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.

Title: Stranger Sings! The Parody Musical Presented By: Millennial Productions Inc. Genre: Parody Musical Comedy Synopsis: Join the upside-down world of Stranger Sings!, a hilarious parody musical of the iconic ‘80s-inspired series Stranger Things. Expect pop culture references, witty humour, and a charmingly nostalgic soundtrack as you follow Mike, Dustin, Lucas, and the rest of the Hawkins gang on their wild supernatural adventures. Audition Dates: Thursday, 28th November Location: Bracken Ridge Community Hall, 77 Bracken St, Bracken Ridge QLD 4017 Individual Auditions: 6:20pm - 7:00pm, 8:00pm - 9:30pm Group Dance Call: 7:00pm Sunday, 1st December Location: Toombul Shire Hall, 1141 Sandgate Rd, Nundah QLD 4012 Individual Auditions: 1:30pm - 4:50pm, 6:00pm - 8:30pm Group Dance Call: 5:00pm Callbacks: Date: Wednesday, 4th December Time: 6:00pm - 10:00pm Location: Bracken Ridge Community Hall Specific times for callbacks will be provided individually. Unavailability on this day may impact casting outcomes. Audition Requirements: Vocal: Prepare two 1-minute pieces: One in 80's Pop/Rock style One contrasting Musical Theatre piece (Please avoid songs from the musical. Backing tracks are required, as no piano accompaniment will be available.) Dance: Participate in a group dance call, which will involve learning choreography from the show. Wear comfortable, movement-friendly attire. Acting: Auditionees will receive sides for a cold read in the audition room. Self-Tape Submissions (if unavailable in-person): Video submissions, covering both vocal and acting components, are due by 5pm, Saturday 30th November. Submit via Dropbox/Google Drive link to: admin@millennialproductions.com.au Audition Registration: Register for an audition: Audition Registration Link For video submissions, use our alternative registration: Video Audition Link Rehearsals: Rehearsals will begin Sunday, 2nd February, following a 10-week schedule: Tuesdays: 7:00pm - 10:00pm, Bracken Ridge Community Hall Thursdays & Sundays: 7:00pm - 10:00pm, Toombul Shire Hall Additional Saturday rehearsals may be scheduled as needed. Attendance is expected at all rehearsals. A detailed schedule will be provided at the first session. Performance Dates: Performances will run 18th - 26th April 2025 at Ron Hurley Theatre, Seven Hills. Cast must be available for tech week beginning 14th April. Production Team: Director: Kristen Barros Musical Director: Victoria Keomahavong Choreographer: Jess Briskie Character Breakdown: The ages stated below are playing ages. All actors must be 18+ years old. LUCAS: 12-years-old, Person of Colour, Tenor (D3-B4). The skeptic of the group, he is hard to win over but is as loyal as they come. Ready for battle with the DEMOGORGON at any time. Also doubles as DEMOGORGON (The MONSTER of the show! Physically agile, with a street dance-inspired style and ability to freestyle with charisma and unique moves while wearing a full-face mask) and ERICA, Lucas’ little sister. Must have good PHYSICAL comedic timing. MIKE: 12-years-old, Tenor (D3-Bb4). Mike is the fearless leader of the group. While on a mission to rescue his best friend Will, he gets sidetracked by possible romantic feelings for ELEVEN. Strong movement ability preferred. Must have good comedic timing. DUSTIN: 12-years-old, Tenor (B2-Bb4). Talkative yet wise-cracking, Dustin has a heart of gold that shines through his big smile that goes directly with his big personality. You can’t help but love him and agree with him on everything he says. He has a lisp. Curly hair a plus. Strong movement ability preferred. Must have good comedic timing. STEVE/JONATHAN: 17-year-old, Tenor (G2-falsetto E5). The high school heartthrob with the most glorious hair you’ve ever seen. He gives into the patriarchy easily, that is until an unlikely ally comes along to challenge him. Doubles as JONATHAN. The outcast at school, he will stop at nothing to find his younger brother, WILL. He seems to be doing just fine on his own...that is until Nancy starts to notice him. HOPPER: 25-45-year-old, Baritone (A2-F#3). A Sheriff of Hawkins, he is an alcoholic with his own emotional baggage, but is driven to uncover the truth behind Will's disappearance. Looking for that “something more," he finds comfort inJoyce's off-beat personality as she looks for her son. Strong movement ability preferred and strong rock falsetto a plus. Must have good comedic timing. JOYCE: 25-40-year-old, Mezzo with Belt (Ab3-F5). Constantly at a “10,” she is strong-willed yet hysterical and like Jonathan, will stop at nothing to find her son, Will. She also may have a few screws loose. Strong Winona