Title: Highland Fling Presented By: Act 1 Theatre Genre: Theatre Restaurant / Musical Comedy Synopsis: Set in a whimsical, cheeky Scottish world, Highland Fling is a hilariously farcical theatre restaurant production full of fun, songs, silliness, and over-the-top characters. Whether you're a seasoned performer or just want to give it a bash, this rollicking Scottish tale promises loads of laughs and plenty of opportunities to get involved in a wild, theatrical ride. This is a theatre restaurant show, meaning you'll be performing in and around a live audience enjoying a meal. It's less about polish and more about personality! Embrace your inner Scot and get ready to have a blast! Audition Date: Sunday 22nd June 2025 at 11:00am Tuesday 24th June 2025 at 7:00pm Audition Location: Act 1 Theatre, Strathpine QLD Audition Requirements: No need to be a vocal powerhouse—just bring your best energy, sense of humour, and readiness to have fun! Yes, there are songs, but it’s more about character, comedy, and confidence than opera singing. Available Roles: To be confirmed at auditions – a variety of comedic and quirky characters. Audition Registration: Please message Act 1 Theatre directly to register your interest or for more information. https://www.act1theatre.com.au/auditions Performance Dates: September 5th to September 20th, 2025

Title: Frozen Jr. Presented By: KSP Theatre Company Genre: Youth Musical Theatre Synopsis: Based on the smash hit Disney film, Frozen Jr. brings the beloved tale of Princesses Elsa and Anna to the stage with all the magic, adventure, and heart audiences adore. With a powerful score including "Let It Go", "Do You Want to Build a Snowman", and more, this enchanting youth production tells the story of love, acceptance, and the unbreakable bond between sisters. Audition Details: Audition Date: Thursday 3rd July, 2025 Audition Time: 9:00am – 11:00am and 1:00pm – 3:00pm Audition Location and Address: KSP Theatre, Burpengary QLD Audition Registration: Click here to register Audition Pack: View via Canva Audition Requirements: Open to performers aged 7–18 years Prepare from provided character-specific materials (sent after registration) All auditionees will participate in: A Dance Audition (please wear comfortable clothes to move in) A Vocal Audition (for leads only: sing “Let It Go” from 0:00–1:26) Guide Vocals Backing Track A Cold Read Audition with script excerpts Ensemble-only performers do not need to complete a solo vocal audition Auditionees may audition for as many roles as they wish Scheduling: Performance Dates: Thursday 2nd October, 2025 – 7:00pm Friday 3rd October, 2025 – 7:00pm Saturday 4th October, 2025 – 2:00pm & 7:00pm Performance Venue: Burpengary State Secondary College Rehearsal Dates & Times Leads & Senior Ensemble Venue: St Benedict’s College, Mango Hill Time: Saturdays, 9:00am – 12:00pm Junior Ensemble Venue: KSP Theatre, Burpengary Time: Tuesdays, 4:45pm – 6:00pm Tech Rehearsals: Tuesday 30th September & Wednesday 1st October Creative Team: Paula-Mary Camilleri Teagan Fudge Eli J Ball Lauren Bull Chloe Kerr Required Age: 7–18 years Duration: Approx. 60–70 minutes Other Information: This is a tuition-based youth production, providing a supportive and professional experience for young performers. Fees: Show Fee: $240 Costume Fee: $50 Includes: Professional tuition with qualified musical theatre directors & choreographers Frozen Jr. Show Shirt Script and rehearsal materials Professional headshot One complimentary ticket Available Roles: Anna: Our main heroine – optimistic, brave, awkward, and full of love. She goes on a journey to save Elsa and their kingdom. Requires strong singing, acting, and comedic timing. Elsa: The Snow Queen. She’s poised, graceful, and powerful – but emotionally conflicted. Needs a confident performer with strong vocals and presence. Kristoff: A rugged ice harvester with a soft heart. Loyal, funny, and a bit awkward. Great opportunity for strong character acting and singing. Hans: Charming and smooth on the surface, but ultimately deceptive. Requires strong acting, good singing, and the ability to play both sincerity and villainy. Olaf: The magical snowman brought to life by Elsa’s powers. Innocent, funny, and warm-hearted. Needs a performer with great comedic instincts, physicality, and singing ability. Sven: Kristoff’s reindeer companion. Non-speaking but expressive and full of personality. Great physical acting and movement role – perfect for a dancer or physical theatre performer. King Agnarr: Father of Anna and Elsa. A caring and protective king who tries to shield his daughters from danger. Small but important singing and acting role. Queen Iduna: Gentle and wise mother of the girls. A nurturing presence with a warm singing voice and calm energy. Pabbie: A wise and mystical leader of the Hidden Folk. Requires clear speech, confident storytelling, and stage presence. Can be played by any gender. Bulda: Pabbie’s energetic and loving counterpart. Fun, affectionate, and comedic. Needs good comedic timing and big personality. Bishop: Performs Elsa’s coronation. A small but important featured role with a calm and regal presence. Young Elsa: Cautious, responsible, and loving. Young Elsa adores Anna but is scared of her growing magical powers. Middle Elsa: Beginning to feel the burden of her powers. Middle Elsa is more withdrawn and anxious than her younger self. Young Anna: A playful, energetic, and loving child. She's curious, excitable, and loves spending time with her sister Elsa. Middle Anna: The bridge between Young Anna and the older version. Wesselton: A comical and pompous visiting duke. Great comedic timing and physical comedy are a must. Oaken: The friendly shopkeeper who runs Wandering Oaken’s Trading Post. A hilarious cameo with a big personality – perfect for a bold performer. Ensemble: Includes townspeople, palace staff, Hidden Folk, castle guards, and more. Lots of singing, movement, and character acting. Featured lines and solos may be assigned. Dancer Ensemble: For those who love to move! These performers will be featured in choreographed sequences and add life and energy to the group numbers.

