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Title: Santa & the 7 Christmas Fairies  – Pro-Am Christmas Pantomime 2024 Presented By:  BPAC - Brisbane Performing Arts Challenge and Hope Event Entertainment About the Show:  This traditional British-style Christmas Pantomime follows Santa and his 7 Christmas Fairies as they embark on a whimsical adventure to save the holiday spirit. Expect magic, laughter, and heartwarming moments. Audition Date:  Sunday, 6 October 2024 Audition Time:  11 am Age Range:  10-14 years Audition Requirements:  Email missyrhonda@gmail.com  to register and receive an audition pack. Available Roles:  2 Junior Ensembles (10-14 year-olds) Additional Information:  Participants will work with professionals from the Australian Performing Arts Industry. Performance Dates and Locations: Fri, 20 Dec 2024:  Bribie Island Golf Club Sat, 21 Dec 2024:  Ron Hurley Theatre, Seven Hills Sun, 22 Dec 2024:  Lind Lane Theatre, Nambour Leading Cast: Jackie Love  as Lumina, Queen of the Christmas Fairies Sophie Perkins  as Dreadbore, the Wicked Witch

Title:  The Guy Who Didn't Like Musicals Presented By:  Javeenbah Theatre Company Genre:  Musical Theatre Synopsis: Paul can't stand musicals, it's his greatest hate. But one day, he faces his worst nightmare when he discovers that his town, Hatchetfield, has been overtaken by an alien force causing infectious singing and dancing. As the invasion unfolds, Paul, along with his co-workers, endeavours to navigate through the chaos and fight their way out of the town consumed by the musical epidemic. Audition Date:  19th October 2024 Audition Time:  From 10 am Audition Location and Address: Javeenbah Theatre Company, Cnr Stevens & Ferry Streets, Nerang Audition Self-Tape Due (if applicable): Video auditions are welcome. Please submit videos to TGWDLM@javeenbah.org.au . Audition Requirements: Prepare and memorise two musical theatre songs. No songs from The Guy Who Didn’t Like Musicals  are permitted. Songs should reflect the character(s) auditioned for but may not be required to sing. Auditionees must provide instrumental backing. A Bluetooth speaker will be available. Prepare one monologue or scene related to the show or character auditioning for. Be ready to attempt a generic American accent. Wear comfortable clothing for a possible quick choreography segment. Audition Registration: Register for an Audition Audition Pack: Download Audition Pack Performance Dates:  8th – 22nd February 2025 Sat 8 Feb 2025 7:30 pm Sun 9 Feb 2025 2:00 pm Fri 14 Feb 2025 7:30 pm Sat 15 Feb 2025 7:30 pm Sun 16 Feb 2025 2:00 pm Fri 21 Feb 2025 7:30 pm Sat 22 Feb 2025 7:30 pm Performance Location:  Javeenbah Theatre Company, Cnr Stevens & Ferry Streets, Nerang Rehearsal Dates: Tuesdays 7-10 pm Thursdays 7-10 pm Sundays 12-5 pm Holiday Break: 20 Dec 2024 - 5 Jan 2025 Sitzprobe: 12th Jan 2025 Warnings:  Contains gunshots, drug references, smoking, blood, and gore. All auditionees must be 18+ by the first read-through on 27th October 2024. Recommended Age:  18+ Creative Team: Director:  Fiona Mumford Musical Director:  Alex Angus Choreographer:  Charlotte Carozo Production Website: Audition Info Character Breakdown: Paul Matthews Gender:  Male Range:  B2-Db5 Description: Paul is an ordinary, unambitious office worker who lives a quiet life and actively dislikes musicals. He comes across as blunt, sometimes rude, but underneath his gruff exterior, he cares deeply for his friends and is very loyal. He doesn't sing until the very end of the show, so the role is primarily acting-driven. His character has moments of intimacy with Emma Perkins. Special Note:  Paul does not participate in the musical elements until later in the story, requiring strong acting to carry the role throughout. Emma Perkins/Ensemble Gender:  Female Presenting Range:  G3-G5 Description: Emma has a laid-back, sardonic view of the world, but there’s a deep passion underneath her apathy. She is commitment-phobic, especially in relationships, and shares Paul’s distaste for musicals. Emma has strong three-part harmony requirements but is primarily an ensemble role. There are intimate moments with Paul Matthews. Special Note:  Requires strong harmony singing. Man 1 (Multiple Roles: Mr Ken Davidson, Sam Sweetly, General John MacNamara & Ensemble) Gender:  Male Presenting Range:  Bb2-F5 Description: This role demands versatility, as Man 1 plays multiple characters. This role is vocally intense, with multiple solos and a fast-paced spoken-word section in one song. Mr Ken Davidson : Paul's boss, the head of the tech department at CCRP, a typically no-nonsense guy. Sam Sweetly : A self-serving cop who only helps people when it benefits him. General John MacNamara : A noble, patriotic man who places love and human connection above all. Special Note:  Intimate touch with Charlotte Sweetly & Zoey Chambers. Woman 1 (Multiple Roles: Charlotte Sweetly, Nora & Ensemble) Gender:  Female Presenting Range:  G3-G5 Description: Woman 1 also covers several roles: Charlotte Sweetly : A sweet but emotionally fragile woman. Despite her husband’s affairs, she wants to work on their marriage. Nora : The no-nonsense boss at Beanies Café who enforces a “Tip for a Song” policy. Special Note:  Intimate touch with Ted Spankoffski & Sam Sweetly. Requires strong three-part harmony singing. Bill Woodward Gender:  Male Presenting Range:  B2-Ab4 Description: Bill is a loving father with deep anxiety over his daughter, Alice. Despite his job in the tech department, he’s notoriously bad with computers. He’s ensemble-based, with no solo singing, but his relationship with Alice is pivotal to his character. Special Note:  Primarily ensemble, no vocal solos. Woman 2 (Multiple Roles: Greenpeace Girl, Alice Woodward, Zoey Chambers & Ensemble) Gender:  Female Presenting Range:  Gb3-G5 Description: This role requires vocal versatility, as Woman 2 plays a range of characters: Greenpeace Girl : A street canvasser ignored by everyone. Alice Woodward : Bill's daughter, who pretends to be a rebel but is actually a "goody-two-shoes." Alice loves musicals and tries to impress her friends by pretending otherwise. Zoey Chambers : Self-absorbed and ambitious, Zoey dreams of being on Broadway and will do anything to get there. Special Note:  Intimate touch with Sam Sweetly. Requires multiple solos and tight harmony singing. Professor Hidgens Gender:  Any Gender Range:  A2-Ab4 Description: Professor Hidgens is eccentric, self-serving, and ambitious. Hidgens has written a musical called Workin’ Boys  and is willing to go to extreme lengths (even murder) to get what they want. A comical, over-the-top character with lots of dramatic and humorous moments. Special Note:  A character driven by self-interest and comedic eccentricity. Ted Spankoffski Gender:  Male Presenting Range:  A2-A4 Description: Ted is defined by his hyper-sexuality, viewing himself as irresistibly charismatic. He’s an overconfident, "horny bastard," and his over-the-top personality drives his actions. This is primarily an ensemble role, but Ted stands out due to his exaggerated persona. Special Note:  Intimate touch with Charlotte Sweetly.