Ryder impression a plus. Must have good comedic timing. NANCY/ROBIN: 16-years-old, Alto with High Belt (F3-F5). A smart and curious high schooler who thinks the world revolves around her and her love life. She may be well intentioned, but she pays the price for her narcissism when her best friend, Barb, suddenly disappears. Also briefly appears as ROBIN. Must have good comedic timing. Strong movement ability and jazz skills are a plus. BARB: 16-year-old, Alto with High Belt (G3-E5). She is the frumpy best friend who always seems to be forgotten. Hopelessly awkward and a bit naïve...that is until her best friend’s betrayal brings out her inner Regina George. This role calls for a STAR. Improv skills a plus. Strong movement ability preferred. Must have good comedic timing. ELEVEN: 12-years-old, Alto (F#3-E5). She has telekinetic powers and a whole lot of Daddy issues. While physically small and a person of few words, her intensity cannot go unnoticed. Short hair (or buzzed) a plus. ENSEMBLE: Additional ensemble members will be cast in a variety of minor roles and understudies. These roles include but are not limited to: WILL: 12-years-old, Tenor (C3-A4) or Alto (F#3 to F5). Will may seem wimpy and a tad pathetic, but his resilience to stay alive and pursue big dreams is unparalleled. Must have good comedic timing. Puppeteering skills a plus. EIGHT Former a Hawkin’s Lab child with Eleven, who’s escaped and living freely! DR. BRENNER: Rock tenor. Must have good comedic timing and strong movement ability. Additional Information: Selected cast members will incur a $25 annual membership fee. No further fees are required. This production is not remunerated. We strive to respect the integrity of the production and strongly encourage applications from performers of varied experiences and circumstances including (but not limited to) performers from culturally diverse backgrounds and performers with disabilities. We encourage all performers of any gender identity to audition for the role(s) in which they believe are best representative of them as none of the below roles are restricted to any gender.

Produced by : Marina de Jager Directed by: Riley Cope Musical Direction: Rachel Breeze Choreography: Abby Cutlack   If you were looking for a show that packed an emotional and musical punch, ' Heathers' was the ticket you’d been waiting for. Based on the 1989 cult classic film, this production plunged us straight into the hormone-fuelled world of Westerberg High, where the Heathers rule the school and Veronica Sawyer is tangled up in a web of power struggles, mean-girl antics, and a whole lot of questionable life choices.   As my first-time stage experience with ' Heathers' , I was blown away from start to finish! The opening number 'Beautiful' showcased Veronica's impressive vocals and the memorable quick-change moment that had the audience cheering. From there, we were thrust into the heart of Westerberg, with a set that captured everything from the school's high walls to more intimate spaces, like JD’s bedroom and the local 7/11. The lighting and costuming were spot-on, with signature red, yellow, and green hues enhancing the 80s atmosphere. Kristin Sparks truly lit up the stage as Veronica Sawyer, capturing the character's teenage dorky charm. Her nuanced acting abilities and extensive experience allowed her to adeptly guide the character through a transformative journey, from vulnerability in the face of the Heathers' manipulation and susceptibility to JD's influence, to a steady realisation of the consequences of their cruelty. The legendary 'Dead Girl Walking' was electrifying as Veronica tipsily climbs through JD’s window to seduce him. Sparks' vocal register shifts and belting ability while executing challenging movements just further emphasised her remarkable talent. She had the audience eating out of the palm of her hand, balancing intense passion and rebellion with an underlying vulnerability. Plus, the stunning lighting enhanced the fiery atmosphere that engulfed the stage. By the time Veronica unleashed her solo, “I Say No,” Sparks had activated her character's inner badass survival mode. You could feel the weight of her character’s journey in every note. Her expressive eyes—exhausted, frantic, and desperate—told the entire story, akin to the gaze of someone struggling with an addiction. Nathan Wheeler as Jason Dean (JD) paired well with Sparks, resulting in an electric vocal connection on stage. His velvety voice infused with intensity brought a haunting quality to songs like 'Freeze Your Brain,' where the reverberation effect on the microphone transformed his delivery into something cinematic - revealing his villain origin story. As the show progressed and the stakes grew higher, JD's descent into darkness only enriched Wheeler's interpretation. By his climactic solo 'You Were Meant to Be Mine,' Wheeler's raw and desperate vocals drove home JD’s manipulative nature. The chemistry between Nathan Wheeler and Kristin Sparks was divine, particularly in the 'Our Love is God' and 'Seventeen' duets. Their voices meshed beautifully, with Wheeler’s deep, commanding tones perfectly complementing Sparks' equally strong vocals.   