Title: The Foreigner Presented By: Growl Theatre Genre: Comedy / Farce Synopsis: Shy Englishman Charlie Baker arrives at a rural fishing lodge in Georgia, USA, desperately seeking peace, quiet, and escape from his problems. To help his friend avoid unwanted conversations, British Army demolitions expert Froggy LeSueur tells the lodge residents that Charlie doesn’t speak a word of English. This little white lie leads to a whirlwind of hilarious misunderstandings, unexpected confessions, shady dealings, and ultimately—heroic transformation.Larry Shue’s The Foreigner is a warm-hearted, fast-paced comedy that celebrates identity, bravery, and the unexpected ways we find connection—with a few chaotic twists along the way. Audition Details: Audition Date: Thursday 24 July 2025 Audition Time: 6:30pm Audition Location and Address: Windsor School of Arts, 381 Lutwyche Rd, Windsor Callbacks: Sunday 27 July, 1:30pm Audition Requirements: Prepare a comic monologue of your choice. Be prepared for cold reads from the script. Email a recent headshot and acting CV to: production@growltheatre.org.au Audition Pack: PDF Link Audition Registration: Online Form Available Roles: Charlie Baker (Male, 30–early 50s): A painfully shy Englishman who must adopt a “foreign” persona to avoid social interaction—until he discovers his confidence. Requires a British accent and a “made-up foreign” accent. Froggy LeSueur (Male, 30–early 50s): Charlie’s outgoing best friend, a British Army demolitions expert. Requires a Cockney accent. Betty Meeks (Female, 60+): The widowed, sweet-hearted owner of the fishing lodge. Speaks in a southern accent, and communicates loudly with the “foreigner”. Rev. David Marshall Lee (Male, mid 20s–30s): A charming Southern preacher hiding a dark agenda. Must appear sincere while being slyly manipulative. Speaks with a smooth southern drawl. Catherine Simms (Female, 20s–30s): A rich former debutante bored with her life. Engaged to David but rethinks everything after opening up to Charlie. Speaks with a southern drawl. Ellard Simms (Male, mid 20s): Catherine’s socially awkward younger brother who surprises everyone with his hidden potential. Speaks with a thick southern accent. Owen Musser (Male, mid 20s–50s): A bigoted local property inspector and co-villain of the play. Speaks with a heavy southern accent. Note: An accent coach will be provided to support actors with dialects. Scheduling: Performance Dates: 25, 26, 31 October, 1, 2, 7, 8 November 2025 Performance Times: Evenings: 6:00pm – 10:00pm (25, 31 Oct; 1, 7, 8 Nov) Matinees: 1:00pm – 5:00pm (26 Oct; 2, 8 Nov) Performance Location and Address: Windsor School of Arts, 381 Lutwyche Rd, Windsor, QLD, Rehearsal Dates: Starting Sunday 3 August 2025 Rehearsal Times: Mondays & Thursdays: 6:30pm – 9:30pm Sundays: 1:30pm – 5:00pm Backup Weekend: Cast must be available 14–15 November in case of postponements. Warnings: This play includes depictions of racist and intolerant attitudes, which are challenged within the narrative. Required Age: 16+ Directed by Julie Bray Production Website: https://growltheatre.org.au/auditions/ Other Information: Cast must become financial members of Growl Theatre ($30 annual membership). Most costumes are provided, but actors may be required to supply small items (e.g., socks, gloves, foundation/makeup basics). Please ensure full availability for performance dates and key rehearsals before auditioning.

Title: A Midsummer Night’s Dream Presented By: Villanova Players Genre: Comedy, Shakespeare, Fantasy Synopsis: Love and magic collide when four lovers and a group of clumsy actors enter a fairy-filled forest. Chaos, spells, and mistaken identities will have you laughing as mischievous fairies meddle with fate. Will love survive the enchantment? This joyful and energetic production will explore the theme of dreams—ranging from the whimsical to the nightmarish. Expect pillow fights, ethnic dancing, Eurovision music, bedroom-inspired sets, and a whole lot of fun, mischief, and magical mayhem. Audition Details: Audition Dates: Saturday 9 August 2025 Audition Time: 10:00 am – 5:00 pm (Hourly Sessions for Major Roles, 1:30 pm group session for Chorus) Audition Location and Address: The Hut, Jean Howie Drive, Balmoral Park, Morningside QLD 4170 Audition Registration: Book Your Audition Time via TryBooking Audition Pack: Download the Audition Pack Expression of Interest: Complete this Form Audition Requirements: For Major Roles (Oberon, Titania, Bottom, Puck, Theseus, Hermia, Helena, Lysander, Demetrius):Prepare a 1–2 minute comic monologue (preferably from Shakespeare, Wilde, Shaw, Coward, or similar). You’ll also read scenes with other auditionees. For Minor Roles & Chorus (Mechanicals, Fairies, Elves, etc):No monologue required. Be ready to sing, move, and read in a group audition session. The group audition is recommended at 1:30pm, but you may book a different time if needed. Available Roles: THE LOVERS Hermia (F, 20–30) – Bold, defiant, deeply in love with Lysander Lysander (M, 20–30) – Romantic, brave, determined Helena (F, 20–30) – Passionate, insecure, in love with Demetrius Demetrius (M, 20–30) – Stubborn, once in love with Helena, now pursuing Hermia THE COURT Duke Theseus (M, 30+) - Duke of Athens – planning to get married Queen Hippolyta (F, 30+) - Queen of the Amazons – about to wed Theseus. Egeus (Any Gender) - Hermia’s Father or Mother Philostrate (Any Gender, any age) - Theseus's Royal Wedding planner - Master of Revels – General Butler THE MECHANICALS Nick Bottom (M, any age) – Over-the-top weaver; comic gold Peter Quince (Any Gender, any age) – The “director” of the play Francis Flute (M, young man) – Forced into a dress, awkward but sweet Snug (Any Gender, any age) – Timid, scared of forgetting lines Tom Snout (M, any age) – Grows in confidence Robin Starveling (Any Gender, any age) – Irritated moonlight narrator THE SUPERNATURALS Oberon (M, 30+) – Fairy King Titania (F, 30+) – Fairy Queen Puck (Any Gender, 12+) – Mischievous and full of energy, preferably short Peaseblossom, Cobweb, Moth, Mustardseed (M/F, 8+) – Singing, dancing fairy attendants Scheduling: Performance Dates: Friday 7 November 2025 at 7:30 PM Saturday 8 November 2025 at 2:00 PM & 7:30 PM Sunday 9 November 2025 at 2:00 PM Friday 14 November 2025 at 7:30 PM Saturday 15 November 2025 at 2:00 PM & 7:30 PM Sunday 16 November 2025 at 2:00 PM Rehearsal Dates: Further Auditions (if needed): Monday 11th August 7:30pm - 9:00pm Call backs: Wednesday 13th August 11:00 – 1:00pm Public Holiday Workshops & Play readings: Sunday 24th August - Sunday 31st August Rehearsals start: Sunday 7 September 2025 Tuesdays & Thursdays: 7:00 pm – 9:30 pm Sundays: 11:00 am – 4:30 pm Rehearsals begin with Shakespeare games, then move into formal blocking, singing, and dancing. Warnings: Physical activity, energetic choreography, potential for minor staged combat, and loud music Required Age: 8+ (children welcome for Fairy Chorus roles) Director: by Leo Bradley Production Website: Villanova Players Auditions Other information: Even if you can’t make the audition date, you are encouraged to fill out the Expression of Interest form.

