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

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

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

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

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

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

Observatory Theatre's ' Disney Off Ice' is a thrilling mix of satire, dark humour, and sharp social commentary. Taking place in 2097, this dystopian sci-fi piece, penned by Oliver Gough and directed by Lachlan Driscoll, imagines a scenario where Walt Disney is thawed from cryogenic slumber, only to throw him into a world he can no longer recognise—a world where capitalism has run amok, the environment is a desolate wasteland, and Disney’s beloved creations have become distorted echoes of their former selves. The show takes place at the versatile Studio1 in Yeronga, featuring a set design with basic furniture that undergoes a colour transformation during the performance. A screen positioned at the rear serves as a scrim for displaying Disney cartoons, pre-recorded videos of our characters, and AI-generated visuals portraying a deteriorated Disneyland. Particularly striking is its use for the eerie silhouette of Disney's 'rebirth' from his frozen chamber. We learn that the cryotech company 'Pause' is hoping to exploit Disney's legacy as a marking tool. Their business model: use ‘legacy’ unfreezings to gain media attention and more wealthy customers. Their motto: "Communalism, nostalgia, wonder". This original script is intelligent, witty, and sharply satirical, providing a critical analysis of how media and algorithms have curated our lives to the point of having a "shared-spectacle-sized hole in our society." Chris Kellett delivers an exceptional performance as the irritable and bewildered Walt Disney. From the moment he's unthawed and swaddled in a Mickey Mouse blankie, it's clear that this is not the Walt we know of. Kellett captures the essence of a man displaced in time, distrustful, and cranky, desperate to return to his frozen state of peace. His accent is excellent, and his frenzied outbursts, like his disapproval of the decline in handcrafted work and the company's ventures into new territories like the 'Disney Channel', are humorous. As he descends into madness, he experiences hallucinations of his former employees, begins sketching erratically and starts smoking what eventually becomes a crayon; a subtle touch of his deteriorating mental state and disconnect from the real world. Kellett's portrayal is so authentic that I was completely engrossed, forgetting that I was actually watching an actor. Lines like “You gave me a crash course on the fall of the creative industries. I’m being tortured by watered-down, bastardised versions of my creations,” are delivered with chilling intensity that evokes pity.   The supporting cast is equally impressive. Rebekah Schmidt's portrayal of Joanna is the epitome of corporate aggression—a sharp, cunning character who delivers her monologues with candour and tenacity, both on screen and in person. Her commentary on Disney’s legacy—"Definitely racist, probably sexist"—is both biting and witty, a reflection of the uncomfortable truths that the play doesn’t shy away from. Ophelia Novak and Audrey Allen-Moore, who play dual roles as the 'Pause' company owners and press conference hosts, bring a comedic charm with their exaggerated corporate personalities and uncannily authentic newsreader impressions. Lachlan McGeary and Beau Doyle, portraying Ajax and Bruno, introduce an additional layer of intrigue as they plan to liberate Walt before he falls completely under the influence of 'Pause.' The group known as the ‘Merry Band’ is a future cult of 'Disney-adults', led by Ajax and Bruno, dressed as Gaston and Le Fou. Their belief that “Disney was not meant for capitalism” is both ironic and poignant as they revere Disney stories as if they were sacred texts and Walt as a messianic figure. With manic energy, Walt leans in and passionately delivers his manifesto to his followers: "You're all mad. But all the best people are. That's scripture. -Alice!" McGeary and Doyle are dramatically effective, with their exaggerated, youth pastor/tyrant-like antics. The line, "Bruno and Ajax would be terrifying if they weren't so sad," captures their tragicomic essence perfectly.   