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Underground Theatre Company’s production of Rotterdam , written by Jon Brittain, is a beautiful work that explores the complexities of gender identity, self-discovery, and the fluidity of human experience. Directed by Tai Kane-Potaka , this play doesn't shy away from the harsh realities of changing identities and societal labels, but also finds moments of joy and humour amidst the challenges. After seven years in a relationship with her girlfriend, Alice is finally prepared to reveal her lesbian identity to her parents when Fiona drops a bombshell - he's always felt like a man born in a woman's body and is wanting to embrace life as Adrian now. This revelation leads Alice to question her own sexuality - does this make her straight? And as if that wasn't enough, throw in Alice's ex-boyfriend/BFF/Adrian's brother Josh, and the lively lesbian co-worker Lelani into the mix for some extra spice. Join Alice and Adrian as they navigate life in their cozy apartment in Rotterdam, Netherlands. Aimee Sheather has created a set that is both intimate and inviting, complete with twinkling lights, a sofa, a coffee table, and a kitchen island, setting the perfect backdrop for the domestic scene where most of the action unfolds. The set immediately pulls us into these characters' lives as Alice frantically types on her computer while Fiona dances around the apartment to combat boredom. Quinny Niamh captures the emotional and physical hurdles of transitioning from Fiona to Adrian. The audience is taken along on this journey with Adrian, witnessing moments of frustration, isolation, and excitement, all of which are portrayed with a genuine emotion. Quinny's heartfelt performance highlights the resilience and bravery needed to undergo such a profound personal transformation. Rachael Woodnett delivers a captivating performance in the role of Alice. She brings to life the internal struggle and emotional turmoil that Alice experiences as she grapples with her partner's transition and confronts her own sexuality in the process. Rachael's portrayal is marked by a deep vulnerability as she grieves the loss of her girlfriend in private, enabling the audience to deeply connect with Alice's perspective. The dynamic between Adrian and Alice is particularly compelling. Their arguments are raw and highly realistic, allowing the audience to empathise with both characters. Adrian's line, “I’m not asking to change the world, I just want to be seen for who I am,” is especially moving. Since the show was only performed for a single weekend, I feel comfortable spoiling that the bittersweet breakup scene is profoundly impactful. Alice’s realisation that she cannot compromise her own identity, despite her love for Adrian, is both heartbreaking and empowering. Stephanie Hope brings a refreshing lightness to the story through her portrayal of Lelani, the lively and chatty Dutch girl at Alice's workplace. The character's charm and playful demeanour, combined with Stephanie's excellent comedic timing and flawless accent, make her a magnetic presence in every scene. As Lelani introduces Alice to the vibrant side of Rotterdam, the undeniable chemistry between them is palpable. Jackson Paul completely embodies the character of Josh, Alice's former partner and Adrian's big brother. Let's applaud his character in handling the drama of his ex dumping him for his sister, then stepping up to help his sister's transformation into Adrian. Jackson fits into this role like a glove, effortlessly juggling that mix of slightly clueless but sweet and highly supportive yet firm in setting boundaries. Under the direction of Tai Kane-Potaka, Rotterdam becomes more than a play about gender and sexuality; it’s a powerful narrative about personal growth and the challenges of change. It fearlessly dives into the gender identity maze, showing how one person's transformation can shake up the world around them. I especially enjoyed the analogy of our transition from having a Queen to a King, after seven decades of it being the norm, to illustrate that change takes time, patience, and understanding. The Queensland Multicultural Centre provides an ideal backdrop for this short narrative, offering a modern and comfortable space. Inventive elements like bubbles to simulate weed smoke, and balloons and confetti for fireworks, add a whimsical touch, while the lighting and sound design by Ee Thung and Hannah Page further enhance the friendly and intimate ambiance. From start to finish, Rotterdam captivates with its raw emotions, witty dialogue, and stellar performances. The audience's response—laughter, gasps, and moments of palpable silence—testifies to its impact. At a time when discussions about gender identity and sexuality are becoming more prominent, Rotterdam is an important piece that opens up conversations about acceptance, understanding, and the importance of being true to oneself. The Underground Theatre Company's production is a shining example of how theatre can challenge conventions, celebrate diversity, and push boundaries. Rotterdam is a triumph for the company, engaging, thought-provoking, and beautifully executed, leaving a lasting impression on this reviewer.

The performance of Godspell  by Footlights is a delightful rendition that revitalises Stephen Schwartz's timeless musical with energy, humour, and heart. The music is a wild mixtape with something for everyone, spanning from upbeat pop to poignant ballads, traditional vaudeville, folk melodies, and lively acapella. I had no prior knowledge of this show before attending, so here's a quick rundown: a quirky group of people team up with Jesus Christ to creatively narrate various parables through a variety of games, storytelling styles, and song. Director Isaac Brown has assembled a talented ensemble of ten individuals. These folks are like the Avengers of the performing arts world; being required to excel in singing complex harmonies and solos, demonstrate stamina in dance, deliver compelling acting, and fearlessly participate in spontaneous improvisation. These actors are like ninjas, constantly moving around the stage and theatre, pulling the audience into the action. You might even get picked for a starring role if you're brave enough to sit in the front row! Plus, the cast's enthusiasm is so palpable, you'll feel as though you've just downed a gallon of espresso!   Bailey Griffiths embodies the character of Jesus in a delightful manner. Imagine this: Jesus stepping into the role of your drama teacher, trying to wrangle a bunch of hyperactive students (yes, even us in the audience) with the same grace and finesse as Maria from The Sound of Music . Griffiths is multi-talented with killer vocals in "Beautiful City", smooth dance moves, ukulele skills, and compelling acting, Even when embodying a solemn character, he infuses his performance with a sprinkle of humour and a wealth of lively energy, capturing the essence of the beloved historical figure in every moment. Dominic Bradley  and William Chen  are the dynamic duo of improv and comedy gold, always delivering quick-witted one-liners. Whenever Jesus dropped one of his trademark rhetorical questions, I was all ears for Dom or Will's response, as I knew it would be hilarious. Erin Hall’s  sweet rendition of "Day by Day" is like a shot of happiness straight to the heart as it transforms into an uplifting group anthem. Her voice possesses a captivating combination of purity and power. Lilly Betts' puppet-aided "Learn Your Lessons Well" is a whimsical favourite, showcasing her versatility and charm. Holly Siemsen  delivers a soulful performance with "Bless the Lord," her voice soaring beautifully through the church and her energy so contagious, it feels like she's throwing a party and everyone's invited to join the fun! Mark James possesses the most natural comedic flair, making him a joy to watch, particularly in the energetic closing number of Act One, "Light of the World." The second act is rich with emotionally charged moments - Amanda Devlin 's expressive facial acting brings a profound depth of feeling, while Dom Bradley trades in his jokes for a heart-wrenching performance as Judas. His rendition of the hauntingly beautiful "On the Willows" marks a pivotal point in the emotional arc of the story that highlights his hidden depths as a performer. The heartfelt performance of "All Good Gifts" by Will Chen  was the perfect uplifting song to soothe me after the chaos of my journey to the show (thanks to a not-so-little car crash). "We Beseech Thee," led by the exuberant Isaac Tibbs , is a crowd-pleaser as he shamelessly engages in exaggerated theatrics to enhance the comedic effect. Featuring the powerful voice of