Title: When The Wind Blew: A New Australian Musical Presented By: Shine Performing Arts Academy Genre: Family-Friendly Original Australian Musical Synopsis: ‘When The Wind Blew’ is a heartwarming new Australian musical that follows Hazel, a young sugar glider who’s afraid of gliding. When a fierce storm separates her from her family, Hazel must summon the courage to journey home. Along the way, she meets a cast of uniquely Aussie characters—each helping her grow in bravery and confidence. With 22 original songs, dance numbers, theatrical magic, and tap dancing, this show is bursting with energy, colour, and charm for all ages. Audition Details: Required Age: 9+ Audition Date: Saturday 5th July, 2025 Audition Time: 8:30am–10:00am – Children (Ages 9–12) 10:30am–12:00pm – Ensemble 12:30pm–2:00pm – Featured Dancers 2:30pm–5:30pm – Individual Auditions Online auditions accepted by 5pm, Saturday 5th July Audition Location: Alchemy Studios, Albion Audition Self-Tape Due (if applicable): By 5pm Saturday 5th July to info@shineperformingartsacademy.com.au Audition Registration: Audition Registration Form Audition Pack: Download Audition Pack Audition Requirements CHILDREN’S AUDITIONS (AGES 9–12) For roles: Brenda, Tommy, Oliver, Liam, Sophie, Sophie S, and Children’s Ensemble Group dance call (movement capability assessment) Learn and perform a short song from the show Solo singing for those going for named roles Group singing for ensemble auditions Bring a colour headshot (non-returnable) Wear dance shoes (jazz preferred) and comfy movement clothes (no thongs or sandals) ENSEMBLE AUDITIONS (AGES 13+) Beginner & Intermediate dance call options Learn and perform a short song from the show (group presentation) Bring a colour headshot (non-returnable) Dance shoes and movement-appropriate clothing essential FEATURED DANCER AUDITIONS (AGES 14+) Advanced dance call Corner work: turns, leaps, kicks Optional tap combination for those with tap experience Bring a colour headshot and appropriate footwear (jazz and tap shoes) INDIVIDUAL AUDITIONS (Lead/Featured Roles 12+) Prepare two contrasting 1-minute (or 32-bar) sections of musical theatre songs Provide sheet music with clear cuts for accompanist, or bring USB/device with backing track Cold read may be required Bring a colour headshot (non-returnable) Dress to move, wear jazz shoes if you have them Scheduling: Performance Dates: Thursday 6th November 7:30pm Friday 7th November 7:30pm Saturday 8th November 2pm & 7:30pm Performance Location: StageHouse Theatre, Stafford Rehearsal Dates: Start: Thursday 10th July Rehearsal Times: Tuesdays and Thursdays: 7pm–9pm Sundays: 9am–1pm Rehearsal Location: St Benedict’s College, Mango Hill Not all cast called to all rehearsals. A detailed schedule will follow casting. Other information: Crew applications can be made by contacting: info@shineperformingartsacademy.com.au All cast aged 18+ must hold a valid Blue Card or be willing to obtain one. All cast must adhere to the Shine Performing Arts Academy Child Safety Action Plan. This is an unpaid community production. No fees required to participate. Tech Week begins Sunday 2nd November Callbacks: Sunday 6th July, 2pm–6pm at Alchemy Studios Albion All auditionees will be notified of outcomes by phone or email following auditions Available Roles: LEAD & PRINCIPAL ROLES HAZEL Female | Playing Age: 12–16 | Voice: Soprano - A young sugar glider struggling with her fear of gliding. Must deliver emotionally rich performances with strong vocal and acting ability. ZIGGY Male | 20–40 | Voice: Baritone/Tenor - A mysterious echidna with a comic edge. Strong comedic timing and physical character work needed. ARTHUR Male | 18–30 | Voice: Tenor - A shy spider seeking his courage. Requires expressive vocals and a natural flair for comedy. PEANUT Female | 18–30 | Voice: Soprano - A sparkly-hearted koala with tap skills and strong presence. Must combine showy dance ability with genuine emotion. DIESEL Male | 18+ | Voice: Tenor - A dingo with a dark, misunderstood edge. Strong actor with haunting intensity and powerful vocals. CURLY Any Gender | 18–30 - A clumsy, comedic curlew. Requires excellent comedic instincts and physical comedy ability. BRIELLE Any Gender | 18–30 - A sneaky goanna with mischief in their stride. Strong stage presence and cheeky charisma needed. COCO Female | 18+ | Voice: Soprano - A nurturing, wise wallaby who narrates the tale. Warm, maternal energy with strong storytelling through song. ADULT SUPPORTING ROLES HAZEL’S MUM Female | 25+ | Voice: Soprano - A loving, supportive figure with gentle warmth. HAZEL’S DAD Male | 25+ | Voice: Baritone/Tenor - Firm yet kind-hearted. Needs paternal warmth and emotional clarity. UNCLE STEVE Male | 25+ | Voice: Baritone/Tenor - Hazel’s energetic and loving uncle. Needs a joyful, light-hearted presence. STEWART Male | 18+ | Voice: Baritone/Tenor - A flamboyant Tiger Quoll. Over-the-top energy and boldness. MILLY / TILLY / LILLY Female | 18–30 - Three flirty Red Wattlebirds. Must be animated, sassy, and vocally confident. CHILDREN’S ROLES (9–12) BRENDA – Sassy dunnart TOMMY – Pompous myna bird OLIVER – Energetic lorikeet LIAM – Nerdy platypus SOPHIE – Nosy owl SOPHIE S – Kind lizard CHILDREN’S ENSEMBLE – Variety of Australian native animals. Must be enthusiastic movers and character-driven performers. FEATURED ENSEMBLE ROLES (18+) Grouped as Female 1–6 and Male 1–5, these roles include: Understudies for lead characters News reporters, Emus, Galahs, Wombats, Platypuses, Adventurers, and more Many of these roles have featured solo lines, quick character turns, and physical comedy Ideal for character actors who enjoy quick changes and versatility DANCERS’ ENSEMBLE (14+) A select group of strong dancers with jazz and musical theatre training. Tap, ballet, and acrobatics are a bonus. These roles will enhance musical numbers with high-energy choreography and may feature minor speaking/singing parts.

