Now showing at Southbank, (at the QLD Maritime Museum beneath the Goodwill bridge), Darkfield’s immersive experiences, ' Séance' and ' Flight' , are perfect for those eager to try something new and dive deep into the unknown. After braving both, I can assure you that while ' Séance'  is undeniably chilling, ' Flight'  took the cake for me, leaving me pondering its mysteries long after my feet were back on solid ground. These one-of-a-kind experiences are designed for small groups, which adds to the intimate atmosphere of the scenarios. Each one is a 20-minute adventure inside a shipping container in complete darkness. The container for ' Flight ' has been transformed into a highly realistic airplane cabin. When you hop on board (I recommend sitting in an aisle seat), you get the usual safety briefing from a flight attendant on screen, along with the usual airplane noises—but this time, everything feels a bit... off. As the lights go out, the world as I know it ceases to exist, leaving you with just binaural audio in your headphones. It’s a challenge to explain the feeling—there’s a real vulnerability in being so stripped of sight, yet so aware of the space you share with others. It's easy to forget you're still in a shipping container. The sense of reality is that strong. Once the darkness envelops you, you’re plunged into a mind-bending journey. The sheer realism of the sounds—the hum of jet engines, whispers from passengers nearby, babies crying, the attendants walking up and down beside you (I kept reaching out to feel if she was actually there), the captain’s breathy voice in your ear, and your seat suddenly shaking as the chaos of an emergency situation unfolds. It’s more than just a terrifying thrill; it’s a mind game, making you wonder what’s real and what’s not. Now, ' Séance' ... while equally immersive, is more of a psychological experiment in supernatural superstition. It’s no less impressive, but it’s a different kind of terror, relying on the tension of the unseen. If you love the thrill of a good ghost story and the eerie atmosphere of a séance, you won’t be disappointed. I must admit, my ears were a bit too sensitive for the ending of 'Séance'; the sounds were intense, and the eerie silence that followed felt almost too much. The moving table is a clever touch that really adds to the feeling of being part of something beyond our regular sensory perception. My stomach dropped as the experiences wrapped up, and when the lights flickered back on, it was clear I wasn’t the only one who had been captivated. The other participants had their heads down, completely engrossed in what had just unfolded. The collective focus and shared moment of astonishment was electric.   The way Darkfield uses binaural audio to immerse you so completely in the experience is unparalleled. Even though I was physically sitting in a dark space, the sounds painted a vivid picture, with every whisper, creak, and thud positioning you perfectly within the experience. It allows your imagination to run wild and heightens the sense of dread (but don't worry, there's some humour in both scripts too!). I highly recommend grabbing tickets for both shows, especially if you’re a thrill-seeker looking to test your nerves, need a fresh date idea, or just want an experience that you won't find replicated anywhere else. Trust me, after ' Flight' , you’ll be questioning the very nature of reality—and probably double-checking your seatbelt the next time you fly. For those who may have reservations about the intensity, don't stress—there's an opt-out option, plenty of info beforehand, and nothing too wild when it comes to motion. The experience is designed to be unsettling but totally safe, and there’s a real thrill in stepping into the unknown. At less than $30 for a session, Darkfield offers excellent value for a truly unique adventure. With multiple sessions every day, it's easy to find a time that fits your schedule. Go give your senses a whirl because this experience is definitely worth checking out. Tickets available until 8th December

Created by Alinta McGrady and brought to life by Playlab Theatre, this immersive horror-comedy reminds us why we love live theatre: it’s raw, relevant, and relentlessly entertaining. There was a certain thrill in attending the world premiere of ' Eat Slay Zombie' at QPAC’s Cremorne Theatre, and this piece did not disappoint. Set in a post-apocalyptic Brisbane where zombies have taken over and TikTok somehow reigns as the last form of communication, the story follows best mates Sharee (Shahnee Hunter) and Tash (Jade Lomas-Ronan) as they hunker down in a bowling alley, keeping score of their zombie takedowns and sharing survival tips with an invisible online audience. As these two Indigenous characters navigate their new world order that is literally and metaphorically “out to get them,” the result is a comedic, high-energy show that cleverly addresses social commentary on colonialism, trust, and survival. The dynamics between characters were played brilliantly by Shahnee Hunter and Jade Lomas-Ronan. Hunter’s Sharee was strong but deeply wounded, giving us moments of grit and mistrust, while Lomas-Ronan’s Tash was her perfect counterbalance, optimistic and resourceful. Their fiery friendship was put to the test when a new survivor, “B” (Jalen Sutcliffe), entered the scene, offering more humour with his bizarre blend of bravado and buffoonery. Tash’s excitement at discovering someone else alive contrasted with Sharee’s more jaded distrust, providing an emotional push-and-pull that felt true to a strained friendship. Sutcliffe, as B, was hilarious but occasionally haunting, especially in a darkly confessional monologue where he revealed his backstory – a poignant moment that grounded the character’s vulnerability. One of the best aspects of ' Eat Slay Zombie'  was its sharp, socially aware humour. McGrady’s script layers the story with satirical references to colonisation, poking fun at survivalism with scenes like Sharee’s loving relationship with her makeshift flamethrower, “Doris.” We saw nods to Indigenous issues embedded into zombie tropes, as Sharee jokes, “I need a nap, a bag of chips, and my land back." With direction and immersive design by Lisa Fa’alafi, the show’s technical elements were equally standout; a testament to Playlab Theatre’s trademark embrace of multimedia. From EDM beats and nostalgic tracks to Mad Max-inspired lighting, and projections of TikTok videos, every visual and sound choice supported the frantic atmosphere. Nevin Howell’s AV design seamlessly integrated social media and gaming with live action, elevating the production to cinematic levels. The floor lit up like bowling alley lanes while doubling as a hidden spot to store food and weapons. Watching Sharee and B's thrilling “Brunnings” battle sequence, choreographed with game-like graphics projected onto the stage walls and floor, was a highlight. The thematic undertone—zombies as symbols of colonial occupation—was both pointed and powerful. At one point, Sharee’s fury at seeing her content plagiarised evoked a powerful commentary on the theft of Indigenous voices. The climax of the show was as intense as it was emotional, with Tash and Sharee’s friendship tested to the breaking point. The strobe lighting heightened the tension as the two faced an unimaginable decision: one of them, newly infected, had to be “taken out”. It was a moment of raw emotion, a cathartic release of the frustrations that had been simmering between them throughout the show. Yet the show left us on a note of hope — a reminder that, even in the darkest times, connection can still thrive. 'Eat Slay Zombie'  was a celebration of survival, resilience, community, and reclaiming autonomy in a world that sought to take it away, cementing this work as an excellent addition to the Australian Indigenous theatre landscape.