Hannah Macri , "Turn Back, O Man" is a sultry and stunning number that becomes one of the standout moments of the show. In contrast, the beautiful vocal harmonies in "By My Side," led by Amanda Devlin , offer a delightful change of pace from the more lively numbers. Isabelle Quayle’s  choreography is whirlwind of energy, perfectly matching the high-octane score. Her tap/jazz extravaganza "All for the Best" is a showstopper that is exhilarating to watch and undoubtedly tiring to execute. The crucifixion and resurrection scenes are handled with sensitivity, offering an impactful climax to the show. The finale is a joyous explosion of movement and music, capturing the spirit of camaraderie and celebration that defines the show. Admittedly, the vocals may seem a bit fatigued, but can you really blame them? Considering the cast's non-stop presence on stage and their intense physical performance, it is understandable. These performers give it their all; like energiser bunnies that just keep going and going. The staging, with its in-the-round configuration, adds to the challenge, but the cast navigates it with aplomb. The performers only need to keep in mind that they are very close to the audience and have microphones, so there is no need to exert extra effort in projecting their voices. I believe most of the vocal strain arose from the artists competing to sing louder than one another, which is not required in this small space. The only other issue is that I am a mere mortal with only one pair of eyes and ears, so unfortunately I can't pay attention to everyone simultaneously like I wish I could. Isaac Brown’s  direction is innovative, blending scripted moments (about 40% of the show) with pre-scripted improv and spontaneous moments to keep the audience on their toes. He guides the ensemble in balancing humour with the heartfelt themes of kindness, tolerance, and love. The costume choices combine elements of hippie fashion, with comfortable and playful outfits that reflect the joyous nature of the musical while also grounding it in a contemporary context. And the clever pop culture nods sprinkled in? They add a contemporary touch that hits the right spot with today's crowd. Isaac's directorial vision is clear: to create a show that is both entertaining and thought-provoking, and he succeeds brilliantly. This production of Godspell  is a testament to the incredible talent within Brisbane’s theatre community. The cast, direction, music led by Benjamin Richards, and choreography combine to deliver a memorable experience. While some additional rehearsal could polish the intricate harmonies and extensive choreography, the sheer talent and passion of the cast are undeniable. Whether you're familiar with the parables or not, Godspell is like a warm hug for your brain and a tickle for your funny bone. It's all about celebrating community, faith, and spreading love like confetti. So grab yourself a ticket before it closes on July 13! Tickets available here

Famished Future Feeders at Metro Arts is an evocative journey into a dystopian future, brought to life by a talented ensemble of TAFE Queensland Acting alumni. Co-directed by Lisa O’Neill and Anatoly Frusin, this production stands out for its blend of absurdity, dark humour, and stark social commentary. Set and Storyline The narrative unfolds in a bafflingly backward yet advanced future, where famine, energy and environmental crises are resolved at the cost of freedom and... human flesh. As you enter the New Benner Theatre, you are welcomed by house techno music playing while actors in strange outfits portray somber scenes before the show begins. The set, designed by Hamish Chappell, juxtaposes the futuristic with the primitive, plunging the audience into a world that has progressed and regressed simultaneously. The opening act is a flurry of concurrent scenes, accompanied by swift lighting changes and rapid dialogue that conveys the sense of urgency and disorder to reflect the dystopian backdrop. It is clear that both the actors and the crew have extensively rehearsed, guaranteeing seamless dialogue and transitions that demand the complete attention of the audience in order to keep up. Subsequent acts focus on deeper character exploration, allowing for a more measured pace to digest the complex themes.   Performance Highlights The group of eight actors deliver such compelling performances that their characters stand out as some of the most interesting I have encountered in community theatre recently. Lachlan Orton and Aaron Whitney impress as couple Lynx and Byte, with their rapid and energetic dialogue exchanges that are maintained throughout the play. Lachlan Orton (who resembles Alan Cumming with an uncanny familiarity), delivers a nuanced performance as Lynx, a character navigating life in a controlled society and a broken family with endearing flair. John Ford, as Ham, is a standout from the get-go, offering a blend of humour and horror as a cannibal (it's legal!). Ford’s eccentric delivery and physicality bring an unexpected lightness to a dark role. Jules Broun captivates as Iggy with a brilliant accent and expressive physical performance. The scenes between Ford and Broun are highlights of the production, their interactions offering both comedic relief and poignant commentary on the struggles of the lowest social class. Even when they are not the central focus of a scene, the dominant expressiveness of Georgina Sawyer (as Dove) and the raw intense emotion of Peta Kishawi (as Doe) captivate and draw my attention. Peter Hatton’s Leo emerges strongly in the second act. His portrayal of a wealthy individual tormented and unravelling from hidden secrets adds layers of intrigue and tension. Hatton’s scenes with Milan Bjelajac (as Fuge a freedom fighter), show a particularly compelling contrast between privilege and rebellion. Bjelajac's performance is characterised by intense physicality and emotional fortitude; his revolutionary passion culminates in a frenzied yet impactful monologue. The interconnectedness of all these characters becomes clearer as the show progresses. Themes and Messages Every element is designed to pull the audience into the world of Famished Future Feeders . The portrayal of human hunting grounds, limited food rations, lack of free education and democracy, and segregated societies of the privileged and the underprivileged, paints a grim picture of what might lie ahead. While the script is full of zingers and clever one-liners, it is the more profound statements like, "The selfless helps the selfish. And no one is left to help the selfless," that linger with me. The storyline is frustratingly familiar, reflecting societal issues like class inequality, climate crisis, and diminishing freedoms. This is especially resonant for audiences who are familiar with the current social atmosphere of West End in Brisbane, just near the theatre where we were seated. The audience's reaction throughout the performance is a testament to the play’s impact. There are audible gasps during moments of revelation, laughter during the comedic exchanges, and a palpable tension during the darker scenes. The production effectively triggers a range of emotions, ensuring that the audience remains engaged and responsive. Sound, Lighting, and Costume The sound design complements the visual and narrative elements. From the music that establishes the initial atmosphere, to the violent slashing sounds, to subtle effects that elevate pivotal moments; like during Fuge's revolutionary speech I swear I could hear an underscored chanting of "Kyrie Eleison." Geoff Squires’ lighting design is crucial, particularly in the opening act, with lightning-fast changes distinguishing the simultaneous scenes. The vibrant costumes aid in creating the futuristic yet devolved world. Each imaginative outfit reflects the characters’ societal roles and personalities, my favourite being the fish slippers. Famished Future Feeders  is a must-see for an intellectually stimulating and emotionally charged theatrical experience that is both entertaining and enlightening. It is a show that demands to be seen, discussed, and remembered. So if you're ready for an epic existential crisis and a night of unique and compelling theatre, grab a ticket before it closes on July 13. Tickets available here

