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During the September school holidays, Stage School Australia debuted its first production in Brisbane at the Draney Theatre, taking the audience on a magical adventure over the rainbow with The Wizard of Oz . The 60-minute adaptation of this timeless classic captivated the hearts of young and the young at heart, for the ideal family-friendly theatre experience. From the moment the show opened in stunning black and white, it was clear that this production was going to be something special. The shift to vibrant colour carried the audience to the Land of Oz, where the stage design—featuring high quality scenery, props, lighting, and projections, as well as bubbles, haze, and sparks—all combined to create visual delight. While the performances were absolutely amazing all around, I must highlight Keira Whyte's take on Dorothy—also sharing the role with Eden Vaka. Whyte's voice was just beautiful, soaring through every song and really conveying Dorothy's sweet nature, youthful naivety, and growing determination. Oliver Macready brought the loveable Toto to life, evolving him into a memorable and distinct character without speaking a single word. With his plush costume and knack for comedy, Macready transcended being merely a sidekick to embody a unique personality that is rarely seen in stage adaptations of this musical. Scarlett Small shone as Glinda, literally, with a divine costume and wig that complemented her twinkling voice and radiant smile. It was a stark contrast to Jess Kennedy-Fletcher's Wicked Witch, who was simply electrifying! With her dramatic flair and commanding presence, she had the audience hanging on her every word, expertly portraying the menace and theatricality that make the character so iconic. Meanwhile, Tiger Robinson demonstrated remarkable versatility as he flitted between multiple roles like a pro, particularly shining as the goofy Gatekeeper and the powerful Wizard. The Munchkins' children's ensemble, in their beautifully designed costumes, brought an adorable element of whimsy that elicited an 'aww' from the audience. The teen ensemble's comical portrayal as Munchkins shuffling around on their knees beneath voluminous skirts and capes created the illusion of the tiny characters, which had the audience chuckling! The ensemble returned multiple times to portray roles: as the Ozians dressed in vibrant green for "Merry Old Land of Oz", as the jitterbugs, as the flying monkeys, and as the Winkies, marching in sync for the rousing rendition of “Ding Dong!”   It was impressive to see such a large cast maintain high energy, especially during the exuberant “Jitterbug.” This song, with its intricate harmonies and high-speed choreography, is no walk in the park. Having tackled this challenging number myself, I can attest to its complexity, making their execution all the more impressive to me! The musicianship was equally commendable, with Lucy Ross’s direction resulting in outstanding vocals from the entire cast. Scott Matthews, playing the Tin Man, sang with a beautifully soothing voice, while Charlie Kelly-Mandalis’s Cowardly Lion radiated a larger-than-life presence and a touch of underlying sweetness. Jake Stubbs, in the role of the Scarecrow, impressed with his physicality and strong vocal performance. I especially loved the short reprise of “Somewhere Over the Rainbow” sung by Adison Mackinder as Aunt Em. It was a touching moment that reminded us of the beauty of family and home amidst the magical chaos of Oz. The overall production values were exceptional. The costume department deserves applause for the sheer effort involved in managing such a diverse array of outfits, especially considering the hot and heavy nature of the garments. The performance also did justice to the magical effects—witches disappearing in a puff of smoke or melting on stage, the dramatic tornado scene, the dazzling reveal of the ruby slippers. The standout elements in the set were the hot air balloon and the iconic mechanical talking wizard head, adding more marvel to the production. This one-hour version of The Wizard of Oz  moves swiftly, ensuring every minute is used effectively. Under the direction of Robert Coates, the production shines due to its energetic performances and fantastic choreography, led by Jacqui Green and Dance Director Rebecca Djapovic. Once again, Keira Whyte and Eden Vaka deserve special mention for their impressive endurance and vocal consistency as they hardly left the stage. Their ability to maintain high energy and character authenticity is a testament to their dedication and talent.   From start to finish, the young cast impressed me, staying in character no matter what despite the inevitable mishaps, which they handled like pros. This elaborate production, featuring numerous costume changes, moving set pieces, and special effects, was pulled off beautifully, particularly considering the cast’s short holiday rehearsal period. It’s a testament to Brisbane’s growing pool of talented young performers, all of whom were clearly having a great time, creating an equally enjoyable experience for the audience! Stage School Australia's production of The Wizard of Oz  was a heartwarming celebration of courage, friendship, and the magic of home, reminding us all why we fell in love with this story in the first place. It’s evident that the cast and crew poured their hearts into this production, and their hard work paid off splendidly. Bravo to Stage School Australia for a delightful debut in Brisbane.