Title:   Fame: The Musical Presented By:  Spotlight Theatrical Company Genre:  Musical Theatre Synopsis: Conceived and developed by David De Silva, this high-octane musical features the Academy Award-winning title song and other catchy pop numbers. The show follows the final class of New York City's celebrated High School for the Performing Arts from their admission in 1980 to their graduation in 1984. It touches on themes such as prejudice, substance abuse, and ambition as the young artists navigate the worlds of music, drama, and dance. Audition Date: Saturday 12 October 2024 Audition Location and Address: Southport Community Centre, Lawson Street, Southport, QLD Audition Requirements: Dance Call 10:00 am – All auditionees (excluding teachers) 11:00 am – Advanced Dance Call (for key dance ensemble roles) Choreography will be taught at the audition. Required for performers auditioning for Tyrone, Joe, Iris, Mabel, and Carmen. Vocal/Performance Auditions From 12:30 pm (10-minute slots) Audition songs are specified in the character breakdown. No acting component (except for Mr Myers and Mr Sheinkopf). Showcase any special talents during your audition! Call Backs (if required): Sunday 13 October 2024 Callback times will be announced Saturday night. Video Auditions: Available for those unable to attend in person. Contact the production team for details. Audition Registration: Email your completed application to: auditions@spotlighttheatre.com.au Performance Dates: Thursday, 6 February 2025 - 1 March 2025 Performance Times: Evening shows: 7:30 pm Matinees: 2:00 pm Performance Location: Spotlight Theatre, Southport, QLD Rehearsal Dates: Rehearsals begin 3rd November 2024. Sundays: 1:00 pm – 6:00 pm Mondays and Wednesdays: 6:30 pm – 9:30 pm Warnings: Heavy dance and movement requirements. Substance abuse and mature themes are depicted in the show. Recommended Age: Auditionees must be 16+ Creative Team: Director: Stuart Morgan Associate Director/Choreographer: Dean Giltinan Music Director: Matt Pearson Production Website: Spotlight Theatrical Company Website Available Roles:   7 Male, 7 Female (plus ensemble). Serena Katz Gender:  Female Age:  20+ Description:  A shy, timid, yet enthusiastic actress. Vocal Range: Top: Eb5 Bottom: G#3 Audition Song:  "Think of Meryl Streep" Call Back:  "Let’s Play a Love Scene (Reprise)" Nick Piazza Gender:  Male Age:  20+ Description:  An ambitious and serious classical actor. Vocal Range: Top: G4 Bottom: A2 Audition Song:  "I Want to Make Magic" Call Back:  "Let’s Play a Love Scene (Reprise)" Joe Vegas Gender:  Male Age:  18+ Description:  A loud and comical acting student with a crush on Carmen. Vocal Range: Top: C5 Bottom: C3 Audition Song:  "Can’t Keep It Down" Carmen Diaz Gender:  Female Age:  18+ Description:  A sexy, confident, but cocky dancer with a big ego, obsessed with fame. Vocal Range: Top: F5 Bottom: A3 Audition Song:  "There She Goes/Fame" Tyrone Jackson (or Jack Zakowski  as alternate casting) Gender:  Male Age:  18+ Description:  A talented, dyslexic hip-hop dancer from a poor background, has a strained relationship with Iris. Alternate casting as Jack Zakowski, a headstrong dancer and Russian immigrant. Vocal Range: Top: Bb4 Bottom: D3 Audition Song:  "Dancin’ on the Sidewalk" Iris Kelly Gender:  Female Age:  18+ Description:  A talented, graceful ballet dancer who comes across as snobbish and insecure. Has a difficult relationship with Tyrone. Vocal Range: Top: F5 Bottom: D4 Audition Song:  Personal Choice 80’s Hit Schlomo Metzenbaum Gender:  Male Age:  18+ Description:  A classical violinist who starts a rock band, frustrated with his father’s expectations. Vocal Range: Top: F4 Bottom: C3 Audition Song:  "Bring on Tomorrow (Reprise)" Grace Lamb (Lambchops) Gender:  Female Age:  18+ Description:  A loud, tomboyish rock chick who plays drums in Schlomo's band. Quick to lose her temper. Vocal Range: Top: B4 Bottom: A3 Audition Song:  Personal Choice 80’s Hit Goodman King Gender:  Male Age:  18+ Description:  A musician in Schlomo's band, believed to be Schlomo's best friend. Vocal Range: Top: G#4 Bottom: F3 Audition Song:  Personal Choice 80’s Hit Mabel Washington Gender:  Female Age:  20+ Description:  A loud, overweight dancer and singer with a big heart who is desperate to lose weight but can't resist food. Vocal Range: Top: E5 Bottom: D4 Audition Song:  "Mabel’s Prayer" Miss Esther Sherman Gender:  Female Age:  30+ Description:  A strict, old-fashioned English teacher who cares deeply for her students. Vocal Range: Top: E5 Bottom: F3 Audition Song:  "These Are My Children" Call Back:  "Teachers Argument" Miss Greta Bell Gender:  Female Age:  30+ Description:  A passionate dance teacher who sees dance as a way of life and is protective of her students. Vocal Range: Top: E5 Bottom: A3 Audition Song:  Personal Choice 80’s Hit Call Back:  "Teachers Argument" Mr. Sheinkopf Gender:  Male Age:  30+ Description:  A European music tutor with a passion for classical music and a dislike for rock and roll. Audition Requirements:  No singing required. Perform a 1-minute monologue showcasing your accent skills. Mr. Myers Gender:  Male Age:  40+ Description:  A laid-back drama teacher with an obsession for human psychology. Audition Requirements:  No singing required. Perform a 1-minute monologue of your choice. Ensemble Gender:  Mixed Age:  16+ Description:  A diverse group of students with strong dancing, singing, and other special talents. Audition Song:  Personal Choice 80’s Hit

