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Murder Incorporated Mayhem Theatre at PIP Theatre   I walked into Murder Incorporated  expecting something odd... I did not expect to leave questioning my sanity, fearing poodles, and thinking deeply about the emotional intimacy between a man and his office rug. And honestly? I had a great time!   This is a fast-paced, gleefully ridiculous farce that knows exactly  what it is and commits to it with absolutely no shame. From minute one, the cast are fully aware of the nonsense they are serving and invite the audience to be in on the joke, breaking the fourth wall early, often, and with a mischievous grin.   The premise, in theory, is simple (in practice… not so much). Murder Incorporated  is a business that hires assassins. Two new recruits (both of whom have drastically lied on their résumés) are paired together and sent out into the world to kill people. Or animals. Or… Tom Cruise-ship? From there, things escalate quickly and then continue escalating until the word “plot” becomes more of a vibe  than a structure. Stephanie Collins is an absolute comedic standout as Chad: a dorky, hyper-verbal nerd with a soul patch and a suit decorated as aeroplane-themed “plain clothes.” Chad never stops talking, mostly about deeply niche nerdy interests, and Collins commits to every ramble with sharp comedy, goofy accents, and ridiculous facial expressions.   Sean Wilson  plays Sasha, a supposed Russian assassin who is, in reality, a cat lady with twenty-four cats at home. Sean's dry delivery and strange flirtatious back-and-forth with Chad becomes one of the show’s unexpected joys. Sam Hoepner  brings unpredictability to Mr. Murder; a boss who is very genuinely, very earnestly in love with his office rug. Yes, a rug. And the rug is played by a stagehand ( Ridley Paulsen ), who repeatedly breaks the fourth wall and keeps popping out with a sheepish grin.   Then there is Dylan Clevens , who deserves a medal, a nap, and possibly a chiropractor. As the ultimate swing performer, Clevens plays everything  else — including (but not limited to) a little frail old lady, Tom Cruise-Ship (in aviators, speaking exclusively in movie titles), and the deeply unsettling Bubblegum Poodle (or something?). His physicality is relentless and hilarious. And I will probably have nightmares about that poodle mask now.   Written and directed by Amanda Harrison , the show leans hard into being in the round , with constant movement around and through the audience. The action is up close and personal. There is truly nowhere to hide from Murder Inc . You can feel how much of the show thrives on improvisation and ad-libbing, which gives it a loose, chaotic energy that suits the material perfectly. The cast’s commitment is what really sells it. Every performer throws themselves into the absurdity with full sincerity, never backing away from how ridiculous it all is.   Is the plot difficult to explain? Absolutely. Does it always make sense? Not even remotely. Did I enjoy myself? Completely.   This is theatre that does not take itself seriously and that’s its greatest strength. If you love ridiculous, chaotic, self-aware theatre, I highly recommend grabbing a very large drink (or something stronger), surrendering logic at the door, and going along for the ride.

Title: Vanya, Sonia, Masha and Spike Presented By: Noosa Arts Theatre Genre: Comedy / Drama Synopsis: A riotous, heartfelt comedy where Chekhov meets cocktails, midlife crises, and a very tight pair of shorts. The play follows siblings who have spent years stuck in the past and are suddenly forced to confront the present - along with an aging movie-star sister, her much younger boyfriend, a prophetic cleaning lady, and a starry-eyed ingénue. Audition Date: February 9th, 2026 Audition Time: 6PM Audition Location and Address: Noosa Arts Theatre, 163 Weyba Road, Noosaville, QLD 4567 Audition Requirements: Actors should prepare using the audition pieces provided (links available from the theatre website). Neutral accent preferred (not strong Australian); strong comic timing, listening, and truth in performance are essential. Audition Registration: Attend the audition on the night; details for audition pieces and materials are available from Noosa Arts Theatre website Audition Pack: Audition pieces available via the theatre’s audition resources found on the Noosa Arts Theatre website. Performance Dates: May 21st - 31st, 2026 Performance Times: Thursdays & Fridays - 7:30PM Saturdays - Sundays - 2PM Performance Location: Noosa Arts Theatre, 163 Weyba Road, Noosaville, QLD 4567 Performer Age: Adult roles; specific age guidance provided in character descriptions. Production Website: Noosa Arts Theatre - Vanya Sonia Masha and Spike Other Information: Noosa Arts Theatre encourages performers of all experience levels. Auditionees are encouraged to join the theatre’s audition notification list for updates. Available Roles / Character Breakdown: Vanya – Male, 50s–60s; dry, intelligent, deeply stuck, centre of the household chaos. Sonia – Female identifying, 40s–50s; earnest, anxious, emotionally raw, emotional heart of the play. Masha – Female identifying, 50s–60s; glamorous, dramatic, narcissistic actress. Spike – Male identifying, 20s–early 30s; confident, self-absorbed, unintentionally hilarious. Cassandra – Female identifying, any age; wild, theatrical prophetic neighbour. Nina – Female identifying, early 20s; bright, hopeful aspiring actress.

