"If you put an album on of hers, you do not hear her age. You only hear amazing musicality. And you're drawn in." - Amy Lehpamer as Dusty Springfield “Whether you know who Dusty was or not, you’ll leave this show knowing her — and loving her.” - Director Jason Langley Dusty The Musical – In Concert  is set to dazzle Brisbane audiences when it takes over the QPAC Concert Hall from 5–8 June 2025. Presented by Prospero Arts , this semi-staged celebration brings to life the remarkable story of Dusty Springfield — a pop icon whose voice, style, and spirit helped define a generation. From her early beginnings as Mary O’Brien to her meteoric rise as an international star, Dusty’s story is one of grit, glamour, and unforgettable music. Featuring beloved hits like “Son of a Preacher Man” , “The Look of Love” , and “You Don’t Have to Say You Love Me” , the show promises a soul-stirring journey through the swingin’ sixties to the nineties, backed by a live onstage band conducted by Brendan Murtagh with musical supervision by David Young . Taking centre stage is the incredible Amy Lehpamer , returning to the role of Dusty. She’s joined by director Jason Langley  and choreographer Michael Ralph , reuniting the dream team behind the acclaimed 2016 Melbourne production.   I had the absolute pleasure of sitting down with Amy Lehpamer and Jason Langley to chat about what it’s like to step into the world of Dusty, why this music still resonates so deeply, and the magic that’s in store for Brisbane audiences.   A Legend Reborn “Dusty really was a woman that defined pop music,” says lead performer Amy Lehpamer, returning to the role after nearly a decade. Amy admits, returning to this role after nearly 10 years — now as a mother and a married woman — gave her a new perspective. “It’s like my body remembers it, but my brain is catching up. I’m finding new things about Dusty. It’s more than muscle memory, it’s like returning to an old friend with a new lens. But there’s a different maturity now. Some scenes hit completely differently.” “She led with her heart. Her artistry, her creativity, and her joy for performing were unmatched — but offstage, her life was filled with complexity, contradictions, and struggle.” In rehearsal, Amy captures that duality with devastating clarity. I was lucky enough to witness two musical numbers — " You Don’t Have to Say You Love Me"  and " Dancing in the Street"  — and both gave me chills. The first was filled with anguish, Amy’s bright vocals swelling with heartbreak, her facial expressions flickering with Dusty's inner turmoil. The second was a high-energy, choreographed celebration of Dusty's connection to the Motown scene, featuring classic doo-wop backing vocals and a bursting sense of joy from the entire cast. The harmonies popped, the choreography was clean and sharp, and the ensemble exuded the tight-knit chemistry of a well-oiled machine. And what a cast. “They’re phenomenal,” Amy beams. “I’m so inspired by them.”   A Visual and Musical Feast Directed by Jason Langley, who also helmed the 2016 revival, this Brisbane debut of Dusty – The Concert  isn’t just a rehash of what came before — it’s an evolution. “The original version of the show has changed a lot,” Jason shares. “We’ve refined it, reimagined it, and now we get to bring it to Brisbane for the very first time.” He’s not exaggerating when he says this is more than a concert. With over 80 wigs, five LED screens, and AV animations by Craig Wilkinson, the show spans five decades of fashion and music, taking audiences from the 1950s all the way to Dusty's final year in 1999. “Dusty was a fashion trailblazer as much as a musical one,” Jason says. “And the design celebrates that. You’ll see most of her iconic looks, set against a huge catalogue of her music performed live on stage by nine top-tier Brisbane musicians.”   More Than Just the Hits While the show features unforgettable songs like I Only Want to Be with You , I Close My Eyes and Count to Ten , and Middle of Nowhere  (a personal favourite of both Amy and Jason), it's the story that elevates this performance from tribute to theatre. “Dusty was dictatorial in the studio — she knew what she wanted and she made it happen. She was a perfectionist, a visionary, and completely singular in her sound.”   Amy shares the stage with Nikola Gucciardo portraying a young Mary O’Brien (Dusty’s birth name), whose presence haunts the story like a memory made flesh. This dual-performance structure gives audiences rare insight into the inner emotional battles of a woman who was constantly reinventing herself while wrestling with a past she could never quite escape. “She’s not just in the opening scene,” Jason explains. “She lingers. That inner child — the one who was overlooked, who didn’t feel beautiful — she stays with Dusty for life. And that’s such a human, relatable element. It’s really moving.”   A Story Worth Telling More than just a musical biography, Dusty – The Concert  paints a vivid portrait of a woman at war with herself — balancing fame with fear, perfection with pain, and glamour with grief. As a queer woman in a less accepting era, Dusty’s personal life was layered with struggles that remain strikingly relevant. “We use the word ‘icon’ a lot these days,” Amy muses, “but Dusty really was one. And her life story isn’t sugar-coated. She was queer. She was battling mental health issues and substance abuse. She was a perfectionist, often at odds with herself and the world around her.”   Langley adds: “It’s about what happens to creative people who weren’t the most popular kids in school — how the thing that allowed them to blossom can also be the thing that holds them back.”   