A One-of-a-Kind “Art Attack” for Adults   I didn’t know quite what to expect from ' Creative Jucies' , but it’s safe to say this isn’t your average art class. Led by the fabulously fearless Timothy Christopher Ryan, this 60-minute show was equal parts performance, life drawing class, and hilarious group therapy session.   From the very start, Timothy put the audience at ease, laying out a big emphasis on consent for participation. If you wanted to be hands-off, no worries, but if you were up for a laugh and a bit of spontaneous involvement, you were in for an experience!   Timothy’s vibe was instantly infectious; he invited us all to leave our inhibitions at the door, guiding us through absurd prompts and creative chaos with warmth and total confidence. His striptease was a laugh-out-loud highlight, revealing layer upon layer of underwear. His confidence and charm turned an intimate, small space into an artsy playground, making everyone feel like an old friend – or at least a willing accomplice.   My favourite part? It has to be painting Timothy’s nearly-nude body with glow-in-the-dark paint. By the end, my “art” was definitely more “fridge magnet” material than masterpiece, but that’s the beauty here—everyone’s encouraged to get creative without worrying about perfection. Add to that the life modelling, wacky drawing prompts, and Timothy’s boundless energy, and you’ve got yourself a hilarious, immersive escape.   This unique, interactive show was a highlight at MELT Festival in Brisbane, delivering an unforgettable dose of self-expression. It’s weird, wonderful, and just a little bit wild – definitely worth the laughs and the artistic chaos!   Catch Creative Juices  as it continues to tour around Australia with Scratch Arts. If you’re up for a unique, intimate, and hilariously unpredictable experience, don’t miss this wild ride at a city near you. It’s 60 minutes of pure creative mayhem, and you’ll leave with a smile—and maybe a few questionable artworks to take home.

'Gaslight' , presented by Sandgate Theatre and directed by Catherine Radbourne, is a chilling psychological thriller that holds its grip on the audience from beginning to end. Written in 1938, Patrick Hamilton’s play dives deep into the dark dynamics of a treacherous marriage, coercive control, manipulation, and the mysteries of the past. This production brings the suspense vividly to life at the Sandgate Town Hall, with standout performances and carefully crafted tension that makes for a riveting experience. Set in 1880s London, ' Gaslight' unfolds in the unsettling confines of the Manninghams’ Victorian home, where Bella Manningham (Shannon Bea) is increasingly convinced that she is losing her mind. As strange occurrences unfold, her controlling husband, Jack Manningham (Ewan Orton), undermines her sense of reality. His disappearances, his flirtation with the servant, and the ominous dimming of the gaslights begin to drive Bella to the edge. But when Inspector Rough (Gareth Macready) arrives, the pieces start to fall into place, revealing the tragic mystery of a murder committed for hidden jewels and the true depth of Jack's malice. The living room set, filled with ornate furnishings, a fireplace, and glowing gaslights, creates an inviting yet eerie feel. Most of the action takes place upstage, pulling us into the Manningham household’s suffocating atmosphere. The performances are where this production truly shines - complete with flawless accents. Shannon Bea's portrayal of Bella feels especially authentic, showing a woman trapped in a world where she must walk on eggshells—her furtive glances, wringing hands, and wide-eyed anxiety tell us more than words ever could. From her very first moments onstage, Bea wears a look of constant worry that never falters. As the story reaches its climax, we can feel her fear as she visibly trembles in moments of tension, while we heartbreakingly witness her trying to maintain her composure. A particularly emotional moment occurs when Bella reads a letter from her family that had been hidden from her, causing her to break into very real tears – a powerful touch that further immerses the audience in her distress. Ewan Orton brings a chilling intensity to the role of Jack Manningham. His portrayal is all about contrast: he can switch moods in an instant, using sudden shifts in tone to keep Bella (and us) constantly on edge. Orton's voice exudes authority even when speaking in a gentle tone, conveying either a façade of kindness or an obvious seething anger. There’s a visceral sense of disdain in the way he addresses Bella as “my dear,” a term that drips with irony as their interactions become colder. Later, his constant dismissive “Bella...” drips with cruelty as he gaslights her at every turn. Notably, he refrains from physically touching Bella throughout the play, which makes his psychological abuse all the more sinister. With mere words and presence, he wields incredible power to instil fear and it’s unnerving to watch. His continuous mocking and degrading of her, even going so far as to threaten their dog, made me want to slap his smug face - a clear testament to Orton’s skill in making Jack utterly despisable. The supporting characters bring a much-needed balance to the dark atmosphere. Gareth Macready’s Inspector Rough arrives as a welcome dose of comic relief and a glimmer of hope, providing Bella (and the audience) with a lifeline out of her nightmare. His quick thinking and slightly disheveled charm contrast wonderfully with the refined façade of Bella’s life with Jack, helping her uncover the truth that’s been intentionally obscured. Macready adds wonderful acting nuances, like dabbing his forehead with a handkerchief and stroking his beard thoughtfully. Though he occasionally jumped his lines, his portrayal remains strong, and he brings levity to the production without undermining the gravity of Bella’s plight. Alanna Sadler as the younger maid, Nancy, is cheeky and flirtatious, her scenes with Jack adding to his callousness toward Bella and creating more layers of tension. Carmen Heath’s Elizabeth, in contrast, provides a much-needed sense of care and stability for Bella, standing in as a rare source of gentle comfort. Catherine Radbourne’s direction creates a fast-paced rhythm, rarely lingering on dramatic pauses, which keeps the story moving forward while allowing the underlying tension to simmer. There are unsaid elements that resonate between the lines, lending a psychological weight to the dialogue. Sound and lighting effects play a vital role in the suspense of ' Gaslight' . The haunting sound of footsteps above, suggesting Jack’s nightly searches in the upstairs apartment, was executed with realism, making me feel as if someone truly was creeping around in the ceiling. The lights dim and brighten ominously, adding to Bella’s confusion and feeding into the psychological horror. The ending is a perfect payoff as Bella delivers her own brand of justice, using Jack’s manipulation against him in an “reverse Uno card” moment that earned huge cheers from the audience. Don't miss the opportunity to see this timeless thriller at Sandgate Theatre. This suspenseful and expertly performed piece comes highly recommended for those seeking a masterclass in psychological tension. Tickets available here