The three Heathers nailed their roles like they were born for it! Ashlyn Hehir as Heather Chandler, Kyra Stout as Heather McNamara, and Natalie Ferris as Heather Duke formed an impeccable trio, serving up a combination of ruthless cruelty and pure teenage ignorance. 'Candy Store' was exceptional, producing a rich harmony that hit that sweet spot (pun intended). These '80s mean girls had a magnetic pull that made it impossible to look away. Ashlyn Hehir was like the dream Heather Chandler I never knew I needed! Her voice soared and her comedy shone in 'The Me Inside of Me.' And even in her ghostly form, she completely dominated that stage. Kyra Stout poured her heart out in 'Lifeboat' as Heather McNamara, making us all feel the emotional weight of suicidal thoughts. It was a moment that reminded us of the real and painful realities of these characters' lives. And then there's Natalie Ferris as Heather Duke - she was the perfect mix of authority, sass, and attitude in her show-stopping solo 'Never Shut Up Again,' asserting herself as the new queen. Her lightning-fast costume change, insane vocal runs, and the whole ensemble dancing around her made it an iconic scene to remember.   Kurt and Ram were absolute scene-stealers who fully embraced the absurdity of their characters with wild enthusiasm. Played with impeccable comedic timing by Sage Lynch (Ram) and Eli Fahey (Kurt), the duo embodied the brutish buffoonery. These two might have been the stereotypical clueless jocks, but their performances were anything but one-dimensional. From their amusing antics in 'You're Welcome,' to their continuous reappearances in ghostly form, these two had a knack for turning every moment into a punchline. Sally Hancock delivered a remarkably heart-wrenching performance as Martha singing 'Kindergarten Boyfriend.' Her angelic vocals exuded vulnerability as this seemingly sweet song transformed into a poignant moment that revealed a lot more depth than anticipated. Sophie Mason played multiple roles, but her portrayal of Ms. Fleming was especially memorable. Her soulful gospel solo 'Shine a Light' was flawless in both vocal execution and stage presence (as expected), but also included some impromptu audience interaction and some awesome light-up prop books.   Of course, we couldn’t talk about this production without mentioning the ensemble. They brought the energy and urgency needed to keep this dark comedy rolling. Portrayed by Jackson Kellaway and Mackenzie Pratt, Kurt and Ram's fathers triumphed with 'My Dead Gay Son,' characterised by its prideful spirit and iconic mullet wigs. Everyone on stage had this palpable chemistry and enthusiasm that made me wish I could hop up there and join them. Under the musical guidance of Rachel Breeze, every number reached the highest standards of professionalism. Abby Cutlack’s choreography was the cherry on top, especially during 'Fight For Me'; a hilarious slow-motion scene as the three lead boys engage in a fight on stage, which not only elicited big laughs but also displayed unexpectedly graceful movements. The show’s climax was staged as well as they could have, with tension and adrenaline escalating through the fight choreography. It was the final group encore that left many of the actors visibly moved to tears.   While ' Heathers' touched on some dark and controversial topics—bullying, teen suicide, sexual assault—it managed to balance these moments of intense drama with just the right amount of humour. The cast’s ability to make even the darkest moments light-hearted was a testament to the strong direction from Riley Cope. The mix of comedy and tragedy was expertly executed, and by the time we reached the explosive finale, I was thinking how quickly we had reached that point!   From captivating choreography to show-stopping solos, this ' Heathers' production delivered on every front. The cast and crew should be incredibly proud of their work. As I overheard one audience member say while leaving the theatre, “It exceeded my expectations.” And honestly, it exceeded mine too. Photos by Brit Creative If any pronouns are incorrect, please message Stage Buzz Brisbane and I will correct it. Thank you.