The show’s midpoint, marked by a scene change set to upbeat music as Disney does a little dancey-dance, is a brilliant piece of staging. The portrayal of Disney as outdated, unable to appease anyone in a world that demands constant performance, feels eerily prescient, particularly as we witness his fall from grace the moment Steve Jobs is defrosted and becomes the new focal point. As Disney is tormented by hallucinations of his own creations—the Cheshire Cat, Disneyland tourists, Peter Pan—we see the ultimate irony of his situation. We witness Walt’s desperation for a magical escape from his struggles. And he gets it. Being 'frozen' once again, this time by none other than Elsa, is a poignant metaphor for seeking solace in the familiar amidst an overwhelmingly harsh reality. Authored by Oliver Gough, this play balances the dark themes with laugh-out-loud moments. The actors' ability to articulate complex dialogue at breakneck speed is impressive, even if it's occasionally difficult to process everything they're saying—a challenge I attribute more to my own auditory processing than their performance. Still, Disney Off Ice has left me with plenty to ponder. It compels one to reflect our on current trajectory as a society. The juxtaposition of humour and horror generates a dissonance that is both engaging and unsettling, like an episode of Black Mirror  come to life. The lighting in the space creates a sense of depth and atmosphere that makes the audience feel as though they, too, are trapped in this surreal, satirical world. The sound effects, especially the Kim Possible tone used as a notification sound, evoke feelings of nostalgia. Incorporating pre-recorded videos to reveal the characters' inner turmoil while we observe them in person is a clever detail that enhances the complexity of both Walt and Joanna. In a world where everything is commodified and even our icons can be bought and sold, Disney Off Ice serves as a cautionary reminder of the dangers of unchecked capitalism and the fragility of artistic integrity. As the play suggests, we may already be living in the surreal future it depicts—and that’s perhaps the most chilling thought of all. This play is 90 minutes of controlled chaos that challenges our perceptions of legacy, entertainment, commerce, and morality, all while making us laugh at the absurdity of it all. With the standout performances, sharp writing, and a concept that feels all too relevant, Observatory Theatre’s latest production is a must-see for anyone who enjoys theatre that makes you think—and maybe squirm a little in your seat. Now playing until 1st September, 2024. Tickets available here. Images by Anderson.

Heartwarming Productions dished up this deliciously entertaining musical for just two performances at Metro Arts, and it was a buffet of laughs! 'Five Course Love the Musical' by Gregg Coffin is a comedic whirlwind of love in its many, often ridiculous, forms. This short-and-sweet musical was brought to life by the talented trio of David McLaughlin, Emily McCormick, and Tomer Dimanstein. These three actors played an impressive fifteen characters across five wildly different restaurants, each scenario more ludicrous and entertaining than the last. McCormick, wearing multiple hats as director, producer, and performer, ensured the show was a tightly executed, fast-paced romp.   The evening kicked off at Dean’s Old-Fashioned All-American Down-Home Bar-B-Que Texas Eats . What a mouthful! McLaughlin, as Matt, opened the show with " A Very Single Man" . Clearly in his element, he played a goofy, lovesick character, all while dazzling under the most gloriously over-the-top disco ball I've ever seen. His comedic timing is razor-sharp, making Matt’s dorky charm utterly endearing, even when he’s clearly not the 'Ken' that Emily McCormick as 'Barbie' was searching for. Dimanstein’s entrance as the overly-friendly waiter added another layer of hilarity as his stereotypical Southern accent and country tropes were delivered with a wink and a nod. Next, we were whisked away to Trattoria Pericolo , a world of mobsters and secret trysts. McCormick, now the sultry Sophia, and Dimanstein now the panicked waiter Carlo, delivered a melodramatic performance in "If Nicky Knew" that could have rivalled any soap opera. McLaughlin transformed into Gino, the suave mobster having an affair with Sophia. Their duet, "Give Me This Night," was gorgeous, with McCormick’s stunning operatic tones and McLaughlin's highly controlled vocals. The exaggerated Italian accents and mafia stereotypes were a laugh, with the actors fully embracing the melodramatic flair. As the show progressed to Der Schlupfwinkel Speiseplatz, the absurdity reached new heights. Dimanstein’s haunting solo, "Shelter-Lied," as Heimlich was unexpectedly different and mesmerising to behold. I was spellbound as he delivered each note with haunting intensity, showcasing that Dimanstein isn’t just a comedic talent but a powerhouse performer capable of evoking intense emotion. McCormick as Gretchen was also intense, as she stared down the audience in "No is a Word I Don’t Fear." The trio’s performance of "Der Bumsen-Kratzentanz," was a riot, as the three characters all discover that they are dating each other! McLaughlin as Klaus, a lederhosen-clad, doe-eyed cutie, was pure absurdity at its finest - and the actors were clearly having a blast in this number.   