I went into "Love" braced for an emotional rollercoaster (it’s no rom-com, trust me), but despite expecting pure gloom from the synopsis, I found myself utterly riveted, drawn in by the raw humanity onstage and still thinking about it almost 2 weeks later. Salad Days Collective presented a powerful interpretation of Patricia Cornelius's ' Love ', delving deep into the harsh realities and struggles faced by three young individuals navigating love and survival on the outskirts of society. Directed by Ava Rusch, this gritty narrative was vividly staged at South Brisbane’s VENTspace. The storyline of ' Love'  follows the turbulent lives of Tanya, Annie, and Lorenzo, three young people bound by a fierce desire for connection in a world that has otherwise failed them. Living in gloomy backstreets and rundown squats, Tanya and Annie share a co-dependent yet deeply caring relationship where love, business, and survival are entangled. When Tanya briefly lands in jail, Annie finds companionship in the enigmatic Lorenzo, sparking a tense love triangle. As the bonds between them shift and strain, we see a brutally honest picture of the lengths people will go for connection, no matter how distorted or harmful it may be.   The small but formidable cast, comprising Jasmine Prasser as Tanya, Georgina Sawyer as Annie, and Leo Buzac as Lorenzo, brought Cornelius’s grim, poetic vision to life with astonishing depth. Their performances were undeniably compelling, with each actor embodying the grit, vulnerability, and desperation of their characters.  Georgina Sawyer’s portrayal of Annie was especially gripping; her haunting dissociative gaze and wild demeanour captured the erratic highs and lows of this character with devastating accuracy. Sawyer infused Annie with a tragic vulnerability, often eliciting laughs from the audience before plunging back into heart-wrenching moments of discomfort. She delivered Annie’s childlike hopes, depressive states, and turbulent drug-fuelled highs with striking realism, often looking genuinely ill and embodying the manic energy of a young woman clinging to fleeting hopes. Jasmine Prasser as Tanya carried a palpable heaviness, her every movement and expression seeming weighed down by life’s hardships. Her depiction of Tanya’s inner struggle—a woman who loathes her own femininity—was profound. In particular, Prasser’s performance in the final scene was nothing short of gut-wrenching, showcasing the anguish of a character trapped between fierce love and intense personal conflict. Prasser and Sawyer’s on-stage chemistry was remarkable, painting a vivid picture of a relationship both intensely affectionate and strained by dependency and unspoken pain that it felt as if we were intruding upon something intensely private. Their arrangement involved Tanya acting as Annie's pimp and occasionally resorting to theft. While there are many instances where it seems Tanya is exploiting Annie for financial gain, a poignant moment reveals Tanya's readiness to go to any lengths for Annie, even if it meant sacrificing her own self-perception. Leo Buzac infused Lorenzo with of mixture of playfulness and darkness, introducing a volatile new addition to Annie and Tanya's messed-up world. From his swaggering entrance to his eventual downfall, Buzac depicted Lorenzo as both a catalyst for chaos and a tragic figure in his own right. Lorenzo's deteriorating physical and emotional state was obvious, characterised by a jittery and sweaty appearance that vividly embodied an addict's desperation. His unpredictable nature only heightened the play's inherent tension, particularly as his addiction worsened and his temper grew more intense. Ava Rusch’s direction skilfully harnessed the complexities of the story, allowing moments of dark humour to breathe amidst the intensity. Sawyer and Buzac managed to elicit laughs despite the heavy themes; an impressive feat. The choice of VENTspace as a venue proved ideal; the dialogue resonated clearly, and the sounds of the actors’ explosive confrontations likely reached passersby outside. With the audience mere metres from the action, every harsh word, desperate glance, and violent encounter was intensified. The set featured a lone mattress, wooden slats, and a hollow door frame, allowing each actor’s movement to resonate fully within the space. At times, the actors moved up and down the aisles but never acknowledged the audience, creating a sense of disarray that pulled us deeper into their gritty world. Costume design and accents reinforced the characters’ dire social class, with ragged clothing and a rough, bogan inflection adding authenticity to their portrayals. 'Love'  was raw and harrowing, with moments that felt so real and intense that it was easy to forget you were watching a play. In a year filled with excellent dramatic performances, ' Love'  stands out as one of the most intense and brilliantly executed productions I’ve seen. Having seen Prasser and Sawyer in lighter roles in ' Scenes with Girls' , it was a pleasure to witness them tackle something so challenging and raw, with both actors delivering standout performances that left a lasting impression on me.

Once upon a time... the fairy tales lied. 'WOman'  at Backbone Festival offered an intense exploration of feminine fury. Told through a tapestry of slam poetry and Greek chorus-inspired movement, it left the audience both shaken and moved. Directed and written by Georgia Hollis, Edwina Saunders, Lottie Banford, and Belle Ahern, this powerful piece pulled audiences deep into a visceral experience of oppression, objectification, and pure rage that every woman could relate to on some level.   The opening scene was striking in its simplicity yet undeniable in its impact: when the cast was asked “What’s it like to be a woman?”, the response was a primal scream from all four women on stage. This wordless moment spoke volumes, embodying a frustration too intense for words. Each of the four actors shared the spotlight, delivering standout moments in both storytelling and movement. Particularly memorable was the “water off a duck’s back” monologue, where the speaker explored resilience and dismissal. In another scene, they juxtaposed the experience of being a woman with that of being a dog, forced to obey, “bark, bite, be a good girl.” The comparison powerfully illustrated the societal constraints that condition women to silence their own voices, leading to moments of seething rage and quiet compliance. The script itself was a standout, concise and effective, allowing each scene to feel well-paced and well-placed. The dialogue was peppered with moments of dark humour and fury, carefully choreographed into physical expression. One scene found the women reciting lists of things they’ve been told or taught over time, building to a crescendo that left the audience feeling the same frustration and weariness. Another scene had the cast naming real-life victims of violence, lending an additional gravity to the heavy performance. Four simple chairs became a conduit for the characters’ desires and constraints. The scene where the women were knocked down off these chairs while shouting their ambitions—to be safe, to be a mother, to become a CEO—felt reminiscent of the impassioned speech on womanhood from ' Barbie' . It was delivered with a weight that hung in the air, starkly reminding the audience of the paradoxes and contradictions that society forces upon women. Moments of interaction - covering mouths, imitating the actions and speech of men causing discomfort to women in public, were authentic. For a piece that contained many confronting themes, the production was tastefully balanced. Although there were content warnings, nothing felt gratuitous or unnecessary; every moment served the larger message of WOman . The whole production was rehearsed to perfection, with each actor’s delivery, gesture, and movement contributing to a well-rounded ensemble piece. The raw talent and synergy of the cast, along with the script’s insight and honesty, make WOman  a critical work of contemporary theatre that would benefit from an extended run to reach a wider audience.