Title: A Doll’s House Presented By: Villanova Players Genre: Drama / Classic Theatre Synopsis: Henrik Ibsen’s A Doll’s House is a play about awakening – and the personal cost of clarity. Set in late 19th century Norway, A Doll’s House is a high-stakes domestic drama that remains as vital today when it was written in 1879. Nora Helmer lives a carefully constructed life built on a secret she has carried for years: a deceit she engaged in to save her husband Torvald’s life. When a desperate blackmailer threatens to expose her secret, Nora is forced to confront the reality of her marriage, her life, and herself. The play explores the emotional cost of honesty, the struggle for self-determination, and the courage it takes to see one’s life clearly. The play is a landmark of modern drama and shocked audiences of the time with its naturalism and unflinching examination of marriage, gender roles, and societal expectations. In 2026 when expectations and societal pressures seem to be ever bearing, when personal choice and identity has been almost swapped for convenience and acceptance, A Doll’s House is as relevant today as it ever has been. This new production aims to invite a 21st century audience to the play while remaining truthful to Ibsen’s original text. Audition Date: February 15th, 2026 Audition Time: 10AM - 12PM Audition Location and Address: Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills, QLD, Australia Audition Requirements: Villanova Players asks interested performers to complete an Expression of Interest form and book a time slot for auditions. Audition sides and the audition pack can be downloaded from their audition page. Audition Registration: Fill out the Expression of Interest form and Book an Audition Time  via the Villanova Players website. Audition Pack: A Doll's House Audition Pack Performance Dates: May 1st - 10th, 2026 Performance Location: Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills, QLD, Australia Rehearsal Dates: Commence March 1st, 2026 Rehearsal Times: Tuesdays & Thursdays 7 - 9:30PM Sundays 11AM - 4PM Rehearsal Location: Villanova Players rehearsal venue / Ron Hurley Theatre, Seven Hills, QLD Performer Age: Adult actors suitable for roles typically in A Doll’s House  range from young adult to mature adults (see roles below). Creative Team: Director - Luke Monsour Production Website: Villanova Players Theatre - A Doll's House Other Information: Villanova Players welcomes participation from all community members and encourages diverse backgrounds, identities, and experience levels. Available Roles / Character Breakdown: NORA HELMER: Female, late 20s – 30s A woman who appears playful, naïve, and dependent, but is revealed to have a complicated inner life that leaves her fundamentally in conflict with the social expectations that entrap her. Nora is not naïve or childish; she is learning to articulate truths she has long felt but never named. TORVALD HELMER: Male, 30s – 40s Nora’s husband who is charming, articulate, socially respectedand highly principled, embodying the rigid moral standards of patriarchal society. We are seeking actors who can make Torvald recognisably human, not villainous. DOCTOR RANK: Male, 40s – 50s A close family friend of the Helmers; he is witty, intelligent, and emotionally perceptive. Rank uses humour to mask loneliness and physical decline. The role requires subtlety, restraint, and the ability to communicate deep feeling without demanding attention. KRISTINE LINDE: Female, 30s – 40s Nora’s school friend, a widow who has endured hardship and supported her family all her life; she is practical, grounded and emotionally mature. NILS KROGSTAD: Male, 30s – 40s A man marked by past disgrace and present desperation. Krogstad must be a threat, but also vulnerable. This is not a “villain” role, but a deeply human one.

