Search Results

Title:  Evil Dead: The Musical Presented By:  Ghostlight Theatre Co. Genre:  Rock Musical Synopsis: Five college students find themselves trapped in an abandoned cabin in the woods, where they accidentally unleash an ancient evil that turns them into demons. Based on the cult classic Evil Dead  franchise, this rock musical combines horror, spoof, and musical theatre for one of the wildest, bloodiest, and funniest theatrical experiences. Featuring songs like Cabin in the Woods , What the F ** Was That*, and All the Men in My Life Keep Getting Killed by Candarian Demons , it’s a must-see for fans of both horror and comedy. Be prepared for the splash zone! Audition Date:  Sunday, 13 October 2024 Audition Time:  Times will be emailed upon registration Audition Location and Address:  Woolloongabba Substation, 45 Logan Rd, Woolloongabba QLD Audition Requirements: Audition materials and allocated timeslot will be emailed upon registration Prepare all audition materials for the character you're auditioning for Group dance call is mandatory Available Roles: Ash  (mid 20s): The hero who turns into a chainsaw-wielding demon slayer. (Male presenting, B2-B4) Scott  (mid 20s): Ash’s crude best friend. (Male presenting, C3-Bb4) Linda  (early 20s): Ash’s girlfriend, who loses her head. (Female presenting, G3-E5) Cheryl  (early 20s): Ash’s dorky sister turned brash demon. (Female presenting, G3-Ab5, gymnastic abilities a plus) Shelly  (early 20s): A ditzy airhead Scott met in a bar. (Female presenting, Ab3-C6) Jake  (mid 40s): A helpful woodsman. (Male presenting, G2-B4) Annie  (early 20s): The archaeologist’s daughter with a revealing costume. (Female presenting, Ab3-C6) Ed  (mid 20s): Annie’s boyfriend who also plays the Moose. (Male presenting, A2-G#4) Rehearsal Schedule: Wednesdays, Thursdays (evenings), Sundays (afternoons) Rehearsals start in October 2024 and run through January 2025, with a Christmas break Locations: EvilCorp Horror Maze and Woolloongabba Substation Performance Dates: Friday, 31 January 2025 – 7.30pm Saturday, 1 February 2025 – 2.00pm Sunday, 2 February 2025 – 6.00pm Friday, 7 February 2025 – 7.30pm Saturday, 8 February 2025 – 2.00pm Sunday, 9 February 2025 – 6.00pm Performance Location:  EvilCorp Horror Maze, Underground level, 226 Brunswick St Warnings: This production contains violence, blood, coarse language, horror themes, and lots of blood. Creative Team: Director: Yasmin Elahi Musical Director: Benjamin Oxley Choreographer: Tayla Simpson Other Information: This is a profit-share production. By accepting a role, you agree to become a member of Ghostlight Theatre Co. Membership is $25 for one year. For more information, email: ghostlight_theatre@outlook.com Audition Registration: Audition Form Production Website: Ghostlight Theatre Co.

A Sensory Overload of Fashion, Cabaret, and Extravagance   Stepping into ' Jean Paul Gaultier’s Fashion Freak Show'  at the Brisbane Festival feels like being thrust into the wild, eccentric mind of one of fashion’s most legendary icons. The show is an unapologetic mashup of cabaret, fashion, burlesque, and dance, with a sex appeal that leaves the audience gasping, gawking, and cheering throughout. It’s a loud, electric feast for the senses, fusing the best of Gaultier’s outrageous creativity with a raw, cheeky energy that perfectly suits Brisbane’s vibrant festival scene. The South Bank Piazza has been transformed into a fully-fledged theatre, featuring a illuminated runway and high-tech screens, creating an ambiance of visual extravagance. The cabaret-style and booth seating evokes a speakeasy atmosphere for the evening, while gin bars both inside and outside the venue enhance the luxurious feel. The enclosed space of the venue, combined with the heat of Brisbane, necessitates bringing water and maybe a handheld fan, yet the steamy environment only heightens the allure of the sultry and electrifying performances.   The show opens with a bang—literally. "Le Freak" shocks you into attention, with dancers dressed as provocative teddy bears and sultry nurses draped in tinsel. It’s a wild and thrilling entrance that establishes the atmosphere for the journey through Gaultier’s imagination. Every act that follows offers a peek into his life, his loves, and his undeniable penchant for the theatrical. Gaultier’s enduring fascination with corsetry is showcased in a sequence that transcends mere fashion—it’s a highly sexualised, sensually charged spectacle, featuring a dazzling vocalist performing amidst a simulated ménage à trois unfolding on a rotating wheel. Meanwhile, the striking visuals on the screens complement the provocative and risqué act. The "Foiles-Bergère" number bursts onto the stage with a flamboyant energy, showcasing an eccentric mix of feathers, wings, extravagant headpieces, and even rollerblades. It's a dazzling homage to the glamour and absurdity of Parisian cabaret, inviting the audience into its quirky world with each bold move. Meanwhile, "Falbalas" beautifully captures Gaultier's 18-year-old self. We watch his wonder as his surreal designs materialise through dance—each costume a celebration of the eccentric brilliance that has solidified Gaultier's fame. The segment that focuses on his " Grand Amour ", Francis, introduces a unexpectedly gentle touch to the evening. In coordinated ensembles, JPG and Francis are bound together by a oversized sweater, two dancers are merged into a single tutu, and another pair are tethered by the strings on their attire and their wigs. A poignant moment arrives with the song "You’ve Got AIDS Under Your Skin" , a ballad that accompanies a divine solo dance by 'Francis' as his character succumbs to AIDS. This powerful moment stands in stark contrast to the festive party atmosphere, yet it is handled with sensitivity and grace.   The "Fashion Police" skit, a hilarious portrayal of Anna Wintour (who was fully serving Edna Mode), provides comic interlude, as I presume the dancers frantically switch costumes. Then, we are catapulted into "London Calling" , a punk-infused celebration of 1980s fashion that sees the dancers decked out in fishnets and leather. We are also treated to a daringly provocative scene set to "Relax" and breathtaking aerial dance moves, creating one of the most exhilarating segments of the night. As we journey through the decades, Gaultier invites appearances from the likes of Prince, Bowie, and Madonna, bringing his pop culture-infused world to life. A dynamic dance battle unfolds to the tunes of "Supermodel" and " Vogue," leading into the fashion show featuring beautiful male models. As the vocalist performs " It’s a Man’s World ," a daring striptease unfolds before our eyes. The nudity, boldness, and sheer unapologetic energy of the performance keep the crowd on their toes, and if you’re near the runway, don’t be surprised if a bare breast is suddenly in your face. The final segment, featuring animal-inspired outfits, is a masterclass in inventive fashion. By the time the cast strips down for their bows, dancing to "Le Freak"  in perfect sync on a grand staircase, the audience is left utterly mesmerised. A fortunate audience member is even chosen to walk the runway, although if you are selected, please tread carefully on those stairs! Gaultier’s dedication to diversity is one of the show’s triumphs. Performers of all shapes, sizes, and colours take the stage with confidence, embodying the designer’s long-held belief in beauty beyond conventional norms. And this cast is truly exceptional, with each performer bringing their own unique flair. Effortlessly merging their roles as fashion model, dancer, and actor, they collectively bring Jean Paul Gaultier's surreal world to life. Whether strutting down the runway in avant-garde outfits or executing complex contemporary choreography, they immerse themselves completely in each moment without showing any signs of fatigue despite the high-energy, intense heat, and multiple layers of clothing.   