About more than just nostalgia, Dusty's story still resonates today — in a world where we’re still fighting for LGBTQ+ rights, mental health awareness, and women’s equality in the music industry. “She was an enigma in her time,” Amy says. “Her music was bold, her fashion was bold, but her personal identity — her queerness, her mental health — that all had to be hidden. And it hurt her. But she still created beauty out of that pain.”    Don’t Miss It With its blend of powerhouse vocals, iconic fashion, and heartfelt storytelling, Dusty The Musical – In Concert  offers a vibrant celebration of a true music legend. With only four performances across one week, this is a blink-and-you’ll-miss-it event. Whether you’re a longtime fan of Dusty or only know her name in passing, this production promises to blow the socks off audiences with its artistry, intimacy, and story that needs to be told. So, come for the hits and stay for the heart. DUSTY – THE MUSICAL IN CONCERT Presented by:  Prospero Arts Venue:  QPAC Concert Hall, Brisbane Dates:  5–8 June 2025 Book Tickets Here Starring:  Amy Lehpamer as Dusty Springfield Directed by:  Jason Langley Choreography by:  Michael Ralph AV Design:  Craig Wilkinson Costume Design: Isaac Lummis Musical Direction:  Brendan Murtagh Musical Supervision:  David Young

Title: Taylor Made – The Ultimate Swiftie Singalong Presented By: The Little Red Company Genre: Concert / Pop / Tribute Show Synopsis: Taylor Made is a high-voltage singalong concert experience packed with joy, heartbreak, revenge, release and – of course – all things Taylor Swift. With an electrifying live band, powerhouse vocalists, and lyrics projected for full audience participation, it’s a Swiftie dream come true. This sequin-studded show invites you to scream-sing every word with hot mics and sky-high vibes. Audition Date: Saturday 21 June 2025 Audition Time: 10:00am – 3:00pm Audition Location and Address: Thomas Dixon Centre, 406 Montague Road, West End, QLD Audition Requirements: Applicants must be female-identifying vocalists aged 12–17. Submit a 90-second video (landscape orientation, well-lit room) singing any Taylor Swift song. No tech or performance bells and whistles needed – just your voice and presence! Must be based in South East Queensland. Parent/guardian must be available to attend all rehearsals and performances. Guitar ability is a bonus but not required. Available Role: One young vocalist (female-identifying, aged 12–17) to perform two songs alongside the professional cast during the concert. Audition Registration: Google Form Performance Dates: Friday 25 July 2025 Performance Location: The Tivoli, Brisbane Rehearsal Dates: Monday 21 July – 6:00pm to 9:00pm Wednesday 23 July – 6:00pm to 9:00pm Thursday 24 July – 6:00pm to 9:00pm Production Website: thelittleredcompany.com Other information: This is a voluntary (unpaid) role. Created by Naomi Price and Luke Kennedy Song arrangements by Scotty French

Title: Accidental Death of an Anarchist Presented By: Villanova Players Genre: Comedy, Political Satire Synopsis: A quick-witted madman infiltrates a police station to expose the suspicious “accidental” death of a political prisoner. With outrageous disguises, farcical comedy, and razor-sharp satire, the play unravels corruption, chaos, and absurdity in the justice system. As the line between truth and farce blurs, the play asks: is justice even possible in a world this corrupt? Audition Date: Sunday 6 July 2025 Audition Time: 10:00 AM – 12:30 PM Audition Location and Address: Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills QLD 4170 Audition Requirements: Book an audition time via TryBooking. Complete an Expression of Interest form (even if you cannot attend auditions in person). Contact info@villanovaplayers.com or call Leo on 0428 867 994 for more details. Audition Registration: Book Audition Time Expression of Interest Form Available Roles: The Maniac (Male): An unnamed, compulsive performer who is the only character who can see the audience. Playing age: late 20s to early 40s. Superintendent Curry (Male): The station chief. Playing age: mid 50s. Detective Dan Daisy (Male): A plain-clothes detective. Playing age: 30s–40s. Inspector Burton (Male): From the third floor. Playing age: 40s–50s. PC Joseph (Male): Superintendent’s aide. Playing age: 20s–30s. PC Jackson (Female): From the third floor. Playing age: 20s–30s. Fi Phelan (Female): A journalist. Playing age: 20s–40s. Note: Jackson and Phelan are in different halves of the play and may be played by the same actor or cast separately. Performance Dates: 3rd to 5th October 2025 Performance Location: Ron Hurley Theatre, Seven Hills, QLD Rehearsal Times: Monday and Wednesday evenings, Saturdays Director: Thomas Wood Production Website: villanovaplayers.com

