Absolute Trash (indeed, that's the cabaret's title), presented by Glitter Martini, took cabaret, circus, and comedy, tossed them into the recycling bin, and pulled them out again in a spectacular, chaotic, and utterly brilliant display. The evening featured trashy confessions, absurd puppetry, and astonishing talent, all enveloped in an eco-conscious, upcycled fever dream. Before the show even began, the audience was encouraged to text in their trashiest confessions, and oh boy, they were juicy. Our host for the evening, the divine Natrasha Binit (Trent Charles), strutted onto the stage in a dress made from literal garbage bags—only for it to transform into an ensemble of Woolies reusable bags—because sustainability is sexy. With her towering green heels and cheeky wit, Natrasha kept the energy high, reading out the audience’s anonymously texted confessions—a game that quickly descended into absolute filth. The unanimous winner? A bloke who, while traveling, unknowingly took a dump in an open grave at a sacred site, only to bolt in horror as a funeral procession approached. His prize? A tiara and bin chicken socks. Iconic. The show kicked off with dancers in hazmat suits stripping down to their underwear—made entirely of plastic wrappers—while grinding to ‘ Filthy .’ What followed was a smorgasbord of circus and comedy acts, each more ridiculous and impressive than the last. Aerialists clad in pink plastic bags (Elena Khaw and Rachel Ray) performed a mesmerising routine so fluid and in sync that I felt my muscles cramping just watching them. Darcie Rae, as a sexy polar bear on fire (a metaphor for climate change if there ever was one), performed a stunning aerial trapeze routine to a mashup of ‘ Stayin’ Alive’ and ‘ Hot in Herre .’ Her strength made an act that seemed impossibly challenging into one of effortless elegance. Rachel Ray dazzled with an electrifying hula hoop act set to a remix of ‘ Toxic ,’ her illuminated hoops twirling in hypnotic patterns. Darcie also balanced a full wine glass on her forehead while stripping, striking powerful poses, and performing the splits—a true display of raw talent. Then came the bin chickens. Calum Johnston’s ibis puppet performance was an utter fever dream—strange yet moving. The girls behind me were laughing so hard that one almost wet her pants when ' Close to You ' by the Carpenters began playing. In another display of absurdity, Calum later swallowed and regurgitated a balloon. I have no idea how or why, but I do know that I wanted to gag, despite knowing it was just a magic trick.   One of the best comedy moments was the upcycling clothes tutorial act. In a pointedly hilarious bit, our guide declared, "You deserve to be villainised for fast fashion even though it's the only thing you can afford as your grocery bills continue to climb thanks to the effects of climate change and capitalism." Naturally, the solution involved wrapping contortionist Elena Khaw in cling wrap, creating a fashion monstrosity before she performed an astonishing contortion act (in heels!) to ‘ Wrap Me in Plastic.’ The final punchline? "Are you climate change? ‘Cause you're hot as hell, and I don’t see a future between us." I lost it. Music and sound choices throughout the night were impeccable, from a rubber chicken opera (yes, really) to a perfectly placed Oscar the Grouch snippet. The entire stage was soon littered with trash (purposefully, of course), with costumes and set pieces crafted from repurposed materials. Even the specialty cocktail for the evening—aptly named ‘bin juice’—was on brand.   Then arrived the ultimate audience participation moment. Four brave souls took up rubber chickens to play a symphony to the ' Can-Can .' Just when I thought things couldn’t get any wilder, the cast handed out more rubber chickens from KFC buckets for the entire audience to squeeze in time to the white-trash anthem, ‘ Sweet Caroline ,’ culminating in an epic chicken-throwing finale aimed at Natrasha.   Absolute Trash was everything it promised to be: hilarious, sexy, absurd, and surprisingly elegant in its execution. Underneath all the filth and silliness, it was an expertly curated cabaret with genuinely jaw-dropping talent. The lighting (designed by Steven May) bathed the stage in lush greens and pinks, elevating the glamorous trashiness. The entire cast brought a riotous energy to the stage, blending circus, cabaret, and comedy into a performance that felt both spontaneous and well-rehearsed.   Arcana Brisbane, with its intimate yet dynamic space, was the ideal venue for the show, allowing for up-close interaction and a vibrant atmosphere (although sight-lines did detract slightly). Every act had a purpose, and every joke hit its mark. They even managed to meet the criteria of a sustainable, high-quality, and high-impact show—proving that even trash can be turned into treasure. Absolute Trash may have been a celebration of garbage, but there was nothing second-hand about the talent on display. Photos by Creative Futures Photography

"A Chorus Line" is an electrifying production that transports you straight into the heart of a 1975 Broadway audition. Conceived and originally directed and choreographed by Michael Bennett, with music and lyrics by Marvin Hamlisch and Edward Kleban, and a book by James Kirkwood and Nicholas Dante, this show remains a timeless classic, and the On the Boards Theatre Company delivers it with flair and finesse. I'll begin this review by urging you to act fast and secure a ticket NOW before they close tonight. The theatre is spacious, much bigger than expected, and the audience should be at full capacity in my honest opinion. Synopsis: Set in the mid-70s, the story unfolds during an audition for a new Broadway show. Zach, the director, and his assistant Lori (portrayed by Mikaela Drewett), select 17 dancers from a sea of hopefuls. Zach must eventually narrow it down to just 8 individuals – four men and four women. However, before making his decision, he wants to delve deeper into their personal lives to gauge how well they can work together. The dancers, initially reticent, gradually open up through a series of songs, dances, and monologues that reveal their motivations and struggles. As auditions draw to a close, Zach faces the tough decision of choosing the members of his chorus line. Creative Team and Cast: Under the leadership of director Lyn Pelgrave, choreographer Sarah Cooper, and musical director Robert Clarke, the creative team has put together a performance that is not only impeccably executed but also profoundly moving. The remarkable cast, a mix of seasoned performers and promising newcomers, is brilliantly selected by director Lyn Pelgrave. Many of them are studying musical theatre or are graduates, with experience spanning from local stages to international performances, including the Disney company. Each performer must excel in dancing, singing, and acting, embodying the true essence of a triple threat. Fortunately, Brisbane is abundant with such versatile talent. Whether executing energetic dance sequences or powerful vocal solos, every cast member rises to the occasion. Their clear articulation in authentic American accents ensures that the audience follows every story clearly. While the cast's vocals are generally terrific, with the Australian accent occasionally peeking through, the overall musicality remains strong. The entire cast's dedication is clearly visible as they give their all throughout the performance. Despite the demanding nature of the show, which requires substantial endurance, they remain undeterred. Every scene is well-rehearsed and polished; and if there were any mishaps, they went unnoticed. "A Chorus Line" boasts a phenomenal score and book, cementing it as a no-skip soundtrack that should be embraced by more theatre companies, in my opinion. Despite its 1975 origins, this Tony Award-winning musical remains engaging and relevant with today's audiences. Performers: As the audience settles in, the stage buzzes with activity, mimicking the atmosphere of a Broadway dance call. The dancers, already in character, stretch and chat, giving the audience an immediate sense of their personas. The set features four movable mirrors and the distinctive line across the stage floor that becomes the focal point of the show. The costumes, inspired by the 1970s era, instantly transport the audience back in time, setting the stage for an evening of nostalgia and emotion. The show kicks off with the iconic "5, 6, 7, 8," and the original choreography, faithfully reproduced, instantly connects with any musical theatre aficionado. "I Hope I Get It" delivers a surge of excitement, concluding with the cast of 17 lining up in their characters' poses to reveal a glimpse of their personalities from the get-go. Doll Hunt's portrayal of Zach, the director orchestrating the auditions, is palpable. Even though he spends much of the show standing at the back of the theatre, his commanding presence is noticeable. His voice fills the space, prompting the cast to project their performances to the upper back of the audience. He guides the dancers through their paces and occasionally steps forward into the light to heighten the drama of key moments. Despite his physical separation, Hunt’s portrayal of Zach is intimate, revealing his deep understanding of dancers' aspirations and vulnerabilities.   