A Floating Playground of Circus, Drag, and Magic Ah, The Art Boat —a show that transformed an ordinary evening into one of the most epic nights I’ve ever had at the Brisbane Festival! From the moment we set sail on this three-story boat, decked out with neon lights and giant inflatable tentacles, I knew this was going to be something special. I brought a friend, made a new one on board, and between the dancing, drinks, and dazzling performances, it became one of those rare nights where everything just clicked. Curated by the iconic Briefs Factory, this wasn’t just your average boat ride down the Brisbane River. This was a floating festival—a whirlwind of circus, burlesque, drag, and music, all wrapped up in an electric atmosphere that refused to let you sit still. With three time slots to choose from – 3pm, 5pm, and 7pm – and a variety of vibes to match your mood, from family-friendly matinees to glam date nights, there was something for everyone. I went for the Sunday sunset session, and the weather couldn’t have been better. The Brisbane River played its part perfectly, with the sky turning into a painting of gold and the city lights twinkling as we cruised from South Bank to Kangaroo Point and back. The main deck was the hub of action. There was a catwalk down the middle for the performers, a full bar of drinks and food, and plenty of seating. Inflatable neon tentacles (courtesy of Josh McIntosh) towered over the top deck. Cocktail in hand, we were living the high life, feeling fancy and fabulous. Oh, and let me just say—the fries? Absolutely delicious.   The entertainment kicked off the second we set sail, led by the incomparable Fez Fa’anana (aka Shivannah). As the MC, Fez was the glue that held everything together. Her sass, humour, and commanding stage presence made sure the audience was engaged from start to finish. Plus, she looked stunning in those sky-high heels, working the catwalk like no one else could. Brett Rosengreen captivated the audience with a mesmerising striptease routine. His fluid movements created an atmosphere charged with anticipation, as he skilfully revealed more of his enigmatic persona with each piece of clothing shed. The spectators were spellbound as Brett's dance unfolded, showcasing not only his toned physique prowess but also his ability to command attention. Then, Rowan Thomas impressed by performing acrobatic feats on the Cyr wheel WHILE simultaneously stripping. Captain Kidd (Mark Winmill) elevated the hula hoop routine to a whole new level. It’s not every day you see a man hula hoop with tinsel hanging off his… well you know. His cheeky humour and remarkable talent had the crowd roaring with laughter and awe in equal measure. This fusion of sensuality and athleticism in their acts made a lasting impression. And then there was Diesel Darling—a shining star. Her costumes were dripping with sparkles and gave off an incredible vintage burlesque charm, bringing a touch of pin-up fantasy to the night. Anyone on one of the many bridges we passed under definitely got an eyeful of the unexpected! Participation was highly encouraged, and by the end of the night, we were all part of the show—dancing, cheering, strutting down the catwalk and living in the moment. Before I knew it, I was in the middle of the Macarena and a conga line that zigzagged down the boat. It was impossible not to get caught up in the energy. The music never stopped, even when the performers took a break. The DJ kept spinning hit after hit, and I barely had time to catch my breath between shaking my groove thing, snapping pics, and cracking up.   In the end, The Art Boat was more than just a show—it was an experience. Floating down the river, surrounded by strangers who felt like friends by the end of the night, and witnessing these talented Brisbane performers made it one of the best nights I’ve had in ages. If you ever get the chance to hop aboard in future festivals, do not hesitate. It's a floating fiesta where everyone's invited to the party! The only bummer? I wish the fun didn't have to wrap up after a mere 90 minutes.

A Dark and Delicious Dive into Twisted Fairy Tales Forget everything you know about fairy tales—Shake & Stir Theatre Co. has torn up the rulebook and stitched together a wildly entertaining patchwork of magic, mayhem, and mischief. GRIMM  takes the tales you grew up with and warps them into an adults-only cabaret of dance, drag, comedy, and puppetry. Running at QPAC’s Cremorne Theatre as part of Brisbane Festival, this show is a no-holds-barred spectacle. If you’re expecting Disney princesses, think again. This pulls you into a world where Little Red Riding Hood drinks gin, Cinderella has no tongue, and the Big Bad Wolf would give Frank-N-Furter a run for his money. The show opens with a bang—literally—as the cast breaks into a hypnotic rendition of Ramalama (Bang Bang) . From that moment, the tone is set: this is going to be loud, lavish, and unapologetically weird. The set design, dubbed "The Witch's Tit," feels like a gothic fever dream, complete with a tilted piano, a staircase that leads nowhere, a creaky spinning wheel, and apples strewn everywhere (watch out—they might end up in your mouth). The entire set feels alive, each detail enhancing the eerie, haunted vibe.   We’re quickly introduced to the “rules” of fairy tales, but forget happily ever after—this is all about curses, betrayals, and blood. The cast of four—Aljin Abella, Nelle Lee, Brendan Maclean, and Angie Milliken—bring to life a menagerie of twisted characters, making it hard to believe there are only four actors on stage. The pace is fast and furious as they weave tales of Little Red, Cinderella, Rumpelstiltskin, Hansel and Gretel, Beauty and the Beast, the Big Bad Wolf, and more. It’s chaotic in the best possible way; like a mash-up of your favourite fairy tales reimagined by someone who watched too many horror films and SNL skits.   Nelle Lee, who portrays Little Red Riding Hood (as well as Beauty, Snow, and the fawn), deserves to be in the spotlight not only for her performance but also for her exceptional work in creating this adaptation. Her portrayal of the drunken, wisecracking Red is comedy gold, particularly when she’s high on shrooms and stumbling through the woods. Lee’s physical comedy and sharp timing are delightful, and her blood-red cloak is a thing of beauty. Angie Milliken portrays Cinderella, as well as the Witch, Red's mother, Sleeping Beauty, and other characters. As Cindy, Milliken exudes a sense of purity and vulnerability. In contrast, her portrayal of the witch who eats children is chilling, as she delves into the darkest aspects of these stories with a mature presence that commands attention. Brendan Maclean's performance as the Big Bad Wolf (along with Robber Bridegroom, Pied Piper, Rapunzel, and more) is unforgettable. Dripping with charisma, he is both predatory and fabulous, seductive and slinky. Maclean's interpretation of 'Hungry Eyes', delivered with a knowing wink to the audience, treads the delicate balance between threatening and mischievous.   