Presented by: 7th Floor Theatre Venue: PIP Theatre Attended: 15 January 2025 Playwright: Angus Cameron Director: Hayden Burke Lighting Designer: Claire Yorston Sound and Visual Designer: Ziggy Enoch Costume Designer: Tye Shepherd Set Designers: Hayden Burke and Jennifer Ashlan “I’m 31, queer, and still a hot mess.” You know a show is going to be good when it already has a pun in the title. Australian Open, presented by 7th Floor Theatre at the PIP Theatre, is a sharp-witted, fast-paced comedy that volleys love, relationships, and politics with hilarious precision. Playwright Angus Cameron has expressed that Australian Open is a story worth telling because there simply isn’t enough queer joy in theatre, and this production certainly delivers on that front. Under the skilled direction of Hayden Burke, the show bursts to life with witty dialogue, dynamic characters, a playful exploration of modern societal politics, and plenty of queer celebration. The story centres on Felix, a 31-year-old navigating life in an open queer relationship with Lucas, the world’s third-ranked tennis player. As Lucas prepares for the Australian Open, the couple gets tangled up in their family’s messy, often hilarious dynamics. Felix and his sister Annabelle meddle in their parents' marriage, while Lucas and Felix endure an awkward interrogation and pressure for marriage from Felix’s parents, Belinda and Peter. This leads to Belinda and Peter rethinking their own marriage. The dialogue is fast-paced, filled with sharp observations about love, commitment, and the complexity of modern relationships, all with a hearty dose of Aussie humour. It's a rare and refreshing treat to see a play set in Brisbane, making it feel all the more authentic and relatable. I was lucky enough to catch the alternate cast on the night I attended, and if the primary cast is even half as brilliant, audiences are in for a treat. This stellar ensemble featured Dean Noffke as Felix, Hayden Parsons as Lucas, David Scholes as Peter, Ellen Hardisty as Belinda, and Amanda Devlin as Annabelle. Each actor brought a unique and compelling energy to the production, creating a wonderfully cohesive and hilarious performance. Particularly notable is the chemistry between the characters and how the five actors play off one another in their one-on-one moments. Some standout moments include the discussion between Felix and Belinda as she expresses an interest in climbing Everest, the intimate conversation between Peter and Lucas at the tennis centre, and the late-night conversation between married couple Belinda and Peter that feels incredibly real. But my personal favourite was the father-son scene between Felix and Peter at The Beat nightclub, a funny, awkward, and surprisingly heartfelt exchange. The performances are fantastic across the board. Dean Noffke brings warmth and humour to Felix’s insecurities (and surprisingly he isn't portrayed as the bottom in the relationship). Hayden Parsons nails Lucas’s somewhat-cocky-yet-charming sports star persona, with electric and endearing chemistry between him and Noffke. Ellen Hardisty steals the show as Belinda, delivering all the best quips with impeccable comedic timing, while David Scholes adds unexpected depth to Peter as the plot develops. Amanda Devlin as Annabelle is a comedic powerhouse, her meddlesome demeanour and perfectly timed bombastic side-eyes making her a delight to watch. Annabelle kicks off the show as a TEDx speaker, living in Switzerland, and a scientist with an introductory talk on gravity (or something like that, it’s a bit over my head, but it doesn’t really matter). But once she’s back in Australia, she quickly transforms into the classic little sister again, full of mischief and attitude. And her costumes are consistently fabulous. A standout moment is the Christmas family scene, where rapid-fire dialogue flies across the stage with the precision of a high-speed tennis rally. Another highlight is the dramatic escalation between Peter and Belinda, which veers into unexpected territory. Let’s just say that what’s under Peter’s silk robe is not what you’d expect. The script is packed with brilliant dialogue. A favourite recurring theme of mine: “Have you ever been to Perth?” Beat. “Ew, no.” The comedy flows seamlessly, keeping the packed-out audience laughing from start to finish. The production design is a standout, with every element working together to enhance the story. Claire Yorston’s lighting, Ziggy Enoch’s sound and visuals, Tye Shepherd’s vibrant costumes, and the inventive set design by Hayden Burke and Jennifer Ashlan all come together beautifully. The costumes, in particular, are gay in the best way, colourful, vibrant, and comfortable, adding an extra layer of flair to the production. One delightful detail? The tennis-themed decor: overhead lights shaped like tennis balls, and a hanging tennis net doubling as a lighting screen for setting transitions. Whether we’re in Tenerife, Newstead, Felons Brewery, or the Australian Open itself, the setting changes are communicated well. Another fun touch? Drinking glasses pinned to the curtains, all of which are eventually used in the show. By the end, Australian Open lands a perfect shot with a satisfying and heartwarming conclusion. It plays out like an Aussie rom-com/family sitcom, filled with charm, chaos, and an abundance of laughs. This is the kind of theatre that makes you glad you showed up, fun, fresh, and brimming with personality. Don’t miss the chance to catch this gem before it disappears off the court.