And speaking of looks—the costumes deserve more than a casual glance. Ranging from modernised corsets to unexpected combinations like tulle with denim, and even a garment made of what appears to be a garbage bag; each piece is extravagantly creative. Particularly noteworthy is the integration of sustainable materials, which is important in a fashion world that is now more mindful of its environmental impact. The 'Plastik Factory' segment, for instance, is not only visually captivating but also a clever nod to both high fashion and eco-awareness, prompting viewers to ponder the evolution of haute couture in contemporary society. Eccentric, scandalous, provocative, and exuberant, Jean Paul Gaultier’s Fashion Freak Show defies easy categorisation and refuses to be tamed. It’s a bold celebration of fashion, art, and culture that only someone like Gaultier could dream up, and Brisbane is enriched by the opportunity to witness this explosive tribute to his five-decade-long career. If you're heading to this event, prepare to throw out all expectations. ' Jean Paul Gaultier’s Fashion Freak Show'  will dazzle, shock, and astonish as you dive headfirst into the flamboyant, rebellious world of fashion’s enfant terrible .   Where:  South Bank Piazza When:  Now until 12th September Tickets:  $89-$149 Warnings:  Nudity, strobe lighting, and scenes of a sexual nature Tickets : Available here

Title:  Agatha Christie’s Verdict  Auditions Presented By:  CTG (Community Theatre Group) Genre:  Play (Mystery/Drama) Synopsis:   Verdict  by Agatha Christie is set in 1958 and follows Professor Karl Hendryk, a brilliant but emotionally troubled man, whose life is turned upside down by a series of tragic events. When a murder occurs, secrets unravel, and everyone becomes a suspect in this thrilling courtroom mystery. Audition Date:  Saturday, 14th September 2024 Audition Time:  2:00 PM Audition Location and Address:  CTG Theatre, Halsbury St & Community Centre, Queenscroft St, Chelmer Audition Requirements: Auditions will be a cold read from the play. All cast members need to be proficient in English accents. Available Roles: Lester Cole:  25 years old Mrs. Roper:  40+ years old, gruff and rude Lisa Koletzky:  Early 30s, attractive Professor Karl Hendryk:  45 years old, handsome (German accent) Anya Hendryk:  38 years old, invalid in a wheelchair, whining (German accent) (Karl's wife) Dr. Stoner:  60 years old, a typical family doctor Helen Rollander:  23 years old, beautiful Sir William Rollander:  Middle-aged, tall (Helen's father) Detective Inspector Ogden:  40s, pleasant nature Police Sergeant Pearce:  Mid-30s+, typical sergeant role Audition Registration:  Contact Director David Bell on dbell6@bigpond.net.au Production Website:   Centenary Theatre Group

Title:   Falsettos Presented By:  Phoenix Ensemble Genre:  Musical Synopsis: Falsettos  is a poignant musical about a Jewish family in New York during the late 1970s. Marvin, the central character, struggles to balance his new relationship with Whizzer and his responsibilities towards his ex-wife Trina and their son Jason. As the family navigates complex emotional terrain, including infidelity, new relationships, and a life-changing medical diagnosis, they must come together despite their differences. The musical is a synthesis of three one-act plays: In Trousers , March of the Falsettos , and Falsettoland . It is sung-through, meaning the story unfolds entirely through music. Location: The Tin Shed, Beenleigh Showgrounds, James Street, Beenleigh Important Dates: Audition Dates: Individual Auditions:  October 11th (from 6:00 PM) and October 12th (from 9:00 AM) Dance Calls:  October 12th (12:00 PM - 1:00 PM and 5:00 PM - 6:00 PM) Children’s Auditions (15 years & under):  October 12th (2:00 PM - 3:00 PM) Callbacks:  October 13th (from 6:00 PM) Audition Self-Tape Due:  October 11th by 5:00 PM First Rehearsal:  October 27th (10:00 AM - 3:00 PM) Rehearsals: Monday: 7:00 PM - 10:00 PM Wednesday: 7:00 PM - 10:00 PM Sunday: 3:00 PM - 8:00 PM Holiday Break: December 23rd - January 1st Photoshoot:  November 3rd (9:00 AM) Technical Rehearsals:  January 19th (Sitzprobe) and January 20th onwards Performances: February 7th, 8th, 14th, 15th, 20th, 21st, 22nd, 27th, 28th, and March 1st at 7:30 PM Bump Out:  March 2nd (10:00 AM) Audition Requirements: Audition Form:  Must be completed and submitted with a colour headshot (10cm x 15cm) and a list of all potential conflicts. Songs:  Prepare two contrasting songs in the style of the show (16-32 bars/30-60 seconds each). No songs from the show. Dance:  Bring appropriate dance shoes and wear clothes suitable for movement. A dance video will be available from September 15th. Monologues:  Provided from September 15th, prepare according to the character you are auditioning for. Backing Tracks:  Bring a device with a bluetooth or AUX connection for your backing tracks. No piano accompaniment provided. Audition Registration:   Book Your Audition Available Roles: Marvin:  Male, 30-40, Vocal Range: C3-B4 Whizzer:  Male, 30s, Vocal Range: E3-C5 Trina:  Female, 30-40, Vocal Range: B3-E5 Jason:  Male, 11-13, Vocal Range: G3-D5 Charlotte:  Female, 30s, Vocal Range: F3-F5 Cordelia:  Female, 30-40, Vocal Range: A3-E5 Mendel:  Male, 30-40, Vocal Range: C3-B4 Additional Information: Phoenix Ensemble is an amateur company. All roles are unpaid. All performers must be 18 years old by the time of performances (excluding Jason). Successful applicants must become financial members and obtain a valid Blue Card. Membership ensures coverage by Voluntary Workers Personal Accident Insurance. For more details and to book your audition, visit Phoenix Ensemble Audition Page . Creative Team: Director: Hayley Gervais Choreographer: Jackson Poole Music Director: Emma Erdis

Thanks for joining us today. It’s great to chat with another Sam—clearly, we have great taste in names! To kick things off, could you share a bit about your background and what first drew you into the world of theatre? Sam : If you ask my family, I’ve been performing since I could walk and talk to anyone that would listen! I think I must have been a little bit of an attention-seeker (still am), and I found that performing brought joy to others, which in turn made me happy. I jumped into every school production, took as many classes and courses as I could after graduating, and have been actively auditioning for anything and everything ever since. It sounds like performing has always been in your blood. I can definitely relate. What was one of the first roles or shows that really made you feel like, ‘Yes, this is what I’m meant to do’?” Sam : I was having some doubts around my chosen career path, and for a few years, I took a break from musical theatre to develop my screen acting skills. In 2019, I auditioned for Mad About Theatre’s production of Rock of Ages  on a whim, and was blown away when I was offered a lead role in the show. I couldn’t help but feel it was a sign that I was exactly where I needed to be. Portraying Sherrie in this show was a significant milestone for me - my first lead role, first paid opportunity, and first touring experience, which was quite overwhelming! I remember feeling super intimidated by all the talented cast and creatives and from only having a two-week rehearsal period. But everyone