TINA — A Tropical Love Story absolutely lit up the Brisbane Festival, blending the sultry pulse of the tropics with the unstoppable electricity of Tina Turner herself.   This vibrant drag-cabaret hybrid, created and performed by the magnetic Miss Ellaneous (Ben Graetz), unfolded as a heartfelt love letter to Darwin, to identity, and to the Queen of Rock ’n’ Roll. From the moment the show launched into “Higher”  with a burst of sequins and choreography, the packed house roared in approval... and they never quieted down! Graetz, born in 1977 and raised on disco, swept us through stories of growing up in Darwin and the life-altering moment a young First Nations boy watched Tina Turner dominate the stage in 1993. Those memories flowed beautifully between numbers, accompanied by projections, haze, and twinkling light poles that shimmered like raindrops. The wigs? Iconic. The heels? Crazy. The legs in those heels? Show-stopping. The soundtrack used live Tina concert tracks, giving the entire night a pulsing, stadium-concert feel. Local talent Garret Lyon delivered a moody and soulful “I Can’t Stand the Rain,”  while Kristal West belted the Tina  musical’s arrangement of “River Deep, Mountain High.”  Even if she didn’t quite hit the hurricane-force energy that song demands, her vocal runs were fabulous.   And then there's the costumes: vibrant, sparkly, and fabulous! Ben’s third look, a Tina dress inspired by the Aboriginal flag, had me floored. Miss Roymata Holmes (Martoya Jackson) strutted through “Simply the Best” in full blonde-wig glory, dedicating the number to First Nations performers everywhere. Between the sultry “Private Dancer” moment, the fierce confidence in “What’s Love Got to Do With It?”,  and a tender rainbow-community duet of “We Don’t Need Another Hero”  with Garret and Kristal, the show held space for joy, resilience, and pride. As Ben said, “She connects us in so many ways.”     By the finale, the crowd was itching to get on their feet. This show would thrive in a venue like The Tivoli or Fortitude Music Hall where dancing is encouraged! A dazzling, heartfelt celebration of country, community, and the icon who helped a young boy find himself. Please bring this one back — Brisbane wants more!

Title: Shrek the Musical (Holiday Workshop Production) Presented By: Communication in Action Genre: Musical Theatre (Comedy, Family, Fantasy) Synopsis: Based on the Oscar-winning DreamWorks Animation film, Shrek the Musical is a hilarious and heartfelt fairy-tale adventure. With larger-than-life characters, irreverent humour, and show-stopping songs, this production turns the classic fairy-tale world upside down while celebrating friendship, acceptance, and the joy of being different. Everyone who auditions will be cast, making it a full-scale ensemble experience with opportunities for performers of all levels. Audition Date: Sunday 26 October 2025 Audition Time: Group 1: 2.00–3.30pm Group 2: 3.30–5.00pm Audition Location and Address: Thomas Dixon Centre, West End Audition Self-Tape Due (if applicable): 26 October 2025 Audition Requirements: Enrolment in the program is required before audition materials will be sent. Final role distribution at director’s discretion. All performers will be cast in the ensemble or featured roles. Video auditions accepted if unable to attend in person. Audition Registration: Via enrolment form at communicationinaction.net Performance Dates: Saturday 17 January 2026 Performance Location: Talbot Theatre, Thomas Dixon Centre, West End Rehearsal Dates: Monday 12 – Saturday 17 January 2026 (Holiday Workshop Week) Rehearsal Times: 9.00am – 3.00pm daily Performer Age: Open to students in Year 3 and up (school year in 2026 – current Year 2s may enrol). Creative Team: Director: Tim Hill Choreographer: Justin Anderson Vocal Coaching provided as part of workshop tuition. Production Website: communicationinaction.net Other Information: A preparatory Shrek Musical Theatre Masterclass is available prior to auditions for skill development. Dates: Sunday 12 & 19 October 2025 Time: 2.00–5.00pm Venue: Thomas Dixon Centre, West End Cost: $120 + GST (6 hrs tuition total) Limited places to ensure personalised attention. Available Roles/Character Breakdown: Shrek – The grumpy but lovable ogre with a big heart. Fiona – A princess with a secret, feisty and funny. Donkey – Shrek’s wisecracking, loyal companion. Lord Farquaad – The comically villainous ruler with a larger-than-life personality. Dragon – Fierce, sassy, and soulful. Pinocchio, Gingy, Three Little Pigs, Three Bears, Wicked Witch, Ugly Duckling, Fairy Tale Creatures – Ensemble of bold, comedic characters with strong singing and acting moments. Ensemble: Villagers, Guards, and Fairy-Tale ensemble roles with group singing/dancing.