Title: Lady Macbeth Uncut Presented By: VOX Productions Genre: Drama Synopsis: Lady Macbeth has had a bad rap down through the years—known as the 'fiend-like queen' and a byword for evil manipulation. Inspired by the real Lady Macbeth (Gruoch), Lady Macbeth (written by Catriona Clancy) seeks to redress this, telling the story from Lady Macbeth's point of view. The play sheds new light on her motivation to seize the throne and builds empathy for a powerful woman striving for control over her life. The 'Witches' get a complete reboot as well, and together they challenge the structures and prejudices that seek to hold them back. Audition Details: Audition Date: Saturday, 22nd February, 2025 Audition Time: 1:00 PM – 3:00 PM Audition Location and Address: Lavalla Centre – Marian Room, 58 Fernberg Rd, Paddington QLD 4064 Audition Requirements: All characters must be able to deliver and sustain an authentic natural English accent. All characters have a stage playing age of 35 years and above. Audition Registration: Register for auditions by completing the form: Audition Registration Form If you encounter issues with the form, email nicky@nickywvoices.com for assistance. Audition Pack: Audition Pack Audition Process: Part One: 1:00 PM – 1:45 PM Group audition session. Present one of two supplied speeches (1-minute) upon registration. Cold read between two allocated characters. Part Two: 2:00 PM – 3:00 PM (Callbacks) Selected individuals will be asked to stay for a callback session. Cold reads with other actors from the callback group (no preparation needed). Available Roles: Lady Macbeth (Gruoch): A powerful, intelligent woman driven by grief and ambition. Manipulative yet deeply human, she struggles with guilt as she pursues the throne. Lady Macduff: A devoted mother and symbol of innocence. Her tragic fate highlights the brutal consequences of power struggles. Macbeth: A warrior-turned-tyrant, torn between ambition and morality. The Three Witches: Reimagined as strong, worldly women who challenge fate and society. Banquo: Macbeth’s loyal friend, later a ghostly figure haunting him. Duncan: The noble King of Scotland, whose murder sets everything in motion. Macduff: A fierce opponent to Macbeth, driven by vengeance and justice. Malcolm: Duncan’s son, who matures into a wise and just leader. Fleance: Banquo’s young son, a symbol of future hope. Lennox, Ross & Other Nobles: Scottish thanes caught in the shifting tides of power. Performance Dates: PIP Theatre: Thursday, 4th September – 7:00 PM (Preview Night) Friday, 5th September – 7:00 PM Saturday, 6th September – 2:00 PM & 7:00 PM Sunday, 7th September – 12:00 PM Sandgate Theatre: Friday, 12th September – 7:00 PM Saturday, 13th September – 2:00 PM & 7:00 PM Rehearsal Dates: Table Read 1 & Intro to Shakespeare’s Language: Saturday, 1st March (12:00 PM – 3:00 PM) Table Read 2 & Script Analysis: Saturday, 29th March (12:00 PM – 3:00 PM) Line Learning: April – May (Actors expected to be 80% off-book by first rehearsal in June) Full Rehearsals: Sundays from 1st June – 31st August (12:00 PM – 4:00 PM) Final Rehearsals & Tech Week: Wednesday, 3rd September – Full Dress & Tech Thursday, 4th September – Final Dress & Tech (if needed) Other Information: Costumes will be provided. Actors must bring basic blacks. Successful cast members will be notified by 5:00 PM on Sunday, 23rd February. Cast members must confirm acceptance within one hour of receiving the offer (via text and email). Facebook event page for audition

Title: Love, Loss and What I Wore Presented By: Tugun Theatre Company Genre: Comedic Play Synopsis: Written by the fabulous Nora and Delia Ephron (writers of You’ve Got Mail and Sleepless in Seattle), Love, Loss and What I Wore is a funny and poignant journey into women’s relationship with clothes, accessories, memories, and mothers. All women (and men) will laugh and relate to this show! Director: Judy Neumann Audition Details: Audition Date: Sunday 9th February 2025 Audition Time: 6:45 PM Audition Location and Address: Tugun Village Community Centre, 414 Coolangatta Road, Tugun 4224 Audition Requirements: Standard American accent preferred (though not required for all characters). Auditionees should be ready for a cold read from the script. The production features over 20 different characters, all played by a cast of five women. Strong ensemble acting and comedic timing are key. Performance Dates: May 9th – May 31st, 2025 Performance Times: Evening Shows: Fridays & Saturdays at 7:30 PM, plus Thursday 29th May at 7:30 PM Matinee Shows: Saturdays 10th, 17th & 24th May at 2:00 PM Audition Registration: To express interest in auditioning, visit Tugun Theatre’s Audition Page. For any further questions, contact Judy Neumann at director.tuguntheatre@outlook.com. Production Website: www.tuguntheatre.org

A Dance Theatre Exploration of Human Evolution In this infinite cosmos, our world is a small but beautiful fragment. We humans are said to represent a mere 14 seconds of its condensed cosmic existence. We humans have expanded and reinvented ourselves at a startling rate—exploring the mystical, building the impossible, and taking the greatest leaps of faith to arrive at this point. Phluxus2 Dance Collective’s ' The Next 14 Seconds'  was a mesmerising, thought-provoking collision of dance, theatre, sound, and visual artistry that delved into the essence of human existence. Performed at QPAC’s Cremorne Theatre, this avant-garde piece challenged audiences to reflect on our rapid evolution and what we’re sacrificing along the way. The choreography, crafted by the award-winning Nerida Matthaei, transitioned between fluid, organic motion and jagged, erratic sequences, to reflect the beauty and chaos of human development. The Physical Language of Storytelling The five dancers—Jade Brider, Hsin-Ju Ely, Georgia Peirce, Asher Bowen Saunders, and Jacob Watton—were a force of nature on stage. Their physicality and athleticism were both fluid and primal, embodying the evolution of humankind through an intricate blend of contemporary and experimental movement. The choreography was complex and demanding, often requiring them to climb over each other like a human jungle gym, manipulate each other’s limbs like ragdolls, or puppet one another in animalistic sequences. One particularly compelling moment saw the dancers engage in seizure-like convulsions—an