Emerald City citizens, witches, wizards, travellers, guardians, and realm creatures. Opportunities for: Classical/neo-classical features (court/emerald ensembles, waltzes, lyrical solos) Contemporary & character work (witches’ courts, citizens, storytellers) Jazz & musical-theatre numbers (city scenes, travellers, guards) Acro/contortion/tumbling highlights (creatures of the realms, storm sequences)

Title: School of Rock (Musical) Presented By: Passion Productions Genre: Rock Musical / Comedy Synopsis: Based on the hit film, School of Rock follows wannabe rock star Dewey Finn who fakes his way into a substitute teaching gig at an elite prep school—then secretly turns his class into a kick-ass band bound for Battle of the Bands. It’s rebellious, high-energy, and all heart. Audition Date: Saturday 6 December 2025 (group calls) Audition Time: You’ll be allocated a 60-minute group slot after registering Audition Location and Address: Northgate Hall, 71 Scott St, Northgate QLD 4013 Audition Requirements: Dance: Learn the combo in advance (taught briefly on the day). Choreo video in pack. Singing (Adults): 30–45 sec each of two MT songs — one rock style + one classical/traditional MT. Singing (Kids): 30–45 sec own choice song and set cut of “Stick It to the Man” (link in pack). Acting: Cold reads may be requested at audition or callbacks; no prep needed. Bring a device for your backing tracks; wear clothes/shoes you can move in. All performers 18+ must hold a current Blue Card. Audition Registration: Register for a timeslot (Airtable) Audition Pack: Info Pack (PDF) Performance Dates: 10–12 April 2026 (possible extension to 18 April based on sales) Rehearsal Dates: From Sunday 18 January 2026 (full schedule linked in pack) Rehearsal Times: Thursdays 6:30–10:00pm & Sundays 10:00am–4:00pm (Bardon Hall) Callbacks: Sunday 7 December 2025, 2:00pm at Northgate Hall Warnings: Family musical with mild language and references (swearing by adult and child cast in context), references to alcohol/drugs, characters defying authority. Full list of scripted words provided in the Info Pack. Performer Age: Adults & teens: 15+ (adult ensemble/roles); Kids’ roles as per character list below. Production Website: https://www.passionproductions.com.au/auditions Other information: Community theatre; unpaid, no production fees or mandatory membership. Cast may be asked to assist with sourcing basic costume pieces/props (designer-approved). Available Roles/Character Breakdown: Adults Dewey Finn (mid-20s–30s) – High rock tenor (B2–E5, head belt). A lovable, chaotic rock tragic who transforms his class into a band. Strong comedy/improv; basic guitar a must. Rosalie Mullins (mid-20s–30s) – Soprano with operatic top and strong belt (A3–D6). Strict headmistress with a buried rock heart. Precision, authority, and a secret love of Stevie Nicks energy. Ned Schneebly (mid-20s–30s) – Rock bari-tenor (C3–F#4). Ex-rocker turned timid man-child under Patty’s thumb; Dewey’s old mate. Patty Di Marco (mid-20s–30s) – Belt (B3–E5). Ned’s no-nonsense partner; pragmatic, protective, and allergic to Dewey’s chaos. Adult Ensemble – Teachers, parents, and featured cameos (e.g., Jeff Sanderson – Battle of the Bands manager; Theo/Doug/Bob/Snake – No Vacancy; Stanley; Security Guards 1 & 2). All vocal ranges; character acting; light movement. Kids – Instrumentalists (playing the instrument is a strong plus but not always mandatory) Zack (guitar) – (A3–D5) Gifted but stifled; angry at not being heard. Finds voice through lead guitar. Lawrence (piano/keys) – (A3–D♯5) Shy brainiac; blossoms under Dewey’s encouragement. Freddy (drums) – (A3–D5) Boundless energy; rough-around-the-edges kid who channels it at the kit. Katie (bass) – (A3–D5) Cool, calm anchor of the band. Minimal fuss, maximum groove. Kids – Non-Instrumentalists / Featured Tomika – (A3–G5) New kid with powerhouse voice; quiet until she isn’t. Soulful belt. Summer – (A3–D5) Type-A class leader; self-appointed manager who keeps Dewey honest. Marcy & Shonelle – (A3–G5) Sassy, tight backing vocalists; blend and stage presence. Billy – (A3–D5) Budding fashionista; comic flair with heart. Mason – (A3–D5) Tech whiz; clever problem solver. Sophie, James, Madison – (A3–D5) Ensemble kids with pop/rock vocals; learn multiple tracks.