The penultimate act in Ernesto’s Cantina brought us a hilarious Mexican standoff, complete with sombreros and ponchos. McLaughlin’s portrayal of Guillermo, who incessantly interrupted and "corrected" Ernesto, played by Dimanstein, in " The Ballad of Guillermo" , was reminiscent of the hilarious dynamic between Chevy Chase and Steve Martin in 'The Three Amigos' . The exaggerated Mexican accents and clichéd characters, from the brash bandit to the passionate señorita, were all delivered with a playful energy. The slapstick humour during " Come Be My Love/Pick Me" , where McCormick was literally dragged around the stage as Rosalinda and McLaughlin's moustache kept falling off, had me obnoxiously laughing out loud. Dimanstein’s lead in " Blue Flame" was the evening’s standout number – a perfect blend of impressive vocals with an Abba-style harmonic flair. The final restaurant, The Star-Lite Diner , brought the show full circle. McLaughlin as the American jock Clutch, paired with McCormick as Kitty, evoked a delightful Grease -like vibe for "It’s a Mystery." The revelation that Kitty has been reading romance novels all along, with these larger-than-life characters merely figments of her daydreams, tied the show together in the cutest way possible. Her final number, "Love Looking Back at Me," was a surprisingly relatable moment of introspection. Dimanstein, in his role as Cupid – quite literally – tied together the various romantic misadventures we’d witnessed throughout the evening. The set – a restaurant table, heart arch, and a few strategically placed plants – was sweet, with the actors moving on and offstage constantly, keeping the energy high and the pace brisk. The quick changes must have been as chaotic behind the scenes as I imagine, but you’d never know it from the polished performances. The live band, led by Musical Director Dominic Brennan on keyboard, with Callum Pascoe on drums and Declan Fletcher on bass, provided the perfect accompaniment to the actors’ performances and brought Coffin's catchy tunes to life. Peter Van Brucken’s sound design ensured that every lyric and note was clear, allowing the audience to fully appreciate the witty wordplay and intricate harmonies. Claire Yorston’s lighting design matched the rapid changes in tone and location, keeping the audience immersed in the wild ride.   In the end, Five Course Love was more than a series of romantic misadventures – it was a showcase of extremely versatile performers, smart direction, and witty writing. It was a theatrical feast that leaves you laughing, humming the tunes, and maybe even craving a little romance of your own. If you missed this delectable slice of musical comedy, you truly missed a treat. Here’s hoping this is one course that gets served up again soon! Photos by Luke Monsour, Bulimba Studios

Stephen Sondheim's Company is a bit like life itself—funny, poignant, and sometimes leaves you wondering, "What just happened?" This brilliant production by Phoenix Ensemble encapsulates all that and more, offering a delightful, if occasionally bewildering, journey through the trials and tribulations of love, marriage, and the complexities of human connection.   Company, written in 1970 by Stephen Sondheim and George Furth, unfolds as a series of vignettes revolving around Robert—affectionately known as Bobby—a charmingly clueless 35-year-old who’s somehow managed to stay single despite being surrounded by a well-meaning (and somewhat meddlesome) group of married friends. It's Robert's birthday and amidst the typical celebrations of cake and gifts, Bobby finds himself grappling with a personal crisis. Delving into recollections shared with his friends and ex-girlfriends, he embarks on a contemplative journey through memories that encapsulate the highs and lows of relationships, companionship, and the elusive nature of happiness.   From the get-go with "Company," the ensemble tackles Sondheim's signature layered vocals and time signatures that keep your on your toes. The show is clearly well-rehearsed, with each cast member bringing their unique characterisation to the mix from this first moment.   Bobby: The Perpetual Third Wheel Cameron Rollo plays Bobby as both charming and perpetually perplexed—a man who is envious of his married friends, yet visibly relieved not to be in their shoes. His portrayal of a man caught between the desire for companionship and the fear of losing his independence was both relatable and authentic. Cameron speaks volumes through his expressive eyes. They serve as a window into Bobby's soul, allowing the audience to empathise with his internal struggle.   