Just when you think Maclean's Wolf might be the standout of the night, Aljin Abella swoops in as Rumpelstiltskin, and it's hard to put his performance into words. He blends creepy manipulation with rapid-fire dialogue, bleeped-out curses, and hysterical physical comedy. Yet it’s his portrayal of the Beast that truly showcases his versatility. Here, he embodies an awkward vulnerability and a desperate yearning for love, adding surprising emotional depth. His tender interaction with the delicate fawn puppet brings an unexpectedly poignant moment amidst the otherwise wild chaos. The emotional weight of this scene highlights the show's adept pacing, maintaining audience engagement without overwhelming them. It exemplifies how GRIMM manages to balances light and dark, humour and horror—after all, these are fairy tales that, at their core, were meant to teach us lessons about humanity. The costume and makeup design by Paul McCann deserves its own standing ovation. From Cinderella’s eerie, silent figure in a golden gown to the Wolf’s over-the-top brocade ensemble, each costume is a visual feast that reflects the extravagance and darkness of this twisted fairy tale world. The makeup is equally stunning, with bold, rouged features that transform the actors into the wildest versions of these classic characters. The use of blackouts, vibrant lighting, haze, and audio gore amps up the suspense, particularly in the moments where we hear the Wolf devouring his prey. The use of German language adds an authentic touch, paying homage to the original Grimm tales while keeping things fresh and playful. And the modern twists—Beauty with her LED mask, or EDM blasting during the chase scene—keep the show rooted in the present. At one point, the Beast scours the audience for a virgin's heart, only to be met with a knowing "good luck!" from a cheeky spectator. It’s moments like these that make GRIMM  feel like a dynamic experience that could go anywhere at any time.   GRIMM reaches its heart-pounding finale with a countdown to midnight, featuring pyro effects and fast-paced dialogue that wraps up the twisted tales. Moral messages are flung at the audience as the cast defiantly proclaims, “F*ck fate!” A dance mash-up of ' I Love It'  by Icona Pop and ' Hot To Go'  by Chappell Roan, is the perfect, unapologetically rebellious ending to a show that refuses to play by the rules. While GRIMM  primarily delves into reimagining classic fairytales, it’s impossible to ignore the modern undertones running through the production. Cinderella, initially naïve and obedient, takes a tumultuous journey through the woods that serves as a powerful allegory for the often messy path we must navigate to find our voice in a world that expects women to be silent. Likewise, Little Red demonstrates toughness, resilience, and intelligence in standing up against male aggression. The Beast's vulnerability, concealed behind his brutish exterior, is a stark reminder of the emotional suppression society often demands of men. There’s also a delightful queerness to the whole production, particularly with Brendan Maclean’s take on the Big Bad Wolf, which subverts the predatory male archetype into a wonderfully queer representation. What’s most impressive about GRIMM is its seamless blending of humour and horror. The innuendos and adult themes are cheeky, but never out of place. The audience is invited into the action—apples are fed, cast members make cheeky asides—but thankfully, no forced audience participation. This is ' Into the Woods' for adults—but bloodier and bawdier. If you missed it, too bad—it’s already sold out. But for those lucky enough to snag tickets, brace yourselves for a wickedly good time!

I was incredibly lucky to be invited to ten Brisbane Festival shows this year, and out of sheer curiosity, I selected the award-winning Volcano  as one of them. I walked in without knowing what to expect—and I’m so glad I did. Volcano  has easily become one of my favourite shows of the year. Directed, choreographed, and performed by the acclaimed Attic Projects’ Luke Murphy, this creative experience presents a unique fusion of theatre, dance, and multimedia. With its four-part structure, each episode unfolds like a chapter in a feverish dream, drawing the audience into a hypnotic exploration of memory, identity, and reality.   Setting the Scene Volcano  is presented like a serialised live miniseries, with four 45-minute episodes, each packed with surprises. A 25-minute interval between the final two episodes allows for both physical and mental recalibration. The performance unfolds within the confines of a dilapidated living room set, enclosed in glass like a specimen on display. The space is littered with relics of a bygone era—ancient radios, dusty televisions, and peeling wallpaper—setting the tone for a fragmented journey through memory. Episode 1: The Beginning The show commences with Luke Murphy and Ali Goldsmith, the sole performers, covered in chalk, dancing in slow, deliberate movements against a hauntingly intense soundscape. Though measured, their movements are laden with a disquieting intensity as we learn about the dystopian universe of The Amber Project. Our first hint at the thematic exploration of preservation of ancient memories in amber. A sudden shift into a high-energy disco scene showcases the pair’s impressive synchrony and vitality. Their sharp, precise movements create infectious energy that had me dancing in my seat. The retro atmosphere is enhanced by colourful lighting, including a ceiling of lighted tiles and scattered lamps, used creatively throughout the