Title:  One Act Plays Presented By:  6 Mangrove Productions Genre:  Theatre / One Act Plays   Synopsis:   Join us for a series of young adult plays alongside our seasoned actors.   Audition Date:   February 7th, 2026 Audition Time:   2PM - 4PM Audition Location and Address:  Bribie RSL - Anzac Room, 99 Toorbul Street, Bongaree, QLD, 4507   Audition Requirements:  Script cold reads on the day Audition Registration:  Email 6mangroveproductions@gmail.com Performance Dates:  March 27th & 28th, 2026 Performance Times:   Friday - 7PM Saturday - 1PM & 7PM Performance Location:   Bribie Community Hall96 Arcadia Avenue, Woorim, QLD, 4507   Rehearsal Dates:  Tuesday and Thursday evenings   Performer Age:  All ages and gender. Production Website:   6 Mangrove Productions - One Act Plays

Title: Fireface Presented By: The Velvet Collective & PiP Theatre Genre: Drama / Contemporary Theatre Synopsis: In a seemingly ordinary middle‑class household, teenage siblings Kurt and Olga share a closeness that goes well beyond what their parents understand. The parents, absorbed in their own routines and distractions, fail to grasp the depths of their children’s alienation. Meanwhile, Kurt becomes obsessed with fire‑making and destruction; Olga, restless and searching for identity and desire, reaches beyond the family orbit. When Paul enters the mix, the fragile equilibrium unravels quickly. Tensions build, desires collide, and the family home becomes a battle ground for rebellion, obsession and disintegration. This family is about to explode. Audition Date: Auditions accepted until February 5th, 2026 Audition Registration: Submit a recent headshot and CV or a letter detailing your experience and training to velvetcollectivetheatre@gmail.com Audition Pack: Fireface Audition Pack Performance Dates: June 24th - 27th, 2026 Performer Age: Characters span from teens (18–25) to adults (late 30s–late 50s). Creative Team: Director - Nic Davidson Production Website: The Velvet Collective - Fireface Other Information: The Velvet Collective is an independent multidisciplinary group focused on original and text-based performance work in South East Queensland. Available Roles / Character Breakdown: Kurt – Masculine presenting. Playing range 18–25. Lonely, unpredictable, quietly obsessed. Olga – Feminine presenting. Playing range 18–25. Slightly strange, self-assertive, provocative; grappling with identity. Mother – Feminine presenting. Playing range late 30s–late 50s. Passive, melancholic, caring but struggling to understand her children. Father – Masculine presenting. Playing range late 30s–late 50s. Oblivious, avoidant, emotionally detached. Paul – Masculine presenting. Playing range 20–30. Independent, partly kind, slightly possessive; Olga’s first boyfriend.

Title: Tiny Beautiful Things Presented By: Maleny Players Genre: Drama Synopsis: Based on the bestselling works of Cheryl Strayed, Tiny Beautiful Things  follows “Sugar,” a struggling writer who suddenly takes on an anonymous online advice column. Through raw, heartfelt stories - both imagined and real - the play explores life’s challenges with deep empathy, honesty, humour, and emotional depth. Performances should leave a lasting impact on audiences, touching on the human experience in turbulent times. Audition Date: February 1st, 2026 Audition Time: 10AM Audition Location and Address: Maleny Playhouse, Maleny Showgrounds, Maleny QLD 4552 Audition Requirements: Tell a brief heartfelt story (1–2 minutes), imagined or real. There will also be readings from the play. Audition Registration: Attend in person on the day. Contact the director for more details if needed. Audition Pack: Sides/readings will be provided at auditions. Performance Dates: April 17th - 26th, 2026 Performance Location: Maleny Playhouse, Maleny Showgrounds, Maleny QLD 4552 Rehearsal Dates: Commencing the week of 16 February; rehearsals will be held 2 evenings per week + 1 weekend session (days/times to be organised with cast). Rehearsal Location: Maleny Playhouse, Maleny Showgrounds, Maleny QLD 4552 Warnings: Contains strong language and adult content. Performer Age: Adults (roles span 20s–60s; exact ages negotiable) Creative Team: Director - Kathryn Barnes Production Website: Maleny Players - Tiny Beautiful Things Other Information: Gender may be fluid in casting; multiple actors may double in roles. The lead role ( Sugar ) is on stage for most of the play with multiple monologues and emotional range. Available Roles/Character Breakdown: Female – Lead (40–60 yrs):  Sugar  – the central character, struggling writer/mother, carries the action; strong actor with emotional depth and monologues. Male – 40–60 yrs: Various characters throughout the play; acting experience required, some monologues. Female – 20–40 yrs: Various young adult characters; acting experience and monologues. Male – 20–40 yrs: Various young adult characters; acting experience and monologues. Additional performers may be cast depending on audition numbers; roles are flexible across gender.

Title: Mother of the Maid Presented By: Lind Theatre Genre: Drama / Historical Synopsis: This compelling drama explores the life and perspective of Jeanne D'Arc's mother - a sensible, hardworking, God-fearing peasant woman whose faith is upended as she confronts the baffling journey of her odd and extraordinary daughter. This riveting play is an epic tale told through an unexpected, remarkable, and uniquely insightful viewpoint, with the mother-daughter relationship at its core. Audition Date: January 29th, 2026 Audition Time: 6:30PM Callback (if required) - February 2nd, 2PM Audition Requirements: Prepare a piece to read or be prepared for a cold read. Audition Registration: Contact the Director at thelind.president@gmail.com Audition Pack: E-copy of the script available on request Performance Dates: July 3rd – 11th, 2026 Rehearsal Dates: Commencing mid-March (dates to be confirmed) Creative Team: Playwright - Jane Anderson Director - Glenda Campi Production Website: Lind Theatre - Mother of the Maid Other Information: Roles require gentle French or English-range accents. Isabelle D’Arc – French accent. Jeanne’s mother. Performs in every scene. Extremely demanding role. Jeanne D’Arc (The Maid) – Young female. Performs in Act 1 Scenes 1, 2, 4 and Act 2 Scenes 1, 4, 6. Jacques D’Arc – French accent. Jeanne’s father. Act 1 Scenes 2, 3, 5; Act 2 Scenes 1, 2, 3, 7. Pierre D’Arc – French accent. Jeanne’s older brother. Act 1 Scenes 2, 4, 5, 6; Act 2 Scenes 1, 2, 7. Father Gilbert – French accent. Family priest. Act 1 Scene 3; Act 2 Scene 3. Full reciprocal interaction scenes. Lady of the Court – English accent. Well-meaning woman of privilege. Act 1 Scene 6; Act 2 Scene 5. Court Scribe – English accent. Act 1 Scene 5. Small role (approx. 15 lines). Jeanne’s Personal Chamberlain – English accent. Act 1 Scene 6 (approx. 6 lines). Prison Guard – English accent. Act 2 Scene 6 (approx. 3 lines). Monique – French accent. Lady of the Court’s chambermaid. Act 1 Scene 6.

