Have you ever, ever felt like this?   If you're an Aussie who remembers the days of dial-up internet and non-streamable television, you probably know how to finish that lyric. For years, ' Round The Twist ' has been the wacky, supernatural gem nestled in Australian hearts. Now, the iconic series is making a comeback as a stage musical at QPAC by Queensland Theatre, and it's a hilariously wild ride! Directed by Simon Phillips with a book, music, and lyrics by Paul Hodge, this world-premiere production breathes new life into the beloved tales of Paul Jennings. The brilliance of Round the Twist: The Musical  lies in its ability to bridge gaps between generations. For adults who grew up watching the beloved TV series, the musical is a trip down memory lane, filled with beloved characters, iconic moments, and plenty of laughs. Meanwhile, the vibrant, fast-paced, and utterly bizarre storyline captures the imaginations of younger audiences who may be experiencing the Twist family’s antics for the first time. Matt Hetherington as Tony Twist nails the dorky single-dad vibe, awkwardly wooing Fay James (Liz Buchanan) while trying to keep his mischievous kids in check. Hanlon Innocent shines as Pete Twist, delivering powerhouse vocals and humour. Charly Oakley embodies Linda Twist with spunk and ingenuity, while Luka Sero takes on the role of 10-year-old Bronson (a role shared with Edison Ai and Sebastian Sero)  with hilarious results—Bronson’s one-liners are comedic gold, particularly “I’ll just give up food forever; then I’ll never need to poo.” Nick Van Lits is perfectly obnoxious as Gribble Jr., leading the rebellious ' New Kid'  with swagger and featuring an awesome rap by Carla Beard as Tiger. Meanwhile, David James and Tarita Botsman serve as the villainous Mr and Mrs Gribble, complete with an evil anthem that showcases Botsman's famous operatic talent. Taylah Johns, as Fiona, has a divine voice that adds depth to the show’s quieter moments. The cast is beautifully in sync, with Pete and Tony Twist in particular being so goofy and alike that they genuinely seem related. The songs by Paul Hodge are a huge highlight, balancing hilarity and heart. From the very first number, 'Fresh Air,'  you’re hooked. This opener sets the tone with sky-high energy, pitch-perfect performances, and a sprinkle of fart jokes—what more could you want? The distinct Aussie accents remind you that this is a story rooted in our backyard, and the humour is unmistakably ours too. Numbers vary from the haunting ' The Fourth of September'  sung by Christen O’Leary’s Nell to the absurdly funny ' Good Pair ,' which juxtaposes Bronson’s smelly feet with a romantic duet among the three budding romances of Andrew and Linda, Tony and Fay, and Pete and Fiona. ' Someone Else’s Shoes' is ano ther standout, a playful family number as they play dress-ups with circus costumes found in the lighthouse. While wearing the clothes, the Twists begin to channel the spirits of the circus and the whimsical moment transforms into an emotional dive into the shipwreck mystery. And 'Up the Pong' is a stinky delight with a tune that captures the chaos of Bronson’s smelly feet. But the crown jewel of Act One is 'Without My Pants.' This hilarious and ridiculously catchy number sees Pete scrambling to give a history report while trying not to repeat his cursed phrase. Hanlon’s belting here is simply phenomenal and elevates the comedic chaos to new heights. Act Two ramps up the madness with ' Lucky Lips' , a rock anthem about an enchanted lipstick that inspires uncontrollable kissing. The choreography here—and throughout the show—is a blast, with Andrew Hallsworth’s playful, inventive moves drawing consistent cheers. Nell’s emotional ballad ' The Lighthouse'  pieces together the show’s mysteries, while the recurring theme of the TV show’s iconic song ties it all together beautifully. The show takes every opportunity to deliver moments of theatrical magic. The lighthouse, which serves as the central set piece, opens up dramatically to reveal the interior, drawing audible gasps from the audience. Designer Renée Mulder’s sets and Craig Wilkinson’s projections feel like stepping into a pop-up storybook. From vibrant scene transitions to vivid animations, the visual storytelling is nothing short of spectacular. The special effects elevate the show to a new level, featuring illusions like a levitating clarinet, words materialising on a painting, and a collapsing dunny door, bringing a sense of childlike wonder to the production. Round the Twist  has always been a show that celebrates the unusual, weaving supernatural antics with the universal challenges of growing up. This musical adaptation remains true to this essence. Underneath the laughs, there’s a surprising emotional depth. The story explores family dynamics with honesty and sensitivity, touching on themes like fear of change, the challenges of fitting in, and navigating new relationships. “We’re all scared, we try to hide it, but even adults get scared—don’t fight it,” sings the cast in one poignant moment, reminding us that vulnerability is universal. By the time the finale hits, with its jaw-dropping set reveal and a rousing group singalong, you’ll be itching to go home and re-watch the series. This show is unashamedly Australian, unrelentingly fun, and brilliantly crafted to appeal to all ages. Whether you grew up with the original series or are discovering it for the first time, Round The Twist: The Musical  will have you laughing, gasping, and maybe even tearing up. With its affordable rush tickets on TodayTix and its undeniable charm, this is a must-see production. Don’t miss your chance to get swept up in the twists of this lighthouse adventure. Strange things are definitely happening—Grab a ticket before it’s gone! Tickets available here

