Search Results

Performed by Catbird Theatre at On the Boards Theatre Company during the Anywhere Festival, 'Stark Raven Mad' took the audience on a whimsical journey through poetry. The merry crowd of little rascals and their grown-ups enjoyed a delightful fusion of gothic and goofy antics that captivated both the young and the young at heart.   'Stark Raven Mad' is a poetic kaleidoscope, featuring 30 poems from literary legends like Edgar Allan Poe, Emily Dickinson, and Lewis Carroll. These poems weren't just recited - they were transformed into a spectacle with puppets, costumes, and lively movement. The trio of children's performers—Alice Beaver Clapham, Mary Eggleston, and Aimee Gray—brought an infectious energy that had the kids riveted. They animated these classic poems (often written to frighten children into good behaviour) in a manner that was accessible and fun for young viewers. One of the show's most engaging features was its interactive element. Children were invited to join in the fun, dressing up in silly costumes, and acting out brief scenes. It was heartwarming to see their faces light up as they participated and took their bows. The clever use of sound effects and songs like "Monster Mash," "Time Warp", "Thriller," and "Spooky Scary Skeletons" kept the energy high. The performers easily transformed into characters like creepy goblins, cackling witches, swashbuckling pirates, or sneaky spiders. They even got to showcase puppetry skills with skeletons, snakes, birds, and more. Their fun physicality ensured that even the more lengthy poems were engaging and enthralling for the kids. And despite the complexity of some poems' vocabulary, the performers' animated voice work guaranteed that each piece was vibrant. The hilarious depiction of Romeo and Juliet's tragic end was especially memorable. With a runtime of just 60 minutes, the show successfully catered to the short attention spans of its young audience by presenting poems ranging from 30 seconds to a few minutes each. Closing with "The Raven," the show ended on a fitting and memorable note. The post-show activities, including a Q&A session, worksheet, lucky dip, costume try-ons, and photo opportunities with the cast, added a nice touch to the overall experience.   Stark Raven Mad  offers a unique way to introduce children to classic poetry. With its combination of puppetry, play, and participation, it’s a fantastic choice for families and school groups looking for a fun and enriching theatrical experience. This show is a testament to the power of theatre in making literature accessible and enjoyable for all ages.

Stepping into ' Guilty'  feels like looking into a mirror that reflects both the gritty reality and the profound struggles faced by women in today's society. This bold cabaret, presented by Inscape Assembly at Anywhere Festival, takes the audience on an intensely emotional, yet often hilarious journey, weaving together scenes, songs, interviews, and commentary. With the inclusion of impactful statistics and first-hand quotes, the show effectively amplifies the voices of women and sheds light on our shared experiences.   The story includes four distinct female characters, plus two male characters who play various roles. Abigail Ellerton takes on the role of Jane, our primary narrator, who introduces us to: - Flirty Florence (Maegan Weir): A fashion influencer who loves dressing up, posting sexy outfits, and conducting nude art workshops. She is described as the "token straight character". - Sexy Sadie (Gillian Thompson): Florence’s fun-loving and fiercely loyal flatmate, who enjoys casual relations with both men and women. - Moaning Myrtle (Isabella Kirkwood): A uni student from a conservative religious background, working at the bookstore and secretly passionate about smutty fiction. - Plain Jane (Abigail Ellerton): Last but not least, our lovely lesbian Jane. When she's not busy studying or working at the bookstore, you can find her tearing up the dance floor and sipping on a drink or two. - Noah (Joshua Price) and Ethan (JJ Jones), are a whirlwind of energy, portraying Sadie’s best bros as they engage in debates about feminist topics and share their wild dating stories and sexual escapades. What stands out immediately is the authenticity of the dialogue. I learned that 250 individuals from QUT were surveyed, and all the quotes featured in the production are real and anonymous. This direct connection to real-life experiences adds a visceral depth to the show, engaging the audience as active participants in a broader discussion. Held at Bloodhound - a bar in Fortitude Valley - this choice of venue adds legitimacy to the story, placing these Aussie girls in a relatable environment. The cast uses the entire space, transforming the upper level of Bloodhound Bar into a dynamic stage with a runway through the audience that creates an intimate experience. Plus, by enjoying their signature cocktails "The Smut Queen" and "The J Name," audience members can fully immerse themselves in the 'wild night'. The show kicks off with an energetic performance of "Wild Nights," a playful take on Cyndi Lauper's "Girls Just Wanna Have Fun." The cast all give excellent performances, with standout comedic work by Kirkwood, Weir, and Jones, injecting some humorous relief into the show. Gillian Thompson shines as Sadie, impressing with her vocal battle against the boys in a comedic number titled "Anything You Can Do I Can Do Bleeding". The costumes, presumably chosen by the cast themselves, reflect their characters’ unique styles beautifully. A standout moment unfolds as Isabella Kirkwood leads "Smut Queen," a spoof of Rihanna's "S&M," unveiling Myrtle's hidden passion for spicy literature. Maegan Weir gives a touching performance of "Your Best Kept Secret," to the tune of Taylor Swift's "Love Story." This heartfelt interpretation delves into Florence's feelings of being used or concealed by her boyfriends, when all she desires is a fairytale romance. Weir's stunning vocals, brimming with emotion, resonated with me on a deeper level than I care to admit. The emotional shifts throughout ' Guilty'  are almost dizzying—one moment, I was laughing like a maniac; the next, I was on the verge of a meltdown from anger. Throughout the performance, cast members present quotes and statistics to segue into the next scene, touching on topics like virginity, catcalling, harassment, masturbation, and assault - e.g. “Despite the statistics, I never thought it would happen to me.” These interspersed moments of reality serve to anchor the cabaret in genuine human experiences and prompt deep contemplation from the audience. The second act marks a significant tonal shift as the show delves into heavier material. Beginning with "Cell Block Tango" - or rather "She Had It Coming" - where the four women divulge their traumatic and harrowing experiences that they have kept hidden. These revelations, ranging from leaked nudes and coerced sexual encounters to near-assaults and drugged drinks, are unfiltered and gut-wrenching, bringing a palpable tension to the room. Abigail Ellerton as Jane delivers a heart-wrenching monologue that culminates in the original song “Guilty,” composed by Alex Wilson and Haley Meekan, with lyrics by Mak Harris. This solo is a powerful expression of the shame, confusion, and anger that many survivors feel, and it’s one of the most moving moments in the show. The second act also features several other intense scenes, including a cruel argument between Florence and Sadie, a failed kiss attempt between Myrtle and Jane, and a painful confrontation between Ethan and Sadie. These moments are interspersed with lighter, more humorous scenes, like the boys versus girls swiping through Tinder, providing a well-balanced narrative that never feels overwhelming despite the heavy subject matter. The performances by JJ Jones and Joshua Price add a brilliant layer of both comedy and discomfort to ' Guilty' . Their portrayal of multiple male characters offers a perspective that flip-flops between being hilarious and infuriating. JJ Jones shines with his impeccable improv and sharp comedic timing. Whether he's playing the role of a gym bro, debating the best pick-up lines, or conducting a probing interview, Jones has a knack for connecting with the audience. His ability to switch gears between being a charming joker to a source of discomfort is truly impressive. Joshua Price complements Jones perfectly. His portrayal of Noah, the mate who 'jokingly' suggests a threesome with Sadie, treads a fine line between jest and sincerity. Price's performance ensures that Noah remains a character who, despite his flaws, is trying to navigate the complexities of modern masculinity. One of the show's most powerful aspects is when, towards the end, the women step out of their roles to speak directly to the audience. At this moment, the actors, visibly emotionally drained, remind us that although they are playing fictional characters, they represent very real women whose stories deserve to be heard. It’s a powerful call to action, urging the audience to reflect on the issues presented and to engage in meaningful conversations about feminism and the treatment of women in society.   The production team, led by writer and director Madeleine Keeble, writers Scarlett Hughes, Jaide Camilleri, and their skilled crew, have crafted an important, timely piece of theatre that holds up a mirror to society and forces us to confront uncomfortable truths. I feel privileged to have experienced it as part of the audience. As I left the venue, the reality of the show’s message hit me hard. Just today, as I sat at a bus stop at 11am, I was subjected to catcalling by a man driving by, leaving me feeling enraged all over again. This show is not just a performance; it’s a reflection of the world we live in — a world where women are still fighting to be heard, to be respected, and to live without feeling guilty for their mere existence.