By Tom Stoppard Directed by Thomas Eastwood The Island of Misfit Players debuted on the Brisbane stage with an exceptional production. Their rendition of Tom Stoppard’s ' Rosencrantz & Guildenstern Are Dead' was a wild ride of laughs and profound thoughts that had the audience glued to their seats, laughing out loud, and scratching their puzzled heads all at once! In this lengthy play, two minor characters from Shakespeare’s ' Hamlet' , Rosencrantz and Guildenstern, find themselves in the spotlight. The play opens with these two buddies wandering in a strange, nondescript world, unable to remember how they got there. As they repeatedly flip a coin that lands heads each time, they question if chance is just playing a prank on them or if there's some cosmic force at play beyond their control. Meanwhile, Hamlet’s story unfolds in the background, but Rosencrantz and Guildenstern remain oblivious to the larger context, trapped in a series of bizarre events and philosophical discussions. Summoned by King Claudius to uncover the cause of Hamlet’s madness, they stumble through their detective work, often falling into confusion and comical misunderstandings. They often encounter the Player, the leader of a troupe of tragedians, who attempts to enlighten them on life’s theatrical nature, but they remain lost in the quest for their purpose. When Rosencrantz and Guildenstern are sent to escort Hamlet to England, their true purpose—and impending doom—begins to surface. Ultimately, they learn that they are mere pawns in a larger story, unable to escape the fate scripted for them. Leading the charge were Thomas Eastwood and Alexander Blue, whose interplay and comedic timing created a timeless comedic double act. Eastwood’s philosophical musings as Guildenstern artfully clashed with Blue’s lovably bewildered Rosencrantz, creating a hilarious existential banter. The duo sustained their energy across the play’s three-hour runtime, mastering Stoppard’s complex dialogue with a natural ease. Eastwood’s dedication to Guildenstern’s often frantic existential musings brought an intriguing contrast to the play’s dark humour. Alexander Blue had a childlike curiosity as Rosencrantz, which brought warmth and plenty of humour to a character destined for tragedy. Playing the oh-so-theatrical Player King, Alexis Beebe brought a magnetic presence to the performance, blending charisma and enigma in every line she uttered. Beebe's portrayal spiced up the play's exploration of fate and showmanship, enriching every scene she was part of. Connor Scoble’s Hamlet was a rollercoaster of melodrama. His over-the-top interpretation contrasted the serious tone of ' Hamlet', offering moments of pure absurdity that fit perfectly within Stoppard's vision. His disassociated expression and intense delivery highlighted the play’s meta-theatrical themes. Liam Kenny was impressive in his versatility, shifting between the ominous Claudius and the silent but expressive tragedian Alfred. His character work gave Claudius a surprising depth, complete with a flawless accent, while his portrayal of Alfred displayed an endearing vulnerability in the troupe’s scenes. The ensemble brought a cohesive, vibrant energy to the production, enhancing each scene with physical comedy and a strong commitment to the absurdist nature of the play. Thomas Eastwood’s direction and delivery emphasised Stoppard’s sharp wit and layered humour, making the play both accessible and enjoyable while preserving its philosophical depth. Through careful attention to timing and physical staging, Eastwood ensured that even the wordplay-heavy scenes were brought to life with clarity, enabling the audience to engage more easily with the fast-paced dialogue. Visually, the production was well-realised, with set design and costuming that reinforced the timeless, liminal quality of the play’s world. While the production’s three-hour length didn't exactly fly by, each scene built upon the last, layering comedy and existential reflections into a rewarding experience that encouraged the audience to laugh and ponder in equal measure. 'Rosencrantz & Guildenstern Are Dead'  was an ambitious and rewarding debut for The Island of Misfit Players. This production not only did justice to Stoppard’s complex script but brought it to life in a way that was fresh, accessible, and endlessly entertaining; a highly promising start for this talented new theatre company.

Title: Stranger Sings! The Parody Musical Presented By: Millennial Productions Inc. Genre: Parody Musical Comedy Synopsis: Join the upside-down world of Stranger Sings!, a hilarious parody musical of the iconic ‘80s-inspired series Stranger Things. Expect pop culture references, witty humour, and a charmingly nostalgic soundtrack as you follow Mike, Dustin, Lucas, and the rest of the Hawkins gang on their wild supernatural adventures. Audition Dates: Thursday, 28th November Location: Bracken Ridge Community Hall, 77 Bracken St, Bracken Ridge QLD 4017 Individual Auditions: 6:20pm - 7:00pm, 8:00pm - 9:30pm Group Dance Call: 7:00pm Sunday, 1st December Location: Toombul Shire Hall, 1141 Sandgate Rd, Nundah QLD 4012 Individual Auditions: 1:30pm - 4:50pm, 6:00pm - 8:30pm Group Dance Call: 5:00pm Callbacks: Date: Wednesday, 4th December Time: 6:00pm - 10:00pm Location: Bracken Ridge Community Hall Specific times for callbacks will be provided individually. Unavailability on this day may impact casting outcomes. Audition Requirements: Vocal: Prepare two 1-minute pieces: One in 80's Pop/Rock style One contrasting Musical Theatre piece (Please avoid songs from the musical. Backing tracks are required, as no piano accompaniment will be available.) Dance: Participate in a group dance call, which will involve learning choreography from the show. Wear comfortable, movement-friendly attire. Acting: Auditionees will receive sides for a cold read in the audition room. Self-Tape Submissions (if unavailable in-person): Video submissions, covering both vocal and acting components, are due by 5pm, Saturday 30th November. Submit via Dropbox/Google Drive link to: admin@millennialproductions.com.au Audition Registration: Register for an audition: Audition Registration Link For video submissions, use our alternative registration: Video Audition Link Rehearsals: Rehearsals will begin Sunday, 2nd February, following a 10-week schedule: Tuesdays: 7:00pm - 10:00pm, Bracken Ridge Community Hall Thursdays & Sundays: 7:00pm - 10:00pm, Toombul Shire Hall Additional Saturday rehearsals may be scheduled as needed. Attendance is expected at all rehearsals. A detailed schedule will be provided at the first session. Performance Dates: Performances will run 18th - 26th April 2025 at Ron Hurley Theatre, Seven Hills. Cast must be available for tech week beginning 14th April. Production Team: Director: Kristen Barros Musical Director: Victoria Keomahavong Choreographer: Jess Briskie Character Breakdown: The ages stated below are playing ages. All actors must be 18+ years old. LUCAS: 12-years-old, Person of Colour, Tenor (D3-B4). The skeptic of the group, he is hard to win over but is as loyal as they come. Ready for battle with the DEMOGORGON at any time. Also doubles as DEMOGORGON (The MONSTER of the show! Physically agile, with a street dance-inspired style and ability to freestyle with charisma and unique moves while wearing a full-face mask) and ERICA, Lucas’ little sister. Must have good PHYSICAL comedic timing. MIKE: 12-years-old, Tenor (D3-Bb4). Mike is the fearless leader of the group. While on a mission to rescue his best friend Will, he gets sidetracked