was so kind, hardworking, and supportive of one another. Collaborating on such a fun, silly show involving some of my favourite music with that team is one of my fondest rehearsal memories. Despite all those initial doubts and fears, the euphoria of performing on the opening night was unforgettable. I am so grateful for that opportunity, as I learned so much and grew a lot as a performer. Given how pivotal that role was, I'm curious—did you have any formal or informal training that helped shape your skills leading up to that moment? Sam: I’ve been fortunate enough to train at so many different schools and studios across Brissie and the Gold Coast. I have tried to immerse myself in the performing arts world as much as possible, from dance classes, vocal lessons, acting masterclasses, and workshops covering every acting technique that I could think of. The saying ‘the more you learn, the more you realise you don’t know' is really true. I believe that strong foundational training and continuous learning are crucial for performers. We are so lucky in South-East Queensland to have an incredible wealth of experienced and fantastic teachers. I don’t think I’ll ever be done learning! It’s clear you’ve really soaked up every bit of training and experience you could find. So, what’s on your plate right now? Are you working on any shows or projects at the moment? Sam: I am currently in rehearsals for Guys & Dolls with Ipswich Musical Theatre Company, which is going really well! I will be playing the role of Sarah Brown, a devoted yet conservative sergeant at the Save-A-Soul Mission in 1950s New York City. Throughout the show, Sarah undergoes a journey discovering love, confronting the reality of her dreams, and navigating the good and bad that arises when people from different worlds collide. I have been so blessed with the creative team and cast on this one. Everyone involved is so kind, talented, and dedicated to ensuring that this production reaches its full potential. The performance is shaping up beautifully, with polished choreography, vocals, and scene work. I am so excited to see our finished set and hear our 18-piece orchestra perform for the first time. I cannot wait to open and for audiences to see what we have created! I bet it’s going to be an amazing show! When you’re preparing for a new role like Sarah Brown, do you have any specific methods or routines you follow to get into character and bring a new role to life? Sam : While I don't focus on specific details, I usually dive in researching the character's world extensively. Being a bit of a nerd, I enjoy doing that kind of character homework so that when I get into the rehearsal room, I have a solid starting point of who my character is and how they would respond within their given circumstances. I also just love exploring the text and uncovering new insights with my fellow actors and the creative team. Speaking of roles, are there any particular types of roles or theatre styles that you find especially rewarding or challenging? Sam : I am a sucker for anything comedic, big, and fun. Anything that’s going to get the audience cracking up or grooving in their seats – feeling the energy of the audience is so rewarding and brings me so much joy. I feel like Guys & Dolls will provide that experience for audiences. In terms of challenging, I have found that the vocal style required for this role has been a valuable learning opportunity for me. It is quite distinct from my previous work. I haven’t yet played a Golden-Age classic romantic lead like Sarah, and it’s been a real delight to bring my unique touch to the character. When it comes to working with directors, fellow actors, and the production team, how do you approach collaboration? Can you share a memorable experience where the teamwork really stood out to you? Sam : I think that in the rehearsal room, there are no bad ideas. I love throwing ideas into the mix and collaborating wherever I can, as I also aspire to direct in the future. Even if a suggestion doesn’t make the final cut, I think it’s great to hear everyone’s thoughts on a scene or song and to follow instincts when you feel them, as it all leads to finding the end outcome. I think what I appreciate most about community and independent theatre is the shared commitment from everyone involved to create the best possible show. That’s what I am finding working with Robbie Parkin at the moment. He is an incredibly receptive director and is willing to listen to his actors' input and try out their suggestions. I find this approach inspiring and hope to adopt it in my own directing endeavours one day. Being open to all ideas really makes for a great creative environment. As you look back on your career, are there any moments or projects that make you especially proud? Sam: Xanadu at Spotlight Theatre last year was an absolutely out-of-this-world experience. I portrayed Kira, a lead character who spends most of the show on roller-skates and has a parody Aussie accent (think Kath & Kim meets kiwi). It was a daunting challenge to learn how to roller-skate (and dance on them), especially for someone accident-prone like me. But as if the Greek gods shone their light on me, I was skating down the on-stage ramp while singing by opening night! The comedy of the show was just brilliant, thanks to our director Jamie Watt, who crafted a spectacular production. Not to mention, the music by ELO and Olivia Newton-John. I had the best time being part of that cast and team, and it pushed me to exceed beyond what I thought I was capable of. Winning a Gold Palm Award for that performance was a delightfully unexpected surprise and a true honour. Wow, Xanadu sounds like such an incredible experience, I'm so sad I missed it! Looking ahead, what’s next on your wish list for your stage career? Sam : I guess my ultimate goal is to turn acting/performing into my primary source of income one day. I would love to leave my current day job (sorry mum!) to focus entirely on my career in this field. Landing a contract or a steady performing gig would absolutely thrill me. I also just want to continue to improve my skills and become the best performer I can possibly be. Over the past few years, I have had some truly incredible opportunities, and I just want to continue to build upon that and keep entertaining audiences. Theatre brings me happiness, and I hope to remain a part of it for as long as possible. That sounds like a dream worth chasing! For those who are aspiring to land a role in a stage show, what advice would you give them? Sam : First and foremost, if you are in the financial position to do so, get yourself enrolled in classes. If not, take advantage of the abundance of online content available today, as that can be such a great starting point. Next, reach out to your local theatre and get involved with their next production in any way you can. Personally, I have learned so much over the years by working various roles such as backstage crew, wardrobe department, lighting, assisting directors, and being the best ‘second tree from the left’ that I could be. The entertainment industry is a unique and supportive community, so my advice is to immerse yourself in it in any way possible and don't let self-doubt get in your way. Thank you so much for sharing your insights and experiences, Sam! Your passion and dedication to theatre really shine through. Best of luck with Guys & Dolls—I can’t wait to see your performance as Sarah Brown! For anyone interested in catching the show, tickets are available here: Guys & Dolls Tickets . The show runs from 7th to 15th September at the Ipswich Civic Centre. Chookas!