‘Legally Blonde the Musical’ has long been a beloved staple of modern musical theatre, and the latest production by the Academy of Excellence in Musical Theatre at Griffith University only solidifies its charm. Directed by Alistair Smith, with musical direction by Heidi Loveland and choreography by Dan Venz, this production features an ensemble of talented third-year musical theatre students, alongside the fresh-faced first and second-year students. The performance, held at the state-of-the-art QLD Conservatorium Theatre, showcases not only the skills of these burgeoning performers but also the dedicated creative team. The story follows Elle Woods, portrayed beautifully by Alyssa Mastromanno, as she evolves from a seemingly superficial sorority girl to a determined Harvard Law student. Mastromanno, who shares the role with Ally Long and Ashley McLaren, brings a quirky and unique energy to the role, delivering famous lines from the film with a new spark. Her performance is both impressive and empowering, embodying Elle’s resilience and rejection of societal norms. Mastromanno’s vocal performance, particularly her solos "So Much Better" and "Legally Blonde" showcase her impressive range and stage presence. James Macaulay as Emmett (sharing the role with Nick Smith), delivers impressive technical control of his voice that truly stands out in the song "Chip on My Shoulder." His chemistry with Mastromanno is like a perfectly made cocktail - sweet, comforting, and leaves you wanting more! Oliver Palamara, who plays Warner, convincingly embodies the self-absorbed nature of his character, displaying his vocal talent in the song “Serious” while fully embracing the show's campy spirit.   Juliette Coates excels as Paulette, delivering a mix of heart and hilarity in their rendition of "Ireland." They are basically the long-lost twin of Sutton Foster, rocking the most fabulous costumes, accent, dorkiness, and a killer powerhouse voice. Finlay Underwood as Professor Callahan brings a commanding presence with his deep, stunning voice, especially in "Blood in the Water." Sophie Moman’s Vivien is fierce and determined, though her performance could have benefitted from a slightly louder mic level to unleash the full force of her vocal prowess in the epic “Legally Blonde Reprise”. The Greek chorus girls, led by the fabulous trio of Kaylen de Gersigny, Charlotte Sligar, and Faith Oosthuizen, bring boundless energy and enthusiasm with their quirky choreography. Madelene Kirkwood as Brooke impresses with her stamina and precision in "Whipped Into Shape," maintaining her incredible vocals while performing a complex jump rope routine. Jack Ryan and Jay Monck also deserve special mention for their versatile performances in multiple roles, with Monck's Kyle (the UPS guy) standing out as a comedic highlight of Act Two. Their physicality and comedic timing had everyone cackling, especially during the unexpected riverdance routine. This production is not only a showcase of talent but also an educational milestone for the students involved. The students' commitment to mastering the text, music, and choreography is evident in their slick performances. Standout numbers by the ensemble include "What You Want," featuring intricate cheerleader choreography; plus a hilarious performance by a particular member of the admissions board in a sweatervest (whose name I do not know but he left an impression). The timeless classic "Bend and Snap" is as fun and iconic as ever, while "There! Right There!" (aka "Gay or European?") serves up some creative footwork and comedic brilliance. The technical aspects of the show are equally impressive. Penny Challen’s set design and Desley MacPherson’s costume coordination are top-notch, with the use of tech to project captions and hashtags to the top of the set, adding a modern twist. Keith Clark's lighting design and Steve Thornely's sound design enhance the performance to a highly professional standard. However, a slight increase in microphone levels during singing moments for Elle and Emmett would have improved the performance I witnessed. The costumes deserve special mention for their vibrancy, with Elle's numerous quick changes into various pink ensembles being particularly noteworthy. The attention to detail in her wardrobe tells a story of its own, perfectly reflecting the character's journey while adding a visual treat to the performance.   The dogs, handled by Lisa Alsop and Rachel Hunt, steal the spotlight with their pawsitively adorable outfits and well-trained appearances (Bella as Rufus and Peggotty/McGinty as Bruiser). The orchestra, comprised of talented Bachelor of Music students, provides an excellent musical foundation that contributes to the overall high quality of the production. All in all, “Legally Blonde" is a triumph of student talent and professional direction. From the electrifying performances of the lead actors to the collective energy and obvious passion of the ensemble and creative team, this production is a joyous celebration of musical theatre and girlhood. The Academy’s commitment to excellence is evident in every aspect of the performance, making it a must-see for fans of the genre. So step right up to experience this fabulously pink-hued journey, filled with humour, heart and high energy! Now playing until 10th August 2024 at QLD Conservatorium., South Brisbane. Tickets available here Photo credit to Kenn Santos.

