The production of ' Alice by Heart' by Queensland College of Dance immerses the audience in a fantastical reinterpretation of Wonderland. This musical adaptation transforms Lewis Carroll's classic tale into a darkly emotional journey, fusing fantasy with the grim realities of World War II. Created by Duncan Sheik and Steven Sater, known for their work on ' Spring Awakening' , the narrative follows Alice Spencer as she recounts the tale of ' Alice in Wonderland' off by heart to seek solace from the turmoil of the London Blitz and provide comfort to her gravely ill friend, Alfred. As the audience enters, the cast is already on stage, busying themselves in the claustrophobic confines of an underground bunker. By having the cast move on and off the stage and through the aisle, the staging brings the entire experience closer to the audience, making you feel as if you’ve stumbled into the bunker and Wonderland right alongside Alice. The stage setup is detailed, making use of all available space - bunks, clotheslines, a quarantined zone, a ladder. A large hole in the back wall serves as a visual portal with projections inside. As the images shift from the war-torn world of 1940 to the swirling vortex of descending down the rabbit hole leading to a Wonderland covered in falling ash, the lines between reality and fantasy becomes increasingly blurred. An outstanding aspect of this production lies in its immersive quality. Through lighting, sound, choreography, and costume design, spectators are transported from the grimy, harsh reality of a bunker in the London Underground to the enchanting world of Wonderland. During 'Down the Hole,'  the costumes subtly change as the characters assume their Wonderland personas. The stunning lighting draws you in at every turn, and when the Blitz’s bombs and sirens echo through the theatre, it feels as if you're hiding in the bunker yourself. Plus, the live music conducted by Ben Murray was so well-executed that I thought it was a recorded track. The show's dialogue stays true to Lewis Carroll's nonsensical, riddle-filled style, but don't worry if you don't catch every meaning—the whimsical madness is meant to be felt, not understood. The show is also notable for its commitment to credible English accents. It is obvious that Tess Hill's choreography is exceptional and deserves to be witnessed firsthand. Taea Patterson-Fahy, in the role of Alice Spencer (sharing the role with Mabelle Maynard), brings a maturity beyond her years. Taea’s Alice is both whimsical and defiant, and as the story progresses, you sense her desperation to stay in Wonderland, clinging to its madness to keep her connection to Alfred (Ryan Eugarde), who plays the White Rabbit and Alice’s closest friend. Taea's vocal delivery is strong and steady, while her stage presence adeptly captures both Alice’s youthful wonder and her profound fear of loss.   Ryan's portrayal of Alfred and the White Rabbit is highly memorable. His voice, smooth and captivating, carries the sorrow and urgency of a boy racing against time. He balances his playful Wonderland persona with the underlying sadness of his real-world situation. The makeup team deserves a special mention here — his sickly pallor, accented by rouge, makes him look convincingly tubercular. The ensemble cast is a flurry of characters, with each member pulling double duty as a bunker resident and a Wonderland figure. Kiara Brunker’s Tabatha, who transforms into the Cheshire Cat, stands out especially. She embodies the feline nature as she moves gracefully across the stage, and her performance of 'Those Long Eyes' is gorgeously staged with waltzing couples. In one of the eeriest songs 'Chillin’ the Regret' , the Caterpillars, portrayed by Demi-Ann Klocek and Michaela Aitchison, lure Alice with surreal seduction in a smoke-filled scene that feels both playful and dangerous. Attention to detail has been given to every single aspect of this show, like the caterpillars’ intricate cloaks and hair styles. Every design choice is intentional and adds to the show’s layered interpretation of Lewis Carroll’s world. Antonia Djordjevic delivers a haunting performance as Dr. Butridge, who transforms into the menacing Jabberwocky. The all-out group number 'Brillig Braelig' becomes quite confrontational as Alice attempts to reach Alfred, with the ensemble preventing her from doing so. It’s moments like these that show the sheer talent of this young cast, able to switch from whimsy to sinister in a moment. The ensemble really captures the organised chaos in these group numbers, including 'Sick to Death of this Alice-ness,' staged during the Mad Hatter’s tea party. Emma Johnstone as the Mad Hatter, Chantelle Turnbull as the Dormouse, and Allie Parsons as the March Hare are a formidable trio, bringing madness and hilarity in equal measure that had me feeling as overwhelmed as Alice herself. The nonsense gives way to a sudden shift in tone as Alice lashes out at Alfred, shouting “I hate you for getting sick!” It's a powerful moment of raw emotion that leaves the audience reeling. In “Isn’t It a Trial?”, Kasey McKenzie commands the stage as the Queen of Hearts, delivering a performance that is both fierce and poised. Her musical showdown with the Caterpillars is excellent, showcasing her vocal strength and her character's regal, yet petulant, nature. And even from the back rows, her sharp, sour expression is visible and captivating. Meanwhile, Ines Hayman brings a manic energy to the lesser-known role of the Duchess. In "Manage Your Flamingo," set amidst the chaotic croquet game, she transforms her minor role into a scene-stealer, injecting each moment with vivacity. The Mock Turtle scene is also a riot, with Ashlee Hawe’s dramatic portrayal of the melancholic turtle, supported by the hilarious interactions with Allie Parsons, Maddison Markham, and Chantelle Turnbull as fellow mock turtles. The heart of the production lies in its exploration of grief and the comforting escape of storytelling. ' The Key is in You ' stands out as a hauntingly beautiful piece, with Taea shining in the midst of stunning group choreography that incorporates the overhead lifts from the original production. Another particularly gut-wrenching moment is the tender song 'Still,' where Alice desperately tries to hold onto Alfred by lingering in her retelling of their beloved childhood story. The chemistry between Alice and Alfred, and the emotional weight of watching her grasp at memories, elicits a true sense of sorrow. These more emotionally-charged moments of the musical are particularly impactful: 'Your Shell of Grief' stirs deep emotions, while the tender duet 'Another Room in Your Head' blossoms into a moving group performance with lush harmonies, and 'Some Things Fall Away' sees the Cheshire Cat comforting Alice as she grapples with the painful realities of grief. The cast's vocal delivery during these scenes effectively captures the stages of denial, sorrow, and eventual acceptance. The final numbers, 'Afternoon' and 'Winter Blooms,' are a touching farewell, with Alice finally letting go of her dear friend - so genuine that the actress was visibly moved to tears and beautifully framed by the lighting design. These closing numbers tie the narrative together, not as a whimsical escape, but as a reflection on the inevitability of loss and how we cope with it. It’s a testament to the depth of emotion these young performers have been able to access while rehearsing this show. There are, of course, a few rough patches—occasional flat notes and moments of visible nerves—but for a young cast at the start of their musical theatre journeys, their passion and commitment in every scene are undeniable. Queensland College of Dance has taken on the mammoth challenge of staging ' Alice By Heart' ', but under the expert direction of Jacqui Devereux and Tim Hill, they've crafted a production that's both touching and visually captivating. The students rise to the occasion with remarkable dedication and talent, making this show not only a valuable learning experience for them but also an enchanting evening for the audience, filled with music, madness, and magic—through a story that everyone knows... but not quite like this. As Alice says goodbye to Alfred and the rabbit hole closes for the last time, you’re left with the bittersweet echo of her story—a deeply emotional journey through love, loss, and the importance of finding comfort in stories, even in the darkest of times. Tickets available here Photographs by Ines Hayman and Peter Cabral Photography *Apologies for any incorrect pronouns used in this review, as they were not specified in the program. I am more than happy to make any corrections if needed—please feel free to point them out to me. Thank you for your understanding!