Title: Bonnie & Clyde Presented By: Phoenix Ensemble Genre: Musical Synopsis: Set in Depression-era America, Bonnie & Clyde tells the electrifying story of Bonnie Parker and Clyde Barrow, small-town dreamers whose hunger for fame and escape from ordinary lives leads them down a path of love, crime, and infamy. Their daring heists, turbulent romance, and relentless pursuit of freedom make them both heroes and villains in the public eye. Featuring a thrilling score blending blues, gospel, and rockabilly, Bonnie & Clyde is a sexy, action-filled tale of two of history’s most notorious lovers, leading to their inevitable and tragic downfall. Audition Date: Group Dance & Vocal Workshop (all auditionees): Thursday 16 October 2025 — 6:30pm or 8:00pm (90 minutes) Individual Auditions (Principals + Preacher): Saturday 18 October 2025 — 9:00am–3:00pm Callbacks (by invitation): Tuesday 21 October 2025 — from 7:00pm Audition Location and Address: Phoenix Ensemble, Pavilion Theatre (“Tin Shed”), Beenleigh Showgrounds, James St, Beenleigh QLD Audition Requirements: All auditionees must attend a group dance & vocal session. You will learn a short routine and vocal harmony in groups. Wear movement clothes and closed shoes. If auditioning for Principals (Clyde, Bonnie, Buck, Blanche, Ted, Preacher): Prepare two contrasting songs (max 1 min each) in the style of the show. Bring a backing track on an AUX/Bluetooth device (speakers/adaptors provided). Prepare one of the provided monologues (Southern American accent). This does not need to be memorised. Ensemble auditionees need only attend the group workshop unless also auditioning for featured tracks. Southern American accents are required for all roles. Audition Registration: Book your slot via phoenixensemble.com.au/audition Audition Pack: Download here (PDF) Performance Dates: Friday 20 February – Saturday 7 March 2026 (3-week season) Performance Times: Fridays & Saturdays (evenings), Saturday matinees (no Sundays) Rehearsal Dates: Commence Sunday 9 November 2025. Rehearsal Times: Mondays & Wednesdays 7:00–10:00pm; Sundays 1:00–6:00pm. Holiday break: 22 Dec 2025 – 2 Jan 2026. Sitzprobe: Sunday 1 February 2026. Tech/Final rehearsals: From Monday 9 February 2026. Rehearsals and Performance Location: Phoenix Ensemble, Pavilion Theatre, Beenleigh Showgrounds Warnings: Contains intimacy, stylised violence, firearms, adult themes, and passionate physicality. An intimacy coordinator will be engaged to ensure safety. All cast must be 18+ by the first rehearsal, except for Young Clyde and Young Bonnie, who will be cast separately at a later date. Performer Age: 18+ (excluding youth roles). Creative Team: Director: Kym Brown Musical Director: Sally Faint Choreographer: Julianne Clinch Production Website: phoenixensemble.com.au/audition Other Information: Phoenix Ensemble is a community company; all roles are voluntary/unpaid. Cast must become financial members by the first rehearsal and hold (or obtain) a valid Blue Card. Available Roles / Character Breakdown: Clyde Barrow Male-presenting, stage age: 21 Vocal range: A2–C5 (high tenor belt). Reckless and magnetic; a small-town boy craving fame and notoriety. Charismatic, daring, impulsive, and utterly in love with Bonnie. Requires stamina, vocal power, and strong physical presence. Bonnie Parker Female-presenting, stage age: 20 Vocal range: G3–F5 (mezzo belt). A beautiful, ambitious waitress and poet, torn between love and fame. Headstrong, stubborn, and vulnerable. Chemistry with Clyde essential; must handle intimate and emotionally charged material. Marvin “Buck” Barrow Male-presenting, stage age: 25–35. Vocal range: B2–G4. Clyde’s loyal older brother, torn between his outlaw life and Blanche’s disapproval. Adventurous but conflicted. Needs strong acting depth to balance bravado with moral struggle. Blanche Barrow Female-presenting, stage age: 25–35. Vocal range: G3–Eb5. A devout and moralistic woman; deeply religious, righteous, and disapproving of her husband Buck’s choices. Provides comic relief and emotional grounding. Ted Hinton Male-presenting, stage age: 25–30. Vocal range: C3–A4. A kind police officer caught between his duty and his unrequited love for Bonnie. Honest, earnest, and gentle, but ultimately on the opposite side of Bonnie and Clyde’s world. Ensemble / Featured Roles — Each ensemble member covers featured tracks: Cumie Barrow: Clyde & Buck’s mother, pragmatic and weary. Female-presenting, 30–50. Emma Parker: Bonnie’s mother, supportive but fearful. Female-presenting, 25–40. Governor Miriam Ferguson: Strong and authoritative. Female-presenting, 35+. Sheriff Schmid: Relentless lawman pursuing Bonnie & Clyde. Male-presenting, 35+. Preacher: Gospel powerhouse; requires strong tenor (A2–C5). Male-presenting, 35+. Henry Barrow: Clyde & Buck’s father, weary and resigned. Male-presenting, 30+. Deputy Bud: Young, naive; Clyde’s first victim. Male-presenting, 20–40. Judge / Captain Hamer: Stern, commanding, final pursuer of the couple. Male-presenting, 40+. Ensemble also appears as townsfolk, church congregation, bank/store customers, police, and guards, often with solos or spoken lines. Young Clyde — Male-presenting, around 10. Treble/unbroken voice (B3–A5). Young Bonnie — Female-presenting, 10–15. Vocal range: C#4–C5. Contemporary tone required.