In the heart of Brisbane's indie theatre scene, "Scenes With Girls" was a raw, riveting exploration of female friendships. Directed by Ava Rusch, this play is a poignant, often hilarious look at the complexities and intensities of girlhood. The talented team at Salad Days Collective brought this production to life over last weekend, marking it as their second successful theatrical endeavour. This story unfolds through 22 scenes depicting the lives of Tosh (Jasmine Prasser) and Lou (Hannah Ward); best friends navigating their early twenties. Together, they have dodged the pitfalls of romantic entanglements with men and worked hard to "deprogram themselves from societal expectations for male affection". From the second it kicks off with the girls busting moves to Charli XCX on Just Dance Wii, and throwing out Friends quotes – it hits home for other young adults who have lived with our besties, like myself. The set at PIP Theatre, designed by the versatile Jasmine Prasser, captures the aesthetic of a millennial flat-share. From the couch and swivel chair to the clutter everywhere, and even a bathroom, it's a spot-on portrayal of that cozy, lived-in vibe that is instantly recognisable. Even their outfits – comfy trackies, overalls, and slippers - grounds the play firmly in reality. We learn that Tosh appears to be going through a period of complete disinterest in men, while Lou is actively engaging in casual flings, keeping count of her conquests and proudly sharing details of each encounter with Tosh. The remarkable chemistry between the actresses showcases the deep, almost symbiotic bond of their characters' relationship. They constantly finish each other's sentences and thoughts, often helping the other find the right word in the middle of a conversation. It's like they have a secret language only they understand. Oftentimes, scenes will begin with hilariously out-of-context lines like "He tasted like omelette," illustrating the zany and unpredictable nature of their chats. Memorising all that dialogue would be quite the task, but these girls performed it exceptionally well, embodying two very authentic characters that made it seem as if they were truly gossiping right in front of you. The play's dialogue, penned by Miriam Battye, is sharp and vibrant, capturing the language of best friends with startling accuracy. Battye's writing also delves into deeper themes, questioning societal norms and the pressures women face to conform to certain narratives. For instance, both girls fake enthusiasm when their friend Fran (Georgina Sawyer) announces her engagement. But Lou then proceeds to go on a wild rant, spilling all her unfiltered thoughts about Fran's impending nuptials to Tosh in a savage yet brutally honest reflection. Fran joins their circle as their friend who is seemingly out of step with Tosh and Lou's anti-romantic philosophy. Sawyer plays this character like a mix of a grandma, a rock, and a confused pigeon. Fran's attempts to fit in with Tosh and Lou's intricate jokes are both adorable and hilarious. She exudes awkward and overly formal body language, while her far-off look of discomfort had everyone cackling. Most likely, we all have encountered a friend who resembles one of these three girls. Tosh is eccentric and tends to be excessively possessive. Lou is the truth-teller, the life of the party, and relies on Fran as a buffer for their flatmate drama. And then there's Fran, bless her heart. The loveable third wheel of the group, the epitome of predictability and a pro at long-term relationships. As the play progresses, the strains in Tosh and Lou's relationship become more apparent. Tosh’s harsh plea for Lou to stop seeking male validation highlights the toxicity that has seeped into their friendship. Their arguments, filled with miscommunication and intense emotion, are a testament to the complexity of female friendships. The peak of their conflict – a cruel argument where hurtful words are exchanged – is a stark reminder of just how fragile these bonds can be. The play captures the pain of friendship break-ups, which can often be more devastating than romantic ones. As the heartbreak unfolds, Ward's cries of anguish, Sawyer's comforting presence, and their shared tears set against the sounds of Chapell Roan created a scene similar to that of a Netflix drama. The audience was riveted, some even moved to tears. Director Ava Rusch, along with the creative team consisting of sound designer and dramaturg Ziggy Enoch, and lighting designer Claire Yorston, have crafted a production that captivates both visually and intellectually. The effective use of lighting and sound to shift between the 22 distinct scenes made a significant impact. "Scenes With Girls" is a play that will make you laugh, cry, and then reflect on the nature of friendships. It leaves you with a renewed appreciation for the friends who stand by you through thick and thin. It's a messy, unpredictable, yet beautifully authentic depiction of girlhood. The takeaway is crystal clear: friendships require effort, understanding, and forgiveness. So lean on your besties, cherish them, and remember that these bonds are just as significant as any romantic relationship.

Set in the vast expanse of the Australian outback, Horizon emerges as a gripping theatre production that intertwines elements of thriller, drama, and social commentary. Conceived by playwright Maxine Mellor and presented by Playlab Theatre, this story delves deep into the psychological and emotional landscapes of its two characters, Sky and Cole. Horizon follows the journey of a young couple driving to Cole's family home to say goodbye to his dying father. Cole, an aspiring filmmaker, and Sky, a successful lawyer, embark on what begins as a playful road trip that quickly transforms into a suspenseful drama. The discovery of an old cassette mixtape with a disturbing recording of teenage Cole unearths buried secrets and triggers a cascade of revelations. Cole's self-proclaimed "Mr. Nice Guy," façade crumbles, exposing his lack of true compassion and revealing a sinister, unhinged side that contrasts sharply with Sky's strong, feminist stance. As they debate the infamous Lindy Chamberlain case, encounter dingoes, and confront their own troubled pasts, the journey becomes increasingly tense. Sky must navigate Cole's unravelling psyche in this isolated setting, while coming to grips with the unsettling truth about her boyfriend. An eerie soundscape fills the air as you settle into your seats, instantly immersing you in the tense atmosphere. The stage setup includes a classic Ford sedan on a revolving platform, flanked by two screens to project the road behind. The absence of glass in the car allows for fluidity for the actors' frequent entrances and exits through the car's openings. The performance begins with Cole and Sky engaging in a playful enactment of a zombie horror movie trailer. Maxine Mellor's script shifts between light-hearted humour and dark themes to capture the changing dynamics between the couple. Multiple times, the story halts as Cole or Sky climb onto the car to express their inner reflections in the style of slam poetry. Ashlee Lollback and Julian Curtis deliver electrifying performances. The physical constraints of driving—the need to keep hands on the wheel and eyes on the road—require the actor in the driver's seat to convey a range of emotions through facial expressions alone. Julian Curtis brings an unsettling intensity to his performance. Characterised by Cole's habit of narrating situations as if they are movie trailers using a dramatic deep American voice, he adds a layer of dark humour that reveals his desire for control. Curtis adeptly portrays Cole's descent into mania, his smile morphing into a menacing snarl as Sky begins to question his emotional detachment from his father and possible violent tendencies. Bloodied from an accident and triggered by Sky's persistent 'cross-examination', Cole's physicality becomes increasingly alarming and intimidating. The pivotal scene where Cole forces Sky back into the car, speeding recklessly down a dark dirt road while hurling cruel insults, is a testament to Curtis' ability to evoke genuine fear and revulsion. Cole's delusions of romance are met with groans of discomfort and nervous laughter from the female audience members, highlighting the unsettling familiarity of his entitled behaviour. Lollback's portrayal of Sky is multi-faceted, masterfully balancing the character's strength, vulnerability, and sharp intellect. The escalating suspicion and fear that Sky experiences are conveyed with gripping intensity, culminating in a dramatic confrontation that leaves the audience on the edge of their seats. As Cole’s true colours are revealed: entitled, desperate, and incapable of change, they contrast sharply with Sky’s evolving strength. Lollback's delivery of Sky's empowering "I am More" monologue is a poignant moment that deeply resonates. As a woman, I found myself deeply empathising with Sky's position, particularly as Cole's unsettling behaviour and emotional manipulation become increasingly apparent. David Walters' lighting design, Nathan Sibthorpe's visual design, and Guy Webster's sound design are integral to the production's success. The projections of the road, which transition from clear lines to blurred ones as the sun sets, are used as a narrative device, transforming the stage into an ever-changing landscape that mirrors the characters' psychological disorientation. By utilising car lights and interior illumination, the car itself is transformed into a potent character within the play. The sound design is equally immersive, with a carefully curated mix of music and effects that heighten the tension. Ian Lawson's direction of the play ensures a cohesive progression that builds suspense throughout. The scripted discussions are laden with subtext to offer more insight into their true emotions than their actions do. Memorable lines like "Sometimes all it takes is just a little shallow scratching to find the darkness in men" and "Shades of grey - I didn't say yes but I didn't say no" lingered with me long after the show. The character development is meticulously crafted, particularly in Cole's gradual transformation from a seemingly charming partner to a menacing presence, prompting the audience to constantly reevaluate their perception of him. Similarly, Sky's evolution from a confident professional seeking escape to a woman confronting her deepest fears is both empowering and heartbreaking.   The audience's reactions throughout the performance—from nods of recognition to audible gasps—are a testament to the play's gripping narrative and emotional depth. Horizon is more than a captivating theatrical performance; it is an experience that challenges the audience to confront the unsettling complexities of identity, relationships, and the darkness that lies within. Horizon is playing at the Brisbane Powerhouse until 10 August. Tickets available here. Wednesday 7 August 2pm offers a "Pay What You Wish" performance. To secure your spot, please register here . Advisory : Recommended for ages 15 and above. Includes adult themes, coarse language, sexual references, and simulated violence.