intense, almost violent representation of struggle and transformation. The sheer endurance required to sustain these levels of movement for a continuous 60 minutes, without a single water break, was nothing short of astounding. A Breath, A Beginning Sound was crucial in establishing the atmosphere right from the start of the performance. The dancers' deliberate audible gasps, layered with subtle pulsing sounds, and their distinctly individual movements, created a sense of isolation. During the first ten minutes, there was no accompanying music, so the dancers relied solely on each other's rhythm and energy to keep time. This raw, unfiltered beginning established an intimate connection between each performer and the audience, pulling us into their world of movement and expression. A Multisensory Experience The soundscape evolved as the performance unfolded—jingling coins, crashing waves, humming voices, and haunting laughter. At one point, the female dancers lifted and carried Watton across the stage as he laughed maniacally, a surreal and striking moment that felt both absurd and profound. Lighting design by Keith Clark enhanced the show’s sci-fi aesthetic. Sharp, futuristic beams of light guided the audience’s gaze, directing focus within otherwise chaotic scenes. Costume design by Lisa Fa’alafi added yet another dimension to the storytelling. The dancers began in thick, layered garments, peeling away each piece as the performance progressed. This slow removal revealed a final costume: bodysuits covered in scribbled lines and shapes, as if they had been drawn into existence. As they introduced matching fabrics and secured them to hooks for elevation into the space, the stage became an evolving canvas. This interplay of materials, along with the dancers' lifts and contortions, reinforced the concept of interconnectedness-how we shape and are shaped by the world around us. Unexpected, Unpredictable, Unforgettable What made ' The Next 14 Seconds'  so exhilarating was its unpredictability. Just when you thought you understood the direction, the performance shifted. One moment it will be deeply contemplative, the next it is chaotic and nonsensical. There was an undeniable humour woven throughout—the exaggerated facial expressions and mimed sequences frequently elicited giggles from the audience. As the performers drew the audience into their world, they extended the experience beyond the stage. They made eye contact, guided our movements, and even pulled some audience members onto the stage. The final affirmations—starting with “I,” then “You,” then “We”—fostered an intense sense of unity, culminating in the entire theatre joining hands like we were at a kumbaya campfire. This surprising ending transformed the audience from passive observers into active participants in the performance’s message. 'The Next 14 Seconds'  is not a conventional dance performance—it is a visceral, immersive experience that challenges perceptions of movement, theatre, and human existence itself. While the abstract storytelling may leave some feeling lost, the talent displayed on stage and the sensory impact are undeniably compelling. This is dance theatre at its boldest—an exploration of our identity, our past, and our potential future. Photography by Jade Ellis

Title: Seussical The Musical Presented By: Stage School Australia Genre: Musical Theatre Synopsis: Seussical The Musical is a whimsical adaptation of the beloved works of Dr. Seuss. This vibrant production celebrates iconic stories and characters, bringing together elements from Horton Hears a Who!, Green Eggs and Ham, and The Cat in the Hat. With hilarious characters, colourful costumes, and enchanting musical numbers, Seussical promises to delight audiences of all ages. Audition Process: Self-tape submissions due: Sunday, 2 February 2025 In-person auditions: Sunday, 9 February 2025 Callback submissions due: Friday, 14 February 2025 Audition Location and Address: Brisbane State High School, Gate M5 on Ernest Street, South Brisbane Audition Requirements: Open to performers aged 10-19 years. Performers must prepare and submit a 16-bar musical theatre excerpt from the provided selections, using a neutral Australian accent. Ages 10-13: Sing from the ‘younger voice’ selection. Ages 14+: Sing from the ‘older voice’ selection. Self-tapes should be filmed in a medium shot (waist up) with clear audio and lighting. Perform your audition as you would on stage - it’s not a singing exam, so don’t concentrate solely on your voice. Use expression, and entertain us! Videos must be uploaded to YouTube or Vimeo (as 'Unlisted') with the performer’s full name in the description. No editing, mixing, or pitch correction allowed. Submit audition videos via email, including name, date of birth, performing experience, measurements, and video link. Audition Submission: casting@stageschool.com.au Audition Pack: Available here Production Website: www.seussicalmusical.com.au Production Details: Performance Dates: 15 - 17 April 2025 Performance Times: Tuesday, 15 April: 2:30pm & 7:00pm Wednesday, 16 April: 11:00am, 2:30pm & 7:00pm Thursday, 17 April: 11:00am, 2:30pm & 7:00pm Performance Location: Draney Theatre, Marist College, Ashgrove Rehearsal Dates & Times: Friday, 21 March: 5:00pm - 9:00pm (Principals) Sunday, 23 March: 9:00am - 5:00pm (Full Company) Sunday, 30 March: 9:00am - 5:00pm (Full Company) Monday, 7 April - Friday, 11 April: 9:00am - 5:00pm (Full Company) Monday, 14 April: 11:00am - 7:00pm (Full Company - Draney Theatre) Rehearsal Location: Brisbane State High School, Gate M5 on Ernest Street, South Brisbane Additional Information: Required Age: 10-19 years for performers Show Fee: Participation Fee: $170 (GST inclusive) Souvenir Cast T-Shirt: $30 (mandatory) Total Cost: $200 Ticket Sales Commitment: Each performer must sell at least 20 tickets to contribute to production costs. Ticket Prices: Weekday Matinees: $30 Evening Performances: $35 Creative Team: Director - Robert Coates Music Director - Lucy Ross Choreography - Rebecca Djapovic Other Information: Successful auditionees will be notified via email after final auditions. Video and sound recording may be made of auditionees during auditions for internal use only. Performers are expected to attend all rehearsals and performances. Final performance (17 April) requires mandatory bump-out assistance until 9:30pm.