An Emotional Journey of Sisterhood, Secrets, and Self-Destruction Yeah Nah Theatre presented their first mainstage production of "Young Bodies/Somebody's" under the direction of Mikayla Hosking. Set against the backdrop of an ordinary Aussie family’s fractured home, this 60-minute play weaves together the stories of two sisters, June and Anna, along with their mother Dawn, as each individual confronts their own personal demons while grappling with life’s relentless pressures. In the opening scene, the audience was met with the sight of these three women gazing into mirrors, manipulating their faces and bodies as if willing them to change—a visual metaphor for the profound insecurities that fuelled much of the narrative. Miranda Michalowski’s script was masterfully written and delivered, offering a nuanced exploration of a family fractured by divorce. The contrasting narration revealed how each character's struggles were deeply rooted in their insecurities and personal traumas. While the sisters, Anna and June, appeared to be opposites on the surface, their undeniable bond shone through as they navigated the weight of the unspoken truths lurking beneath their façades. The set was cleverly designed to represent the distinct spaces of the sisters’ lives. Their bedrooms sat side by side, with shared bathroom sinks between them, visually illustrating their physical proximity yet emotional distance as they transition to adulthood. June’s room, tidy and organised, stood in stark contrast to Anna’s chaotic, messy space. Mirrors lined all three walls, adding to the thematic depth of self-reflection and fractured identities. June, the younger of the two, played with a quiet intensity by Roxanne Ruby, was driven by her need for control. A university student and competitive swimmer, she spiralled into disordered eating, hiding her fixation and anxiety from her family. Roxanne's portrayal of June felt eerily relatable, capturing the anguish of someone who is driven by their own self-imposed need for perfection. One of the most impactful lines in the play was when June expressed, "I wish it didn't have to hurt so much... Being good." Roxanne's emotional depth was truly something to behold, particularly as she held back tears while attempting convey the overwhelming burdens she carries. I couldn’t help but resonate with June’s self-doubt and insecurity, especially in the way she likened herself to a bloated Violet Beauregarde from " Willy Wonka" . It was a moment that hit close to home for anyone who has battled with body image.   In contrast, Anna, brought to life by Meg Bowden, was a whirlwind of chaotic energy. Her nights spent in bars and clubs, seeking validation through strangers’ eyes. Beneath her outward bravado lay deep-rooted insecurities that she masked through attempts to justify her choices, trying to convince both herself and others that she was perfectly fine. Her comedic timing provided moments of levity in a story that could otherwise have felt overwhelmingly heavy. She made the audience chuckle with her witty quips, but beneath her carefree attitude was a character masking her own fragility. The rapport between these performers was natural and easy, making the sisters' relationship feel incredibly authentic. The actresses brought both the playful sibling banter and intense arguments to life. A particularly powerful moment was when June exploded at Anna, accusing her of being directionless and careless with her life. The raw emotion in this scene was intense, and it was here that Roxanne shone, showcasing June’s deep frustration and inner turmoil. In contrast, Meg handled Anna’s vulnerability beautifully, showing us the tenderness she tried so hard to conceal.   Janelle Bailey, playing the sisters' mother, Dawn, offered a strong, sharp performance. Dawn's snide comments carried more weight than she likely realised, and Janelle captured that unintentional harshness perfectly. Some of Dawn's lines felt like a slap, and the audience could feel the heaviness in those moments. Her complicated relationship with her daughters – June, with whom she shares body image insecurities, and Anna, with whom she shares poor choices in men – was a dynamic that was both complex and expertly handled. Their interactions were charged with a blend of affection, frustration, and misunderstanding. The staging was superbly done, with the use split scenes to capture the sisters’ private worlds. One such scene stood out: June narrating her emotions during an intense swim training session, while Anna shared her inner thoughts while undergoing an STI check. The juxtaposition between the two was darkly humorous, revealing the different ways in which the sisters sought validation and control in their lives. Another memorable split scene came when the sisters, each in their own room, were engrossed in their phones—Anna watching adult videos while June obsessively consumed weight loss tips. Their overthinking spiralled simultaneously, leading to a synchronised sequence with June doing sit-ups and Anna making similar noises while... well, you know. This created an amusing yet pitiful moment that encapsulated their individual battles. Michalowski’s writing and Mikayla Hosking's direction deftly balanced these moments of sharp wit with devastatingly vulnerable realities. The play’s conclusion was deeply satisfying as the sisters came to understand one another in a way they hadn’t before. June’s realisation of her own illness and Anna’s determined resolution to help her little sister clear out her “brain junk” brought me a sense of relief as the sisters chose to heal together. "Young Bodies/Somebody’s" is a deeply resonant play that speaks to the universal struggles of womanhood, particularly for those navigating the transition from girlhood to adulthood. YeahNah Theatre made a strong impression with this production as their mainstage debut, bringing together talented local performers, an engaging script, and a strong creative team. The audience was left with the sentiment that although life may never be perfect, there is comfort in knowing that we are not alone in our struggles.

