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

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

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

Title:  2025 Summer Camp – "The 48 Hour Musical" Presented By:  SCYT (Sunshine Coast Youth Theatre) Genre:  Musical Theatre Synopsis: Get ready for a whirlwind of fun at the 2025 SCYT Summer Camp! This camp is for those who love to sing, dance, and act, as we rehearse and stage a full musical in just 48 hours! The twist? Participants won't know what the musical is until 48 hours before showtime! The camp is open to participants from Prep to 18 years old in 2025, and all experience levels are welcome. Lead roles will be cast via auditions, while ensemble members can sign up without auditioning. Audition Date:  Saturday, 9th November Audition Time: Mini & Junior performers: 9am-10:30am Intermediate & Senior performers: 11am-1pm Audition Location and Address:  SCYT Studio, 2/11 Bartlett Rd, Noosaville Audition Requirements: Auditions will be run as a workshop, where performers will demonstrate their skills and talents, focusing on their ability to learn quickly, improvise, and create. Audition Registration:   Sign Up Here Camp/Rehearsal/Performance Dates:  17th-19th January 2025 Recommended Age:  5-18 years

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

Title:  Aladdin - The Pantomime Auditions Presented By:  North Brisbane Theatre Company Genre:  Pantomime Synopsis: This fun-filled pantomime version of Aladdin  brings a mix of classic characters and new personalities to the stage. Aladdin falls head over heels for Princess Jasmine, but her mother, the Empress, isn't pleased. Things take a turn when Aladdin is arrested, but is then rescued by the mysterious Abanazar, who claims to be his uncle. Will this rescue be Aladdin's salvation or part of a sinister plan? Packed with entertaining songs, lively dances, and a bit of risqué humour, this production of Aladdin  will be a hilarious and memorable journey to Cairo. Audition Date: Saturday, 28th September 2024 Audition Time: 3:00 PM Audition Location and Address: KSP Theatre, 17 Maitland Rd, Burpengary Audition Requirements: Princess Jasmine:  Sing "I Will Always Love You" (Whitney Houston) and "Half a Heart" (One Direction – Duet with Aladdin) Aladdin:  Sing "Half a Heart" (One Direction – Duet with Jasmine) Genie of the Lamp:  Sing "Genie in a Bottle" (Dove Cameron) Abanazar:  Sing "Enemy" (Imagine Dragons) Gertie:  Sing "Man I Feel Like a Woman" (Shania Twain) and be prepared for an improv session Other Characters:  Cold reads from the script, singing, and dancing to "Shut Up and Dance" (Walk The Moon, Pre-choreographed) There are no age or gender restrictions for the characters except for the Dame, which must be male-presenting. Audition Registration: Fill out the Expression of Interest (EOI) form: EOI Form Link Rehearsal Dates: Tuesday:  6:30 PM - 9:00 PM Thursday:  6:30 PM - 9:00 PM Saturday/Sunday:  1:00 PM - 4:00 PM First three weeks: Tuesday and Saturday Afterwards: Tuesday, Thursday, and Sunday Rehearsals start from 1st October 2024 Performance Dates: Friday, 13th December:  Evening Saturday, 14th December:  Matinee & Evening Sunday, 15th December:  Matinee Friday, 20th December:  Evening Saturday, 21st December:  Matinee & Evening Sunday, 22nd December:  Matinee Performance Location: Burpengary State Secondary College Warnings:  This production includes some risqué humour and content. Creative Team: Directed by Lachlan Boyes

Title:  Evil Dead: The Musical Presented By:  Ghostlight Theatre Co. Genre:  Rock Musical Synopsis: Five college students find themselves trapped in an abandoned cabin in the woods, where they accidentally unleash an ancient evil that turns them into demons. Based on the cult classic Evil Dead  franchise, this rock musical combines horror, spoof, and musical theatre for one of the wildest, bloodiest, and funniest theatrical experiences. Featuring songs like Cabin in the Woods , What the F ** Was That*, and All the Men in My Life Keep Getting Killed by Candarian Demons , it’s a must-see for fans of both horror and comedy. Be prepared for the splash zone! Audition Date:  Sunday, 13 October 2024 Audition Time:  Times will be emailed upon registration Audition Location and Address:  Woolloongabba Substation, 45 Logan Rd, Woolloongabba QLD Audition Requirements: Audition materials and allocated timeslot will be emailed upon registration Prepare all audition materials for the character you're auditioning for Group dance call is mandatory Available Roles: Ash  (mid 20s): The hero who turns into a chainsaw-wielding demon slayer. (Male presenting, B2-B4) Scott  (mid 20s): Ash’s crude best friend. (Male presenting, C3-Bb4) Linda  (early 20s): Ash’s girlfriend, who loses her head. (Female presenting, G3-E5) Cheryl  (early 20s): Ash’s dorky sister turned brash demon. (Female presenting, G3-Ab5, gymnastic abilities a plus) Shelly  (early 20s): A ditzy airhead Scott met in a bar. (Female presenting, Ab3-C6) Jake  (mid 40s): A helpful woodsman. (Male presenting, G2-B4) Annie  (early 20s): The archaeologist’s daughter with a revealing costume. (Female presenting, Ab3-C6) Ed  (mid 20s): Annie’s boyfriend who also plays the Moose. (Male presenting, A2-G#4) Rehearsal Schedule: Wednesdays, Thursdays (evenings), Sundays (afternoons) Rehearsals start in October 2024 and run through January 2025, with a Christmas break Locations: EvilCorp Horror Maze and Woolloongabba Substation Performance Dates: Friday, 31 January 2025 – 7.30pm Saturday, 1 February 2025 – 2.00pm Sunday, 2 February 2025 – 6.00pm Friday, 7 February 2025 – 7.30pm Saturday, 8 February 2025 – 2.00pm Sunday, 9 February 2025 – 6.00pm Performance Location:  EvilCorp Horror Maze, Underground level, 226 Brunswick St Warnings: This production contains violence, blood, coarse language, horror themes, and lots of blood. Creative Team: Director: Yasmin Elahi Musical Director: Benjamin Oxley Choreographer: Tayla Simpson Other Information: This is a profit-share production. By accepting a role, you agree to become a member of Ghostlight Theatre Co. Membership is $25 for one year. For more information, email: ghostlight_theatre@outlook.com Audition Registration: Audition Form Production Website: Ghostlight Theatre Co.