Married Life 101: It’s All Fun and Games Until the Karate Kicks In The married couples in Bobby’s life, each with their own quirks and dynamics, are portrayed with delightful authenticity. We start with Harry and Sarah, played by Dugald Lowis and Gen Tree, who give us a masterclass in marital discord, complete with bourbon, brownies, and an impromptu karate match. Gen’s impeccable accent and innate talent for comedy complements Dugald’s goofy and endearing demeanour, perfectly capturing the humorous side of marital disagreements. Watching them spar—both verbally and physically—as Meg Kiddle as Joanne serenades us with "The Little Things You Do Together," reminds us that a bit of friendly sparring is just another part of wedded bliss. Bobby's thought-provoking question, "Are you ever sorry you got married?" leads into Harry's introspective musings in " Sorry-Grateful ," where Dugald beautifully balanced the bittersweet emotions of the piece. Andrew Cockroft-Penman convincingly embodies Peter with a flawless NYC accent and subtle nuances that enrich the character's complexity. Clare Thomson shines as Susan, a Southern belle that exudes grace and warmth. Their unconventional relationship brings an invigorating element to the play. Together, they bring a contagious energy to the stage that is sure to bring a smile to your face. Connie Acevedo Burckhardt as Jenny and Chris Batkin as David, delivered some of the most hilarious moments of the evening. Connie’s facial expressions and comedic timing while portraying a ‘high’ Jenny were golden. She nailed the 'middle-aged mum’ voice, despite being a spring chicken. And then there's Chris, who embodied a totally out-of-it, yet somehow wise, stoned David with his hilariously nonsensical performance.   Steph Collins as Amy is nothing short of brilliant in her rendition of " Not Getting Married", a song notorious for its breakneck speed and tongue-twisting lyrics. Amy's detachment during the panic attack perfectly encapsulates getting cold feet in the most humorous yet heartbreaking way. Even Amy's meltdown over warm juice is adorably relatable thanks to Steph. The contrast between Steph's rapid-fire frenzied delivery and Connie’s dramatic operatic interjections (BLESS THIS DAY!), made for one of the funniest moments of the evening. And Steph engaging directly with the audience only added to the hilarity. Timothy Nielson as Paul, Amy's betrothed, is the perfect counterbalance to her neurosis, earning many ‘aww’ moments with his wholesome and unwavering affection for her.   The Girlfriends: A Trio of Trouble Bobby’s romantic past is no less complicated. His trio of past girlfriends—Sarah Engelsmann as April, Ruby Thompson as Kathy, and Samantha Paterson as Marta—each bring something special to the table. Their Andrews Sisters-style trio " You Could Drive a Person Crazy" is a complex and challenging number, and while they were visibly puffed, their harmonies were tight and their energy upbeat! Samantha Paterson’s Marta is a whirlwind of talkative energy, delivering "Another Hundred People" with a chaotic charm that’s impossible not to love. Sarah Engelsmann’s April is the epitome of straightforward honesty. Her self-described ‘dumb and boring’ persona was both endearing and hilarious, particularly during her caterpillar monologue and duet " Barcelona" . Ruby Thompson’s Kathy, the more grounded of the three, balances the trio with her sweet and gentle demeanour, completely epitomising the 'girl that got away'. Additionally, the unexpected inclusion of her remarkable contemporary dance performance (while April and Bobby woo-hoo in bed) is truly beautiful.   A Beautiful Mess of Relationships As Bobby delves deeper into his memories, we are treated to some of the most memorable numbers. "Side by Side by Side" is a show-stopping, tap-dancing, circus act of a number that’s as fun to watch as it must have been to perform. Meg Kiddle's portrayal of Joanne shines in a vocally impressive rendition of " The Ladies Who Lunch ." In his rendition of " Marry Me a Little ", Cameron captures Bobby's tender and vulnerable exploration for clarity in life and love. The famous " Being Alive " never fails to elicit deep emotions and chills for me (or anyone who has pondered the intricacies of company versus loneliness). Cameron's heartfelt performance is a testament to his skill as a performer, immersing the audience in the profound beauty of Sondheim's masterpiece. Even if his voice showed signs of fatigue by the end, Cameron delivered this emotional odyssey with unwavering commitment and sincerity. And hey, who wouldn’t be a little worn out after dealing with all those couples?   