Presented by Sun and Wine Arts Company in their debut performance, "Playthings" by Scott McArdle provides a raw and intricate look into the minds of 13-year-olds navigating the complexities of the adult world around them. The familiar sights, sounds, and culture of small-town Australia are embedded in the story, immersing the audience in the world of Lucy and Arnold. The show opens with an unexpectedly morbid yet attention-grabbing question: “Have you ever seen a dead body?” as Lucy leads Arnold into the bush to witness a dying kangaroo. This unusual beginning sets the tone for the strange and unpredictable journey that follows. Dylan Komoff delivers a striking performance as Arnold, showcasing his jittery and anxious character with great skill. His portrayal on stage feels incredibly authentic, with purposeful nervous energy radiating in every interaction, particularly when paired with Rose Swanepoel's Lucy, who is the complete opposite—tough, unfiltered, and a bit unhinged. Lucy shows affection through sharp insults and carries an edgy, unpredictable attitude. Her delivery blends humour and severity, effectively portraying a teenager still trying to figure herself out while using her toughness to mask the vulnerability underneath. Dylan demonstrates innate storytelling abilities through his monologues, particularly when recounting the carrot spew incident and the ensuing fist fight. Through the tumultuous narration of Arnold's father's passing, Dylan masterfully captures the essence of his character as someone caught between the innocence of childhood and the harsh realities of adulthood. As the story progresses, Lucy’s bitterness toward her parents grows, hinting at deeper family issues that remain unverbalised. Her interactions with Arnold, however, retain childlike innocence and reckless adolescence. At times, they appear like typical kids simply trying to survive school, while at others, they are grappling with much darker, more traumatic realities—including custody battles and the emotional fallout of sexual assault. Arnold provides a comforting presence as he tries to distract his volatile friend from hurting herself or others, highlighting his unwavering loyalty and deep care for Lucy. Laura Renee portrayed Miss Richards, their Grade 9 teacher. As a fellow educator, I found her portrayal incredibly relatable. She embodies the burnt-out yet caring teacher archetype, with a palpable bitterness stemming from years of dealing with teenagers. Yet beneath that exterior lies an undeniable compassion for her students. Her interactions with Lucy and Arnold are genuine, layered with empathy, especially during her discussion about the English assignment, where Arnold draws inspiration from his own life for the horror story task. One of the most charming aspects of the show is the balance between Lucy and Arnold’s strange yet endearing friendship. Lucy clearly grapples with her emotional turmoil, her anger towards her parents simmering just beneath the surface, especially concerning her stepdad, Rhys (Ben Kasper). Rhys is hilariously goofy, trying his best to manage Lucy’s rebellious nature, which often leads to some of the play's funniest moments. The audience burst into laughter at nearly every line he delivered, particularly during his awkward attempts to bond with Lucy over Labyrinth . One of the most striking aspects of the show is how it tackles heavy themes without losing its light-hearted core. Even as the narrative takes darker turns, the script—supported by Hamish Chappell's direction and the actors' performances—maintains a sense of humour that keeps the story from becoming too heavy. Additionally, Hamish Chappell has ensured that each character feels fully fleshed out, from Lucy's wild unpredictability and Arnold's endearing awkwardness, to Rhys' goofy charm and Miss Richards' jaded, yet caring nature. The young lead actors deliver performances well beyond their years, bringing an impressive depth and emotional range to their roles. Overall, this production offers a heartfelt, sometimes dark, but often humorous exploration of growing up and grappling with adult problems before you're ready. Photos by Claire Yorston Now playing at Backdock Arts Tickets available here

Roar Academy's production of Newsies Jr. at the Redcliffe Entertainment Centre was filled with energy, heart, and an inspiring message of unity. Directed by Madeleine Johns, this junior version of the beloved film and Broadway musical had me hooked right from the first note of "Santa Fe" to the uplifting finale "Carrying the Banner." These young performers learned the entire show in a such short period and still delivered a highly professional and polished performance. Newsies  is based on the true story of the 1899 Newsboys' Strike in New York City. The newsboys, many of them orphans or homeless children, fought against powerful newspaper publishers like Joseph Pulitzer and William Randolph Hearst after they raised the price of newspapers, cutting into the boys' already meagre earnings. Led by the charismatic Jack Kelly, these boys banded together to strike, demanding fair treatment. Their successful strike became one of the first victories for child labour reform in the United States, a heartwarming reminder of the power of unity in the face of adversity. Miguel Gambley truly shone as Jack Kelly (understudy to Anthony Van Stam). His spot-on New York accent and charismatic stage presence really pulled the audience into the vibrant world of 1900s New York City. His rendition of "Santa Fe" was brief but oh-so-beautifully done, showcasing Miguel's impressive vocal and emotional range. Miguel’s performance was particularly impressive in the way he used his whole body to act, so you could really see his yearning for a better life, and it made his leadership of the strike even more compelling. Likewise, Zoe Hitchcock, playing Katherine Plumber (shared with Abbie Gommers and Tessa Parrish), demonstrated a natural talent for the stage and delivered an impressive performance during her solo of the challenging piece "Watch What Happens. This was my first time seeing Newsies  on stage (can you believe it?!) The cast, a hundred voices strong indeed, brought life to the score with powerful vocal harmonies, curtesy of Rhonda Davidson-Irwin and Josie Ross. This production had no dull spots, as every scene was packed with energy and purpose, a testament to the talented choreographers Meredith Johns and Kayla Pehi. The ensemble cast really brought the house down, with Leo Chick as the endearing Crutchie (shared with Miguel Gambley) and Toby Bailey as Davey (shared with Lucas Van Stam). Alongside Miguel, they led the high-energy and tight harmonies of the rousing group numbers. "Carrying the Banner" set the tone with its superb vocal blend and dynamic choreography. And the dancers really had their moment to shine during the tap break in “King of New York." A special shoutout to Tylah-Jay Foster for busting out the worm on stage—what a fun moment! Zahlee Brackstone as Medda Larkin (shared with Tylah-Jay Foster) was a joy to watch in "Just a Pretty Face." Her backup dancers did a fantastic job too; although a friendly little nudge to add some smiles would have really elevated that number, adding that extra polish to an already strong song. Nevertheless, Zahlee’s confidence and charm shone through, lighting up the whole scene! Jonny Sweeper’s portrayal of the villainous Mr. Pulitzer was haughty and menacing, providing the perfect contrast to the hopeful and determined newsies. The bond between Davey and his little brother Les, portrayed by Daya Sudhi (shared with Kirill Yaremchenko), was such a heartwarming aspect of the show. What truly stood out to me was how the cast captured the hardworking spirit of their characters; it’s clear that they embody those qualities in their own lives. I think Roar Academy made a brilliant decision to cast multiple actors in key roles; it really highlights the sheer amount of talent at their academy and keeps each performance fresh and exciting! One of my personal highlights was “Seize the Day,” where Davey leads the vocals, and the dancers take centre stage in a stunning display of choreography. The energy in the theatre was electric as the newsies prepared for their strike, making the end of Act 1 feel like a rallying cry for justice. By the time we reached "The World Will Know," I was certain that this would be my favourite junior production of the year. The cast's passion and determination, especially in that number, really stood out and definitely left a lasting impression! Jonathan Johns' industrial set design and Madeleine Johns' period costumes transported us into the Disney-fied world of the newsboys! Despite a few technical issues with microphones, the cast powered through and it was clear that they were giving it their all. One of the most powerful moments was the staging of "Once and For All." The cast truly came together here, creating a sense of urgency and purpose that could rally an audience just as Jack Kelly rallies the newsies.   This production of Newsies Jr. that had all the spirit, energy, and professionalism of a full-scale production. They not only entertained us but also reminded the audience of the power of unity and resilience. It’s a heartwarming tale about ordinary kids banding together to make their voices heard—fighting for a job that might not exist anymore, but sending a message that still resonates today just as much as it did in the past.