by possible romantic feelings for ELEVEN. Strong movement ability preferred. Must have good comedic timing. DUSTIN: 12-years-old, Tenor (B2-Bb4). Talkative yet wise-cracking, Dustin has a heart of gold that shines through his big smile that goes directly with his big personality. You can’t help but love him and agree with him on everything he says. He has a lisp. Curly hair a plus. Strong movement ability preferred. Must have good comedic timing. STEVE/JONATHAN: 17-year-old, Tenor (G2-falsetto E5). The high school heartthrob with the most glorious hair you’ve ever seen. He gives into the patriarchy easily, that is until an unlikely ally comes along to challenge him. Doubles as JONATHAN. The outcast at school, he will stop at nothing to find his younger brother, WILL. He seems to be doing just fine on his own...that is until Nancy starts to notice him. HOPPER: 25-45-year-old, Baritone (A2-F#3). A Sheriff of Hawkins, he is an alcoholic with his own emotional baggage, but is driven to uncover the truth behind Will's disappearance. Looking for that “something more," he finds comfort inJoyce's off-beat personality as she looks for her son. Strong movement ability preferred and strong rock falsetto a plus. Must have good comedic timing. JOYCE: 25-40-year-old, Mezzo with Belt (Ab3-F5). Constantly at a “10,” she is strong-willed yet hysterical and like Jonathan, will stop at nothing to find her son, Will. She also may have a few screws loose. Strong Winona Ryder impression a plus. Must have good comedic timing. NANCY/ROBIN: 16-years-old, Alto with High Belt (F3-F5). A smart and curious high schooler who thinks the world revolves around her and her love life. She may be well intentioned, but she pays the price for her narcissism when her best friend, Barb, suddenly disappears. Also briefly appears as ROBIN. Must have good comedic timing. Strong movement ability and jazz skills are a plus. BARB: 16-year-old, Alto with High Belt (G3-E5). She is the frumpy best friend who always seems to be forgotten. Hopelessly awkward and a bit naïve...that is until her best friend’s betrayal brings out her inner Regina George. This role calls for a STAR. Improv skills a plus. Strong movement ability preferred. Must have good comedic timing. ELEVEN: 12-years-old, Alto (F#3-E5). She has telekinetic powers and a whole lot of Daddy issues. While physically small and a person of few words, her intensity cannot go unnoticed. Short hair (or buzzed) a plus. ENSEMBLE: Additional ensemble members will be cast in a variety of minor roles and understudies. These roles include but are not limited to: WILL: 12-years-old, Tenor (C3-A4) or Alto (F#3 to F5). Will may seem wimpy and a tad pathetic, but his resilience to stay alive and pursue big dreams is unparalleled. Must have good comedic timing. Puppeteering skills a plus. EIGHT Former a Hawkin’s Lab child with Eleven, who’s escaped and living freely! DR. BRENNER: Rock tenor. Must have good comedic timing and strong movement ability. Additional Information: Selected cast members will incur a $25 annual membership fee. No further fees are required. This production is not remunerated. We strive to respect the integrity of the production and strongly encourage applications from performers of varied experiences and circumstances including (but not limited to) performers from culturally diverse backgrounds and performers with disabilities. We encourage all performers of any gender identity to audition for the role(s) in which they believe are best representative of them as none of the below roles are restricted to any gender.

Produced by : Marina de Jager Directed by: Riley Cope Musical Direction: Rachel Breeze Choreography: Abby Cutlack   If you were looking for a show that packed an emotional and musical punch, ' Heathers' was the ticket you’d been waiting for. Based on the 1989 cult classic film, this production plunged us straight into the hormone-fuelled world of Westerberg High, where the Heathers rule the school and Veronica Sawyer is tangled up in a web of power struggles, mean-girl antics, and a whole lot of questionable life choices.   As my first-time stage experience with ' Heathers' , I was blown away from start to finish! The opening number 'Beautiful' showcased Veronica's impressive vocals and the memorable quick-change moment that had the audience cheering. From there, we were thrust into the heart of Westerberg, with a set that captured everything from the school's high walls to more intimate spaces, like JD’s bedroom and the local 7/11. The lighting and costuming were spot-on, with signature red, yellow, and green hues enhancing the 80s atmosphere. Kristin Sparks truly lit up the stage as Veronica Sawyer, capturing the character's teenage dorky charm. Her nuanced acting abilities and extensive experience allowed her to adeptly guide the character through a transformative journey, from vulnerability in the face of the Heathers' manipulation and susceptibility to JD's influence, to a steady realisation of the consequences of their cruelty. The legendary 'Dead Girl Walking' was electrifying as Veronica tipsily climbs through JD’s window to seduce him. Sparks' vocal register shifts and belting ability while executing challenging movements just further emphasised her remarkable talent. She had the audience eating out of the palm of her hand, balancing intense passion and rebellion with an underlying vulnerability. Plus, the stunning lighting enhanced the fiery atmosphere that engulfed the stage. By the time Veronica unleashed her solo, “I Say No,” Sparks had activated her character's inner badass survival mode. You could feel the weight of her character’s journey in every note. Her expressive eyes—exhausted, frantic, and desperate—told the entire story, akin to the gaze of someone struggling with an addiction. Nathan Wheeler as Jason Dean (JD) paired well with Sparks, resulting in an electric vocal connection on stage. His velvety voice infused with intensity brought a haunting quality to songs like 'Freeze Your Brain,' where the reverberation effect on the microphone transformed his delivery into something cinematic - revealing his villain origin story. As the show progressed and the stakes grew higher, JD's descent into darkness only enriched Wheeler's interpretation. By his climactic solo 'You Were Meant to Be Mine,' Wheeler's raw and desperate vocals drove home JD’s manipulative nature. The chemistry between Nathan Wheeler and Kristin Sparks was divine, particularly in the 'Our Love is God' and 'Seventeen' duets. Their voices meshed beautifully, with Wheeler’s deep, commanding tones perfectly complementing Sparks' equally strong vocals.   The three Heathers nailed their roles like they were born for it! Ashlyn Hehir as Heather Chandler, Kyra Stout as Heather McNamara, and Natalie Ferris as Heather Duke formed an impeccable trio, serving up a combination of ruthless cruelty and pure teenage ignorance. 'Candy Store' was exceptional, producing a rich harmony that hit that sweet spot (pun intended). These '80s mean girls had a magnetic pull that made it impossible to look away. Ashlyn Hehir was like the dream Heather Chandler I never knew I needed! Her voice soared and her comedy shone in 'The Me Inside of Me.' And even in her ghostly form, she completely dominated that stage. Kyra Stout poured her heart out in 'Lifeboat' as Heather McNamara, making us all feel the emotional weight of suicidal thoughts. It was a moment that reminded us of the real and painful realities of these characters' lives. And then there's Natalie Ferris as Heather Duke - she was the perfect mix of authority, sass, and attitude in her show-stopping solo 'Never Shut Up Again,' asserting herself as the new queen. Her lightning-fast costume change, insane vocal runs, and the whole ensemble dancing around her made it an iconic scene to remember.   