VOX Theatre Arts' production of 'A Midsummer Night's Dream' transformed New Farm Park into a whimsical realm of magic, mischief, and melody. This enchanting adaptation of Shakespeare's beloved comedy charmed audiences with its clever mix of Elizabethan prose and modern musical flair, showing that the Bard's work is just as timeless as ever—and maybe even more fun with a dash of pop music and a dollop of glitter.   The natural beauty of the park served as an idyllic backdrop for the fairy-filled forests, with its towering trees doubling as both scenery and a much-appreciated source of shade for the audience and actors alike. While the outdoor setting brought its own challenges, the cast handled it so that the natural elements seemed more like a part of the show rather than a hindrance. Even the local wildlife got in on the act, with Dave the Noisy Miner earning his title as the "Resident Nuisance," providing some unscripted (but thoroughly entertaining) moments throughout the performances.   The production featured a talented ensemble of nineteen actors who breathed new life into familiar characters with a healthy dose of campy humour. This was not just your typical Shakespearean retelling; this was Shakespeare meets Bardcore Jukebox , with pop hits woven into the fabric of the story. Skye Schultz dazzled as the mischievous Puck, their playful antics and cheeky expressions capturing the essence of Shakespeare's iconic trickster. It was clear they relished in orchestrating the chaos, often found perched in the tree with a knowing smirk and eyes twinkling mischievously. The play’s chaotic energy flourished under their watchful gaze.   The fairy royalty duo of Isaac Brown as Titania and Reece Ratcliffe as Oberon truly commanded the stage with their majestic elegance and playful chemistry. Draped in fabulous, ethereal costumes that looked to be woven right from the park itself, they both delivered their lines with just the right balance of authority and whimsy. And seeing them dance to Lady Gaga’s 'Bad Romance'? Iconic.   The quartet of star-crossed lovers were portrayed with zest and relatability. Eloise Newmann's Hermia showcased a fiery determination paired with comedic timing, artfully weaving modern inflections into Shakespeare's prose to great effect. Andrew Engelsmann, even while navigating the stage with a crutch artfully adorned in vines, delivered a charming Lysander, quipping memorable lines like, "I'd compare thee to a summer’s day but it’s too damn hot," much to the audience's amusement. Clare Thomson truly shone as the lovesick Helena, her performance brimming with genuine emotion and an endearing sense of desperation that made everyone root for her hapless pursuits. Max Kingsbury's portrayal of Demetrius was incredibly entertaining, with his hilariously exaggerated reactions of disgust towards Helena quickly transforming into lustful affection. His physical comedy and animated delivery added layers of laughter to every scene he inhabited, whether he was in the spotlight or subtly stealing scenes from the sidelines. His commitment to the character was outstanding—never missing an opportunity to throw in a sly gesture that made the audience giggle. The group of amateur actors known as the Mechanicals brought us some delightfully misguided attempts at theatre. Jack Barrett stood out as Nick Bottom, completely owning the character's overconfidence and unapologetic flair for drama with gusto, especially when he improvised lines and dashed around the park in some entertaining slapstick moments. Tamzen Hunter's Quince, Braithe Ellis's Flute, Imogen Dodd's Snug, Emily Egan's Snout, and Rhys Schwarten's Starveling each added their own unique comedic touches to the ensemble. Their opening improv scene set the scene for their antics, and their "so-bad-it's-good" final play performance had the audience gleefully heckling and applauding in equal measure.   The fairies, featuring Annie Rose Paroz, Rayna Couper, Hannah McNamara, Sam McLaughlin, Molly Parker, and Roselie Chase, struck a delightful balance between grace and sass. Witnessing the fairies attempt to unite Helena and Demetrius through a lyrical twist of "Teenage Dream" (or rather, "Midsummer’s Dream") was enchanting. The fairies serenaded the audience with a Shakespearean spin on popular songs like "Sweet Dreams," and "The Final Countdown" and "Milkshake," transformed into a potion-brewing anthem ("My potion brings all the boys to the yard"). An unexpected delight was Titania leading the ensemble in a spirited version of "Toxic," cleverly reimagined as "Dost thou know thou art toxic?" The inclusion of "Never Gonna Give You Up" as a reconciliatory duet between Titania and Oberon was the ultimate rickroll that no one saw coming, but everyone thoroughly enjoyed.   Director Rhona Bechaz and assistant directors Hannah McNamara and Clare Thomson certainly deserve a round of applause for their imaginative approach to this classic play. They balanced a respect for the original text with creative modernisations, resulting in a production that felt accessible. Emma Parkinson's vocal direction ensured that each musical number was performed with skill, while Antoni Torrisi's choreography added layers of visual storytelling, blending traditional and contemporary dance styles.   The costume design by Lachlan Hall was a visual feast, with colourful pastels and intricate details that helped define each character's personality and status. The fairies, in particular, were adorned with outstanding makeup, elf ears, and glitter that sparkled under the sunlight, enhancing the otherworldly atmosphere. George Pitt's lighting and Madelin Simons' sound design overcame the challenges of an outdoor setting, ensuring that the audience remained immersed in the story despite occasional interjections from passing planes and pedestrians. I did find it a bit puzzling why some characters had microphones while others did not, though.   Their final performance took place on a picture-perfect day, with picnickers and theatre enthusiasts alike enjoying the sun and revelling in the spectacle before them. The cast’s high energy and dedication to their roles kept everyone engaged from beginning to end, with even the scene transitions providing moments of entertainment as actors incorporated the natural scenery into their staging.   By the time the final bows were taken, it was clear that VOX Theatre Arts had delivered a unique and memorable rendition of A Midsummer Night's Dream. VOX Theatre Arts managed to create a perfect fusion of Shakespearean witty prose, slapstick comedy, campy musical numbers, and colourful performances, resulting in a production that was as entertaining as it was inventive. I can just imagine Shakespeare himself enjoying it—maybe even tapping his foot to 'Buttons' as Titania fell head over heels for a donkey!   VOX Theatre Arts is excited to continue 'Shakespeare in Bloom' in Spring 2025, so be sure to keep an eye out for what they do next!

I was lucky to snag an invitation to a sneak peek performance of [title of show] before it officially opens on Thursday, September 5th, and I have to say—I went in with no expectations and minimal context, and I left with my belly aching from laughter! This is a show that knows exactly what it is—a hilarious, self-aware romp through the chaotic world of musical theatre, and it embraces that absurdity with open arms.   The premise is as meta as it gets—a show about writing a show while performing the very show you’re writing. It’s the kind of inception-level madness that really makes you question where reality ends and the performance begins, and honestly, I loved every minute of it. The script is loaded with insider jokes that playfully tease everything from popular musicals and dreaded auditions to writer's block and the challenges of turning your passion into something marketable. If you’re in the industry, you’ll find yourself nodding along at the sheer relatability.   The brilliance of this production comes not only from the script but also from the fantastic cast that Director Ashleigh Cates has assembled: Mark Rickell, William Chen, Genevieve Tree, Skyah Fishpool, and Alex Angus. These cast members bounce off each other's energy with ease. Their delivery feels so natural and conversational that it blurs the lines between scripted and improvised—if there were any deviations from the script I couldn’t tell, and honestly, it didn’t matter because everything was downright funny. How they managed not to break character is beyond me—I would’ve been cracking up at my fellow actors' antics.   From the very first track, "Untitled Opening Number," the vocal harmonies are stellar, and Genevieve truly soars with her belting abilities. William Chen brings a likeability to Jeff that is hard to resist. You'd think he starts his day with a shot of pure adrenaline, given the energy he pours into every scene. His dynamic with Mark Rickell as Hunter is particularly compelling, especially in their duets "Two Nobodies in New York" and "Part of It All." These moments highlight not only their beautifully-balanced vocals but also their sharp comedic timing. Mark never falters in his characterisation, embodying Hunter with a mix of relentless optimism and slight vulnerability. His portrayal insists that no matter the odds, they keep chasing their dream, and it’s this drive that adds depth to his performance. Skyah Fishpool, as Susan, infuses the role with an irresistible, funky sass and undeniable flair that makes her role truly unforgettable.   