Title: Encore! A CIA Variety Show Presented By: Communication in Action (CIA) Genre: Variety Show / Musical / Performance Synopsis: Encore! is a dynamic variety show that showcases the incredible talents of CIA students in their Semester 1 production for 2025. This exciting production celebrates the survival of live theatre in a post-pandemic world and offers something for every performer. From bold monologues and duologues for the acting enthusiasts to show-stopping solos for singers and captivating choreography for dancers, the show promises to keep everyone on their toes. With a script that draws inspiration from plays, musicals, movies, and original material tailored for CIA performers, this is a unique opportunity to shine. Each student will feature in at least two segments, and the cast will be divided into junior and senior age groups, ensuring the right mix of peers and experience. Audition Date: Sunday, 9th February 2025 Audition Times: Option 1: 9.00 – 10.30 am (Years 2 – 6) Option 2: 10.30 am – 12.00 pm (Years 7 and up) Option 3: 12.00 – 1.30 pm (Years 2 – 6) Option 4: 1.30 – 3.00 pm (Years 7 and up) Audition Location and Address: Thomas Dixon Centre, West End, Brisbane Audition Requirements: Performers should be ready to showcase their talents in singing, acting, and/or dancing. Students will be placed in segments based on their strengths and experience. Audition Registration: Register Here Rehearsal Dates and Times: All rehearsals will take place at Thomas Dixon Centre, West End Sunday 16th February: 9.00 am – 12.00 pm: Years 2 – 6 12.00 – 3.00 pm: Years 7 and up Sunday 23rd February: 9.00 am – 12.00 pm: Years 2 – 6 12.00 – 3.00 pm: Years 7 and up Sunday 2nd March: 9.00 am – 1.00 pm: Years 2 – 6 11.00 am – 3.00 pm: Years 7 and up Sunday 9th March: 9.00 am – 1.00 pm: Years 2 – 6 11.00 am – 3.00 pm: Years 7 and up Sunday 15th March (Dress Rehearsal & Tech Run): 9.00 am – 1.00 pm: Years 2 – 6 12.00 – 5.00 pm: Years 7 and up Sunday 16th March (Performance Day): 9.00 am – 12.00 pm: All cast Performance Dates: Sunday, 16th March 2025 1.00 pm 3.30 pm Performance Location: Talbot Theatre, Thomas Dixon Centre, West End, Brisbane Cost: $350 + GST = $385 This fee covers 21+ hours of expert tuition, rehearsals, and the opportunity to perform in a professional theatre with state-of-the-art facilities. Warnings: Some segments may contain bold performances that challenge students to push their boundaries, but all material will be age-appropriate. High energy and preparation required. Required Age: Year 2 and above Production Website: Communication in Action

Christmas came alive at Coorparoo with JDProCo’s ' Home for Christmas' , a heartwarming annual tradition now in its fifth spectacular year. This festive celebration, presented in partnership with Honour Productions, felt like a musical Christmas card to the community, stuffed with soulful crooning, jazzy jingles, and enough joyful energy to power Santa's sleigh!   The show opened with an enchanting a cappella rendition of ' That’s Christmas to Me' , immediately setting a cozy, nostalgic tone. Producer and performer Josh Daveta took the reins with ' Santa Claus is Coming to Town' , backed by the sensational 13-piece band, The Sequins. Their polished and cohesive sound dazzled all night long, with each solo showcasing the incredible talent of every musician! The first act was a vibrant fusion of jazz and pop hits. Josh shook things up with a mashup of ' Man with the Bag'  and ' Orange Coloured Sky' , Ava Valentine took us on a dazzling ' Sleigh Ride', and Ella Macrokanis and Cassie Wadeand gave us a Postmodern Jukebox-style ' Last Christmas'  duet. Cassie Wade’s melisma-filled ' I’ll Be Home for Christmas'  kept the jazzy momentum alive. Josh’s ' You’re a Mean One, Mr. Grinch'  was a cheeky standout, full of personality and charm—definitely one of my top picks! Meanwhile, the tear-jerking ' I Miss You Most at Christmas Time' was dedicated to anyone feeling a bit lonesome, adding a heartfelt touch to the otherwise jolly jamboree. The iconic Asabi Goodman infused ' Christmas Time Is Here' with a soulful richness, her deep tones enveloping the room in warmth. Angela Fabian, a vocal powerhouse, added incredible depth and soul to the evening. The instant ' The Christmas Song' began, I couldn't help but let out a verbal mmm —her voice was pure velvet. Her connection with the pianist was a transcendent moment, as if their very souls were in harmonious conversation. Act Two turned up the energy to "party mode," morphing into a gospel celebration that could make even the grumpiest Scrooge tap his feet. Ava and Josh’s mashup of ' Little Drummer Boy'  and ' Angels We Have Heard on High'  was so enchanting, I swear I felt like I was levitating out of my seat, before launching into a rousing, unique-style ' O Come All Ye Faithful' . Angela Fabian returned with a breathtaking rendition of ' Mary Did You Know' , pouring raw emotion into every note, while Josh’s yassified ' The First Noel'  sparkled with theatrical flair. The Queensland Show Choir lit up the stage with their kazoo-infused ' Holly Jolly Christmas ', and the group number ' Joy to the World ' filled the theatre with an unstoppable festive spirit. And when ' Joyful, Joyful'  kicked off—the version from Sister Act  —the room erupted in energy as the crowd joined in with joyful abandon. Angela's stunning rendition of ' O Holy Night' , combined with a soulful saxophone solo, had me absolutely melting in my seat! The finale of ' All I Want for Christmas Is You' , featuring Josh dazzling as a sparkling Christmas tree angel, wrapped up the evening with a big, festive bow! The crowd couldn’t get enough, erupting into cheers after every number. The energy in the room felt like a warm embrace. And the show wasn't just about the incredible music—it was a sensory feast. The lighting and sound design set a highly professional standard, creating a extravagant, festive atmosphere. Meanwhile, Santa’s little helpers were on a mission to spread joy (and cavities) by launching candy into the crowd like sugary confetti. What a delicious surprise that was!   'Home for Christmas'  was everything you’d want in a holiday show—heartfelt, homely, and overflowing with talent. It combined timeless carols, contemporary twists, and gospel brilliance in the most delightful way. JDProCo, I'm begging you to release a Christmas album—I need this festive magic all year long!