Strictly Ballroom , presented by Beenleigh Theatre Group as their grand finale for 2024, is an absolute whirlwind of colour, heart, and Aussie charm to bring Baz Luhrmann's original film to the stage. Directed by Daniel Dosek, this iconic Australian musical is packed with everything we love: sequins, romance, cheeky humour, and, of course, the power of dancing to express what words can't. The set, repurposed from previous productions this year, immediately grabs your attention with its dramatic, red-draped design - immersing us in the glitzy world of ballroom dancing - sequins, spray tans, and the stressful quest for that shiny trophy. Set in the early 1980s, the show follows Scott Hastings, a young man from a family involved in the world of competitive ballroom dance who becomes disqualified after doing moves that are not strictly ballroom style. Fran, portrayed by Jade Plaistow, is a young woman from a Spanish migrant family with a passion for dance that comes from the heart, not the rulebook. James Bird as Scott Hastings is easy on the eyes and ears—he's the perfect embodiment of the cocky but vulnerable young dancer. His solo dance numbers give off serious Footloose  vibes (or Troy Bolton in HSM3 ...), channelling the youthful passion of a character who wants to break free from the norm. On the flip side, Jade Plaistow’s Fran is a cute yet fierce presence, and the chemistry between them is heartwarming and believable. Their electric dynamic stands out in their sultry duet of "Perhaps, Perhaps, Perhaps", perfectly capturing the tension between them. Their romantic duet, " Time After Time, " is a standout moment, beautifully sung and danced amidst the fog under the glow of a Coca-Cola neon billboard and twinkling lights. It’s one of those moments that feels genuinely magical, showcasing both their vocal and physical talents in a beautiful way. Although my personal favourite moment is the enchanting "You Can't Have Everything" , where Fran finally asserts herself. Their characters’ journey is genuinely heartwarming, and you can’t help but root for them the whole way through. Supporting performances round out this production with heart and hilarity. Michael Ware delivers a wonderfully deadpan Doug Hastings, the typical “boring dad,” while Bradley Chapman channels every dance mom cliché with gusto as Shirley Hastings. Ruby Thompson's performance as Tina Sparkle is dazzling – from her glittering pineapple dress to the demanding choreography, Thompson’s commitment to the role of the reigning diva of the ballroom embodies all the drama and sass of the original character. Marina Pennisi’s portrayal of Vanessa is comedy gold, channelling the energy of sidekick Gretchen from Mean Girls . Brent Jeffrey is another gem, bringing laughs as Ken Railings, even though his stage time is brief. Every second he’s on stage is packed with physical comedy, proving that sometimes it’s the small roles that steal the show. Similarly, the kids in the cast, including Beau Bruback as Luke and Amelie Iffland as Kylie, bring adorable sass. Their "Let’s Dance"  number is as cute as it gets. Speaking of stage presence, the ensemble delivers with high energy from start to finish. While the opening numbers, like “Strictly Ballroom” and “ All Out War,” had their sound issues due to some troublesome microphones, the ensemble’s commitment to keeping the energy up was admirable. Special mentions go to the standout dancers of the show, Meggie Ryder and Ruby Thompson, who executed the more complex routines with flair and precision. The choreography by Hayley Iffland and Heather Barraclough is impressive in its ambition and it's quite decent in its execution, especially considering the demands of such an energetic dance-heavy show. The "Magnifico" number, where the Spanish characters teach Scott the true meaning of rhythm in dance, is a vibrant celebration of passion and culture. Samantha O'Hare, who plays Fran’s abuela, has a voice that truly soars here, and her vocal power is a joy to hear in the stunning duet " Life is a Leap of Faith." The staging is eye-catching, thanks to the lighting design that bathes the set in shades of red, purple, and blue, capturing the heat on that dance floor. Costumes reflect the glamorous world of ballroom dancing while adding that signature Strictly Ballroom flair, like the feathered costumes in the Act 2 opener, “Beautiful When You Dance." The 7-piece band – led by musical director Peter Laverncic – maintains a lively upbeat atmosphere, and vocal director Nicholas Hargreaves deserves a special mention for guiding the cast to sing with the Australian accent and maintain strong vocal performances while executing intense dance routines. It's no easy task. From the exaggerated Australian accents to the flamboyant wigs to the over-the-top personalities of its characters, Strictly Ballroom doesn’t take itself too seriously. Whether it’s the dramatic character of Barry Fife, brought to life by Adam Iffland, or the scene-stealing Liz Holt (played by Brooke Edwards), the comedic moments are plentiful and laugh-out-loud funny. For fans of Dirty Dancing , Footloose, Grease, or even Priscilla Queen of the Desert ... Strictly Ballroom at Beenleigh Theatre Group is a feel-good, witty, and visually beautiful performance that celebrates individuality, passion, and the freedom to live life on your own terms. If you’re in the mood for a night of humour, heart, and some epic dance moves, make sure you don’t miss this energetic finale to Beenleigh Theatre Group’s 2024 season. Tickets available here