The Thrill of Love , presented by Centenary Theatre Group, explores the real-life story of Ruth Ellis. If, like me, you are have no idea who that is, she was the last woman to be executed in Britain. With Amanda Whittington's insightful script and Ashleigh Cates' thoughtful direction, this play invites its audience to ponder the blurred lines between victim and perpetrator. Set against the backdrop of 1950s London, the stage is adorned with period-appropriate furnishings and a well-equipped bar that not only sets the scene but also subtly reflects the characters' social milieu. The play opens with a dramatic bang—literally—as Ruth, played by Shelby Renton-McCarthy, fatally shoots her lover David with calm detachment. Note: I think it's important to familiarise oneself with basic details of Ruth Ellis' case beforehand to better understand the storyline. The cast delivers their performances with natural ease and authentic British accents, crafting a convincing and captivating depiction of this turbulent era. Renton-McCarthy brings Ruth Ellis to life with an unfiltered portrayal of a woman (and mother of two) torn apart by passion, violence, and societal struggles. Her performance captures Ruth's tough exterior and inner vulnerability to paint a vivid picture of a complex and enigmatic individual.   Isaac Tibbs as Inspector Jack Gale distinguishes himself with his purposeful and measured delivery, grounding the narrative with his engaging presence. He narrates the investigation's interludes through eloquent dialogue, engaging the audience with eye contact and attentively watching the unfolding flashbacks with us as an outside observer. Annie Filion brings a magnetic charm to Vicki Martin, Ruth's colleague turned close friend whose tragic end significantly affects Ruth's mental state. With her ambition, quirky demeanour, and allure, Filion crafts a memorable character. Hannah Davies plays Sylvia Shaw, the proprietor of the gentlemen's club where Ruth and Vicki are employed. She grapples with the dilemma of whether to offer support or enforce a firm hand with Ruth, truly embodying Sylvia's loyal but direct personality. The introduction of Doris, a character in the story thought to be based on Ruth's mother or a close friend, serves as a compassionate contrast to Ruth's unpredictable behaviour. Doris consistently stands by Ruth, offering her unwavering support and protection, even at the expense of her own well-being. Genevieve Whittred portrays Doris with a kind and nurturing attitude, providing a sense of comfort, particularly in the intense scenes discussing domestic violence. The disclosure of Ruth's miscarriage following an argument where David punched her in the stomach is a confronting moment that underscores the harsh realities of Ruth's life and her dependence on abusive men to avoid poverty. The costumes and wigs are generally elegant and appropriate for the period, with the exception of a strikingly bright red wig that prompted a humorous comment from an elderly audience member about the improbability of such a sight in 1955 London. The timeline of the play shifts frequently, moving between the present and the past, which might pose a challenge for some viewers. Nevertheless, this fragmented format allows for a deeper exploration of Ruth's psyche and the events that led up to her crime. We witness Ruth's descent into despair, driven by her multiple tumultuous relationships. David and Desmond, two significant lovers of hers, are not physically present in the narrative but their influence on the story is undeniable.   In the climactic scenes of the trial, Ruth's lack of remorse and her 'dolled-up' appearance perplexes everyone. In Holloway Prison, Sylvia and Doris visit Ruth and reveal the widespread controversy her case has ignited. The play concludes on a sombre note, a haunting reminder of the case's influence on British society and the subsequent abolishment of the death penalty. Renton-McCarthy portrays Ruth's stoic acceptance of her fate, her lack of regret, and her preference for a swift death rather than a lifetime of imprisonment in a chilling but empathetic manner.   The Thrill of Love is a compelling and emotionally impactful show that challenges its audience to confront tough questions concerning justice and morality. It serves as a reminder of the fragility of life and the devastating consequences of love gone awry. Now playing at Chelmer Community Hall until August 11th, 2024. Tickets available here

Upon entering the eerie basement confines of Evilcorp Horror Maze and Bar, I was thrust into the whimsical world of “Spooky Dog and the Teenage Gang Mysteries,” presented by The Drama Merchant. This zany escapade parodies Scooby-Doo with plenty of improv and raunchy humour. The venue was transformed into a playground for this spoof, with the entire space—the stairs, the bar, cabaret tables, and even the maze itself—used as the stage. Written in 2008 by Eric Pliner and Amy Rhodes, the show follows a team of friends who solve mysteries - including leader Ted, clueless Tiffany, clever Thelma, hungry Scraggly, and their talking pooch Spooky Dog - as they investigate the disappearance of a celebrity at a creepy county fair. Directed by Nathan Schulz, this production was as delightfully unpredictable as the wheel of fate spun before the show. On the day I attended, the audience randomly chose none other than the legendary Jesus Christ himself as the kidnapped celebrity, along with a random prop and quote for the actors to incorporate; a different selection for each show. From the beginning, it was obvious that this play was anything but ordinary. The actors were provided with a script and scenario to work with - Jesus Christ being abducted by what appears to be a maze phantom - but the rest was up to their improvisational skills. This setup resulted in a whirlwind of impromptu humour and brilliant chaos. The improv aspect proved to be both a blessing and a challenge, as the actors occasionally struggled to synchronise their improvisation without talking over each other. I learned that about 70% of the performance I saw was improvised, which I find incredibly impressive; plus it makes each show one-of-a-kind. While the show was a tad lengthy and not every joke landed as intended — possibly due to the busy nature of the show — the overall experience was a riot. A real highlight was the show's self-awareness. The actors roasted the local Fortitude Valley scene, sprinkling an extra dose of meta-humour into the mix. The performers didn't shy away from breaking the performer-audience barrier; especially when a few brave souls got pulled into the act. We even found ourselves right in the middle of a wild chase scene inside the horror maze, with "Ballroom Blitz" blaring in the background as we ran away from the phantom alongside the characters.   