Second Star Youth Theatre has truly launched itself into the Brisbane arts scene with its heartfelt production of 13 JR. This musical, featuring a fantastic rock score by Tony Award-winning composer Jason Robert Brown, tells the story of Evan Goldman, a preteen uprooted from his bustling New York life after his parents’ divorce and plopped into the “Lamest Place in the World”. The show’s premise—navigating the chaos of adolescence, fitting in at a new school, while planning a Bar Mitzvah—was not only relatable for its young characters but thoroughly entertaining for all ages. Directed by Lauren McNamara and choreographed by Sonya Wyer, the production showcased a cast of 14 talented young performers, aged between 10 to 17, who embraced their roles with enormous enthusiasm. Despite the limited rehearsal time of just six days, the cast displayed remarkable stamina and commitment, delivering lines and songs with impressive confidence.   Each character was well portrayed, with Harry Zappert leading the charge as the protagonist and narrator Evan Goldman. Zappert perfectly embodied the desperate struggles and hilarity of a kid trying to navigate the treacherous waters of a new school. His performance was a rollercoaster of emotions, swinging effortlessly between vulnerability and determination. Zappert remained on stage for most of the show, exuding energy and purpose consistently, making it clear why he was chosen for the lead role. His vocal performance impressed, especially in "A Little More Homework," which brought emotional closure to Evan’s journey, and in the lightning-fast "All Hail the Brain." Ainslie Orcullo Ryan, in the role of Patrice, brought a sincere emotional depth to the character, particularly during her touching solo, "What It Means to Be a Friend," which left many audience members with a lump in their throats. She radiated a joyful spirit while also delivering moments of poignant sadness that were deeply moving. Her voice stood out as one of the strongest. The duet between Patrice and Evan in "Tell Her" showcased their chemistry and beautiful harmonies that felt like a warm hug for your ears. Paradox Sader brought a unique charm to the character of Archie, nailing the character's mix of anxiety, dark humour, kindness, and a touch of eccentricity with authenticity. He handled some of the show’s best comedic lines, and his solo “Get Me What I Need” was hilarious as he chased Evan across the stage in a wheelchair. Neve Isles fully embodied the role of Lucy, delivering powerhouse vocals in "Opportunity" and "It Can't Be True" while bringing just the right amount of attitude to make her presence felt, even when she wasn’t in the spotlight. Harry Morgan captured the layered complexity of a Brett: the jock, bully, and sensitive soul. His singing was notably impressive and memorable, especially considering his age. Ainsley Stewart portrayed Kendra as the quintessential air-headed cheerleader stereotype, rounding out the main group of characters with her fun presence. The comedy throughout the production was expertly crafted, with moments that had the audience erupting in laughter. Notably, the dynamic duo of Malcolm (Sacha Fleming) and Eddie (Ethan Bailey) delivered a sidesplitting rendition of "Bad Bad News," proving they are natural comedians who know exactly how to work a crowd.   One of the standout moments of the musical was the hilariously exaggerated scene during "Any Minute," where the group of preteens find themselves watching an R-rated horror film at the cinema. The cast’s over-the-top reactions brilliantly captured the absurdity and chaos of the situation and had the audience erupting with laughter. On that note, the script’s comedic elements were an unexpected surprise, offering plenty of laughs for all ages. It’s rare to come across a junior musical that I haven’t seen before and instantly loved, and even rarer to find one with a 'no-skip album', but 13 JR.  certainly fits the bill. Second Star Youth Theatre made a brilliant choice in staging this as their debut production, striking the perfect balance between humour and heart. The choreography throughout the show was lively and engaging, particularly during “Brand New You” and “All Hail the Brain.” The ensemble's energy and connection were palpable, and it was hard to believe that they had only known each other for a mere six days! The direction by Lauren McNamara, was spot on, allowing the youthful vigour of the performers to shine while maintaining the show's core themes of friendship and the struggle for acceptance. Speaking of acceptance, a particularly commendable aspect was the inclusive casting of Archie, a character with a disability, portrayed by the actual disabled actor Paradox Sader. This casting, coupled with the fully accessible venue, speaks volumes about the company’s commitment to representation and inclusivity. With only two performances, and the final one completely sold out, it’s clear that the team behind 13 JR.  crafted something truly special. I feel fortunate to have witnessed their inaugural production, powered by such a passionate and talented group of young artists. I left the theatre with a smile on my face, humming the many catchy tunes of the soundtrack, and with a renewed sense of hope for the future of community theatre in Brisbane. It's safe to say that these actors, especially Harry, other Harry, and Ainslie, are destined for even more stage success, and I eagerly await everyone's next endeavours. I’m also looking forward to seeing what Second Star Youth Theatre brings to the stage in 2025!

During the September school holidays, Stage School Australia debuted its first production in Brisbane at the Draney Theatre, taking the audience on a magical adventure over the rainbow with The Wizard of Oz . The 60-minute adaptation of this timeless classic captivated the hearts of young and the young at heart, for the ideal family-friendly theatre experience. From the moment the show opened in stunning black and white, it was clear that this production was going to be something special. The shift to vibrant colour carried the audience to the Land of Oz, where the stage design—featuring high quality scenery, props, lighting, and projections, as well as bubbles, haze, and sparks—all combined to create visual delight. While the performances were absolutely amazing all around, I must highlight Keira Whyte's take on Dorothy—also sharing the role with Eden Vaka. Whyte's voice was just beautiful, soaring through every song and really conveying Dorothy's sweet nature, youthful naivety, and growing determination. Oliver Macready brought the loveable Toto to life, evolving him into a memorable and distinct character without speaking a single word. With his plush costume and knack for comedy, Macready transcended being merely a sidekick to embody a unique personality that is rarely seen in stage adaptations of this musical. Scarlett Small shone as Glinda, literally, with a divine costume and wig that complemented her twinkling voice and radiant smile. It was a stark contrast to Jess Kennedy-Fletcher's Wicked Witch, who was simply electrifying! With her dramatic flair and commanding presence, she had the audience hanging on her every word, expertly portraying the menace and theatricality that make the character so iconic. Meanwhile, Tiger Robinson demonstrated remarkable versatility as he flitted between multiple roles like a pro, particularly shining as the goofy Gatekeeper and the powerful Wizard. The Munchkins' children's ensemble, in their beautifully designed costumes, brought an adorable element of whimsy that elicited an 'aww' from the audience. The teen ensemble's comical portrayal as Munchkins shuffling around on their knees beneath voluminous skirts and capes created the illusion of the tiny characters, which had the audience chuckling! The ensemble returned multiple times to portray roles: as the Ozians dressed in vibrant green for "Merry Old Land of Oz", as the jitterbugs, as the flying monkeys, and as the Winkies, marching in sync for the rousing rendition of “Ding Dong!”   It was impressive to see such a large cast maintain high energy, especially during the exuberant “Jitterbug.” This song, with its intricate harmonies and high-speed choreography, is no walk in the park. Having tackled this challenging number myself, I can attest to its complexity, making their execution all the more impressive to me! The musicianship was equally commendable, with Lucy Ross’s direction resulting in outstanding vocals from the entire cast. Scott Matthews, playing the Tin Man, sang with a beautifully soothing voice, while Charlie Kelly-Mandalis’s Cowardly Lion radiated a larger-than-life presence and a touch of underlying sweetness. Jake Stubbs, in the role of the Scarecrow, impressed with his physicality and strong vocal performance. I especially loved the short reprise of “Somewhere Over the Rainbow” sung by Adison Mackinder as Aunt Em. It was a touching moment that reminded us of the beauty of family and home amidst the magical chaos of Oz. The overall production values were exceptional. The costume department deserves applause for the sheer effort involved in managing such a diverse array of outfits, especially considering the hot and heavy nature of the garments. The performance also did justice to the magical effects—witches disappearing in a puff of smoke or melting on stage, the dramatic tornado scene, the dazzling reveal of the ruby slippers. The standout elements in the set were the hot air balloon and the iconic mechanical talking wizard head, adding more marvel to the production. This one-hour version of The Wizard of Oz  moves swiftly, ensuring every minute is used effectively. Under the direction of Robert Coates, the production shines due to its energetic performances and fantastic choreography, led by Jacqui Green and Dance Director Rebecca Djapovic. Once again, Keira Whyte and Eden Vaka deserve special mention for their impressive endurance and vocal consistency as they hardly left the stage. Their ability to maintain high energy and character authenticity is a testament to their dedication and talent.   From start to finish, the young cast impressed me, staying in character no matter what despite the inevitable mishaps, which they handled like pros. This elaborate production, featuring numerous costume changes, moving set pieces, and special effects, was pulled off beautifully, particularly considering the cast’s short holiday rehearsal period. It’s a testament to Brisbane’s growing pool of talented young performers, all of whom were clearly having a great time, creating an equally enjoyable experience for the audience! Stage School Australia's production of The Wizard of Oz  was a heartwarming celebration of courage, friendship, and the magic of home, reminding us all why we fell in love with this story in the first place. It’s evident that the cast and crew poured their hearts into this production, and their hard work paid off splendidly. Bravo to Stage School Australia for a delightful debut in Brisbane.