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

Presented by Good Time Theatrics at PIP Theatre Written by Jonathan Larson Director & Producer – Kurtis Laing Musical Director – Nate Stevenson Original Choreography – Juliette Coleman Associate Choreographer – Hannah Crowther Band : Nate Stevenson (Keys), Joel Sanchez-Carn and Dylan Pinti (Guitar), Jess Hobbs (Bass), Rachael Jory and Marcelle Gunning (Drums) Lighting Designer – Yasmin Elahi | Sound Designer – Peter van Brucken | Set Design – Brigitte Bennet   Photography by Brittany Taylor Hetherington Tick, Tick… Boom!  hits differently when you’ve just turned thirty. Suddenly that ticking clock feels personal. It’s that restless mix of panic and passion that makes you want to either write a masterpiece or curl up and take a nap. At PIP Theatre, Good Time Theatrics transformed their in-the-round space into 1990s New York, where a stressed-out composer tries to juggle his career, his relationship, and the dread of getting older. Maybe it’s because I’ve just joined the thirty club myself (and director Kurtis Laing has too), but I felt every anxious, hopeful beat of that tug-of-war between ambition and self-doubt, and the relentless ticking reminding you that life doesn’t wait. Before the show even started, the room was alive. The cast mingled and joked with the audience while the band tuned behind them, and it instantly broke the fourth wall before a single note was played. It was the perfect entry into the world of Tick, Tick… Boom! : Jonathan Larson’s semi-autobiographical musical about a hopeful Broadway composer on the brink of turning thirty. He works at a diner by day and writes a futuristic rock musical by night, desperate for his big break while his best friend Michael trades acting for the corporate world and his girlfriend Susan dreams of a quieter life. It felt like we were sitting right inside Jonathan’s mind: part rehearsal room, part New York apartment, part ticking time bomb, with “ Boho Days” kicking off the show in a burst of audience participation. Designed by Brigitte Bennet , the stage floor looked like a giant sheet of music, the piano was plastered with scribbled notes, and posters of Stephen Sondheim hung proudly along the back wall as a nod to Larson’s mentor. A handful of chairs and costume pieces transformed into dozens of settings, while the band sat upstage, fully visible and very much part of the action. That open, garage-musical setup gave the production its authentic charm. It reminded us that Tick, Tick… Boom!  was written by someone who created art in the cracks between real life and bills and friendships and love. The trio of performers, William Kasper, Nykita O’Keefe, and Hamish Wells, were absolute powerhouses. Their chemistry was instant, their harmonies were tight, and their storytelling felt so genuine that at times it was like watching real friends navigate the highs and heartbreaks of creative life. William Kasper was brilliant as Jonathan Larson. He brought passion, anxiety, humour, and vulnerability all at once, with that chaotic creative energy that makes you root for him from the moment he steps onstage. His voice was rich and steady through an incredibly demanding score, launching straight into a strong “30/90.” You could tell he was giving everything to this role, because by the time he