Title: A Night With The Villains Presented By: Mira Ball Productions Genre: Cabaret / Musical Theatre / Parody Synopsis: It’s Halloween, and some of musical theatre’s most villainous souls return for a sinister cabaret. A Night With The Villains is a darkly hilarious concert event that invites performers to embrace their inner baddies in an evening of twisted musical theatre and pop tributes. This Matilda-nominated production blends cabaret, comedy, and a touch of the macabre to honour the tyrants, misfits, and mischief-makers of stage and screen. Don your finest costume and prepare to howl — this Halloween celebration is not for the faint of heart. Audition Date: Submit video audition online by Sunday 22 June 2025 at midnight Audition Requirements: Submit a 1–2 minute video performance of your most villainous song or special skill (comedy/circus encouraged!) Submit a 2-minute monologue as a villain of your choice Provide a current headshot and performance CV List any unavailability that conflicts with key dates Characterisation and bold choices are highly encouraged Audition Registration: Register Here Audition Pack: Click here to download Available Roles: Casting is open to performers of all genres, backgrounds and abilities, aged 18+. Looking for villainous musical theatre performers, cabaret acts, comedians, circus/variety performers, and all-around deliciously dark talent. Performance Dates: Thursday 30 October – Sunday 2 November 2025 Performance Times: Evenings – approx. 7:00pm start Performance Location: Ron Hurley Theatre, Seven Hills Hub, Brisbane QLD Rehearsal Dates: Sundays only Rehearsal Times: Starting Sunday 24 August 2025 Required Age: 18+ Creative Team: Director/Writer: Elodie Boal Choreographer: Jennifer B Ashley Musical Director: Rae Rose Costume Design: Jackie Fredericksen Makeup & Hair Design: Rosie Humphreys Lighting Design: Tony Kerr Associate Producer: Andrew Charles Production Website: www.villainsnight.com Other Information: Callbacks will be held in-person on Monday 30 June, Tuesday 1 July, and Thursday 3 July Callback requirements include a prepared villain song (materials provided) and a group dance call Tech/Dress Rehearsals: Monday 27 – Wednesday 29 October 2025 Cast must be 18+ This is a profit-share production. A formal agreement will be provided to cast members. All enquiries to: hq@villainsnight.com

Title: GLOW Cabaret: Flip The Script Presented By: Phoenix Ensemble Genre: Cabaret / Musical Theatre Synopsis: We all have roles we can’t play — whether due to gender, age, ethnicity, or vocal range — but why should that stop us? In this year’s GLOW Cabaret, Phoenix Ensemble proudly flips the script and brings you bold, unexpected performances that challenge traditional casting. What happens when Annie’s in her thirties? When Elphaba is a baritone? Or the Phantom becomes the Phantom-ess of the Opera? Join us for an unforgettable evening of daring interpretations, rule-breaking renditions, and boundary-pushing talent. One night only — grab your ticket now to see the roles reimagined like never before! Performance Date: Saturday 21 June 2025 Performance Time: 7:30 PM – 10:00 PM Performance Location and Address: The Pavilion Theatre, Beenleigh Showgrounds, James Street, Beenleigh QLD 4207 Performer Application Register: GLOW Cabaret Application Form Application Requirements: Song 1: Title and show Song 2: Title and show Headshot (for marketing purposes) A video link of yourself singing (this can be one of the submitted songs or any other audition/showreel video) Availability for soundcheck prior to the 7:30 PM performance

Title: Rumors Presented By: Sunnybank Theatre Group Genre: Comedy / Farce Synopsis: At a stylish townhouse in Sneden’s Landing, four high-society couples gather for the 10th wedding anniversary of the Deputy Mayor of New York. But the party takes a chaotic turn when the host is discovered to have shot himself (just a flesh wound!) and his wife is missing. What follows is a whirlwind of miscommunications, lies, physical comedy, and spiralling absurdity as the guests desperately try to hide the situation from each new arrival. With fast-paced dialogue and eccentric characters, Rumors is a masterclass in farcical hilarity by Neil Simon. Written By: Neil Simon Directed By: Julie Jones Audition Date: Sunday 22 June 2025 Audition Time: 10:00am Audition Location and Address: Sunnybank Theatre, Brisbane QLD Audition Requirements: This is an open audition – no individual times will be scheduled. You must register online in advance to be considered. Actors are encouraged to come prepared and present their interpretation of the character they are auditioning for. American accents required for all roles. Please read the provided character sides and plot synopsis ahead of time. A high-energy ensemble piece with fast-paced farcical timing and heavy reliance on physical and verbal comedy. Visit Sunnybank Theatre Auditions Page for registration and access to audition materials. Audition Registration: Click here to register Available Roles: Ken Gorman (Male, 60+): Lawyer, serious and pompous, comedic physicality required (becomes temporarily deaf). Chris Gorman (Female, 50+): Lawyer, elegant, anxious, and tipsy in Act 2. Physical comedy required. Claire Ganz (Female, 50+): Sarcastic, sharp society wife with a witty edge. Lenny Ganz (Male, 50+): Sarcastic and outspoken accountant with a large comedic monologue. Ernie Cusack (Male, 60+): Psychiatrist, mild-mannered but stressed, mistaken for the butler. Cookie Cusack (Female, 40+): Quirky TV cook with frequent dramatic back spasms. Physical comedy essential. Glenn Cooper (Male, 50+): Polished politician running for State Senate, secretly shady. Cassie Cooper (Female, 20+): Glenn’s jealous and eccentric young wife, full of tantrums and drama. Officer Welch (Male or Female): No-nonsense police officer investigating suspicious behaviour. Performance Dates: 5 September – 20 September 2025 Performance Location: Sunnybank Theatre, Brisbane QLD Rehearsal Dates: From 24 June 2025 Rehearsal Times: Tuesdays 7:00pm – 9:30pm Thursdays 7:00pm – 9:30pm Sundays 2:00pm – 5:00pm Warnings: Prop smoking (Chris), back spasms (Cookie), loud noises/gunshot sound effects Required Age: 18+ Director: Julie Jones Production Website: www.sunnybanktheatre.com.au