The Middle Room , written, composed and directed by Grace Spinks , began life as a single song inspired by family stories. From that seed has grown a deeply nostalgic, quietly devastating, and beautifully intimate piece of theatre that wears its heart on its sleeve. Grace describes these stories as a kind of mythology. The tales that surround us when we are young and shape us long before we understand their significance. That idea pulses through every moment of this work.   In just 60 minutes, The Middle Room  spans decades and somehow makes them feel fleeting. Set in Queensland in the early 1990s onward, the story follows three siblings, Elizabeth, Rae, and Jamie, and their mother Mary, as time quietly but relentlessly reshapes their lives. The Middle Room  is about the family home. What it means to grow up in it. What it costs to leave. What draws us back. Sometimes by love. Sometimes by obligation. Sometimes by grief.   PIP Theatre is one of my favourite spaces in Brisbane, and this show feels tailor-made for its intimacy. The audience was large, the room was full, and the energy was warm and attentive. The kind of crowd that leans in collectively for a show that is built on listening.   The set is simple to suit the small space. A piano and a bedroom, anchored by a small band led by guitarist Jeremy Stafford and bassist Charlie Green. Time passes through unfussy prop choices. Rotary phones give way to landlines, then to smartphones. Fashion subtly updates. Decades slip by without scene changes ever feeling heavy-handed.   This show drips with nostalgia. The songs are melodic, harmonic, and emotionally generous, full of love and light without ever tipping into saccharine territory. There is a strong singer-songwriter soul in Grace Spinks’ writing, and it serves the material beautifully. Dialogue feels like staged thoughts between real people: conversations we have in bedrooms, on late-night phone calls, or the ones we only ever rehearse in our heads.   One of the great strengths of The Middle Room  is how well these performers blend. In an unmiked space, the cast demonstrate exceptional musical discipline. Balancing dynamics, supporting the lead line, and knowing exactly when to step forward and when to melt back into harmony.   Standout musical moments include: Gone , a radiant group number about the joy and invincibility of being seventeen, buoyed by gorgeous ensemble harmonies. Sydney , sung by Elizabeth (Chloe Flanagan) , capturing the exhilaration of leaving a small town: trading a boyfriend in Townsville for a new city and new possibilities. Boyfriend , where Rae (Kate Hudson-James) and best friend Louise (AJ Betts)  rant in parallel about young love and relationships, thoughts spilling out faster than they can be filtered. Their chemistry here is joyful, relaxed, and deeply believable. Unchanged , sung by AJ Betts , featuring the lyric “I think I have a soul for childhood” , which lands like a quiet, devastating truth. They are emotionally precise and musically assured in this stunning solo. My Limits , a beautiful trio between AJ, Kate and Christina is restrained, honest, and painfully relatable. And my personal favourite! With or Without Me , a boppy, bittersweet number marking the growing difficulty of staying connected to your children once they have families of their own. His Room , sung by Mary (Christina Keen) , the most unforgettable piece of the show. She portrays a mother’s rage at the injustice of her child’s health situation with breathtaking clarity. She narrates her strained relationship with Jamie. The son who left home at fourteen…. The so-called problem child. Guilt, grief, anger, and love collide all at once in this confronting moment. The finale, Down the Highway , sees set pieces physically removed as characters leave the space. Mary's lyric “They think they need to hold me or I’ll fall apart”  had me tearing up, thinking about my own mother, grandmother, and uncle.   