The show's structure allows each performer a moment to shine, and the cast makes the most of these opportunities. Patrick Davis shines in the role of Mike, delivering the first solo "I Can Do That" with a burst of energy that sets a high bar for the rest of the show. His background as an actual Broadway-trained dancer is apparent in his flawless execution and charismatic stage presence. The trio of Sheila (Cassidy Newell), Maggie (Sophie Jamieson), and Bebe (Hannah McNamara) come together to deliver "At the Ballet" with beautiful harmonies and moving storytelling. Newell’s Sheila is magnetic, her flirty exterior masking a deeper vulnerability. Jamieson’s Maggie adds a delicate and enchanting vocal quality touch to the number, while McNamara’s Bebe anchors the trio with her powerful and controlled singing voice. This particular performance stands out due to its intricate choreography and ballet elements taking place upstage. Ruben Newlands as Bobby and Jeremy Adams as Richie are featured in the song "And...". As Bobby recounts his bizarre story, the other characters voice their inner anxieties, creating a humorous juxtaposition. Newlands' miming contributes to the comedy and showcases the exceptional acting talent present in this production. The married characters Al (Oscar Fisher) and Kristine (Anandi Jordan) bring a delightful interlude with their duet "Sing!" Jordan portrays Kristine with sweet charm, who humorously lacks singing abilities, while Fisher's supportive portrayal of Al creates an endearing dynamic.   Mark, portrayed by the impressive 14-year-old Liam Francis, kicks off the lively and nostalgic number "Hello Twelve, Hello Thirteen, Hello Love." This segment recounts the characters' teenage years with humour and relatable moments. Molly Hitson charmingly depicts Connie's struggles with her height, while Sienna Randall candidly portrays Diana's challenges with acting. Randall consistently stands out in her performances due to her exceptional voice, expressive use of facial expressions and physicality, and extensive dance training. Although I was not familiar with her solo "Nothing," it is a remarkable song that ironically demonstrates her acting abilities. In "Mother," Matilda Hodgen shines as Judy, skillfully incorporating comedic miming and delivering interspersed unhinged dialogue with a flawless American accent. Additionally, Casey Martin impresses in the role of Gregory, sharing a comically awkward moment from his adolescence. Martin embodies the qualities of a musical theatre star in a way that must be witnessed to be fully appreciated. Also featured in this segment, Jacob Keay as Don portrays the charming and charismatic character effortlessly.   Val, portrayed by Madelaine O'Hare, commands attention with ease as she monologues before her solo performance of “Dance: Ten; Looks: Three”. This stands out as a particularly memorable moment, combining humor and charm. It's definitely one of my favourite parts of the show, and if you're familiar with the lyrics, you'll understand why. Victoria Lancaster as Cassie performs "The Music and the Mirror" with grace and strength. Her dance solo, set amidst mirrors and adorned in a striking red dress, captivates both visually and emotionally. This solo showcases Lancaster's actual Broadway training, exuding confidence and expression through her physicality, clear vocals, and beautiful smile.   Paul, played by Harrison Leis, delivers a deeply emotional moment in the show with his raw and heartbreaking monologue about his past. Leis's ability to convey such a traumatic story with grace and sincerity, evoking tears from the character and revealing the compassionate side of the director to the audience.   While rehearsing the closing number, "One," the audience is treated to powerful unison vocals and precise synchronised movements for this iconic top hat routine. Additionally, the tap dancing in chorus heels is remarkably impressive, especially given their exhaustion at that point. As the director asks, "What do you do when you can no longer dance?" the characters are prompted to reflect on their reasons and passion for dancing. Ultimately, the group forms a cohesive bond, mirroring the genuine experiences of the cast, I believe. Sienna Randall leads us into the group number "What I Did for Love," which, in my opinion, stands as one of the greatest compositions in musical theatre. The ensemble's harmonies build up to a poignant and intense peak, showcasing musical director's remarkable skill in blending their vocals. In this number, the cast remains still, relying solely on their voices to express profound emotions.   The final transformation into the iconic gold costumes presents a dazzling display. The intricate choreography and relentless energy, particularly during the closing kick line, serve as a perfect conclusion to an extraordinary performance. The cast's ability to sustain their energy and smiles despite the demanding nature of the show is a true testament to the commitment and passion that epitomises "A Chorus Line." Technical Elements: Technically, the production excels. The microphones, with their reverberant quality, perfectly project to the back of the theatre, enhancing the performance's auditory experience. The backing tracks are produced with such high quality that they could be easily be mistaken for a live orchestra. Bryce Delaney's lighting design not only sets the mood but accentuates the emotional highs and lows of the characters' journeys. The deliberate positioning of spotlights to highlight specific characters, as perceived from the director's perspective, has a impactful effect, capturing the audience's focus and adding a dramatic flair. The modern and accessible-friendly amenities at The Star Theatre (Wynnum) guarantee a pleasant experience for all spectators. The ample seating and excellent sightlines enhance the viewing experience, ensuring that all attendees can fully enjoy the performance. It is important to remember that "A Chorus Line" was written in 1975, which means that some pop culture references may be difficult to understand. Despite the progress our society has made in terms of acceptance since then, the musical still serves as a tribute to the struggles and successes of past generations of performers. These historical stories emphasise the enduring relevance of pursuing one's passion despite obstacles from society. This staging of "A Chorus Line" goes beyond being a mere performance; it serves as a tribute to the thriving arts community in Brisbane. By featuring performers who have trained and worked internationally, it bridges the gap between local and global theatre, enriching the cultural landscape of our city. On the Boards Theatre Company has delivered a production that is both faithful to the original and refreshingly relevant. It’s a show that not only entertains but also touches the soul, reminding us of the beauty and pain inherent in the pursuit of our passions. Whether you’re a die-hard fan of musical theatre or a newcomer to the genre, this production should not be missed. It encapsulates the essence of what makes live theatre so special – the shared human experience, the connection between performer and audience, and the magic that happens when a group of dedicated individuals come together to create something extraordinary.