Redcliffe's Theatre 102 is currently hosting one of the most intense and enjoyable theatrical experiences of 2024, as Ghostlight Theatre and Redcliffe Musical Theatre present the Australian premiere of " The Exorcist ." This adaptation of William Peter Blatty's famed novel, which became a classic horror film in 1973, is set to possess the audience with its gripping and disturbing performance, directed by Yasmin Elahi.   This stage adaptation of "The Exorcist" employs a combination of innovative staging techniques, special effects, and intense performances to bring this classic horror story to life. The production plunges the audience into an intense battle of good versus evil as young Regan MacNeil, after experimenting with a Ouija Board, starts displaying unsettling and violent behaviours. Her desperate mother, Chris, seeks medical help, but conventional treatments fail to explain or ease Regan's terrifying symptoms. As events escalate, Chris turns to the church for help and meets Father Damien Karras, a priest grappling with his own crisis of faith. With the help of experienced exorcist, Father Merrin, they join forces to combat the evil force inhabiting Regan. As the battle for Regan's soul reaches its climactic conclusion, the audience is left to ponder the profound questions raised by this timeless tale of terror. From the moment you step into the theatre, the immersive atmosphere takes hold. The ambient sounds of rain, creaking, and distant thunder create a foreboding sense of unease. The decision to forgo the traditional curtain and reveal the set immediately draws the audience into the world where young Regan's harrowing ordeal unfolds. Regan's bedroom is the central focus of the stage, with a living area and attic situated on the opposite side. The clever use of lighting effectively distinguishes between these areas, often employing a split-screen technique that highlights concurrent scenes. Kaitlyn Harding's portrayal of Regan is nothing short of phenomenal. Double-cast with Charlotte Rubendra, both actresses were chosen for their exceptional talent, and it's easy to see why. From the  onset, Kaitlyn convincingly embodies Regan's youthful innocence and playful na ture, as well as her deep longing for her father amidst her parents' upcoming divorce, despite the actress' actual age . She captures Regan's evolution from a spirited young girl to a vessel of terror with haunting precision; her chilling screams echoing through the theatre and eerie facial expressions in her demonic portrayal are genuinely unsettling. This raw, visceral interpretation of Regan's torment is both captivating and draining to witness. Ali Morgan delivers a deeply affecting performance as Chris, Regan's mother. She skilfully conveys a range of emotions, from genuine concern to palpable fear and frustration, while helplessly watches her daughter's troubling actions unfold. Despite being new to the theatre scene, Ali's natural acting abilities shine, enabling viewers to connect with her character's turmoil regarding both Jamie and Regan. Additionally, she happens to be the creative force behind the intricate gory makeup too. Jabade Brown-Oakes initially comes across as somewhat rigid in his portrayal of Father Karras, as though he is overthinking his delivery. Nevertheless, as the play unfolds he hits his stride, particularly in the pivotal scenes involving the demon. Scott Black's portrayal of Father Merrin, making an iconic entrance in Act 2, brings a commanding presence to the stage, embodying the experienced exorcist with a mix of gravitas and determination, tinged with his underlying sense of dread. Reagan Warner's voice as the demon is perfect—raspy, menacing, and merciless. The use of the theatre's surround sound system to project the demon's voice adds a haunting, immersive quality, creating the sensation that the demon is creeping into your ears from all angles. The supporting cast deliver solid performances, contributing to the narrative's momentum. Kristy Smith-Wood portrays the strength and worry of Dr. Strong. Their interactions with Regan and the other characters are grounded in a realism that makes the unfolding horror all the more believable. James Reid as Dr. Klein brings a clinical detachment to the play, representing the medical community's bafflement at Regan's condition. His portrayal is marked by a steady composure that slowly unravels, mirroring the character's (and the audience's) increasing apprehension. Father Joe's character, often seen in moments of reflection and support, offers a contrast to the more intense figures of Fathers Karras and Merrin. Jonny Sweeper's portrayal captures the quiet strength and unwavering faith of a priest dedicated to his calling, even in the face of overwhelming evil. Adrian Mackay brings a lively energy to the role of Uncle Burke, the English drunk whose character provides a contrasting element of levity amidst the tension.   Director Yasmin Elahi's vision for an immersive horror experience is realised in every aspect of the production. The use of burning incense during church scenes, red lighting to signify the demon's presence, and the decision to have no house lights, thus enveloping the audience in darkness, maintain the suspenseful atmosphere throughout the performance. The audience's eerie silence (and hushed tones during intermission) are a testament to the show's gripping nature. The cabaret-style seating at this theatre is a favourite feature of mine because it creates an intimate atmosphere that makes the horror feel personal, akin to being trapped in a haunted house.   The technical aspects of the production are equally impressive. Special effects by Rowany Blackshaw are outstanding, including the blood, skin, urine, prosthetics, and even the infamous projectile vomit scene. Jonathan Johns is the mastermind behind the physical special effects. Witness with amazement as ordinary objects co me to life, to create that eerie sense of supernatural presence. The levitating scene, a nod to the iconic film moment, is a showstopper, leaving the audience in awe of the theatrical magic. By projecting the Ouija board responses onto the wall and briefly illuminating the horrifying face of the demon with strobe lighting, a dynamic connection is established between Regan (and the audience) and the supernatural entity, which remains visible only to us and Regan. The production of "The Exorcist" does not shy away from its most confronting aspects, delivering a shocking viewing experience. Regan's transformation is profoundly unsettling, characterised by the guttural voice, violent convulsions, and sacrilegious disdain for religion, echoing the infamous crucifix scene from the original film. Through the use of explicit language and extreme behaviours, the play pushes the boundaries of horror. Clearly not suitable for the faint-hearted, these components are essential to establish the deeply unsettling wickedness of demonic possession. Brisbane is incredibly fortunate to host this landmark production of "The Exorcist," a theatrical event that transcends the typical play and redefines the limits of live theatre. Securing the rights and earning the trust of the playwrights was a monumental achievement for Ghostlight Theatre. With stellar performances, masterful technical elements, and visionary direction, this is a must-see event for those willing to confront its intensity. Regardless of whether you're a fan of the film or unfamiliar with the story, it's irrelevant because this performance will captivate you and leave a lasting impression. Don’t miss your chance to witness this historic Australian debut firsthand. Secure your tickets now for an unforgettable journey into the heart of darkness. Now running until July 14th, 2024. Photographs by Alan Burchill Tickets available here

JDProCo's latest Broadway cabaret, 'The Broadway Jam', surpassed all of my expectations! Headed by the incredible Josh Daveta and featuring a cast overflowing with talent, this show was a thrilling experience for a musical theatre tragic like myself. If you are a frequent theatre attendee, you may recognise many of these exceptional vocalists from previous stage performances. In this cabaret, each singer had the opportunity to select their own songs and impress us with their vocal and acting abilities. This is why each performer was so perfectly matched with their song choices and characters. The evening kicked off with a bang as Josh Daveta took centre stage with "Larger Than Life" and "Baby One More Time" from &Juliet . The energy was electric; it felt like we were suddenly inside a Just Dance video game. I was so close to starting a mosh pit, I swear. Daveta is not just a stellar performer but also an engaging host, keeping the atmosphere lively and interactive to ensure everyone was having a blast all night long. Jacqui Devereux's powerful belting capabilities in "Bring on the Men" from Jekyll and Hyde left the audience in awe, setting a high bar from the beginning of the evening. Jacqui returned later, kaftan on, gin martini in hand, and tackled Sondheim's "Ladies Who Lunch" from Company with a perfect blend of sass and class. The dynamic duo, Tiffany Payne and Jess Papst, delivered an astonishing performance of "No Reason" from Beetlejuice . Jess demonstrated remarkable vocal control across all registers, effortlessly handling fast-paced lyrics with unwavering precision and a fun character portrayal. Jess returned later with two powerful performances: "After All This and Everything" from Freaky Friday and "Anything Worth Holding Onto" by Scott Alan. Although I was unfamiliar with these songs, her renditions deeply touched me, showcasing a raw and beautiful emotional depth that contrasted from her previous number.   