“I’m not crazy. I’ve just been in a very bad mood for the last 40 years.”   Southern Comfort at Its Finest In their milestone 75th year, Gold Coast Little Theatre presents a heartfelt and homely staging of Steel Magnolias , thoughtfully directed by Tony Campbell. Robert Harling’s 1987 play may be decades old, but its exploration of female strength and unshakeable friendship is as resonant as ever. The title says it all: these women are as delicate as magnolias, yet steely at their core. The dialogue is a treat, quick, clever, and full of Southern spice. Campbell’s direction honours the script’s emotional honesty, allowing humour, heartbreak, and humanity to bloom organically. He leans into a grounded, naturalistic style so that each emotional beat rises and falls with authenticity. The story is given room to breathe, with well-timed pauses, punchy laughs, and raw emotion. The conversations feel real: gossip mingles with wisdom, and laughter cushions sorrows. Set entirely in a beauty salon in small-town Louisiana, Steel Magnolias  offers a window into six women’s lives as they navigate weddings, babies, holidays, heartbreaks, and healing. At its centre is Shelby, a young woman with type 1 diabetes, and her strong-willed mother, M’Lynn, as she makes life-altering choices about marriage and motherhood. The play unfolds across four separate days at the salon. It begins on Annelle’s first day, which also happens to be Shelby’s wedding day. This is followed by a lively Christmas gathering, then a reunion some years later marked by life-changing news, and finally, a crisp autumn morning where the air is colder, the stakes are higher, and the bond between these women feels stronger than ever. The rhythms of their community—how news spreads, the small rituals, and the quiet acts of support—feel comfortingly familiar. I’ve never seen the film, but it’s no wonder this play is so cherished. This cast brings it to life with the perfect mix of timing, twang, and tenderness.   A Sisterhood in Sync It’s in the haven of Truvy’s store and the comfort of a salon chair that we meet the six women whose lives intertwine through years of celebrations, challenges, and growth. The ensemble is strong across the board, with each actor bringing unique depth to capture their character's authenticity. Corinne Le Claire delivers a searing, honest performance as M’Lynn: equal parts composed strength and vulnerability cracked open. Her climactic monologue, filled with shaking rage and an unbearable sorrow, is one of the production’s most powerful moments. The emotional crescendo lands like a punch to the chest, and what makes it even more affecting is how the rest of the cast responds to her anguish, as if they’re hearing it for the very first time. From the moment Olivia French steps onstage, she radiates optimism. Her portrayal of Shelby balances youthful hope with steely resolve, capturing the quiet complexities of invisible illness with grace. Whether she’s beaming about her wedding or standing her ground against her mother’s concern, her spirit is luminous, drawing everyone in. The chemistry between French and Le Claire is tender and layered, especially in the simmering tension that threads through their mother-daughter relationship. Katie Stargazer brings charm and warmth to Truvy, the beating heart of the salon. With big hair and an even bigger heart, she commands the space with a friendly, no-nonsense presence. As the glue that holds this group together, Truvy is always ready with a quip, a kind word, or a teasing nudge. Stargazer brings sparkle and steadiness to the role, anchoring the salon as both refuge and routine. Her evolving bond with Annelle is a beautiful slow burn that blossoms over time. As Annelle, Tianna Paget gives a beautifully restrained and grounded performance. Her character’s evolution—from shy and uncertain stylist to self-assured and devout community member—unfolds with organic ease (all while sporting gorgeous hair of her own). She uses posture, tone, and expression to chart this transformation, without requiring any big, dramatic moments. By the end of the play, Annelle feels like a fully realised, completely changed woman, and the subtlety of that shift makes it all the more powerful. Kate Peters OAM is a scene-stealer as the grumpy and glorious Ouiser. Her every entrance delights, and each line lands with perfect comedic bite. She masterfully balances exasperation with care, never tipping into caricature. Sharp, unpredictable, and endlessly entertaining, Peters garners some of the show’s biggest laughs with nothing more than a well-timed groan or a deadly look. Laney McLean is an elegant favourite as Clairee, bringing a calm poise that beautifully balances the more eccentric energies around her. McLean delivers some of the script’s most iconic one-liners as her dry wit slices through the conversation with surgical precision, while her character’s quiet wisdom and maternal presence add warmth to every scene she’s in.   Live Beauty in Action The entire play unfolds in Truvy’s bustling beauty salon, one of the most richly detailed sets I’ve seen in some time. Designed by Andrew Kassab and Lawrie Esmond, the staging is a masterclass in immersive world-building. Wood-panelled floors, working wash station, hair-drying hood, floral artwork, seasonal décor, and shelves stacked with beauty products—you can almost smell the conditioner and hairspray! It’s not just a backdrop—it’s a seventh character—a sanctuary, a confessional, a community hub. Adding an extra layer of authenticity is the live hairstyling and beauty work, overseen by Ann-Britt Riget during rehearsal. From nail painting and roller setting to full-on hair washing and blow-drying, everything happens in real time. This tactile pampering unfolds right before our eyes, grounding the show in realism and heightening our sense of intimacy with the space. A particularly clever directorial choice lies in how the transitions between the four acts are handled. Instead of elaborate or jarring set changes, stagehands—disguised as salon staff—quietly reset the space, spritzing counters and refreshing props as though preparing for a new day of clients. Paired with calming music, these transitions gently signal the passage of time while the actors change costumes with impressive speed. Andrew Borg’s lighting design subtly shapes the show’s emotional arc, shifting with the s easons and moods. During Shelby’s hypoglycaemic episode, the salon’s warm glow fades just enough to signal a chilling change. Later, as the ton e darkens, the light gradually drains from the space, echoing the heaviness carried by the characters. The lighting never demands attention—it's quiet, intentional, and responsive. Costumes, by Katie Stargazer, suit each character to a tee. From Truvy’s bold prints and chunky hoops to Clairee’s chic elegance and Shelby’s signature pinks, every outfit is a reflection of personality. Ouiser, of course, is delightfully unbothered—her wardrobe is as unpredictable as she is. These thoughtful costume choices give us a sense of who these women are before they even open their mouths. Simon Fox’s sound design gives the world a subtle but vital heartbeat. The soft hum of a radio, the bark of a dog, gunshots—these ambient cues ground us firmly in Chinquapin Parish, reminding us that the life extends beyond the salon’s walls, even as these women’s stories unfold within. One of the production’s quietest strengths is its ambiguous sense of era. While some elements suggest a modern setting—like the clothes and hairstyles—others, like landline phones, portable radios, and the unhurried pace of life, evoke a bygone time. The show floats in a kind of timeless in-between: familiar and unbound by specific dates. It’s a smart, subtle choice that allows the story’s emotional truths to resonate across generations.   