Ipswich Musical Theatre Company’s production of ' A Little Night Music'  is a stunning showcase of Stephen Sondheim’s complex musical brilliance. Performed at the intimate Old Courthouse in Ipswich from February 2nd to 15th, the production, with music and lyrics by Stephen Sondheim and book by Hugh Wheeler, is beautifully directed by Robert Shearer, with impeccable musical direction by Rhonda Davidson-Irwin. The result is a sumptuous evening of romance, intrigue, and musical mastery. The house is completely sold out—and for good reason. This Tony Award-winning musical, set in 1900 Sweden, masterfully weaves a tangled web of love and infidelity, centred around the alluring actress Desirée Armfeldt and the married men who vie for her affection: the conflicted Fredrik Egerman and the pompous Count Carl-Magnus Malcolm. With its witty exploration of human folly, Sondheim’s creation continues to feel fresh more than 50 years after its Broadway debut. From the outset, the small staging area of the Old Courthouse presents challenges, but the creative team has utilised the space well, even if some blocking feels a touch awkward. The set and props convincingly evoke the era, complemented by standout period-accurate costumes and wigs by Delma Odger. Seeing the 6-piece orchestra up front and centre adds to the charm without detracting from the performance. Speaking of the orchestra, the music direction is truly spectacular. Sondheim's complex score is notoriously difficult, yet this ensemble of talented string musicians and pianist Ethan Coleman performs it beautifully, with conductor Rhonda Davidson-Irwin occasionally picking up her flute to join them. The Liebeslieder Singers are a highlight, embodying their roles with operatic elegance and providing a harmonious thread throughout the show. Particular standouts include David Hibbard and Anita Parakh-Morgan, whose voices shine in every number. The main cast provides some truly memorable performances. Michael Brandon Lewis excels as the commanding yet oddly endearing Count Carl-Magnus Malcolm. His stern demeanour, magnetic presence, and polished vocals are wonderful to witness. Opposite him, Kellie Wilson as Countess Charlotte Malcolm captivates with her sharp wit and strong delivery. Her depiction of a woman fully aware of her husband's infidelities yet resolute in preserving her dignity is both poignant and amusing. Mikayla Barratt as Anne Egerman, the young bride of Fredrik, is simply lovely. Her sweet, youthful voice and charming presence make Anne’s naivety endearing, though her faltering accent occasionally distracts. Bailey O'Mara brings passionate energy to Henrik Egerman, the tormented young man grappling with unrequited love and existential angst. His moments of rage are compelling and powerful. Michael Lawrence embodies Fredrik Egerman with the right mix of gravitas and sensitivity. His renditions of the solo “Now” and the duet “You Must Meet My Wife” alongside Fiona Kennedy as Desirée are handled deftly, thanks in part to the music director's noticeable guidance (understandable given the complexity of the score). However, it is his duet with the Count, “It Would Have Been Wonderful,” that truly stands out, echoing Sondheim’s other playful male duets like “Agony” from ' Into the Woods' . Regan Flor delivers a remarkable performance as Madame Armfeldt, with her solo "Liaisons" being an exceptional success. Despite joining the cast late, she delivers a powerful and stoic performance, executing every line with deadpan brilliance. Elizabeth Masu portrays Petra with vibrancy and energy. Her solo “The Miller’s Son” is a showstopper in Act Two, delivered with all the nuanced shifts Sondheim demands. She beautifully captures Petra’s dreams and resigned acceptance of her probable future. Bethanie Walsh captivates as Fredrika Armfeldt, Desirée's daughter, infusing the role with innocence, sweetness and poise. It's unfortunate that her character lacks more vocal opportunities, since I know Bethanie's voice is stunning. Fiona Kennedy as leading lady Desirée Armfeldt is captivating. She fully embodies the role with a perfect blend of drama, humour, and vulnerability. Her rendition of “Send in the Clowns” is heart-wrenching, sung with raw emotion and real tears in her eyes. The group numbers are exceptional, particularly the Act One closing “A Weekend in the Country,” which feels like a scene straight out of Bridgerton  but with music. The Act Two opener, "The Sun Won't Set," is aptly titled as the household continues with their duties, narrating the comedic chaos caused by all the ongoing affairs. They wish for the day to conclude, but since it's summer in Sweden, it just won't end. The lush harmonies and intricate melodies are executed with precision and grandeur. Another standout is “Every Day a Little Death,” a heartbreaking duet between Charlotte and Anne that perfectly captures the despair and disillusionment of their roles as wives. The scene transitions appeared unrehearsed, and the stagehands seemed unsure about handling the multiple curtains. But I did attend their opening performance, so hopefully, these issues have been refined for a shorter run time since then. Nevertheless, ' A Little Night Music' is a triumph for Ipswich Musical Theatre Company. The cast adeptly handles Sondheim's complex lyrics and melodies, offering a memorable performance. The inclusion of proper tea at intermission adds a delightful touch, making the entire experience feel wonderfully refined. This production is a testament to the enduring brilliance of Sondheim’s work and the immense talent of the Ipswich theatre community. If you’re lucky enough to snag a ticket, prepare for a performance filled with romance, wit, and exquisite music.

Presented by Mira Ball Productions Conceived by Salad Bowl Collective Produced and Directed by Elodie Boal and Trent Sellars Mira Ball Productions welcomed audiences into a mischievous world where renowned villains from theatre and cinema competed for the title of ultimate evildoer. In this Halloween-themed cabaret filled with unexpected musical twists, the villains got to shine as they've never shone before, merging familiar tunes with imaginative character interpretations in this irresistibly interactive cabaret.   With the lively Beetlejuice as the evening’s ghoulish host, the entire cast delivered universally strong performances, each actor bringing their own flair to their role. It was that clear they all relished the chance to explore these iconic characters. The audience’s enthusiasm was equally high, particularly during the interactive moments. As we entered the theatre, we were each bestowed with a glow stick, our beacon of willingness to be approached by the villains. It added a sprinkle of extra fun to the mix, and those in the front rows were treated to more up-close antics.   From the get-go, it was clear this production team put great effort into transforming iconic songs with clever lyrical changes tailored to each character's backstory and traits. Each villain’s performance displayed excellent musical direction by Georgia and Matt Leigh, and the choreography by Jennifer B Ashley balanced grandeur and campiness to make every movement entertaining.   Beetlejuice (Peter Wood) summoned this cast of notorious characters from beyond the grave to strut their sinister stuff. Leading the group in a rendition of 'Be Prepared' . Wood’s portrayal of the eccentric host was so convincing that they were unrecognisable—nailing the accent and exuding captivating charisma that set the perfect tone for the night.  It wasn't until later that night, when I checked the program, that I realised it was them! BJ's constant, witty exchanges with the audience kept the energy high, creating an atmosphere where viewers were invited to be a part of the action rather than mere spectators. The real-time voting system, which determined a unique "winner" for each performance, introduced an exciting element of suspense and diversity to the evening. As we moved through the “Awakening” and “Battle” acts, the show maintained a dynamic pace, giving each character their spotlight and steadily leading up to the final showdown. The creative team combined storytelling, music, and comedy to maintain a flow that kept the audience engaged without losing momentum in the majority of the performances.   Highlights from Act 1: Bonnie and Clyde  (Lauren Bensted and Sam Caruana) took the audience on a wild ride in ' The World Will Remember Us.' Their act was a whirlwind of flirtation and ferocity, featuring some epic dance moves and vocal chemistry. Wednesday Addams  (Gabby Ayoub) made a striking impression with her zombie-like delivery of ' Pulled' , capturing the character’s deadpan, dark humour flawlessly. She delivered an outstanding vocal performance, standing out among the many talented singers of the night. Captain Hook (Jaya Fisher-Smith) mesmerised the crowd with a lively performance of the ' Hook’s Waltz ', capturing both the pirate's allure and wickedness.  I couldn't stop laughing and clapping - their portrayal stood out as my top choice of the night! Thanks to their humour, vocal skill, accent, and the fact that they had to hold that hook the entire time. Bravo, Hook! The Mad Hatter  (Cameron Grimmett) delivered a compelling ' I Will Prevail'  from Wonderland,  a perfect fit for the character’s theatricality. Their whimsical costume and belting out powerful notes made for a wonderfully chaotic presence on stage; not to mention their habit of flinging teabags at everyone in sight. The Sanderson Sisters  (Kelsey Todd, Kennedy Foley, Samantha Sherrin) performed a harmoniously haunting yet playful remix of ' Come Little Children',  instantly transporting the audience to the mystical world of Hocus Pocus. A crowd favourite, these three performers were adorned in fabulously elaborate costumes and wigs and had the audience howling with laughter thanks to their impeccable comedic chemistry. King George III  (Beau Wykes) absolutely slayed the audience with their rendition of ' You’ll Be Back' , a Hamilton  performance that was fit for a king - both regal and downright hilarious. Cruella De Vil  (Antoinette James) commanded the stage with an edgy, modern version of 'Cruella De Vil,' accompanied by Sam and Jaya as her dancing “puppies”. Singing this version by Whitney Avalon must have been challenging, but she absolutely nailed it! Regina George  (Amelie Clark), another standout vocal display, brought a scathing rendition of ' World Burn', embodying the character's mean-girl allure and fierce attitude quite effectively. Mother Gothel  (Meg Kiddle) really took the character's obsession to a whole new level in her rendition of ' Mother Knows Best' . She hilariously fixated on Regina George's golden locks and teased her for her for being daft. Mrs Wormwood  (Madeleine Ford) brought down the house with ' Loud',  her vibrant energy and spot-on accent totally nailing Matilda’s notorious stage mom.   