In December, Making A Scene Productions presented a contemporary adaptation of Shakespeare's ' Romeo and Juliet ' with ' Wherefore Art Thou Romeo? ' at BackDock Arts in Fortitude Valley. This version downplayed the age-old family feud to focus on the rapid and intense romance between the star-crossed lovers. Notably, this adaptation reimagined Romeo and Juliet as a queer love story, with both roles portrayed by women. They chose to retain Shakespeare’s original language (except for Romeo's pronouns) but trimmed the script down significantly; preserving the poetic essence while ensuring understanding through acting choices, emotion, and stage direction. Director Jack Winrow mentioned to me that nearly half of the play was cut, streamlining the narrative for modern audiences (and we’re grateful for that!). Co-directed by Brianna Wilkie, with sound design by Andrew Oxford and lighting design by John Roze, this production provided a captivating spin on the classic tragedy. Monica Behrenbruch took on the role of Romeo, while Rutika Nagarkar played Juliet. Their on-stage chemistry was undeniable, bringing an authentic passion to the romance. As the audience entered, Behrenbruch’s Romeo was already on stage, brooding over a breakup like a true drama queen, instantly pulling us into her world of love woes. A particularly memorable scene occurred when Romeo recounts the dream where Juliet kisses Romeo back to life, which then transitions into the poignant moment where Romeo learns of Juliet’s tragic fate. Behrenbruch acted with a palpable intensity that captured the unbearable pain of loss and the futility of her existence without her beloved, spiralling into the unhinged determination to take her own life. Nagarkar’s Juliet made an immediate impression with her excellent projection, a crucial skill when you're shouting sweet nothings in Shakespearean style. She embodied the whirlwind excitement and impatience of a teenager in love, making her portrayal feel both age-appropriate for the character and deeply relatable to anyone who has ever experienced the intensity of first love. The famous balcony scene was beautifully executed, with a striking use of backlighting enhancing the romantic atmosphere. One of the show-stealers was Azz Buckley-Oldfield as Mercutio, delivering scenes with charisma and theatrical flair. Their interpretation was packed with wit and energy to make Mercutio the life of the party. In contrast, Matthew Ianna’s portrayal of Tybalt served as the perfect foil to Mercutio’s vivacity. Their interactions crackled with tension, and the fight scene was impressively choreographed. The intensity of Mercutio’s death scene was palpable—so much so that some of their dying lines were lost in the dramatic weight of the moment. However, it was Behrenbruch's raw grief that followed that made the loss feel even more profound. The audience could practically feel Romeo's heartbreak as Mercutio succumbed to their injuries; a profound turning point that shifted the tone of the play entirely. Ally Wilson brought unexpected humour to Friar Laurence, especially in the scene where Romeo, overwhelmed by banishment, spiralled into a dramatic panic attack. Wilson's comedic timing and expressive reactions offered a refreshing counterbalance to Romeo's intense emotional turmoil. As Romeo flailed about in her emotional chaos, Wilson’s depiction of Friar Laurence as a somewhat bewildered yet well-intentioned character invited the audience to find humour amid the tragedy. Joel Dow perfectly captured Paris's exaggerated arrogance, highlighting Juliet's increasing discomfort as Paris persistently pursued her, oblivious to her disinterest. Edwina Saunders as Rosaline added an intriguing layer to the story. Her two-faced nature was played to perfection, making her later grief over Juliet’s death(s) feel surprisingly real, despite her earlier behaviour. Isabella Kirkwood was remarkable, having to step into the role of Lady Capulet faster than you can say "the show must go on." With only a few days to prepare, and occasionally sneaking peeks at the script, she gave a commanding performance as Juliet’s overbearing mother, handling Shakespeare’s tongue-twisting language with incredible assurance. The confrontation between Juliet and Capulet was a standout moment, showcasing the intense emotions between the two characters in a gripping scene. The show featured strong blocking and effective use of space, ensuring that the action remained visually engaging throughout. The modernisation of the setting was reinforced through costume and music choices. The characters were dressed in casual wear that fit the contemporary aesthetic, which helped bridge the gap between the classic narrative and modern sensibilities, allowing viewers to connect with the characters on a more personal level. While most of the pacing was tight and well-executed, one scene felt overly drawn out—the prolonged grief shared between Capulet and Rosaline over Juliet’s body. The emotional sorrow of the scene was palpable, but its length diminished its impact as it seemed to linger for an extended period, causing a noticeable shift in the audience's engagement. The use of fake blood in the final scene was both shocking and effective. The visceral imagery of the blood made the consequences of the characters' actions starkly clear to the audience. The cast delivered an incredible performance, especially considering how many scenes required solo work, demanding immense emotional depth from the actors. ' Wherefore Art Thou Romeo?'  was a fresh, heartfelt, and beautifully modernised adaptation of ' Romeo and Juliet' , demonstrating that Shakespeare’s themes of love and loss remain just as impactful today.