Kurt and Ram were absolute scene-stealers who fully embraced the absurdity of their characters with wild enthusiasm. Played with impeccable comedic timing by Sage Lynch (Ram) and Eli Fahey (Kurt), the duo embodied the brutish buffoonery. These two might have been the stereotypical clueless jocks, but their performances were anything but one-dimensional. From their amusing antics in 'You're Welcome,' to their continuous reappearances in ghostly form, these two had a knack for turning every moment into a punchline. Sally Hancock delivered a remarkably heart-wrenching performance as Martha singing 'Kindergarten Boyfriend.' Her angelic vocals exuded vulnerability as this seemingly sweet song transformed into a poignant moment that revealed a lot more depth than anticipated. Sophie Mason played multiple roles, but her portrayal of Ms. Fleming was especially memorable. Her soulful gospel solo 'Shine a Light' was flawless in both vocal execution and stage presence (as expected), but also included some impromptu audience interaction and some awesome light-up prop books.   Of course, we couldn’t talk about this production without mentioning the ensemble. They brought the energy and urgency needed to keep this dark comedy rolling. Portrayed by Jackson Kellaway and Mackenzie Pratt, Kurt and Ram's fathers triumphed with 'My Dead Gay Son,' characterised by its prideful spirit and iconic mullet wigs. Everyone on stage had this palpable chemistry and enthusiasm that made me wish I could hop up there and join them. Under the musical guidance of Rachel Breeze, every number reached the highest standards of professionalism. Abby Cutlack’s choreography was the cherry on top, especially during 'Fight For Me'; a hilarious slow-motion scene as the three lead boys engage in a fight on stage, which not only elicited big laughs but also displayed unexpectedly graceful movements. The show’s climax was staged as well as they could have, with tension and adrenaline escalating through the fight choreography. It was the final group encore that left many of the actors visibly moved to tears.   While ' Heathers' touched on some dark and controversial topics—bullying, teen suicide, sexual assault—it managed to balance these moments of intense drama with just the right amount of humour. The cast’s ability to make even the darkest moments light-hearted was a testament to the strong direction from Riley Cope. The mix of comedy and tragedy was expertly executed, and by the time we reached the explosive finale, I was thinking how quickly we had reached that point!   From captivating choreography to show-stopping solos, this ' Heathers' production delivered on every front. The cast and crew should be incredibly proud of their work. As I overheard one audience member say while leaving the theatre, “It exceeded my expectations.” And honestly, it exceeded mine too. Photos by Brit Creative If any pronouns are incorrect, please message Stage Buzz Brisbane and I will correct it. Thank you.

'String Revolution,' presented by Honour Productions, showcased a mesmerising fusion of classical elegance and rock-and-roll energy. Act One: Classical Quartet The first act of ' String Revolution' opened with a classical performance by the talented quartet of Joshua Smith, Nyssa Corney, Courtney Sanders, and Hyewon Chang. The synchronicity between these musicians was undeniable, while each one delivered their solo lines with incredible texture and an almost visual storytelling, as though they could see the music itself. The lighting matched the mood of each piece so perfectly, often illuminating the musicians from behind and bathing the stage in an ambient glow. During the moody tone of Rachmaninoff's ' Allegro Moderato' , the atmosphere was enhanced by fog and red lighting, creating a striking silhouette of the quartet. Each note was amplified well, filling the intimate venue where around 80 attendees had gathered to witness these musicians up close. And this intimate setting created a closeness that made the performance all the more powerful. It is a stark contrast to the detached experience of sitting far away from an orchestra in a vast concert hall. A highlight of this act was an original composition titled ' Fair Winds and Following Seas'  by 22-year-old composer Imogen Ferdinando. This composition depicted the non-linear journey of grief and healing in a breathtaking way. The rich, deep sounds of the cello paired harmoniously with the interplay of the other instruments, resembling the clash of waves - each element unpredictable yet perfectly synchronised. At one point, the chaotic dissonance of the melodies created the illusion of separate songs being played, only to come together into a satisfying resolution. It was a stunning moment, easily the most compelling composition of the act.   The classical quartet also explored the haunting melodies of ' Oppenheimer' and ' Knives Out' , with the latter’s tricky timing and glissandos creating an auditory experience that itched my brain just right. The Mozart number, on the other hand, transported the audience to 1772, evoking the whimsical elegance reminiscent of a Jane Austen novel. The entire act was filled with layered melodies and dynamic choices that kept us enthralled. Act Two: The Rock Set The second half of the evening was a complete 180, in the best possible way. The rock act, featuring Kat Augustakis and Asa Deacon on electric fiddles, Nicholas Tam on electric cello, Elias Kokkoris on double bass, and supported by Sam Hewerdine (keys), Marius Angelo (bass), Nathanael Clyde Tadle (drums), and Mitchell Patullo (electric guitar), opened with an electrifying rendition of ' Smooth Criminal' . Right from the start, the atmosphere was charged with energy, and it didn’t let up for the rest of the night. By the second song, Fall Out Boy's ' Thnks fr th Mmrs' , the bow strings were already snapping from the intensity of the performance. The stadium-level lighting had me feeling like I was at a rock concert, not a string ensemble show. The standout number of this act was ' Smells Like Teen Spirit' . Kat Augustakis, the mastermind behind the arrangement of these rock songs, deserves massive credit—what a talent!   'Crazy Train' allowed the electric guitar to shine, and Mitchell Patullo absolutely slayed the solo. The emotional pull of ' Nothing Else Matters' was enhanced by Elias' powerful double bass resonating so deeply you could feel it in your bones. Marius seduced the audience with a bass solo that paved the way for a mashup of ' Seven Nation Army' and ' Sweet Dreams' . A playful nod to ' Bluey ' preceded Bon Jovi’s ' You Give Love a Bad Name' , and by the time that number hit I found myself fully wanting to headbang! The entire band was clearly having the time of their lives, and their enthusiasm was infectious. They closed with some INSANE finger work by Kat and Asa in ' Afterlife' , but the encore—where all 12 musicians from both acts returned to perform the ' Pirates of the Caribbean'  theme together—was the most memorable moment of the night. The collective power of all those instruments created an epic finale that radiated an undeniable sense of joy. It’s a rare treat to see such versatility in a single music performance, and Honour Productions has certainly delivered an experience that I won’t soon forget.