Cirque Bon Bon , brought to you by the fabulous folks at JACS Innovating Entertainment during the Brisbane Festival, burst onto the scene at the Southbank Piazza like a glitter bomb! This wasn't just a circus; it was a kaleidoscope of colour, sound, and gravity-defying talent. Clarke McFarlane, a.k.a. Mario Queen of the Circus, was the host of the performance, impressing the audience with his juggling routine performed to the tune of “Another One Bites the Dust.” His charisma and impeccable sense of humour brought laughter to everyone present. The night kicked off with an ethereal act set to a slow version of Blondie’s “Heart of Glass", as aerial artist Tim Kriegler soared above the stage, executing incredible tricks and oversplits like it was nothing. I will say that the audio experience during the entire show was phenomenal. Every act added to the musical layers, forming a rich tapestry of sounds that immersed us further into the show. In their floor routine to "Diamonds," Duo Synergy , Emma Goh and Scott Lazarevich, demonstrated innovative, mind-blowing tricks that were unlike anything I’d seen before, all executed with such careful precision that the audience was collectively gasping in disbelief. The pair’s connection and immense strength made every move mesmerising, leaving me spellbound as they pushed the boundaries of both physicality and possibility. The upbeat, sparkly number “Sunglasses” added a fun, energetic flair from the quartet of dancers. Meanwhile, the contortionist Shannen Michaela wowed the crowd with her routine to a sultry version of Britney Spears' “Toxic." Her grand finale? Shooting a balloon with her feet using a bow and arrow while balancing upside down on her hands. Yes, you read that right. I can’t even balance my coffee cup sometimes. Alexandre Lane’s Cyr wheel act looked like such fun! I was genuinely worried he might spin straight off the stage and into the laps of the audience members in the front row. The Cyr wheel even lit up like a lightsaber, turning his act into a real-life circus disco! We were swept away by the beauty of Thomas Worrell on the aerial hoop during a dramatic rendition of “Sweet Dreams." His graceful movements were poetry in motion. Duo Synergy returned for a breathtaking partner dance to “At Last,” fusing contemporary and ballet in a way that can only be described as a masterpiece of artistry and emotion. A comedic interlude came when Clarke literally climbed through the audience searching for a "volunteer" to ride on his shoulders while he rode a unicycle around the stage. His antics had everyone in stitches, especially when he picked another good sport from the audience who ended up in a banana food fight during “Under Pressure.” The fun didn’t stop there—he led the crowd in a karaoke short rendition of “Bohemian Rhapsody." The lucky participant was having a beaut of a time, while the rest of us cheered him on enthusiastically! And as the show neared its conclusion, the audience delivered a group performance of “We Are the Champions,” lighting up the piazza with our phones and uniting everyone in a moment of pure joy. And just when I thought it couldn’t get any better, Emma and Scott rolled back onto the stage on roller skates for “Ain’t No Sunshine,” performing tricks that made my jaw drop and a remarkable split-second costume change. Cirque Bon Bon: Le Retour was a visual and auditory feast that brought the house down. Kudos to the talented ensemble, including host Clarke McFarlane, circus artists Alexandre Lane, Tim Kriegler, Shannen Michaela, Emma Goh, Scott Lazarevich, and Thomas Worrell, along with dancers Holly Soper, Jayden Grogan, Kurtis Holstein, and Tiara (Locke) McCool. This production was a testament to creativity, artistry, and pure fun. If you weren't there, don't worry - I'm sure the circus train will be back in town before you know it!

