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Embarking on my first venture into the realm of radio theatre, I felt like a curious explorer discovering a forgotten treasure trove of storytelling. As a millennial with no prior exposure to this vintage art form, I was both intrigued and excited by the prospect of experiencing a performance that relied solely on the power of sound to ignite the imagination. Originating in the 1920s, radio plays swiftly rose to prominence as a leading form of international entertainment by the 1940-50s, captivating audiences at home with their immersive storytelling. Presented by New Farm Nash Theatre, "The War of the Worlds - The Lux Radio Play" offered an immersive journey into the world of science fiction. The cast was brilliantly chosen, showcasing versatile talent that transported viewers back to 1955 from the moment they stepped on stage. Each cast member embodied their multiple roles with aplomb. The flawless execution of Hollywood's transatlantic accent, particularly from Ella Bromback, added an authentic touch, complemented by exquisite emerald green period costumes that evoked the glamour of the era. The evening began with "The Day the Earth Stepped Sideways," a comedic play exploring the whimsical concept of traversing alternate universes, similar to that of ‘The Midnight Library’, ‘Rick and Morty’, and ‘Loki’ for my younger readers. The comedic banter was sharp and witty, effortlessly eliciting laughter from the audience. The play explored themes of mother-son dynamics, the pursuit of knowledge, and the unpredictable nature of choice. Each moment presented an opportunity for characters to venture down new paths, continually stepping sideways into a myriad of bizarre and amusing realities, from a whimsical land where communication with birds reigns supreme, to a world where rhyming is the language of the day, to a chase scene through a tap-dancing society. Interspersed with real radio advertisements for 'Lux' products from 1955, we transitioned smoothly into "The War of the Worlds," based on the classic 1953 film, where the audience found themselves thrust into the midst of a Martian invasion. For me, some standout performances were John Mann's commanding presence, Petra Donnison's flawless execution of multiple accents, and Lara Latham's embodiment of every character they portrayed. One of the production's most impressive features was its use of sound effects, masterfully crafted by the skilled foley artists stationed at the back of the stage: Rob Crook, Hazel Newman, and Mark Corben. With a myriad of physical objects at their disposal, from metal sheets and fake doors to balloons and rubber gloves, they brought the auditory landscape to life with remarkable precision. Personally, I momentarily closed my eyes to immerse myself fully in the auditory journey, vividly envisioning each scene with remarkable clarity, despite never having seen the 1953 film. “The Lux Radio Play" is a captivating homage to the golden age of radio drama, skilfully brought to life by New Farm Nash Theatre. With its impeccable performances, ingenious sound effects, and nostalgic charm, this production is a must-see for aficionados of timeless storytelling. NOW PLAYING UNTIL MARCH 23, 2024 TICKET LINK

A Millennial Reflection on the Turbulent Transition to Adulthood Millennials and Gen Z assemble because this is the show for us! ‘Big Yikes,’ presented by Playlab Theatre at the Brisbane Powerhouse and penned by the insightful Madeleine Border, delved into the chaotic realm of post-high school existence with unfiltered honesty. The audience was mix of young adults, and as the show began, a sense familiarity immediately washed over me. Juliette Milne's portrayal of Loxie, the protagonist navigating the daunting journey from adolescence to adulthood, was anchored by her unwavering commitment to the character. Despite initially feeling intimidated by the prospect of remaining onstage throughout the entire production, Milne expressed much excitement at the opportunity to originate a character in an new Australian production. The laughter that constantly rippled through the theatre was both cathartic and validating. As Loxie stumbles through her first job as a kitchen hand at a café – also my first job – her mishaps, from spilled drinks to burnt coffee and panic attacks, left me nodding in recognition. Even if those specific incidents don't resonate with you, fear not. Loxie's journey also encompasses struggles with navigating social interactions, dealing with demanding customers, complexities of divorced parents, encountering fake friends, coping with stressed-out supervisors, anxiety from university decisions, getting drunk on $5 wine, late-night calls to mum for a ride home, enduring conversations with overly talkative strangers on public transport, and the awkward apologies following romantic rejections – a collective "YIKES!" moment indeed. Amid Loxie's tumultuous journey, 'Big Yikes' masterfully weaves relatable moments and profound insights. From the realisation that “not everyone is gonna like you, and vice versa,” to the humorous musings of “I