Cirque Bon Bon , brought to you by the fabulous folks at JACS Innovating Entertainment during the Brisbane Festival, burst onto the scene at the Southbank Piazza like a glitter bomb! This wasn't just a circus; it was a kaleidoscope of colour, sound, and gravity-defying talent. Clarke McFarlane, a.k.a. Mario Queen of the Circus, was the host of the performance, impressing the audience with his juggling routine performed to the tune of “Another One Bites the Dust.” His charisma and impeccable sense of humour brought laughter to everyone present. The night kicked off with an ethereal act set to a slow version of Blondie’s “Heart of Glass", as aerial artist Tim Kriegler soared above the stage, executing incredible tricks and oversplits like it was nothing. I will say that the audio experience during the entire show was phenomenal. Every act added to the musical layers, forming a rich tapestry of sounds that immersed us further into the show. In their floor routine to "Diamonds," Duo Synergy , Emma Goh and Scott Lazarevich, demonstrated innovative, mind-blowing tricks that were unlike anything I’d seen before, all executed with such careful precision that the audience was collectively gasping in disbelief. The pair’s connection and immense strength made every move mesmerising, leaving me spellbound as they pushed the boundaries of both physicality and possibility. The upbeat, sparkly number “Sunglasses” added a fun, energetic flair from the quartet of dancers. Meanwhile, the contortionist Shannen Michaela wowed the crowd with her routine to a sultry version of Britney Spears' “Toxic." Her grand finale? Shooting a balloon with her feet using a bow and arrow while balancing upside down on her hands. Yes, you read that right. I can’t even balance my coffee cup sometimes. Alexandre Lane’s Cyr wheel act looked like such fun! I was genuinely worried he might spin straight off the stage and into the laps of the audience members in the front row. The Cyr wheel even lit up like a lightsaber, turning his act into a real-life circus disco! We were swept away by the beauty of Thomas Worrell on the aerial hoop during a dramatic rendition of “Sweet Dreams." His graceful movements were poetry in motion. Duo Synergy returned for a breathtaking partner dance to “At Last,” fusing contemporary and ballet in a way that can only be described as a masterpiece of artistry and emotion. A comedic interlude came when Clarke literally climbed through the audience searching for a "volunteer" to ride on his shoulders while he rode a unicycle around the stage. His antics had everyone in stitches, especially when he picked another good sport from the audience who ended up in a banana food fight during “Under Pressure.” The fun didn’t stop there—he led the crowd in a karaoke short rendition of “Bohemian Rhapsody." The lucky participant was having a beaut of a time, while the rest of us cheered him on enthusiastically! And as the show neared its conclusion, the audience delivered a group performance of “We Are the Champions,” lighting up the piazza with our phones and uniting everyone in a moment of pure joy. And just when I thought it couldn’t get any better, Emma and Scott rolled back onto the stage on roller skates for “Ain’t No Sunshine,” performing tricks that made my jaw drop and a remarkable split-second costume change. Cirque Bon Bon: Le Retour was a visual and auditory feast that brought the house down. Kudos to the talented ensemble, including host Clarke McFarlane, circus artists Alexandre Lane, Tim Kriegler, Shannen Michaela, Emma Goh, Scott Lazarevich, and Thomas Worrell, along with dancers Holly Soper, Jayden Grogan, Kurtis Holstein, and Tiara (Locke) McCool. This production was a testament to creativity, artistry, and pure fun. If you weren't there, don't worry - I'm sure the circus train will be back in town before you know it!