As Act 2 opened, the villains mingled with the audience in character, giving the voters a chance to experience the characters up close. The numbers in this act showcased more competitive flair, with characters squaring off to prove their villainy, with creative interpretations of familiar songs.   Highlights from Act 2: Mother Gothel, Gaston and Regina George  faced off in a “ego battle” where Gothel performed ' Evil Like Me' , Regina took on ' Bop to the Top',  and Gaston (Toby Redwood) humorously tackled ' Popular'  from Wicked,  a hilarious twist that saw Gaston parodying Glinda with exaggerated flair. Captain Hook dazzled the audience with his unexpected rendition of ' You’re a Mean One, Mr. Hook ', complete with a saucy striptease that revealed gold underwear, fishnets, and heels, causing the crowd to burst into fits of laughter and cheers. Wednesday Addams  delivered a brooding take on ' That’s Your Funeral', aimed at Beetlejuice as she and the Hatter restrained him, adopting Oliver Twist’s morbid wit as her own. The Sanderson Sisters  pulled off an outstanding parody of ' The Schuyler Sisters'  from Hamilton,  demonstrating impressive vocal synchronisation and stamina. Mrs Wormwood  brought a dazzling touch with her remix of ' Diamonds', aka 'Bubbles' while the Sanderson sisters enjoyed themselves with bubble machines. King George III  sent shockwaves with a daring rendition of ' Sweet Transvestite',  channelling Frank-N-Furter in a way only this monarch could. Cruella  took centre stage with ' See My Vest',  a cleverly wicked parody of ' Be Our Guest',  featuring the ensemble dressed in different outfits to match the lyrics, making it the most memorable group performance of the evening.   Each character retained their unique identity while seamlessly playing off one another, creating interactions that were as engaging as they were unexpected. The ensemble numbers, like ' Hell Block Tango'  and ' Master of the House',  showcased the cast’s versatility and cohesive energy. The clever lyric modifications tailored to each character gave the audience a fresh lens on these familiar figures, reinterpreting their motives with humour and insight. To cap off the evening, Mrs Wormwood (Madeleine Ford) emerged victorious in the audience-voted competition. She led the company in a version of ' Thriller'  for the finale. Her presence was electric, and her comic characterisation made her a deserving winner. The production team deserves immense credit for transforming the space into an immersive, villainous lair. The costumes, designed by Jackie Fredericksen, and the makeup and hair by Rosie Humphreys were outstanding. The costume creations were a visual treat, from the whimsical to the eerie, each character was dressed in a way that honoured their original persona while draping them in cobwebs. Rosie Humphreys’ makeup and hair design added the finishing touches, giving each villain an air of authenticity that made them truly come alive, particularly Beetlejuice, Mad Matter, Cruella, King George and the Sanderson sisters. Sound designers Mal Boal and Kym Brown, technical designer Jono Harrison, and lighting designer Tony Kerr further enriched the experience with eerie soundscapes, spooky lighting effects, and just the right amount of jump-scares to keep everyone on their toes. A Night with the Villains  offered audiences a rare opportunity to step into the twisted, entertaining, and oddly insightful minds of the most iconic villains. It was a feast for the eyes, ears, and funny bone—a Halloween experience that was both a treat and a thrill! This performance is likely to become a seasonal favourite among Brisbane audiences, celebrating the wicked, the witty, and the wonderfully villainous!

AI May (愛.能) , a captivating new show by Embodi Theatre, delves into themes of grief, love, and artificial intelligence. Written and directed by Amy Chien-Yu Wang, this bilingual production transcends cultural barriers and invites audiences on a heartfelt journey of loss and healing in a world where technology is rapidly evolving, but human emotions — especially grief — remain as complex as ever. Set in the not-so-distant future of Brisbane in 2035, AI May follows Mrs. Jasmine Chen as she navigates the unimaginable grief of losing her 21-year-old daughter, May Chen. The play opens with the tragic event that claims May's life, plunging Mrs. Chen into a world of solitude, uncertainty, and anguish. As she attempts to cope, she is gifted an AI robot that resembles May—'a humanoid grieving companion' designed by May's engineer boyfriend, Jeremy. As the lines between reality and AI begin to blur, we confront the ethical dilemmas posed by this evolving technology in our lives. Can a machine truly replicate human affection? Is it possible to artificially manufacture emotion? Wang's writing beautifully weaves together the personal struggles of the characters with these overarching societal themes. The five characters are richly developed, each embodying the diverse experiences within the Asian migrant community. Clarise Ooi shines in her dual role as May and AI May. As human May, she portrays a conflicted young woman torn between her mother’s traditional values and her own aspirations and desire for independence. In her portrayal as AI May, Clarise Ooi achieves an almost eerie precision in her robotic movements. The emotionless, yet oddly sweet, voice brings to mind Baymax from Big Hero 6 or Janet from The Good Place . Her presence on stage feels both familiar and unsettling—she looks like May, speaks like her, but there’s an uncanny hollowness to her that sharply contrasts with the lively human May depicted in flashbacks and recordings. Even in playful moments, like when AI May attempts to smile or slouch at Mrs. Chen's request, Clarise remains in character without fail. Her ability to seamlessly transition between the dual personas - May's defiant nature and AI May's empty artificiality - is a testament to her versatility and is a marvel to watch. Anna Yen brings an impactful performance as Mrs. Jasmine Chen, a stoic widow grappling with her remorse, her identity, and her purpose in the wake of her daughter's passing. Her sorrow is palpable through every movement—from tearing apart the death certificate to tenderly holding her daughter's possessions, to carrying her weariness in her stride. A particularly poignant moment has Mrs. Chen enveloping herself in May's bedsheet—almost suffocating herself—to symbolise both her overwhelming sorrow and the immense expectations she had imposed on her daughter. Throughout the play, Anna remains on stage, often crumpling to the floor in despair while the rest of the play (and life) continues on around her. Even amidst her grief, Mrs. Chen’s exasperation with modern technology spark moments of humour, including AI brooches that monitor your health 24/7 and frustrating interactions with virtual assistants after asking them a simple question. Justin Ryan adds complexity to the narrative as Jeremy, May's love interest and the robotics engineer who designs AI May. His motivations, at first, seem purely altruistic—wanting to help Mrs. Chen cope by providing her with a version of May she can talk to. However, as the play progresses, it becomes clear that Jeremy, too, is trapped in his own grief. His dependence on technology to "fix" problems reflects Mrs. Chen's desperate attempts to retain authority over her daughter's very existence. Meanwhile, KeZhen Yi infuses the supporting roles of Mrs. Lin and Dr. Tung with delightful energy, offering much-appreciated comic relief. Her performance as Mrs. Lin prompts deeper reflection on the importance of mental health discussions. On the other hand, Dr. Tung's arc underscores the challenges (and opportunities) that arise with technological advancements, obsolescence, and adjustment.   The writing of AI May is terrific in its ability to bounce between humour and heartache, which keeps everyone deeply captivated throughout the show. Even Mrs. Chen delivers dry humour that lands well through her blunt remarks and no-nonsense attitude, particularly in her exchanges with the automated government departments. Through a series of flashbacks, we also witness how Mrs. Chen's overbearing nature affected her relationship with May. Their story beautifully captures the tension that can exist between a mother's well-intentioned guidance and a daughter's yearning for independence. Throughout the production, we see the struggle within Mrs. Chen as she navigates her traditional upbringing while trying to understand the modern Australian world that May inhabits.   Despite some tech issues early on in the performance, the cast handled the situation with such professionalism that it never broke the atmosphere. In fact, it seemed to bring everyone closer together, with the audience rooting for the cast's smooth recovery on opening night. The real-time Mandarin and English surtitles projected on the back wall kept everyone engaged and helped bridge any language gaps. Plus, the lack of an the interval was a smart decision, as it maintained the momentum of the story. The stage design is an eye-catching fusion of futuristic elements and minimalist style. You'll see some interactive projections showcasing videos of memories connected to May, beautifully merging the physical and digital realms. Every scene flows effortlessly with carefully crafted sound and lighting changes, keeping the emotional journey of the play alive. The angled, expansive stage design allows for fluid movement for the actors. The engineer’s pod, where Jeremy creates AI May, serves as both a technological hub and a metaphor for his isolation and disconnection. Plus, the use of augmented reality (AR) glasses and voice-activated systems immerses the audience in a near-future scenario that is both plausible and darkly comedic. In our tech-driven society, AI May invites us to take a step back and appreciate the importance of human and emotional connection. It compels us to think about our own relationships and the ways in which we cope with loss. The play raises a thought-provoking question: if we could recreate the likeness of a loved one in the future, is it ethical or emotionally healthy to do so?   Running at PIP Theatre from October 17 - 27, AI May (愛.能) stands as a powerful testament to the art of storytelling, resonating deeply with anyone who has ever loved and lost. For tickets and further details, visit piptheatre.org/ai-may