Brisbane Junior Theatre knocked it out of the park once again with their January production of ' Annie Jr. ' I had the privilege of attending the final performance of the ' Tomorrow' Cast, and what a treat it was! As always, BJT’s casting structure ensures that each young performer has their moment to shine, with two alternating casts giving multiple kids the opportunity to take on leading roles while also supporting each other in the ensemble. One standout performer who remained in his role across all performances was Oscar Fisher as Oliver Warbucks, and it’s easy to see why. He was a natural in the role, commanding the stage with confidence, boasting an accent that could convince a New Yorker, and delivering strong vocals, particularly in ' NYC '. His portrayal evolved wonderfully from the stern billionaire to a warm and caring father figure. His duet with Annie, ' I Don’t Need Anything But You ', was absolutely heartwarming. Speaking of Annie, Esther Valance was nothing short of phenomenal in the title role. Her vocal ability at such a young age was jaw-dropping, with incredible strength, control, and range. She carried many songs, but ' Tomorrow' —sung entirely solo—was a real showstopper. Beyond her voice, Esther truly embodied Annie’s optimism, warmth, and resilience. She even brought real tears to her emotional scenes, which had me misty-eyed right along with her. Carla Barton was a force to be reckoned with as Miss Hannigan, a true master of comedic mayhem. She nailed the trifecta of hilarity: impeccable comedic timing, exaggerated exasperation, and a sleazy charm, making the character both hilarious and villainous. Her accent, movements, and delivery made even the lines I know by heart feel fresh. She commanded the stage with ease and showed absolutely no fear in her performance. Alex Townsley was wonderfully sly as the scheming Rooster, while Neve Isles captured Lily's ditsy charm with flair. Together, they brought electric energy to Act 2, turning 'Easy Street'  into a fun showstopper. Their dynamic with Carla Barton as Miss Hannigan was packed with witty banter that kept my eyes darting between them to catch all the hilarity. James Tweddell was a standout as Bert Healy, bursting onto the stage in Act 2 with incredible charisma, great vocals, and some seriously impressive tap-dancing skills. He was a ball of talent, energy, and attitude, proving himself to be a young star in the making. Charlotte Westaway brought elegance and poise to Grace Farrell, balancing warmth with an authoritative presence. She carried herself with a refined grace that perfectly suited the role. Meanwhile, Henry Gow-Gates was an absolute delight as Drake, looking every bit the part in his dapper mini tuxedo. I particularly loved his comedic timing and playful character choices. The orphan ensemble was a powerhouse of personality, attitude, and boundless energy, with over 20 little girls bringing the stage to life. The lead orphans were exceptionally well-cast for their roles. 'Hard Knock Life' was a high-impact opening number, featuring Jada Parsons' dynamic choreography, which made brilliant use of the space and levels. Other standout dance moments included the polished and playful staging of 'I Think I’m Gonna Like It Here' and the infectious joy of 'Never Fully Dressed Without a Smile.' The orphans' harmonies in 'Maybe' were particularly touching, showcasing their impressive vocal ability and heartfelt delivery. The set design was cleverly crafted, with large pieces that moved around unnoticed between scenes, never disrupting the momentum of the show. The costumes were equally well thought out, particularly the orphans’ layered, patched-up denim, which captured the scrappy, Depression-era aesthetic. Naturally, Annie’s iconic red dress and wig made their appearance, while the Warbucks Mansion staff looked impeccably polished. And, of course, no ' Annie'  review would be complete without mentioning Saffie, the golden retriever playing Sandy, who earned rapturous applause simply for gracing the stage with her presence. Some things in theatre are just universal truths—dogs will always steal the show! The audience was packed and incredibly supportive, with cheers and applause ringing out for every big moment. I was particularly loud from my spot in the second row—how could I not be when these kids were delivering such a fantastic performance? The professionalism, energy, and sheer talent on display made it hard to believe that this entire production was put together in just five days. And the magic isn’t over yet! Many of the parents of these talented young performers are now taking the stage in the full adult production of ' Annie ' by Brisbane Musical Theatre, running from Thursday, January 9th to Saturday, January 11th. If this junior version was anything to go by, the full-length production is bound to be incredible. Don’t miss out— tickets are available here

At the PIP Theatre 2024 Toucan Club Festival, Lucy Lucia unleashed a deeply relatable and hilarious one-woman show titled ' Ickoholics Anonymous' that hit home for anyone who's ever felt the sting of secondhand embarrassment or the full-body cringe of the ick. Armed with a sharp wit, a killer voice, and a PowerPoint presentation, Lucy took her audience on a 45-minute rollercoaster ride through the seven stages of the ick, blending comedy, music, and storytelling into a thoroughly engaging performance.   From the moment Lucy stepped onto the stage, she owned it. With just a projector, minimal props, and her dynamic presence, she guided us through her "IA meeting" (Ickoholics Anonymous, naturally), recounting her supposed "soulmate" encounter at a café. Her storytelling engaged effortlessly, her script a perfect mix of humour, self-awareness, and a Aussie charm.   Although I’m straddling the line between Gen Y and Gen Z, I related to everything . Lucy captured the universal experiences of obsessive crushes, Harry Styles fandom, and cringe-worthy moments like when a man scampers after runaway ping-pong ball. Personally, I’ve been on both sides of the "ick"—I caused one when I fell off a handrail while trying to impress my crush by sliding down it, and I’ve also felt it while watching a boy attempt to rollerblade. Lucy's sharp commentary on Aussie culture—complete with ibis/condom antics and a spot-on depiction of the Fortitude Valley train station—had the audience cackling. And who hasn't winced at a text with tragic punctuation like “your so beautiful”?   The humour hit all the right notes, from her impersonation of her mum to the brilliantly real “delulu hours,” where Lucy described those late-night spirals of Pinterest scrolling, outfit planning, and cringy texts. The use of a projector to display texts, phone screens, and PowerPoint slides added an interactive layer that kept the audience locked in.   While singing wasn’t the main focus of the show, Lucy’s voice was an absolute treat. Whether it was belting out snippets from Wicked , Hairspray , Mulan , or Taylor Swift, or serenading us on the guitar in full “Ken-mode,” her musical interludes were delightful bonuses that complemented her comedy. She made sure every element of her props and costuming was intentional. The lighting and sound were perfectly timed for dramatic and comedic effect and her use of the stage was purposeful and dynamic.   The audience was incredibly supportive, joining in with laughter, cringing, and singing. Lucy's playful charm made everything feel authentic, as if she wasn't just performing for us. By the end, I was so engaged in her journey that her stories felt like my own experiences. Word has it that Lucy is as kind, humble, and down-to-earth as she seems on stage. While I didn’t get to stick around to say hi (I had a date with my cats and my couch), her warmth and authenticity shone through every moment of her performance.   Ickoholics Anonymous  was a refreshing, laugh-out-loud exploration of romance's cringiest moments. Lucy’s comedic brilliance, relatable content, and endearing personality made it an unforgettable highlight of the festival. I’ll be keeping an eye out for whatever she does next—this is a performer who’s going places!

