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In the intimate setting of PIP Theatre, Passion Productions presents "35MM: A Musical Exhibition" directed by Harrison Allen. This song-cycle blends live music with visual artistry, with each of its sixteen standalone songs inspired by a photograph captured by artist Matthew Murphy. This innovative concept offers a fresh perspective from traditional theatre where we are accustomed to a linear narrative structure. Here we are treated to a different story and set of characters within each song. Once I adjust to this premise, I was rewarded with a compelling journey through various storylines, akin to a collection of short stories rather than a novel. The adaptable staging at PIP Theatre creates an immersive experience with its runway-style stage and some cabaret seating to engage the audience in the unfolding narratives. The walls adorned with strings of photographs add a gallery-like ambiance to the transformed theatre; while impeccable sound and lighting design further elevate the production's atmospheric quality. Each musical performance is complemented by a backdrop projection of the corresponding photograph. Additional contextual cues such as costumes, props, and facial expressions assist in conveying the mood and themes of each number. The vocal performances are exceptional, showcasing impressive range and versatility across the talented cast of seven. Despite minor diction issues, the singers deliver incredibly compelling solo moments and passionate group numbers that contribute to the diverse tapestry of stories reflecting themes of love, loss, humour, and introspection. Mabelle Maynard's rendition of "Crazy Town" captivates with percussive dynamism and raw energy, enhanced by intriguing visuals of random body parts that emphasise the song's surreal and chaotic nature. Maynard's performance sets a striking opening tone for the production, drawing the audience into a world where emotions run unpredictable and unrestrained. Aurélie Roque delivers a standout performance in the poignant "Leave Luanne," masterfully spinning the tale of a faithful yet scorned wife. Roque commands the stage with unwavering presence as the storyteller, surrounded by a captivated ensemble and Samantha Sherrin as Luanne. In contrast, Roque’s rendition of "The Party Goes With You" captivates with its beautiful slow ballad style, unfolding against the backdrop of a contemporary duo dance. Roque's vocal delivery infuses the stage with heartfelt emotion, drawing the audience into a poignant exploration of life's transient moments and connections. Rae Rose delivers a vocally demanding performance in "On Monday," offering a nuanced portrayal of intricate relationship dynamics through emotive delivery. Connor Clarke engages the audience in "Caralee," offering humorous storytelling that invites the audience into the character's world. The chilling closeup photograph of a doll - an interpretation of the toddler named Caralee - emphasises the character's struggles and frustrations with taking care of a child with no boundaries. “Good Lady” emerges as a formidable anthem, highlighting Tomer Dimanstein's commanding presence as a captivating protagonist. Accompanied by candlelight, "Mama Let Me In" is an emotional acapella group number that serves as a testament to vocal director Nykita O'Keeffe's artistry with stunning harmonies and precise dynamics. On the other hand, the upbeat and rebellious group song of “Why Must We Tell Them Why?” challenges conventional notions of art and purpose, with the live painting on stage adding a clever visual element. "Hemming and Hawing" explores the complexities of a crumbling marriage through a duet between Dimanstein and Rose. The actors convey anguish and emotional turmoil with compelling authenticity, allowing the audience to empathise with the characters' struggles and indecision. "The Seraph” evokes heartfelt and vulnerable emotion with spiritual undertones, complemented by Bethanie Walsh's guitar accompaniment. I highly enjoyed the remainder of the songs too, but "The Ballad of Sara Berry" is a standout group number that concludes the production with infectious passion. Roque's commanding performance as Sara Berry, a determined high school cheerleader, highlights themes of ambition and rivalry with rock-infused intensity. The song's narrative unfolds with electrifying enthusiasm, showcasing the cast's collective talent and delivering a thrilling finale. "35MM: A Musical Exhibition" is a bold and thought-provoking exploration of storytelling through music and photography. With exceptional performances, this musical exhibition dares to push boundaries, inviting audiences to appreciate the artistry of capturing profound moments in time. Now playing at PIP Theatre, Milton until 4th May Ticket Link

The opening performance of "Blood Brothers" by Ghostlight Theatre featured a talented local cast that navigated last-minute challenges with commendable resilience. For newcomers to this musical, “Blood Brothers" by Willy Russell delves into the lives of Mickey and Edward - twins separated at birth in 1950s Liverpool - whose contrasting upbringings lead to divergent paths in adulthood. The narrative adeptly explores themes of inequality, superstition, and violence across childhood, adolescence, and into adulthood. While the music, reflecting the 1980s with synthesisers and distinct stylistic choices, was occasionally marred by choppy backing tracks, this did not significantly detract from the overall impact. The musical navigates themes of coming of age, with songs like “Kids’ Game” depicting childhood camaraderie and evolving into more mature compositions like “That Guy,” a delightful duet between the twins that highlights their contrasting personalities. As the brothers mature, Mickey grapples with becoming a husband and father amidst unemployment, mental struggles, and criminal activities, while Edward confronts his feelings for his best friend’s wife, Linda. The standout performances were delivered by the three young leads: Benjamin Oxley as Mickey, Alexander Sakellarakis as Eddie, and Row Blackshaw as Linda. Oxley portrayed Mickey's progression from childhood leisure to adulthood turmoil with stunning authenticity, capturing the character's increasing stress and emotional intensity with impressive acting skills. His opening monologue, ‘I’m nearly eight’, perfectly captured the essence of a seven-year-old, despite the actor being a young adult. His lower-class accent and beautiful singing voice were especially notable, particularly in the touching rendition of “Long Sunday Afternoon.” Alexander Sakellarakis excelled as Eddie, delivering memorable one-liners in an accurate high-class accent. Sakellarakis demonstrated a natural ability to embody his character throughout the show, staying fully immersed with consistent facial expressions and body language. His steady, bright vocals were showcased in his incredible ballad “I’m Not Saying a Word." Row Blackshaw brought depth to Linda's character with charm, navigating her complex relationships with the twins with emotional subtlety. Claire Yorston's portrayal of Mrs. Lyons showcased a sweet singing voice and divine costumes. She effectively conveyed Mrs. Lyons' descent into paranoia and madness in this challenging role; although I expected a stronger presence and cruelty from the character in Act 2. Hannah Davies, as Mrs. Johnstone, demonstrated a lovely singing voice, convincing accent, and natural acting abilities, notably highlighted in her poignant rendition of “On Easy Terms.” Kristy Smith-Wood approached the manic role of Sammy with conviction and strength. Elissa Holswich, playing the Narrator, possessed a strong singing voice, although microphone issues caused some lines to be missed. Nevertheless, Holswich's introspective performance of “The Devil’s Got Your Number” masterfully depicted the internal conflict and escalating superstition paranoia of Mrs. Lyons. Additionally, the character could have benefited from greater engagement, given the narrator's constant presence on stage. The technical aspects were notable, with effective use of fog, blood-red lighting, a set design mirroring the ‘twins' theme, and impactful stage blocking that enhanced intense moments. Theatre 102 provided an intimate setting, featuring a raised stage and cabaret-style seating, complete with a nostalgic ambiance from pre-show and intermission music of the era. Despite some amateur execution, the production's strength lies in its narrative exploration and committed performances, particularly by the two male leads. "Blood Brothers" is scheduled to run until May 4th, 2024. Note: Contains coarse language and depictions of violence and death.