don’t have time for domestic duties anymore, I’m a working girl!” — each line serves as an illustration reflecting the nuances of modern life, including the cost-of-living struggles. But as Loxie grapples with the complexities of adulting, she encounters wisdom in unexpected places too — “I’m going to find my calling, by not finding my calling,” a reflective reminder that growth often arises from discomfort. The versatile trio of Billy Fogarty, Tenielle Plunkett, and Christopher Paton, comprising the supporting cast, seamlessly shifted between roles, bringing a kaleidoscope of characters to life. Their interactions with Loxie underscored the multifaceted nature of young adulthood, where every encounter can shape our journey of self-discovery. The uncomplicated set design, paired with innovative projections and lighting techniques, provided a dynamic backdrop for Loxie's story. Scenes transitioned smoothly; enhanced by witty lines projected onto the set, such as 'If you can’t afford medication… try meditation.’ The Q&A session following the performance offered insight into the creative genesis of the production. Playwright Madeleine Border shared her inspiration behind the play, citing the noticeable absence of representation for the daunting transition from high school to university within the realm of theatre. Notably, 'Big Yikes' demonstrated a commendable commitment to inclusivity. Gender-neutral characters, names, and pronouns were intentionally integrated into the storyline. This approach ensured that the production resonated with a diverse audience, amplifying its impact and relevance. In essence, ‘Big Yikes’ serves as a mirror reflecting the joys and tribulations of modern youth. With its blend of humour, heart, and authenticity, it invites audiences to laugh, reflect, and empathise with the universal journey of growing up. NOW PLAYING UNTIL 23rd MARCH, 2024 BOOK NOW: Ticket Link

Can you tell us a bit about yourself and how you got started in theatre? Rhea: Of course! I am Rhea, I have an adorable dog, and I just finished my Masters of Clinical Psychology. I actually fell into musical theatre by accident. My first show was in 2022, after I spontaneously auditioned for 'Little Shop of Horrors' with the Savoyards. I had no real musical theatre experience before (excluding a school musical or two in primary school), and the main reason I auditioned was because I was procrastinating writing a thesis. After scrolling through FaceBook, I saw this random audition opportunity, decided to audition for one of the urchins, and I was lucky enough to get in--from there, it's been impossible to stop! Did you undergo any formal or informal training? If so, where and how did it shape your skills? Rhea: I did take singing lessons in high school, which was super valuable for both learning about my voice and also helping me grow in terms of confidence. However, there were two other things that were pivotal in shaping my skills: The Queensland Theatre Company's Youth Ensemble. I was very blessed to be part of their production of 'Hamlet', and it was simply amazing to work with these directors who were so passionate and knowledgeable. They provided us with brilliant audition tips, very personalised feedback, and opportunities to explore different roles. School Choirs. At the time, they felt like just a fun activity to do--but really, choirs have taught me so much! Holding a harmony, learning to sight read, blending voices -- these skills are so essential in musicals, and have helped me so much. How do you prepare for a new role? Rhea: It depends on the role, really! A lot of my roles so far have had a strong emphasis on singing very complex harmonies within a very small group -- so my main preparation has always been listening to the songs until I know them to the core. Singing aside, when it comes to my character, I think having a background in psychology has always helped me really try to understand character motivation, character goals, and character dynamics within a show. I try really hard to give any role a little analysis -- also taking into account how I, personally, would like to make it my own. Can you share a particularly memorable project from your theatre career so far? I have one that happened only last month! It was in Footlights Theatrical Inc.'s cabaret, 'She's All That' -- the show itself consisted of nine fabulous ladies singing nostalgic girl power anthems. During one of the beautiful ballads sung by another cast member, the lights of the venue just completely went out -- in fact, the whole suburb lost power. Somehow, through pure willpower and also the generator of a taco truck, the crew managed to power up four microphones and a light to keep the show running. Not only was that, in itself, just so inspiring and incredible to watch -- but I had a really special moment where, during my own rendition of "Girl On Fire", all the power just suddenly returned to the venue. It was so truly memorable, seeing everything just light up suddenly, and seeing all the joy in everyone's faces. I don't think I'll ever forget it. Are you working on any shows at the moment? Rhea: I am actually behind the scenes, this time! I am music directing 'Blood Brothers', with Ghostlight Theatre Co. It is my first time music directing a show, and I was definitely very nervous when I first started. However, the cast and creative team have been nothing short of wonderful -- kind, fun, and so hard-working. I'm having a blast! The creative team was lovely, and let me just go crazy with the music -- they've let me write harmonies, change things up, and add my own little quirks to the songs. I am so grateful for the opportunity, and I am so excited to see all the magic come to life onstage! Are there specific types of roles or theatre genres you find most rewarding or challenging? Rhea: Huge fan of all things musical! If there's singing in it, I'll be there. I am especially sold if there are hints of gospel within the music. I have mostly worked with smaller casts, and I have loved every single one. You do very much become like a family -- and it really gives you the chance to connect with all these amazing people with all sorts of different backgrounds. However, I'm still relatively new to the world of theatre--so I am so incredibly excited to continue to explore and try out new things. 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? Rhea: For me, it's all about learning. I have a lot to learn, and so approaching directors, actors, and production teams with an open mind and enthusiasm has always been the way to go for me. An experience that really stood out for me was actually in my first musical, 'Little Shop of Horrors' with the Savoyards. The musical director, Hayley Marsh, is genuinely one of my role models. She just has this amazing ear for music, and her vision for the music was always so much fun to work with. Even though being an urchin and learning tricky harmonies was a challenge, she always made it fun, and had so much patience and wisdom to give. While I'm teaching music for 'Blood Brothers,' I often think about some of her techniques and tips. She really is amazing! What are some highlights throughout your stage journey that you are particularly proud of? Rhea: I think a particular highlight for me was playing Olive in 'The 25th Annual Putnam County Spelling Bee' by Brisbane Arts Theatre. This was particularly rewarding, because it was the first time I had to perform for so many nights -- the show ran for six weekends, and I was really proud of the stamina and determination that I had to perform each weekend while completing my masters degree. It was also very rewarding to be a finalist in the 'Best Lead Actress in a Community Musical' in the Golden Palm Awards for that role. That role and that show was so incredibly close to my heart, and it was so nice to receive feedback that the love I had for that role was present onstage as well. Are there specific goals or roles you aspire to achieve in the future? Rhea: I want to explore more! I want to work with different companies, I want to try different genres and styles, I want to work with bigger casts, and I want to music direct more! It is so exciting to me that there are so many different opportunities out there, and I don't want to miss any of them. I don't have any dream roles just yet -- but I will let you know when something snatches my heart! What advice do you have for individuals hoping to gain a role in a stage show? Rhea: Just give it a go. Because, really, what is the worst that happens? Sure, you don't get in, and it stings for a little while -- but there's always opportunities to get feedback and grow, and then nail the next audition. All panels are always looking for something different, and you may just be that person they are looking for! And always ask for help. You're never on your own -- not in theatre. There are always people who are happy to give you tips, feedback, and support.

I am thrilled to share my experience attending the second and final 'Swing and Jazz' performance at the Ipswich Courthouse on Sunday the 10th March, 2024. The joint was buzzing with local talents belting out some divine jazz tunes, and I was delighting in it. The repertoire encompassed classics from the likes of Frank Sinatra, and Frank Sinatra, and even Frank Sinatra! Just kidding, we got a bit of everything, including numbers from Chicago, Cabaret, Sweet Charity, and a sprinkle of Bobby Darin, Ella Fitzgerald and more classics. Notably, the Andrews Sisters trio, the emotive duet of 'That's Life,' the father/son rendition of 'Summer Wind,' and a captivating German adaptation of 'Mack the Knife' left an indelible impression. The inclusion of dance numbers added a wonderful dynamic element to the overall presentation. Now, the Ipswich Courthouse might not be the Sydney Opera House, but it sure did the job. Stu Fisher even cracked a joke about spending all the cash on air-conditioning the venue instead of getting a live band, and let me tell you, the audience was grateful! Big kudos to the local legends who took the stage. There's something magical about everyday folks sharing their talents, and it warms my heart. The community spirit was definitely alive and kicking at the Courthouse today.