reached the emotionally gruelling monologue later, he was visibly spent and slightly hoarse. He broke hearts kneeling at the piano with trembling hands, a cracking voice, and real tears, baring his soul in “Why,” a performance so honest that the whole theatre was thoroughly moved. Nykita O’Keefe was stunning as Susan and Karessa. She moved so naturally between scenes of beaming joy or quiet heartbreak, never missing a beat vocally. Her “Come to Your Senses” was a goosebump moment, tender and intimate, performed directly to Jonathan as he sat in the front row in a chair labelled “Reserved for Stephen Sondheim.” It was a lovely, reverent moment for both of them. I’ve never heard Nykita falter in any performance, and she continued that streak here. Hamish Wells brought endless charm and comedic brilliance to Michael and his smaller cameo roles. His quick switches between characters were hilarious, from smooth corporate executive to chaotic cashier selling Twinkies. His duet with Will, “No More,” was one of the night’s biggest highlights. They bounced around the stage like kids playing pretend, and the stamina and breath control they kept through all that physical comedy was highly impressive! Together, the trio were unstoppable. Their group numbers were fantastic, especially “Johnny Can’t Decide,” “Green Green Dress,” “Sunday,” and the delightfully chaotic “Sugar,” which I hadn’t heard before and instantly loved. “Real Life” absolutely blew my mind and of course, “ Louder Than Words ” sent everyone home with shivers. Musical direction by Nate Stevenson held everything together with precision and passion. His five-piece band filled the space with the gritty energy Larson’s score demands. They nailed tricky numbers like the overlapping chaos of “ Therapy ,” where Will and Nykita argued like two stubborn kids having a meltdown, perfectly in rhythm. Lighting by Yasmin Elahi captured the show’s shifting moods with ease. Bright, vivid colours heightened the chaos while soft, melancholy tones settled over Jonathan’s moments of doubt. It all reflected his mental state without ever stealing focus. Sound design by Peter van Brucken was impressive too. Microphones were clear and the mix was well balanced, which is no easy task in an in-the-round venue. The market research scene was a standout with layered voices and effects that created that buzzing, hyperactive energy. Plus, the ticking motif woven throughout the show was the perfect touch, always there like the anxiety of time slipping away. Costumes were simple and exactly right: Jonathan’s rumpled flannel and jeans, Michael’s sharp business attire, and Susan’s elegant satin dress. Under Kurtis Laing’s direction, the show flowed with a lovely sense of rhythm. Scene transitions were smooth thanks to the narration, and the story never lost momentum. Everything felt comforting, intentional, and honest. Laing clearly understood both the humour and the ache of Larson’s writing; that push and pull between creative obsession and personal sacrifice. This production truly felt like Larson’s love letter to musical theatre, a reminder of why we create, why we dream, and why time never feels like enough. Everything aligned so beautifully: the performances, the direction, the music, the design. You could feel the audience riding every high and low with them.