'String Revolution,' presented by Honour Productions, showcased a mesmerising fusion of classical elegance and rock-and-roll energy. Act One: Classical Quartet The first act of ' String Revolution' opened with a classical performance by the talented quartet of Joshua Smith, Nyssa Corney, Courtney Sanders, and Hyewon Chang. The synchronicity between these musicians was undeniable, while each one delivered their solo lines with incredible texture and an almost visual storytelling, as though they could see the music itself. The lighting matched the mood of each piece so perfectly, often illuminating the musicians from behind and bathing the stage in an ambient glow. During the moody tone of Rachmaninoff's ' Allegro Moderato' , the atmosphere was enhanced by fog and red lighting, creating a striking silhouette of the quartet. Each note was amplified well, filling the intimate venue where around 80 attendees had gathered to witness these musicians up close. And this intimate setting created a closeness that made the performance all the more powerful. It is a stark contrast to the detached experience of sitting far away from an orchestra in a vast concert hall. A highlight of this act was an original composition titled ' Fair Winds and Following Seas'  by 22-year-old composer Imogen Ferdinando. This composition depicted the non-linear journey of grief and healing in a breathtaking way. The rich, deep sounds of the cello paired harmoniously with the interplay of the other instruments, resembling the clash of waves - each element unpredictable yet perfectly synchronised. At one point, the chaotic dissonance of the melodies created the illusion of separate songs being played, only to come together into a satisfying resolution. It was a stunning moment, easily the most compelling composition of the act.   The classical quartet also explored the haunting melodies of ' Oppenheimer' and ' Knives Out' , with the latter’s tricky timing and glissandos creating an auditory experience that itched my brain just right. The Mozart number, on the other hand, transported the audience to 1772, evoking the whimsical elegance reminiscent of a Jane Austen novel. The entire act was filled with layered melodies and dynamic choices that kept us enthralled. Act Two: The Rock Set The second half of the evening was a complete 180, in the best possible way. The rock act, featuring Kat Augustakis and Asa Deacon on electric fiddles, Nicholas Tam on electric cello, Elias Kokkoris on double bass, and supported by Sam Hewerdine (keys), Marius Angelo (bass), Nathanael Clyde Tadle (drums), and Mitchell Patullo (electric guitar), opened with an electrifying rendition of ' Smooth Criminal' . Right from the start, the atmosphere was charged with energy, and it didn’t let up for the rest of the night. By the second song, Fall Out Boy's ' Thnks fr th Mmrs' , the bow strings were already snapping from the intensity of the performance. The stadium-level lighting had me feeling like I was at a rock concert, not a string ensemble show. The standout number of this act was ' Smells Like Teen Spirit' . Kat Augustakis, the mastermind behind the arrangement of these rock songs, deserves massive credit—what a talent!   'Crazy Train' allowed the electric guitar to shine, and Mitchell Patullo absolutely slayed the solo. The emotional pull of ' Nothing Else Matters' was enhanced by Elias' powerful double bass resonating so deeply you could feel it in your bones. Marius seduced the audience with a bass solo that paved the way for a mashup of ' Seven Nation Army' and ' Sweet Dreams' . A playful nod to ' Bluey ' preceded Bon Jovi’s ' You Give Love a Bad Name' , and by the time that number hit I found myself fully wanting to headbang! The entire band was clearly having the time of their lives, and their enthusiasm was infectious. They closed with some INSANE finger work by Kat and Asa in ' Afterlife' , but the encore—where all 12 musicians from both acts returned to perform the ' Pirates of the Caribbean'  theme together—was the most memorable moment of the night. The collective power of all those instruments created an epic finale that radiated an undeniable sense of joy. It’s a rare treat to see such versatility in a single music performance, and Honour Productions has certainly delivered an experience that I won’t soon forget.