The Characters: Spooky Dog (Mikayla Melo) : As the titular character, Melo infused the mix of cowardice and goofiness that is characteristic of this beloved and well-known canine. Her character's interactions with the audience and fellow cast members never failed to bring laughter, especially while miming an entire scene with an audience member. Thelma (Jay Louise Clark) : Clark really turned the nerdy character trope on its head. She played Thelma in a delightfully different (and canonically legit) way, dropping plenty of sexual innuendos about her crush on Tiffany. And when she got trapped in a giant cage, Clark hilariously riffed on JC (Jesus Christ) in a spontaneous comedic routine. Tiffany (Chantelle Miller) : Rocking the red hair and go-go boots, Miller perfectly portrayed Tiffany's ditzy nature, often being pulled around the stage like a rag-doll. Her martini-sipping antics and spaced-out demeanour seemed like a blast to play. Teddy (Daniel Pohlmann) : Pohlmann's consistent smoulder, self-admiring, cravat-wearing characterisation was perfection. Along with his physicality and voice that could rival Freddie Prinze Jr, Pohlmann delivered some hilarious moments that truly stood out to me. And the dance-off "foreplay" where Teddy and Tiffany channel Britney Spears and Justin Timberlake... was so out of left field and ridiculously memorable! Scraggly (Mikey Real) : Embracing the munchies-snacking, voice-cracking persona, Mikey Real transforms Scraggly into scruffy loveable idiot. With his lightning-fast improv, Scraggly became the character that captured my attention the most during the entire show, leaving me eager to hear what he would say next. Mrs Woodhaven and Fortuana (Cecile Campbell)  and Big Woody (Caleb Turner) : These extra characters brought another element of absurdity to the show, with Campbell basically pulling a Jekyll and Hyde, while Turner rocks an oversized persona that cranks up the cheekiness even more. Director Nathan Schulz deserves praise for producing such an engaging performance in a diverse performance venue with just a handful of performers. He ensures that everyone's attention is focused on the antics between the actors, allowing him to throw in some whimsical props like a giant hamburger or a spooky pumpkin head. You can tell he dedicated a lot of time and effort to make sure the group's chemistry is top-notch, enabling them to keep the banter flowing with jokes and snappy comebacks. The most memorable aspect was unquestionably the commitment shown by the entire cast in embodying their over-the-top characters. What distinguishes this parody from others is the boldness of the creators in spoofing such a widely recognised children's cartoon. With a show like this, it's crucial to leave your sour face at home and just enjoy the wild ride for what it is! In short, “Spooky Dog and the Teenage Mystery Gang” was a devilishly fearless romp that fully embraced its own nuttiness with a willingness to take risks.

Drawing inspiration from the wise words, "Don’t set yourself on fire to keep others warm," this short play offers a fictional yet deeply authentic exploration of emotions, connections, and the introspection that accompanies young love. Nestled in the heart of Fortitude Valley, Backdock Arts offers a unique theatre experience. With its forty chairs repurposed from old bus seats, the venue exudes a cozy and intimate atmosphere. Upon entering the theatre through the set resembling a quaint antique store, you'll hear the soothing tunes of acoustic music gently serenading you. This carefully curated soundscape evokes a nostalgic vibe, as if one is strolling through your fondest memories. Set Me on Fire tells the tale of Eden and Noah, former partners who unexpectedly meet again after a five-year separation. What starts as awkward small talk swiftly transforms into a whirlwind trip down memory lane. Rachel McMurray and Mannon Davies do an amazing job bringing their characters to life, even amidst the distractions of the busy main road outside. Eden's retro attire, adorned with delicate details, complements the character and the narrative's nostalgic tone. The set, adorned with items sourced from local op-shops (and the team's grandparents' homes), includes a charming retro telly that helps steer the audience through the timeline; also enhanced by lighting shifts. Rachel and Mannon’s use of the set is dynamic, manoeuvring items themselves to transition between various times and locations.   As the story unfolds, the audience is taken on a journey through the early days of Eden and Noah’s relationship. From the very beginning, their chemistry is electric that you can practically see the sparks flying! They banter, they flirt, they carefully avoid any hint of drama - typical of a new romance. The beautiful poetic script, complemented by romantic lighting and music, encapsulates the intoxicating bliss of their bond: "When you care about someone, it feels like your heart is on fire." The exploration of first love in this play is achingly relatable. Meeting at seventeen, Eden and Noah navigate the exhilarating highs and heart-wrenching lows of being each other's first romantic experiences, including the sweet intimacy and the inevitable conflicts. Their bond is tested as they confront their differing values and external pressures. The unseen figure of Noah's mother exerts a powerful influence, leading to honest, often painful discussions between the couple. Eden's challenge to assert herself and Noah's failure to defend her against his mother's disapproval serve as a poignant examination of the emotional labor often borne by one partner in a relationship. Despite her repeated attempts to communicate her feelings, Eden is often met with Noah’s confusion and helplessness. The raw vulnerability in her words, "You say you love me. So why can't I see that?" says it all about Eden's unfulfilled emotional needs and frustration. Noah’s manipulative plea, "If you loved me, you wouldn’t leave me," exposes the toxic dynamics that can arise in such charged moments. The decline of their relationship, as they continue with their usual routines but are plagued by uncomfortable silences and unspoken realities until one person finds the courage to walk away, resonates with anyone who has faced the painful end of a meaningful relationship. These themes are often a universal experience, and the actors’ genuine portrayal suggests that they, along with the playwright, have likely drawn from their own lives. Moving ahead to the current time, we discover what has become of these characters. Their polite conversation, filled with surface-level inquiries about each other’s happiness, reveals the emotional distance that has grown between them. The lingering question of “What if?” hangs heavily in the air, prompting the audience to reflect on the complexities of love, timing, and personal growth.   This debut work from Silent Sky Collective, led by the talented duo of Cale Dennis and Samara Louise, provides a nurturing platform for emerging voices in the theatre scene. Cale Dennis’s direction ensures every moment is crafted with a clear intention. The technical expertise of Tim James in design and Cullyn Beckton in stage management results in a unified and engaging performance. The playwright, Samara Louise, is a noted author of poetry, and her lyrical touch is evident throughout the script. Rachel McMurray and Mannon Davies, both pursuing their Fine Arts degrees in Acting, deliver performances that are as genuine as they are moving. Rachel, in particular, embodies Eden’s poetic spirit and emotional turmoil with remarkable depth, almost bringing this reviewer to tears as she navigates her character’s journey for validation and understanding. Mannon’s portrayal of Noah makes it difficult to dislike him despite his flaws, showcasing the complexity of his character. "Set Me on Fire" offers a poetic and heartfelt perspective on young love, personal growth, and the painful yet liberating process of moving on. Now playing at BackDock Arts in Fortitude Valley until August 2nd, 2024. Tickets available here