Villanova Players Theatre transported us on a hilarious journey through seven magical years at a certain school of wizardry, where magical kids are sorted into groups - a bit like horoscopes for wizards. At this school you can find  'the braves', 'the smarts', 'the snakes', and 'everyone else with no discernible personality’. We meet Wayne, an Aussie bloke from Beenleigh, who finds himself sorted into the Puffs house in the same year that a certain "boy who lived" is sorted into the Braves. This show is a must-see for Harry Potter fans as it's packed with references that only faithful fans would fully appreciate. As a millennial fangirl of the Wizarding World I found myself in stitches for most of the show, often shedding tears of laughter; as if it were one big inside joke between the cast and the audience. The show delves into the untold tales of students trying to survive amidst the backdrop of the school's more renowned heroes. Wayne forges bonds with a quirky bunch of misfits in the Puffs house. Among them, the charismatic Cedric portrayed wonderfully by Sam Connolly, who also delivers a surprising turn as Voldemort in Act 2. Jackson Paul’s portrayal of Wayne from age 11 to 17 is a delightful journey, capturing the character's struggles with learning magic, adolescent angst, and his quest to forge lasting friendships. His comedic timing and natural acting ability imbue Wayne with authenticity, complemented well by Jeremy Hales' portrayal of the nerdy and nervous Oliver. The cast's ability to ad-lib lines added an extra layer of humour, showcasing their quick wit and comedic talent. Their physicality, prop work, and skill in embodying multiple characters with distinct accents and traits were truly impressive. While each member shone in their respective roles, certain actors stood out to me. Dominic Bradley, as J. Finch/Zach Smith (and many small character appearances), had the audience in stitches with every line. His seamless transformation from timid and sweet Justin Finch to the rough-and-ready Zach Smith was pure comedic gold, highlighting his remarkable versatility with character work. These quick-change transformations never failed to delight. Even "Harry Potter" disappearing for a mere five seconds and returning as Susan Bones sans wig left us all cracking up. Hannah Martin's portrayal of Susan Bones/Harry Potter was particularly impressive, with sassy Harry's chaotic appearances eliciting much laughter. Priya Shah, as the narrator, engaged with the audience effortlessly, adding to the show's intimate atmosphere by connecting with the audience to make me feel as if I were listening to a friend. Despite the lack of microphones, the cast did a commendable job projecting their voices to ensure we caught all the hilarious dialogue. A friendly reminder to some actors: facing the front or corners instead of the sides helps with audibility, ensuring we don't miss a single joke. While not every joke landed, which may be attributed to the script or direction, the show's parody nature invites you to cringe and laugh at its witty absurdity. One drawback was the show's length, which stretched beyond comfort. The tongue-in-cheek joke about a five-hour journey through seven years at Hogwarts wasn't far off the mark. Despite this, my smile lasted for the entire play!

Hayley is the current Artistic Director at Phoenix Ensemble, Beenleigh, QLD. Thank you for taking the time to speak with us. Can you share a bit about your background and journey into the world of theatre? Hayley: I have been immersed in the performing arts for as long as I can remember. I began dance training at the age of 3, and from there went on to work as a choreographer before moving to Australia in 2018. Since living in Brisbane, I have pretty much thrown myself head first into musical theatre without looking back! My directorial credits in Brisbane include The Wedding Singer (BTG, 2023), Urinetown: The Musical (Phoenix Ensemble, 2023), Legally Blonde: The Musical (STG, 2022), as well as working as Assistant Director on It Shoulda Been You (Phoenix Ensemble, 2022), Mamma Mia! (QMT, 2021) and Beauty and the Beast (QMT, 2021). I have also had the honour of holding the position of Artistic Director at Phoenix Ensemble since August of 2023. Did you undergo any formal or informal training in the performing arts? Hayley: When I realised that I had a passion for direction in the performing arts, I started putting myself forward for Assistant Directing opportunities to gain experience. I’m very lucky to have had the chance to shadow and learn from some exceptional talent in our South East Queensland community who have been integral in my growth as a creative. I have also completed workshops and masterclasses to further develop my skills, including the Directing Essentials course at NIDA. One thing about directing, and I’d imagine every other creative role feels similarly, is you learn SO much your first time around in the director’s chair. So all that being said, you can be as prepared and ready as humanly possible, but you will always be met with situations or challenges you may not have been expecting. There is nothing that is as beneficial as learning on the job. How do you go about selecting projects to work on? Hayley: I have spent the last few years directing quite a range of projects which has given me the chance to try a good mix of styles and get a feel for what I’m most drawn to. I believe it’s important to have a passion and excitement behind each production you take on, and that it then really translates through the work showcased on stage more than people realise. So, I always try to select projects that have a theme or a story that speaks to me and makes me excited to share my version of that show with audiences. I can tell based on the list of productions you mentioned; they all sound like highly entertaining and appealing projects! As Artistic Director, what are the key responsibilities and challenges you face in your role? Hayley: As the current Artistic Director at Phoenix Ensemble, I wear a producer hat when it comes to selecting and curating our