performance. As the episode transitions into a game show format, Goldsmith hilariously embodies a cheesy host of "Tell Me All About It," where participants must discuss a given topic under a time constraint. This segment introduces the concept of time capsules—fragments of past lives preserved. Tension arises when interference disrupts the radio seemingly controlling the two men, causing the actors to “glitch” in real time. Their movements synchronise with the strobe lighting and sounds, reminiscent of video game glitches, to add a surreal, unsettling edge. This intense the sensory experience could easily become overwhelming for sensitive audiences. Episode 2: The Story Deepens In the second episode, the narrative delves deeper into the enigmatic world of Volcano . A video segment reveals the inner workings of these “inhabited pods,” where The Amber Project has archived over 140 hours of nostalgic data—a mechanism for replaying preserved memories in virtual reality. The performers conduct vlogs, adding a personal touch and providing insights into their characters’ experiences. Goldsmith observes feeling trapped, like a tight shirt collar around the throat. When the radio crackles, the performers must adopt various personas and "perform" a complex tapestry of memories and experiences. This exploration feels like The Sims , where individuals are controlled by an unseen force, living repetitive, simulated lives. From scenes of a space detective adventure, a wedding speech, a rave party, a British talk show; the abrupt character shifts showcase the performers' exceptional adaptability. Goldsmith shines as the forced-laughter talk show host, which takes a disturbing turn when black ooze begins to drip from his ear—a recurring visual that signifies glitches in their deteriorating reality. This episode features captivating contemporary dance sequences where the performers’ reliance on each other is phenomenal. Their lifts and movements are executed with such grace that they seem like extensions of one another. A standout sequence involves Goldsmith dancing with his jacket to symbolise human connection and detachment. The narrative takes a Truman Show  turn as the characters discover hidden cameras and begin to question their reality. Goldsmith’s intense introspective vlog, followed by Murphy’s underwater diver mimicry as he scans the audience with a flashlight, heightens the sense of disorientation and paranoia. Episode 3: Confronting Reality By the third episode, the narrative begins to unravel as another video reveals to the audience that they are merely projected virtual versions of themselves, like being asleep and "dreaming" within their pods. Murphy’s character, now completely alone, delivers a weather report that transitions into a contemporary dance. This solo, set against a backdrop of a simulated hurricane and accompanied by an ethereal soundscape, evoke a sense of vulnerability and isolation. Murphy’s reverse dance sequence, where he flawlessly dances backwards as though rewinding time, is a visually stunning and embodies the theme of attempting to reclaim something lost—moving forward while stuck in the past. The soundscape, like a deafening jet airplane, intensifies the scene. The episode also features an unhinged magician and a William Shatner impression of "Rocketman," providing levity amidst the chaos. One of the most poignant moments of the entire show occurs during Murphy's solo dance to "Sing Sing Sing." It is both chaotic and emotional, a whirlwind of energy that showcases his character seemingly losing grip on his sanity. His anguish and frustration are palpable as he attempts this swing number alone, culminating in a gripping emotional climax as he desperately attempts to tear the set apart in search of an escape. I genuinely teared up as I watched his descent into madness expressed so viscerally. Episode 4: The Finale Following the interval, the set had transformed as Goldsmith returns for the final episode. With the room now tidied, the audience is treated to a flashback, capturing the awkwardness of the characters’ first meeting. We then fast-forward two years into the present, where the truth about their existence comes to light—they have willingly entered this constructed simulation, under the watchful surveillance of the Big Brother (I mean the Amber Project.) The finale is a spectacular display of dance, prop work, and emotional intensity as they use every inch of the space. The choreography navigates through iconic moments from pop culture—Marilyn Monroe’s famous skirt scene, Superman’s cape, E.T. on the bicycle, and the Creation of Adam painting to name a few. In this final montage, the characters seem trapped in a never-ending cycle of performance, unable to break free from their simulated reality even as they literally tear the set apart. As the world collapses around the characters, we are left hanging, wondering whether they ever truly escaped or if they were doomed to perform forever. Murphy and Goldsmith's exhaustion was palpable, as they were drenched in sweat by the end. Overall Experience Volcano  is a testament to the power of live performance, blending theatre, dance, and multimedia into a thought-provoking experience. The immersive sound design, dynamic lighting, detailed set design, and exceptional artistry contribute to the unforgettable nature of the performance. Murphy and Goldsmith’s performances are both technically proficient and emotionally resonant, grounding the experimental nature of the show with their human presence. After the performance, the audience buzzed with conversation. I overheard discussions about the parallels to our own digital lives, the endless performances we give online, and the horror of being in stuck in a dream that you cannot wake up from, like Inception . Despite its length, Volcano  never loses its grip on the audience. The show’s exploration of the human psyche is executed with a level of artistry and sophistication that justifies its acclaim. It is a performance that will stay with me for a long time to come.