'Something Said,' a production by Sun and Wine Arts Company, written and directed by Claire Yorston and staged at Backdock Arts, explored the emotional complexities of sisterhood, childhood trauma, and the struggle to reconcile with a painful past. The plot centres on two sisters, Lorelai and Sabrina, who have been estranged for a decade. Lorelai (27), played by Yorston herself, is a psychologist coping with her traumatic upbringing. She is abruptly reconnected to her 17-year-old sister Sabrina, played by Avalokita Hoffman, when Sabrina initiates contact by writing her letters. The play opens with Yorston delivering a monologue about multiverses and sisterhood. Her performance as Lorelai is deeply introspective, portraying a woman who seems simultaneously self-protective and self-destructive. The interplay of strength and vulnerability in her performance is gripping, especially during the "what if" monologue, where she grapples with the realisation that she is letting her sister slip away once again. Avalokita Hoffman's portrayal of Sabrina is natural and sweet, embodying youthful innocence. Sabrina’s initial letters are filled with hope and curiosity, delivered by Hoffman without any hint of anger or resentment, but rather with a sincere desire to reconnect. This juxtaposition with Lorelai’s bitter and anxious attitude is striking—Sabrina appears to symbolise all that Lorelai has lost, including her ability to trust and show vulnerability. Emma King and Carter Firmager provide strong supporting performances, with King particularly standing out in the flashback sequences where Lorelai confides in her teenage best friend Sarah about her abusive parents. These flashback moments are carefully woven into the script to draw attention to the parallels between Lorelai’s neglect and feeling of abandonment in her youth and Sabrina’s current search for explanations as to why her sister left. Yorston’s script skilfully unravels layers of the sisters’ past through letters and flashbacks, with each sequence revealing new insights into their relationship, including Lorelai's pivotal choice to contact CPS, leave home at 16, and ultimately adopt Sabrina; a decision that remains unfulfilled. The stage design includes a split-stage layout that mirrors the inner worlds of the sisters and emphasises the age and emotional gap between them. Lorelai's side is minimal and clinical, including a desk and chairs for her therapy office, whereas Sabrina's side is cozy and disorderly like a teenager's room. The music in the play serves as a subtle backdrop during scenes where the sisters silently go about their daily routines side by side, which only further emphasise the isolation that each one experiences. The lighting design helps to differentiate the sisters' emotional states: bright, warm lighting for Sabrina's hopeful letters and harsh, focused lighting for Lorelai's tense monologues. Tensions reach a climax as the sisters express their innermost feelings through overlapping monologues. Lorelai's pent-up frustrations and anguish are laid bare, while Sabrina fears abandonment once more. Despite her youth, Sabrina comes across as the more emotionally mature of the two, trying to break through the walls her sister has built between them. One of the play’s most powerful lines, "I'm glad you got the healed version of the people who should have been my parents," encapsulates the bittersweetness of Lorelai’s journey. Yorston has captured the weight of unresolved trauma and the resentment that festers when one feels abandoned. Lorelai's complex relationship with her parents—recovered alcoholics who sought rehab and redemption after she left home and her sister was placed in foster care—prompts reflection on forgiveness and whether true healing is ever possible.   The play concludes with a bittersweet tone as the sisters have their first in-person meeting. Despite the awkwardness and unspoken tension, a glimmer of hope shines through. Sabrina's curiosity and efforts persist, while Lorelai maintains her guarded demeanour, unsure whether she can open up to her little sister after being alone for so long. The line, "In another universe, I hope we get another chance at being sisters," prompts the audience to contemplate the fragility of family ties and the courage it takes to confront the past. 'Something Said ' is a deeply moving theatre piece, driven by beautiful performances and Yorston’s poignant writing. The story of Lorelai and Sabrina is both heart-wrenching and hopeful, remind us that while we cannot change the past, we can choose how to move forward. This production showcases the strength of intimate, character-driven storytelling, and it's clear that Sun and Wine Arts Company have brought something truly special to the stage.

