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Now showing at Southbank, (at the QLD Maritime Museum beneath the Goodwill bridge), Darkfield’s immersive experiences, ' Séance' and ' Flight' , are perfect for those eager to try something new and dive deep into the unknown. After braving both, I can assure you that while ' Séance'  is undeniably chilling, ' Flight'  took the cake for me, leaving me pondering its mysteries long after my feet were back on solid ground. These one-of-a-kind experiences are designed for small groups, which adds to the intimate atmosphere of the scenarios. Each one is a 20-minute adventure inside a shipping container in complete darkness. The container for ' Flight ' has been transformed into a highly realistic airplane cabin. When you hop on board (I recommend sitting in an aisle seat), you get the usual safety briefing from a flight attendant on screen, along with the usual airplane noises—but this time, everything feels a bit... off. As the lights go out, the world as I know it ceases to exist, leaving you with just binaural audio in your headphones. It’s a challenge to explain the feeling—there’s a real vulnerability in being so stripped of sight, yet so aware of the space you share with others. It's easy to forget you're still in a shipping container. The sense of reality is that strong. Once the darkness envelops you, you’re plunged into a mind-bending journey. The sheer realism of the sounds—the hum of jet engines, whispers from passengers nearby, babies crying, the attendants walking up and down beside you (I kept reaching out to feel if she was actually there), the captain’s breathy voice in your ear, and your seat suddenly shaking as the chaos of an emergency situation unfolds. It’s more than just a terrifying thrill; it’s a mind game, making you wonder what’s real and what’s not. Now, ' Séance' ... while equally immersive, is more of a psychological experiment in supernatural superstition. It’s no less impressive, but it’s a different kind of terror, relying on the tension of the unseen. If you love the thrill of a good ghost story and the eerie atmosphere of a séance, you won’t be disappointed. I must admit, my ears were a bit too sensitive for the ending of 'Séance'; the sounds were intense, and the eerie silence that followed felt almost too much. The moving table is a clever touch that really adds to the feeling of being part of something beyond our regular sensory perception. My stomach dropped as the experiences wrapped up, and when the lights flickered back on, it was clear I wasn’t the only one who had been captivated. The other participants had their heads down, completely engrossed in what had just unfolded. The collective focus and shared moment of astonishment was electric.   The way Darkfield uses binaural audio to immerse you so completely in the experience is unparalleled. Even though I was physically sitting in a dark space, the sounds painted a vivid picture, with every whisper, creak, and thud positioning you perfectly within the experience. It allows your imagination to run wild and heightens the sense of dread (but don't worry, there's some humour in both scripts too!). I highly recommend grabbing tickets for both shows, especially if you’re a thrill-seeker looking to test your nerves, need a fresh date idea, or just want an experience that you won't find replicated anywhere else. Trust me, after ' Flight' , you’ll be questioning the very nature of reality—and probably double-checking your seatbelt the next time you fly. For those who may have reservations about the intensity, don't stress—there's an opt-out option, plenty of info beforehand, and nothing too wild when it comes to motion. The experience is designed to be unsettling but totally safe, and there’s a real thrill in stepping into the unknown. At less than $30 for a session, Darkfield offers excellent value for a truly unique adventure. With multiple sessions every day, it's easy to find a time that fits your schedule. Go give your senses a whirl because this experience is definitely worth checking out. Tickets available until 8th December

Title:  The X Collective 2025 Season Open Auditions Presented By:  The X Collective Genre:  Multiple (Drama, Comedy, Musical) About: The X Collective’s 2025 season includes a bold lineup of dynamic and thought-provoking productions, showcasing a mix of drama, comedy, and musical theatre. With a focus on impactful storytelling and boundary-pushing performances, this season offers something for everyone, whether you're a seasoned performer or a passionate newcomer. Audition Dates: Saturday, 30 November 2024 Sunday, 1 December 2024 Audition Times:  9:00 am – 4:00 pm Audition Location and Address:  To be confirmed Audition Requirements: Prepare one comedic or dramatic monologue (2–3 minutes). Bring your resume and headshot. Be prepared for a potential cold read from one of the season’s scripts. Audition Registration: Visit The X Collective Auditions  to select your time slot and register. Audition Pack:  Additional details will be provided upon registration. Available Roles: Each production has specific roles available: Waiting for Godot  (Performances: Late March/Early April 2025) 5M (encouraging female-identifying actors to audition) The Goat, or; Who is Sylvia  (Performances: June 2025, dates TBC) 1F, 3M (Role of Stevie is pre-cast) A Girl in a School Uniform (Walks into a Bar)  (Performances: Mid-August 2025) 2F The Crucible  (Performances: Late October 2025) Final cast numbers TBC; some roles will feature pre-recorded projections. Murder Ballads (Musical)  (Performances: Early December 2025) 2F, 2M Warnings:  This is a non-professional opportunity. Details on individual show requirements may be provided during auditions. Recommended Age:  18+ Production Website:   The X Collective Other information: Callbacks for individual productions will occur in the weeks following auditions. End-of-year musical details ( Murder Ballads ) will be released separately at a later date.