Now Playing at New Farm Nash Theatre until May 31 By Bess Wohl | Directed by Phil Carney   "I do realise that's what marriage is; A contract to be tied to each other's stupidity."   It’s a quiet evening in a cookie-cutter retirement village. Bill and Nancy set the dinner table to the sound of a string version of Lewis Capaldi’s Someone You Loved . It’s quiet, tense, and oddly poetic—like watching a couple perform a routine they've perfected over decades, with no warmth left between the movements. Nancy is glaring at Bill like a flatmate who’s had it up to here  with someone setting the table wrong for 50 years. And then—boom—first line of the play: “I want a divorce.”  Bill doesn’t even flinch. Just nods and mutters, “Alright.”  And thus begins Grand Horizons , a sharp, cheeky, and unexpectedly emotional comedy about long-term marriage, family dysfunction, and the glorious chaos that follows when older adults stop pretending and start telling the truth.   This show suits the small stage at Nash Theatre perfectly—intimate, focused, and grounded in reality. The set feels depressingly accurate: neutral-toned furniture, bland kitchen decor, and that eerie sameness of independent living communities. Phil Carney’s direction and set design capture that suburban staleness beautifully. The world may look orderly, but beneath it, things are gloriously messy.   Linda Morgan (Nancy) and Eddie Bruce (Bill) own  the stage. Their dynamic is dry, biting, and utterly hilarious. Linda’s delivery is pure gold—dry as toast, but with a wicked aftertaste. Eddie plays the deadpan, borderline oblivious husband to perfection. You absolutely believe these two have tolerated each other’s quirks and silences for half a century. These characters, now in their 70s, come from a generation where marriage was the expected path—often chosen too young, too fast, and maintained out of duty more than joy. Linda lands a line that had me in absolute stitches: “I’ll make you a sandwich before you go,”  as she kicks Bill out of their home. That sums this whole show up perfectly—cutting humour layered with years of resentment, tenderness, and unspoken care. And then there's Bill’s ill-fated stand-up comedy—offensive, outdated, completely tone-deaf—and somehow, still  hilarious. Eddie leans into it with such conviction, it’s hard not to laugh… even when you know  you shouldn’t.   When their adult sons crash in to “fix things,” things spiral beautifully. Erik de Wit as the older brother Ben is an odd mix of uptight, overwhelmed lawyer and bumbling buffoon. Tyson Hargreaves as the younger brother Brian, a flamboyant, slightly neurotic gay drama teacher, is his polar opposite. Their sibling dynamic is painfully real—who’s more successful, who helps out more, who is the favourite son? Their squabbles echo through the theatre like the sound of every family argument ever. As Ben states while crashing out: "Start a family... That sounds stupid. How stupid does that sound right now?"   There’s also Jess, Ben’s wife and a psychologist—played with understated brilliance (and absolute girl boss energy) by Catherine Sturk. She’s the only one who seems remotely capable of handling this chaos, until she too breaks down in frustration and rage. Her Act II monologue is a feminist mic drop: a rally cry for every woman who has ever felt erased by the titles of wife or mother. And then there’s Tommy—Brian’s one-night stand turned reluctant therapist—played with sparkle and sass by Matthew Ginman. He’s barely in the show, but steals  every second he’s on stage. Their brief scene is one of the funniest of the night: all miscommunication, sexual tension, and total mismatched energy. I loved it.   The Act Two scene between Nancy and Carla (played by Gillian Simpson) is a masterclass in tonal shifts—starting with awkward small talk about scarves, moving into existential rage about aging, and then sliding into hilariously inappropriate 'girl talk'. It’s whiplash in the best way, and a reminder that older women are still bold, brilliant, and not to be underestimated. Bess Wohl’s writing is sharp, insightful, and deeply human. Yes, some of the acting is a little clunky here and there—but honestly? It works. This isn’t Shakespeare. It’s real, uncomfortable, hilariously familiar Aussie family chaos. The imperfections make it all the more relatable. In fact, there are so many little moments in this show that feel scarily  real. Like Nancy’s random late-night confession to Brian about a secret she’s held for decades—while he’s curled in a blanket fort trying desperately  not to hear her cringy oversharing.   There’s a brilliant moment in Act One that ends in a gasp-worthy special effect (no spoilers, but… damn), and Act Two escalates things with more surprises, more yelling, more painful truths, and somehow… more laughs. The audience on the night I attended was absolutely with  the show—laughing, gasping, and groaning at the sheer accuracy of the family dysfunction on display.   The final scene between Bill and Nancy is stunning. It’s chaotic, humorous, poignant, and utterly genuine. This play resonates deeply. My mum was my guest, and she cackled  through it, recognising aspects from her own life—then offered the perfect summary: “Children often struggle to see their parents as real people, and parents are often oblivious to the effect they have on their kids." I couldn’t have put it better myself.   Grand Horizons  is funny, moving, and brimming with uncomfortable truths. If you haven’t seen it before, go. You’ll laugh, you’ll cringe, you might even see your own family in the mess of it all. Go for the aching reminder that love, in all its messiness, still has room to grow—even after fifty years. It’s never too late to speak the truth, or to finally feel seen.