Presented by Brisbane Festival and Queensland Performing Arts Centre Produced by Soft Tread Enterprises Written and Directed by Francis Greenslade Performed by John Leary and Rebecca Bower Photography by Mark Gambino “Just because I don’t have an arts degree doesn’t mean I’m a moron.” The platypus is one of nature's weirdest creations: it's like a mix of duck, beaver, and a cosmic joke. It shouldn’t make sense, yet somehow it works. Francis Greenslade's play, The Platypus , lands in that same wildly inventive space. This two-hander, performed by John Leary and Rebecca Bower , smeared itself across theatre styles: a black comedy, a domestic drama, a musical, a farce, a philosophical piece... The result was a genre-defying collection of vignettes that explored love, resentment, family, and the messy business of relationships, all with a wink to the world of theatre itself. The show began before we even realised it had. Leary and Bower wandered onstage mid-gossip, sizing up the crowd and debating what this mysterious production might be about, instantly pulling us into their chaotic play-within-a-play universe. From there, we plunged into a string of fast-shifting vignettes: tense marital spats, neighbourly gossiping, school-gate politics, and moments of genuine heartbreak. Costumes items, accents, and entire theatrical worlds flickered by. Both actors moved through characters with astonishing versatility, scenes bleeding into one another like hazy memories, sometimes changing trajectory mid-sentence! As Richard, Leary skipped between short-tempered gruffness and flashes of softness and humanity. He came alive whenever he slipped into another persona, whether as a ventriloquist with a foul-mouthed puppet or diving into Shakespearean prose. Bower matched him note for note. As Jess, she radiated a warm, motherly composure offstage, yet carried a brittle tension in the domestic scenes onstage. Her comedy was also excellent, especially during a stand-up moment where she quipped, “I lost my husband, but I gained the TV remote!” By the time the Greek chorus-style finale arrived, we had travelled through bitterness, regret, and reconciliation, and somehow still left smiling. Greenslade’s writing embraced a dizzying diversity of forms. One moment we were watching a couple argue in their kitchen about Netflix and vasectomies; the next we were in an interview with Lady Bracknell (yes, pulled straight from Earnest ) as a custody officer. There was even a musical theatre detour in strong New York accents, complete with an original number riffing cheekily on Sondheim. Later still, a sitcom sequence with canned laughter morphed into something completely tragic. Even when the world tilted into different genres, the heartbeat of it all remained recognisable: the dance of co-parenting, the resentment for your ex, the love for your child... At the centre of all the chaos was a child’s drawing of a platypus stuck to the fridge, a tiny anchoring reminder of the family that these fractured scenes revolved around. The fleeting appearance of their son Jack, played by guest artist Eddie Hill, added a quiet melancholia to the otherwise abstract scenes where his absence loomed. I particularly loved how the play toyed with audience perception. At interval, the characters discussed the production as though they were spectators themselves. Greenslade seemed to be inventing his own form in real time: part therapy session, part sketch comedy, part existential cabaret. By the time the final moments — “I wish we could go back, start again” — landed, the laughter had softened into something tender. As someone who grew up an only child in a tense household (my comfort animal was a wombat, not a platypus), this piece hit somewhere deep in my bones. The invisible family members, the quiet tension, the not-so-quiet anger, the affection and fury tangled together — it all rang painfully, beautifully true. Sitting beside Greenslade himself on opening night, I found myself laughing, wincing, tearing up, and hoping he noticed just how much I enjoyed and respected every bizarre, brilliant second. The Platypus  was exactly what Brisbane Festival does best: bold, experimental storytelling that still lands squarely in your heart.

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

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

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

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

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

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