Final Thoughts The challenging musical score is richly enhanced by the live orchestra, with musical direction by Jacqueline Atherton. The set, created by the directors Tammy Sarah Linde and Luke O'Hagan, is uncomplicated, featuring three blocks and empty picture frames as the backdrop for Bobby's interactions. This minimalist design allows the actors to shine, keeping the focus on their performances. The costumes include complementary clothing and matching rings for each couple, a subtle and thoughtful detail to symbolise their bonds. Phoenix Ensemble’s Company is a well-executed production that truly captures the essence of Sondheim’s award-winning exploration of love, marriage, and friendship. By the end of the night, the audience felt a little less like spectators and a little more like a part of Bobby’s company of friends. As someone who is approaching 35 myself, Bobby’s journey felt like a glimpse into a future I’m not sure I’m ready for—but if it’s anything like this show, at least it’ll be entertaining! Tickets are available here

On the 9th of August, Ghostlight Theatre presented their new cabaret show, Broadway Murderers , at the Ron Hurley Theatre. The event paid homage to some of Broadway's more sinister characters, with proceeds aimed at supporting their next mainstage production. But I’m already crossing my fingers that this theme becomes a regular cabaret fixture at Ghostlight. Who knew a night with Broadway’s baddies could be so much fun? The audience was full of theatre buffs who could not resist lip-syncing along to each number. The cast were a veritable murderers' row of talent: Rhea Basha, Yasmin Elahi, Adam Goodall, Patrick Oxley, Benjamin Oxley, and Maegan Weir. Each of these Brisbane performers brought something unique to the table, showing off an impressive range of vocal abilities. I have witnessed all of them perform in the past, yet this time they each stopped into the spotlight in a brand new way. Backing them were musicians from Viva La Musica , featuring a piano, percussion, cello, and flute. These musicians were the unsung heroes of the night, bringing richness, colour, and a fresh sound to every number. Despite not having a Sitzprobe until the day of the show, their smooth performance made it hard to believe the tight turnaround. The night started with a bang—or should I say, a ballad —as the whole cast gathered for the 'Ballad of Sweeney Todd.' It was a dark and fitting opener, setting the mood perfectly. Reagan Warner, our fabulous host for the evening, slinked onto the stage as Sweeney himself, exuding menace with his sonorous voice and mysterious coat. Patrick Oxley then took over the role of Sweeney, with Maegan Weir as his equally twisted partner in crime, Mrs. Lovett. Their duet was a delightful dance of eerie and playful, with Patrick’s gleaming blade and Maegan’s sly grin. Rhea Basha transformed into Ursula from The Little Mermaid for 'Poor Unfortunate Souls'. Rhea is the kind of performer who could sing the phone book and make it mesmerising, but as Ursula, she was electrifying. Her vocals were impeccable, and the juxtaposition between her real-life sweetness and the character’s villainy was simply brilliant to witness. The evening took a turn with a rock version of 'Phantom of the Opera.' Yasmin Elahi and Patrick Oxley delivered a lively and dynamic rendition that revitalised the classic duet. Patrick’s demeanour made him an excellent Phantom, while Yasmin’s melodious voice twinkled with emotion, even if I was left scratching my head about Christine’s supposed murderous tendencies during 'Wishing You Were Somehow Here Again.' Patrick then swooped back in with 'Music of the Night'. His impressive control and vocal range were on full display, captivating the audience with every note. Rhea and Ben rocked the stage with their sassy rendition of 'The World Will Remember Us' from Bonnie & Clyde , followed by Adam Goodall unleashing his inner villain with 'Raise a Little Hell'. His gritty and raspy performance as he stared down the audience created a suspenseful vibe. It's a tough song, but Adam crushed it.   Maegan Weir brought the house down with 'Bring on the Men' from Jekyll and Hyde . This was her moment to shine, and she did not disappoint, balancing powerhouse vocals with sultry softness. Patrick followed up with a beautiful rendition of 'This is the Moment', a personal favourite of mine, and he did it complete justice.   The night’s energy ramped up with a dip into Heathers territory. 'Seventeen' was a treat, with Rhea and Adam serving up harmonies that hit all the right spots. Adam looked every bit the part of JD, and Ben’s turn in 'Freeze Your Brain' had me convinced that he could play any one of these villains with ease. Ben's vocals always sound so effortless, and his acting was spot-on.   