Step right up, folks! Opening night of ' LIMBO – The Return' was an electrifying experience and I'm not just talking about the hair-raising stunts! It not only marked the triumphant return of the renowned circus-cabaret but also the debut of Brisbane’s exciting new venue, West End Electric . This chic, speakeasy-style theatre oozes elegance with its vintage decor, plush velvet accents, and not one, but two bars serving up complimentary bubbly on opening night—a perfect prelude to the thrilling spectacle that awaited us! The atmosphere is electric from the moment you step inside. You could feel the promise of a wild, unforgettable evening hanging in the air. The crowd was a sight to behold, dressed to the nines and ready to welcome back LIMBO  to the Brisbane stage for the first time since 2019 (thanks a lot, COVID). A magnificent soundscape fills the air as you eagerly await the show from your seat; arranged arena-style around a catwalk stage. And what a show it was! From breathtaking aerial acts to sultry burlesque performances, every moment was a feast for the senses. Every performer in this ensemble is a force to be reckoned with. To simply call them "triple threats" would be an understatement — they’re a tornado of talent. From high-flying acrobats to the smooth dancers, musical maestros to tightrope daredevils, each cast member brings something unique to the stage. The show’s opening aerial act by Ben Loader is both daring and graceful, as he fearlessly twirls and flips above us in nothing but denim shorts; setting the bar sky-high for the rest of the evening (pun intended). His mastery of the aerial rope is breathtaking, eliciting gasps from the audience with each death-defying drop. And when he's back on solid ground, watch out for his whip-cracking skills that will make the whole theatre shake! Clara Fable's vocals are as mesmerising as her ethereal stage presence. She wields her voice like an instrument, sending entrancing melodies echoing through the venue. And she is not afraid to play with fire! Watch her twirl flaming batons, exhale fiery breath, and set objects - including herself - ablaze! And then there was Hilton Denis — what a star! He completely stole the show for me (Sorry, everyone else!). His combo of mime and tap-dancing had the audience eating out of the palm of his hand, thanks to his cheeky charisma and mind-blowing dance moves. And the surprises kept coming! David Marco takes his act to new heights—literally—by walking over the audience, balancing precariously on a wire strung across the stage. The intensity of his performance is matched only by the sheer elegance with which he pulls it off, making it look far easier than it actually is. Just when you think it can’t get any more daring, Maria Moncheva takes to the sky—this time, using chains instead of the usual aerial silks or ropes. The rawness and power of this act, combined with the dangerous unpredictability of the chains, create a visceral experience that’s impossible to look away from. Meanwhile, the burlesque acts are fierce, bold, and unapologetically sensual, bringing a powerful energy to the stage. The female members of the ensemble exude an undeniable strength, each one commanding the audience’s attention with a presence that’s both alluring and empowering. As for the striptease, it was anything but the usual slow, sensual routine — instead, it was playful, energetic, and downright entertaining, with layers (and more layers) of garments and undies flying into the crowd. Blink, and you might miss the split-second of nudity! The musical score is integral to the show’s immersive atmosphere, and LIMBO ’s musicians are exceptionally talented. The legendary Sxip Shirey, the mastermind behind the music, fills the venue with a dynamic blend of sounds—from harmonicas, sirens, bells, guitars, and synths. His unique compositions pair well with the acts, pulling you in with tension and then letting you go with a bang! The band, featuring Mick Stuart on drums, bass, and beatboxing, and Grant Arthur on sousaphone and banjo, add layers of texture to the acts as they weave through genres like blues, funk, jazz, and cabaret. Their live accompaniment serves up a musical buffet to make every move on stage pop with energy. Although, I have to admit, the pure overpowering noise of the harmonica through the microphone did become a bit overwhelming for my ears. In true LIMBO fashion, there’s no shortage of jaw-dropping moments. Every act is more outrageous than the last, yet is always executed with artistry and control. The show’s finale takes the spectacle to new heights, quite literally. Moncheva, Marco, and Loader secure themselves to tall flexible poles, with each movement they make causing the poles to arc and bend as they sway perilously over the audience. Meanwhile, they release feathers all over us like a fluffy storm. And when I say that feathers are everywhere, I mean EVERYWHERE ! It was a whimsical spectacle of pure, unbridled childlike joy that wrapped up the night in a flurry of laughter. I couldn't help but wish I was up there joining in on the feathered fun! As I glanced around the crowd, I could see audience members with their jaws practically hitting the floor, shaking their heads in utter amazement at the sheer strength, skill, and elegance on display. This show takes risks, pushes boundaries, and delivers entertainment that's as thrilling as it is artful. If you haven’t yet experienced LIMBO – The Return , you’re in luck—it’s running until 3rd November. Do yourself a favour and grab your tickets here: LIMBO – The Return Tickets . Whether you’re a fan of circus, cabaret, or just someone who craves heart-pounding entertainment, this show guarantees to leave you breathless and begging for more. Whatever your expectations are, leave them at the door — this show is wild, unpredictable, and utterly unforgettable.

Blak Social's ' Meet Your Maker'  hit the stage as part of the Brisbane Festival with a vibrant mix of pop culture parody and Indigenous storytelling. Set in the imaginative world of Queen’s City, the show explores an alternative reality where Indigenous pop culture is not merely a token but a dominant force. Alethea Beetson's one-woman performance deftly navigates themes of identity, cultural legacy, and the music industry. This debut performance kicked off with a cleverly satirical film reel, paying homage to iconic films Legally Blonde , Clueless , and Scream . This quirky intro prepares the audience for a dynamic blend of live music, video, and monologue in a whirlwind of inventive storytelling.   The narrative revolves around Beetson’s portrayal of an Indigenous pop star who disappears right before her big Superbowl half-time show (although shouldn't it be State of Origin or something?). In this alternate reality where Indigenous pop culture is mainstream, our fearless hero embarks on a journey to meet her makers, leading to a rich exploration of cultural commentary.   The opening act’s humour shines as Beetson parodies the contemporary music scene, reimagining platforms like Myspace as "Mobspace" and Rolling Stone magazine with an article on the Misogynistic Mystiques' new hit song "Privilege Will Find Me." Satirical moments like these were plentiful to poke fun at the music industry. Speaking of music, we are treated to a whole album of original songs, with "Land Back Era" standing out as a true banger. In case you missed it, Beetson's pop culture alter ego is an obvious nod to Taylor Swift, complete with costumes and on-stage antics straight out of the Eras tour playbook. But unlike Swift, Beetson's persona is a bit more...shall we say...unhinged and maybe a tad bit angry.   