A Love Letter to Womanhood At its heart, Steel Magnolias  is a celebration of community; the kind that flourishes over coffee, laughter, and a fresh hairstyle. It’s about chosen family, the people who show up for each other through joy and heartache. Though we never meet the men so often mentioned, their presence lingers in the women’s stories. More than that, we sense the hum of a whole town just beyond the salon walls, supporting, complicating, and ultimately loving. This isn’t a show of spectacle or grand drama. Its power lies in its truth. The women we meet in Truvy’s salon are gloriously human: funny, fierce, generous, complicated, and strong in ways that aren’t always loud. This show is a tribute to real women and real love. Their strength is in showing up. In listening. In knowing when to crack a joke and when to simply offer a hand. And the script walks that tightrope between comedy and drama with grace, teaching us how to laugh, how to cry, and how to do both at the same time. That final act—where the women gather again, bruised but unbroken—lands with profound emotional weight. The salon endures, just like they do. And in the smallest gestures—a friend brushing your hair, handing you a coffee, or making you laugh when you thought you couldn’t—the play offers gentle answers to life’s biggest questions. How do we keep going? The answer is simple: together. Nothing about this production feels overworked or performative. It’s lovingly observed, deeply grounded, and drawn with tender clarity. It moves with the rhythm of real conversation, and in doing so, it feels less like theatre and more like overhearing a conversation at your hairdresser's, eavesdropping on women who remind you of your mum, your friends, maybe even yourself. It is theatre that is lovingly crafted from top to bottom. Like the best kind of haircut, it leaves you feeling a little lighter, a little braver, and a little more yourself. Now playing until 14 June

The Children By Lucy Kirkwood Directed by: Heidi Gledhill Produced by: A Moveable Theatre and Amanda McErlean Presented by: PIP Theatre At PIP Theatre | 4th – 21st June 2025 “Hi! Are you well? Would you like to come and get cancer with me?” Lucy Kirkwood’s  The Children invites us into a world that’s both domestic and apocalyptic; where former colleagues sip wine, air old grievances, and quietly confront the question of what we owe the next generation. Inspired by the real-world echoes of the 2011 Fukushima disaster, this “nuclear-powered dark comedy” is less boom and more slow burn—haunting, human, and surprisingly intimate.   The story centres on Hazel and Rob, two retired nuclear engineers living in quiet isolation near a radioactive exclusion zone after a natural disaster-turned-nuclear catastrophe reshaped their world. Their familiar, slightly strained routine is disrupted by the unexpected arrival of Rose—an old colleague they haven’t seen in nearly forty years, and who they’d long assumed was dead. What begins as a small-talk reunion quickly shifts into a gripping moral standoff, as Rose presents a proposition that forces Hazel and Rob to confront uncomfortable truths about sacrifice, accountability, and the legacy they’ll leave behind.   Despite the enormous, almost apocalyptic backdrop, The Children  is a deeply personal conversation between old friends; albeit one steeped in decades of grief, guilt, resentment, and tension simmering just beneath the surface. The three actors, Amanda McErlean (Rose), Julia Johnson (Hazel), and Terry Hansen (Rob), deliver a delicious dynamic that captures the emotional complexity of their characters intertwined pasts, unresolved present, and uncertain future. Julia Johnson’s performance as Hazel is quietly magnetic—measured and meticulous, with an undercurrent of anxiety that never quite settles. She perfectly captures Hazel’s fierce pragmatism and subtle righteousness, especially as the character tries to maintain order in a world that’s long since spiralled out of her control. Her blend of sharp intelligence, self-preservation, passive-aggressive wit, and weary caution makes Hazel both frustrating and deeply human. Her monologue near the end is phenomenal: tense, real, and emotionally layered. Hazel’s vivid recounting of the disaster—the earthquake, tsunami, the reactors exploding, and the chaos of returning to a home swallowed by water and mud—was incredibly affecting. It brought back sharp memories for me. No, I wasn’t in Japan, but my own home went under in the 2011 Brisbane floods, and I’ll never forget the mess, the smell, and the overwhelming sense of displacement. Though the play’s catastrophe is fictional and set in Australia, its emotional truth hit me like a wave. Hazel and Rob abandoned their home, their farm, their cows, and their former lives—feeling too old and too overwhelmed to start again. Amanda McErlean’s Rose arrives like a ghost from the past with a proposition that’s hard to refuse, and even harder to accept. Amanda plays her with silent intensity, carrying the heavy guilt of a generation who left behind more mess than solutions. Her delivery of, “We can’t have everything we want just because we want it,” is one of several truth bombs that lingers from the script. I could truly see both sides of the debate between her and Hazel. I don’t know what I would do in their position either. The two women are fascinating opposites: Hazel, clinging to the comforts of routine and the illusion of control; Rose, desperate to do something meaningful before it’s too late for “the children.”   Terry Hansen’s Rob provides comic relief and emotional grounding. His natural charisma and dry humour are perfectly executed, adding levity without ever undercutting the gravity of the story. I especially loved his witty exchanges with Hazel; their affectionate insults landing like a long-married couple who’ve weathered both disasters and dinner parties. He also injects a surprising tenderness to the role, stepping in with emotional steadiness when it counts. On a personal note, I used to listen to Terry every morning on the 97.3 breakfast radio show during my hour-long drive to high school, so seeing him live on stage felt like a nostalgic little thrill. His comic timing landed beautifully—especially with the older audience, who laughed knowingly at many of his jabs about marriage and ageing. Without consistent power or clean water, the characters survive on salads, bread, and homemade wine (which fuels much of the passive-aggressive digs between the women). The dialogue is tightly written, layered, and rich with subtext. Much remains unspoken, which makes the slow reveal of emotional history and long-held resentments all the more powerful. Themes of environmental responsibility, intergenerational sacrifice, and the creeping burden of ageing permeate the conversation. The set design by Helena Trupp complements the tone perfectly. The simple cottage interior feels lived-in and homely, yet oddly wrong, being perched on the edge of a radioactive no-go zone. Her beautifully designed video backdrop of a changing sky and looming power lines serves as a subtle reminder of the radiation and electricity still lingering in their world. Director Heidi Gledhill maintains a deliberate yet engaging pace, allowing the characters to develop and the tension to build gradually without feeling sluggish. One of the play’s most piercing lines is delivered by Rob: “You have a duty to that girl to fuck off at some point.” It’s a brutal and candid statement—a reminder of our mortality and the terrifying reality that we won't always be there to guide and protect our loved ones. By the time the ending arrives, equally open-ended, bleak, and hopeful, it feels deeply earned. The Children doesn’t spoon-feed you answers. It simply hands you the weight of its question and lets you carry it out of the theatre. It asks what we owe future generations, what we’re willing to give up, and whether any choice we make today can truly undo the damage already done. If you’re drawn to smart, character-driven drama with moral complexity and a sprinkle of dark humour... this is for you. Tickets Available Here Photography by Kris Anderson (Images by Anderson) and Naz Mulla Photography