Title: The Nutcracker Presented By: Brisbane City Youth Ballet (BCYB) Genre: Ballet / Youth Dance Production Synopsis: Step into a world of festive enchantment with Brisbane City Youth Ballet’s beloved annual production of The Nutcracker! BCYB invites dancers aged 7 and up from across Australia and New Zealand to audition for this magical Christmas Season event. Audition Date: Sunday, 20 July 2025 Audition Location and Address: BCYB Studios, Millway Street, Kedron Audition Self-Tape Due (if applicable): Friday, 18 July 2025 Audition Requirements: Open to dancers aged 7+ Dancers can audition in person or via video submission. Audition registration required via the link below Available Roles: Casting will be based on age and experience level, and placement will be made into the Petite, Junior, or Main Company Audition Registration: Click here to Register Performance Dates: 19 – 21 December 2025 Performance Location: Brisbane Powerhouse, New Farm Rehearsal Dates: Main Company: 13 – 21 December 2025 Junior Company: 14 – 21 December 2025 Petite Company: 15 – 21 December 2025 Rehearsal Times: Full-time attendance required. Rehearsals held at BCYB Studios, Kedron Required Age: Dancers aged 7+ Production Website: https://www.bcyb.com.au Other information: Fees (inc. GST): Main Company: $1100 Junior Company: $990 Petite Company: $550 A 50% non-refundable deposit is due by 28 July 2025, with the balance due by 25 August 2025 Compulsory Media Fee: $176 per family Additional external costs include shoes, undergarments, makeup, show tickets, programs, and merchandise Dancers auditioning for both The Nutcracker and Cinderella (Main Company) will receive a 15% discount on combined company fees if accepted into both seasons

Title: Cinderella Presented By: Brisbane City Youth Ballet (BCYB) Genre: Ballet / Youth Dance Production About: Be part of the magic with Brisbane City Youth Ballet’s 2026 Summer Season production of Cinderella! BCYB invites passionate dancers aged 7 and over from across Australia and New Zealand to audition for this enchanting classical ballet production. Dancers accepted into the Company will rehearse with elite instructors, culminating in a series of professional-level performances at the Conservatorium Theatre, South Bank. Audition Date: Sunday, 20 July 2025 Audition Location and Address: BCYB Studios, Millway Street, Kedron Audition Self-Tape Due (if applicable): Friday, 18 July 2025 Audition Requirements: Open to dancers aged 7+ Dancers may audition in person or submit a video audition. Audition once to be considered for both the Christmas and Summer Seasons, and receive a 15% discount on combined fees if accepted into the Main Company for both productions. Roles will be allocated upon successful casting in Petite, Junior, or Main Company levels. Audition Registration: Click here to Register Performance Dates: Thursday 22 January – Saturday 24 January 2026 Performance Location: Conservatorium Theatre, South Bank Rehearsal Dates: Main Company: 12 – 24 January 2026 Junior Company: 15 – 24 January 2026 Petite Company: 18 – 24 January 2026 Rehearsal Times: Full-time attendance required once accepted. Rehearsals held at BCYB Studios, Millway Street, Kedron Required Age: Dancers aged 7+ Production Website: https://bcyb.com.au Other information: Dancers accepted into both The Nutcracker and Cinderella (Main Company only) receive a 15% discount Fees (inc. GST): Main Company: $1880 Junior Company: $1550 Petite Company: $880 A 50% non-refundable deposit is due by 24 August 2025, with the remaining balance due by 26 October 2025 Compulsory Media Fee: $176 per family Uniform & external costs (e.g., shoes, makeup, merchandise, tickets) are additional

Title: Shakespeare in Love Presented By: Introspect Theatre Company Genre: Romantic Comedy / Play Synopsis: “Shakespeare in Love” is a romantic comedy adapted for the stage by Lee Hall, based on the Oscar-winning screenplay by Marc Norman and Tom Stoppard. Set in Elizabethan England, the play follows a young and creatively blocked William Shakespeare as he struggles to write his next masterpiece. When he meets Viola de Lesseps, a spirited noblewoman who dreams of acting, their ensuing romance and artistic collaboration breathe life into what will become one of his greatest works: Romeo and Juliet. Viola disguises herself as a man to audition for the play, leading to mistaken identities, theatrical chaos, and the ultimate triumph of love and creativity. Audition Date: Sunday 18 May, 2025 Audition Location and Address: Northpine Christian College – Drama Room, 29 Hughes Rd E, Dakabin QLD 4503 Audition Registration: Register Here Audition Pack: View the Audition Information Pack Available Roles: William Shakespeare – Witty, imaginative, self-doubting playwright. Viola de Lesseps – Bold, passionate noblewoman with a love for the stage. Philip Henslowe – Savvy theatre owner and reluctant financier. Noble/Patron – Adaptable role representing aristocratic influence. Ensemble & Supporting Roles – Actors, stagehands, and more, essential to building the Elizabethan world. Performance Dates: Saturday 11 October 2025 Sunday 12 October 2025 Saturday 18 October 2025 Sunday 19 October 2025 Rehearsal Dates: First Rehearsal: Wednesday 4 June 2025 (First read-through & introductions) Regular Rehearsals: Wednesdays and Sundays Additional Tuesdays commence from Tuesday 2 September 2025 Production Website: https://www.introspecttheatreco.com.au Other information: Media Day will be held on Sunday 20 September 2025 for photoshoots and promotional content. Full tech run-through with costume, lighting, and props will be held on Tuesday 23 September 2025.

Legally Blonde The Musical Jr.  – Second Star Youth Theatre Directed and Musical Directed by Lauren McNamara | Choreography by Isabella Maric   Second Star Youth Theatre may be new on the scene, but they’ve already made a bright and bold impression with their second ever production, Legally Blonde The Musical Jr.  A clear favourite for youth theatres this year, this 60-minute version of Legally Blonde  is a vibrant, high-energy show packed with challenging vocals, quick changes, and some deceptively tough choreography — and this young cast rose to the occasion with flair and a whole lot of heart.   Taking on the iconic role of Elle Woods was Ava Keller, who brought natural charm, clear and confident delivery, and solid vocals that carried her through the demanding score. Ava had all the makings of a leading lady and handled the role’s emotional and comedic beats with poise, though a little more visible heartbreak in her solo " Legally Blonde"  would’ve taken it to the next level.   Harry Zappert was so likeable as Warner that it almost made me forget I was supposed to root against him—quite the achievement! His voice sparkled in " Serious" , capturing the character's brutal honesty with a beautiful tone. Meanwhile, Emma Lindsay made a wonderfully preppy Vivienne, and when her moment came to belt it out, she did so with a powerful, showstopping voice that earned her a well-deserved moment in the spotlight.   Ainslie Orcullo Ryan brought hilarious sass and heart to Paulette, with a crowd-favourite rendition of " Ireland"  that had the audience giggling and cheering. Sacha Fleming, as Kyle, delivered a performance full of swagger and comic timing — exactly what the role demands. The " Bend and Snap"  number, featuring the whole salon crew, looked like such a fun scene to be part of and was executed with energy and confidence. Harry Morgan as Emmett continues to prove himself as one of the standout young male performers around. He brought a genuine, grounded presence to the stage, matched with confident vocals and strong acting choices for his solo "Chip on My Shoulder." Ben Waller also surprised as Callahan, with a commanding performance that brought the necessary intensity and slickness to the authoritative role.   Portia Taggart had a huge task ahead of her as fitness queen Brooke, with " Whipped Into Shape" demanding cardio, vocals and skipping rope choreography all at once — and she handled it well. Indi Siepen, Mackenzie Knyvett, and Chloe Coleman as Serena, Margot and Pilar brought bubbly charisma to the Delta Nu trio, while Mia Morrison nailed the courtroom comedy as Chutney. Special mention goes to the dog toy version of Bruiser — a hilarious touch! Choreography by Isabella Maric stood out particularly in " What You Want"  and " So Much Better" , which were slick, energetic, and visually dynamic. The ensemble as a whole maintained stamina impressively across the show’s many fast-paced scenes and songs. The clever use of screen projections helped to establish the many different locations quickly and smoothly, an effective tool for a one-act production like this. Costuming was bright, character-appropriate, and most importantly, looked comfortable for the performers. The cast also tackled their American accents with impressive consistency — no easy feat for young Aussie actors! While the microphones did begin to misbehave during the finale " Find My Way" , and had some balance issues against the backing tracks, the performers remained clear and audible — a testament to their excellent vocal projection and professionalism.   Director and MD Lauren McNamara deserves major kudos for pulling this production together in under a week — an unbelievable effort that paid off in spades. It’s no small challenge to get a youth cast whipped into shape in such a short time, and yet this show still sparkled with personality. The finale wrapped up the story in a joyful burst of energy, sending the audience out on a high. Legally Blonde Jr.  by Second Star Youth Theatre was a confident, high-energy showcase of emerging talent. With a fun, fast-paced script and so many standout performances, it’s clear that Second Star is a group to watch. Their future is looking so much better  with productions like this under their belt!