'Something Said,' a production by Sun and Wine Arts Company, written and directed by Claire Yorston and staged at Backdock Arts, explored the emotional complexities of sisterhood, childhood trauma, and the struggle to reconcile with a painful past. The plot centres on two sisters, Lorelai and Sabrina, who have been estranged for a decade. Lorelai (27), played by Yorston herself, is a psychologist coping with her traumatic upbringing. She is abruptly reconnected to her 17-year-old sister Sabrina, played by Avalokita Hoffman, when Sabrina initiates contact by writing her letters. The play opens with Yorston delivering a monologue about multiverses and sisterhood. Her performance as Lorelai is deeply introspective, portraying a woman who seems simultaneously self-protective and self-destructive. The interplay of strength and vulnerability in her performance is gripping, especially during the "what if" monologue, where she grapples with the realisation that she is letting her sister slip away once again. Avalokita Hoffman's portrayal of Sabrina is natural and sweet, embodying youthful innocence. Sabrina’s initial letters are filled with hope and curiosity, delivered by Hoffman without any hint of anger or resentment, but rather with a sincere desire to reconnect. This juxtaposition with Lorelai’s bitter and anxious attitude is striking—Sabrina appears to symbolise all that Lorelai has lost, including her ability to trust and show vulnerability. Emma King and Carter Firmager provide strong supporting performances, with King particularly standing out in the flashback sequences where Lorelai confides in her teenage best friend Sarah about her abusive parents. These flashback moments are carefully woven into the script to draw attention to the parallels between Lorelai’s neglect and feeling of abandonment in her youth and Sabrina’s current search for explanations as to why her sister left. Yorston’s script skilfully unravels layers of the sisters’ past through letters and flashbacks, with each sequence revealing new insights into their relationship, including Lorelai's pivotal choice to contact CPS, leave home at 16, and ultimately adopt Sabrina; a decision that remains unfulfilled. The stage design includes a split-stage layout that mirrors the inner worlds of the sisters and emphasises the age and emotional gap between them. Lorelai's side is minimal and clinical, including a desk and chairs for her therapy office, whereas Sabrina's side is cozy and disorderly like a teenager's room. The music in the play serves as a subtle backdrop during scenes where the sisters silently go about their daily routines side by side, which only further emphasise the isolation that each one experiences. The lighting design helps to differentiate the sisters' emotional states: bright, warm lighting for Sabrina's hopeful letters and harsh, focused lighting for Lorelai's tense monologues. Tensions reach a climax as the sisters express their innermost feelings through overlapping monologues. Lorelai's pent-up frustrations and anguish are laid bare, while Sabrina fears abandonment once more. Despite her youth, Sabrina comes across as the more emotionally mature of the two, trying to break through the walls her sister has built between them. One of the play’s most powerful lines, "I'm glad you got the healed version of the people who should have been my parents," encapsulates the bittersweetness of Lorelai’s journey. Yorston has captured the weight of unresolved trauma and the resentment that festers when one feels abandoned. Lorelai's complex relationship with her parents—recovered alcoholics who sought rehab and redemption after she left home and her sister was placed in foster care—prompts reflection on forgiveness and whether true healing is ever possible.   The play concludes with a bittersweet tone as the sisters have their first in-person meeting. Despite the awkwardness and unspoken tension, a glimmer of hope shines through. Sabrina's curiosity and efforts persist, while Lorelai maintains her guarded demeanour, unsure whether she can open up to her little sister after being alone for so long. The line, "In another universe, I hope we get another chance at being sisters," prompts the audience to contemplate the fragility of family ties and the courage it takes to confront the past. 'Something Said ' is a deeply moving theatre piece, driven by beautiful performances and Yorston’s poignant writing. The story of Lorelai and Sabrina is both heart-wrenching and hopeful, remind us that while we cannot change the past, we can choose how to move forward. This production showcases the strength of intimate, character-driven storytelling, and it's clear that Sun and Wine Arts Company have brought something truly special to the stage.