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

Title:  Agatha Christie’s Verdict  Auditions Presented By:  CTG (Community Theatre Group) Genre:  Play (Mystery/Drama) Synopsis:   Verdict  by Agatha Christie is set in 1958 and follows Professor Karl Hendryk, a brilliant but emotionally troubled man, whose life is turned upside down by a series of tragic events. When a murder occurs, secrets unravel, and everyone becomes a suspect in this thrilling courtroom mystery. Audition Date:  Saturday, 14th September 2024 Audition Time:  2:00 PM Audition Location and Address:  CTG Theatre, Halsbury St & Community Centre, Queenscroft St, Chelmer Audition Requirements: Auditions will be a cold read from the play. All cast members need to be proficient in English accents. Available Roles: Lester Cole:  25 years old Mrs. Roper:  40+ years old, gruff and rude Lisa Koletzky:  Early 30s, attractive Professor Karl Hendryk:  45 years old, handsome (German accent) Anya Hendryk:  38 years old, invalid in a wheelchair, whining (German accent) (Karl's wife) Dr. Stoner:  60 years old, a typical family doctor Helen Rollander:  23 years old, beautiful Sir William Rollander:  Middle-aged, tall (Helen's father) Detective Inspector Ogden:  40s, pleasant nature Police Sergeant Pearce:  Mid-30s+, typical sergeant role Audition Registration:  Contact Director David Bell on dbell6@bigpond.net.au Production Website:   Centenary Theatre Group

Title:   Falsettos Presented By:  Phoenix Ensemble Genre:  Musical Synopsis: Falsettos  is a poignant musical about a Jewish family in New York during the late 1970s. Marvin, the central character, struggles to balance his new relationship with Whizzer and his responsibilities towards his ex-wife Trina and their son Jason. As the family navigates complex emotional terrain, including infidelity, new relationships, and a life-changing medical diagnosis, they must come together despite their differences. The musical is a synthesis of three one-act plays: In Trousers , March of the Falsettos , and Falsettoland . It is sung-through, meaning the story unfolds entirely through music. Location: The Tin Shed, Beenleigh Showgrounds, James Street, Beenleigh Important Dates: Audition Dates: Individual Auditions:  October 11th (from 6:00 PM) and October 12th (from 9:00 AM) Dance Calls:  October 12th (12:00 PM - 1:00 PM and 5:00 PM - 6:00 PM) Children’s Auditions (15 years & under):  October 12th (2:00 PM - 3:00 PM) Callbacks:  October 13th (from 6:00 PM) Audition Self-Tape Due:  October 11th by 5:00 PM First Rehearsal:  October 27th (10:00 AM - 3:00 PM) Rehearsals: Monday: 7:00 PM - 10:00 PM Wednesday: 7:00 PM - 10:00 PM Sunday: 3:00 PM - 8:00 PM Holiday Break: December 23rd - January 1st Photoshoot:  November 3rd (9:00 AM) Technical Rehearsals:  January 19th (Sitzprobe) and January 20th onwards Performances: February 7th, 8th, 14th, 15th, 20th, 21st, 22nd, 27th, 28th, and March 1st at 7:30 PM Bump Out:  March 2nd (10:00 AM) Audition Requirements: Audition Form:  Must be completed and submitted with a colour headshot (10cm x 15cm) and a list of all potential conflicts. Songs:  Prepare two contrasting songs in the style of the show (16-32 bars/30-60 seconds each). No songs from the show. Dance:  Bring appropriate dance shoes and wear clothes suitable for movement. A dance video will be available from September 15th. Monologues:  Provided from September 15th, prepare according to the character you are auditioning for. Backing Tracks:  Bring a device with a bluetooth or AUX connection for your backing tracks. No piano accompaniment provided. Audition Registration:   Book Your Audition Available Roles: Marvin:  Male, 30-40, Vocal Range: C3-B4 Whizzer:  Male, 30s, Vocal Range: E3-C5 Trina:  Female, 30-40, Vocal Range: B3-E5 Jason:  Male, 11-13, Vocal Range: G3-D5 Charlotte:  Female, 30s, Vocal Range: F3-F5 Cordelia:  Female, 30-40, Vocal Range: A3-E5 Mendel:  Male, 30-40, Vocal Range: C3-B4 Additional Information: Phoenix Ensemble is an amateur company. All roles are unpaid. All performers must be 18 years old by the time of performances (excluding Jason). Successful applicants must become financial members and obtain a valid Blue Card. Membership ensures coverage by Voluntary Workers Personal Accident Insurance. For more details and to book your audition, visit Phoenix Ensemble Audition Page . Creative Team: Director: Hayley Gervais Choreographer: Jackson Poole Music Director: Emma Erdis

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

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!