The musical numbers are a rollercoaster of emotions, from the ridiculous "An Original Musical"—where Mark portrays the foul-mouthed 'Blank Paper'—to the stunning, tear-jerking solo "A Way Back to Then" performed by Genevieve as Heidi. Her vocals are absolutely breathtaking, truly capturing the essence of a Broadway star with every note. By the end of the number, you could feel the collective lump in everyone's throat—her performance was that powerful.   The duet between Skyah and Gen, "What Kind of Girl Is She?," stands out as a highlight, poking fun at the competitive nature often found between performers. Their other duet, "Secondary Characters," is a chaotic number that sees the girls hijacking the stage while the boys are offstage eating, adding to the show’s unpredictable charm. And then there’s "Die, Vampire, Die!"—a number that is equal parts hilarious and brutally honest. Skyah’s vocals are on fire, and the choreography, complete with a surprise death drop, is brilliant. This entire number is a masterclass in balancing humour with introspection, a recurring theme throughout the show.   A special shoutout is in order for the talented live pianist and sole musician, Alex Angus, who not only provides the musical backbone for the show but also joins in the on-stage madness as "Lara." The choreography by Jaide Camilleri is chaotic in the best way, especially during “Monkeys and Playbills,” where the girls in green morph suits comically embody the boys’ inner thoughts.   The minimalist set—featuring just four chairs and a keyboard, in line with the show-within-a-show concept—shows us that you don’t need elaborate scenery to create magic on stage. It allows the raw talent of the cast shine through. And believe me, with this group, that’s all you need. The lighting and sound design are on point, perfectly complementing the action on stage without overshadowing the performers.   Under Ashleigh's astute direction, this show is a testament to what can be achieved with a lot of heart, soul, and a sprinkle of craziness. [title of show] is an absolute treat for anyone who has ever fallen head over heels for musical theatre. So if you’ve ever found yourself belting out “Defying Gravity” in the shower or had a lively debate over the best Sondheim musical, this show is definitely for you. So do yourself a solid—grab a ticket, embrace the chaos, and prepare to laugh out loud. You absolutely won’t regret it! Now playing from Thursday 5th to Sunday 8th September at The Theatre @ 210 Petrie Terrace Tickets available here Photographs by Aylish @Artist_Focused

Stepping into PIP Theatre for their latest production ' Fun Home' , it’s clear you're in for a musical experience that’s anything but conventional. Based on Alison Bechdel’s graphic memoir, this Tony Award-winning show invites us into the emotionally charged world of the Bechdel family, spanning multiple decades.   With its mix of wit, heartfelt drama, and introspective storytelling, 'Fun Home' invites you on an achingly relatable journey through the layers of memory, identity, and family bonds. As we navigate the turbulent waters of Alison's past, what initially seems like a nostalgic dive into childhood memories soon unfolds into a profound and sometimes heart-wrenching journey through the complexities of growing up, discovering who you are, and facing the truths about those you hold dear.   The story unfolds across three timelines, weaving between Alison’s childhood at her family’s funeral home (aka the 'fun home'), her college years when she discovers her sexuality, and her present-day reflections on those experiences. I noticed all three performers portraying Alison Bechdel use their eyes to reflect the rich tapestry of the character’s inner worlds. Theo Hunt’s eyes literally sparkle with wonder, embodying the pure joy of childhood. Michael Enright’s gaze is wide with curiosity and uncertainty as college Alison. Aurelie Roque’s eyes appear haunted as she navigates the profound emotional depth of revisiting and reconciling with one’s past.   Aurelie Roque delivers a masterful performance as the adult Alison Bechdel. Her performance is a study in nuanced emotion and introspection, as she navigates the complex landscape of Alison’s memories through her drawings. One of the standout moments of the evening is Roque’s performance of “Telephone Wire,” a poignant song that expresses Alison's struggle to connect her past with her present. This moving piece takes place during a deeply symbolic car ride with her father, portraying the heart-wrenching disconnect between them. Roque’s expressive voice conveys the profound sense of loss and unresolved questions that haunt the character. Roque’s ability to deliver both deadpan comedic moments and dramatic lines laced with sadness is truly captivating, solidifying her as a cornerstone of this evocative production. Michael Enright, as college-age Alison Bechdel, is a clear standout, particularly in the solo “Changing My Major.” Enright captures the awkwardness and uncertainty of discovering one’s sexuality and the exhilaration of first love with remarkable authenticity and humour, eliciting plenty of laughs from the audience. Not to mention, their voice is outstanding! Emma Erdis, portraying Alison’s love interest Joan, complements Enright’s performance with self-assurance and warmth. The chemistry between Enright and Erdis is electric, enhancing their scenes with a natural and heartfelt connection.   Theo Hunt, portraying young Alison, is incredibly sweet. Their naturalistic depiction of childhood innocence, intertwined with a growing awareness of the complexities of the adult world, is truly impressive. In their solo "Ring of Keys," Hunt captures the moment when young Alison first encounters a lesbian and recognises something within herself—it's a powerful and beautifully executed moment brought to life through stunning vocals. Whether it’s the joy of playing in the funeral home, the anxiety of family tensions, or the awe of new experiences, Hunt's performance feels grounded and genuine.   As the show progresses, we witness how Alison’s relationship with her father Bruce evolves, from playful moments like the 'airplane' game to the tense, unspoken conflicts that arise as she grows older. The recurring phrase “I want,” echoed by the three Alisons, is a poignant reminder of the different stages of desire and longing we all experience throughout life. When together, the harmonies and overlapping thoughts among the Alisons create a beautiful, complex auditory experience. The final scenes are particularly powerful, as adult Alison reminisces on her memories through her drawings, building to an emotional climax as the trio of Alisons come together for “Flying Away.” Seriously, you might want to have some tissues handy! Adam Bartlett as Bruce Bechdel gives a captivating performance as Alison's complex father. He skillfully navigates the line between a stern, harsh figure and a man grappling with deep inner turmoil over his hidden sexuality. This duality of Bruce's character comes to life through Bartlett’s commanding voice and stage presence. His interactions with the young men, all portrayed by Daniel Kirkby, offer glimpses of the joy that Bruce attempts to suppress. Bartlett’s performance in “Edges of the World” is particularly moving, as he conveys the desperation and raw emotion of a man feeling his life slipping out of control. Deidre Grace, as Helen Bechdel, carries a profound weight of sadness throughout her performance, which reaches its emotional peak in the solo “Days and Days.” Grace’s portrayal of years of suppressed unhappiness is utterly heart-wrenching, making this song a powerful moment of raw emotion.   Fraser Goodreid and Jaden Armitage deliver delightful and professional performances as the younger members of the Bechdel family. Fraser Goodreid’s portrayal of John Bechdel is a charming mix of cheekiness and goofiness that brings some much-needed comic relief to the show. Jaden Armitage, in his role as Christian Bechdel, infuses a vibrant energy and truly heartfelt presence into the family dynamic. Their interactions with young Alison are filled with joyful chemistry, which adds a lovely warmth to their scenes, particularly in “Come to the Fun Home.” The choreography for “Raincoat of Love” is well-suited for the intimate space and captures young Alison’s imagination as she envisions her life like a cheerful, singing TV family.   Benjamin Richards leads the small orchestra, which is set behind a scrim that creates the silhouette of a house.  Their presence is heard in almost every moment, providing a subtle yet impactful underscore to the unfolding drama. Under Sherryl-Lee Secomb's direction, everything flows cohesively; the transitions between timelines always smooth. Due to the staging, the blocking never feels awkward; the actors have freedom to move naturally around the space. It's clear that the actors have had ample time to develop their characters to bring depth and authenticity to their performances. The intimate space of PIP Theatre immediately immerses us in the world of 'Fun Home'. The set, reminiscent of a tidy, slightly eerie mid-century home, welcomes us into Alison childhood abode. The space is filled with antique furnishings, a coffin here, a dormitory bed there, and a drawing desk in the corner for adult Alison to observe the proceedings. The stage is almost in-the-round, with the audience seated on three sides, allowing for an up-close experience. For the best view, sit front-on to the stage; just keep in mind that the front row puts you mere inches from the action!   'Fun Home'  is a testament to the cast’s talent and the creative team’s vision. It is not just a story about coming to terms with past trauma; it is a celebration of the courage it takes to confront the truth and the beauty found in embracing one’s true self.   For those eager to experience this powerful musical, ' Fun Home'  is running until Saturday, 14 September 2024, at PIP Theatre in Milton. You can purchase tickets and find more information here . Photographs by Kris Anderson