JDProCo's cabaret, ' The Broadway Jam Vol II ', was an exhilarating night of musical theatre curated by the amazing Josh Daveta. The venue was packed to the brim and the cast was teeming with insane talent, with each song handpicked by the performers to showcase their versatility. So versatile, in fact, that I found myself faced with a delightful challenge: many of the songs were unfamiliar to me! I mean, how can one be expected to know all these obscure songs, right? But hey, I wasn't the only one lost in this sea of musical surprises. The eclectic mix of tunes kept us all on our toes, eagerly anticipating the next unexpected gem to hit our eardrums.   As Josh, our charismatic MC, explains early on, this show is a celebration of versatility, with selections spanning across decades and genres—from Singin' in the Rain to Rocky Horror to Spring Awakening . Every performer is a natural storyteller... and likely professionally trained, but who's counting? They transported us through different stories, delivering heartfelt ballads and electrifying showstoppers as an array of diverse characters, albeit detached from their original contexts, because that's how JDProCo rolls. Act 1: Stories in Song The show opened with Heidi Enchelmaier leading the ensemble in a soulful and stirring rendition of "Mama Who Bore Me" from Spring Awakening . Stumbling out with a gin bottle in hand, Fiona Buchanan completely morphed into Miss Hannigan for her comedic rendition of "Little Girls" from Annie —one of many laugh-out-loud moments throughout the night.   Nathaniel Savy mesmerised the crowd with "Simply Second Nature" from Charlie and the Chocolate Factory . Sitting front row, I can tell you this: there was a literal twinkle in this man's eyes—a magical quality that, combined with his divine voice, made it clear he would make an incredible Willy Wonka. You could feel his love for the role pouring out, embodying the eccentricity of the character flawlessly. Josh Daveta's elegant rendition of "Stars and Moon" from Songs for a New World was an unexpected yet beautiful choice that perfectly complemented the reflective tone of Act 1. It was clear that storytelling was at the heart of this act, with each artist pouring their soul into their chosen ballad. I found myself clinging to every lyric in a way I don't normally do with mainstream music. Kristin Sparks performing "Sexy" from Mean Girls was a standout crowd favourite, absolutely nailing it with her full commitment to the character. She was adorable, hilarious, and, well... sexy! Although I have always loved this song, experiencing it live for the first time was a special treat, thanks to Kristin's portrayal of Karen's ditzy charm. Another highlight of the evening came from Grace Royle, whose rendition of "Sweet Transvestite" from The Rocky Horror Picture Show had the audience shivering with antici.............pation. They channeled the iconic character's spirit while adding their own soulful touch and fabulous flair! The full ensemble number "For Now" from Avenue Q exploded with energy and sheer joy that the cast experienced on stage. Aysa Garcia Wong's beautiful rendition of "The River" - from the brand new Alicia Keys musical Hell’s Kitchen - captivated the crowd, while Sam Caruana stepped into the shoes of Frankie Valli to deliver "I’m in the Mood for Love" from Jersey Boys . His incredible vocal range, seamless register switching, and falsetto left the audience in awe. Heidi offered up another jaw-dropper with "Another Life" from The Bridges of Madison County . Although I had never heard this song before, I find myself itching to learn it now. Heidi captivates with the beauty of her storytelling by painting a vivid picture through her voice and expression. Kyla Price shone brightly with "Wishing You Were Somehow Here Again" from The Phantom of the Opera , infusing the classic ballad with even more emotional resonance than I thought possible. Hayden Rodgers wowed everyone with their performance of "Snow Angel," popularised by Renee Rapp, showcasing impressive melismas that had the audience gaping and nodding in appreciation. Chelsea Sales sang "Quiet" from Thirteen Stories Down , displaying an astonishing grace and beautiful voice that never fails to shock me, no matter how many times I see her on the stage. Act 2: The Younger Years   Act 2 took a playful turn, with the seasoned performers embracing younger, often teenage, characters. It was both nostalgic and refreshing to see these familiar characters reimagined by this cast. Heidi, complete with fairy wings and tiara, portrayed a very young girl while performing “My Party Dress” from Henry and Mudge . Her talent was on full display as she nailed the persona of a hyperactive child. It was hilarious, adorable, and had the entire audience in fits of laughter. Kristin Sparks took on the tough solo of "Home" as the spunky Lydia from Beetlejuice , absolutely nailing the performance with her strong vocals. Plus, "Candy Store" from Heathers by Kristin, Chelsea, and Aysa, was every bit as good as you would expect it to be. Nathaniel returned to the stage and soared with "Giants in the Sky" from Into the Woods as the adventurous Jack. This is no easy song to sing—it’s fast, intricate, and packed with lyrics—but Nathaniel was up for the challenge. Sure he stumbled over some tricky sections (who hasn't struggled with Sondheim?), but he recovered brilliantly, charming the audience with his genuine and playful approach to the song. Hayden Rodgers waved their wand and transformed into Elphaba for a powerful rendition of "The Wizard and I" from Wicked . This song holds a special place in my heart, and Hayden did not disappoint. Their vocal acrobatics and sustains were simply astounding. You could feel the passion radiating from them, creating a truly magical performance. Adding to the charm, Georgie Taylor delivered a sugary sweet, acoustic rendition of "Singin’ in the Rain," bringing smiles to all our faces. In a sweet surprise, Aysa Garcia Wong and Hayden joined forces for a duet of "Tonight" from West Side Story , and it was spine-tingling. The sparks were flying as they channeled their inner teen lovers Tony and Maria, their voices harmonising beautifully. Sam Caruana took on "No Turning Back Now", made famous by Jeremy Jordan, a poignant song about a 17-year-old's hopes and fears about becoming a dad. His vocal performance was top-tier (obviously), and the emotional depth he brought to the song was incredibly sincere.   Fiona delivered a hauntingly beautiful rendition of "The Man That Got Away" from A Star Is Born , and Grace followed up with a powerful performance of "Midnight Radio" from Hedwig and the Angry Inch , both commanding the stage with their presence. Then, Josh channeled Fairy Godmother from Shrek 2 and brought massive energy with "Holding Out for a Hero," even allowing the audience to sing along—something I’d been hoping for all night! In a humorous and unexpected twist to the setlist, Chelsea transformed into Pearl alongside Sam as Mr. Krabs for a delightful performance of "Daddy Knows Best" from SpongeBob The Musical . Josh and Kyla's memorable duet of "No One" from Hell's Kitchen displayed their harmonious blend, forming a stunning moment of connection as Kyla accompanied on the piano. The night ended with a bang as the cast joined forces for a powerful and polished performance of "You Will Be Found" from Dear Evan Hansen . The harmonies were tight, the emotion was felt, and it became a genuine celebration of belonging and community. You could see how much this moment meant to the performers and I walked away feeling completely uplifted.   Jakey Bristow provided musical accompaniment for all the songs during the evening, elevating the performances with his exceptional piano skills, and seamlessly incorporating tracks to enhance standout pieces like Heathers  and Dear Evan Hansen . Under the leadership of Josh Daveta, the atmosphere within this production company is undeniably filled with joy. The sense of belonging was felt by every single audience member, and I, for one, can't wait to return for the next installment in 2025. The Broadway Jam is clearly a labour of love, and you can feel it in every note sung and every lyric shared.