season of shows, which comes with its own challenges. Selecting a lineup of shows for season is kind of an art form in itself. I aim to provide a mix of different styles, so that Phoenix Ensemble has a little something for every type of performer each year. I would say one of the challenging parts, per say, of directing is having a total understanding of the text you are working with. A good director will have such an in-depth, dissected understanding of the story, as well as each character. As an actor in a show, you often do a deep dive into your own character and all of the nuances that come along with that, but when you’re directing, you essentially do that work for every character in the show, if that makes sense. However, drawing that back to your previous question, that doesn't necessarily feel as much like a challenge if you have a love and passion for the story you are directing. I'm sure fellow directors will agree wholeheartedly. Plus, I have to say that I admire your choices for Phoenix Ensemble's lineup for 2024: Footloose, Carrie, Company, and Twisted. How do you approach working with creative team members to bring a production like these to life? Hayley: A big part of being a director is collaborating with other members on your team. I have found that communicating my vision and ideas for the show as early as possible is so important, as this ensures everyone on the team feels like we are always working towards a common goal. Finding people who have the same passion and love for a show as I do makes this process a breeze. Can you share any strategies or techniques you use to maintain a positive and productive rehearsal environment? Hayley: This is SO important to me. It can sometimes be tricky to find a balance between being productive and having fun, especially when it comes to community theatre. I think that the greatest part about working in community theatre is you know that every person involved is there because they love it. When I am in the rehearsal room directing a community theatre show, it isn’t anybody’s day job, and everyone is there as a volunteer because they want to be. It makes the project so special. Everyone is there working towards a common goal, and I think that is what makes it ‘fun’ while staying focused and working. I’m a director who’s big on collaboration, which I think adds to my positive rehearsal space. I find that actors feel so much more ownership and pride in their performance if they feel like they have contributed their thoughts, opinions and ideas to bringing that character to life. Can you share any upcoming projects or productions you're excited about, and what audiences can expect from them? Hayley: I don’t have any productions that I am directing at the moment, so I’m personally in the planning and brainstorming stage right now! To be honest, I’m enjoying this “calm before the storm” moment, and I’m soaking it in as much as I can before I get busy again. Phoenix definitely keeps my hands full, though! We are deep into our rehearsals for Carrie: The Musical which runs for the month of May, and we’ve just completed our auditions for Company! Head to www.phoenixensemble.com.au, or our social media pages to keep up to date on everything going on at the Tin Shed (honestly, it’s even hard for me to keep up some days!) I am looking forward to being an audience member for those performances, both of which are musicals I have never seen before. Do you have any advice for individuals aspiring to pursue a career on the stage or behind the scenes? Hayley: Get involved in your local community theatre! I am a HUGE advocate for the performing arts from a young age, but it is never too late to get involved. I know there are lots of places online to find audition notices (including the Stage Buzz Brisbane website!) or find which theatre is closest to you. Reach out to those companies! Since community theatre companies are all volunteer-based, they are always looking for extra hands. Too true. Since publishing this website, I have discovered just how many community theatre companies there are in South-East QLD. What do you love most about working in the theatre industry, and what keeps you motivated and passionate about your role? Hayley: I love the people that I get to interact with. Theatre people are some of the most loving, supportive people and I am very lucky to surround myself with a group of friends who share the passions that I have.  I’m motivated by my passion for the theatre industry, I guess? At Phoenix Ensemble, I am motivated by continuing to produce high quality theatre for community theatre performers to be involved with and grow as artists. I love the fact that we are able to offer actors in the community an opportunity to learn, grow and tell stories in our space that THEY love. Watching cast members form friendships and loving the work they are doing is always going to be such motivation for me, and that goes for producing as well as directing. I'm getting misty-eyed here! Lastly, can you share any memorable or inspiring moments from your career that have reaffirmed your love for theatre and the arts? Phoenix Ensemble is also the home of Phoenix Arts Academy, a youth program to learn singing, dancing and acting for students from Prep to Year 12. Observing the students' love for theatre in classes is such a joy and inspires me everyday, and consistently reminds me how important performing arts education is for our younger generations. The highlight of my directing career to date was last year when I had the opportunity to direct Urinetown: The Musical. While this is a lesser known show, it is easily one of my favourites and is a story that I believe is so important, powerful and relevant to our society today. I walked into every rehearsal with so much fiery passion and working on that project with a group of remarkable humans who shared that same passion for the story for 12 weeks was indescribable. Thank you so much for your time and wonderful responses Hayley. (Carrie: The Musical runs from 3rd-25th May, 2024 at the Phoenix Ensemble Theatre at Beenleigh Showgrounds.)