Aysa Garcia's crystal-clear soprano in "I Have Confidence" from The Sound of Music added a touch of classic elegance to the mix, often a missing element in cabaret performances. Adam Lopez then stunned everyone with a jazz rendition of "My Favourite Things," sung a cappella. His vocal range, breath control, agility, and pitch awareness were simply phenomenal, leaving the audience with their mouths agape. Hannah Bennett captivated with "Moments in the Woods" from Into the Woods , delivering excellent storytelling with a distinct Aussie accent. She later impressed with a dynamic interpretation of "Heaven on Their Minds" from Jesus Christ Superstar , radiating confidence and rockstar charisma. Tiffany Payne impressed with "It Roars" from Mean Girls , showcasing a cutesy naivety as Cady Heron (pre-plastics). But her rendition of "Come to Your Senses" from Tick Tick Boom was unbelievably captivating in its raw simplicity. Oli Samson delivered a poignant rendition of "Leave" from Once . Despite the song's difficult ending, Oli provided a flawless execution of this remarkable composition while playing his guitar Nikita O'Keefe amazed everyone with her rendition of "My Days" from The Notebook , delivering a truly breathtaking performance. This demanding new song just solidified her as the queen of the power ballad in my mind. Her portrayal was characterised with introspective emotions and remarkable high belts, executed without any noticeable strain. Later, Nikita embodied the essence of Cathy Hiatt in her interpretation of "Climbing Uphill" from The Last Five Years , proving she's not just a singing sensation but a comedy queen too. In my opinion, among all the insanely impressive performances, Ella Macrokanis' jazz-infused version of "Boulevard of Broken Dreams" from American Idiot truly stood out. She used a loop for the background vocals and demonstrated her smooth and effortless melismatic singing technique. Seriously, this girl should be famous already!   The night was peppered with other delightful surprises, including Oli's operatic "Nessun Dorma" from Turandot, performed without a microphone from the theatre's centre. The surprises continued as Aysa and Josh gave captivating performances of a gender-swapped "Her Voice" and "Poor Unfortunate Souls" from The Little Mermaid. Josh yassified his version as Ursula, and the crowd lapped it up. Another highlight was Josh Daveta's innovative mash-up of "Juice" by Lizzo and "Get Down" from Six , delivered with trademark Aussie flair.   Adam Lopez closed the solo performances with a stunning male version of "Climb Every Mountain" from The Sound of Music , exhibiting his effortless belting, melismatic style, and falsetto abilities, for which he is renowned. The entire cast united to end the performance with a beautiful group rendition of "Seasons of Love" from RENT . I was craving more epic group performances, as I am a sucker for some killer harmonies. But I totally understand the busy schedules of these performers and the difficulties of arranging group rehearsals.   The technical capabilities of PIP Theatre enhanced every singer, providing lighting, sound, and staging that perfectly complemented the vocalists. Dale, the accompanist, deserves special mention for his exceptional skill in mastering a diverse and challenging repertoire to make every number shine. If you enjoy pop music, musical theatre, mash-ups, Postmodern Jukebox, or just being thoroughly entertained... you must catch JDProCo's next cabaret! This show not only highlighted the artists' outstanding abilities but also the innovative vision that brought these out-of-context musical theatre selections to life. Photographs by Rhys Bentley

The vibrant talent flourishing in community theatre is showcased in Disney's Moana JR. , a junior stage adaptation of the popular 2016 animated movie. Directed by Paula-Mary Camilleri and Teagan Fudge , this production at KSP Theatre in Burpengary enchants viewers with its touching narrative, impressive performances, and authentic cultural representation. Moana is a tale set in ancient Polynesia, where the ocean selects the determined daughter of a village chief to restore a sacred object to the goddess Te Fiti. In a time of crisis for her island, Moana sets off to locate the legendary demigod Maui and save her community. This 60-minute musical includes all the beloved songs from the film. Music director Eli Ball ensures a proficient performance of the complex harmonies and lyrics in their native language. Sienna Randall gives a remarkable performance in the role of Moana. Her rendition of “How Far I’ll Go” showcases her powerful vocal abilities and genuine acting talent. Her belt in "Know Who You Are" was effortless, especially the divine "I Am Moana!" moment. Watch out, folks! This young lady is destined for greatness, probably as a Disney princess at the happiest place on Earth. In her standout portrayal as the not-so-humble demigod Maui, Tylah-Jay Foster captivates the audience with a blend of innate humour, impressive vocal delivery, and character depiction that is pleasantly distinct from the movie. With a lively and energetic vibe, she confidently delivers the iconic song "You're Welcome," which is enhanced by the spirited Maui fan club dancers. Randall and Foster have wonderfully authentic interactions and I hope to see them both on the stage again soon! Chief Tui, played by Jeremy Hales, brings enough energy to light up the whole island. Gramma Tala, played by Neve Isles, adds a touch of heartstring-tugging emotion to the production. And Theo Hunt steals the spotlight in the second act as Tamatoa the crab, with “Shiny” transforming into a full-ensemble spectacle bursting with sparkle and energy. The narrators, aka the chief ancestors Quin Michaels, Ruby Marriott, and Adelle Adlington, provide pleasant vocals, though with a bit more confidence, their performances could reach new heights. In addition to the stellar lead performances, the ensemble cast of Moana JR. deserves high praise. Each member of the cast, no matter their age or role, contributes significantly to improving the overall show, so make sure to always perform with full expression! If you show your joy, we will feel it too. The choreography, also by Eli Ball, is strong and polished, complemented by the incredible music. The dancers, led by Dance Captain Chloe Kerr, create a tsunami of visual delight, particularly when portraying the ocean, with the youngest stars using fans to simulate waves. By committing themselves to accurately portraying Pacific Island customs, pronunciation, and movement, the cast and crew have enriched the narrative with cultural authenticity. This not only enhances the audience's experience but also makes the show both entertaining and educational. The directors Teagan Fudge and Paula-Mary Camilleri deserves praise for her wonderful ability to manage and bring out the best from this sizeable cast. Her vision is clearly reflected in every aspect of the production, from the fluid choreography to the seamless integration of cultural elements. The thoughtful and thorough direction ensures that each scene transitions smoothly, maintaining the audience's engagement throughout the performance. The set and props are kept simple, allowing for free movement across the stage, while the costumes are good quality and thoughtfully designed. When it comes to the nitty-gritty tech, this production is handled well. The lighting effectively elevates the atmosphere and backdrop of each scene, while the pristine audio quality guarantees clear delivery, even though some performers need to work on their projection and articulation skills. But alas, they are still young! This production was a delightful celebration of bravery, self-discovery, and cultural heritage. The youthful actors' talent and passion, along with the team's dedication, were clearly evident. KSP Theatre has set a shining example of the possibilities of junior community theatre, with its sold-out season leaving audiences anticipating what is to come next. Congratulations to the team for successfully bringing this lively and heartwarming story to the stage.