The Importance of Being Earnest by Oscar Wilde Presented by Passion Productions Oscar Wilde once penned, “The truth is rarely pure and never simple.” But here's a truth that's as clear as a bell: I adore this play. I've already reviewed several versions, and I've got another lined up for this weekend. Call me a theatre addict, I dare you! Passion Productions’ take on The Importance of Being Earnest  was a sharply executed celebration of Wilde’s beloved comedy, bursting with social satire, absurd plot twists, and enough witty banter to fill a teacup (or several). Director Prue Robb and her whip-smart cast delivered a fresh, fearless staging that paid tribute to the original while gleefully playing with its possibilities.   Set in what seemed to be a 1950s/60s-infused version of Wilde’s world, the production took a bold stylistic approach with anachronistic costume choices. And while this may have felt a little out of place at first, it quickly became clear that the commitment to character and comedy far outweighed any need for strict period accuracy. Instead, we were treated to paisley prints, go-go boots, dramatic wigs, and silk playboy robes and fluffy slippers. Algy strutted around in a groovy purple getup, while Miss Prism's hair reached for the sky, and Lady Bracknell's wardrobe made sure all eyes were on her. The set was minimal but functional. With so much colour and chaos radiating from the characters themselves, the simplicity of the staging gave them plenty of space to move, scheme, and snack their way through Wilde’s deliciously tangled plot.   From the moment Rushad Katrak sashayed onstage as Algernon Moncrieff, it was clear we were in confident comedic hands. With Rupert Everett-esque charisma, a devilish smirk, and a twinkle of sin in his eyes, Rushad’s Algy was an irresistible blend of dandy and disaster. He played the character’s bottomless appetite—for food, drama, and a good old-fashioned fun—with infectious glee. Rushad’s Algy may have been a walking whirlwind, but every storm needs its eye—and that’s where Michael Ware’s Jack Worthing came in. Michael was the perfect foil, grounding the mayhem with gentlemanly awkwardness, dry wit, and some some truly cackle-inducing physical comedy. Having previously seen him portray this same role with Villanova Players Theatre, it was a treat to witness him lean even further into the humour this time with his overly-refined accent, earnest expressions, and barely concealed exasperation—as if Jack might unravel completely at any given moment. Angela Lal as Gwendolen Fairfax was an absolute hoot—poised, perky, and perfectly ridiculous. With a voice dipped in sugar and sarcasm, she zoomed through Wilde’s endless wordplay with precision and unending energy. Gwendolen never stops talking, and honestly, I have no clue when Angela found time to breathe! Every line was delivered with theatricality and her exaggerated obsession with the name Ernest  bordered on tragicomedy. Her second act crash-out was a comedic highlight; equal parts elegance and hysteria.   Maeve Lynch’s portrayal of Cecily Cardew was a bright, bubbly whirlwind of romantic fantasy and youthful charm (and just a little bit unhinged). Decked out in go-go boots and hippie florals, she floated through the show like a lovestruck daydreamer and drama queen. Maeve infused Cecily’s innocence with an intelligent unpredictability; she was wide-eyed and sweet, but not without bite. Her frenemy tension and petty exchanges with Gwendolen were always accompanied by a sharp retort, delivered with a polite sparkle. All smiles and all daggers. Then there was Bradley Chapman as Lady Bracknell, and what a moment it was. From the vibrant wig to the booming voice and every judgmental glance in between, Bradley didn’t just portray Lady Bracknell/Aunt Augusta—he became her. His very first entrance commanded the attention, dripping with grandeur and disdain. With haughty elegance, he delivered each line with delicious precision. Whether it was a disapproving scowl, delivering a verbal smackdown, or reacting in perfectly timed horror, Bradley was magnetic. Stacie Hobbs was a treat as the adorably flustered Miss Prism. Completely transformed by her self-made wig, tweedy costume, and impressively aged-up makeup, she threw herself into the role with perfectly tuned nervous energy. Paired with Damien Quick as the wonderfully awkward Reverend Chasuble, the duo brought a sweetly repressed tension to their scenes. Damien, also aged up with white hairspray, gravelly voice, and a walk slower than a sloth, was the perfect counterbalance to Prism’s frazzled charm. Together, they portrayed the awkward elderly flirtation so well, I almost forgot they weren’t actually pensioners.   Alex Graves, who filled in at the last moment for an unwell cast member (Malithi Weragama), was a quiet MVP in the dual roles of butlers Lane and Merriman. With barely a day of rehearsal, he slotted in seamlessly; an impressive achievement in a show packed with fast-paced banter. His wonderfully dry delivery, hovering presence, and perfectly timed comebacks added a layer of understated humour that elevated every scene he appeared in. You’d never have guessed he was a last-minute replacement—his performance was cool, consistent, and genuinely impressive.   What really made this production pop was how tight and articulate everyone was. Wilde's text is like a verbal obstacle course—ready to trip up the unprepared—but this cast crushed it. No mumbling, no tripping over words, and no sagging accents. Each emphasised word landed, every punchline hit its mark, and the audience ate it up like cucumber sandwiches.   Director Prue Robb struck a brilliant balance between tradition and playful irreverence. Certain scenes were reimagined in clever, surprising ways, and the cast embraced every choice with enthusiastic gusto—bringing a joyful unpredictability to even the most familiar lines. It was clear the ensemble understood both the style and stakes of Wilde’s world, and their passion made this century-old text feel more alive than ever.   Yes, the set was simple, but that only allowed the performances to shine even brighter. While a more immersive backdrop might have added atmosphere, it was clear this production didn’t need it to succeed. The vibrant costumes and dynamic character work provided the visual flair, while the stripped-back staging gave the actors ample room to explore every inch of the comedy. The audience’s laughter came easily and often, feeding the infectious sense of fun onstage that never wavered. Bravo to all involved!