Can you share a bit about your background and journey into the world of theatre? Tony: I discovered theatre through film. I grew up watching a lot of silent movies with comedians like Charlie Chaplin who had their beginnings in music hall and vaudeville. This led to a love for musical theatre, and a fascination with the relationship between Broadway and Hollywood, particularly during the golden age where most movie musicals were adapted from the New York stage. Eventually, I became inspired by the magic of the theatre. I was lucky that my Grandmother noticed this interest and during my teenage years, I was taken to everything; plays, ballet, opera, symphony. It was the ultimate education. From here, I was very fortunate to attend a local school of excellence program in the performing arts. They are a little more commonplace now, but it was an enriching experience to spend half my day in senior school studying dance, music and drama! This gave me an excellent grounding where I have strived to build my life around this singular passion for theatre, both as an actor and director. What kind of informal or formal training did you undergo? How has this shaped your approach to your work? Tony: I studied Drama at QUT and later completed postgraduate studies in guidance and counselling. On reflection, I could not have asked for a better place to complete my undergraduate studies. The Drama degree had such variety, from studies in acting to the entrepreneurial aspects of the creative industries. I experienced having my thinking challenged by academics who opened up a world of possibilities about what performance could look like. At the time, I found this disruptive approach quite daunting but ultimately it strengthened my perspective. My postgraduate studies taught me about the importance of building relationships and communication within the arts. I learnt never to underestimate the impact of supporting and empowering other creatives. Couldn't agree more, because it is precisely what Stage Buzz is all about too! Do you have a particularly memorable project from your theatre career so far? Tony: Soon after I first graduated, I was invited to work as assistant director for the late, great Bille Brown, AM. From time to time, we are all touched by little pieces of magic. Working with Bille brought an incredible new focus into my creative life. His discipline and sense of structure was inspirational. Learning from Bille was an unrivalled masterclass. He exposed me to a directing style that struck the balance between explicit instruction and instilling a sense of discovery in his actors. Sounds like a great opportunity for a post-graduate! Speaking of directing, can you share any strategies or techniques you use to maintain a positive and productive rehearsal environment? Tony: I always promote the importance of effective planning throughout the production process. I believe it is essential to utilise the precious commodity of time within rehearsals. In conjunction with the entire creative team, I strive to develop a rehearsal and production schedule that compartmentalises the show to ensure a variety of activities are occurring, and every cast member is active within every rehearsal session. Importantly, this places the work at the heart of the entire experience. As well, I encourage all company members to engage fully as viewers, when they are not performing, during the initial runs. I consider this an important shared experience amongst the entire cast. This effective planning, coupled with a motivated and energised cast, fosters a positive and rewarding creative experience. As the late, great Broadway artist Ann Reinking once said, “the joy is in the work”. Can you share any upcoming projects or productions you’re excited about, and what we can expect from them? Tony: I am very excited to have launched my own business. I am an advocate for the transformative power of the arts. I recognise and value its ability to elevate all aspects of life. With this vision in mind, I have created ‘The Ovation Program’. This short course is an 8-week experience that offers a safe, inclusive, and productive environment, encouraging risk-taking and skill development. It has been tailored for those who are seeking to refine their craft, as well as those who are intrigued by the idea of stepping into a creative space. As well as learning about character building and voice and movement, the course also serves as a platform to finesse soft skills such as communication, collaboration, and self-motivation. I have structured the program with a clear beginning, middle and end with supportive instruction, guidance and feedback every step of the way. The course concludes with the presentation of short scripted scene learnt throughout the sessions. (Register to participate in The Ovation Program: www.tonycampbell.net.au or email: ovation@tonycampbell.net.au) Congratulations on your business launch! Without giving too much away from the program, what advice do you have for individuals aspiring to pursue a career on the stage or behind the scenes? Tony: I think Dame Julie Andrews said it best in her recent memoir, “Home Work”: “You just don’t know in life. Life knocks you about and pushes you over boundaries. But be ready. Do your homework; that’s all I can say”. I think there’s something profound in this view. Never underestimate the power of real preparation. What do you love most about working in the theatre industry, and what keeps you motivated and passionate about your role? Tony: In my opinion, it all comes down to sharing meaningful stories. We are all story-tellers who can take advantage of the opportunity to use the existing resources of local theatre or student theatre to amplify and enrich our community. I am also inspired by our rich history of artists, academics, technicians and musicians who make up the creative tapestry of our industry. But most importantly, it’s the unsung heroes, those who maintain our theatre spaces from front of house to backstage. These pieces of infrastructure allow us to practice our craft.  It is their quiet love for this artform that keeps us rolling along. You're so right. Lastly, can you share any memorable or inspiring moments that have reaffirmed your love for theatre and the arts? Tony: I recently attended the closing night of the Broadway musical, “Some Like It Hot” at the Shubert Theatre in New York City. YouTube has taught us that Broadway closing nights are very sacred events where audience members are particularly excited. There are many beautiful ‘fourth wall breaking’ moments where the actors have no choice but to quietly acknowledge the audience in order to keep the show moving. It is the ultimate shared experience of celebrating artistry. What I didn’t anticipate was the number of Broadway luminaries in attendance! Songwriters Marc Shaiman and Scott Wittman, Director Casey Nicholaw along with Aaron Tveit and Patti LuPone. Sitting metres away from these legends was like watching two shows at once. However, what I found very striking was their humble, everyday nature as they applauded their colleagues and engaged in enthusiastic interval discussion about the show. They were just like anyone else I know having an incredible night at the theatre. It made me realise we are so similarly connected by this artform, with a deep love for the work and the craft.

I had the pleasure of attending a jam-packed performance of “Mel Brook’s Young Frankenstein” by Millennial Productions on April 6th at the Ron Hurley Theatre. This hilarious stage adaptation of Mel Brooks' classic comedy film follows the story of neurosurgeon Dr. Frederick Frankenstein (Victor's grandson). Despite his initial reluctance to embrace his family's mad scientist legacy, Frederick embarks on a madcap journey to bring a corpse to life, accompanied by Igor, his faithful hunchbacked sidekick; Inga, his lovely lab assistant; and Frau Blücher, the mysterious housekeeper. As a first-timer at a Millennial Productions show, I quickly understood why they're renowned for high-class entertainment. From the moment the curtain rose, the ensemble's energy was electric! The cast exuded the confidence of seasoned professionals, with the ensemble effortlessly juggling multiple roles and infusing the stage (and the stairs) with irresistible enthusiasm. Director Taylor Andrews has crafted a lively and impeccably rehearsed production that felt both fresh and uninhibited. Andrews's vision was apparent in every detail, from audience interaction to immersive storytelling techniques. The set design ingeniously maximised the small stage, creating a close-up environment, enhanced by high-quality tech elements. Zach Price as Dr. Frederick Frankenstein delivered a standout performance. He tackled rapid-fire lyrics with the precision of a neurosurgeon and convincingly delivered Frederick's descent into madness with hilarious flair. Sam Sherrin as Elizabeth showcased a crystal-clear voice and comedic prowess in her number "Please Don't Touch Me,” setting the show’s tone from the get-go. Damien Quick as Igor and Emily Rohweder as Frau Blücher stole every scene they were in. Igor had the audience in stitches, and Rohweder's Frau Blücher had an impeccable transformation into the eccentric but loveable character. Amelie Clarke's entrance as Inga was iconic, featuring outstanding vocals and yodeling skills to boot, she had the audience cackling during "Roll in the Hay." Plus, the accent work was spot-on! Now, let's talk about Dale Shearman as The Monster. This guy was a showstopper! With phenomenal makeup and a talent for physical comedy, he brought The Monster to life (pun intended) with hilarious facial expressions, sound effects, and yes, even dancing! The ensemble was a force to be reckoned with, shining in numbers like "Hang the Doctor" and "Transylvania Mania," using every inch of the stage to their advantage. And don't get me started on "Puttin' on the Ritz"—you just have to see it! Jaime O'Donoghue's choreography was top-notch, perfectly complementing the physical comedy and lively performances of the cast. If you're looking for a laugh-out-loud experience and monstrously good entertainment, do yourself a favour and catch this show before it wraps up on April 13th at the Ron Hurley Theatre. Content Warning: Hold on to your miniature top hats, because this production features everything from strobe lighting to adult-oriented humour, cheeky sexual references, comic violence, and just a dash of mild coarse language to keep things spicy.