I recently attended the Saturday matinee performance of 'Banging Denmark' at PIP Theatre, and I'm thrilled to share my impressions of this captivating production. The play, written by Van Badham, is a rollercoaster of emotions, seamlessly weaving humour and social commentary, leaving audiences (mainly the women) oscillating between rage and empowerment. The story revolves around Aussie Jake Newhouse, a management consultant with a dubious side gig as a toxic male podcaster and self-proclaimed pick-up genius. Aptly named ‘Banging Denmark’ as Jake pursues a Danish librarian in an attempt to 'bang' her, although she is not interested in the slightest. It takes a hilarious turn as he enlists the help of his enemy, academic feminist Ishtar, for flirtation tips. This was my first visit to PIP Theatre, nestled in the charming corner of Park Road in Milton. The venue's inviting ambiance, complete with a delightful terrace adorned with plants, and a fully air-conditioned theatre, is adaptable for a variety of productions. While my schedule did not permit lingering for post-performance discussions, I wanted to commend the cast for their immersive portrayals. Rijen Lane, embodying the character of Jake, successfully lives up to the stereotype that 'J' names are often trouble; he truly embodied the essence of a red-flag persona. From the play's outset, Jake's awful advice on seduction sets a bold and infuriating tone. Ishtar (Tegan Braithwaite), on the other hand, emerged as a quirky and passionately driven personality, captivating the audience with her unconventional and unpredictable charm. Denyse (Janaki Gerard), Ishtar's hilariously protective and intelligent best friend, contributed to the ensemble with her adorable presence. Toby (Dudley Powell) emerged as a lovable mathematician who navigates the complexities of love with endearing cluelessness. Amelia Slatter, brought the character of Anne to life with flair, complete with a Danish accent and attitude. But she’s not all that she seems… The staging, characterised by simplicity and intimacy, fostered a genuine connection with the audience. Laughter echoed throughout the theatre, a testament to the cleverly crafted script and the ensemble's adept and authentic delivery. The chemistry between the actors, under the astute direction of Heidi Gledhill, was the highlight of the play for me. The pacing ensured a seamless transition between scenes, sustaining audience engagement throughout both acts. I will say that Jake's journey to redemption is highly satisfying, complete with a random dance number at the end that adds a delightful touch. The unexpected camaraderie with the strangers seated next to me added an extra layer of enjoyment to the theatrical experience. The shared laughter, whether in response to the cringeworthy moments involving the misogynistic lead, the brilliantly delivered one-liners, fantastic physical comedy, or even the breaking of the fourth wall, created a unique bond among the theatregoers. Theatre, after all, is as much about the collective energy of the audience as it is about the performance on stage. 'Banging Denmark' at PIP Theatre emerges as a compelling piece of theatre, blending laugh-out-loud humour, social commentary, and poignant moments. For those seeking an evening of thought-provoking entertainment, this production proves to be a commendable choice. Now playing until March 23rd. Note: Contains strong coarse language and adult themes... duh.

Performance Dates: February 3-4, 2024 Location: Nosferatu Distillery, Bowen Hills Director: Rhona Leigh Bechaz Choreography: Samantha Graham Cast: Samantha Hancock Hannah McNamara Hannah Macri Annie James Clare Thomson Marina Pennisi Samantha Sherrin Lisa Alsop Rhea Basha The atmospheric Nosferatu Distillery in Bowen Hills not only provided a captivating backdrop for Footlights Theatrical's "She's All That" but also played a pivotal role in elevating the entire cabaret experience. The intimate setting, coupled with the tantalising aroma of onsite gin production, set the stage for an unforgettable night of entertainment. Two sold-out shows, each housing 70 enthusiastic audience members, turned the venue into a buzzing hive of anticipation, complete with delectable cheese boards and a taco truck. The almost 30-number performance was an unceasing display of energy and talent. Standout group numbers, including the high-energy finale "Born This Way" and the cheeky cabaret rendition of "Lady Marmalade," showcased the cast's versatility. Solo performances were well-rehearsed and executed, creating poignant and empowering moments. The choice of more subdued musical numbers too, such as "Fuckin' Perfect" and "Beautiful," resonated with the audience. The sweet and reflective costuming, coupled with thoughtfully chosen lighting colours, effectively highlighted each girl's personality. Despite the challenging heat affecting hair and makeup, the performers navigated these hurdles with grace, demonstrating their dedication to delivering a visually stunning show. Some volunteer hair stylists might be considered for next time to create a unique stage-ready style for each performer. The first performance faced an hour-long power outage during Hannah Macri's solo, "Both Sides Now." Undeterred, the cast and audience improvised with phone torches, creating an unexpectedly beautiful moment of human connection. Despite technical glitches persisting through the second set, the resilience of the cast, particularly as the power returned during Rhea Basha's powerful rendition of "Girl on Fire," was commendable. The audience played a crucial role in shaping the atmosphere, contributing to a fantastic collective experience. The camaraderie between the performers and the audience turned the unexpected challenges into moments of shared laughter and understanding. "She's All That" emerged as a resilient cabaret affair, overcoming unforeseen technical obstacles with poise and humour. The second performance, marked by improved technical conditions, showcased the true professionalism of the team. Despite the heat, the collective blast of high energy created a memorable experience for all involved. Footlights Theatrical's "She's All That" leaves the audience eagerly anticipating their next cabaret production, hoping for another round of exceptional performances in the future.