A Whodunit with a Side of Jazz Hands Curtains serves up a theatrical cocktail of murder, comedy, and musical charm, where the suspect list is as long as the chorus line and the detective is more interested in jazz hands than handcuffs. Performed at IONA Performing Arts Centre, Savoyards Musical Comedy Society brings to life the behind-the-scenes chaos of a musical under threat. Set in the swinging '50s, Curtains invites the audience into the backstage world of a floundering musical as its cast and crew deal with a murder mystery—and with each other. Under the direction of Carolyn Latter, with musical director Jacob Cavanaugh weaving the melodies, and choreography by Ange Schoemaker and Melanie Southall, this production exudes a brassy and bright charm that perfectly captures the spirit of the era in which it is set.   The show opens with the sudden (and frankly, convenient) on-stage death of Jessica Cranshaw, played by Kim Kee, who is excellent as the leading, tuneless diva. And just like that, the curtain rises on the investigation by Lieutenant Frank Cioffi, a Boston detective more focused on resolving the production issues of the musical rather than the murder case at hand. David Harrison, as Lt. Frank Cioffi, absolutely charms the audience with his goofy enthusiasm and endearing awkwardness. His character is starstruck by the theatre world, and his crush on Niki Harris (Daisy Thwaites) brings a sweetness to the show right from the start. Their on-stage spark is natural and enjoyable, especially during their duet “A Tough Act to Follow.” Cioffi leads the charge as he sleuths their way through the cast and crew, trying to find the murderer before they strike again, while simultaneously rescuing the musical from going down in flames.   Speaking of Niki, Daisy Thwaites shines as the sweet (and a little ditzy) ingénue. She has a face card that seems to have stepped right out of a 1950s musical, and her voice is just as timeless. Thwaites effortlessly captures the delicate essence of Niki, infusing the character with a quirky charm and humour. Tristan Vanyai steals the spotlight as Christopher Belling (my personal favourite), the flamboyant director who gives new meaning to the phrase "the show must go on." With a blend of sass and wit, he serves up hilarious one-liners like "I will be blocking your investigation" with flair. Vanyai perfectly embodies the exaggerated, haughty nature of a British theatre director, ensuring that his scenes are guaranteed to bring laughter. Miranda Selwood as Carmen Bernstein is another star of the evening, embodying the no-nonsense producer with finesse. It’s clear she was made for this role, as she expertly blends Carmen’s tough exterior with a deep passion for the world of theatre in the rousing "Show People". With her powerful voice, Selwood proves to be a formidable presence on stage. The male ensemble backs her up with a tight, energetic performance of "It’s a Business." Jay Koloi deserves special mention for truly committing to the over-the-top theatrics that classic musical theatre demands. His commitment in the group numbers is palpable, and it’s a joy to watch someone so fully immersed in their ensemble track.   Natalie Lennox, portraying Georgia Hendricks, showcases the diverse talents required for this role. She infuses her character with a beautiful tenderness, especially evident in her solo, "Thinking of Him." Her voice is a highlight of the show, crystal-clear and full of emotion. Jordan Ross, portraying Aaron Fox, (Georgia's former romantic partner and current writing partner), delivers an emotionally stirring performance of "I Miss the Music." His soulful tenor voice resonates with emotion, captivating the audience even as he remains behind the piano initially. When Ross finally steps out into a single spotlight to finish the song centre stage, the moment is spine-tingling. His solo stands as one of the emotional highlights of the show. Bec Swain, as the energetic Bambi Bernet, dazzles with her dance number in “Kansasland.” Not only is her dancing divine, but it's her captivating face that truly grabbed my attention. Swain knows how to own the stage, making sure she’s always radiating confidence, even when the focus isn’t directly on her. Other notable performances include Kyle Fenwick as Johnny Harmon, the overworked and overlooked stage manager. His exasperation with the chaos around him is both funny and familiar to anyone who’s worked in theatre. And then there's Sam Hocking as Bobby Pepper, who is the epitome of a Broadway performer, bringing incredible energy, resilience, and even acrobatics to the role. Curtains isn’t just about the main characters, though. The ensemble is packed with strong personalities who add layers of humour and intrigue. During number “The Woman’s Dead,” their blasé reaction to their leading lady’s murder becomes an acting exercise as they pretend to care. Every ensemble member makes distinct character choices, and watching each of their facial expressions during group moments is a hoot.   The show’s choreography pays homage to the golden age of Broadway, with big skirts, jazz hands and kickline moments we all know and love. However, some numbers like "Thataway" fall short of that Broadway dazzle, with the energy dipping slightly when it’s needed most. But to be fair, it’s a physically demanding routine with Charleston moves that would wear out even the most seasoned performers.   Vocally, the cast shines across the board. The ensemble harmonies are rich, and the solo performances are deeply moving. The vocal harmonies in the paranoid group number “He Did It” or the impressive “In the Same Boat Completed” are pitch-perfect. Music Director Jacob Cavanough ensures the precise execution of every ensemble number. The orchestra deserves massive applause for their beautiful accompaniment, especially during the reprise of “Thinking of Him/I Miss the Music,” which featured a superbly lush and romantic tone. The costumes and wigs have been intricately designed to encapsulate the spirit of the era and enhance the timeless quality of the performance. In the final act "A Tough Act to Follow," the cast presents a mesmerising performance in exquisite pink gowns and dapper tailcoats. The choreography is beautiful, and the vocals even better. By the time the big reveal comes, it’s clear the audience is as clueless as the characters, thanks to misleading clues and a script that keeps everyone guessing. The audience is visibly engaged, reacting with laughter, gasps, and whispered "oooohs" at the dramatic moments. At one point, Harrison delivers a gem of a line, “Forget about the murders, I want to run this number!” summing up the wonderful absurdity of the show.   Curtains is more than just your average murder mystery; it’s a celebration of the chaos, drama, and joy of showbiz! With stellar performances across the board, the cast brings this Kander and Ebb musical to life with humour, heart, and a whole lot of razzle-dazzle. The show-within-a-show structure and its backstage antics will feel familiar to fans of SMASH , where the trials of staging a Broadway show are front and centre, but with a refreshing twist of a murder mystery. Like any great musical, it’s the moments of human connection—through song, dance, and laughter—that keep the audience hooked. Savoyards really hit the jackpot with this one, proving once again that musical theatre, much like solving a mystery, is never easy, but always worth the thrill. Now playing until 5th October 2024. Tickets available here *Apologies for any incorrect pronouns used in this review, as they were not specified in the program. I am more than happy to make any corrections if needed—please feel free to point them out to me. Thank you for your understanding!

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

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

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

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

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

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

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

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

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