Title:  Love You Hate You Drive You Wild Presented By:  Minola Theatre Genre:  Dark Comedy Synopsis:  Written by Bianca Butler Reynolds, Love You Hate You Drive You Wild  is a sharp and witty dark comedy exploring themes of relationships, identity, and the complexities of human interaction. Audition Dates: Saturday, 30 November 2024 Sunday, 8 December 2024 Audition Time:  By individual appointment Callbacks:  Thursday night, 12 December 2024. Audition Requirements: Strong performance skills, a collaborative attitude, and a passion for theatre. Open to people of all ethnicities and genders. Audition materials and next steps will be provided upon registration. Audition Registration: Contact hello@minolatheatre.com.au  to register your interest and receive an audition pack. Available Roles: Female (Lead):  20s Male (Major Supporting):  Any age Male (Major Supporting):  50s Male (Major Supporting):  30s Performance Dates:  1st - 10th May 2025 Performance Location:  PIP Theatre, Milton QLD Warnings:  The production operates under a profit-share arrangement. Recommended Age:  18+ Production Website:   Minola Theatre

Title:  Veronica’s Room Presented By:  Centenary Theatre Group Genre:  Mystery Thriller Synopsis:  Written by Ira Levin, Veronica’s Room  is a gripping mystery thriller that shifts between 1973 and 1935, weaving a dark and suspenseful tale that challenges the boundaries of reality and illusion. Audition Date:  Saturday, 30 November 2024 Audition Time:  10 AM Audition Location and Address:  Chelmer Community Hall, 15 Queenscroft Street Chelmer QLD, 4068 Audition Requirements: Cold reads from the script. Actors should prepare to demonstrate the ability to portray characters across two time periods (1973 and 1935), using slight Irish brogue and Boston accents as required. Available Roles: Middle-aged Male and Female (1973):  Portraying characters also aged 22 years younger in 1935. Young Man (Mid-20s in 1973):  Also playing the character in their 40s during 1935. Young Woman (Twenties in 1973) Audition Registration: Expressions of interest can be sent via direct message to Director Rhyll Bucknell or by email at enquiry@centenarytheatre.com.au Performance Dates:  15 February – 9 March 2025 Rehearsal Dates:  Early January 2025 Rehearsal Times:  Two gatherings in early December, then rehearsals beginning in January. Recommended Age:  18+ Crew:  Directed by Rhyll Bucknell Production Website:   Centenary Theatre Group

Title:   Seussical Kids   Presented By:  BG Performing Arts Genre:  Youth Musical Theatre Synopsis: Transporting audiences from the Jungle of Nool to the Circus McGurkus, Seussical Kids  follows Horton the Elephant, who discovers a speck of dust containing the Whos, including JoJo, a child who "thinks too many thinks." Horton's journey is one of loyalty and courage as he protects the Whos and guards Mayzie La Bird's abandoned egg. Along the way, themes of friendship, community, and perseverance emerge, reminding us all of the power of kindness and belief. Audition Try-Out Day: Date:  Sunday, 15th December 2024 Time:  9:00 AM – 12:00 PM Location and Address:  Brisbane Academy of Dance, 15 Harvton St, Stafford QLD Audition Requirements: Attendees will participate in a vocal, acting and dance session for our creative team to assess where each performer will best fit within the show. All music and dance components will be taught on the day. For the acting component, please select ONE MONOLOGUE to perform on the day. We encourage you to be off book, so we can see your best work! Wear comfortable clothing for movement and enclosed shoes (jazz shoes recommended). Audition Pack:   Download Here Audition Registration: Register Here Rehearsal Details: Rehearsal Dates:  Monday 13th – Saturday 18th January 2025 Rehearsal Times: Monday – Thursday:  9:00 AM – 3:30 PM Friday:  9:00 AM – 5:30 PM (includes a pizza party!) Saturday:  from 10:00 AM Rehearsal Venue:  Mitchelton SHS Performing Arts Centre, 754 Samford Rd, Mitchelton QLD Performance Details Performance Date:  Saturday, 18th January 2025 Performance Times: Show 1: 4:00 PM Show 2: 6:00 PM Performance Location:  Mitchelton SHS Performing Arts Centre, 754 Samford Rd, Mitchelton Other Information: Cost:  $385.00 (includes rights, royalties, insurances, staff, venue hire, set, props, and a pizza party!) Additional costume hire fees