JDProCo's cabaret, ' The Broadway Jam Vol II ', was an exhilarating night of musical theatre curated by the amazing Josh Daveta. The venue was packed to the brim and the cast was teeming with insane talent, with each song handpicked by the performers to showcase their versatility. So versatile, in fact, that I found myself faced with a delightful challenge: many of the songs were unfamiliar to me! I mean, how can one be expected to know all these obscure songs, right? But hey, I wasn't the only one lost in this sea of musical surprises. The eclectic mix of tunes kept us all on our toes, eagerly anticipating the next unexpected gem to hit our eardrums.   As Josh, our charismatic MC, explains early on, this show is a celebration of versatility, with selections spanning across decades and genres—from Singin' in the Rain to Rocky Horror to Spring Awakening . Every performer is a natural storyteller... and likely professionally trained, but who's counting? They transported us through different stories, delivering heartfelt ballads and electrifying showstoppers as an array of diverse characters, albeit detached from their original contexts, because that's how JDProCo rolls. Act 1: Stories in Song The show opened with Heidi Enchelmaier leading the ensemble in a soulful and stirring rendition of "Mama Who Bore Me" from Spring Awakening . Stumbling out with a gin bottle in hand, Fiona Buchanan completely morphed into Miss Hannigan for her comedic rendition of "Little Girls" from Annie —one of many laugh-out-loud moments throughout the night.   Nathaniel Savy mesmerised the crowd with "Simply Second Nature" from Charlie and the Chocolate Factory . Sitting front row, I can tell you this: there was a literal twinkle in this man's eyes—a magical quality that, combined with his divine voice, made it clear he would make an incredible Willy Wonka. You could feel his love for the role pouring out, embodying the eccentricity of the character flawlessly. Josh Daveta's elegant rendition of "Stars and Moon" from Songs for a New World was an unexpected yet beautiful choice that perfectly complemented the reflective tone of Act 1. It was clear that storytelling was at the heart of this act, with each artist pouring their soul into their chosen ballad. I found myself clinging to every lyric in a way I don't normally do with mainstream music. Kristin Sparks performing "Sexy" from Mean Girls was a standout crowd favourite, absolutely nailing it with her full commitment to the character. She was adorable, hilarious, and, well... sexy! Although I have always loved this song, experiencing it live for the first time was a special treat, thanks to Kristin's portrayal of Karen's ditzy charm. Another highlight of the evening came from Grace Royle, whose rendition of "Sweet Transvestite" from The Rocky Horror Picture Show had the audience shivering with antici.............pation. They channeled the iconic character's spirit while adding their own soulful touch and fabulous flair! The full ensemble number "For Now" from Avenue Q exploded with energy and sheer joy that the cast experienced on stage. Aysa Garcia Wong's beautiful rendition of "The River" - from the brand new Alicia Keys musical Hell’s Kitchen - captivated the crowd, while Sam Caruana stepped into the shoes of Frankie Valli to deliver "I’m in the Mood for Love" from Jersey Boys . His incredible vocal range, seamless register switching, and falsetto left the audience in awe. Heidi offered up another jaw-dropper with "Another Life" from The Bridges of Madison County . Although I had never heard this song before, I find myself itching to learn it now. Heidi captivates with the beauty of her storytelling by painting a vivid picture through her voice and expression. Kyla Price shone brightly with "Wishing You Were Somehow Here Again" from The Phantom of the Opera , infusing the classic ballad with even more emotional resonance than I thought possible. Hayden Rodgers wowed everyone with their performance of "Snow Angel," popularised by Renee Rapp, showcasing impressive melismas that had the audience gaping and nodding in appreciation. Chelsea Sales sang "Quiet" from Thirteen Stories Down , displaying an astonishing grace and beautiful voice that never fails to shock me, no matter how many times I see