Hi Maxine! Thanks for chatting with us. Could you tell me a bit about your training and how you got into the theatre world, especially as a playwright? As a teen, I thought I wanted to be an actor. But one day, I saw an advertisement for the Queensland Theatre’s Young Playwrights Award and decided to spend my winter holiday crafting some weird little play and ended up winning. I was hooked. From there, I entered every writing competition I could just to set myself a goal to reach, and, if I was lucky, to get a chance to hear actors read it out loud. I pursued Drama studies at QUT where I met other theatre nerds, broadened my understanding of the possibilities within theatre, and started getting my plays into festivals and indie theatre venues. Additionally, I applied to writing camps and sought out mentorship programs whenever possible; since there wasn't a defined curriculum for playwrights, I paved my own pathway through.   So, how do you usually decide which projects to pursue and work on? When I was starting out, I was so eager to learn by doing that I would say ‘yes’ to every opportunity I came across. Often, this meant getting involved in someone else's idea, whether through character, story, or style. I like to think I can take a crack at anything and see what comes of it! But, considering how long it takes to write, edit, and produce a play, I find nowadays I like to work on projects that have potential to shine on stage, explore juicy topics that can spark debates with family and friends, or pose an intriguing linguistic challenge. Ideally, a project would encompass all three aspects.   You've written, developed, and put together a bunch of plays for different theatre groups. Can you share a little about what it's like to see your work come alive on stage? One of my favourite places to be is in a creative development for a new work. I love those early stages of bringing a first draft to life by actors, engaging in discussions, interrogating and prodding. After spending so many hours working on it alone, it’s thrilling (both scary and exciting) to finally share it with others. Once a play is in rehearsal, I try to be present as much as possible. It’s a phase of continuous experimentation where the play is still being tested – which combination of words will unlock what we want here? The director and actors bring their unique expertise to the script, and I find I can make new discoveries from watching them work. That has got to be a very exciting process! What inspired you to write "Horizon"? Was there a particular moment or idea that sparked the creation of this story? During the conceptualising stage of the play, Ian Lawson (Aristic Director of Playlab Theatre) and I had many discussions about our national identity - who are we as a country and where are we heading? How can we encapsulate the debates that are gripping our nation using only two actors? The prevalent issues of incels, male violence, and the #metoo movement served as significant influences on the characters' background stories. From these discussions emerged the concept of a young couple embarking on a road trip out west. Trapped in a car with the person you love, what secrets chase them down the road?   Those themes sound very intriguing! So, what can audiences expect from "Horizon"? Are you hoping to spark any specific reactions or discussions with the play? Viewers can expect a thrilling gothic road trip deep into the heart of the Australian country, as we delve into the hearts of two individuals with ghosts to escape. I hope that they will find a connection with the characters - either you know people like these two or recognise reflections of themselves - and become invested in the complexities of their relationship. Can their relationship survive some grim history that comes to light? Can they outrun the dingoes of the past that are hunting them down? I aim for this to trigger conservations about the future direction of our nation and who will be driving us there. In "Horizon," the Australian landscape is crucial. How did you manage to capture the essence of the outback and how it affects the characters' journey? As the characters journey deeper west and the white lines of the lanes become hypnotic, the car becomes their safe space, yet also feels claustrophobic. Both characters are uncertain where they’re headed – physically and emotionally – yet they can’t leave the vehicle or each other in this isolated setting. As they start to hear dingoes howling at dusk, they wonder if they are being followed. Although, whether the dingoes are really there or not remains a mystery.   I'm so eager to check out this thrilling drama on stage! How do you go about working with other creative folks and actors to bring a show to life? Each production is slightly different, but generally I like to collaborate as early as possible in the development of a new work. In some cases, I’ve been lucky enough to have creative development sessions during the initial conceptualisation of a piece, and I've discovered that I often draw inspiration from the designer's vision, the composer's auditory perspective, or the physicality that actors bring to their roles. It becomes a bit of an organic process of inspiring one another to push and explore, establishing a shorthand for our future rehearsals.   Got any cool projects up your sleeve for your next work? Having recently had a baby, I’ve found a whole well of inspiration through sleep deprivation!   I'll bet! Have you noticed any ways in which you believe you have evolved as a playwright? When I first started writing plays, I tried to implement every piece of feedback I was given – which meant revising some things so much that they lost the spark that drew me to them. Nowadays, I trust my instincts more and understand that not all feedback needs to be used! I appreciate the time you dedicated to answering these questions. Before we warp up, I'll ask the question that I pose to all interviewees: What advice would you give to those who are looking to build careers in the theatre industry, whether on stage or behind the scenes? In the world of theatre, careers can be strange and unpredictable – be comfortable with change, take on lots of roles, and remember that there is no right or wrong way! For those new playwrights, don't be afraid to share your work! 'Horizon' is playing at the Brisbane Powerhouse from 31 July - 10 August Tickets available here

TINA, The Tina Turner Musical is an exhilarating journey through the remarkable life and enduring legacy of the Queen of Rock 'n' Roll. This jukebox musical tells the story of how Tina Turner discovered her talent and overcame challenges of gender, race, age, and domestic violence to become a global sensation. Growing up in the racially charged Nutbush, Tennessee as Anna Mae Bullock, she faced a difficult childhood marked by parental abandonment and limited opportunities. Once discovered by R&B pioneer Ike Turner, she was transformed into Tina Turner from a young age . I had the privilege of seeing Jochebel Ohene MacCarthy, the alternate Tina, deliver a truly extraordinary performance. Jochebel stands out as one of the most impressive leads I have ever witnessed, capturing Tina Turner's essence with accuracy in her mannerisms, voice, and emotional depth, all supported by a phenomenal vocal range and unwavering endurance and energy. The musical numbers range from her high-energy hits to emotional ballads, capturing Tina's tumultuous life story perfectly. The choreography and energy of the ensemble are on par with a high-octane production like Hairspray . Jochebel as Tina not only delivers vocally but also impresses with her classic Tina dance moves that'll have you shimmying in your seat. One of the show's peak moments is "River Deep, Mountain High" - starting as a subdued studio recording and building into a full-blown spectacle. Other musical highlights include "I Want to Take You Higher" and "Proud Mary," both of which feature interspersed dramatic scenes. Lucy Bowyer, one of the young girls playing young Anna Mae, demonstrates her powerhouse voice, a talent Tina possessed from a young age. Her ability to belt out tunes and command the stage reflects not only her character's journey but also her own natural charisma and stage presence. As the story unfolds, we witness the evolution of Anna Mae from an excitable and