may apply. After Hours Care:  Available Monday – Thursday, 3:30 PM – 5:00 PM. Must be aged:  6–12 Available Roles: JoJo  – The main child character, who represents the audience’s link to the story. Cat in the Hat  – The mischievous, spirited narrator who guides the adventure. Thing 1 & Thing 2  – The playful and chaotic companions to the Cat. Horton the Elephant  – A lovable, loyal elephant who protects the Whos and guards an egg. Gertrude McFuzz  – A bird who seeks Horton’s attention and tries to impress him. Mayzie LaBird  – The irresponsible bird who leaves Horton with her egg. Sour Kangaroo  – A character who criticises Horton for believing in the Whos. Young Kangaroo  – The child of the Sour Kangaroo, who follows her mother’s opinions. Wickersham Brothers (1, 2, 3)  – A trio of mischievous monkeys who tease Horton. Mr. Mayor  – The mayor of Whoville, father of JoJo, and part of the Whos' community. Mrs. Mayor  – The mayor’s wife and mother of JoJo in Whoville. Judge Yertle  – The judge who sends Horton to the Nool Asylum. Vlad Vladikoff  – A black-bottomed eagle who helps the Wickersham Brothers. Fish  – A group of creatures in McElligot's Pool that JoJo meets during his adventures.

Title:   Legally Blonde JR Presented By:  BG Performing Arts Genre:  Musical Theatre Synopsis: Follow the transformation of Elle Woods as she tackles stereotypes, snobbery, and scandal in pursuit of her dreams. When Elle’s high school boyfriend, Warner, dumps her to attend Harvard Law, claiming she’s not “serious” enough, Elle takes matters into her own hands. With a showy song-and-dance personal essay, she charms her way into Harvard. Along the way, Elle befriends Emmett and Paulette, discovers her own potential, and learns that being true to herself is her greatest strength. Audition Details: Audition Date:  Sunday, 15 December 2024 Audition Time:  12:30 pm–5:30 pm Audition Location and Address:  Brisbane Academy of Dance, 15 Harvton St, Stafford QLD Audition Self-Tape Due (if applicable):  Contact info@bgperformingarts.com  for video submission Audition Requirements: Attendees will participate in a vocal, acting and dance session for our creative team to assess where each performer will best fit within the show. Materials for singing and acting can be found in the audition pack. We recommend preparing these off-book. Wear clothing suitable for movement and enclosed shoes (jazz shoes recommended but not necessary). Audition Registration:   Register Here Audition Pack:   Download Audition Pack Available Roles: Elle Woods:  A bubbly, determined sorority girl with a lovable personality who discovers her intelligence and inner strength. Emmett Forrest:  A quirky and sensitive law student who mentors Elle. Paulette Buonofuonte:  The humorous owner of Hair Affair with dreams of finding love in Ireland. Warner Huntington III:  Charming yet self-absorbed; Elle’s ex-boyfriend. Vivienne Kensington:  A wealthy and overachieving law student who initially sees Elle as a rival. Professor Callahan:  A manipulative Harvard law professor. Brooke Wyndham:  A fitness icon accused of murder and a former Delta Nu sorority girl. Kyle B. O’Boyle:  Paulette’s dreamy UPS deliveryman. Pilar, Margot, Serena:  Elle’s Delta Nu sorority sisters and her “Greek Chorus.” Enid Hoopes:  A strong, opinionated feminist law student. Additional ensemble and featured roles are available, including students, sorority sisters, salon employees, and more. Performance Details Performance Dates:  Saturday, 25 January 2025 Performance Times:  2:30 pm & 7:30 pm Performance Location:  Mitchelton SHS Performing Arts Centre, 754 Samford Road, Mitchelton QLD 4053 Rehearsal Details: Rehearsal Dates: Monday, 20 January – Friday, 24 January (9:00 am–5:00 pm, with a pizza party dinner break on Friday). Saturday, 25 January (from 10:00 am) Rehearsal Location:  Mitchelton SHS Performing Arts Centre, 754 Samford Road, Mitchelton QLD 4053 Creative Team: Director: Sam Caruana Choreographer: Bella Gordon Music Director: Kate Baxter Production Manager: Tallulah Baird Other Information: All participants must be aged 12–18 years  by performance date and fully available for all scheduled rehearsal and performance times. The workshop fee of $385.00 includes costs for rights, royalties, insurances, technical staff, and more. Additional costume hire fees may apply.