A Whodunit with a Side of Jazz Hands Curtains serves up a theatrical cocktail of murder, comedy, and musical charm, where the suspect list is as long as the chorus line and the detective is more interested in jazz hands than handcuffs. Performed at IONA Performing Arts Centre, Savoyards Musical Comedy Society brings to life the behind-the-scenes chaos of a musical under threat. Set in the swinging '50s, Curtains invites the audience into the backstage world of a floundering musical as its cast and crew deal with a murder mystery—and with each other. Under the direction of Carolyn Latter, with musical director Jacob Cavanaugh weaving the melodies, and choreography by Ange Schoemaker and Melanie Southall, this production exudes a brassy and bright charm that perfectly captures the spirit of the era in which it is set.   The show opens with the sudden (and frankly, convenient) on-stage death of Jessica Cranshaw, played by Kim Kee, who is excellent as the leading, tuneless diva. And just like that, the curtain rises on the investigation by Lieutenant Frank Cioffi, a Boston detective more focused on resolving the production issues of the musical rather than the murder case at hand. David Harrison, as Lt. Frank Cioffi, absolutely charms the audience with his goofy enthusiasm and endearing awkwardness. His character is starstruck by the theatre world, and his crush on Niki Harris (Daisy Thwaites) brings a sweetness to the show right from the start. Their on-stage spark is natural and enjoyable, especially during their duet “A Tough Act to Follow.” Cioffi leads the charge as he sleuths their way through the cast and crew, trying to find the murderer before they strike again, while simultaneously rescuing the musical from going down in flames.   Speaking of Niki, Daisy Thwaites shines as the sweet (and a little ditzy) ingénue. She has a face card that seems to have stepped right out of a 1950s musical, and her voice is just as timeless. Thwaites effortlessly captures the delicate essence of Niki, infusing the character with a quirky charm and humour. Tristan Vanyai steals the spotlight as Christopher Belling (my personal favourite), the flamboyant director who gives new meaning to the phrase "the show must go on." With a blend of sass and wit, he serves up hilarious one-liners like "I will be blocking your investigation" with flair. Vanyai perfectly embodies the exaggerated, haughty nature of a British theatre director, ensuring that his scenes are guaranteed to bring laughter. Miranda Selwood as Carmen Bernstein is another star of the evening, embodying the no-nonsense producer with finesse. It’s clear she was made for this role, as she expertly blends Carmen’s tough exterior with a deep passion for the world of theatre in the rousing "Show People". With her powerful voice, Selwood proves to be a formidable presence on stage. The male ensemble backs her up with a tight, energetic performance of "It’s a Business." Jay Koloi deserves special mention for truly committing to the over-the-top theatrics that classic musical theatre demands. His commitment in the group numbers is palpable, and it’s a joy to watch someone so fully immersed in their ensemble track.   Natalie Lennox, portraying Georgia Hendricks, showcases the diverse talents required for this role. She infuses her character with a beautiful tenderness, especially evident in her solo, "Thinking of Him." Her voice is a highlight of the show, crystal-clear and full of emotion. Jordan Ross, portraying Aaron Fox, (Georgia's former romantic partner and current writing partner), delivers an emotionally stirring performance of "I Miss the Music." His soulful tenor voice resonates with emotion, captivating the audience even as he remains behind the piano initially. When Ross finally steps out into a single spotlight to finish the song centre stage, the moment is spine-tingling. His solo stands as one of the emotional highlights of the show. Bec Swain, as the energetic Bambi Bernet, dazzles with her dance number in “Kansasland.” Not only is her dancing divine, but it's her captivating face that truly grabbed my attention. Swain knows how to own the stage, making sure she’s always radiating confidence, even when the focus isn’t directly on her. Other notable performances include Kyle Fenwick as Johnny Harmon, the overworked and overlooked stage manager. His exasperation with the chaos around him is both funny and familiar to anyone who’s worked in theatre. And then there's Sam Hocking as Bobby Pepper, who is the epitome of a Broadway performer, bringing incredible energy, resilience, and even acrobatics to the role. Curtains isn’t just about the main characters, though. The ensemble is packed with strong personalities who add layers of humour and intrigue. During number “The Woman’s Dead,” their blasé reaction to their leading lady’s murder becomes an acting exercise as they pretend to care. Every ensemble member makes distinct character choices, and watching each of their facial expressions during group moments is a hoot.   The show’s choreography pays homage to the golden age of Broadway, with big skirts, jazz hands and kickline moments we all know and love. However, some numbers like "Thataway" fall short of that Broadway dazzle, with the energy dipping slightly when it’s needed most. But to be fair, it’s a physically demanding routine with Charleston moves that would wear out even the most seasoned performers.   Vocally, the cast shines across the board. The ensemble harmonies are rich, and the solo performances are deeply moving. The vocal harmonies in the paranoid group number “He Did It” or the impressive “In the Same Boat Completed” are pitch-perfect. Music Director Jacob Cavanough ensures the precise execution of every ensemble number. The orchestra deserves massive applause for their beautiful accompaniment, especially during the reprise of “Thinking of Him/I Miss the Music,” which featured a superbly lush and romantic tone. The costumes and wigs have been intricately designed to encapsulate the spirit of the era and enhance the timeless quality of the performance. In the final act "A Tough Act to Follow," the cast presents a mesmerising performance in exquisite pink gowns and dapper tailcoats. The choreography is beautiful, and the vocals even better. By the time the big reveal comes, it’s clear the audience is as clueless as the characters, thanks to misleading clues and a script that keeps everyone guessing. The audience is visibly engaged, reacting with laughter, gasps, and whispered "oooohs" at the dramatic moments. At one point, Harrison delivers a gem of a line, “Forget about the murders, I want to run this number!” summing up the wonderful absurdity of the show.   Curtains is more than just your average murder mystery; it’s a celebration of the chaos, drama, and joy of showbiz! With stellar performances across the board, the cast brings this Kander and Ebb musical to life with humour, heart, and a whole lot of razzle-dazzle. The show-within-a-show structure and its backstage antics will feel familiar to fans of SMASH , where the trials of staging a Broadway show are front and centre, but with a refreshing twist of a murder mystery. Like any great musical, it’s the moments of human connection—through song, dance, and laughter—that keep the audience hooked. Savoyards really hit the jackpot with this one, proving once again that musical theatre, much like solving a mystery, is never easy, but always worth the thrill. Now playing until 5th October 2024. Tickets available here *Apologies for any incorrect pronouns used in this review, as they were not specified in the program. I am more than happy to make any corrections if needed—please feel free to point them out to me. Thank you for your understanding!

A Floating Playground of Circus, Drag, and Magic Ah, The Art Boat —a show that transformed an ordinary evening into one of the most epic nights I’ve ever had at the Brisbane Festival! From the moment we set sail on this three-story boat, decked out with neon lights and giant inflatable tentacles, I knew this was going to be something special. I brought a friend, made a new one on board, and between the dancing, drinks, and dazzling performances, it became one of those rare nights where everything just clicked. Curated by the iconic Briefs Factory, this wasn’t just your average boat ride down the Brisbane River. This was a floating festival—a whirlwind of circus, burlesque, drag, and music, all wrapped up in an electric atmosphere that refused to let you sit still. With three time slots to choose from – 3pm, 5pm, and 7pm – and a variety of vibes to match your mood, from family-friendly matinees to glam date nights, there was something for everyone. I went for the Sunday sunset session, and the weather couldn’t have been better. The Brisbane River played its part perfectly, with the sky turning into a painting of gold and the city lights twinkling as we cruised from South Bank to Kangaroo Point and back. The main deck was the hub of action. There was a catwalk down the middle for the performers, a full bar of drinks and food, and plenty of seating. Inflatable neon tentacles (courtesy of Josh McIntosh) towered over the top deck. Cocktail in hand, we were living the high life, feeling fancy and fabulous. Oh, and let me just say—the fries? Absolutely delicious.   The entertainment kicked off the second we set sail, led by the incomparable Fez Fa’anana (aka Shivannah). As the MC, Fez was the glue that held everything together. Her sass, humour, and commanding stage presence made sure the audience was engaged from start to finish. Plus, she looked stunning in those sky-high heels, working the catwalk like no one else could. Brett Rosengreen captivated the audience with a mesmerising striptease routine. His fluid movements created an atmosphere charged with anticipation, as he skilfully revealed more of his enigmatic persona with each piece of clothing shed. The spectators were spellbound as Brett's dance unfolded, showcasing not only his toned physique prowess but also his ability to command attention. Then, Rowan Thomas impressed by performing acrobatic feats on the Cyr wheel WHILE simultaneously stripping. Captain Kidd (Mark Winmill) elevated the hula hoop routine to a whole new level. It’s not every day you see a man hula hoop with tinsel hanging off his… well you know. His cheeky humour and remarkable talent had the crowd roaring with laughter and awe in equal measure. This fusion of sensuality and athleticism in their acts made a lasting impression. And then there was Diesel Darling—a shining star. Her costumes were dripping with sparkles and gave off an incredible vintage burlesque charm, bringing a touch of pin-up fantasy to the night. Anyone on one of the many bridges we passed under definitely got an eyeful of the unexpected! Participation was highly encouraged, and by the end of the night, we were all part of the show—dancing, cheering, strutting down the catwalk and living in the moment. Before I knew it, I was in the middle of the Macarena and a conga line that zigzagged down the boat. It was impossible not to get caught up in the energy. The music never stopped, even when the performers took a break. The DJ kept spinning hit after hit, and I barely had time to catch my breath between shaking my groove thing, snapping pics, and cracking up.   In the end, The Art Boat was more than just a show—it was an experience. Floating down the river, surrounded by strangers who felt like friends by the end of the night, and witnessing these talented Brisbane performers made it one of the best nights I’ve had in ages. If you ever get the chance to hop aboard in future festivals, do not hesitate. It's a floating fiesta where everyone's invited to the party! The only bummer? I wish the fun didn't have to wrap up after a mere 90 minutes.