Pride and Prejudice: The Rom-Com Kitchen Reno Edition (if Lizzie Bennet played violin and Mr Darcy wore hi-vis) What happens when you cross a former concert violinist who loves Mahler with a tradie who enjoys country music? A hilariously mismatched rom-com about kitchen renovations, emotional repression, and the unexpected ways we find connection.   Queensland Theatre’s Rhinestone Rex and Miss Monica  is a heartwarming comedy crafted by David Williamson, with Mark Kilmurry making a triumphant return to the director’s chair. The play stars Georgie Parker and Glenn Hazeldine, reprising their original roles from the production’s premiere. There’s a special kind of thrill in watching actors return to roles years later; you get the sense they know these characters like old friends, with the extra lived experience that only time can bring. For us younger theatregoers who missed the show the first time around, it’s a gift to witness this revival now.   Based on a true story, the premise is charmingly simple. Monica hires Gary (aka Rhinestone Rex) to redo her kitchen. She’s a no-nonsense, former orchestral musician with a bit of a prickly edge. He’s a former country music star (or is he?) who hosts a radio program when he's not busy renovating kitchens. Cue the culture clash! What follows is a hilarious clash of taste, class, and coping mechanisms. Her ears can’t stand his playlists; he doesn’t know a symphony from a sonata. But they both speak the language of grief, divorce, loneliness — and music. Their tension is immediate, but it’s not romantic. Not at first. There’s pride, prejudice, and a whole lot of verbal swordplay about interior design and music composition; but also slow, careful character development. These two are defensive, emotionally constipated, and past the age where life is supposed  to be exciting. But ever so slowly, they start to soften. They begin to share music. They listen. They try (awkwardly but adorably) to find common ground. They fight, drink, flirt, argue, and reveal their cracks.   Beneath all the one-liners and sparring is a tender, resonant story about identity, artistry, ageing, and the courage it takes to let someone in after life has let you down. There’s something deeply moving in watching two people who feel past their prime discover that maybe life still has a few melodies left for them. What I love most is that it doesn’t try too hard. It just tells a good story — a funny, relatable, often uncomfortably truthful story — and trusts its characters to do the heavy lifting. And they do.   Georgie Parker is pitch-perfect as Monica: sharp-tongued, emotionally armoured, and deeply committed to maintaining an aura of superiority… until wine is involved. Her drunken monologue about orchestra life - from inter-orchestra hookups to the addiction to applause and the sheer existential dread of having spent your youth tuning your soul to someone else’s baton, “we drink because we’re bored” honesty - is not just gut-bustingly funny but heartbreakingly real.   As a musician myself, Monica’s pain over losing her identity hit hard. There’s a brutal honesty in the way she describes no longer being able to watch classical concerts — not because she doesn’t love them, but because she does . Watching others do what once defined you, when you physically can’t anymore, is too painful and Parker plays it with aching authenticity. I’d feel the same if I couldn’t play or sing again; probably drowning my sorrow in shiraz each night too.   Glenn Hazeldine’s Gary is the perfect counterbalance: affable, oddly charming, and clearly winging his way through life one half-truth anecdote at a time. He’s the kind of guy who says too much, jokes too quickly, and finds it easier to open up to a radio audience than the woman sitting across the room. He’s a man who doesn’t quite know how to compliment without offending — whose big talk radio persona Rhinestone Rex doesn’t quite translate into emotional fluency in real life. His banter with Monica is snappy and well-timed, yet it’s those little moments of sincerity, awkwardness, and vulnerability that really shine. Beneath his bravado is someone desperate to connect and he manages to crack open Monica's emotional drywall in the process.   The set by Veronique Benett feels like someone’s actual living room. I kept thinking it looked suspiciously like mine, except tidier and with less cat fur. The lighting is warm, the soundtrack moves deftly between classical and country, and the whole thing flows with the kind of ease that only comes from incredibly thoughtful direction and years of chemistry. Daryl Wallis’ subtle score, peppered with both twangy country tunes and sweeping classical moments, perfectly underscores their emotional tug-of-war. The sound design is full of bangers (both literal and musical — there is a lot of kitchen hammering), and the whole production hums along beautifully.   What makes Rhinestone Rex and Miss Monica  so rewarding is its simplicity. Two characters. One space. No tricks, no gimmicks — just great writing, two seasoned performers, and a whole lot of emotional honesty. It’s not trying to be profound, and in that lack of pretence, it finds something profound anyway. Two people who believe they’re past their prime, not even looking for another chance at love, passion, or purpose, but they start to rediscover that possibility again. These characters aren’t idealised or aspirational — they’re messy, defensive, stuck. They’re you, me, your neighbour, your ex. And in their stumbling attempts to connect, we see the kind of flawed humanity that’s both frustrating and comforting.   So whether you’re a Vivaldi devotee or a Dolly Parton diehard, there’s something deeply universal in this sweet, sharp, surprisingly soulful rom-com about rediscovering joy, even in unlikely places. About finding someone who, while seemingly your complete opposite, might just be singing in the same key after all. This is a show for the romantics, cynics, music snobs, late-bloomers, and lonely hearts. For anyone who’s ever felt stuck, or lost, or just really annoyed by someone they probably have a crush on... Don’t miss it before it closes on 21 June 2025! Tickets available here Photography by Jade Ellis

Book, Music, and Lyrics by Brooke Maxwell and Jacob Richmond Presented by VOX Theatre Arts and Phoenix Ensemble After Dark "My death has really affected me." If you love your theatre with a side of dark humour, brutal honesty, and some seriously eclectic musical styles, Ride the Cyclone  delivered a wild, emotional carousel ride that was hard to forget. This Canadian musical about six teens trapped in limbo after a freak rollercoaster accident managed to be equal parts hilarious, haunting, and deeply sincere. The show’s premise was brilliant: The Amazing Karnak, a fortune-telling animatronic machine with a delightfully dry wit (brought to "life" by Dan Konstantinos), granted each teen one chance to plead their case for a second shot at life. Only one could win, and each character’s song became a window into their soul—a vibrant patchwork of genres from pop ballads to rap to gothic waltzes. Karnak himself was a standout in this production. Dan’s physical puppetry was so clever and committed that I kept glancing over to catch what subtle movements or character choices Karnak was making—even when he wasn’t speaking. Each character introduction, delivered by Karnak, was paired with a nostalgic slideshow of real-life baby and childhood photos of the actors, adding a heartbreaking layer of realism—except for Jane Doe, of course, whose identity remained unknown. Visually, the revolving carousel set served as a perfect metaphor for the dizzying purgatory these characters inhabited. The lighting design was particularly striking in the opening scene, as Jane Doe’s headless silhouette flickered into view. I saw a Swing performance, and the cast was an absolute treasure trove. Erin Hall portrayed Ocean O’Connell Rosenberg with intense, "type-A teen" confidence. Her song What the World Needs  was bold and commanding, and her crash out was a full-throttle Rachel Berry-style spiral in all the best ways. Dom Bradley, as Mischa, brought the house down with his autotuned rap This Song Is Awesome , then revealed surprising emotional depth in his tender ballad