Title:   The Universe Has Your Back Presented By:  Spotlight Theatrical Company Genre:  Heartfelt Comedy Synopsis: Follow the journey of four best friends navigating life’s challenges, relationships, and self-discovery, guided by the unpredictable magic of the universe. This poignant two-act comedy explores themes of friendship, loss, and love with wit, humour, and heart. Written and Directed by: Helen Maden Audition Details: Audition Date:  Sunday, 15 December 2024 Audition Time:  From 9:30 am (15-minute appointments) Callback Date:  Tuesday, 17 December 2024, 6:30 pm (if required) Applications Close:  Noon, Saturday, 14 December 2024 Audition Location:  Spotlight Theatre, 185-187 Ashmore Rd, Benowa Should you be unavailable on audition day, video submissions will be accepted. Audition Registration: Submit your completed audition form to auditions@spotlighttheatre.com.au  before the closing date. Once your registration form has been submitted you’ll be sent audition pieces and contacted regarding your individual audition time slot. You will be allocated a 15-minute time slot and perform a prepared monologue and some dialogue during your session Bring a printed copy of the completed audition form and any audition pieces to your audition. Audition Pack and Form: Audition Pack Application Form Rehearsal Details: Rehearsals Begin:  Tuesday, 9 January 2025 Rehearsal Schedule: Sundays: Morning or afternoon (3 hours) Tuesdays and Thursdays: 6:45 pm – 9:45 pm Flexibility is required for additional rehearsals, promotional calls, and publicity events as needed. Performance Details: Preview:  Thursday, 27 March 2025 (7:30 pm) Season Dates:  28 March – 12 April 2025 Performance Times: Thursdays, Fridays, and Saturdays: 7:30 pm Sundays: 2:00 pm Bump-Out:  Sunday, 13 April 2025 (9:00 am) Character Descriptions: Quinn (30–38):  Sharp, witty, and loveably flawed, searching for purpose while navigating life's challenges. Connie (28–38):  Practical and kind, Quinn’s best friend, engaged but questioning her future. Rachel (30–40):  A new mum hiding her struggles in a controlling marriage. Alex (35–50):  A vibrant psychology student rediscovering life after two failed marriages. Meadow (55–65):  Quinn’s free-spirited, earth-mother of a mum with a teasing yet supportive nature. Lynn (55–65):  Connie’s sophisticated and resilient mum, facing terminal illness with grace. Taj (30–40):  Quinn’s empathetic boss, a steady, uplifting presence with a mysterious air. Important Notes: Cast members must become Spotlight Theatrical Company members ($10 fee). Performers are responsible for providing personal makeup, garments, and shoes. Selected performers will sign an Acceptance Contract upon casting.