Date of Attendance: 6th April 2024 Catch Me If You Can - The Musical, presented by the Beenleigh Theatre Group was an absolute treat from start to finish, showcasing remarkable local talent, engaging storytelling, and vibrant energy that transported the audience to the glamorous world of the 1960s. Based on the true story of Frank Abagnale Jr., this musical follows the journey of a young con artist who successfully poses as an airline pilot, doctor, and lawyer while eluding the FBI. The musical is a high-energy tale of deception, charm, and ultimately, redemption. One of the remarkable aspects of this production is its ability to stand alone as a joyous theatrical experience, regardless of prior knowledge of the true events or having seen the acclaimed film adaptation. Right from the moment of arrival, the immersive experience began with airport-style announcements signalling the imminent start of the show. Once inside, the cast, already in character, interacted with the audience, including stewardesses performing a safety demonstration. The costumes were a standout feature, capturing the essence of the era beautifully. The set and props, extending to the painted floor design, complemented the performances well, while the authentic New York accents added an extra layer of immersion. This attention to detail set a lively and engaging tone from the outset. The soundtrack, composed by the talent behind Hairspray, delighted me with highly catchy tunes that captured the spirit of the decade. The opening number, "Live in Living Colour," set the stage ablaze with energy, showcasing the full talent of the cast. The dancers left a lasting impression too, especially in the mesmerising "Pinstripes”, the upbeat "Someone Else's Skin”, the joyous “Family Tree”, and my personal favourite “Jet Set,” which showcased the stewardesses' infectious energy and Barbie-style grins. James Bird's portrayal of Frank Abagnale Jr was stellar. With powerful vocals, undeniable charm, and a professional-worthy stage presence, he embodied the youthful yet cunning persona of Frank Jr convincingly. Samantha O'Hare, as Paula Abagnale, brought her character to life with a captivating French accent and a perfect jazzy voice, showcased beautifully in her song "Don't Be a Stranger." Jeremy Hendrick's portrayal of Frank Sr was remarkably natural, complete with the perfect accent and attitude. The standout for me was Carl Hanratty, the FBI agent played by Michael Mills, who offered a fresh interpretation of the role with likeable charm. The supporting characters, including the comedic FBI agents and Brenda's adorable parents, added charm to the production in their roles. The direction by Nicholas Joy was exemplary, ensuring that the audience's attention was captivated throughout both acts. Transitions between scenes were fast-paced and seamless, keeping the energy high without any stagnant moments. The abundance of duets in the show was a delight, with standout performances including the intoxicated and humorous "Be a Man" between Frank Sr. and Carl, the catchy “Butter Into Cream” between Franks Jr. and Sr., and the touching "Seven Wonders" duet by Brenda and Frank Jr. Leah Harford's performance as Brenda shone with powerful emotions, crystal-clear vocals, and terrific belting capabilities in her solo "Fly, Fly Away." But the standout number for me was, “Don't Break the Rules,” because it was enhanced with lighting used as helicopter searchlights and impeccable choreography. The final solo "Goodbye" was delivered by James Bird with impressive vocal prowess, while the closing duet "Stuck Together" between Carl and Frank Jr. provided a very satisfying conclusion to the show. I personally believe that this high-class production delivers on all fronts—superb performances, captivating choreography, and an unforgettable soundtrack. It's a must-see for anyone seeking a thoroughly enjoyable theatrical experience. The cast and crew have created something truly special, and I left the theatre wishing I could be part this remarkably fun production too!

Date of Attendance: 5th April 2024 8pm Cast: The Treacle Cast I had the pleasure of attending the performance of ‘Mary Poppins Junior’ presented by Brisbane Junior Theatre, and I must say, it was a delightful experience filled with youthful talent and captivating energy. The young performers were nothing short of charming and talented. Young Mary, Young Bert, and Young Miss Andrews were simply adorable, with Young Mary demonstrating a perfect accent and a stunning voice for her age. Mr. Banks was portrayed excellently by the lively Scott Tamblyn, who captured the firm yet endearing nature of the character. Mrs. Banks, portrayed by Charlotte Westaway, with her bell-like voice and graceful acting, effortlessly embodied the role of the mother. Jane and Michael, played by Scarlett Clyburn and Elijah Clyburn, were a standout duo. Their sibling dynamic added an authentic touch to their performances. Jane's sass and acting prowess were commendable, while Michael, adorned in the most adorable suit, delivered his lines brilliantly. Jacqui Trappett's portrayal of Mary was a highlight of the evening. Her voice, with its classical soprano sound and impeccable diction, gave me goosebumps multiple times. Her acting, capturing Mary's lines with charm and cheek, was equally impressive. Bert, portrayed by Alex Townsley, was outstanding. His perfect cockney accent and controlled voice truly embodied the character. This was my first experience with the Junior version of ‘Mary Poppins’ and with Brisbane Junior Theatre productions, and I was thoroughly impressed. The production maintained a fast-paced rhythm while retaining all the beloved classic songs and capturing all essential elements of the story. The set design was truly impressive and immersive. The 3-dimensional setting, combined with projections, London landscapes, movable set pieces, and curtains filled with colour-changing 'stars,' effectively transported us into the enchanting world of the London skyline. The choreography was well-executed, making optimal use of the stage for lively dance numbers, particularly during 'Step in Time’, which showcased the dancers, including acro and tapping! The technical aspects of the production were also top-notch. The clear sound from the microphones, effective use of lighting, and wonderful costumes enhanced the overall experience. The talent displayed by these young performers was exceptional. It's remarkable how well-rehearsed they were, considering they had only 4.5 days to prepare during the holiday workshop. Not a single mistake was noticeable throughout the show. The ensemble was utilised brilliantly, especially in numbers like 'Spoonful of Sugar’, 'Anything Can Happen,' and the harmonious 'Let's Go Fly a Kite’, showcasing the power of united voices. 'Supercalifragilisticexpialidocious' was a true showstopper, complete with original choreography and infectious energy. Special mentions go to Ciarna Thorn as the bird lady, whose beautiful presence and voice did justice to my favourite song, 'Feed the Birds,' and Gabby Ayoub as Mrs. Corry, demonstrating stellar dramatic acting skills. Imogen Heath's portrayal of Miss Andrews was excellent for capturing the character's terrifying demeanour perfectly, with impeccable control over her vocals. I see a future actress in Imogen! The enthusiasm of the 140 young performers (so I am told) was palpable, with each one giving 100% energy! This production was resounding success, thanks to the exceptional talent, meticulous preparation, and infectious energy of the entire cast and crew. They truly brought the magic of ‘Mary Poppins’ to life, leaving the audience tapping their feet and grinning from ear to ear. I look forward to more outstanding performances from this talented group in the future.