Presented by the Blue Roo Theatre Company and the Queensland Multicultural Centre, Midnight at the Cemetery  was a delightfully eerie and entertaining original production devised and performed by Blue Roo’s inclusive ensemble. This hilarious melodrama invited the audience into a moonlit cemetery, brimming with spooky charm and eccentric characters, for a memorable night of theatrical fun. The story, written by Sarah Jackson and the Blue Roo ensemble, explored themes of trust, scepticism, and the timeless lesson that “if something seems too good to be true, it probably is.” Directed by Lachlan Driscoll, Oriel Halpin (mentored), and James Loakes (mentored), the production celebrated collaboration and inclusion, bringing together a diverse cast of performers who shone in their roles. We were warmly introduced to the company and given a glimpse into the unique accessibility features of the show. With Auslan interpretation provided by Deaf Connect, audio description by Vivien Whittle, and dialogue projected on the back wall, every effort was made to ensure the production was inclusive and engaging for all. The cast of eight brought immense energy and charm to the stage. Benjamin Cox as Mystic Zoltan-the scam artist, opened the show with a lively back-and-forth alongside Stephanie Collas as Kelsey. Ben Halpin’s Mr Grumbles-the grave digger, had wonderful comedic timing, while Sarah Johnson’s Not Igor and James Loakes’ Doctor Twizzle made a wonderfully dynamic duo. Sarah’s understated delivery was a perfect contrast to her zinger lines, and James’ exaggerated expressions, especially during a moment of terror when he cried out for his mummy, had the audience in stitches. Matt Southgate as Nick oozed attitude, practically rolling his eyes in every scene, while Cameron East as the Mummy brought a delightfully spooky charm. Brigid Coote as Mrs Twizzle kept appearing and making everyone laugh with her adorable offering of tea. The choreography by Maureen Bowra was showcased beautifully in the ensemble’s energetic performance of “Monster Mash,” which was a definite crowd-pleaser. The costumes, designed by Catherine McNaught, were both spooky and detailed. What stood out most was the cast’s camaraderie and enthusiasm. Despite the challenges of memorising lines, blocking, and staying in character, the performers excelled, occasionally leaning on improvisation and gentle prompting in a way that felt seamless. The humour and joy radiating from the stage were infectious, and the audience responded with cheers and laughter. The Q&A session following the performance offered a heartwarming glimpse into the cast’s experiences. They spoke about how performing has boosted their confidence, improved their social skills, and allowed them to thrive as a team. One performer shared how theatre had even helped her with their stutter, highlighting the transformative power of the arts. Blue Roo Theatre Company continues to provide life-changing opportunities for performers with disabilities, fostering creativity, confidence, and connection. This talented ensemble will be back in 2025 with theatre programs in Paddington and Kingaroy, and I, for one, can’t wait to see what they create next! Photo Credit: Creative Futures Photography

Disney and Cameron Mackintosh’s Mary Poppins : A Practically Perfect Night at the Theatre 'Mary Poppins: The Broadway Musical'  soared onto the stage in November 2024 at the Twelfth Night Theatre, presented by Queensland Musical Theatre (QMT). Known for their tradition of staging a second annual show with kids involved, QMT selected this beloved family classic to showcase a lively blend of pint-sized performers and seasoned pros. As a proud superfan of this musical and Disney film, I approached this production with both high expectations and excitement. Having seen the stage show many times, I was buzzing to see how a community production would handle such a grand piece. Bringing a production as colossal as Mary Poppins to life is no easy feat, but under the direction of Deian Ping, with Nicky Griffiths overseeing the music and Julianne Burke handling the choreography, QMT presented a delightful rendition brimming with nostalgia, talent, and heart.   Casting Magic I was fortunate to attend an understudy performance with Emma Parkinson (pictured here as Queen Victoria) stepping into Mary Poppins' magical shoes, alongside Tia Godbold and Jake Allen as the mischief-makers, Jane and Michael Banks. Word on the street is that Georgia Mercer (pictured here as Mary), the principal Mary Poppins, was utterly marvellous in her portrayal, captivating audiences with her exceptional talent. However, Emma Parkinson flew in like a seasoned pro, seamlessly capturing Mary’s no-nonsense primness, quick wit, warmth, and underlying enigma. She handled the gigantic role with calm confidence and a divine vocal quality that shone in "Practically Perfect." The Banks children, Tia Godbold as Jane (shared with Alessia Monteverde) and Jake Allen as Michael (shared with Isaac Wilson), were little professionals. Their stamina and acting skills were remarkable, particularly given that they appeared in nearly every scene. They committed to being “perfectly horrid” in the early scenes to provide a delightful contrast to their eventual transformation under Mary’s guidance. Jake’s funny and sugary vocals in “The Perfect Nanny” were a treat, while Tia’s feisty take on Jane nailed the character's bratty yet vulnerable nature. They both managed to present a mix of defiance and longing; their journey from mischievous children to more understanding individuals depicted beautifully in their performances. Ray Gillmore truly embodied the character of Bert with a cockney accent and charm that captivated the audience from his opening moments "Wind's in the East, there's a mist coming in..." Ray was clearly in his element on stage, exhibiting a natural ease, incredible dancing skills, powerful vocal strength, and a friendly face that was always beaming with a warm smile. His easy rapport with the other characters was evident, as subtly guided them on their individual journeys and his friendship with Mary Poppins was endearing and believable; creating a magical connection on stage. Jamie Taljaard portrayed Winifred Banks like a pro, sprinkling warmth all over the stage. She captured Winifred’s quiet strength with subtle emotion and sincerity, which was obvious even from my vantage point at the rear of the theatre. Her solo “Being Mrs. Banks” was a tender and heartfelt exploration of her character's life as a loving mother and supportive wife; a lovely counterpoint to David McLaughlin’s stern yet evolving portrayal of George Banks. Typically known for his comedic roles, David’s portrayal of the serious Mr. Banks was a captivating change (although his goofy side does emerge in Act 2). His performance softened beautifully during the moving duet “A Man Has Dreams”, showing George’s vulnerability and growth in a genuine way. The chemistry between Taljaard and McLaughlin was palpable, illustrating the contrasting yet complementary nature of their characters. Kathryn King delivered a deliciously menacing performance as Miss Andrew, with her formidable operatic voice, wild gaze, and ferocious presence on stage making her a memorable antagonist. The duet she performed with Mary Poppins in the haunting “Brimstone and Treacle” was chillingly brilliant. The impressive vocal harmonies of both actors created a mesmerising auditory experience as the playful undertones of Mary Poppins' voice juxtaposed with the harsh, pompous tone of Miss Andrew.   