her on the stage. Act 2: The Younger Years   Act 2 took a playful turn, with the seasoned performers embracing younger, often teenage, characters. It was both nostalgic and refreshing to see these familiar characters reimagined by this cast. Heidi, complete with fairy wings and tiara, portrayed a very young girl while performing “My Party Dress” from Henry and Mudge . Her talent was on full display as she nailed the persona of a hyperactive child. It was hilarious, adorable, and had the entire audience in fits of laughter. Kristin Sparks took on the tough solo of "Home" as the spunky Lydia from Beetlejuice , absolutely nailing the performance with her strong vocals. Plus, "Candy Store" from Heathers by Kristin, Chelsea, and Aysa, was every bit as good as you would expect it to be. Nathaniel returned to the stage and soared with "Giants in the Sky" from Into the Woods as the adventurous Jack. This is no easy song to sing—it’s fast, intricate, and packed with lyrics—but Nathaniel was up for the challenge. Sure he stumbled over some tricky sections (who hasn't struggled with Sondheim?), but he recovered brilliantly, charming the audience with his genuine and playful approach to the song. Hayden Rodgers waved their wand and transformed into Elphaba for a powerful rendition of "The Wizard and I" from Wicked . This song holds a special place in my heart, and Hayden did not disappoint. Their vocal acrobatics and sustains were simply astounding. You could feel the passion radiating from them, creating a truly magical performance. Adding to the charm, Georgie Taylor delivered a sugary sweet, acoustic rendition of "Singin’ in the Rain," bringing smiles to all our faces. In a sweet surprise, Aysa Garcia Wong and Hayden joined forces for a duet of "Tonight" from West Side Story , and it was spine-tingling. The sparks were flying as they channeled their inner teen lovers Tony and Maria, their voices harmonising beautifully. Sam Caruana took on "No Turning Back Now", made famous by Jeremy Jordan, a poignant song about a 17-year-old's hopes and fears about becoming a dad. His vocal performance was top-tier (obviously), and the emotional depth he brought to the song was incredibly sincere.   Fiona delivered a hauntingly beautiful rendition of "The Man That Got Away" from A Star Is Born , and Grace followed up with a powerful performance of "Midnight Radio" from Hedwig and the Angry Inch , both commanding the stage with their presence. Then, Josh channeled Fairy Godmother from Shrek 2 and brought massive energy with "Holding Out for a Hero," even allowing the audience to sing along—something I’d been hoping for all night! In a humorous and unexpected twist to the setlist, Chelsea transformed into Pearl alongside Sam as Mr. Krabs for a delightful performance of "Daddy Knows Best" from SpongeBob The Musical . Josh and Kyla's memorable duet of "No One" from Hell's Kitchen displayed their harmonious blend, forming a stunning moment of connection as Kyla accompanied on the piano. The night ended with a bang as the cast joined forces for a powerful and polished performance of "You Will Be Found" from Dear Evan Hansen . The harmonies were tight, the emotion was felt, and it became a genuine celebration of belonging and community. You could see how much this moment meant to the performers and I walked away feeling completely uplifted.   Jakey Bristow provided musical accompaniment for all the songs during the evening, elevating the performances with his exceptional piano skills, and seamlessly incorporating tracks to enhance standout pieces like Heathers  and Dear Evan Hansen . Under the leadership of Josh Daveta, the atmosphere within this production company is undeniably filled with joy. The sense of belonging was felt by every single audience member, and I, for one, can't wait to return for the next installment in 2025. The Broadway Jam is clearly a labour of love, and you can feel it in every note sung and every lyric shared.

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

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

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

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

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

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