Presented by QPAC, Bangarra Dance Theatre introduces its first production for children, Waru – Journey of the Small Turtle . Designed for kids aged 3-8, this production is truly enchanting. Under the star-illuminated skies of the Torres Strait, a green turtle named Migi embarks on a journey back to sandy shores of her birth. Directed by Stephen Page, with cultural creatives Sani Townson and Elma Kris, and a talented team of writers, composers, and designers, Waru  offers a beautiful introduction to Torres Strait Islander culture.   The show immediately captivates with its beautiful set, featuring an island hut, real sand and a stunning visual landscape of water and stars. The sound effects masterfully transport the audience to a serene beach night, with soothing auditory elements like the rustling of a broom on sand, the gentle lapping of water, and the whisper of the wind. Complementing this, the lighting design bathes the stage in the tranquil hues of the Torres Strait Islands. The performance, depicting the story of Migi the turtle, is skilfully performed by the talented pair Aba Bero and Elma Kris. Aba Bero captures the essence of the turtle with deliberate and slow movements, mirroring the graceful physicality of a real turtle. Through the detailed costume, Migi quickly captivates the hearts of the audience. Elma Kris, portraying the narrator and protagonist, engages in an exciting dance-off with the lizard while safeguarding the turtle eggs using a broom, a scene that delighted the children immensely. Her character's resemblance to the caring, whimsical, and humorous grandmother in Disney's Moana brings a delightful and recognisable element to the performance. Introducing young children to Indigenous cultures and stories is not only entertaining but also profoundly educational. The performers actively involve the audience in the narrative, while imparting knowledge of language, animal behaviour, and natural elements. Additionally, they effectively convey messages about environmental conservation in a manner that is accessible to young minds. The appearance of the trash monster, symbolising a turtle entangled in waste, conveys a simple yet impactful message: "plastic is bad for the ocean." Waru  serves as a beautiful gateway to Australia’s diverse cultural heritage, fostering respect and understanding from an early age. By teaching some dance moves, they encouraged the young audience to joyfully participate in the music, such as the celebration of the hatching of the baby turtles and their journey to the ocean. The presence of an Auslan interpreter ensures that the show was inclusive, allowing hearing-impaired audience members to fully engage with the performance. This effort highlights Bangarra Dance Theatre’s dedication to making their cultural storytelling accessible to a broader audience. Despite the usual commotion and occasional tantrums typical of such young audiences, the captivating nature of the show successfully retains the attention of the young attendees. The evident delight and curiosity expressed by the children is reflected in their spontaneous interactions and questions. Prior to the show, crafting activities are available in the foyer, where families can craft turtles from recycled materials, some of which are even showcased on the stage. This hands-on engagement not only fosters creativity but also imparts lessons on recycling and environmental care. Waru – Journey of the Small Turtle  is a wonderful cultural experience that forces you to slow down and appreciate the beauty of nature and the importance of conservation. The show offers families an enriching and enjoyable outing at $35 per ticket. While the leisurely pace of the show may pose a challenge for those with shorter attention spans, it also offers a relaxing and meditative experience that is quite beneficial. Based in NSW, Bangarra Dance Theatre, continues to tour this exceptional show around Australia, bringing the full cycle of the small turtle’s journey to life. Photographs by Daniel Boud Tickets and Information available here

Prepare to be captivated by the enchanting world of Shrek The Musical, presented by Savoyards Musical Comedy Society! This production will immerse you in the whimsical fairy tale, brought to life with exceptional artistry and detail. Under the dedicated direction of David Harrison, this show doesn't just mimic the essence and hilarity of the beloved DreamWorks film, it adds its own theatrical charm! Once upon a time, there lived a grumpy green ogre... Add in a chatty Donkey, a spirited princess, a short-tempered villain, a cookie with an attitude, and a bunch of other misfit fairy tale characters, and you've got a recipe for chaos that requires a true hero. Fortunately, one rises to the occasion... and his name is Shrek. From the moment Nathaniel Currie bursts onto the stage as Shrek, he commands attention. His accent is impeccable, and even with the elaborate makeup and costume, his vocal prowess and energy shine through. His interactions with the other characters feels genuine, making his character's evolution both believable and heartfelt. His rendition of "Who I'd Be" highlights his exceptional vocal range and projection. The Act 1 finale, with the trio harmonising under the moonlight, was a personal highlight that beautifully captured the show's emotional core. Witnessing Shrek's more vulnerable side in Act 2, particularly in "When Words Fail", peels back the layers (pun totally intended) of his character while maintaining a delightful comedic element. When Kate Retzki took to the stage (on a beautifully-crafted tower) as Princess Fiona, the crowd burst into applause. During the iconic performance of "I Know It's Today," Darci Allen as Young Fiona delivered a crystal-clear performance, while Jamie Burstow as Teen Fiona was exceptional. And when all three Fionas belted out "It won't be long now I guarantee", I sprouted goosebumps all over. Kate Retzki's portrayal of Fiona is simply enchanting, combining the poise of a princess with the feistiness of the beloved film character, plus adding her own goofiness to the role. Her beautiful vocals and comedic timing bring the character to life. The performance of “Morning Person,” featuring tap-dancing rats and dazzling choreography, is basically a Broadway show in itself. And her duet with Shrek, “I Think I Got You Beat,” is a comedic gem, proving that true love can be found through burping contests and trauma bonding. Even when faced with a costume mishap, Retzki didn't miss a beat, incorporating the glitch into the scene. Her improvisation and professionalism shone through, solidifying her as the perfect choice for Princess Fiona. Oscar Lowe as Donkey is a bundle of energy and charisma. His funky solo “Don’t Let Me Go” is a burst of musical sunshine, brimming with infectious enthusiasm and compelling character portrayal. Not to mention, how well he handles the challenging vocal and physical demands while adorned in all that makeup and fur! His dynamic interactions with Shrek injects his signature zaniness into the story. And his jam session with the three blind mice as he urges Shrek to “Make a Move”, is incredibly funky and entertaining, enhanced by Julianne Burke's inventive choreography. Portraying Lord Farquaad, Josh Moore steals every scene with finesse, commanding both the role and the stage. His performance, executed entirely on his knees, is a physical feat that keeps the audience roaring with laughter. Through a combination of showmanship and impressive untiring vocals, he excels in numbers “What's Up Duloc" and "The Ballad of Lord Farquaad,” cementing his status as a crowd favourite. His absurdly comical segues add to the hilarity; a testament to the director’s attention to comedic nuances. The ensemble of fairy tale creatures is vibrant and full of life, with each member bringing their character to the forefront during numbers “Story of My Life” and “Freak Flag.” Their strong vocal performances are a tribute to Nicky Griffith’s musical direction, complemented by the outstanding orchestra. Special mention goes to Nick Ferguson’s Pinocchio, whose comedic relief and nose-growing illusion are delightful, and Kat Suschinsky’s Gingy, whose voice acting in the iconic 'Muffin Man' scene had me in tears of laughter. Joanna Nash's portrayal of Dragon is a force to be reckoned with, her striking red gown, commanding presence, and powerhouse vocals bringing a fiery intensity to the stage. The backup singers, portraying knights in pillories during "Forever", and the skeleton dancers during "This Is How A Dream Comes True" is like a whimsical scene straight out of a Monty Python sketch! The dragon puppet, a marvel of design by the props team led by Stephanie Bateman, adds a spectacular visual element, complete with smoke and pyrotechnics. Since there are no photos to capture the magic of the dragon, make sure to secure a seat and witness it live! The visually stunning Iona Performing Arts Centre serves as the perfect playground for this fantastical adventure. The versatile set pieces, designed as triangular prisms, faciliate smooth transitions between scenes, transporting us from swamp to wilderness to castle in seconds.  Notable features like the vibrant green curtain, lush scenic design, mesmerising lighting, and captivating projections enrich the narrative as our beloved characters traverse Wynnum and beyond. Julianne Burke's choreography is full of energy, particularly evident in "What's Up Duloc," where the Duloc dancers radiate joy with plastered (definitely-not-forced) smiles. Kim Heslewood's wonderful costume creations, along with the dedicated team handling wigs, makeup, hair, and special effects, work together to craft an enchanting atmosphere that immerses the audience in Shrek's magical realm. The director and his talented team and cast have crafted a show that not only entertains but also touches the heart; a delightful mix of family-friendly fun and subtle adult humour, just like the film. Despite the show’s long duration, the audience remained engaged, laughing and cheering throughout. The nostalgic grand finale, "I'm a Believer" had the crowd grooving in their seats, itching to join in on lively fun. While a late night may not be ideal for younger viewers, an afternoon performance is a must-see for families and early bedtime enthusiasts alike. So, grab your tickets, bring the whole family, and get ready for a magical journey that'll lift your spirits and maybe even squeeze out a tear or two (of laughter, of course)! Tickets Available Here