Opera Queensland, QPAC, Brisbane Festival, and Yumpla Nerkep Foundation came together last week to present ' Straight From the Strait' , a groundbreaking Torres Strait Islander musical that graced the QPAC Playhouse for an all-too-brief run. This production was a revelation—an outstanding blend of history, culture, and sheer theatrical joy that left audiences cheering, clapping, and dancing in their seats. The show’s cultural roots were evident in every aspect, from the traditional dance sequences to the audience members proudly dressed in the colours of the Torres Strait flag. Brought to life by a team of First Nations Elders, creatives, performers, musicians, and cultural advisors, this production is both an epic tale of perseverance and a profound source of pride for its people. Yet, it is a story that remained little known to much of Australia. On a single day in 1968, under the unforgiving sun of Western Australia, 137 men—primarily from the Torres Strait—achieved an extraordinary feat: they laid, spiked, and anchored seven kilometres of railway track in just 11 hours and 40 minutes, setting a world record that still stands today. ' Straight From the Strait'  brought this historic moment to life, weaving together the threads of history, culture, and family into a vibrant tapestry of storytelling. The musical tells the story of three brothers—Kusa, Pinau, and Boyor—who left their island home in search of work on the Australian mainland. Their journey is packed with challenges, humour, and heartfelt moments, brought to life by a talented all-Indigenous cast, many of whom are descendants of the very railway workers whose story was being told. This musical journey kicked off with an a cappella piece performed by the male ensemble, their voices intertwining in beautiful dissonant harmonies. Composed by Rubina Kimiia, the musical intricately wove traditional songs and languages with contemporary musical theatre numbers, resulting in a rich, multi-layered soundscape that was both deeply rooted in culture and universally appealing. While I couldn't find a song list (believe me, I searched), I shall do my best to refer to the numbers as accurately as I can. The musical elements of the show truly celebrated Torres Strait Islander culture, featuring a lively six-piece band and an ensemble that performed in Meriam Mir, Kala Lagaw Ya, Torres Strait Creole, and English. The script, by Norah Bagiri, was rich with the subtle humour that Australians are known for. For non-Indigenous audiences, English subtitles were provided for some dialogue, ensuring that the power of the script wasn't lost on them. Paul Isakara Williams delivered a standout performance as Boyor, the youngest brother, by infusing the role with a wonderfully humorous energy, especially during his romantic pursuit of Isobel. Harold Pascoe, as Kusa, the eldest brother, brought depth and gravitas to his role. Gertrude Benjamin, as Serai, Kusa's wife, offered a touching counterpoint to her husband’s journey, particularly in their duet "Over the Horizon," which explored the emotional toll of separation. Pinau, played by Vaughan Wapau, the middle brother and our narrator, was a captivating presence on stage; with his infectious smile and unique gift of 'sight' adding an intriguing element to the story. The dynamic between the brothers, especially in their tense and tender moments, felt highly genuine. Georgia Corowa, as Isobel, affectionately known as Izzy, shone in her moments on stage, particularly in the charming number "Sweetest News," where she met Boyor over an egg sandwich. She showcased her impressive vocal talent in the soul-stirring solo "Goodbye," a powerful moment that opened Act 2. Her voice, filled with emotion, beautifully conveyed the longing and heartache of the women who missed their men as they toiled on the railway. After asking the audience if they were ready to hear the story, Pinau whisked us back to the 1960s in the Torres Strait Islands. The opening number, with its energetic dance and grass skirts, was a showstopper that instantly captured the audience's attention. Particularly delightful was the cheeky song between the brothers, filled with playful banter as we were introduced to each sibling. The audience was wonderfully responsive, showering the performance with laughter, cheer, and applause to create an atmosphere of communal joy. Boyor's journey provided many of the show's highlights, like his smooth-talking antics at the Charters Towers Hotel party, where he and Uncle Reuben, his trusty wingman, brought a ton of laughs. Boyor's vocal prowess was evident throughout, especially in the number "Out There," where his powerful belt and effortless riffs took centre stage. The passion and energy of the performers, many of whom were making their musical theatre debut, were evident in every scene. The talented ensemble featured Jalen Sutcliffe (Man Mountain), Ghenoa Gela (Mama), Zeek Power (Protector Man & Bradco Bala), Joseph Tapau (Levi), Edward Lampton (Bobby B), Marcus Corowa (Jimmy), Zane Lemusu (Sid), and Maurice Sailor (Uncle Reuben & Simeon), all of whom contributed to the rich tapestry of the show. Sutcliffe particularly stole scenes with his humorous theatrical flair. The sugarcane musical number, where Boyor and his fellow workmen bemoaned the heat, dirt, and smell, was catchy and injected some fun into the hard labour depicted on stage. Joseph Tapau as Levi sang, "Free," which was an uplifting moment that beautifully captured the character's longing for freedom amidst the tough realities of being a "refugee in his own country." Marcus Corowa, as Jimmy, whose voice was undoubtedly the standout of the cast, delivered a heartbreaking performance in "Please Hear Our Prayer," a song that beautifully conveyed the pain of receiving bad news while far from home. As the story moved to Western Australia, the production raised an intriguing question: "Could the power of the desert beat the power of the sea?" The answer unfolded through the vibrant number "Working on the Queensland Railway." Here, the ensemble, equipped with crowbars, shovels, and sledgehammers, worked in rhythm to lay the railway tracks. This scene radiated warmth and camaraderie, mirroring the real-life connections the cast clearly shared on stage. As the team set out to break the world record, "Push On" beautifully highlighted the men's determination to keep working in harmony, truly embodying the phrase "We are rhythmic people." Using suitcases to create the "track" was a fitting touch, symbolising the weight of their journey. The gospel number "May 8, 1968, Have You Heard the News?" brought an uplifting energy, serving as a powerful anthem of perseverance and unity. Under the skilled direction of Nadine McDonald-Dowd, the production masterfully balanced the personal and the historical, ensuring that the epic scope of the story never overshadowed the intimate moments that defined it. Kevin O’Brien’s set design, assisted by Zoe Rouse, was equally impressive. The stage was dominated by a single, incredibly versatile set piece—a giant suitcase. The way it revolved and unfolded both vertically and horizontally to create various settings—a beach hut, a boat, the railway camp—was both clever and visually striking, providing a dynamic backdrop for the brothers' journey. Moreover, its climbable structure allowed characters to perch above the action, symbolically overseeing the story from afar. The costumes, designed by Zoe Rouse, beautifully evolved alongside the story's locations, transitioning from the traditional grass skirts of the island to the more practical jeans and flannels of the mainland. Jason Glenwright’s lighting design beautifully reflected various terrains and times of day—from the shimmering moonlight on water to the vibrant sunsets of the island to the harsh midday sun in the sugarcane fields and desert. The twinkle lights, suspended like stars, lent an enchanting touch to the atmosphere. The stage, painted to look like sand, became a canvas for the story, and sound effects like the gentle hum of a boat engine and the lapping water helped to draw the audience deeper into the world of the Samusah brothers. The choreography, beautifully crafted by Patricia Pryce and Cleopatra Pryce, was mesmerising, especially during the dance circle that led into the title number, "Straight from the Strait". This song radiated joy and cultural pride, inviting the audience to clap along, with many of us, myself included, dancing in our seats. The song's groove was so infectious that even days later, I still find myself singing it! The standing ovation wasn't just for the performance we had just enjoyed, but also for the resilience, strength, and spirit of the men whose story this musical beautifully told. " Straight From the Strait"  was a triumph in every sense, and one can only hope that it will continue to spread its powerful message to audiences nationwide. Let's celebrate these untold stories, as they are the threads that connect our shared history.