This cast is made up of six bright-eyed beauties who feel like real people rather than characters. Kate Hudson-James  portrays Rae, the middle child, with quiet authority. The one who manages everything, absorbs everyone else’s emotions, and never allows herself to crack. Chloe Flanagan’s  Elizabeth, the eldest sister, delivers some of the evening’s most affecting moments. From early optimism to the heartbreak of Muscle Memory , a song reflecting on the end of her marriage, Flanagan navigates Elizabeth’s arc with grace and emotional clarity. AJ Betts ’ Louise is deeply compelling. A character navigating queer identity, a strained relationship with their mother, and the refuge of chosen family. There is warmth, humour, and vulnerability here in equal measure.   Andy, Rae’s husband, is played by Max Baldock , and he absolutely earns his small moments. His lead number Open Mic / Get Round To It  is an absolute blast. A delightfully daggy dad doing an open mic night with his mates while his supportive wife films proudly from the crowd. Baldock also shines in Warmth That Remains , a tender duet with Kate Hudson-James . A sleepless night shared between partners while Chloe Flanagan plays piano in the other room. Grace Spinks captures the texture of a long-term, high-school-sweetheart relationship with remarkable sweetness here.   Christina Keen  is extraordinary as Mary: stubborn, grounded, and fiercely strong. Definitely a Virgo or Taurus. Her line “Going from a full house to an empty one is fucking miserable”  lands with brutal honesty. She embodies the Townsville mum clinging fiercely to her home while feeling the pressure to move closer to her children in the city; torn between memory, independence, and proximity.   One of the most striking choices in the show is Jamie, played by Saul Kavenagh . Jamie never speaks. He communicates solely through piano. We learn he has a degenerative neurological disorder that increasingly limits his independence, so his siblings and mother become his carers. It is a brave, sensitive presence that speaks volumes. And the fact that I know  Saul has a stunning singing voice only makes this silence more powerful.   Scenes are short, snappy, and thoughtfully constructed by Grace Spinks , allowing the audience to fill in the gaps while leaving room for future expansion. Partners, estranged parents, and children are mentioned rather than seen, and I loved that choice. It keeps the spotlight exactly where it should be, on this family and the space they share.   As this is a work-in-progress musical, a few gentle notes for future development: Clearer signposting early on in the script, including character names, relationships, years, and locations, or a brief synopsis in the program, would help orient first-time audiences (and because I'm slow on the uptake). On a larger stage, this piece would sing  with three distinct rooms and split-stage moments that lean into the idea of “the middle room”. A vintage upright piano would better suit the period than the electric keyboard. Casting Mary as slightly older could really rip out our hearts! Christina Keen’s portrayal is OUTSTANDING, but a matured actor could add an extra layer of lived history to deepen the emotional impact: the sense of time lived, children raised, and loss endured, particularly in a story so grounded in generational legacy and the quiet endurance of motherhood.   This is one of those rare shows where I felt like I really knew  this story and these characters. The music-filled house. The pressure to move to Brisbane. The stubborn parent holding onto the family home. The sibling who stays. The one who leaves. The one who needs care. It is almost freakish how closely this story mirrors my own family, right down to a musically gifted uncle receiving a scary diagnosis. Watching The Middle Room , I was not just an audience member or a reviewer. I was a participant, quietly grieving and remembering alongside these characters.   At Stage Buzz Brisbane, we champion new Australian stories because they hold up mirrors we did not know we needed. The Middle Room  proves that big, universal stories do not require spectacle to land, only honesty. In an intimate room, with a small, mighty cast and a handful of instruments, this show captures the quiet complexity of family, caregiving, memory, and home in a way that feels deeply familiar and fiercely local. Supporting work like this means so much to me, backing artists at the beginning of their journey. This is a beautiful first outing for a new Brisbane work, and I cannot wait to see where it goes next.