My Fair Lady holds a special place in the history of Queensland Musical Theatre, being the first show ever staged by the company 40 years ago. Deian Ping, the original Eliza Doolittle, now leads as the director of this sparkling revival. This heartfelt nod to the company's history is rich in nostalgia, with two of the original costumes making a reappearance on our new, dazzling Eliza. One thing is clear—My Fair Lady continues to captivate audiences with its timeless story, unforgettable characters, and enduring charm that transcends generations. This classic musical from 1956 was cooked up by the lyrical genius Alan Jay Lerner and maestro Frederick Loewe. Set in 1912, it follows Eliza Doolittle, a Cockney flower girl, who takes phonetics lessons from snooty Professor Henry Higgins to refine her speech and manners. As Higgins attempts to transform her into a proper lady, his cynicism and difficulty understanding women give way to an unexpected attachment to Eliza. Kirra Lang as Eliza Doolittle is nothing short of outstanding. From her thick Cockney accent to her refined upper-class speech, Lang's transformation is mesmerising. As Higgins describes, she is a truly 'captivating creature,' especially in that blinged-out ballgown. Lang embodies this role as if she were born for it; her Cockney accent is so authentically thick at the beginning that I almost needed a translator. In "Just You Wait," Lang's ability to maintain her rough accent while delivering flawless vocals is seriously impressive. Her emotional range is also off the charts—from gritty and grating, to desperate and distraught, to fierce and self-assured. The Eliza-Higgins showdowns are like watching a tennis match, intense yet oh-so natural. The scenes of Higgins schooling Eliza are pure gold, culminating with "The Rain in Spain" as Lang's operatic pipes finally get their moment to shine and Higgins cracks a smile for once. Lang's solos "Without You" and "Show Me" exude strength and independence, embodying a modern feminist spirit. And of course, she sings "I Could Have Danced All Night" with a dreamy, classical, and just plain beautiful tone. James Lennox portrays Henry Higgins with a perfectly disdainful 'sourpuss' demeanour from start to finish. His delivery of each line is so precise and purposeful, that I'd bet my bottom dollar he was an actual haughty English gent. His portrayal carries a charming comedic flair that continuously garners laughter, helping the audience to overlook his less savoury traits. "I'm an Ordinary Man" and "A Hymn to Him" are vocal gems, full of scorn and sass, delivered with such finesse that you almost forget the misogyny. His constant tailcoat flourish during "You Did It," as he discusses Eliza as if she were a doll, is a delightful character choice. Lennox's final solo, "I've Grown Accustomed to Her Face," is the cherry on top of his beautiful vocal sundae. David McLaughlin’s Colonel Pickering is the epitome of a perfect gentleman, providing a stark contrast to Higgins' brusqueness. Lachlan Dodd as Freddy is both charming and endearing; his rendition of "On the Street Where You Live" (my favourite number) serenades the audience with boyish enthusiasm and magnetic stage presence. Jordan Ross as Alfred P. Doolittle brings robust energy to his role. His performance of "With a Little Bit of Luck" is a crowd favourite, oozing charisma and vocal prowess. All his character choices—pacing of dialogue, rough accent, staggering movement, and even grunting— adds to the portrayal of the unsightly yet likeable rogue. Reece Ratcliffe makes a memorable impact in his short lead performance as Zolton and shines throughout his multiple ensemble tracks. Fiona Buchanan as Mrs. Higgins brings sharp wit to her character, garnering laughter and applause with her well-delivered lines. The large ensemble cast contributes significantly to the show's dynamic energy and entertainment value. The quartet and Eliza crooning "Wouldn’t It Be Loverly" is a vocal feast with stunning harmonies, a true testament to the musical direction by Julie Whiting. The lighting design during this number adds to the whimsy, including a delightful dance break thrown in with choreography by Bec Swain. Skye Schultz and Jackson Muir, as Harry and Jamie respectively, provide comedic relief in all their Covent Garden scenes with gorgeous harmonious singing and lively performances. "Get Me to the Church on Time" is a vibrant ensemble number, featuring plenty of inventive choreography and a high-energy performance from the entire cast. The "Ascot Gavotte" scene is perfection, with its precise lack of enthusiasm and stunning costumes. Eliza’s awkward attempt at high society behaviour while wearing a dress she can't move in is both hilarious and endearing with Lang's blend of posh and cheek. The elegant waltz choreography at the ball is a sight to behold, with full skirts and lush music filling the theatre. The guests entering the ball through the audience is a nice touch. Despite a few oddly placed costumes, the focus remains on Eliza's transformation. The orchestra, under the baton of Julie Whiting, delivers an extraordinary musical accompaniment, captivating the audience with enchanting melodies. The blocking is occasionally cluttered and awkward, but that's understandable with such a large cast. While the dance numbers sometimes lacked energy and performers were often looking down—likely an acting choice to reflect societal demureness—any fatigue can also be attributed to the length of the show. Act 1 runs nearly two hours, so I applaud the entire team for their concentration and remind the audience to be prepared with plenty of refreshments and snacks. I knew this show was a marathon, not a sprint, so as Freddy wisely says, "let the time go by…" Regarding the production elements, the set design features versatile white arches that seamlessly transform into various settings like Covent Garden, Higgins' study, and the grand ballroom. The staging of Higgins' study, with its intricate details and elegant furnishings, is particularly noteworthy. The costumes transported the audience back to Edwardian London, with Eliza’s six stunning costumes standing out as visual highlights. Each costume change signified her transformation, culminating in the glittering ball gown that left the audience in awe. Every aspect of the production reflects the hard work and creativity poured into bringing My Fair Lady to life once again. Queensland Musical Theatre has produced a delightful production filled with heart, humour, and impressive performances. With two performances remaining, visit the Twelfth Night Theatre and let the cast transport you to a bygone era of elegance, wit, and musical brilliance. Tickets Available Here