'Scenes from a Yellow Peril' by Nathan Joe, presented by The Reaction Theory and BIPOC Arts Australia, was a striking and visceral piece of theatre that tackled racism with unflinching honesty and creativity. Running for 80 minutes without an interval, the show certainly left the audience with much to process, contemplate, and discuss. Directed with a strong vision by Chelsea August and Egan Sun-bin, Nathan Joe’s powerful writing not only captures the frustrations and struggles faced by many but also serves as a vital commentary on the societal norms that still plague us today. The production, deeply rooted in Asian identity, is a unique cross-cultural work that not only shares stories from Joe's homeland, Aotearoa (NZ), but also resonates with audiences on a universal level. The content warnings were extensive, as this was a production intended to make the audience uncomfortable, to push boundaries, and to leave a lasting impact—and it certainly did. One of the show's standout features was its knack for blending humour with heavier themes. Right from the start, the audience was encouraged to laugh, even in moments when "you think you shouldn't." The co-directors' vision shone through in every scene, inviting everyone to confront the tough realities of racism and discrimination while still discovering moments of laughter and connection along the way. The set, featuring a minimalistic design with low wooden blocks, a few crates, flowers, and lugsail for projections, created a lovely canvas for the emotions that unfolded. The costumes began in a traditional style but were gradually stripped down to plain white clothing as the show went on, beautifully reflecting the raw vulnerability of the themes presented. After an Acknowledgment of Country and Welcome, the cast—Daphne Chen, Chris Nguyen, Peter Wood, and Jazz Zhao—introduced themselves through a Q&A session. Each night featured different questions, offering the audience a glimpse into the personalities and backgrounds of the performers. Chris Nguyen, in particular, stood out with his articulate responses. The Q&A format reappeared midway through the show, with a mix of profound and humorous questions posed to the cast. We were also given a pamphlet, thoughtfully prepared with definitions of words for those who might not be familiar with some vocabulary in the script. It was an inclusive touch that ensured everyone in the audience could fully engage with the material. The structure of this play was unique in that the actors didn’t portray characters throughout. Instead, they moved through various scenes, each depicting different aspects of the Asian experience. The opening scene, "Rage Poem," kicked off with the question, “Where are you from?” For many, this question is more than just a casual inquiry—it’s a loaded statement that carries assumptions and ignorance, a frustrating question that those born in NZ (or Australia, in our case) have probably encountered way too often. The cast’s perfectly-timed delivery was mesmerising, with their movements fluid and in tune with one another, while a low rumbling sound underscored the dialogue, representing the simmering rage beneath the surface. Another memorable scene was "A Series of Humiliations," where the cast highlighted common but erroneous assumptions, such as the idea that all Asians are the same. This scene served as a poignant reminder of the incredible diversity within Asian cultures, each characterised by its own unique language, traditions and heritage. The performances here were nuanced, with each actor bringing out the subtle differences in their cultural backgrounds, challenging the monolithic perspective often placed upon them, while uniting against the shared experience of racial stereotyping. In "Love in the Time of Colonisation," Peter and Daphne delivered a fast-paced scene that was both impressive and intense. Their dialogue flowed rapidly, almost breathless, yet perfectly timed. The scene "You Often Masturbate" brought a mix of discomfort and humour as Jazz and Daphne narrated an adult film scene involving a young Asian schoolgirl and "Mr. Redacted." The scene was designed to provoke, and it did just that—the audience cringed, laughed, and squirmed in their seats. The performers handled the challenging material with grace, ensuring that the dialogue remained clear and impactful despite the audience’s noisy reactions. The play also addressed the rise in anti-Asian sentiment since 2020, a reality that was painfully familiar to many in the audience. Through personal anecdotes and broader commentary, the cast shared experiences of hatred and racism that might have otherwise gone unnoticed by those not directly affected. It was a reality check, and the affirming nods from the audience, especially those from POC, spoke volumes. One person even softly said “amen” from the back row, a testament to the powerful connection the performers forged with those in attendance. The scene "Write a Manifesto" was particularly striking. It flipped the script on racial stereotypes, imagining a world where Asian identity was the dominant narrative. The scene was clever, humorous, and insightful—a mirror held up to society that forced the audience to reflect on their own biases and assumptions. As the words of the manifesto scrolled up on the projection, the cast spoke with a searing emotional intensity about the loss of culture, language, and literature that often accompanies migration, particularly with quotes like "How can any immigrant be happy on stolen land?" The monologue that followed was equally gripping, as Chris Nguyen reflected on the sensation of living in a body that doesn’t quite feel like your own. Each cast member brought their own unique charm to the table. Peter was effortlessly funny and endearing, a naturally warm actor whose comedic timing and unapologetic style were simply wonderful to behold. The women—Daphne and Jazz—are definitely the kind of people I'd love to be friends with; they brought such intensity and relatability to their performances. And Chris' monologue left me too captivated to take notes, so I'll just repeat some of his lines instead: “It’s a strange sensation to be in a body that doesn’t feel like yours. White people call it disassociation. I call it being Asian." The decision to make the scene "How to End Racism" a blackout was brilliant. It was a stark, inspired reminder of the darkness that still exists in the world, even as we strive for progress. Similarly, the scene where the cast members took on the personas of three different Asians murdered by New Zealanders was devastating. The portrayal of Joe Kum Yung, Mei Fan, and Jae Ygeon Kim—victims of anti-Asian immigration views, custody battles, and neo-Nazi violence—was gut-wrenching and left an indelible mark on the audience. Jazz Zhao's monologue, beginning with the question “What don’t you like about yourself?” - a question often posed by plastic surgeons, was a masterclass in performance. Her delivery, filled with vivid poetry, was heightened by visceral visuals and sound effects to make it a scene of pure impact. The vocal effects Jazz employed, from breathless gasps to purposeful stuttering and speaking at breakneck speed, added layers to the text that were both haunting and undeniably impressive. Jazz even sang us a song titled "I Cannot Invite My Parents to My Play"; a full-circle moment that brought the themes of the play back to the personal and the familial. The play concluded with a haunting image—a stranger appearing to guide the cast "home," helping them step away from their troubles and the weight of their experiences. The sound was so intense during this scene that vibrations were felt through the chairs to create a visceral, almost physical connection. As the theatre filled with fog, we heard a brief sound bite from Nathan Joe, the playwright. He reflected on how this play was born in 2018 from a deep need to express what couldn’t be said and how it first reached an audience in 2022. His words served as a reminder that while art has the incredible power to inspire change, it cannot do so alone. Scenes from a Yellow Peril was an extraordinary piece of theatre—provocative, bold, and deeply necessary. It challenged the audience to confront the realities of racism while also offering moments of hope and humour. Nathan Joe and the entire team behind this production deserve applause for creating a show that will be remembered not just for its content but also for the conversations it ignited. Warnings: Frequent coarse language, sexual references, depictions of violence, discrimination, racism, use of theatrical haze, dynamic sound including simulated gunshot sounds, strobe lighting, and blackouts. Duration: 80 minutes with no interval.