Little Shop of Horrors - Presented by Woodward Productions at QPAC Cremorne Theatre Director : Alister Smith Music Director: Heidi Loveland Music Supervision: David Young Choreography: Dan Venz Puppet Design: Brenton Van Vliet Designer: Penny Challen Lighting Design: Declan O'Neill Sound Design: Ben Murray Costumes/Props: Alex Heien Welcome to Skid Row, Los Angeles. A place where dreams go to wilt, hope is perpetually under-watered, and survival feels like a full-time job with no pay rise in sight. It’s a bleak, monochromatic corner of the world where people are told, both explicitly and implicitly, that they don’t matter. And it’s here, of all places, that a strange little plant promises something intoxicating: visibility, success, love.   Little Shop of Horrors  follows Seymour Krelborn, a timid florist’s assistant with a chronic case of bad luck and worse self-esteem. When he discovers a mysterious plant with a taste for blood, his fortunes begin to change. Fame, money and romance suddenly feel within reach — provided he keeps feeding his new green friend. As the plant grows, so too does Seymour’s moral dilemmas.   If you’ve never seen Little Shop of Horrors  before (hello, it’s me), this production is a perfect introduction. This beloved cult classic by Howard Ashman and Alan Menken (yes, those Disney legends) hails from a time when weird and wonderful movie musicals thrived. Think Rocky Horror  and Beetlejuice . Beneath the catchy-as-hell doo-wop score and absurd humour, Little Shop  is a sharp Faustian warning: don’t trade your soul for a shortcut. And whatever you do… don’t feed the plant!   This QPAC season sold out. Then it extended. Then it sold out again. Honestly? They could have filled the Playhouse. Still, the Cremorne Theatre felt electric, with excellent views from every seat. Produced by Alex Woodward , this season is directed by Alister Smith , with choreography by Dan Venz , musical direction by Heidi Loveland , music supervision by David Young , and striking, film-faithful puppet design by Brenton Van Vliet . Smith leans confidently into both the absurdity and the substance of the piece. His vision honours the camp while keeping a firm grip on the show’s darker undercurrents. The pressure to succeed. The hunger to be seen. The quiet terror of believing you’re disposable.   Dan Venz’s choreography propels the story through the doo-wop trio of Kimberley Hodgson, Anna Francesca Armenia and Nykita O’Keeffe. Their rhythmic bopping, attitude and crisp harmonies operate as a playful Greek chorus. The trio are absolute stars. Their harmonies are flawless, their sass is endless, and as ever-present observers of Skid Row, they never miss a beat. I do slightly worry about their necks after all that sassy head action, but it’s a sacrifice clearly made for the greater good. At the heart of the show are two tender, hopeful souls. Maxwell Simon as Seymour is endearingly awkward from the moment he shrinks into himself onstage. His jittery physicality, slightly whiny vocal quality and deeply relatable panic when the plant starts talking make him a compelling and sympathetic lead. His chemistry with Kirby Burgess as Audrey is a highlight. Styled to perfection with a stiff blonde wig and slinky costumes, she brings softness, sincerity and strength to a character that can so easily slip into caricature. Her Somewhere That’s Green  is intimate and heartbreaking. It’s quietly hopeful, painfully modest in its dreams, and sung directly to the audience like a secret confession. Bonus points for giving us an Audrey speaking voice that’s expressive without tipping into “annoying”. Call Back in the Morning  is staged with clever corded-phone chaos, and Suddenly Seymour soars with gospel-style backing vocals and heartfelt sincerity and goofiness. Bryan Probets’ Mr Mushnik benefits from the assurance of a theatre veteran, most evident in Mushnik and Son , where the number lands its laughs while still finding surprising emotional warmth. Stephen Hirst is a comic chameleon, particularly as the unhinged Orin Scrivello, D.D.S. His dentist is sadistic, wickedly funny, and unnervingly at ease locking eyes with the audience. He flips from charm to genuine threat in an instant. Beyond Orin, Hirst shows he's the jack of all trades (and costumes), with a standout turn as the generic rich guy, delivered with sharp satirical bite.   And then there’s Audrey II. A true marvel. Matthew McKenzie delivers a booming yet sass-filled voice performance, paired with Charles Ball’s expert puppeteering. The plant evolves through multiple forms with astonishing effect. From the wilting pot plant, to the Seymour-operated puppet, to the full monstrous reveal complete with roots that move like arms, the puppetry is mesmerising.   The band, Annie Silva on bass, David Whittingham on guitar, Luke Volker on keys, and Steve Fischer on percussion, bring Menken’s score to life with flair. Sound design by Ben Murray, paired with Heidi Loveland’s musical direction, delivers a rich, punchy sound that never lets the energy drop. Feed Me  in particular is a sensory feast, with lighting, sound and staging combining into something almost hallucinatory.   Designer Penny Challen’s painted set and props feel lifted straight from a sketchbook, beautifully echoing the illustrative style of Audrey II itself. The glowing florist signage and lighting strips framing the shop create a constant sense of containment, as though the characters are boxed in from the very start. The opening moments establish a striking visual language: a black-and-white world from floor to wings to flowers to costumes. It feels like a comic book come to life—flat, graphic and stylised—and sets the perfect foundation for a story that’s about to grow wildly out of control. Costumes and props by Alex Heien smartly track the show’s moral descent. Stark monochrome gives way to saturated greens as Audrey II’s influence spreads. The muses’ emerald sparkle is especially satisfying once colour finally floods the stage. Likewise, Declan O’Neill’s lighting is used sparingly at first, the palette deliberately drained of colour. Slowly, green begins to creep in. By Act Two, the visual transformation of the space is genuinely jaw-dropping and the show just keeps getting funnier. And darker. The reveal of the final Audrey II puppet drew audible gasps.   