A Disney musical?! Well get ready, because I have plenty to say about this one! I had the privilege of witnessing The Hunchback of Notre Dame come to life on stage by the talented Beenleigh Theatre Group. This production truly does justice to the grandeur of Victor Hugo’s novel and the emotional depth of the Disney film, combining a heart-wrenching narrative with breathtaking music and outstanding performances. Featuring the film’s Academy Award-nominated score and new songs by the legendary Alan Menken and Stephen Schwartz, this is a must-see for theatre enthusiasts and Disney fans alike. A Grand and Gothic Tale: From the moment the bells of Notre Dame ring, you are transported to fifteenth-century Paris, where Quasimodo, the deformed bell-ringer, watches as Paris celebrates the Feast of Fools. Held captive by his sinister caretaker, the archdeacon Dom Claude Frollo, Quasimodo escapes for the day to join the lively crowd, only to be treated harshly by everyone except the kind-hearted Esmeralda. The handsome Captain Phoebus and Frollo are also entranced by her free spirit and beauty. As the three compete for her attention, Frollo sets out on a mission to eliminate the gypsies – and it falls to Quasimodo to save them all. Performances: The cast of lead actors absolutely shines with their stellar performances. Michael Ware, as Quasimodo, doesn't just portray the endearing character - he embodies him with a deep sense of heart and soul. His rendition of the much-loved "Out There" is both heartfelt and technically impressive; filled with genuine emotion and remarkable belting capabilities. Quasimodo is both physically and vocally demanding, yet Ware delivers with a steady and powerful sound. His voice choice for Quasimodo is well-suited, completely distinguishing the character from the actor. Quasimodo’s second solo, "Heaven’s Light," is short and sweet, tugging on the heartstrings with its tender melody and poignant lyrics. The lighting is perfect, and Ware's vocal sustains are incredibly impressive. Reagan Warner’s portrayal of Dom Claude Frollo is spectacularly chilling. Known for his voice acting, Warner brings a menacing presence to the stage with his deep tone, intense expressions, and a piercing gaze that truly embodies the formidable presence of the archdeacon. The musical begins with the powerful and haunting "The Bells of Notre Dame," that provides insight into Frollo’s backstory — a detail omitted from the Disney film but essential to understanding his complex character. Nykita O’Keeffe as Esmeralda is a stunning leading lady who captivates the audience with her vocal ability and spirited portrayal. Her performance is both strong and compassionate, perfectly balancing the character’s resilience and vulnerability. Her stage entrance with "Rhythm of the Tambourine" is entracing, and her rendition of "God Help the Outcasts" is profoundly moving, enhanced by an ethereal reverb effect and the choir’s haunting harmonies that transports the audience inside the grand cathedral. The added scene that precedes “God Help the Outcasts” provides an intimate and poignant moment between Frollo and Esmeralda that enhances the emotional impact of the song. Adam Goodall as Captain Phoebus exudes charm and charisma. His confident and engaging performance, along with his strong voice, is perfectly befitting a Disney lead. Harrison Port is appropriately cast as Clopin Trouillefou, the jester of the gypsies. His main number, "Topsy Turvy," is upbeat and fun, capturing the festive spirit of the Feast of Fools and engaging the audience with lively choreography and infectious energy. Aidan Cobb as Frederic Charlus impresses with his powerful voice, conveying the soldier’s anguish poignantly. Rhea Basha as Florika delivers a memorable performance, singing with the warmth and voice of an angel that adds a rich, ethereal layer to the beginning and end of the production. The physicality and design of the gargoyle and statue characters adds a layer of fantastical realism, with Hannah Collins and Alana Ellison's portrayal of the two gargoyles eliciting audible gasps from the audience when they emerged. Music: Under the musical direction of Jade Enright, the choir serves as the heart of this production. Described as the ‘spirit’ of Notre Dame, their vocal performances are stunning, bringing the cathedral to life with their constant presence and powerful harmonies. During the opening number, "The Bells of Notre Dame," they set the stage ablaze with their collective vocal power. The Act 1 finale, “Esmeralda,” and Latin chants in the Entr’acte resonate powerfully, adding to the overall grandeur of the score that would not be complete without the choir. The traditional and new musical numbers truly shine in this production. "Top of the World," a beautiful addition to the score, had me believing that Esmeralda and Quasimodo were truly overlooking Paris. "Hellfire," performed by Warner, is a standout moment, complete with haze and haunting harmonies - 24 voices strong - to depict Frollo’s inner turmoil flawlessly. Warner completely embodies the character to deliver this incredible villainous song, as if Frollo has leapt right off the screen and onto the stage. The trio’s rendition of "In a Place of Miracles" is another goosebump-inducing moment, showcasing the beautiful vocal chemistry between the leads. Nykita’s rendition of "Someday" is the emotional pinnacle of the show, stirring tears and eliciting audible sniffles from the audience. Her performance, coupled with Goodall, encapsulates the epitome of Disney magic. Quasimodo’s poignant solo, "Made of Stone," in Act 2, is brimming with anguish as he grapples with self-torment and revelation. Ware's emotional depth and vocal range are on full display, making this one of the most powerful moments of the production. Attention to Detail: Special recognition must be given to Glen Heriot, whose dedication extends beyond his vocal talents in the choir, playing a pivotal role in constructing the astounding set. The set design by Chapman, brought to life by Heriot and James Thomson, is a character in its own right. The intricate wooden structure, stained glass windows, and grand double doors create an authentic cathedral atmosphere, while the bell ropes and towering heights for Quasimodo to climb add dynamic layers to the visual storytelling. Chapman’s meticulous direction shines through in the intricate details woven throughout the production. Chapman emphasises the art of storytelling, relying on the actors’ performances and the audience's imagination to craft vivid scenes from the film. The use of lighting, especially during "Hellfire" and "Heaven’s Light," creates visually stunning moments that complement the emotional depth of the songs. The costumes, particularly those of the gypsies and the gargoyles, deserve special mention for their intricate designs and vibrant colours, enhancing the visual splendour of the show. The choreography during "The Tavern Song" is dynamic and engaging, perfectly complementing the lively score. Although some accents occasionally slip into an Australian twang, this minor inconsistency does not detract from the overall experience. The ensemble’s narration aids in maintaining the narrative’s momentum, and despite some minor issues with audibility, the context and the performers' articulation and projection (notably the men) ensure the story remains clear. Prepare to be transported to the heart of Notre Dame and experience a story of love, longing, and courage that will resonate deeply with audiences of all ages. The cast, choir, and crew have crafted a profoundly moving and visually beautiful experience with this production. Tickets are available now for this limited run, and I highly recommend securing yours soon! Now playing at Crete Street Theatre until 22 June 2024. Secure your Tickets here

A Journey Backward Through Friendship and Ambition Music and Lyrics by: Stephen Sondheim Book by: George Furth Directed by: Tim Hill Venue: Ad Astra Theatre, Fortitude Valley Experiencing Stephen Sondheim's Merrily We Roll Along for the first time at Ad Astra was a revelation, as they delivered a high-quality theatrical experience with a minimal yet impactful approach. The musical tells its story in reverse, offering a unique perspective on friendship, ambition, and the passage of time as we journey from 1976 back to 1957. Plot Summary The story begins in 1976 at a party hosted by successful film producer Franklin Shepard, as he reflects on his life. His old friend Mary Flynn, now a struggling critic, calls him out on his life choices. As we rewind through time, we witness key moments in Franklin's life—from his fallout with lyricist and best friend Charley Kringas in 1973, to his rocky marriage with Broadway star Gussie Carnegie in 1968, and his early days of friendship, love, and artistic dreams with Charley, Mary, and Beth in the '60s. The journey concludes (or rather, begins) in 1957, showing the trio full of hope and ideas on a rooftop in NYC. Performance and Direction Tim Hill's direction is remarkable, successfully condensing a big Broadway musical into an intimate setting with only eight actors and a small band of three musicians. The cast (aside from the three leads) shift between different roles effortlessly, showcasing their versatility and the director's adept use of limited space. Stephen Hirst as Franklin Shepard delivers a convincing portrayal of a man whose ambition leads him to sacrifice personal relationships. Hirst embodies the quintessential egotistical theatre figure, complete with an excellent New York accent and undeniable charisma. His portrayal of Franklin's evolution is compelling, making the character's journey both believable and maddening. Alex Watson as Charley Kringas is exceptional; his performance a perfect blend of comedic flair and emotional depth as he captures Charley’s frustration and loyalty in equal measure. Interactions between Watson and Hirst underscores the complex dynamic of dreamer versus realist, ambition versus passion, particularly in the number "Franklin Shepard Inc." Watson's energy and incredibly quick articulation transform this frenzied monologue into a gripping highlight of the show. Natasha Veselinovic as Mary Flynn delivers a moving performance, her character's evolution (or rather, de-evolution) from shattered adult to hopeful young woman providing a stark emotional contrast. Her solo "Like It