Title:   Carrie: The Musical Presented by:  Queensland Academy of Excellence in Musical Theatre and QPAC Venue:  Cremorne Theatre, QPAC Directed by:  Gavin Mitford Musical Direction:  Heidi Loveland Choreography:  Dan Venz Meet Carrie White: the queen of revenge, misunderstood power, and… maybe just a little bit of overreacting? Based on Stephen King's chilling 1974 novel, Carrie: The Musical  is a darkly tragic coming-of-age tale with a supernatural twist. At home, Carrie is shackled by her mother’s oppressive religious fundamentalism. At school, she is humiliated for not understanding menstruation and persecuted for simply being different. In between, she burns quietly—yearning for belonging, suffocating under shame, and unaware of the telekinetic power that simmers within her. When a cruel prank pushes her too far, prom night becomes a turning point no one would ever forget. Her tragic descent reminds audiences of the importance of empathy, the danger of conformity, and the silent struggle of those marginalised by society. From the opening number, "In,"  the vocals were sharp, the energy was high, and the standard was immediately set. This semi-professional showcase of rising talent from the Queensland Academy of Excellence in Musical Theatre’s graduating class—based at Griffith University—highlighted the exceptional calibre of the Conservatorium’s students. They tackled this mammoth show with impressive vocal and emotional stamina, along with a stage presence strong enough to hold their own on any mainstage. It was a clear glimpse into the next generation of powerhouse performers, and evident that immense training and care had gone into every element of this production. Cast Highlights Kate Hudson-James brought a haunting fragility to the role of Carrie (with Ellie Carragher listed as the alternate). From her belted introduction— “That’s not my name!” —her voice sliced through the taunting noise with anguish and defiance, immediately establishing a powerful presence. Kate handled this emotionally layered role with a quiet strength that grew more palpable as the story unfolded. Portraying such a complex character comes with immense pressure, and while there were moments where a touch more fire could have heightened the transition from submissive teen to vengeful force of nature by the end of Act One, she carried the emotional weight of the role with a noticeable, simmering rage. Olivia Horne, as Margaret White (with Christina Keen listed as the alternate), was a chilling standout. Her operatic vocals were haunting, and she embodied the conservative, abusive, and terrifying essence of Carrie’s mother with unnerving precision. Olivia’s acting skills were particularly striking—her face radiating an expressive desperation, while her eyes remained eerily detached, creating a deeply unsettling contrast. Her duets with Kate, “And Eve Was Weak”  and “Evening Prayers”,  were both vocally stunning and harrowing. Olivia's final solo, “When There’s No One,”  was delivered with gripping intensity, though the dramatic impact was slightly undercut by staging that left her partially obscured behind a table. Ella Harding devoured the role of Chris Hargensen with wicked glee. She had the pipes, the presence, and the perfect mean-girl energy. “The World According to Chris”  was a total showstopper; sassy, sharp, and packed with vocal firepower—every belt hit like a punch! Ella chewed up every scene she was in, owning the stage with an effortlessly commanding presence. During the prom climax, her vocal stamina and sheer intensity were especially jaw-dropping. Croft Phillips brought an unpredictable, intimidating edge to Billy Nolan. His physicality amped up the menace in Chris’s schemes, and the chemistry between them was electric. Together, they were a magnetic villainous duo—wild, unhinged, and all too believable. Charlie Preston’s Sue Snell was soft-spoken and naïve, but ultimately compassionate—bringing a much-needed sense of heart to the story. Her rendition of “Once You See”  was tender and beautifully sung, and she carried Sue’s emotional arc of guilt and growth with quiet grace. Sam Henderson brought a gentle charm to Tommy Ross, with “Dreamer in Disguise”  serving as a brief but lovely showcase of his vocals. His chemistry with both Sue and Carrie felt genuine, adding a softness that helped temper the show’s darker edges. However, he was occasionally hindered by staging—most notably during his visit to Carrie’s house, where he was placed behind a fence panel that left him difficult to see from side seats and frustratingly hard to light. Niamh Cadoo-Dagley (Miss Gardner) delivered an endearing performance, and her duet with Carrie, “Unsuspecting Hearts,”  was both heartfelt and subtly humorous. Her Southern accent added character, though it stood out in contrast to the largely neutral dialects maintained by the rest of the cast. Max Baldock offered a grounded, solid portrayal as Mr Stephens, anchoring the classroom scenes with ease and always ready with a witty comeback. Notably, although the performers portraying the adult roles were the same age as their student counterparts, their physicality and vocal maturity made the character distinctions entirely believable—no easy feat, but executed with real finesse. The ensemble was incredibly cohesive—vocally crisp, sharply rehearsed, and brimming with energy. Background characters made distinct, thoughtful acting choices that added colour and personality to each scene. A special shoutout to the guy dancing solo at prom—sir, your vibe was immaculate. Production Elements Presented in the Cremorne Theatre at QPAC, the stage design was immediately striking. A two-level structure dominated the space, enclosed in parts by chain-link fencing that gave the set the feel of a cage. Looming upstage was a large stained-glass window depicting Eve and the Serpent, with serpent motifs curling their way along the fences—boldly reinforcing the show’s central themes of corruption, shame, and original sin. A movable staircase facilitated innovative re-blocking, with a transparent compartment underneath where Carrie was frequently confined. This clever design choice provided the audience with an unfiltered view of her psychological distress, keeping her in our sight even when isolated. The levitating crucifix and floating book were delightful uses of theatrical special effects. Used sparingly, these moments of supernatural activity felt grounded in Carrie’s lived reality—which was arguably even more haunting. Costuming was kept fairly simple, mainly consisting of school uniforms until the pivotal prom scene. Carrie’s outfit was noticeably more conservative than her classmates’—a subtle but powerful choice that reflected how tightly she had been “buttoned up,” both literally and figuratively. That