Created by Alinta McGrady and brought to life by Playlab Theatre, this immersive horror-comedy reminds us why we love live theatre: it’s raw, relevant, and relentlessly entertaining. There was a certain thrill in attending the world premiere of ' Eat Slay Zombie' at QPAC’s Cremorne Theatre, and this piece did not disappoint. Set in a post-apocalyptic Brisbane where zombies have taken over and TikTok somehow reigns as the last form of communication, the story follows best mates Sharee (Shahnee Hunter) and Tash (Jade Lomas-Ronan) as they hunker down in a bowling alley, keeping score of their zombie takedowns and sharing survival tips with an invisible online audience. As these two Indigenous characters navigate their new world order that is literally and metaphorically “out to get them,” the result is a comedic, high-energy show that cleverly addresses social commentary on colonialism, trust, and survival. The dynamics between characters were played brilliantly by Shahnee Hunter and Jade Lomas-Ronan. Hunter’s Sharee was strong but deeply wounded, giving us moments of grit and mistrust, while Lomas-Ronan’s Tash was her perfect counterbalance, optimistic and resourceful. Their fiery friendship was put to the test when a new survivor, “B” (Jalen Sutcliffe), entered the scene, offering more humour with his bizarre blend of bravado and buffoonery. Tash’s excitement at discovering someone else alive contrasted with Sharee’s more jaded distrust, providing an emotional push-and-pull that felt true to a strained friendship. Sutcliffe, as B, was hilarious but occasionally haunting, especially in a darkly confessional monologue where he revealed his backstory – a poignant moment that grounded the character’s vulnerability. One of the best aspects of ' Eat Slay Zombie'  was its sharp, socially aware humour. McGrady’s script layers the story with satirical references to colonisation, poking fun at survivalism with scenes like Sharee’s loving relationship with her makeshift flamethrower, “Doris.” We saw nods to Indigenous issues embedded into zombie tropes, as Sharee jokes, “I need a nap, a bag of chips, and my land back." With direction and immersive design by Lisa Fa’alafi, the show’s technical elements were equally standout; a testament to Playlab Theatre’s trademark embrace of multimedia. From EDM beats and nostalgic tracks to Mad Max-inspired lighting, and projections of TikTok videos, every visual and sound choice supported the frantic atmosphere. Nevin Howell’s AV design seamlessly integrated social media and gaming with live action, elevating the production to cinematic levels. The floor lit up like bowling alley lanes while doubling as a hidden spot to store food and weapons. Watching Sharee and B's thrilling “Brunnings” battle sequence, choreographed with game-like graphics projected onto the stage walls and floor, was a highlight. The thematic undertone—zombies as symbols of colonial occupation—was both pointed and powerful. At one point, Sharee’s fury at seeing her content plagiarised evoked a powerful commentary on the theft of Indigenous voices. The climax of the show was as intense as it was emotional, with Tash and Sharee’s friendship tested to the breaking point. The strobe lighting heightened the tension as the two faced an unimaginable decision: one of them, newly infected, had to be “taken out”. It was a moment of raw emotion, a cathartic release of the frustrations that had been simmering between them throughout the show. Yet the show left us on a note of hope — a reminder that, even in the darkest times, connection can still thrive. 'Eat Slay Zombie'  was a celebration of survival, resilience, community, and reclaiming autonomy in a world that sought to take it away, cementing this work as an excellent addition to the Australian Indigenous theatre landscape.

A One-of-a-Kind “Art Attack” for Adults   I didn’t know quite what to expect from ' Creative Jucies' , but it’s safe to say this isn’t your average art class. Led by the fabulously fearless Timothy Christopher Ryan, this 60-minute show was equal parts performance, life drawing class, and hilarious group therapy session.   From the very start, Timothy put the audience at ease, laying out a big emphasis on consent for participation. If you wanted to be hands-off, no worries, but if you were up for a laugh and a bit of spontaneous involvement, you were in for an experience!   Timothy’s vibe was instantly infectious; he invited us all to leave our inhibitions at the door, guiding us through absurd prompts and creative chaos with warmth and total confidence. His striptease was a laugh-out-loud highlight, revealing layer upon layer of underwear. His confidence and charm turned an intimate, small space into an artsy playground, making everyone feel like an old friend – or at least a willing accomplice.   My favourite part? It has to be painting Timothy’s nearly-nude body with glow-in-the-dark paint. By the end, my “art” was definitely more “fridge magnet” material than masterpiece, but that’s the beauty here—everyone’s encouraged to get creative without worrying about perfection. Add to that the life modelling, wacky drawing prompts, and Timothy’s boundless energy, and you’ve got yourself a hilarious, immersive escape.   This unique, interactive show was a highlight at MELT Festival in Brisbane, delivering an unforgettable dose of self-expression. It’s weird, wonderful, and just a little bit wild – definitely worth the laughs and the artistic chaos!   Catch Creative Juices  as it continues to tour around Australia with Scratch Arts. If you’re up for a unique, intimate, and hilariously unpredictable experience, don’t miss this wild ride at a city near you. It’s 60 minutes of pure creative mayhem, and you’ll leave with a smile—and maybe a few questionable artworks to take home.