naive young girl to a controlled and frightened young woman, before ultimately transforming into an empowered superstar and a devoted single mother Tina Turner. The closing of Act One is unexpected and jaw-dropping, capturing a pivotal low point in Tina’s life in the mid '70s. Giovanni Adams delivers a compelling portrayal of Ike Turner, capturing the complexities of the character with great intensity; showcasing the tumultuous marriage between Tina and Ike that was marred by Ike's infidelity, exploitation, and abuse. Act Two opens with a bang with "Disco Inferno," accompanied by dazzling disco balls that illuminate the entire Lyric Theatre. The arrival of characters Roger Davies and Terry Britten injects a lighter and more jovial tone as we witness the creation of "What’s Love Got to Do with It". John O'Hara, portraying Phil Spector and Terry Britten, brings a charming mix of humour and distinctive characterisations to his roles. Both Matthew Prime's portrayal of Tina's enduring love, Erwin Bach, and Mat Verevis as Aussie music producer Roger Davies, are excellent. Following numerous scenes of abusive behaviour from multiple men in Act One, it is heartening to see these new characters display supportive and kind attitudes in Act Two. One of the most moving moments takes place as Tina says farewell to her mother during "We Don’t Need Another Hero." The starlight projected onto the stage transforms into the dazzling lights of a concert arena, leading into the explosive finale "Simply the Best." Ending the show with a high-energy mega-mix, the rock band takes the stage and before you know it, the whole audience is on their feet! Featuring a revolving turntable, the stage set spins us through the different eras faster than you can say "Big wheel keep on turnin'!" The use of lighting and set elements ensures smooth transitions between place and time, making it easy for the audience to follow along. Tina's various outfits are a spectacle in themselves, not only showcasing her fashion evolution but also the meticulous effort put into replicating iconic looks from her career, allowing her to sparkle, quite literally, on stage. Multiple costume changes, most of which occur on-stage (including wig swaps), add a layer of excitement by allowing the audience to witness the transformation firsthand. Attention to detail in the props, from the iconic 60s microphones to the sleek 80s recording studio equipment, authentically captures the essence of each era, immersing the audience in a journey through time. The band delivers an energetic performance both on stage and off stage, showcasing a particularly impressive horn section. The audience's reaction is a testament to the show's impact. Standing ovations, enthusiastic applause, and even the occasional sing-along moments reflect the deep connection and appreciation the viewers have for Tina Turner's music and legacy. This communal experience enhanced my overall enjoyment, elevating this musical from beyond mere observation to become a shared celebration of a musical legend. Whether you’re a lifelong fan or new to her story, this production at QPAC is an absolute must-see. Now playing at the Lyric Theatre, QPAC until 23rd August. Tickets available here

I recently had the pleasure of attending Loxlea Creative's performance of "The Critical Last Chance Years Vol. 3" during the Anywhere Festival Brisbane, and it was truly delightful. This one-woman musical cabaret features Zoe Georgakis as Amy, who leads the audience through the wild journey of a perpetually single woman. The creator, Laine Loxlea-Danann, masterfully blends a range of genres in her music and lyrics, crafting a musical performance that is both heartwarming and entertaining. The audience is invited to Amy's 50th birthday celebration, where she recounts the ups and downs of her life as a single woman, beginning in her 20s. The show kicks off with 'Life, I've Got You by the Balls,' belted out flawlessly by the jazz diva extraordinaire Zoe. (I apologise for not knowing the actual song titles). But let me tell you, the real showstopper was 'I Like Doing It on My Own.' Coincidentally, today, on my 29th birthday, I found the message of embracing your own company and rejecting societal expectations to be very relatable. Likewise, the 'That's Just Disney Bullshit' number struck a chord with my childhood fantasies of fairy tales. The peak of hilarity came during the "Guide to Flirting" segment, where Amy unsuccessfully attempts various physical flirting techniques - flash your wrists, wink, subtly point to your cleavage, rub your neck - ending in severe second-hand embarrassment. This period of Amy's life is marked by friends relying on her, sharing their happy news, and seeking favours without reciprocating an interest in her life. A particularly memorable quote was, "Your 20s are your time to bloom. I didn't think blooming would be this lonely." At one point in the story, Zoe shifts characters to embody Amy's friend who already has the house-husband-children package. I appreciate that this character highlights all the perks of flying solo versus the supposed shackles of coupledom/parenthood. The song 'Past Your Prime/Everybody's Having Their Babies' reflects the pressures to start a family before it's "too late", while the emotional ballad 'Goodbye Baby,' addresses the heartbreak of infertility. As Amy hits her 30s, she goes all out - having fun, traveling, and mastering the art of saying 'no,' all while diving into the chaotic world of online dating with a detailed list of criteria for a "good man." All the while, Zoe seamlessly switches between portraying other characters then back to her quirky, loveable depiction of Amy. The peak of the story sees Amy's behaviour become increasingly unhinged and unsettled, leading to her eventual acceptance and contentment with her situation by her 40s. And the icing on the cake? Amy symbolically marrying herself, showing us all that self-love beats society's rulebook any day. The seating was set up cabaret-style with bubble-blowers, streamers, confetti, and party-poppers on every table - fully immersing us in the party spirit! The decorations, birthday cakes, balloons, and the exceptional live jazz band all contributed to establishing the festive mood. This cozy setup fostered a close connection between Zoe and the audience, turning the spectators into active participants in Amy's story. The integration of theatrical elements like the live vlogging projection, prop manipulation, lighting effects, and creative choreography added even more vibrancy to the storytelling. Zoe captivated with her charisma and interactive approach. Marianne Klausen's direction, along with Laine Loxlea-Danann's script and music, made it easy to follow and engage with each scene. What truly set this performance apart was its ability to make me feel personally seen and understood. People like Amy and I, who do not desire the traditional family life of a husband, house, and children are not common; we are an exception to the norm. Laine has put together a show that expresses those often concealed feelings and unspoken thoughts, resulting in a liberating and empowering experience. The shared laughter, nods of understanding, and sighs of recognition, particularly from the women in the audience, highlights the profound impact of Amy's story. "The Critical Last Chance Years Vol. 3" takes you on a journey through the ups and downs of reaching the milestone age of 50. It celebrates individuality, resilience, and the joy of embracing life on one’s own terms. Whether you’re single, married, or somewhere in between, this musical has something for everyone. So make sure to keep an eye on Stage Buzz Brisbane for any upcoming performances to ensure you catch this fantastic show!