I overheard a teen at interval say, “It’s really murder-y,” which honestly feels like the most accurate review possible. This Little Shop of Horrors  is funny, stylish, musically tight and thoughtful. Beneath the camp lies a warning about capitalism, complicity and the cost of being seen in a world that profits from your silence. I walked in knowing only three songs and walked out completely converted. I would absolutely see it again if it weren’t already sold out!   A bold, brilliant musical by Woodward Productions that reminds us: know your worth, protect your integrity… and never, ever feed the plant. 🌱

Any Moment By Bradley McCaw | Presented at PIP Theatre Duration: 100 minutes (no interval) Experiencing a new Australian musical always fills me with a sense of curious excitement, like opening a Christmas present wrapped in a bizarre shape. There are no preconceived expectations, just the work, the performers, and the moment you’re sharing together. Any Moment , a new song-cycle musical by Bradley McCaw , embraces that uncertainty and turns it into its greatest strength, reminding us that life, much like theatre, only ever happens in real time. Set in Brisbane and unfolding over New Year’s Eve, Any Moment  tracks a single 24 hours as it tumbles toward midnight. Through 24 songs, including short reprises, the show weaves together snapshots of everyday lives: parents, workers, lovers, siblings, strangers, and people simply getting through their day. Inspired by John Lennon’s line, “Life is what happens to you while you’re busy making other plans,”  the musical gently asks us to slow down and really look at the ordinary lives moving around us, those moments that might otherwise pass unnoticed. The show’s spine is the recurring group number “Twenty Four,”  which appears in various forms throughout the piece. Launched by Lulu Miskin , it becomes a ticking-clock motif that repeatedly grounds us in the passage of time. Each reprise feels slightly altered and always reflective, mirroring how our perspective shifts as the day unfolds. It is a simple and effective structural choice that gives cohesion to a sprawling song cycle and reinforces the show’s central idea: any moment is just a moment away. Musically, Any Moment  is piano-driven and impressively genre-fluid. The score moves between contemporary musical theatre, soul, ballad, rap, and spoken-word influences. McCaw’s  lyrics are observational, conversational, and beautifully specific, while musical director and pianist William Martineau  supports the storytelling perfectly. Subtle backing harmonies, sometimes onstage and sometimes drifting in from offstage, add texture without overwhelming the intimacy of the work. Many of the numbers are solos, and they are beautifully matched to each performer’s vocal colour and emotional range within this cohort from the Con (QAEMT). These performers are exceptionally skilled and fully immerse themselves in the stories. “Top Shelf”  is a witty, laugh-out-loud number about punching above your weight in a relationship, executed with poise and awareness by the hilarious Connor Chadwick . “Stuck in the Elevator,”  performed by Orlando Vella , spins eight hours of panic, epiphanies, and spoiled pants into a genuinely hilarious and unexpectedly reflective journey. “My Phone,”  performed by Sam Henderson  and Chloe Flanagan , struck a particularly modern nerve, charting our love–hate relationship with technology by recognising the addiction, attempting to stop, and ultimately shrugging and giving up. I felt seen. Painfully so... There are also many moments of vulnerability throughout the show. “Next Time,”  led by Lulu Miskin , explores sisterly dynamics with warmth and openness, her vocal delivery carrying genuine affection and ease. “Before the Story Passes By”  was a standout for me. Chloe Flanagan  delivers the number, about a journalist working through New Year’s Eve, with striking emotional intelligence, balancing ambition with frustration. I don’t say this lightly, I am seriously in love with Chloe’s voice. There were moments of musical shaping and melisma that made me turn just a little green with envy. That level of vocal craft is echoed across the cast. “Doin’ It For the Kids,”  performed by Lucy Ross  and Croft Phillips , injects humour and heart into the realities of parenthood and early morning football games. “Rover’s Song,”  performed by Niamh Cadoo-Dagley , is a joyful, chaotic stream-of-consciousness burst. It plays like a child’s ADHD thought spiral set to music and thrown into the room with complete commitment by Niamh and her "dog". “Church on Murphy Street,”  sung by William Kasper , is quietly devastating, presenting a lone figure at a wedding and capturing a particular kind of isolation. Will has a remarkable ability to sit in vulnerability without overplaying it, allowing the stillness to do the work, and it pays off beautifully here. His later number, “Rest of Our Life,”  delivered as a eulogy for a grandmother, is so intimate and tender that I genuinely felt like I was intruding on something deeply private. Lucy Ross  repeatedly commands attention, particularly in “White House Down the Road.”  