said, her hair could have been styled more modestly in the beginning to better visualise her repression and enhance the transformation later on. Unfortunately, Carrie’s prom dress didn’t quite land. The shiny light pink fabric and awkward cut felt more distracting than deliberate, and it didn’t convincingly read as “homemade”—especially after a previous scene showed her sewing a powder-blue gown. The design also looked impractical for movement and dancing; Kate appeared visibly uncomfortable, often adjusting it. Most disappointingly, the iconic blood-drop moment lost visual impact against the pale pink fabric—a missed opportunity in an otherwise visually thoughtful production. Keith Clark’s lighting was both atmospheric and purposeful, particularly during the climactic destruction scene, which was executed with precision. Steve Thornely’s sound design was excellent—clean mics, balanced levels, and crystal-clear diction ensured that no dialogue or vocal nuance was lost in the chaos. The striking final image of prom—Carrie blood-drenched, standing at the top of the stairs like a queen of ruin beneath her crown of thorns—was a moment of haunting beauty. A nightmare coronation indeed. Artistic Choices Gavin Mitford’s direction showed great vision but occasionally missed the mark. While the direction was overall thoughtful and effective, there were moments where simplicity would have served the storytelling better. For instance, Carrie’s solo “Carrie” lost emotional intimacy by being staged with classmates frozen in tableaux around her—a visually interesting concept that unintentionally diluted the personal impact of the moment. Similarly, “You Shine,” a romantic duet between Sue and Tommy, began with a sweet, symbolic touch using ensemble members holding torches and props, but the effect became cluttered and distracting as the number progressed. That said, the need to showcase as many cast members as possible—given the nature of a tertiary course—was understandable. The relationship between Sue and Carrie could have used deeper exploration. As a result, their final scene didn’t land with the emotional weight it deserved. The show also didn’t conclude as strongly as it began—the framing device of Sue’s interrogation felt like it was building toward a final callback that never came. Still, it’s important to remember this production is just one milestone in what will be long, exciting careers for these emerging performers. I’m especially looking forward to their next venture, A Chorus Line , which will no doubt offer many of them a well-earned moment in the spotlight. Pacing throughout the show was tight—sometimes too tight. Transitions were so rapid that several musical numbers passed before the audience could applaud. A bit more breathing room between scenes would have allowed the performers to absorb the well-deserved recognition and given the audience time to process the emotional rollercoaster they had just experienced. Heidi Loveland’s music direction and Dr. Melissa Agnew’s vocal coaching were outstanding. The ensemble’s harmonies were on point, phrasing was expressive, and every voice served the emotional landscape of the score. The vocal cohesion and control across the cast—particularly in complex group numbers—was seriously impressive. Dan Venz’s choreography was slick and character-driven, combining classic musical theatre vocabulary with teen angst and hormonal chaos. Every movement felt purposeful and true to character. “A Night We’ll Never Forget” was a standout—bursting with energy, attitude, and a feverish prom-night intensity. The ensemble matched the music’s pulsing momentum with a delicious mix of sass and tension that helped bring the prom scene vividly to life. This production of Carrie: The Musical  delivered a haunting, heartfelt take on one of the most emotionally demanding pieces in the canon. It spoke powerfully to a modern audience, tackling difficult themes—religious trauma, social alienation, blind conformity—and the result was a performance that lingered. You could feel the audience leaning forward, breath held, as Carrie exacted her bloody vengeance. The cast’s raw, emotional performances—especially from Olivia, Ella, and Kate—anchored the show’s tragic heart. Yes, there were moments that could have been sharper, scenes that might have landed harder, and staging choices that occasionally obscured performers from key vantage points. But none of that detracted from the truth at the core of this performance: the audience was hooked. Some songs passed so swiftly that applause couldn’t catch up—not due to lack of appreciation, but because the production swept us up and didn’t let go. Maybe that’s the point. Carrie  doesn’t let you breathe. It drowned you in dread, then set the whole thing alight. To every young performer involved: your voices were powerful, your presence undeniable, and your commitment deeply felt. The Queensland Academy of Excellence in Musical Theatre has once again proven itself to be a breeding ground for the stars of tomorrow—and if Carrie  is anything to go by, the future of Australian musical theatre is thrillingly bright.

Title : No Dinner for Sinners Presented by : Centenary Theatre Group Written by: Edward Taylor Directed by: William McCreery-Rye. Now playing until 1st June - Tickets available here If you’re after a night of pure, unadulterated British farce — complete with tangled lies, eccentric characters, and enough comedic chaos to make your head spin — No Dinner for Sinners at the Centenary Theatre Group delivers it with gusto. This delightful romp throws a man, his many “wives,” and a very confused goldfish into a London apartment, and makes the resulting disaster absolutely hilarious. Grab your cup of tea and prepare for a rollercoaster of mistaken identities and misadventures.   Edward Taylor’s British comedy gets a thoroughly entertaining revival under the direction of William McCreery-Rye. Set in a cozy London flat—beautifully rendered with a clever projected window showing the London skyline, a drinks trolley that sees way too much action, and a real goldfish swimming blissfully unaware in its bowl—the story unfolds like a hybrid of The Birdcage and Fawlty Towers , with naturally delivered dialogue that maintains the quick pace and keeps the laughs coming.   We meet Jim Watt… a man in finance, trust fund, 6'5", blue eyes. He is a bumbling, upper-class, slightly egotistical Brit with the emotional intelligence of a ham sandwich, attempting to win over his conservative boss by pretending to be married. Problem is—he’s not. Enter the exes, the current girlfriend, his attractive assistant, and finally, in a stroke of misguided brilliance, the eccentric cleaning lady who agrees to play wife for a fee. Cue carnage...   