Rhea surprised everyone with a gender-bent rendition of 'Hellfire' from Hunchback of Notre Dame . Donning a hood and cloak, she had everyone spellbound, drawing them into the darkness of the song. Then, the cabaret took another unexpected turn with 'Playing His Game' from Death Note the Musical . Adam and Ben gave it their all, despite the challenge of learning so many lyrics in a short time. It’s not a well-known number, but it was a great addition that added some zing to the show! Maegan showcased her versatility with 'Somewhere That’s Green' from Little Shop of Horrors . Her talent for transforming into different characters was more pronounced than anyone else in the cast. Each role felt distinct, not just in how she altered her vocal delivery, but also in the subtle nuances of her body language and expressions. She embodied Audrey’s vulnerability just as convincingly as she did the sultry power of Lucy. While the others certainly brought their A-game, Maegan’s adaptability and commitment to each character brought a fully-realised persona to every song she performed. The duo of Rhea and Ben delivered a sweet rendition of 'Suddenly Seymour', a crowd-pleaser that may be a tad overdone—though they still managed to bring a fresh warmth to it.   The night’s penultimate number was 'Unworthy of Your Love' from Assassins , a hauntingly beautiful duet between Yasmin and Adam that added a final note of darkness before the grand finale. And what a finale it was! The cast united for 'Cabin in the Woods' from Evil Dead the Musical . It was an surprisingly upbeat, chaotic, and wonderful way to end the night filled with some of Broadway’s most notorious characters.   If I had to nitpick, my one tiny letdown was that Reagan Warner, who was our wonderful host, didn’t have a solo number of his own. With such a commanding presence, it felt like a missed opportunity. But overall, Broadway Murderers was a killer night out—pun fully intended—and I am eager to see what Ghostlight Theatre has in store for their next production.

The Anywhere Festival is known for taking theatre out of traditional settings and placing it in unexpected locations. Recently, I had the pleasure of attending 'Hysterical' at the Paint Factory in Yeronga; an entirely improvised performance by the Oh Artemis! Theatre Collective . This show delivered a delightful blend of humour and heartfelt moments that had the audience laughing one minute and wiping away tears the next. The team transformed a large, echoing space into an intimate living space, complete with fairy lights that guided us to our seats. This inviting setup was more like gathering at a friend’s house than attending a traditional theatre performance—if your friend just happened to have an enormous warehouse at their disposal. Before the show started, we were invited to paint on blank cans with words that have been used to label us in our life. Mine? ‘Teacher’s pet.’ Others painted labels like ‘dramatic,’ ‘just a mum,’ ‘princess,’ 'weird,' and ‘snob.’ These cans then became part of the set, a literal reminder of the labels we all carry, whether they’re accurate or not. This clever touch blurred the lines between audience and performer, making us all feel a bit more invested in what was to come.   The beauty of 'Hysterical' lies in the unpredictability of improvisation. Guided by the talented Noelle Greenwood, the cast—Kelsey Hamill, Liz Talbot, and Chris Milne—brought to life in real-time scenes inspired by anonymous journal entries. There is a special feeling in realising that what you have seen is unique, a work of art created at that exact moment, never to be duplicated. This is the essence of improvisation—it's a shared experience between the performers and the audience that lives only in the memories of those present. The audience randomly selected three journals for the actors to use to inspire a 15-minute improvised scene. The structure was simple yet effective: the journal entry was read aloud while 'labels' for the character were established through interjections from the other cast members, and then the scene unfolded with each actor taking turns stepping in, transitioning between different characters and time periods as the story progressed.   Liz Talbot kicked off the first scene with the tale of a high-schooler juggling teenage angst and future career dreams of becoming a ‘medical marine biologist lawyer’. Who hasn’t felt the pressure to be everything all at once? The scene tracked her journey from ambitious schoolgirl to disillusioned 20-something living at home, and finally to a content 30-something running a marine wildlife sanctuary. Liz handled the progression from youthful idealism to adult reality with a deft touch. The second scene shifted focus to a couple planning a trip to Europe while dealing with conservative family expectations. Chris Milne and Kelsey Hamill’s quick-witted banter had the audience laughing out loud, while Liz Talbot’s turn as the