Could you share with us your journey into the world of theatre, particularly as a playwright? Oliver : I suppose my training began as a student actor and as a keen reader. I always enjoyed performing in front of friends and at school, and loved participating in performances of all kinds. My family and I spent two years living in a tent and traveling across the country. So my siblings, kids from different campsites, and I would create skits and perform them around a campfire for fellow campers. After I discovered plays, I read myself as many as I could and enrolled in every available performance opportunity. I was particularly drawn to comedic works and gained valuable insights into what is fun, captivating, and engaging for an actor through my participation in a range of student productions at SUDS in the University of Sydney, Bedlam Theatre in the University of Edinburgh, and Underground Theatre Company at UQ. This experience was key in my journey towards understanding the elements that contribute to a successful script and discovering ways, as a writer, to provide exciting opportunities for performers.   The drama program at the University of Queensland enhanced my critical understanding of theatre and provided me with practical skills in its production, especially through the playwriting program led by Stephen Carleton. From there, I started to see my writing come to life on stage, and I was able to combine my passion for reading and play scripts with the lively nature of theatre. Furthering my studies, I completed an Honours in playwriting and a Master of Philosophy at UQ, where I was lucky to be supervised by experts Stephen and Joanne Tompkins who specialise in the type of writing that interests me. Through this program, I worked on longer plays and researched absurdism and ecological theatre, ultimately shaping my understanding of this field and what I wanted to do with my own creative work.   It's fascinating to hear about your diverse background, from creating skits around a campfire to studying at renowned institutions. I'd love to know more about the transition from writing to seeing your work produced. You've had plays like "X" and "Concrete Mirage" developed and produced by various theatre companies. Can you share a bit about the process of seeing your work come to life on stage? Oliver : It’s always exciting and terrifying witnessing your work on stage, or even hearing it during a first read or workshop . During both of those productions, I was lucky that there were talented and thoughtful directors like Brandon Palmer and Cam Scurrah attached to the work, which gave me confidence in the direction of the work. I was around for a first read -through and a couple of rehearsals, but after those early edits, the creative team found their own vision for the scripts. I typically prefer to "let go" control of the script once rehearsals have really begun to see what the director, actors, and design team can bring their to the world we are creating. It’s amazing to see how unexpected lines come to life, new meanings are found, and laughter come through the contributions of everyone involved. Ultimately, the script is a blueprint for the performance, and the transformation of the script from paper and ink to bodies on stage in front of an audience is a radical process - and very exciting. All sorts of things shift and come to light in this environment, which is what motivates me to write for the stage.   As someone who hasn't ventured into writing, I can only imagine how exciting that process must be. Being a Disney tragic myself, I'm particularly excited to talk about your latest work — "Disney Off Ice." This play has been described as an inventive and humorous satire exploring the legacy of Walt Disney. How did you approach the task of parodying such an iconic figure? Oliver : Of course, research played a big role in the early stages of developing this play, but I think the focus has ultimately shifted from being solely about Disney himself to ideas about celebrity and legacy. The Walt Disney is such a rich and fascinating figure, so at times it was a challenge not to focus on this one person completely. The name and the brand of Disney carries such significant cultural weight and comes with an enormous wealth of images, meanings, and associations; so there were plenty of exciting ideas to consider and explore. A s our director Lachlan Driscoll, the artists at Observatory Theatre, and I continued to develop this work, we found it more urgent to question and examine the cultural aspects that Disney represents, such as the creation of icons, the artistic process, and the uneasy relationship between art and capitalism.   What can audiences expect from “Disney Off Ice,” and how do you anticipate they will engage with it? Are there specific reactions or discussions you hope the play sparks among viewers? Oliver : I think audiences can expect a pretty wild show. We have found an incredibly strange future world in this process, and have placed a cranky, raving Walt Disney right in the centre of the chaos. The production is full of big characters and absurd events that I trust will surprise and provoke audiences. The future of our planet is an important thread in the work - so I’d like to see audiences ponder what our future may look like if business is continued as usual. Where will the relentless pursuit of profit lead us in the years to come? How will it impact art, people, and the environment? I believe this play takes the comical strangeness and brutality of where things are headed, and brings it just a few steps closer to total madness. What might the world look like centuries from now? Is there anything that wouldn't become an industry or couldn't be commercialised? If cryonics were successful, what would these defrosted icons have to say about their legacies? Would the planet as we know it be destroyed? Would Walt Disney emerge from his tank to a ready-made militant cult?   Oh my stars, that sounds like an incredible concept! I am so looking forward to have my mind blown by "Disney Off Ice." Now, let's dive into the glamorous world of theatre! What keeps your playwright heart beating with passion and excitement? Oliver : Collaboration is a huge part of what I love about making theatre. Sometimes writing can be a little lonely, so witnessing the transformation of work in a shared space is truly incredible. Initially, what captivated me about theatre was that collaborative spirit - sharing the stage with fellow actors, trusting each other, and drawing inspiration from each other's creativity - which I still feel today in various ways. Another part of my passion for theatre are the opportunities it can offer for social and political change. I view theatre as a dynamic, impactful, and public art form - a place where new or radical ideas can enter the world. Seeing the work of other writers and creatives, as well as exploring both contemporary and classic plays, serves as a continual motivation. It’s such a privilege to see your writing come to life, and an opportunity to do something special. Absolutely! As someone who’s deeply involved in theatre myself—juggling teaching, performing, blogging, and reviewing—I know that rush of discovering and witnessing productions that I may not have encountered otherwise. For those who are aspiring to carve out a career in theatre, whether on stage or behind the scenes, what advice would you offer? Oliver : I believe it's valuable to engage with various theatre productions and approach reading plays with the same enthusiasm. I would say that it’s valuable to somehow be involved in as much theatre as you can and approach reading plays with the same attitude. Obviously exposing yourself to professional, indie, and student shows of all types is important, but can be tough with money and logistic constraints. Although, many theatre companies offer discounts for young people or pay-what-you-can options. For writers in particular, I’d recommend exploring plays and novels extensively through our public, state, university libraries, borrowing from friends, or buying your own if there’s something new and exciting that calls to you. From here, you can start to develop your own perspectives on, and familiarity with, different forms of language, pacing, and structure in plays. The practical side is also key. So again, I’d say just get involved in the process of making performances however you can. Keep an eye out for skill development programs, emerging artist programs, and opportunities of all types. While my personal experience with studying drama at university has been very useful, my best general advice is to "do" theatre whenever possible! Thank you so much for your time, Oliver. Catch the world premiere of 'Disney Off Ice' by Observatory Theatre, running from August 16 - September 1, at Studio1, Yeerongpilly. Secure your tickets here.