Jekyll & Hyde – The Musical Presented By:  Swich Up Productions Venue:  Ipswich Civic Centre There’s such a fine line... between genius and madness, light and darkness, love and destruction. And Swich Up Productions walks it masterfully. In a thrilling pivot from their previous comedy triumph The Drowsy Chaperone , Swich Up Productions dares to plunge into the chilling depths of gothic horror with Jekyll & Hyde – The Musical . Presented at the Ipswich Civic Centre, this gripping and visually arresting production pulls you into its twisted Victorian world and refuses to let go until its final, gasping breath. And what a breathless ride it is. Originally scheduled for March 2025, the production faced postponement due to Tropical Cyclone Albert—but it returns to the stage with unshakable strength and stunning theatricality. From the first haunting chord to the final, devastating scene, this is a highly professional production. It's hard to believe it’s only running for one weekend. With a powerhouse cast, a thunderous, tight-knit orchestra, and clever design elements, Jekyll & Hyde  marks a bold new direction for this emerging company—and it absolutely pays off. Based on Robert Louis Stevenson’s classic novella, the musical follows the idealistic Dr. Henry Jekyll as he experiments with a formula designed to separate good and evil within the human soul. But when he unleashes his violent alter ego, Edward Hyde, the consequences ripple outward—endangering not only himself, but also those closest to him, including his devoted fiancée Emma, his loyal friend John, and the vulnerable yet strong-willed Lucy.   The Monster Within At the centre of it all, Matt Leigh delivers a jaw-dropping performance as Dr. Henry Jekyll and his sinister alter ego, Edward Hyde. He has this magnetic control over the audience. As Jekyll, he balances polished power with raw vulnerability, making every word resonate. From the opening ballads, " Lost in the Darkness"  and " I Need to Know" , Matt Leigh's vocal tone is pure silk to the ears—crystal-clear, tender, and laced with emotion as Jekyll begins his descent into obsession. But it’s in the showstopping numbers that Matt completely blows the roof off the Civic Centre. By the time we hit " This is the Moment" , Matt has the audience in the palm of his hand. That moment—already one of the greatest musical theatre anthems in my opinion—was everything I hoped for and more. With the orchestra soaring behind him and those incredible key changes, it was a pure rush of energy. I thought I might levitate right out of my seat. And then… comes Hyde. With just the tilt of his head and the curl of a cruel smirk, Matt morphs into Hyde with bone-chilling intensity. In " Transformation" , his physicality shifts completely—more animal than man—and his voice plunges to a guttural growl. It’s so distinct, so sudden, it’s hard to believe it’s the same actor. In " Alive ", as he explores the underground and dangerous world of London, there’s this moment—head bowed, eyes glowing white in the stage light—where he looks out at the audience (a rarity for Hyde) and sends a wave of unease rippling through the room. It’s spine-tingling. His Hyde is magnetic and monstrous, filled with manic glee and unpredictable menace. This is masterful work, elevating the entire production and anchoring the gothic chaos with terrifying brilliance. In the Act One finale, I honestly thought Matt was about to set Anthony O'Donnell ablaze. The violence is immediate and intense. And the way he wields Hyde's cane—it’s not just an accessory, it’s an extension of his madness. While I know it’s controlled for the safety of the actors, it still feels dangerously real. In " Confrontation" , Matt switches between Jekyll and Hyde with blistering speed and unnerving clarity. And the lighting crew were fighting for their lives out there! Meanwhile, the ensemble’s eerie choral harmonies and hissing sound effects lingered underneath. Matt stands alone in a one-man battleground, physically and vocally pushing himself to the limit. It’s epic, unsettling, and utterly gripping from start to finish. The Women of Jekyll & Hyde Playing opposite Matt Leigh’s towering performance are Nykita O'Keeffe as Lucy and Samantha Sherrin as Emma, and both deliver standout performances in their own right. Nykita O'Keeffe’s portrayal of Lucy emerges as an unforgettable force on stage. She steps out in that figure-cutting corset and belts " Bring on the Men"  like it’s nobody’s business, oozing fierce confidence and sass with a wink and a hip-pop. From the get-go, she owns the stage with this sultry, fiery presence—but it’s what she does beyond that bold entrance that makes her performance so remarkable, creating a Lucy that is multifaceted and heartbreakingly human. "Someone Like You"  (no, not the Adele song—although she'd give her a run for her money) is a masterclass in storytelling through song. Every lyric lands like a confession. Her voice is soaked in longing, and then she lets rip with this jaw-dropping belt that could probably be heard from outer space. In " A New Life ", O'Keeffe plunges us into profound emotional depths that are nearly unbearable to witness due to their futile optimism. In "Dangerous Game," Lucy's seductive, yet ultimately tragic, allure is depicted in a perilous dance with the devil. Nykita just keeps getting better and better. I dare say—her voice is flawless, her delivery impeccable, and her emotional depth unmatched. She doesn’t merely sing her songs; she inhabits them. And we feel every moment of it. Samantha Sherrin is equally glorious in the role of Emma Carew, Jekyll’s devoted and sophisticated fiancée. Radiant, poised, and quietly powerful. But don’t be fooled by the gentle soprano—this Emma has strength, and Sherrin does not let her fall into the trap of being a passive love interest. Her duet with Matt Leigh, " Take Me As I Am" , is a blend of soaring vocals and emotional truth. Their chemistry is beautiful, and their silhouetted shadows against the backdrop during this number? Unintentional and stunning. Sherrin’s voice is crystal clear and effortlessly floats above all else, but she’s also got a belt that sneaks up on you when the music calls for it. A particular highlight is her duet with Nykita O’Keeffe, " In His Eyes".  With the two women unaware of each other, positioned on opposite sides of the stage, they sing with such vulnerability and longing that the whole audience seems to lean in. Their voices weave together in this angelic harmony that’s just breathtaking. (Though I will say—and this isn’t on them—a full set change happening dead centre during the climax of the song kind of pulled me out of the moment... more on that later.) What I loved most about Sherrin’s Emma is that she never fades into the background. Even in the quieter moments, her presence is felt. She embodies the emotional heart of Jekyll’s world and brings such care and dignity to the role that by the time we reach her final scenes, you’re fully invested in her fate.   Standout Supporting Performances The supporting cast in this production is stacked with talent, each performer bringing great texture and nuance to their roles. And a special shout-out here: the accents throughout the show are wonderfully strong (a pet peeve of mine when they’re not consistent). I love that they aren’t just generically British but are divided by class too. Jekyll is extremely proper, while Lucy leans into a grittier Cockney. Cameron Rollo is magnetic as both the uptight Simon Stride and the sleazy, predatory Spider. His transformation between the two is wild; my guest didn’t even realise it was one actor. As Spider, he oozes this captivating menace, lurking around as the pimp of the The Red Rat . His vocal delivery drips with unsettling charm, and once you clock the Scar-from-The Lion King  voice… you cannot un-hear it. And honestly? It works perfectly. Leo Mylanos brings a grounded sincerity to John Utterson, Jekyll’s loyal friend and confidant. His presence is steady amidst the chaos, and he plays the role with restraint and quiet strength, offering a much-needed moral anchor for the audience. That said, there’s room to deepen the emotional arc—particularly in the later scenes. In moments like the lab confrontation, it’s crucial for us to sense Utterson's rising fear, worry, and desperation for his friend. Let us glimpse the cracks in that calm exterior. When the final tragedy unfolds, it is Utterson who must embody the consequences of Jeykll's actions and the weight of the devastation. Adrian Carr, doing double duty as Sir Danvers and set designer (and President of SUP, of course), offers a dignified Victorian presence. Simone Behrendorff as Lady Beaconsfield adds flair to every scene she appears in. The Red Rat ladies are another standout, particularly in " Dangerous Game" . Their stylised, involuntary movements create a deeply unsettling atmosphere—like they’re under some dark puppetry spell. The ensemble as a whole is a force. Vocally strong, choreographically sharp, and fully committed, they elevate every number they’re in. Aidan Cobb deserves a special shout-out for those soaringly clean tenor lines in the opening "Facade "—seriously impressive! Jennifer B. Ashley’s choreography makes excellent use of the ensemble and those lush Victorian costumes, especially in " Facade"  and " Murder, Murder" , which are both visually striking.   