Walking into Villanova Players' production of ' The Importance of Being Earnest' , I knew I was in for an enjoyable show, but I wasn’t prepared for just how much my face would ache from laughing! This classic play by Oscar Wilde humorously pokes fun at Victorian society, and in the hands of director Leo Bradley, it sparkles with a refreshing new energy. After seeing a string of dramatic shows, this was the perfect comedic escape I needed, and it really hit the mark! The play follows the misadventures of two bachelors, Jack Worthing and Algernon Moncrieff, who invent fake identities called "Ernest" to dodge their social responsibilities. Things get complicated when their love interests, Gwendolen Fairfax and Cecily Cardew, both become obsessed with the name Ernest and the men they believe are named as such, leading to a series of comedic misunderstandings and surprising revelations.   The cast's impressive accents and Wilde's clever dialogue come together beautifully, making even the familiar quotes feel new. Michael Ware’s performance as Jack Worthing (or Ernest #1) provides a perfect counterpoint to the exuberant characters around him, bringing a touch of dignity to the group.  While he might be the more serious foil to his flamboyant companions, Ware's portrayal is enhanced by a polished accent and the demeanour of a gentleman, all wrapped up in a subtly humorous approach. His performance radiates a refined elegance that beautifully contrasts with Algernon's roguish character. Dominic Bradley as Algernon Moncrieff (or Ernest #2) had me chuckling before he even opened his mouth (because he was devouring all the food in sight). There’s something about his natural comedic charm that makes every line feel tailor-made for him. He brings a creative take on the character, skilfully balancing paying tribute to the original while also adding his own spin. Algy is full of playful mischief, and Bradley nails it with every action and expression, never once dropping character. Together, this dynamic duo bring an authentic, brotherly chemistry to the stage. It feels like we are truly watching the lively bickering and muffin-fuelled brawl of these two contrasting personalities.   Then there’s Kristina Redwood, dressed in a striking mint green ensemble as Gwendolen Fairfax, who completely floored me with her portrayal. I wasn’t expecting to see Gwendolen played with such an entertaining mix of drama and humour, but she knocked it out of the park. Her scenes with Jack are delightfully audacious, featuring a hilarious push-and-pull dynamic that gave me a whole new appreciation for Wilde’s writing. I love how Redwood portrays Gwendolen’s tenacity; it’s such a brilliant mix of overt dramatics and sly humour.   Louella Baldwin brings Cecily Cardew to life with a sparkle as vibrant as the orange costume. Cecily is a whirlwind of youthful energy and romantic fantasy, and Baldwin infuses the character with such spirit that you can't help but be drawn into their whimsical world of daydreams and delusions too. They represent the many qualities of Cecily, from inattentiveness, playful naivety, and passive-aggression, all while delivering Wilde’s sharp dialogue with finesse. Their chemistry with Dom Bradley is a joy to watch, as genuine affection and long-time friendship shine through, making every shared moment between them sparkle with humour and warmth. One of the most entertaining moments of the production is watching Gwendolen and Cecily’s relationship evolve from polite hostility to full-blown passive-aggressive rivalry, which culminates in an unexpected food fight. Seeing their initially courteous sparring evolve is such a joy to witness, as Baldwin and Redwood embrace the chaos with much enthusiasm. By the end of the scene, when the two finally bury the hatchet and realise they’ve both been duped, the transition from enemies to allies feels incredibly satisfying. Elizabeth Morris as Lady Bracknell (Aunt Augusta) is the epitome of Victorian grandeur. Her imposing presence, sharp tongue, and disdainful snarl add layers of comedy to her role. Morris' every entrance commands attention, and she brings the perfect mix of authority and wit to Aunt Augusta. Andrew Alley brings a hilariously melodramatic performance to the stage as Dr. Chasuble. His scenes with Mary Woodall’s Miss Prism, are adorably sweet. Nicole Bovey adds a humorous edge to the role of Algernon's housekeeper Lane, subtlety shifting from blasé to frustrated with just a roll of her eyes. Meanwhile, the ensemble’s involvement brings an unexpected layer of comedy. Typically, scene changes are a good time to glance at your program or take a quick sip, but not here. We are treated to mini-performances as the supporting cast use physical acting choices to keep the audience engaged and entertained. Whether transforming the setting or adding quirky touches, their efforts are a testament to the production’s commitment to fun and creativity.   What I love most about this production is how it takes something familiar and makes it feel fresh and exciting to watch. The set design exudes opulence through the antique furniture and lavish food, while the costumes are truly stunning—from Algy’s colourful wardrobe to Lady Bracknell's elegant ensembles. Every detail, from the glittering jewellery to the meticulous three-piece suits, contributes to the overall charm and authenticity of the production. Bravo to all involved—this is a production that not only honours Wilde’s genius but also adds a delightful new layer of fun and physical comedy. The laughs come easily and frequently, and the audience’s joy is unmistakeable. I left the theatre feeling genuinely happy—like I’d just spent an evening with old friends who made me laugh until my cheeks hurt. If you’re looking for a night out that’s both smart and wildly entertaining, this is it. Now playing until 1st September, 2024 at the Ron Hurley Theatre Tickets available here

Title: The Sweet Delilah Swim Club Presented By: Toowoomba Repertory Theatre Society Genre: Comedy Play Synopsis: The Sweet Delilah Swim Club  is a comic and poignant story of five Southern women whose friendship began many years ago on their college swim team. Every August, the ladies set aside a long weekend to recharge their relationships and friendships. Free from husbands, kids, and jobs, they meet at the same beach cottage, the "Sweet Delilah" on North Carolina's Outer Banks, to catch up, laugh, and meddle in each other's lives. The play focuses on four of those weekends and spans a period of thirty-three years. It is a hilarious and touching comedy about friendships that last forever. Written By: Jessie Jones, Nicholas Hope, Jamie Wooten Audition Date: Sunday, 8th of September 2024 Audition Time: 4:00 pm Audition Location and Address: Toowoomba Repertory Theatre Society, 94 Margaret St, East Toowoomba QLD Audition Registration: Please contact the director, Beth Geoghegan, to audition and for more information. Phone:  0439 118 462 Email:   bethgeoghegan1@gmail.com Performance Season: 26th Nov - 7th Dec, 2024 Production Website: https://www.toowoombarep.com.au