A Dark and Delicious Dive into Twisted Fairy Tales Forget everything you know about fairy tales—Shake & Stir Theatre Co. has torn up the rulebook and stitched together a wildly entertaining patchwork of magic, mayhem, and mischief. GRIMM  takes the tales you grew up with and warps them into an adults-only cabaret of dance, drag, comedy, and puppetry. Running at QPAC’s Cremorne Theatre as part of Brisbane Festival, this show is a no-holds-barred spectacle. If you’re expecting Disney princesses, think again. This pulls you into a world where Little Red Riding Hood drinks gin, Cinderella has no tongue, and the Big Bad Wolf would give Frank-N-Furter a run for his money. The show opens with a bang—literally—as the cast breaks into a hypnotic rendition of Ramalama (Bang Bang) . From that moment, the tone is set: this is going to be loud, lavish, and unapologetically weird. The set design, dubbed "The Witch's Tit," feels like a gothic fever dream, complete with a tilted piano, a staircase that leads nowhere, a creaky spinning wheel, and apples strewn everywhere (watch out—they might end up in your mouth). The entire set feels alive, each detail enhancing the eerie, haunted vibe.   We’re quickly introduced to the “rules” of fairy tales, but forget happily ever after—this is all about curses, betrayals, and blood. The cast of four—Aljin Abella, Nelle Lee, Brendan Maclean, and Angie Milliken—bring to life a menagerie of twisted characters, making it hard to believe there are only four actors on stage. The pace is fast and furious as they weave tales of Little Red, Cinderella, Rumpelstiltskin, Hansel and Gretel, Beauty and the Beast, the Big Bad Wolf, and more. It’s chaotic in the best possible way; like a mash-up of your favourite fairy tales reimagined by someone who watched too many horror films and SNL skits.   Nelle Lee, who portrays Little Red Riding Hood (as well as Beauty, Snow, and the fawn), deserves to be in the spotlight not only for her performance but also for her exceptional work in creating this adaptation. Her portrayal of the drunken, wisecracking Red is comedy gold, particularly when she’s high on shrooms and stumbling through the woods. Lee’s physical comedy and sharp timing are delightful, and her blood-red cloak is a thing of beauty. Angie Milliken portrays Cinderella, as well as the Witch, Red's mother, Sleeping Beauty, and other characters. As Cindy, Milliken exudes a sense of purity and vulnerability. In contrast, her portrayal of the witch who eats children is chilling, as she delves into the darkest aspects of these stories with a mature presence that commands attention. Brendan Maclean's performance as the Big Bad Wolf (along with Robber Bridegroom, Pied Piper, Rapunzel, and more) is unforgettable. Dripping with charisma, he is both predatory and fabulous, seductive and slinky. Maclean's interpretation of 'Hungry Eyes', delivered with a knowing wink to the audience, treads the delicate balance between threatening and mischievous.   Just when you think Maclean's Wolf might be the standout of the night, Aljin Abella swoops in as Rumpelstiltskin, and it's hard to put his performance into words. He blends creepy manipulation with rapid-fire dialogue, bleeped-out curses, and hysterical physical comedy. Yet it’s his portrayal of the Beast that truly showcases his versatility. Here, he embodies an awkward vulnerability and a desperate yearning for love, adding surprising emotional depth. His tender interaction with the delicate fawn puppet brings an unexpectedly poignant moment amidst the otherwise wild chaos. The emotional weight of this scene highlights the show's adept pacing, maintaining audience engagement without overwhelming them. It exemplifies how GRIMM manages to balances light and dark, humour and horror—after all, these are fairy tales that, at their core, were meant to teach us lessons about humanity. The costume and makeup design by Paul McCann deserves its own standing ovation. From Cinderella’s eerie, silent figure in a golden gown to the Wolf’s over-the-top brocade ensemble, each costume is a visual feast that reflects the extravagance and darkness of this twisted fairy tale world. The makeup is equally stunning, with bold, rouged features that transform the actors into the wildest versions of these classic characters. The use of blackouts, vibrant lighting, haze, and audio gore amps up the suspense, particularly in the moments where we hear the Wolf devouring his prey. The use of German language adds an authentic touch, paying homage to the original Grimm tales while keeping things fresh and playful. And the modern twists—Beauty with her LED mask, or EDM blasting during the chase scene—keep the show rooted in the present. At one point, the Beast scours the audience for a virgin's heart, only to be met with a knowing "good luck!" from a cheeky spectator. It’s moments like these that make GRIMM  feel like a dynamic experience that could go anywhere at any time.   GRIMM reaches its heart-pounding finale with a countdown to midnight, featuring pyro effects and fast-paced dialogue that wraps up the twisted tales. Moral messages are flung at the audience as the cast defiantly proclaims, “F*ck fate!” A dance mash-up of ' I Love It'  by Icona Pop and ' Hot To Go'  by Chappell Roan, is the perfect, unapologetically rebellious ending to a show that refuses to play by the rules. While GRIMM  primarily delves into reimagining classic fairytales, it’s impossible to ignore the modern undertones running through the production. Cinderella, initially naïve and obedient, takes a tumultuous journey through the woods that serves as a powerful allegory for the often messy path we must navigate to find our voice in a world that expects women to be silent. Likewise, Little Red demonstrates toughness, resilience, and intelligence in standing up against male aggression. The Beast's vulnerability, concealed behind his brutish exterior, is a stark reminder of the emotional suppression society often demands of men. There’s also a delightful queerness to the whole production, particularly with Brendan Maclean’s take on the Big Bad Wolf, which subverts the predatory male archetype into a wonderfully queer representation. What’s most impressive about GRIMM is its seamless blending of humour and horror. The innuendos and adult themes are cheeky, but never out of place. The audience is invited into the action—apples are fed, cast members make cheeky asides—but thankfully, no forced audience participation. This is ' Into the Woods' for adults—but bloodier and bawdier. If you missed it, too bad—it’s already sold out. But for those lucky enough to snag tickets, brace yourselves for a wickedly good time!