Talia , played alongside a short film featuring Clare Thomson. It was also a joy to watch the rest of the cast during each solo; everyone remained fully in character, adding texture with every reaction. Isaac Brown’s performance as the tragique Noel Gruber was nothing short of brilliant. He nailed the fabulous, cabaret-loving loner with theatrical flair and gorgeous vocals. His rendition of Noel’s Lament , accompanied by August Cocks on accordion and Dom as his doomed Parisian lover, was one of the most memorable scenes of the night. Isaac’s voice was so polished it could have been lifted from the original cast recording. Eloise Newman, as Constance, grounded the show with sweetness, relatability, and quiet strength beneath her insecurity. Her interactions with Ocean, paired with her vulnerable Sugarcloud ballad, revealed the pain behind her ever-smiling facade. She captured the Canadian "saw-rry" pushover vibe with such heartbreaking reality. Makenzi Goodwin’s Jane Doe delivered the haunting showstopper Ballad of Jane Doe  with an ethereal, operatic soprano that sent chills down my spine. Surrounded by carousel horses and fairy lights, her solo felt like stepping into a dream you weren’t sure if you wanted to wake from. With a perfectly vibrant wig, unsettling white contact lenses, and twitchy, doll-like puppet movements, Makenzi’s Jane was equal parts adorable and creepy. She was magnetic every time she floated across the stage. August Cocks as Ricky was the quiet, quirky dreamer who who eventually reveals his kinky-Bowie alter ego in Space-Age Bachelor Man . His transition from quiet bystander to cosmic fetish fantasy icon was hilarious, bold, and somehow still touching. The show gave him his “safe space,” and he took it—glitter and all! Director Rhona Bechaz’s vision was clear and thoughtful in every moment. The pacing was tight, the emotional beats landed, and the character arcs shone. Monologues flowed seamlessly into songs, and the most poignant moments—especially Noel and Constance’s—were handled with care. Choreographers Hannah Macri and Kirsten Brown used stylised, character-driven movement that elevated the mood and genre of each number. The music, led by Alex Angus and Maddy Simons, was superb. Special mention to guitarist Hayley Gravina for adding gorgeous texture throughout her solo sections. The sound design navigated a complex wall of harmonies and layered vocals with impressive clarity, although the male-heavy harmonies occasionally overpowered the mix. Still, it never detracted from the vocal powerhouse that was this cast. Ride the Cyclone  felt like Six’s  Canadian cousin—six vibrant, flawed, fascinating characters wrestling with death, identity, and the meaning of their short lives in an unfiltered way. This production balanced humour, absurdity, and heartfelt introspection with astonishing precision, and absolutely nailed it from start to finish. If you were lucky enough to see this production, you know exactly what I mean. I’m talking serious FOMO for anyone who missed it. As one character wisely said, “It took a horrible accident for me to realise how goddamn wonderful everything is.” Photography by Lavender Productions / Pavitra Tandon and Tayla Simpson

Presented by Redcliffe Musical Theatre Directed by Gary Farmer-Trickett Performed at Theatre 102 Oscar Wilde’s The Importance of Being Earnest  is one of those plays that simply never goes out of style—and lucky for us, it’s also one of those plays that South-East Queensland keeps returning to. I’ve now had the pleasure of reviewing this show three times, and honestly? It was still a joy. Wilde’s sharp wit, timeless absurdity, and comically tangled web of mistaken identity were as charming as ever and this production once again delivered an evening of polite society chaos with style. For those new to the story (or in need of a refresher), The Importance of Being Earnest  is a Victorian comedy of manners that revolves around two friends, Jack and Algernon, who each lead double lives under the false identity of “Ernest” to escape the tiresome expectations of the upper class. When both men’s deceptions are revealed in front of the women they love—each of whom insists on marrying someone named Ernest—things spiral into gloriously silly mayhem across three wonderfully over-the-top acts. Under the direction of Gary Farmer-Trickett, the production kept a faithful hand on the style and tone of Wilde’s world. The set, designed and lit by Jonathan Johns evolved across acts from elegant parlour to picturesque garden and finally a study complete with love seat, bookcase, and—most importantly—snack props for Algernon to devour. One delightful detail was a giant portrait of Algernon featured in Act 1, clearly meant to highlight the character’s over-the-top vanity and set the tone for the silliness ahead. The true strength of this production lay in the ensemble’s chemistry—especially the dynamic between the two male leads, Jack and Algernon, both posing as the elusive Ernest. Jake Hollingsworth as Jack was a perfect casting choice—not only is he already British, but he delivered the role with comedic precision. His facial expressions were an absolute gift, and his confident stage presence really anchored the story. Lachlan Boyes as Algernon brought the necessary charisma and cheeky mischief to the role, with excellent use of physical comedy and perfectly timed asides that were impossible not to watch. The playful “brotherly” antics between the two characters, even when things went awry in the plot, were a major highlight. Ashlee Hermann played Gwendolen with fantastic snobbery and a deliciously passive-aggressive edge that made her exchanges feel like a tennis match of decorum and drama. She was poised, expressive, and delightfully over-the-top in all the right moments. Zoe Hitchcock was utterly charming as Cecily, giving very strong 'Reese Witherspoon' energy. Her sweetness, sass, and sense of timing all worked together to create a layered and entertaining performance. One of the best naturalistic performances came from Sandra Harman as Miss Prism. Her portrayal felt lived-in and believable, and her scenes with Terry Skinner’s good-natured Dr Chasuble added a warm, gentle humour to the show. Played by producer Madeleine Johns, the iconic matriarch Lady Bracknell was physically commanding and dramatic, but lacked some of the bite the role demands. Ericson Ilustre, who also handled costume design, doubled as Lane and Merriman, bringing quiet comedy and presence to the stage while ensuring everyone looked stunning. Speaking of costumes—though not entirely consistent stylistically—they were thoughtfully chosen, flattering, and absolutely helped set the tone. Algernon’s purple sparkly velvet tails were a glorious standout, and Gwendolen’s evening gown was truly stunning. If I had one quiet wish, it was that the women could project just a little more. The theatre competed with everything from leaf blowers outside to persistent coughers in the crowd, and a few lines were unfortunately lost in the mix—especially when delivered facing toward the wings instead of the audience. The one element that felt slightly off-kilter was the pacing. Some line stumbles led to slower pacing, with fellow actors having to recover or redirect the energy. Still, nothing could dull the brilliance of Act 3’s sheer absurdity. The chaos built to a glorious peak, with Jake Hollingsworth in particular shining as an exasperated Jack navigating revelations, confessions, and last-minute name swaps. There was always something fun happening between him and Algernon—whether stealing snacks, exchanging death stares, or trying to bluff their way out of their mounting lies. All in all, this production of The Importance of Being Earnest  was a loving, lively take on a classic comedy. Even after three reviews of this play, I still found new details to enjoy every time. Photography Alan Burchill