Supporting characters added touches of humour and heart throughout the production. Kellie Wilson brought hilariously over-the-top drama as the housekeeper Mrs Brill. Skye Schultz captivated everyone with their bumbling antics and exaggerated expressions as Robertson Ay, the clumsy butler. James Hogan's dual roles as Admiral Boom and the Bank Chairman exuded an authoritative presence, embodying pomp and circumstance. Kristie Rabbitt’s tender performance of “Feed the Birds” was a stunning moment in the production. The choral backing combined with the orchestral swell elevated the number to breathtaking heights. Loretta Melit, leading "Supercal..." as Mrs. Corry, exhibited a confident dramatic flair that commanded attention. Jonathan Taufatofua stood out in his featured roles, leaving me wishing he had more time in the spotlight. Special mention must go to Peggoty and McGinty, the adorable dogs portraying Willoughby. Constanza Acevedo Burckhardt, handled the pups with exceptional care as Miss Lark. Whenever one of the tiny pups appeared on stage, their scene-stealing antics had us so entertained that we completely missed what anyone was saying - whoops! A Feast for the Eyes and Ears The set, designed by the duo of Gerard Livsey and Deian Ping, was a character in its own right. Constructed by an extensive team, the set unfolded like a giant storybook to transition between the Banks’ main room, nursery, and kitchen. The props and scenery offered a quintessentially British aesthetic while also serving as functional special effects. While the visual presentation was largely captivating, the scene transitions occasionally felt awkwardly long and frequent, momentarily breaking the flow of the performance. Despite this, the overall impact of the set design remained powerful, as it invited the audience to step into the world of the characters. Deian Ping led a large team dedicated to bringing the characters to life through their costumes. The attire was not only era-appropriate, but they also embraced a whimsical quality. The sheer number of costumes created for the production was extensive and impressive! In the memorable "Jolly Holiday" sequence, the vibrant outfits worn by the characters were a feast for the eyes, featuring bright patterns and playful parasols that evoked a sense of joy and wonder. Even the actors portraying the statues had to be painted in shimmering silver and wear wigs, not to mention the chimney sweeps requiring soot. The logistics of managing such a vast array of costumes, from the initial fittings to the final performance, required a high level of organisation and teamwork, showcasing the incredible effort behind the scenes. The lighting design by Tom Dodds featured an array of spectacular colours that were chosen to complement and enhance each scene. While the lighting was generally effective and contributed significantly to the overall aesthetic, there were moments when it faltered. Specifically, the use of backlighting, although intended to create dramatic effects (and stunning stage shots), often obscured the projected backdrops, rendering them virtually invisible to the audience. This oversight diminished the impact of the carefully crafted visuals that were meant to support the storytelling. Furthermore, the absence of follow spots proved to be a notable shortcoming, as it left the lead performers shrouded in darkness during pivotal moments. The sound operation managed by Josh Cathcart ensured that the balance between the orchestra and the vocal performances was effective, allowing the rich tapestry of sound to resonate beautifully throughout the venue. The orchestra, under the magical baton of Nicky Griffiths, was a driving force behind the intricate and expressive score. Their rich arrangements took the whole production to new heights, especially during emotionally charged moments like “Chim Chim Cher-ee” when Mary departs, or the exhilarating “Let's Go Fly a Kite” when Mary returns. Those familiar with this stage musical know that it predominantly consists of musical numbers or underscoring, and the orchestra never faltered. The ensemble’s vocals were consistently strong, harmonising beautifully and enveloping the theatre in warmth and joy like an enormous musical hug. Guided by Julianne Burke's choreography, each dancer embraced their roles with such passion. Almost every number in the production featured an imaginative array of prop work that added layers of visual interest; whether it was a parasol, a clipboard, a chimney sweep broom, a glowing star, or a kite soaring through the air. “Jolly Holiday” was a whimsical treat with its pastel colours, swirling skirts, and statues springing to life. “Supercalifragilisticexpialidocious” showcased the original, famously complex choreography, executed with precision and the boundless energy of a toddler on a sugar high. It was evident that the cast had dedicated countless hours to rehearsing and coordinating this intricate routine. “Step in Time,” led by tap captain Mike Lapot, was a true showstopper, brimming with thrilling tap sequences, prop work, and acrobatics. Sixteen chimney sweep dancers performed with remarkable stamina and enthusiasm, making it a clear audience favourite. The children's ensemble lit up the stage in the big production numbers, where their youthful energy, colourful costumes, and sheer cuteness were the secret ingredient to the musical's success. The closing number, “Anything Can Happen,” was bittersweet and uplifting, leaving the audience with a sense of hope and wonder as Mary Poppins soared across the stage for a final farewell. Final Thoughts Despite its considerable length, the show’s pacing felt swift, a testament to the cast and crew’s efforts to keep the audience engaged. The exceptional photography captured by Stageshots at Pif Productions captured the magic beautifully, preserving the production’s best moments. For a community production tackling one of the more complex musicals in the repertoire, this production reminded us all that “Anything can happen if you let it.” Queensland Musical Theatre’s commitment to ambitious storytelling remains strong, and their rendition of ' Mary Poppins'  was practically perfect in every way. Photo Credit: Stageshots at Pif Productions