Title: The Lovely Bones Presented By: Beenleigh Theatre Group Genre: Drama/Thriller Play Synopsis: Adapted from Alice Sebold’s bestselling novel, The Lovely Bones tells the poignant and haunting story of Susie Salmon, a 14-year-old girl observing her family and community from the "In-Between" after her murder. This gripping tale explores grief, resilience, and love that transcends even the darkest moments, blending drama, emotion, and unexpected hope. Audition Information: Audition Date (In Person): Sunday, 15 December 2024 Audition Times: Between 9:00 AM and 3:00 PM Audition Location: Crete Street Theatre, Crete Street, Beenleigh QLD 4207 Self-Tape Submissions Due: 3:00 PM, Sunday, 15 December 2024 Callback Dates: To be scheduled on subsequent weeknights after 15 December Audition Requirements: Prepare a contemporary dramatic monologue (1–2 minutes) with a US East Coast accent. Grandma Lynn should prepare a contemporary comic monologue. Available Roles: (Some doubling may occur depending on casting.) Susie Salmon (14, F): The murdered protagonist. A deeply emotional and vulnerable role. Mr Harvey (Middle-aged, M): A disturbing yet seemingly ordinary serial killer. Ruth Connors (14–late teens, F): Introspective classmate with a supernatural connection. Abigail Salmon (35–45, F): Susie’s grieving mother seeking self-discovery. Jack Salmon (35–45, M): Susie’s father, driven by his quest for truth. Lindsey Salmon (13–20, F): Susie’s resilient younger sister. Grandma Lynn (55+, F): A mix of levity and wisdom, providing stability to the family. Ray Singh (14–late teens, M, South Asian): Susie’s crush. Ruana Singh (35–45, F, South Asian): Ray’s perceptive mother. Det. Len Fenerman (30+, M/F): The detective on Susie’s case. Other Characters: Buckley Salmon, Samuel Heckler, Heavenly Girls, and ensemble roles including cops and victims. Some roles include intimacy and pre-recorded audio scenes. These will be carefully managed with an intimacy coordinator. Rehearsal Schedule: Start Date: Mid-January 2025 Days/Times: Tuesdays & Thursdays: 7:00 PM – 10:00 PM Sundays: 12:00 PM – 4:00 PM Performance Details: Opening Night: Friday, 28 March 2025 Closing Night: Saturday, 12 April 2025 Show Times: Friday and Saturday evenings (7:30 PM) & Saturday matinees (2:00 PM) Additional Information: Some actors will be required to film content for cinematic elements in December/January. Due to the mature themes, roles for children will be played by young adults, except for specific heavenly roles. Auditionees must become a BTG member prior to rehearsals ($10 fee). How to Apply: Video Auditions: Submit via email to info@beenleightheatregroup.com by 3:00 PM, 15 December 2024. In-Person Auditions: Book your slot via TryBooking. For further information, download the full audition pack: The Lovely Bones Audition Pack (PDF)