Was" is achingly beautiful, capturing the bittersweet nostalgia at the heart of the musical. Veselinovic's flawless accent and outstanding vocals leave a lasting impact, although the chemistry between Mary and the two leading men feels a bit lacking until the final scene. The supporting cast is also fantastic, with Jordan Twigg as Gussie Carnegie stealing the show in my eyes. Her transformation from heartbroken wife to manipulative figure to ambitious starlet is spellbinding. The opening number of Act 2 is a mesmerising showstopper, as Twigg embodies a Broadway diva as if she really were one. Heidi Enchelmaier as Beth Spencer, Franklin's first wife, brings touching vulnerability to her role. Her heart-wrenching performance of "Not a Day Goes By" in Act 1 contrasts enormously with her charming portrayal of an upbeat, naïve, supportive young wife in Act 2. I applaud her ability to keep her voice so steady and beautiful while tears stream down her face. Chelsea Burton showcases extraordinary characterisation with her magnetic stage presence. Whether portraying a young naïve Hollywood actress, a chirpy TV personality, or a stern middle-aged mother, Burton's performance is truly versatile. Chris Kellett as Joe Josephson exudes an old Hollywood charm that is simply irresistible. Liam O'Byrne, with his stunning voice and moments of comedic relief, seamlessly transitions between various roles, adding flair and cheer to each character. The ensemble numbers sweep you away with their precision and passion, immersing us in Sondheim's intricate world through layered vocals and dynamic choreography. From the brilliant opening numbers "Merrily We Roll Along" and "That Frank" to the powerful Act 1 finale "Now You Know," each moment leaves you in awe of the complexity and energy pouring from the stage. The trio "Old Friends" is a powerful reminder of the complexities of mixing business with friendship, showcasing rising tensions that resolve into a bittersweet harmony. "It's a Hit!" and "The Blob" are high-energy standouts, offering the ensemble ample opportunity to shine. Charley’s solo "Good Thing Going" is another emotional high point, performed with stunning sensitivity and clarity by Watson. The show-within-a-show number "Bobby and Jackie and Jack" is a fun, lively addition, while "Opening Doors" cleverly uses typewriters as instruments, highlighting the trio's youthful ambition and struggles of living in NYC. Technical Aspects Every technical aspect of the production is executed with innovative flair, from the use of the small space at Ad Astra to the meticulous attention to detail in set and costume design. The earthy tones of the '70s, the vibrant go-go dresses of the '60s, and the modest attire of the '50s all come to life before your eyes, transporting you seamlessly through different eras. The use of Polaroid pictures, progressively removed as the story winds back in time, adds a bittersweet visual representation of the narrative's regression. Musically, the small band led by Ben Murray performs Sondheim's intricate score with finesse. The absence of microphones - often a nuisance in recent productions I have seen - allows the actors to project naturally and engage more authentically with the audience. Themes and Impact "Merrily We Roll Along" explores the erosion of dreams and relationships over time, and how success and ambition can alter friendships and personal integrity. The audience has the chance to reflect on their own youthful idealism and the often-harsh reality of adulthood. It's a bittersweet reminder of the passage of time and the inevitability of change. The backward progression of the plot is initially disorienting but ultimately profound, revealing the characters’ earlier, more idealistic selves in stark contrast to their later, more jaded personas. Ad Astra's "Merrily We Roll Along" is a masterful production that manages to balance complexity and intimacy. The talented cast, under Tim Hill's direction, brings Sondheim's challenging score and intricate narrative to life with passion and devotion, proving that even the most complex narratives can be beautifully rendered on a small stage. It was a privilege to witness a boutique production that dove deep into character study and nuanced storytelling. I hope to witness more musicals from Ad Astra in the near future!

I recently had the pleasure of attending "Broadway Your Way" by VOX Theatre Arts at Nosferatu Distillery. It was a delightful and lively evening filled with laughter, impressive vocal performances, and creative character interpretations. Despite a few technical hiccups with the mics (common on any opening night), the cast handled it like pros, never letting it faze them. The theme of the show, "The Roles We'll Never Play," was brought to life with creativity and flair, giving local performers the chance to step into roles they might not typically be cast in. It was a truly memorable evening that highlighted the amazing amateur talent in our community. Antoni Torrisi's portrayal of William Shakespeare, alongside their cheeky entourage, kicked off the show with the eccentric Hard to Be the Bard. Lisa Alsop brought the house down with her performance of All I Care About is Love; surrounded by her fabulous burlesque girls as she commanded the stage with both her presence and vocal talent. Will Chen infused charm and wit into his renditions of Candy Store and Defying Gravity, putting his unique spin on these fan-favourite numbers. Michael Enright’s powerful vocals in Santa Fe were breathtaking, truly doing justice to this beloved number. Skye Shultz delivered a stirring performance as Rizzo in There Are Worse Things I Could Do, beautifully executing one of my most-loved musical theatre numbers. Rhys Schwarten's rendition of You'll Be Back was wonderfully unserious with their rich vocals and comical characterisation. Mark Mirhan's performance of Ado Annie's Can't Say No radiated energy and passion, even amidst tough mic challenges. Roselie Chase as Matilda in Quiet was a mesmerising interpretation that captured the innocence and depth of the young character. Clare Thompson’s solo as the gender-bent Chip in My Unfortunate Erection had everyone in stitches - she definitely has a knack for comedy! The playful and passionate duet Agony by Connie Acevedo Burckhardt and Emma Parkinson was a favourite, with the pair dressed in princess costumes to add a whimsical touch. The energy of Hello from Book of Mormon was infectious, with clever use of everyone’s own favourite books as props. James Hogan's take on Sally Bowles in Don't Tell Mama was a total crowd favourite - with exceptional ensemble work and dynamic choreography to support his portrayal of this famous character. Hannah McNamara and Eloise Newman’s duet Amazing from Muriel’s Wedding was an inspired addition - the volume issues were sorted out by then, so their voices blended stunningly with the music and each other. The group numbers provided moments of beautiful harmonies and energy, including the Jersey Boys medley and Morning Glow from Pippin. And I can’t forget the electric performance of Cell Block Tango, complete with fabulous costumes, intricate choreography, and intense character portrayals by all. But the final group number, La Vie Boheme, was the perfect way to bring the performance to a satisfying close. One of the most enjoyable parts of the show was how the performers injected their own personalities into their roles. They threw in some improv and personal touches that kept us entertained and chuckling throughout. The three acts did make the show feel a bit lengthy, but I do understand the desire to give each performer their moment to shine. Of course, there were some challenges too, but the performers managed to turn obstacles into opportunities for spontaneity and charm. I really enjoyed the fresh and fun song choices, some of which I have never heard performed live before. While there were some songs that are particularly hard to execute and moments where the keys didn't quite match the singers' voices, I think the cast really rose to the occasion and gave it their all. It was clear that they put in a lot of effort to make their characters unique and memorable. I do think that maybe transposing the songs to better suit the performers' vocal ranges could have allowed them to showcase their talents even more effectively. It's important to keep in mind that adrenaline can impact vocal performance, affecting both the lower and higher ends of a singer’s range. The venue did feel a bit cramped at times, and the sound of food buzzers was a bit of a distraction. Props to the team for working with what they had in terms of acoustics and lighting in this space. The cast, while all super talented, was quite large for the venue, and it would have been nice for them to have a more private space for costume changes. However, being in the cosy setting of Nosferatu Distillery gave the performance a special, up-close charm. The audience certainly loved it, and the signature gin drinks were a hit! Massive props to VOX Theatre Arts for providing a wonderful platform for aspiring performers to shine. Congratulations on your first production—I had a blast! Here's to many more successful shows in the future!