Amplified: The Exquisite Rock and Rage of Chrissy Amphlett Co-Creator, Writer and Performer: Sheridan Harbridge Co-Creator, Director & Producer: Sarah Goodes Co-Creator, Musical Director and Performer:  Glenn Moorhouse Lighting Designer:  Paul Jackson and Spencer Herd Photography: Pia Johnson Musicians: Dave Hatch (Drums) Ben Cripps (Bass) Clarabell Limonta (Keys) As soon as Sheridan Harbridge stepped onto the stage in her black, tight leather skirt, low-cut top, and long, diamante-studded dress coat, the audience knew she was an actor and singer capable of capturing the essence of the iconic Chrissy Amphlett. The band struck up the opening guitar riff of “I’ll Make You Happy” and the audience (mainly made up of those that had lived through the Divinyls period of the 80s/90s) was immediately on board for the journey. It’s a wonder no one has thought to put together such a show before now about such an iconic female Aussie rock performer. Sheridan and co-creator Sarah Goodes took the audience through songs and anecdotes about Chrissy’s life before, during, and after the Divinyls – her defining era in Australian music history. Sheridan nailed Chrissy’s punk-rock chick persona, pouting and enunciating in the distinctive style that made Chrissy so unique in the 80s male-dominated Aussie rock scene. The interaction with the audience, sometimes as herself and sometimes as Chrissy, made for a genuine connection that the audience bought into and loved. Sheridan described the journey she was presenting as "a galaxy of stories in our collective sky" . The metaphor of a crow was used to good effect throughout the performance to highlight various stages of Chrissy's life. Stories were told from the point of view of her bandmates, friends, and even fans of that time. Sheridan, with her mix of swearing, gesturing, and prowling the stage, convinced those of us who weren’t around during the 80s/90s music era that we were witnessing someone who truly terrified, aroused, and shocked audiences of that time. I believed in the embodiment of this brash artist who could exude both audacious energy and vulnerability, along with subversive humour in her lyrics and performances. There were stories aplenty about legendary gigs performed, taboos broken, and secrets held about what actually went on in that iconic band. The sad parts of Chrissy’s life – her early abusive childhood, tempestuous relationship with bandmate Mark McEntee, and drug and alcohol use, were handled with sensitivity within the mostly upbeat and raucous telling of her story. As were her later health issues – a diagnosis of MS and then breast cancer - which took her life in her early 50s. The band – comprising guitar, bass, keyboards, and drums supported Sheridan with ferocious playing and backup with some songs true to the recordings and some given a different arrangement that was no less engaging. They played the iconic intro to "I Touch Myself" multiple times, only to be interrupted by Sheridan delivering another anecdote or engaging with the audience. At one moment, she even ventured into the crowd to retrieve a woman's handbag (a move Chrissy reportedly did at a gig once), emptied its contents on stage, and commented on them – clever and witty! The lighting enhanced the song performances, showcasing the band and Sheridan in different ways during full band pieces, or by using a single spotlight on her as she sat on a stool for a more introspective song like " Elsie ." All the Divinyls bangers were played, including "Pleasure and Pain" , " Boys in Town", " Science Fiction " and, naturally, "I Touch Myself" as the grand finale . By the end of the tour de force performance, Sheridan had given her all, and the audience was standing, singing, and applauding. This story of Chrissy Amphlett was delivered by a seasoned artist who surely knows it’s a fine line between pleasure and pain, and served up for an audience who loved her captivating performance. It would be a shame to leave this show only as part of the Brisbane Festival as I’m sure it would be well received by audiences around Australia if it was ever toured.