One of the most engaging aspects of the show is Beetson’s interaction with video content. These videos feature other characters and elements that play off her live performance, creating a multi-layered experience. The segment with the boy band Staunch Direction (clearly a wink to One Direction), performing “Saucy Devon Sandwich,” was a highlight, eliciting hearty laughter from the audience. Beetson’s use of the boom box as a symbol of her cultural heritage is a powerful element of the performance, representing her connection to her ancestors (her makers). Further enriching the cultural context is the incorporation of diverse Indigenous actors, terms, and slang.   The show’s grand finale, a concert-style segment, could have benefited from a tighter wrap-up. While the energy was high, the extended encore felt a bit excessive and redundant, potentially diminishing the impact of the earlier performances we saw of the same songs. Still, the audience's enthusiasm remained strong throughout, proving that the show had a powerful appeal. Despite the inventive approach, the pacing and abundance of visual and auditory elements also felt a bit overwhelming. There were instances where dialogue in the videos was difficult to understand, and some lines were missed due to microphone issues. However, these minor technical hiccups didn’t overshadow Beetson’s ability to connect with the audience through her dynamic stage presence. Meet Your Maker  was a bold and creative exploration of Indigenous culture through the lens of modern pop. Beetson’s performance was both entertaining and thought-provoking, offering a unique perspective on what could be if we embraced a different path.   About the Creator: Alethea Beetson, a Kabi Kabi/Gubbi Gubbi and Wiradjuri storyteller, is known for her work across theatre, film, and performance. Her passion for ensuring Indigenous music artists have a voice in the industry continues the efforts of those who have fought before her. ' Meet Your Maker'  is a love letter to Blak art and community, throwing the spotlight on Indigenous musicians and culture in the modern world. The soundtrack can be found here

The 'No Bang Theory' , a brilliantly candid one-man show by Oliver Hetherington-Page, had Brisbane all abuzz. Presented at Metro Arts as part of the Brisbane Festival, this heartwarming (and cheeky!) performance blended cabaret, comedy, and theatre in a truly memorable way. Oliver Hetherington-Page, Brisbane’s own acclaimed cabaret performer, lit up the stage with an impressive collection of blazers that would make any diva envious. Accompanied by Tim on the piano, a rack of coats, a few witty signs — including one that read #actuallyautistic — the setup created a perfect backdrop for Oliver’s sparkling personality. The show kicked off with a Brisbane-twist on "Oh What a Beautiful Morning" from Oklahoma! —now dubbed "Oh What a Stinking Hot Morning." From the get-go, Oliver disarmed the audience with self-deprecating humour as he opened up about life as a 26-year-old autistic virgin... Talk about starting with a bang! Oliver’s creativity was on full display as he navigated his personal experiences with autism and the stereotypes often perpetuated by popular culture. His shirt emblazoned with “Bazinga!” was a nod to Sheldon Cooper, whom he critiqued for his not-so-great representation of autistic individuals. Oliver’s take was refreshingly honest, managing to turn personal challenges into comedic gold. One of the highlights was Oliver’s wonderful singing, which was showcased in short musical snippets, each song cleverly chosen and tailored to reflect his personal experiences. From a joyous rendition of "I Can Hear the Bells" that perfectly captured the thrill of having a crush, to a heartfelt performance of "Send in the Clowns", and even a hilarious dance sequence featuring a sex doll, Oliver’s creativity truly knew no bounds. But it wasn’t all laughs—Oliver also shared deeply personal stories, including his struggles with anxiety and depression. His use of "Michael in the Bathroom" from Be More Chill  was a perfect accompaniment to his tale of feeling out of place; an isolation that many neurodivergent individuals experience. His insights delved into navigating high school with his passion for musicals, feeling misunderstood by family, finding joy in community theatre, getting rejected by girls, and finally receiving an autism diagnosis at age 19. The finale, “My Diagnosis,” brought the show to a triumphant close, leaving me feeling inspired and connected. The ' No Bang Theory' is more than just a show; it’s a celebration of authenticity, resilience, and the power of self-expression. Oliver Hetherington-Page’s performance was a testament to the richness of his life experiences and his talent for making those experiences accessible and entertaining. I am extremely glad that this show exists and feel grateful for having been able to experience a performance that offers authentic insights into life on the autism spectrum. Oliver, a big thank you from all of us in the neurodivergent community!

Title:  2025 Summer Camp – "The 48 Hour Musical" Presented By:  SCYT (Sunshine Coast Youth Theatre) Genre:  Musical Theatre Synopsis: Get ready for a whirlwind of fun at the 2025 SCYT Summer Camp! This camp is for those who love to sing, dance, and act, as we rehearse and stage a full musical in just 48 hours! The twist? Participants won't know what the musical is until 48 hours before showtime! The camp is open to participants from Prep to 18 years old in 2025, and all experience levels are welcome. Lead roles will be cast via auditions, while ensemble members can sign up without auditioning. Audition Date:  Saturday, 9th November Audition Time: Mini & Junior performers: 9am-10:30am Intermediate & Senior performers: 11am-1pm Audition Location and Address:  SCYT Studio, 2/11 Bartlett Rd, Noosaville Audition Requirements: Auditions will be run as a workshop, where performers will demonstrate their skills and talents, focusing on their ability to learn quickly, improvise, and create. Audition Registration:   Sign Up Here Camp/Rehearsal/Performance Dates:  17th-19th January 2025 Recommended Age:  5-18 years

'Speaking in Tongues' is a masterclass in storytelling, layered dialogue, and human complexity. This Australian gem, known for its film adaptation Lantana , delves into the messiness of relationships and the blurred boundaries of trust and betrayal. Performed at Ad Astra under the direction of Heidi Gledhill, the production provides an immersive journey that requires focus and rewards the audience with an intricate tapestry of characters, plots, and emotions.   The show begins with the cast gasping for air—a perfect metaphor for the suffocating emotions each character endures. The split-stage action instantly grabs attention as we witness two romantic affairs happening at the same time. The intersecting and overlapping dialogue of this scene is both technically impressive and thematically resonant. The actors often speak the same phrases, but with different meanings, emphasising how communication can both connect and mislead. This dynamic introduction sets the stage for a journey of intertwined lives, hidden secrets, and scandalous confessions. Act 1 follows Jane, Sonja, Leon, and Pete - a quartet with more drama than a soap opera. The second act introduces additional characters that we already know from mentions in Act 1 - Neil, John, Nick, Valerie, Sarah - while maintaining the same four actors. Confused? Let me break it down for you: Jane and Pete are hitched. Sonja and Leon are a family package. Jane and Leon did the deed. Sonja and Pete got close to a forbidden romance, but Pete ran away. Valerie is married to John, who is secretly involved with Sarah. Unlcuky-in-love Neil is head over heels for Sarah, who spills (almost) all her secrets to Valerie, her shrink. Pete/Jane's neighbour Nick gets caught up in Jane's accusations about Valerie's disappearance. Meanwhile Leon is the cop investigating the case. What a tangled web we've got here!   