James Sheehan plays Jim with a brilliant mix of panicked desperation and childish daftness. He’s the kind of character who always looks like he’s about to either cry or combust, and it works a treat. His vocal projection is clear, his reactions are gloriously over-the-top, and he absolutely sells the man-on-the-edge energy needed for a farce like this. Jim lies with all the elegance of a toddler stealing cookies and watching him dig himself deeper and deeper is delicious fun.   Amanda Devlin shines as Helen, Jim's witty and justifiably frustrated girlfriend. Amanda infuses Helen both strength and sass, commanding the stage whenever she walks in with a withering stare that says, “Jim, honestly.” She’s sophisticated, clever, and the only one in the room who seems to be using her brain.   Then there’s Edna. Oh, Edna. Played with absolute joy by Julie Collins, she quickly becomes a crowd favourite with her gritty accent and unfiltered speech. Her transformation in Act Two, when she takes on the role of Jim's "much older" wife with a shocking new hairstyle, quirky outfit, and vibrant makeup, is the kind of unhinged delight I crave in live comedies.   Amelia Slatter, as Terri Pringle, Jim’s exceptionally eager secretary, brings so much sparkle to the character. She floats in like the picture of grace and charm, with the perfect mix of flirtation and a scheming glint in her eye. She owns every moment she’s onstage, and when she also shows up to pretend to be Jim’s wife (yes, that makes three in one night), the madness hits peak mayhem.   Rounding out the cast are Chris Guyler and Natalie Pedler, portraying Bill and Nancy McGregor, characters who arrive later in the show with pronounced Southern American accents and an aura of conservative elitism. Chris plays Bill with great authority, rattling off an avalanche of figures and stats like a man who dreams in stock exchange graphs. Natalie, as Nancy, is poised, charming, and plays beautifully off the others, making an adorably confused counterpoint to the British chaos around her.   The production design deserves a special mention. From the "Keep Calm and Carry On" pillows to a poster of Amanda as Ginger Spice, and Edna’s strategically-placed cheeky apron to Nancy's comically gigantic wedding ring, it creates a visually rich and cleverly constructed environment. Costumes by Serena Altea are the finishing touch—especially Edna’s makeover ensemble, Terri’s stunning blue gown, and Helen’s lingerie-chic elegance. Each item enhances the comedic impact just that little bit harder.   The show moves like a well-oiled machine—especially in Act Two, when the true farcical energy explodes. Even though some storylines seem a bit outdated and not politically correct by today's standards, they don't spoil the enjoyment. My only tiny gripe is the dance encore: “Always Look on the Bright Side of Life” is a cheeky British nod (and the appearance of Brian-on-the-cross outside the window got a solid chuckle from me) but it feels like an odd tonal shift after the story wraps. Fun, but a bit out of place.   No Dinner for Sinners  serves up exactly what it promises—no dinner, lots of sinners, and a whole heap of hilarity. It is a loving tribute to classic British farce, packed with sharp performances and absurdly funny moments. It’s the kind of show that doesn’t take itself too seriously—and thank goodness for that. Sometimes, a bit of silly escapism is exactly what the doctor ordered.

Title: Sex Please, We're Sixty Presented By: BATS Theatre Company Inc. Genre: Comedy / Farce Synopsis: At the charming Rose Cottage Bed & Breakfast, guests keep coming back... and not just for the quaint accommodations. Bud Davis—known affectionately (and scandalously) as "Bud the Stud"—believes these ladies return for his irresistible charm and silver-tongued allure. The no-nonsense owner, Mrs. Stancliffe, is having none of it—at least outwardly. Meanwhile, her sweet, long-suffering neighbour Henry, a retired chemist, has developed a libido-boosting pill for menopausal women that’s never been tested—until now. Cue mistaken identities, love triangles, and a whole lot of cheeky chaos in this wildly funny and bold comedy about aging, attraction, and affection. Audition Dates: Tuesday, 1st July 2025 – 7:30pm Thursday, 3rd July 2025 – 7:30pm Audition Location and Address: Buderim War Memorial Hall Audition Requirements: No specific preparation mentioned. All welcome—seasoned performers and newcomers alike! For more information, contact the director: Julian White at production.batstheatre@gmail.com Available Roles: Bud Davis (70+): Frail-looking but surprisingly sprightly. Nicknamed “Bud the Stud,” he’s brash, flirty, chauvinistic—and oddly charming. Mrs. Stancliffe (65+): No-nonsense owner of Rose Cottage. Proper, punctual, practical, and poised... with a secret yearning for more. Henry Mitchell (60+): Retired chemist and perpetual suitor to Mrs. Stancliffe. Kind, tender, respectful—a true gentleman. Victoria Ambrose (50+): Best-selling author of spicy romances. Intelligent, serious, secretly yearning for the passion she writes about. Hillary Hudson (50+): Classy, articulate, and elegant. Former colleague of Henry. Smart and menopausal with refined taste. Charmaine Beauregard (50+): From Sydney’s North Shore. Bold, bubbly, and driven by her very healthy libido. Vivacious and larger-than-life. Performance Dates: Friday, 26th September 2025 Saturday, 27th September 2025 Friday, 3rd October 2025 Saturday, 4th October 2025 Rehearsal Dates: Commencing Tuesday, 15th July 2025 Rehearsal Times: Tuesdays: 7:30pm Thursdays: 7:30pm Required Age: Adult roles – primarily seeking performers aged 50+ Production Website: https://batstheatre.com/auditions Other Information: All cast members will be required to become members of BATS Theatre Company Inc. (small membership fee applies)

Title: Cinderella and the Glass Slipper Presented By: KSP Theatre Genre: Pantomime Synopsis: Cinderella transforms from a domestic servant to a princess with a little help from her fairy godmother. This classic story features plenty of humour, magic, and whimsical characters. Audition Date: Tuesday 3rd June 2025 Audition Time: 7pm - 9pm Audition Location and Address: KSP Theatre, Cnr Old Bay Rd & Maitland Rd, Burpengary Audition Requirements: Cold read from the script Small group choreography audition Prepare a 1-minute vocal (singing) audition piece Rehearsal Dates: Sunday 4pm-8pm Tuesday 7pm-9pm Thursday 7pm-9pm First Rehearsal (Script Read-Through): Thursday, 5th June 2024 at 7pm Performance Dates: 1st - 9th August, 2025 Ages: 10+ Available Roles: Prince Charming Dandini Baron Stoneybroke Baroness Erica & Ernestine Cinderella Buttons Fairy Godmother King & Queen Town Crier Major Domo Pegasus Ladies & Gentlemen of the Chorus Director: Margaret Watson For more information and to register, contact KSP Theatre.