Atmosphere and Design This production doesn’t just set a scene—it drenches you in it. From the moment the lights plunge us into red, we’re transported straight into the grime of Victorian London, and it’s a feast for the senses. Adrian Carr’s set design is moody with dreary grey buildings, wrought-iron details, and chimney smoke that give the whole show a foggy, shadow-drenched aesthetic. Jason Bovaird’s lighting is a total knockout—cinematic and bold. Green floods signal Hyde’s monstrous arrival, stark spotlights isolate characters in their most vulnerable moments, and deep reds wash over scenes of chaos and violence. Jack Alfred Kelly’s use of projections in black and white keeps the focus sharp and helps to cleanly transition scenes without being overbearing. The visuals never overtake the story—they simply enhance it, slipping in and out like Hyde hiding in the fog. Costume design by Glenn Baylis is divine. From the lavish conservative ballgowns and finery to the sultry Red Rat attire, every piece feels period-accurate but stage-savvy. The textures and colours pop under the lighting, and accessories—like Spider’s fur coat and specs, or Jekyll’s transformation top hat and coat—add so much to the storytelling.   Sound and Music Under Julie Whiting’s baton, this orchestra is electrifying. From the first ominous notes to the heart-pounding ending, the musicians conjure a soundscape that’s cinematic and utterly immersive. It’s Les Mis  meets Phantom  with a splash of Sweeney Todd —and it works so well. Julie's musical direction ensures that the score doesn’t just accompany—it drives the show, building tension and release in all the right places. This is a production where the music is a character in its own right: expressive, relentless, and unforgettable. Vocally, this show is a monster (almost entirely sung-through), and Swich Up Productions rises to the challenge. The choral work is spine-tingling, with moments in “Alive,” “His Work and Nothing More,” and “Confrontation” that are so insanely rich. The ensemble is never just “there”—they’re narrators, shadows, and reflections of the themes unfolding in front of us.   Choreography and Direction Under the direction of Timothy Wynn, Jekyll & Hyde  finds its heart—not just in the spectacle, but in the stillness, the silences, and the simmering tension. Wynn clearly understands the gothic melodrama at the show’s core, but rather than leaning into caricature, he steers the production with emotional pacing that is deliberate and considered, allowing moments of reflection to breathe between the chaos and horror. There’s an excellent balance of scale and subtlety here—a sense that every choice, from blocking to lighting to a simple touch between characters, serves the story’s psychological depth. There’s constant interplay between order and disorder—between the pristine world of science and society and the decaying corners where Hyde lurks. The recurring use of the scrim, silhouettes, shadows, and cross-stage divides (especially in “In His Eyes” and “His Work and Nothing More” ) adds layers of visual poetry as multiple threads play out in tandem. Jennifer B. Ashley’s choreography elevates every group number. Sharp, stylised, and dripping with dramatic intent, her movement choices make full use of the cast and space. From the elegant partnering in the ballroom scene to the twisted, puppet-like movements of the Red Rat girls, each sequence is packed with storytelling. “Façade” sets the tone early with dynamic formations and crisp execution. “Murder, Murder” is practically a mini-musical of its own—intense, swift, and completely riveting. And I was so taken aback by the end pose of "Alive"  that I genuinely gasped and clutched my pearls like a true drama queen. Her choreographic choices won't please everyone, but to me they feel Victorian yet modern and polished yet primal. I found the direction and choreography worked in tandem well to serve the dualities at the heart of this story—order vs. chaos, light vs. dark.   Small Suggestions If I had one note—okay, two—it would be these: Scene Transitions – The cast and crew are impressively efficient with transitions, keeping the show moving well. However, some scene transitions interrupt key song moments, jumping the gun during climactic vocal phrases. Set pieces roll onstage, ensemble members position early, or the scrim comes down, pulling focus during songs like “In His Eyes” or “Someone Like You.” This momentarily breaks the spell. Trust the power of stillness—those final notes ring out. Shifting transitions to occur during our applause instead of mid-song would preserve these epic moments beautifully. Sound Balance – The orchestra is phenomenal, and the vocalists are powerhouse talents—and that’s exactly why the mix matters. At times, the volume from the pit overpowers the vocals or vice versa. Microphones sit just a tad too hot or aren't turned on, and some of the softer emotional beats are swallowed in the darkness (like the end of Façade ). These are small tweaks in an otherwise gorgeously crafted show—the kind of refinements that could lift this already thrilling production to even greater heights.   Final Thoughts Swich Up Productions has made a bold leap from the glitzy, meta-musical comedic success of The Drowsy Chaperone  into the bloodstained, gothic world of Jekyll & Hyde —and what a leap it is. It is a must-see for a dark and thrilling night at the theatre. And let’s not forget the real horror story here—not the split personalities or mad science experiments, but the stark truth that sometimes the scariest monster isn’t a creature of the night, but man himself. If you can get a ticket, grab it fast. The theatre was packed on the night I attended, and for good reason. Congratulations to the entire cast, crew, orchestra, and team for pulling off a professional, polished, and memorable production—made all the more meaningful for its triumphant comeback after the storm. Tickets available here

Charlotte’s Web Presented by PIP Theatre | Adapted by Joseph Robinette | Based on the book by E.B. White   Wilbur the pig is in danger of becoming someone’s dinner—until a clever and kind-hearted spider named Charlotte hatches a brilliant plan to save him. With the help of their barnyard friends and a few miraculous words spun into a web, the two forge an unlikely friendship that changes their world forever. From the moment audiences arrived, children were welcomed with pre-show activities like crafting and colouring—setting the tone for an imaginative and joyful experience. Inside, the set transported us straight to the farm, with a charming white picket fence, lush green grass, and of course, Charlotte’s iconic web. A clever rotating set transformed the barn into a vibrant carnival scene later on, with particularly beautiful artwork that brought the fair to life. The adult cast, specially chosen by PIP Theatre as their children's ensemble for the year, truly embodied the energy, playfulness, and heart required for a show like this. You could feel the dedication and joy radiating from every performer. Tayla Rankine was utterly adorable as Wilbur, the sweet, naïve piglet, bringing excellent physicality and expressive charm to the role. Ella Shegog’s Charlotte exuded grace and warmth, with her delicate black dress and spidery appendages making her both elegant and intriguing—a wise and whimsical guide on Wilbur’s journey. The remaining ensemble cast juggled multiple characters with high energy and quick changes, never missing a beat. Max Kingsbury brought big laughs as Templeton, the grumpy, food-obsessed rat—his larger-than-life performance added the perfect dash of chaos. Jack Barrett was particularly hilarious as the honking Gander, with exaggerated voice and physical comedy that had the kids (and adults...) cracking up. Ben Cole was delightfully posh as the Goose and Lucy Holt gave us plenty of sass and sparkle as the fabulous Sheep. Liam Hartley served as both our storybook-style narrator and the boisterous, bogan-esque Uncle Pig at the fair—earning plenty of chuckles. Hannah Herwin brought sincerity and sweetness as Fern, the animal-loving girl at the heart of the tale. The warm lighting and clever sound design helped create a fully immersive barnyard world, with thoughtful touches throughout—from the playful country accents to the magical reveal of Charlotte’s glittering web messages. “Some Pig,” “Terrific,” “Radiant,” and finally “Humble”—each word not only described Wilbur but perfectly captured Charlotte’s own spirit. While Charlotte’s Web  is famous for its bittersweet ending, Director Ava Moschetti handled it with sensitivity and care. The themes of loss, mortality, and compassion were presented in a way that respected young viewers’ emotional intelligence without ever becoming too heavy. At just 60 minutes, the show was the perfect length to keep children completely engaged, and the room was filled with laughter, wide eyes, and plenty of heartfelt reactions throughout. It’s one of those rare children’s shows that entertains while quietly planting seeds for deeper reflection. This was a clever and heartfelt production that honoured the original story while breathing fresh life into it for a new generation. I was very grateful to be invited—it reminded me just how special theatre can be when seen through the eyes of a child. A huge congratulations to PIP Theatre for choosing such a timeless story to launch their children's season. It was some  show indeed!