Doll Hunt shines in his portrayal of Pete/Neil/John, showcasing a range of emotions from nervous anxiety to frazzled charm. His scenes as Pete are often a mix of subtle humour and underlying tension, especially during a moment where Pete awkwardly confides in a stranger at a bar, humorously unaware that this stranger has just had an affair with his wife. Hunt captures Pete's loveable cluelessness and his longing for connection with endearing sincerity. As Neil in Act 2, Hunt depicts a lovelorn man consumed by his lost love with vulnerability. His performance, reminiscent of Martin Short in its quirky nature, brings a delicate sensitivity that elicits both pity and empathy. And if that wasn't enough, Hunt takes on a THIRD role as John, the husband of the missing woman Valerie. This character is different yet again, showcasing a raw and powerful display of grief and guilt. He captures John’s anguish as he recounts his story to the policeman and questions whether his silence and inaction may have contributed to Valerie's fate. Jazz Lane is amazing in the role of Sonja/Sarah, I couldn't get enough of her performance. As Sonja, she embodies strength and unapologetic confidence, directly addressing her own dissatisfaction in her marriage. The connection between her and Lauren Dillon, who portrays Jane, is palpable during a particularly charged scene where Sonja reveals that she is the wife of the man Jane has recently had an affair with. It's a moment of unexpected camaraderie that could easily have been played with hostility, but Lane and Dillon bring a nuanced tenderness that speaks to the complexity of forgiveness and understanding. Meanwhile, Jazz Lane transforms into Sarah, using her voice and mannerisms to captivate, control, and seduce the audience. The transformation of characters is obvious, thanks to both the actors’ versatility and the costume changes that delineate each role. Lauren Dillon portrays Jane as vulnerable and uncertain, yearning to feel desired. Her performance is deeply moving in its simplicity, especially when compared with Jazz Lane's more dominant energy. Jane delivers a chilling monologue about her neighbour Nick (portrayed by James Dyke), describing the unsettling sight of him returning home covered in blood. This moment heightens the suspense and unease, infusing a thriller-like ambiance into the play's already high emotional tension. In the role of Valerie, the missing woman, Dillon is haunting as she leaves nervous messages for her husband from a phone booth. Her solitude is believable, and the scene's tension mounts as we wonder whether she will make it home safely. The breathless sequence, where Valerie dashes through the bush overgrown with lantana, is a mesmerising rhythmic burst of energy. James Dyke gives a captivating performance as Leon/Nick, seamlessly transitioning between the two characters. As Leon, the handsome cop and remorseful husband, he conveys confidence and self-awareness. While his depiction of Nick, the suspicious neighbour under interrogation, emanates a simmering tension as he presents his version of events with what appears to be an truthful demeanour. His natural ease on stage is so immersive that I often found myself forgetting I was watching a play; it felt more like a scene unfolding on screen. His understated delivery, particularly in Nick's interrogation sequences, is cinematic, drawing the audience into each subtle detail and heightening the sense of realism in the unfolding drama. Together, their performances seemed to draw me into the lives of these flawed characters, creating the illusion of witnessing genuine life rather than a mere theatrical production. The play’s structure, jumping between perspectives and timeframes, requires careful attention, but the reward is a gripping, emotionally charged experience. The dialogue is fast-paced, and Bovell’s writing ensures that every word is loaded with meaning, making ' Speaking in Tongues'  feel like a complex puzzle where each piece slowly clicks into place. It’s a true testament to Bovell’s storytelling and Gledhill's direction that even the unspoken moments between characters speak volumes. Chelsea Jewell has designed a minimalist set with framed fabric veils and small props to keep the spotlight on the actors and their impactful performances. Madelyne Leite's lighting and Tommi Civili's sound complement each scene, designed to highlight the emotional undercurrents as the characters’ lives unravel. The play's unresolved ending serves as a poignant reminder of how messy and ambiguous human relationships can be. It’s a play that invites introspection, and Gledhill’s direction ensures that every emotional beat hits its mark. ' Speaking in Tongues'  is among the most engaging plays I’ve experience this year. It excels in subtlety, with performances that leave you reflecting on the fragile threads that bind us all. This production is a must-see for anyone who enjoys COMPLEX storylines, powerful acting, and stimulating theatre. It challenges the audience to look beyond the surface, to listen closely, and to think deeply about the choices that shape our lives. Now playing until 28th September at Ad Astra Theatre Tickets available here

Title:  Aladdin - The Pantomime Auditions Presented By:  North Brisbane Theatre Company Genre:  Pantomime Synopsis: This fun-filled pantomime version of Aladdin  brings a mix of classic characters and new personalities to the stage. Aladdin falls head over heels for Princess Jasmine, but her mother, the Empress, isn't pleased. Things take a turn when Aladdin is arrested, but is then rescued by the mysterious Abanazar, who claims to be his uncle. Will this rescue be Aladdin's salvation or part of a sinister plan? Packed with entertaining songs, lively dances, and a bit of risqué humour, this production of Aladdin  will be a hilarious and memorable journey to Cairo. Audition Date: Saturday, 28th September 2024 Audition Time: 3:00 PM Audition Location and Address: KSP Theatre, 17 Maitland Rd, Burpengary Audition Requirements: Princess Jasmine:  Sing "I Will Always Love You" (Whitney Houston) and "Half a Heart" (One Direction – Duet with Aladdin) Aladdin:  Sing "Half a Heart" (One Direction – Duet with Jasmine) Genie of the Lamp:  Sing "Genie in a Bottle" (Dove Cameron) Abanazar:  Sing "Enemy" (Imagine Dragons) Gertie:  Sing "Man I Feel Like a Woman" (Shania Twain) and be prepared for an improv session Other Characters:  Cold reads from the script, singing, and dancing to "Shut Up and Dance" (Walk The Moon, Pre-choreographed) There are no age or gender restrictions for the characters except for the Dame, which must be male-presenting. Audition Registration: Fill out the Expression of Interest (EOI) form: EOI Form Link Rehearsal Dates: Tuesday:  6:30 PM - 9:00 PM Thursday:  6:30 PM - 9:00 PM Saturday/Sunday:  1:00 PM - 4:00 PM First three weeks: Tuesday and Saturday Afterwards: Tuesday, Thursday, and Sunday Rehearsals start from 1st October 2024 Performance Dates: Friday, 13th December:  Evening Saturday, 14th December:  Matinee & Evening Sunday, 15th December:  Matinee Friday, 20th December:  Evening Saturday, 21st December:  Matinee & Evening Sunday, 22nd December:  Matinee Performance Location: Burpengary State Secondary College Warnings:  This production includes some risqué humour and content. Creative Team: Directed by Lachlan Boyes