Title : Letters to Lindy Presented By : Javeenbah Theatre Genre : Drama Synopsis : The case of Lindy Chamberlain-Creighton captivated the nation—a mother accused of murdering her child, with her claims of a dingo attack dismissed and discredited by a flawed legal system. Through letters and interviews with Lindy, Letters to Lindy presents an enthralling and intimate portrait of a grieving mother’s resilience amidst a media circus, societal prejudices, and personal tragedy. This play offers a long-overdue dialogue between Lindy and the Australian public. Audition Information Audition Date: Saturday, 23 November 2024 at Javeenbah Theatre Audition Times: 10:00 AM: Group Audition (prepare a 90-second monologue) 11:30 AM onwards: Individual Auditions for Lindy (prepare a second contrasting monologue up to 3 minutes and be ready for a cold read). Audition Pack: Download the Audition Pack Here Audition Registration : Register for Your Audition Here Rehearsal Details Rehearsals Begin: Thursday, 28 November 2024, 7:00 PM Regular Rehearsals: Thursday evenings and Sunday afternoons (flexibility based on cast availability). Holiday Break: Christmas and New Year period. Performance Details Season Dates: Friday, 14 March 2025: 7:30 PM Saturday, 15 March 2025: 7:30 PM Sunday, 16 March 2025: 2:00 PM Performance Location: Javeenbah Theatre, Stevens St, Nerang QLD 4211 Roles Available LINDY Gender: Female-presenting Age Range: Late 20s to mid-30s (stage age) Description: Lindy Chamberlain-Creighton is a misunderstood figure in Australian history. This role captures her strength, vulnerability, and depth as she navigates immense personal tragedy. THREE FIGURES Gender: Any Age Range: Any Description: These roles encompass a wide range of characters and personalities, representing the letters and voices of the nation. They are pivotal to showcasing the breadth of Lindy’s story and carry significant weight in the production. Production Website: Visit for More Information

Title : A Naughty Little Cabaret Presented By : Toowoomba Choral Society Inc Genre : Musical Theatre Cabaret Synopsis : TCS invites you to join A Naughty Little Cabaret, a lively evening of fun songs from musical theatre with a touch of mature themes. Whether there’s a number you’ve always wanted to perform or one that showcases your unique style, this is your chance to shine. Audition Information Audition Date: Sunday, 1 December 2024 Time slots: 9:00 AM, 9:30 AM, 12:00 PM, 2:00 PM, 3:00 PM Audition Requirements: Audition with a backing track (preferably digital, but CDs can be accommodated). Showcase a song you’d like to perform or one from your repertoire that highlights your character. Movement session attendance is required for all cast members (no need to stress—this is just a basic assessment) Getting Involved: Ensemble: No audition required for TCS choir members. Participate in 4–5 group numbers, including cast-wide songs and smaller groups. Performer: Audition required for solo and small group performances. Lead Performer: Audition required for multiple solos and featured performances (2–3 solos). Audition Form Link :  Click here to register Rehearsal and Performance Schedule Rehearsals Begin : Sunday, 8 December 2024 Regular Sunday rehearsals in December for music preparation. Movement rehearsals commence in January 2025, working on both group and solo numbers Show week: Bump-In & Full Run: Sunday, 2 February 2025 Dress/Tech: 3 February 2025 & 6 February 2025 Performance Dates: Friday, 7 February 2025: 7:00 PM Saturday, 8 February 2025: 7:00 PM

'Gaslight' , presented by Sandgate Theatre and directed by Catherine Radbourne, is a chilling psychological thriller that holds its grip on the audience from beginning to end. Written in 1938, Patrick Hamilton’s play dives deep into the dark dynamics of a treacherous marriage, coercive control, manipulation, and the mysteries of the past. This production brings the suspense vividly to life at the Sandgate Town Hall, with standout performances and carefully crafted tension that makes for a riveting experience. Set in 1880s London, ' Gaslight' unfolds in the unsettling confines of the Manninghams’ Victorian home, where Bella Manningham (Shannon Bea) is increasingly convinced that she is losing her mind. As strange occurrences unfold, her controlling husband, Jack Manningham (Ewan Orton), undermines her sense of reality. His disappearances, his flirtation with the servant, and