Dare to Dream Jr. – A Disney Musical Revue Presented by On the Boards Theatre Company Venue: The Old Museum, Brisbane   I’m writing this while sipping coffee from my Little Mermaid mug—the one that says “Follow Your Heart”—which feels very appropriate after seeing Dare to Dream Jr. , On the Boards Theatre Company’s Disney-filled celebration of dreams, courage, and childhood wonder.   Stepping into this revue felt like stepping right into Disneyland: colour, sparkle, music, and magic bursting from every corner of the stage. A perfect pick for the April school holidays, Dare to Dream Jr. was an uplifting celebration of imagination and determination, with a heartfelt message about chasing your dreams. For Disney lovers of all ages, this revue offered a vibrant showcase of favourite songs and a few surprises too. While the show leaned heavily into Disney-style clichés (truly enough to make a game out of spotting them all), that was part of the charm. Every earnest quote and heartfelt lyric were delivered with genuine conviction by the young cast, making even the cheesiest moments feel authentic and sweet.   Directed by Lyn Pelgrave, this 60-minute musical revue follows a group of enthusiastic Imagineering trainees on their first day at the Walt Disney Imagineering Studio. As they navigate self-discovery and creative collaboration, they explore the idea of dreams—how they inspire us, unite us, and keep us going even when things get tough.   The stage, populated by a huge and wonderfully diverse youth ensemble from Dance and Theatre Factory in Wynnum, was buzzing from the get-go. Colourful overalls, ribbons, and Minnie Mouse-inspired polka dots adorned the cast. The set was made up of bright, modular blocks that moved around the expansive Old Museum stage with ease, creating versatile and playful environments for the story to unfold.   Musical Director Robert Clark, Vocal Director Laine Loxlea-Danann, and Choreographers Ella Astle, Mel Nobes, and Poppy Nobes crafted a show that was tightly rehearsed and joyfully executed. The sound was beautifully balanced—clear mics, rich backing tracks, and vocals that carried perfectly throughout the space. Major kudos to the tech team for that flawless delivery.   Some musical highlights included cleverly arranged mashups such as “When You Wish Upon a Star”/ “A Dream Is a Wish Your Heart Makes” and “How Far I’ll Go”/ “Part of Your World.” These combinations not only gave the performers more depth to explore musically but also highlighted the thematic thread of self-discovery that ran through the entire revue. “Just Around the Riverbend" / "Out There” was breathtaking. Kaitlin Everitt and Aidan Boak absolutely nailed their solos, and the vocal harmonies gave me chills.   Felicity Rapson and Ben Rimes kicked things off with star quality, leading “A Dream Is a Wish” (the Disney Channel Circle of Stars version - Ahhh I love me some millennial nostalgia!) and “Be Our Guest.” It felt like watching a performance straight from a Disneyland stage show. Their confidence and charisma were magnetic, and their presence lit up every ensemble number they were part of.   Young soloists Azumi Masuda Kevans ( “How Far I’ll Go” ) and Willow Christer ( “Part of Your World” ) handled these challenging songs with grace and control. Watching the cast create an ocean with flowing fabric around them added a stunning visual touch, and the transition straight into “I Just Can’t Wait to Be King,” led by Yunmi Tan, was magical. It was like the sea itself had released a wave of tiny dancers onto the stage.   Other standout moments included: “Surface Pressure” led by the confident Matilda Bradshaw, paired with hip-hop choreography to highlight the emotional weight of feeling overwhelmed by expectations. A stripped-back, five-part harmony version of “Let It Go” led by Hayley Pope and her vocal group—this arrangement was absolutely killer . The harmonies were tight and beautifully blended, and the ribbon dancers swirling around them made the number feel like a snowstorm of talent. “Friend Like Me” was a huge showstopper featuring tap dancers, tumblers, and a wonderfully energetic lead performance by Eva Rose McMurray. She also shone in a sweet, sincere duet of “You’ve Got a Friend” with Kai Boak, bringing quieter emotional warmth to the show. “Try Everything” (from Zootopia ) was a prop lover’s paradise—hats and outfits galore! Reuben Newlands and Matilda Bradshaw brought the house down. Matilda’s follow-up solo “Go the Distance” was a vocal triumph. Alone in a spotlight, she delivered a performance that was mature, polished, and deeply moving. Group numbers like “Dig a Little Deeper” (led by Alina Gilmour) and “Hakuna Matata/Bare Necessities” delivered big energy and tight choreography. Felicity and Ben led the latter with their trademark positivity—I could absolutely see these two working at Disney parks one day. The tiniest cast members got their moment in “When I Am Older,” led again by Yunmi Tan and featuring the cutest tap dancers. One surprise hit was the nonsense medley — “Heigh Ho,” “Higitus Figitus,” “Trashin' the Camp,” “Bibbidi Bobbidi Boo,” and of course, the crown jewel: “Supercalifragilisticexpialidocious.” The final domino-line fall? Perfection! Rockettes, eat your heart out. And just when you thought your heart couldn’t take any more, “Remember Me” followed—complete with a Spanish verse and emotional harmonies from performers Molly Hitson, Maya Napthali, Violet Staff, Julieta Munoz, and Liam Francis. It was the kind of moment that made the entire audience pause, breathe, and feel.   Hats off to Lyn Pelgrave and the entire creative team for pulling together a production that felt polished yet playful, structured yet spontaneous. It’s no small feat to manage such a large group of young performers and deliver something that feels so cohesive and professional while keeping all the fun and joy alive. You could feel their excitement radiating from the stage—it was completely contagious. Many young audience members were singing along, and I had to bite my tongue not to join in too! What made this show even more special was how clearly visible every single cast member was—from the confident leads to the tiniest tap dancer—no one faded into the background—you could see every beaming face from any seat in the house.   Dare to Dream Jr. was everything you want from a Disney revue: uplifting, nostalgic, and heartwarming. It celebrated young talent, shared the spotlight generously, let audiences of all ages escape into a world of wonder, and reminded everyone watching that dreams, however cheesy they may seem, are always worth believing in. For this Disney-loving millennial, this show felt like stepping into my childhood. I might not have been on that stage, but a huge part of me wished I was. Bravo, On the Boards Theatre Company and the Dance and Theatre Factory. You made us believe in dreams all over again.