conservative grandmother was a hilarious display. Kelsey's portrayal of a character trying to navigate societal pressures while staying true to her desires was particularly engaging. The ease with which she played off the others' lines created a dynamic that was both funny and oddly relatable. The final journal entry, dealing with a cervical cancer diagnosis, brought a sobering shift in tone. The performers handled this delicate subject with sensitivity, delivering a scene that was both touching and saddening. One particularly memorable moment involved Noelle's character discussing her infertility with her husband, played by Chris. A leap forward into the future revealed Noelle's character finding solace in her role as a fun auntie, juxtaposed with the guilt of her husband's sacrifice and apparent acceptance that he will never be a father. Adding to the atmosphere of this performance was a pianist improvising background music, with lighting that subtly shifted to match the mood of each scene. The epilogue, where each character returned for a ‘where are they now?’ moment, provided a satisfying conclusion to the evening, allowing the audience a glimpse into the future of these characters.   Improvisation takes A LOT of creativity and courage. For those who step into the scene first, it’s a daunting task. They have to build the foundation of the scene from nothing, creating a character and a narrative in real-time. It’s a mental juggling act, trying to process what the other actor is saying while thinking about how to respond and crafting a coherent story—all without the safety net of a script. The later actors who join the scene have a slight advantage—they can observe the setup, think about how they want to contribute, and plan their entrance. But this doesn’t diminish the challenge: the pressure to keep the narrative flowing and add something meaningful. As a writer who often struggles to articulate my thoughts even with time and reflection, I’m in awe of how these performers are able to create such clever and witty dialogue on the spot.   I have to wonder how much inspiration is taken from the actors' real lives. There’s an authenticity in their performances that suggests a deep well of personal experience. Whether it’s the awkwardness of family dynamics, the uncertainty of young adulthood, or the bittersweet acceptance of life’s challenges, the actors infused their characters with a sense of realism that made the scenes resonate on a personal level.   So far, 'Hysterical'  has only had two performances, with each show unique to the audience that experiences it. If you have the chance to catch 'Hysterical' in the future, don't miss out—you're guaranteed a fresh, one-of-a-kind experience that’ll have you laughing one minute and reflecting on life’s big questions the next.

At the final performance of Swich Up Productions' 'The Drowsy Chaperone' , a full house enjoyed this lively musical production. This five-time Tony Award-winning musical playfully parodies 1920s musical comedies, featuring a "show-within-a-show" script, colourful characters, and immersive staging. The story follows Janet Van De Graaff, a glamorous showgirl who plans on leaving her dazzling career behind to marry oil tycoon Robert Martin. However, chaos erupts as an array of colourful characters—like the bumbling Latin lover Aldolpho, two gangsters disguised as pastry chefs, the Broadway producer Feldzieg (from Feldzieg's Follies—clever, right?), and Janet’s perpetually tipsy (aka 'drowsy') chaperone—threatens to derail the wedding. With mistaken identities, energetic dance numbers, and a bounty of laughs, the plot serves as a loving tribute to the classic tropes of early American musicals, all wrapped in a layer of self-awareness. All of this unfolds under the watchful eye of our main character—The Man in the Chair—a secluded and devoted musical theatre fan. As he plays the vinyl record of this fictional musical from 1928, he imagines what it might have looked like on stage. The cast, in perfect synchrony, always 'pause' in tableaux whenever he wants to interject his thoughts. This clever interplay between the Man in Chair and the onstage action made it feel as though we were peeking into his imagination, where the lines between reality and fantasy blur in the most delightful way. Adrian Carr, who stepped into the role of the Man in the Chair at the last minute, gave a performance that was truly heartwarming. His portrayal reminded me so much of Robin Williams—endearing, funny, and just a little bit melancholic. As the actual director of this production, Carr's enthusiasm for this musical was palpable. There was a compelling authenticity to his performance that made it seem as though he wasn’t merely playing a role, but rather sharing a piece of himself with us all. The