the ominous dimming of the gaslights begin to drive Bella to the edge. But when Inspector Rough (Gareth Macready) arrives, the pieces start to fall into place, revealing the tragic mystery of a murder committed for hidden jewels and the true depth of Jack's malice. The living room set, filled with ornate furnishings, a fireplace, and glowing gaslights, creates an inviting yet eerie feel. Most of the action takes place upstage, pulling us into the Manningham household’s suffocating atmosphere. The performances are where this production truly shines - complete with flawless accents. Shannon Bea's portrayal of Bella feels especially authentic, showing a woman trapped in a world where she must walk on eggshells—her furtive glances, wringing hands, and wide-eyed anxiety tell us more than words ever could. From her very first moments onstage, Bea wears a look of constant worry that never falters. As the story reaches its climax, we can feel her fear as she visibly trembles in moments of tension, while we heartbreakingly witness her trying to maintain her composure. A particularly emotional moment occurs when Bella reads a letter from her family that had been hidden from her, causing her to break into very real tears – a powerful touch that further immerses the audience in her distress. Ewan Orton brings a chilling intensity to the role of Jack Manningham. His portrayal is all about contrast: he can switch moods in an instant, using sudden shifts in tone to keep Bella (and us) constantly on edge. Orton's voice exudes authority even when speaking in a gentle tone, conveying either a façade of kindness or an obvious seething anger. There’s a visceral sense of disdain in the way he addresses Bella as “my dear,” a term that drips with irony as their interactions become colder. Later, his constant dismissive “Bella...” drips with cruelty as he gaslights her at every turn. Notably, he refrains from physically touching Bella throughout the play, which makes his psychological abuse all the more sinister. With mere words and presence, he wields incredible power to instil fear and it’s unnerving to watch. His continuous mocking and degrading of her, even going so far as to threaten their dog, made me want to slap his smug face - a clear testament to Orton’s skill in making Jack utterly despisable. The supporting characters bring a much-needed balance to the dark atmosphere. Gareth Macready’s Inspector Rough arrives as a welcome dose of comic relief and a glimmer of hope, providing Bella (and the audience) with a lifeline out of her nightmare. His quick thinking and slightly disheveled charm contrast wonderfully with the refined façade of Bella’s life with Jack, helping her uncover the truth that’s been intentionally obscured. Macready adds wonderful acting nuances, like dabbing his forehead with a handkerchief and stroking his beard thoughtfully. Though he occasionally jumped his lines, his portrayal remains strong, and he brings levity to the production without undermining the gravity of Bella’s plight. Alanna Sadler as the younger maid, Nancy, is cheeky and flirtatious, her scenes with Jack adding to his callousness toward Bella and creating more layers of tension. Carmen Heath’s Elizabeth, in contrast, provides a much-needed sense of care and stability for Bella, standing in as a rare source of gentle comfort. Catherine Radbourne’s direction creates a fast-paced rhythm, rarely lingering on dramatic pauses, which keeps the story moving forward while allowing the underlying tension to simmer. There are unsaid elements that resonate between the lines, lending a psychological weight to the dialogue. Sound and lighting effects play a vital role in the suspense of ' Gaslight' . The haunting sound of footsteps above, suggesting Jack’s nightly searches in the upstairs apartment, was executed with realism, making me feel as if someone truly was creeping around in the ceiling. The lights dim and brighten ominously, adding to Bella’s confusion and feeding into the psychological horror. The ending is a perfect payoff as Bella delivers her own brand of justice, using Jack’s manipulation against him in an “reverse Uno card” moment that earned huge cheers from the audience. Don't miss the opportunity to see this timeless thriller at Sandgate Theatre. This suspenseful and expertly performed piece comes highly recommended for those seeking a masterclass in psychological tension. Tickets available here