Title: Don't Dress for Dinner Presented By: Coolum Theatre Players Genre: Comedy Synopsis: Bernard is planning a romantic weekend with his mistress at his charming French farmhouse while his wife, Jacqueline, is away. He has arranged for a cordon bleu cook to prepare gourmet delights and invited his best friend, Robert, to provide an alibi. It's a foolproof plan!However, Robert turns up not knowing why he’s there and, awkwardly, he’s Jacqueline’s secret lover. Jacqueline decides to stay, forcing the cook to pretend to be the mistress while the actual mistress reveals she can’t cook. Add in the cook’s protective husband, and chaos ensues with alibis swapped, improvisation galore, and confusion escalating at breakneck speed. Audition Date: Monday, 9th December 2024 Wednesday, 11th December 2024 Audition Time: 7:00 PM Audition Location and Address: Coolum Civic CentrePark Street, Coolum Beach Audition Requirements: No preparation is required. Just turn up. Accent work (French, English posh, English working class) may be explored. Cold reads from sections of the script will be provided. Improvisation exercises may be included. Available Roles: Bernard: Male, late 30s to mid-50s. Handsome businessman, flirtatious, dapper, and self-assured. Jacqueline: Female, late 30s to mid-50s. Bernard’s wife, assertive, romantic, intelligent, and modern. Robert: Male, late 30s to mid-50s. Handsome, reserved, seemingly nice but a secret scoundrel. Suzette: Female, late 20s to mid-40s. The cook, funny, friendly, working-class, with hidden sophistication. Suzanne: Female, late 20s to late 30s. Bernard’s mistress, chic and stylish but easily flustered. George: Male, mid-50s+. Suzette’s husband, strong, protective, intimidating, and no-nonsense. Performance Dates: Friday, 28th March 2025 at 7:30 PM Saturday, 29th March 2025 at 7:30 PM Sunday, 30th March 2025 at 2:00 PM Friday, 4th April 2025 at 7:30 PM Saturday, 5th April 2025 at 7:30 PM Sunday, 6th April 2025 at 2:00 PM Performance Location: Coolum Civic CentrePark Street, Coolum Beach Production Website: Auditions Information Other information: For further details, contact the director, Nick Smith, via email at nickinbuenos@gmail.com

Agatha Christie's ' Murder on the Nile ', directed by Sharon White and performed at Nash Theatre, is a gripping and unexpectedly funny dive into love, betrayal, and murder. Set aboard an opulent riverboat, the production sweeps you into a world of class, chaos, and conspiracy. It's a theatrical voyage that'll have you gripping the edge of your seat and laughing at the absurdity along the way. The set, designed by Sharon White and constructed by Phil Carney, is a standout element, recreating the saloon of a luxury Nile riverboat with remarkable detail. From the elegant couch and wicker chairs to the decorative tassel pillows and beautifully painted backdrops by Philippa Dwyer and Helen Barrett, every piece invites you into the lavish yet claustrophobic setting. It’s the perfect stage for this deadly drama. The cast brings their A-game, nailing accents (British, French, and German) and immersing the audience in the riverboat journey. Samantha Herde plays Kay Mostyn with poise and grace, kind of like Rose from Titanic with her classy accent, aristocratic air, and nerves that could snap at any moment. Playing her beleaguered hubby Simon, Matthew Hobbs is a man trapped in a web of his own making. You can really feel his frustration with Philippa Dwyer as Jacqueline de Saverac—his dangerously unhinged ex-fiancée—as she begins coming apart at the seams. Hobbs perfectly captures Simon’s stress and panic as his carefully managed world starts falling apart. Philippa Dwyer’s performance as Jacqueline de Saverac is magnetic. She plays the jilted lover with a mix of heartbreak and threat that's just riveting; from her cheeky grin when she first struts on stage to the drunken tirade that leaves everyone holding their breath. You just can't help but be drawn in by her wild-eyed determination and calculated actions. The supporting characters add humour and intrigue to the drama. Linda Morgan as Miss ffoliot-ffoulkes is wonderfully self-absorbed, delivering melodramatic moments that land perfectly. Jonathan Knox as William Smith is the comic relief we all crave. His comedic timing is spot-on, and his awkward attempts to woo Madelyn Scott as sweet and demure Christina Grant are a fun break from the murder mystery. John Mann as Canon Pennyfather is a natural fit. His charmingly straightforward demeanour and expressive way of speaking perfectly captures the character who unwittingly becomes the confidant and detective. Cheney Hossack, portraying Louise the maid, brings an additional layer of intrigue with her authentic French accent and an air of knowing something we don't. Meanwhile, Thomas Bean as the steward maintains a quiet but notable presence, always lurking, observing and subtly grabbing attention when it counts. Phil Carney’s lighting and sound design are minimal but effective, keeping the focus on the cast's performances and the script. The sound effects—such as the startling gunshots and atmospheric riverboat sounds—add subtle layers of authenticity to the production. Director Sharon White has done a fantastic job balancing the suspense and humour. The pacing is excellent, ensuring that each scene lands its emotional or dramatic impact. As the play unravels, it’s a joy to piece together the clues alongside the characters. The layers of drama, gossip, and romance woven throughout the investigation keep you guessing until the final, breathtaking revelation. As someone who had never read the book or seen the film adaptations, the experience of playing detective in real time added a personal thrill to the evening. With its polished performances, stunning set, and intriguing storyline, Nash Theatre’s ' Murder on the Nile' is an enthralling journey into the mind of Agatha Christie. Fans of classic murder mysteries, suspenseful drama, or even sharp comedic moments will find much to love here. Step aboard this spellbinding production before it sails away! Now playing until 7th December 2024 Tickets available here

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

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

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

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

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

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

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