set, also designed by Adrian Carr, beautifully captured the essence of an apartment/dressing room with meticulous attention to detail. The characters made unexpected entrances from all sorts of places, including the fridge! It was clear that an immense amount of thought and effort went into creating a space that was not only functional but also enriched the whimsy of the storyline. Plus, there's something special about seeing a musical in an old fire station that's been converted into a performance space. The intimate setting really makes the whole experience feel personal, almost like enjoying a show in a friend's living room. The lack of microphones adds to this charm, even though it brought some challenges with sound levels, especially during the musical numbers. Still, the cast's vocals and projection were highly impressive!   The show opened with the lively number "Fancy Dress," introducing us to a cast of quirky characters. Samantha O’Hare was an absolute delight as the titular Drowsy Chaperone. Her entrances, gracefully clinging to the bed as it descended from the wall, were iconic. Her portrayal of the perpetually tipsy chaperone, marked with a martini glass and a Patti LuPone-esque flair, was hilariously entertaining. O'Hare's fantastic jazz vocals were showcased in "As We Stumble Along," where she played the character with a blend of class and chaos. I would love to see her in more comedic roles—she truly has a knack for it. Justin Piper’s portrayal of Aldolpho was the epitome of comedic excess. His exaggerated theatrics kept the audience chuckling, particularly during his self-referential number "I Am Aldolpho." The dynamic between Piper and O’Hare was a delight, with his consistent ignorance of her advances making their scenes together comedic gold. Vivien Wood, in her role as Janet Van De Graaff, captivated with her solo "Show Off". Her voice, as sweet as a turtledove, soared through the theatre during this dazzling display of vocal prowess, prop work, and rapid costume changes.   Nicholas Joy played the over-the-top, loveable, and clumsy Robert Martin. He was a joy to watch, complete with a voice so exaggerated it could rival Prince Edward from Enchanted . His high-energy tap number "Cold Feet," performed alongside James Bird as George, was a crowd-pleaser, even if the sight-lines occasionally obscured their fancy footwork. The sheer exuberance radiating from their faces more than made up for it. Joy's duet with Vivien Wood, titled "Accident Waiting to Happen," was a beautifully sweet moment. Gillian Simpson and Rod Jones embodied the forgetful Mrs. Tottendale and the loyal servant Underling. Simpson's strong classical voice contrasted excellently with Jones' deadpan delivery. Their duet "Love is Always Lovely" was adorable and their scenes were utterly entertaining, especially considering Jones found himself on the receiving end of a spit-take more times than I could count. Tristan James portrayed Feldzieg convincingly as the powerful Broadway producer with a distinctive Jersey accent as if he had truly stepped right out of 1928. Tamara Long brought bubbly energy to the role of Kitty, capturing the essence of the hopeful, air-headed starlet. Douglas Berry and Brendan Dieckmann, as the pastry chefs (definitely not gangsters), were a hilarious duo, bringing slapstick comedy to their number "Toledo Surprise". Elyse Rea shone as Trix in the grand finale "I Do in the Sky." Each actor was perfectly suited for their role, collectively bringing the entire production to life in the vibrant manner envisioned by the Man in the Chair. After a power outage in the Man in the Chair’s apartment, I found myself holding my breath, feeling a wave of empathy for his frustration at the interruption—who wouldn’t be devastated if their favourite musical stopped just one note from the end? The cast joining him for the encore created a perfect, heartwarming ending. Adrian Carr’s final words as the Man in the Chair, expressing his love for a musical he’s never actually seen live, resonated deeply. It was a reminder of the power of theatre to bring people together, even in moments of solitude. Productions like ' The Drowsy Chaperone'  are a testament to the thriving arts scene in Ipswich. They not only provide a platform for local talent to shine but also bring the community together in celebration of the shared joy of theatre. Swich Up Productions is playing a pivotal role in nurturing this vibrant culture. While I would love to see this production performed on a larger scale, complete with an orchestra and microphones, this cast and creative team captured the heart and humour of the show perfectly. With upcoming shows like It’s a Wonderful Life  in December 2024 and Jekyll & Hyde  in 2025, there’s much to look forward to from this talented group.