Can you tell us a bit about yourself and how you got started in theatre? Kate: I never thought about theatre as a child. Music and theatre just weren’t a part of my life. But then I met my best friend in high school, who was - and still is - an incredible performer. Courtney gave me my love for theatre. We haven’t performed together for many years, but I dream of the day she and I are reunited on the stage! Did you undergo any formal or informal training to shape your performance skills? Kate: You could say that my training has been “on the job”. I was speaking with an incredible Brisbane performer recently and I was lamenting that I had not trained or studied in dancing, singing, or acting. She responded that there is no better training than performing… so I guess I’ve been lucky to do a lot of that! I just simply love of performing with my friends. We have the best hobby in the world! These days, I’m very happy to do the odd dance class, and I absolutely adore my vocal coach! We do have the best hobby! Do you have a particularly memorable, special, or challenging role from your theatre experience? Kate: It seems like every time I am cast in a new role I say, “this is my favourite one yet!” I suppose they are all my favourite, because every show has its own special moments, new connections, wonderful memories. There have been songs, or scenes or dances that have really challenged me or scared me. It sometimes makes me think, “why am I torturing myself to do this?” However, I think it is the challenge, the surmounting of fear or the surpassing of self-doubt that makes performing so wonderful. That’s why it feels so good! I believe you are working on a very exciting project at the moment? Kate: I am absolutely thrilled to play Princess Fiona in Savoyard’s Shrek, The Musical! We have just gotten underway with rehearsals, and this cast is HOT. This is my debut performance for Savoyards, and I can already see why this company has been around for many decades. It is a wonderful community of dedicated, talented people. Princess Fiona is such a fun undertaking. All the characters in this show come with their own iconic expectations, thanks the popularity of the movie. I am really looking forward to digging into the contradictions of Princess Fiona’s personality and finding the light and dark that comes with a princess/ogre combo! The show is a hoot, and I know it is going to be a lot of fun for the performers and audience alike. There is an immense amount of talent in this cast and creative team. I genuinely look forward to learning a lot during this process! (SHREK THE MUSICAL opens at the Iona Performing Arts from June 22 for a limited season). How do you prepare for a new role like Princess Fiona? Are there specific methods you follow? Kate: To prepare for a role, I do a lot of “playing pretend” in my lounge room. It is important to me to completely lose myself into a character. I don’t want the audience to see “Kate” on stage. Rather, my physicality and voice should transform. To find the right fit, I play around with how I stand, move and sound until I find something that feels like my interpretation of the character. Then I add the lines, the songs and the dancing to that. How do you approach collaboration with directors, fellow actors, and the production team? Kate: I have been so lucky to work with some of Brisbane community theatre’s best creatives and performers. It astounds me the amount of talent within our city and it’s a beautiful thing that we volunteer our time to create art together. I really love working with Directors, Music Directors and Choreographers with a clear creative vision, but who also enjoy playing around the edges. My mission is to come to every rehearsal with the material prepared and an idea or two to bring to the table. I can attest that you are a delight to perform with Kate! Could you share some highlights in your stage career that you are particularly proud of? Kate: Beyond having fun with friends, the other achievement I want to gain through my work is simply that the audience enjoys the show! Shows I am most proud of are those that audiences - big or small - were somehow emotionally moved by; whether that is absolute elation (like after The Producers) or somber reflection (like after Sweeney Todd). Sometimes it is the beautiful music that moves them (like in Oklahoma), or a touch of nostalgia (like in The Addams Family). What advice do you have for individuals aspiring to gain a role in a stage show? Kate: I am not sure I’m the right person to give advice. I am far from an expert. However, what I can say is that the only way to get more comfortable with auditioning or performing is to do it. Find opportunities to put yourself out there. In addition, be a nice, kind person and I know the Brisbane theatre community will welcome you!