Title: Opera Queensland La bohème Children’s Chorus Presented By: Opera Queensland in association with West Australian Opera, QPAC & Brisbane Festival Genre: Opera – Children’s Chorus for Puccini’s La bohème Synopsis: Opera Queensland is excited to cast the Children’s Chorus for the upcoming production of Puccini’s La bohème, a timeless opera set in a magical 1920s Parisian winter, featuring an inventive rotating greenhouse stage designed by Charles Davis. This is a fantastic chance for young singers to perform alongside internationally acclaimed soloists, the Opera Queensland Chorus, and the Queensland Symphony Orchestra. Step 1: Expression of Interest & Online Application Required Age: 10 to 15 years old Submit your application by 5pm Friday 13 June 2025 via this form: Online Application Form Applicants will be notified if they are invited to audition by Friday 20 June 2025. Upload the following as part of your application: A 1-minute video of your child singing a classical or musical theatre piece (clear audio, no amplified microphones required) A current CV detailing any musical experience or training A recent headshot (professional photo not necessary) Approximate height and other measurements for costume fittings Step 2: Auditions Auditions will be held in person at the Opera Queensland Studio: Date: Tuesday 24 June 2025 Time: 5:30pm – 7:30pm Location: 140 Grey Street, South Brisbane QLD 4101 Auditions include group warm-ups, ensemble singing, a short solo, and measurements for costume fitting. Children must be accompanied by an adult at the audition. The session is designed to be fun, low-pressure, and encouraging for young performers. The audition panel will include Opera Queensland staff and members of the La bohème creative team. Successful auditionees will be notified of results by Friday 27 June 2025. Eligibility: Aged 10 to 15 years old (must still be 15 on 13 Sept 2025) Australian citizen or permanent resident living in Queensland Live within 45 minutes travel of South Brisbane Able to sing in treble range Height preferably less than 150cm (costume consideration) Performance Dates: 5 performances from 4 to 13 September 2025 Performance Location: QPAC Lyric Theatre, South Brisbane Rehearsal Dates: Evening rehearsals: Four sessions (3 hours each) between 7 July and 9 August 2025 Additional production and dress rehearsals mid to late August 2025 All rehearsals outside school hours Additional Info: Audition Pack: Download PDF Online Application Form: Apply Now Production Website: OQ Website Contact Alicia Cush, Managing Producer - Email: artist@oq.com.au All rehearsals and performances are paid engagements under Live Performance Australia Award terms. Participants will be provided with full costume for performances. Italian language coaching and pronunciation training provided. Children must be accompanied at all auditions by a parent or guardian. All participants must adhere to Queensland Government Child Employment Guide regulations. Opera Queensland prioritises child safety with professional chaperones present at all times.

Company:  Ballet Preljocaj Venue:  QPAC Lyric Theatre, South Brisbane Choreography:  Angelin Preljocaj Music:  Pyotr Ilyich Tchaikovsky (with added electronic music by 79D) Live Music:  Queensland Symphony Orchestra, conducted by Johannes Fritzsch Costume Design:  Igor Chapurin Lighting Design:  Éric Soyer Video Design:  Boris Labbé Swan Lake, but make it climate collapse. Officially titled Le Lac des cygnes , Ballet Preljocaj’s interpretation of Swan Lake  is very much a contemporary ballet. This is not a traditional tutu and pointe shoe retelling of the classic story. Instead, choreographer Angelin Preljocaj reimagines the ballet as a haunting contemporary tragedy that pulses with social relevance, emotional depth, and striking visual artistry. Gone are the fairy tale forests. In their place stand skyscrapers, corporate greed, and sinister CEOs. At its core, the familiar bones of the story remain: love, loss, and resistance. Siegfried (Antoine Dubois) , son of a ruthless property developer (Romain Renaud) , falls for Odette (Théa Martin), here an eco-warrior cursed into swan form. Their star-crossed romance unfolds against a world suffocating under capitalism, with Rothbart (Redi Shtylla) reimagined as a slick modern industrialist. Despite this radical new setting, the narrative spine of Swan Lake  remains recognisable beneath the contemporary lens. Musically, this Swan Lake  was breathtaking. Tchaikovsky’s timeless score, performed by the Queensland Symphony Orchestra under Johannes Fritzsch , was threaded with pulsing, ominous electronic music by 79D. The juxtapositions could be jarring at times, but the unease was clearly deliberate. The stage was stark, with only a skeletal architectural model of suburbia, leaving the heavy lifting to Boris Labbé’s astonishing video projections. Forests dissolved under rising towers, rocky mountains melted into grids of concrete, and the scrim rippled with restless motion. Éric Soyer’s lighting carved the dancers into stark whites and shadows, giving us water, shapes, and ominous spotlights. Igor Chapurin’s costumes leaned heavily into black and white symbolism, with a memorable burst of colour during the Act I party scene, where sequinned dancers glittered briefly before tumbling back into shadow. The barefoot corps de ballet, in short white ruffles, were mesmerising. Delicate yet powerful, they channelled swan-like fluidity without pointe shoes. Preljocaj’s choreography bore little resemblance to Petipa and Ivanov’s well known romanticism. Instead, it leaned into postmodern shapes: low centres of gravity, angular limbs, and arms slicing the air like blades. The athletic movement demanded enormous stamina from the dancers. I particularly loved the sweeping unison sequences that pulsed with urgency: The swan huddle moving like a single organism. A glimmering rave party bursting suddenly into colour. The cheeky “little cygnets” variation, complete with sassy hip thrusts that drew giggles of delight from the audience. Repetition and unison built hypnotic tableaux throughout the work. A canon line of swans often rippled across the stage. The office cubicle routine saw dancers miming corporate monotony in perfect sync. A walking maze of performers moved in every direction like beautifully confused Sims. The dancers gave nothing less than full commitment, sustaining fierce energy through the relentless two hour marathon. At times the dancers seemed to embody the entire swan through their bodies, arching their necks and extending their arms like living wings. Théa Martin’s Odette and Odile was a revelation; her Odette was fragile and lyrical, while her Odile was dominating and sharp. Antoine Dubois matched her intensity, and together their pas de deux were electrifying. Sometimes tender, sometimes brutal, and often both at once. Twisting limbs and intertwined torsos created something both terrifying and tender. It was impossible to look away. I was lucky enough to snag a rush ticket (at just a fifth of the original cost!), which meant I could dive headfirst into this no interval two-hour endurance test on a whim. Three acts unfolded back to back with no mercy. I caught myself clenching every muscle, too nervous to cough or even shuffle in my seat for fear of breaking the spell. Sadly, not everyone shared that discipline. A pre show reminder about phone etiquette would not have gone astray. I counted no fewer than six phones ringing. In a work this immersive, those interruptions jarred. Did every narrative moment land for me? Not entirely. But as a sensory experience of motion, image, sound, and soul, this Swan Lake  was thrilling, unpredictable, and never dull. For those who feel the original ballet has grown a little dusty, this version breathed fresh (if somewhat polluted) air into the story. The final image of Odette lying lifeless while smog rose above her like a cancerous promise of progress was devastating. And even if this interpretation is not to your taste, the production itself is undeniably an impressive feat for everyone involved. The dancers, the orchestra, and even the audience. Diehard traditionalists may still find it worth experiencing for the sheer unpredictability, and for the chance to watch swans take on capitalism with style.