I was incredibly lucky to be invited to ten Brisbane Festival shows this year, and out of sheer curiosity, I selected the award-winning Volcano  as one of them. I walked in without knowing what to expect—and I’m so glad I did. Volcano  has easily become one of my favourite shows of the year. Directed, choreographed, and performed by the acclaimed Attic Projects’ Luke Murphy, this creative experience presents a unique fusion of theatre, dance, and multimedia. With its four-part structure, each episode unfolds like a chapter in a feverish dream, drawing the audience into a hypnotic exploration of memory, identity, and reality.   Setting the Scene Volcano  is presented like a serialised live miniseries, with four 45-minute episodes, each packed with surprises. A 25-minute interval between the final two episodes allows for both physical and mental recalibration. The performance unfolds within the confines of a dilapidated living room set, enclosed in glass like a specimen on display. The space is littered with relics of a bygone era—ancient radios, dusty televisions, and peeling wallpaper—setting the tone for a fragmented journey through memory. Episode 1: The Beginning The show commences with Luke Murphy and Ali Goldsmith, the sole performers, covered in chalk, dancing in slow, deliberate movements against a hauntingly intense soundscape. Though measured, their movements are laden with a disquieting intensity as we learn about the dystopian universe of The Amber Project. Our first hint at the thematic exploration of preservation of ancient memories in amber. A sudden shift into a high-energy disco scene showcases the pair’s impressive synchrony and vitality. Their sharp, precise movements create infectious energy that had me dancing in my seat. The retro atmosphere is enhanced by colourful lighting, including a ceiling of lighted tiles and scattered lamps, used creatively throughout the performance. As the episode transitions into a game show format, Goldsmith hilariously embodies a cheesy host of "Tell Me All About It," where participants must discuss a given topic under a time constraint. This segment introduces the concept of time capsules—fragments of past lives preserved. Tension arises when interference disrupts the radio seemingly controlling the two men, causing the actors to “glitch” in real time. Their movements synchronise with the strobe lighting and sounds, reminiscent of video game glitches, to add a surreal, unsettling edge. This intense the sensory experience could easily become overwhelming for sensitive audiences. Episode 2: The Story Deepens In the second episode, the narrative delves deeper into the enigmatic world of Volcano . A video segment reveals the inner workings of these “inhabited pods,” where The Amber Project has archived over 140 hours of nostalgic data—a mechanism for replaying preserved memories in virtual reality. The performers conduct vlogs, adding a personal touch and providing insights into their characters’ experiences. Goldsmith observes feeling trapped, like a tight shirt collar around the throat. When the radio crackles, the performers must adopt various personas and "perform" a complex tapestry of memories and experiences. This exploration feels like The Sims , where individuals are controlled by an unseen force, living repetitive, simulated lives. From scenes of a space detective adventure, a wedding speech, a rave party, a British talk show; the abrupt character shifts showcase the performers' exceptional adaptability. Goldsmith shines as the forced-laughter talk show host, which takes a disturbing turn when black ooze begins to drip from his ear—a recurring visual that signifies glitches in their deteriorating reality. This episode features captivating contemporary dance sequences where the performers’ reliance on each other is phenomenal. Their lifts and movements are executed with such grace that they seem like extensions of one another. A standout sequence involves Goldsmith dancing with his jacket to symbolise human connection and detachment. The narrative takes a Truman Show  turn as the characters discover hidden cameras and begin to question their reality. Goldsmith’s intense introspective vlog, followed by Murphy’s underwater diver mimicry as he scans the audience with a flashlight, heightens the sense of disorientation and paranoia. Episode 3: Confronting Reality By the third episode, the narrative begins to unravel as another video reveals to the audience that they are merely projected virtual versions of themselves, like being asleep and "dreaming" within their pods. Murphy’s character, now completely alone, delivers a weather report that transitions into a contemporary dance. This solo, set against a backdrop of a simulated hurricane and accompanied by an ethereal soundscape, evoke a sense of vulnerability and isolation. Murphy’s reverse dance sequence, where he flawlessly dances backwards as though rewinding time, is a visually stunning and embodies the theme of attempting to reclaim something lost—moving forward while stuck in the past. The soundscape, like a deafening jet airplane, intensifies the scene. The episode also features an unhinged magician and a William Shatner impression of "Rocketman," providing levity amidst the chaos. One of the most poignant moments of the entire show occurs during Murphy's solo dance to "Sing Sing Sing." It is both chaotic and emotional, a whirlwind of energy that showcases his character seemingly losing grip on his sanity. His anguish and frustration are palpable as he attempts this swing number alone, culminating in a gripping emotional climax as he desperately attempts to tear the set apart in search of an escape. I genuinely teared up as I watched his descent into madness expressed so viscerally. Episode 4: The Finale Following the interval, the set had transformed as Goldsmith returns for the final episode. With the room now tidied, the audience is treated to a flashback, capturing the awkwardness of the characters’ first meeting. We then fast-forward two years into the present, where the truth about their existence comes to light—they have willingly entered this constructed simulation, under the watchful surveillance of the Big Brother (I mean the Amber Project.) The finale is a spectacular display of dance, prop work, and emotional intensity as they use every inch of the space. The choreography navigates through iconic moments from pop culture—Marilyn Monroe’s famous skirt scene, Superman’s cape, E.T. on the bicycle, and the Creation of Adam painting to name a few. In this final montage, the characters seem trapped in a never-ending cycle of performance, unable to break free from their simulated reality even as they literally tear the set apart. As the world collapses around the characters, we are left hanging, wondering whether they ever truly escaped or if they were doomed to perform forever. Murphy and Goldsmith's exhaustion was palpable, as they were drenched in sweat by the end. Overall Experience Volcano  is a testament to the power of live performance, blending theatre, dance, and multimedia into a thought-provoking experience. The immersive sound design, dynamic lighting, detailed set design, and exceptional artistry contribute to the unforgettable nature of the performance. Murphy and Goldsmith’s performances are both technically proficient and emotionally resonant, grounding the experimental nature of the show with their human presence. After the performance, the audience buzzed with conversation. I overheard discussions about the parallels to our own digital lives, the endless performances we give online, and the horror of being in stuck in a dream that you cannot wake up from, like Inception . Despite its length, Volcano  never loses its grip on the audience. The show’s exploration of the human psyche is executed with a level of artistry and sophistication that justifies its acclaim. It is a performance that will stay with me for a long time to come.

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