Can you tell us a bit about yourself and how you got started in theatre? Kirra: Hi! My name is Kirra Lang, and I’ve been performing for 17 years(!!). I started at the age of 7 playing an orphan in my school’s production of Annie. I believe my grade one teacher was the instigator for this; she saw me performing at a school assembly and recommended to my parents that I audition for the school musical the next year, and I did! I had the time of my life, and decided then and there that this is what I wanted to do for the rest of my life. This is what I wanted to grow up to be. Did you undergo any formal or informal training? How did it shape your skills? Kirra: Yes I did! I got accepted into the Classical Voice and Opera Studies program at Queensland Conservatorium Griffith University back in 2017. Those three years getting my Bachelor of Music were filled with so much self exploration, personal growth, complete loss of self confidence, and then a beautiful rebirth shortly after. The classical technique that I gained whilst studying there has become completely invaluable and has become my foundation, not just as a singer, but as a performer in general. “Informal” training includes speech and drama courses, studying dance through curriculum and extra-curricular activities, private vocal lessons, musical theatre classes, and screen acting courses through the Warehouse Workshop. I’ve probably forgotten a bunch, but you get the gist! How do you prepare for a new role? Are there specific methods you follow? Kirra: Unfortunately my dramaturgy isn’t really up to scratch, so I can’t draw on any particular ‘method’, but I do have my own techniques to help me prepare for a role. The biggest is - and this happens accidentally - becoming absolutely and helplessly obsessed with my character and the show. My partner can definitely attest that my free time is swallowed up completely with research: watching all available bootlegs, soundtracks, essays, and analyses. I assign some free space in a journal to really flesh out my character and her place in the story; her backstory, bleeding into her motivations, etc. I also analyse the script and map out each individual scene with objectives. If it’s a period piece, I also love to research about the era. After all of this, I start playing with physicality, and usually asking someone to give me feedback, and go from there! Wow that's outstanding dedication! Can you share a particularly memorable, special, or challenging project from your theatre career so far? Kirra: Honestly, I consider every show I’ve done to be special, but my absolute favourites include: -- Christine from Lynch & Paterson’s Phantom of the Opera - the magnitude of the role and the fact it was completely sung through made it super challenging but insanely fun! -- Cinderella from Redcliffe Musical Theatre’s Into the Woods - my first Sondheim show with the most lovely people, so an extremely special moment for me. -- And the show I’m working on at the moment - Queensland Musical Theatre’s My Fair Lady, as playing Eliza has actually become a dream come true! Congratulations! Tell us about My Fair Lady and anything else you are working on at the moment. Kirra: What a great segue! I’m working on two shows currently, the first being A Night at the Musicals, a showcase full of musical theatre favourites playing at the Ron Hurley theatre on the 26th & 27th of April. I’m very honoured to have been given the opportunity to perform with such established performers, I feel very very lucky! The second is My Fair Lady, playing at Twelfth Night Theatre from the 14th to the 23rd of June. A special moment as it’s Queensland Musical Theatre’s 40th Anniversary, and the reprise of the inaugural musical is incredibly meaningful for my partner and his family, who happen to be the founders of the company. I hope I do them proud!! Are there specific types of roles or theatre genres you find most rewarding or challenging? Kirra: This is such a fun question! Maybe I’m a masochist but I really enjoy dark characters. Troubled, sad, angry, lost.. all of that good stuff. It makes characters so much more interesting, and I’ve always found it very satisfying and borderline therapeutic portraying negative emotions on stage. I also love a good pre-2000’s piece, preferably singing-heavy with a good script! *Chefs kiss* How do you approach collaboration with directors, fellow actors, and the production team? Can you share a positive collaboration experience that stood out to you? Kirra: I think the active collaboration between the cast and the creative team turns a good production into a spectacular one. I strongly believe that if there’s a mutual respect between the two, creativity thrives and that’s where magic happens! In terms of collaborating with fellow actors, I tend to meet up outside of rehearsals to go deeper with our characters to discuss and play, and that extra bit of work pays off every time! A positive experience that immediately stands out to me is the collaboration that happened in Lynch & Paterson’s Oklahoma!, where the synergy between director Tony Campbell, MD Lucas Lynch, choreographer Julianne Burke, and the cast was incredibly strong. It makes a difference when your creative team have a unified vision; the entire cast becomes that much stronger because of it. I couldn't agree more. Do you have some highlights or achievements in your stage career that you are particularly proud of? Kirra: I remember being extremely proud of myself when I got Edith in Lynch & Paterson’s Pirates of Penzance. It was the first time in the theatre scene that I got to go for something using my operatic technique. The company had a really good rep and I had been rejected for Les Mis the year before, so I remember being absolutely ecstatic when I was cast - my own personal milestone! It started a beautiful journey with so many new friends, it’s definitely a highlight for me. Another special highlight is running on stage for the bows in Phantom; having all of my friends and family in the audience cheering will always make me emotional. It’s really why I perform, I want to make my community proud! I think back on that particular moment all the time. Speaking of which, my final highlight was getting to perform with my partner in Phantom and Oklahoma!. I’ve never been able to do that before, and it made my heart so so happy to experience my favourite thing with my favourite person! Are there specific goals or roles you aspire to achieve in the future? Kirra: I think I’ve actually performed a lot of the dream roles I’d planned out for myself, which I’m very grateful for! My biggest ones were Maria in Sound of Music, Christine in Phantom and Cinderella in Into the Woods. Two roles that would mean a lot to me to play would be Joanna in Sweeney Todd and Belle in Beauty and the Beast. Joanna because Sweeney Todd has the most beautifully haunting music and Sondheim is my favourite musical theatre composer, and Belle as it’s always been my favourite Disney movie and my Dad’s favourite show as well. There are also lots of dance-heavy musicals that I would LOVE to be a part of, like Cats and A Chorus Line, because it just looks so FUN! I’ll keep working on my dance skills so hopefully I can be cast one day haha. Me too, my friend! Can you give any advice for individuals aspiring to gain a role in a stage show? Kirra: Always find the joy in what you’re doing. The times when I’ve been the most proud of my performances have been when I’ve had the most fun, whether that is from researching and building the character, interacting and collaborating with friends, or the actual performance itself. The joy and passion will spill out of you, and the audience will pick up on it straight away. Another piece of advice is to have the confidence to “fail”. It’s a pitfall that deters a lot of people from giving it their all, and it also hinders growth. I have failed so, so many times at what I do, and I’m so grateful for each of those failures as it’s ultimately made me into a better performer. I now know what works/what doesn’t work/what I need to work on. It’s really beneficial to have a trusted circle of friends that can give you honest feedback, and “fail” as many times as you can! The more “fails” you have, the closer you are to the magic... the success!