"OMFG - Oh My Fairy Godmother" Presented at Phoenix Ensemble, IQ Productions’ Disenchanted was a night of cheeky chaos and sassy princesses, all wrapped up in a concert-style extravaganza. Imagine a feminist fairy-tale fever dream where every storybook heroine decides she's had enough, snatches a microphone, and spills the tea on everything that has been on her mind. Directed by Louella Baldwin and with choreography by Isabelle Quayle , the team leaned into this whimsical satire with full commitment, crafting a slightly deranged cabaret that seemed like an absolute blast to be part of! The opening number One More Happ’ly Ever After set the vibe immediately. Snow White, Cinderella, and Sleeping Beauty burst onstage with killer vocals and girl-group energy. Ally Hickey as Snow was the sassy, witty, and confident ringleader of this princess posse. Kaitlyn Burton gave Cinderella a wonderfully ditzy charm (my pick for strongest character work of the night). Mikaela Bobart played the dry, deadpan humour of Sleeping Beauty before surprising me with her angelic but booming vocals in Perfect . And the tap break from Ally, Loretta Melit, and Kaitlyn was a fun bonus! Chynna Santos was fierce as Mulan, absolutely obliterating the patriarchy in her solo Without the Guy . Her comedic timing had that “first time ever performing this” kind of spark. She and Kaitlyn fed off each other perfectly, with a cheeky, natural rhythm. Rhea Basha has a voice that could make a siren jealous, but she went full-on gremlin mode as Ariel in Two Legs (loved the crazy eyes!) Then she flipped the script and dazzled us all as a snappy, sassy Jasmine in Act Two. Meanwhile, Nadia Low's Pocahontas broke my heart during Honestly , serving up a down-to-earth performance with some beautiful belts and a costume that was one of my top picks of the night. Speaking of costumes: Breanna Gear absolutely understood the assignment. The Six -inspired silhouettes, the holstered mics, the clever little details — Cindy’s shoes, Ariel’s fork bracelet, the leaf ornament in Pocahontas’ hair — it was all spot on and so much fun to clock from the audience. Act Two shook up the casting. Loretta Melit , who had crushed it in Act One as Belle in Insane , stormed back in as an aggressively German, underpaid Rapunzel for Not Von Red Cent. Despite batling a lost voice (which definitely deserves a medal), she somehow managed to stir up our small audience into a frenzy with her energy! Senuki Thotahewage as Tiana absolutely nailed my favourite song of the entire show Finally , complete with a quick costume change, insanely good vocal runs, and fabulous choreography that had me crossing my fingers she'll get to play Tiana for real one day. Snow’s song A Happy Tune? is honestly my new personal anthem, and the finale Once Upon a Time was a killer closer, even if some lyrics got swallowed in the sound mix. And I can't forget the number Big Tits , which was just as bonkers as the title suggests! The band trio of Marcelle Gun, Phil Kan , and the maestro of melodies, Benjamin Richards , kept the performers grooving with a lively sound. Their reactions to the onstage shenanigans cranked up the fun too. The humour was very American in style, loaded with stereotypes and intentionally provocative. As a lifelong Disney lover, I could appreciate the parody even if the show itself was not entirely my cup of tea. Despite the small audience on the evening I went, the cast still delivered full energy to make it a chill and fun evening with just enough audience participation to keep us safe from the spotlight (thank goodness!). In the end, Disenchanted ! was chaotic, colourful, and packed with strong vocals, witty tidbits, and characterful details. Photography by Puddleduck Pictures