The collaborative effort between Redcliffe Musical Theatre and Roar Academy in presenting "Joseph and the Amazing Technicolor Dreamcoat" resulted in a vibrant and captivating theatrical experience that left audiences thoroughly entertained. In the performance I saw, Tylah-Jay Foster and Mia Hunt as the narrators set the tone with their powerful voices that immediately captured attention, guiding us through the biblical tale of Joseph. One of the undeniable highlights of the production was the portrayal of Joseph’s brothers, with standout performances in musical numbers like 'One More Angel in Heaven', 'Those Canaan Days', and 'Benjamin Calypso'. Anthony Van Stam, Erickson Ilustre, and Tyler Mackay shone in their respective solos, infusing each performance with exceptional infectious energy and vocal prowess. The brothers’ commitment to exaggerated performances and comedic flair contributed significantly to my enjoyment and to the overall success of the production. Benjamin Oxley's portrayal of Joseph was applaudable, embodying the character's dreamy demeanour and inner strength beautifully. While a robe and wig would have further solidified Joseph's Egyptian persona, Oxley's performance resonated well with me. Paul Cant's portrayal of Jacob was wonderful, infusing the character with warmth and gravitas in his limited scenes. Vocal performances throughout the show were of a consistently high standard, with 'Close Every Door' leaving a particularly powerful impression, enhanced by the charming children ensemble. While the music direction was commendable, clearer enunciation of lyrics could have enhanced the audience's understanding and appreciation of the fully sung-through show. Costuming played a significant role in enhancing the visual spectacle of the production, with Joseph's iconic coat stealing the spotlight. The children ensemble, adorned in a kaleidoscope of colours, created a visually stunning backdrop for the performance of ‘Joseph’s Coat.’ The set design effectively transported the audience to the a regal Egyptian era, with the towering staircase lending a sense of grandeur to the stage. Due to its simplicity, the set provided ample space for the large cast to manoeuvre, allowing for complex dance numbers. Choreography, particularly in the lively hoedown of 'One More Angel in Heaven', showcased precision and energy under the skilful direction of Jada Parsons. I have to mention Sienna Randall's standout performance. She infused each dance movement with constant energy and had a terrific ability to embody her characters through facial expressions; drawing the audience's attention towards her in each group number. While the dancers displayed impressive technical skill, there was a noticeable lack of expressive facial performances today. Despite this, the overall choreography contributed to the dynamic energy of the production. The incorporation of small comedic moments, (the corn, the bedroom scene, the fly buzzing around, the plush lamb), added depth and more humour to the production, showcasing the director’s attention to detail and the cast’s comedic talent. The addition of Pharaoh dressed as Elvis added a whimsical touch. Although technical issues with the microphone briefly detracted from some of their comedic moments, the cast's quick thinking ensured that the show went on without missing a beat. Despite facing some other technical challenges, including soundtrack issues and awkward blocking, the cast displayed resilience and professionalism. Navigating the challenges of bringing an Andrew Lloyd Webber production to the amateur stage is no easy feat, yet the cast rose to the occasion and embraced the campy comedy and iconic music of the show, delivering wonderful vocal performances. The Megamix finale had the audience grooving in their seats, showcasing the cast's high energy with song-after-song-after-song; it honestly looked exhausting! 'Go Go Joseph' was a standout moment that left a lasting impression, with its infectious melody and lively choreography energising the audience and leaving me humming the tune long after the show ended. Overall, the production succeeded in delivering a lively and enjoyable performance, leaving the audience thoroughly entertained.

Can you tell us a bit about yourself and how you got started in theatre? Sophora: I got into theatre from a young age after being cast in my first ever role i na professional Christmas production of Toad of Toad Hall in the New Vic Theatre (in the round) in the UK when I was in primary school. It meant getting time off school and spending time with the adult cast; experiencing the scale of such a show cemented for me at that age that this is what I wanted to pursue! Did you undergo any formal or informal training? Sophora: Most of my days after school were taken up with choir, singing lessons, LAMDA acting lessons, and piano! I studied performing arts up to the age of 18 and then went to university to complete a Bachelor of Musical Theatre, Drama and Film. Can you share a particularly special or challenging project from your theatre career so far? Sophora: The first show I produced and performed during my time at university was particularly special. I won a grant to create the show, which meant that meant that once we had performed it in the university theatre, we could transfer into the City of Bath Theatre, which was incredibly challenging due to the scale, but also very rewarding! Are you working on any shows at the moment? Sophora: I am working on our upcoming A Night at the Musicals, which is the end of April at the Ron Hurley Theatre, with my amazing team! And our wonderful cast will start rehearsing in the upcoming weeks. I am really looking forward to seeing everything we have planned come into fruition. Are there specific types of roles or theatre genres you find most rewarding or challenging? Sophora: I often think comedy is more challenging to pull off in a production than dramatic. It is also really rewarding when you get the laughs and know the choices you or the show made have landed well and have given people that enjoyment! How do you approach collaboration with directors, fellow actors, and the production team? Can you share a positive collaboration experience that stood out to you? Sophora: Producing the first A Night at the Musicals by myself was a lot to take on when I also work a full time corporate job. So when I knew I wanted to continue this venture, I brought in a more permanent team to help me grow the show. That experience of getting to bounce ideas and to have back-up in the decision-making has been so much more enjoyable and has elevated the show beyond what I could have done solo. Are there specific goals or roles you aspire to achieve in the future? Sophora: I would love to continue working on growing A Night at the Musicals. There is a lot more we can do with the formula of this concert and see how far we can take it! What advice do you have for individuals aspiring to gain a role in a stage show? Sophora: I heavily thought for many years that performing, whether it be stage or screen, was going to be my full-time career, and it was all I dreamt about. The reality of graduating and getting a job, then stressing about where the next paycheck would come from, hit me harder than I thought. After a particularly big letdown that I had my heart set on, I decided to travel! Fast forward to now and I work a full-time corporate job in Australia. I had lost some of my passion for the industry, but then doing some community theatre shows reignited that passion and led to me bringing A Night at the Musicals to Brisbane, 13 years after I did it at university! There aren't many paid performing opportunities if you decide to take another career path as your income, or if you are in your 30s and enter the realm of being too old for some roles and too young for others... or if you are a terrible dancer... So my advice is, it is more than achievable to create a platform so that you and others can do what you love while letting it fit into whatever path your day to day life leads you!