Her performance was so vividly internal that I found myself closing my eyes to fully visualise what she was narrating. She stared out into nothingness, seeing the story unfold in front of her, while we could only listen. So I closed my eyes and let McCaw’s lyrics wash over me. And it was devastating. The duet “Door Duet" (Take My Hand),  performed by Connor Chadwick  and Sam Henderson , is also heartbreaking (whyyy?!), capturing the end of a relationship with restraint and emotional clarity. It is one of the show’s most affecting moments, understated and painfully real. Place is central to Any Moment . Brisbane isn’t a vague backdrop here. Aussie accents are proudly used, and “Coming In From the Suburbs”  injects groove and wit into the mundanity of suburban life. One of the show’s most compelling ideas is how our city quietly links these lives together. “Long Night”  lands as an anthem for anyone who has ever worked a miserable, unappreciated New Year’s Eve shift while the rest of the city celebrates. As midnight approaches, the emotional stakes heighten. “Light,”  an exquisitely delicate solo by Madeleine Ford , captures the ache of longing, the desire to be reunited with love in the afterlife rather than face another new year alone. Elsewhere, a child is born and a brother and sister meet the baby for the first time during the countdown. Life ending. Life beginning. All happening at once. By the time the ensemble gathers for the finale, “Turn the Page,”  the cumulative impact is undeniable. The full vocal sound of the cast swelled through the space and genuinely took my breath away. Yes, the show leans into big morals and earnest quotes, some unabashedly cheesy. But it earns that sincerity through craft, commitment, and heart. Visually, the production is intentionally minimal. There are no elaborate sets or lavish costumes, with Noah Milne’s  lighting doing much of the work to suggest time, place, and emotional weight. This restraint suits both the song-cycle format and the PIP Theatre space, keeping the focus squarely on the performers and the writing. Acoustically, the cast proves they barely need microphones at all, though balance occasionally wavers when voices overlap. Understanding the context behind Any Moment  only deepens appreciation for what’s onstage. Writing began in 2018, followed by a concept album in 2019 and years of workshops, revisions, and small performances. Writer Bradley McCaw  has spoken about the show evolving from offcuts of other works into something more focused: a piece centred on ordinary moments that don’t usually get musicalised in larger productions; such as fighting through a closed door, being stuck in an elevator, or the neighbour we live alongside but never truly know. Influenced by song-cycle writers like Jason Robert Brown, the work has taken many years, and many artists from around the country, to reach this pilot production. Any Moment  feels like the beginning of something rather than the final word, and that is its greatest promise. I left the theatre wanting the backstory to every song, every character, every fleeting moment, and reflecting on moments of my own and those unfolding around me. I have no doubt this won’t be the last time we see this thoughtful new Australian musical, because some stories are simply too alive to stay still.

Ballet Theatre Queensland – Alice in Wonderland Choreography, Direction & Story:  Clare Morehen Music, Orchestrations & Story:  Lucas D. Lynch Costume Design:  Rebekah Ellis Set Design:  Josh McIntosh Lighting Design:  Ben Hughes Sound Design:  Wil Hughes Orchestra:  Cadenza Chamber Players Photography:  Quince and Mulberry Studios Fresh off the success of Snow White  and Cinderella  in 2025 — and well-earned Stage Buzzie Awards — Ballet Theatre Queensland has built a reputation for taking familiar stories and refusing to treat them familiarly. With Alice in Wonderland , the company delivers an exhilarating reimagining that whisks Lewis Carroll’s iconic tale out of the rabbit hole and onto a bustling 1930s Hollywood film studio. Think sepia Art Deco and Depression-era grit colliding with neon signage, sequins, and big-band pizzazz. It was the kind of Golden Age glamour most of us only know through classic films and theme-park recreations… until now. From the moment audiences arrived on opening night, there was a very particular kind of buzz in the air: the “we’re about to be thoroughly spoiled”  variety. The whole venue felt celebratory before a single note was played. And when that first note did  arrive? Oh, it wasn’t a gentle invitation. It was a wink and a warning: time is ticking. Lucas D. Lynch’s  score leans into this tension, with ticking motifs and whimsical descending phrases creating a sense of urgency that never quite lets the audience relax; as if the entire world is behind schedule and only Alice is curious enough to question why. It’s an immediate signal that this production isn’t just pretty to look at; it’s purposeful, playful, and packed with ideas. Composer–choreographer collaborations of this depth are a core strength of BTQ. And it shows! Because every scene is purpose-built, musically and physically intertwined, rather than layered after the fact. With performers drawn from 24 different dance schools, this production doesn’t just showcase excellence in dance, it showcases community. The stamina required across this predominantly young cast — from rapid sequences, cramped backstage, stylistic shifts, and relentless pacing — cannot be overstated. Sepia Streets to Technicolour Dreams The ballet opens in a world of restraint and repetition: a muted, post-depression street scene. Alice enters in a brown schoolgirl outfit and boots, nimble and grounded, reading her copy of Alice in Wonderland. Around her, similarly dressed townsfolk drift beneath a dull Hollywood sign, some seeking work, others simply passing time, all caught in the monotony of routine. The action shifts into a classroom overseen by a domineering Headmistress, ruler in hand, complete with an actual blackboard (where did they find one of those nowadays?!). The children are drilled through repetitive, nonsensical exercises, their movement stripped of individuality and joy. As the teacher twirls around the room with oppressive precision, the choreography by Clare Morehen  beautifully captures control masquerading as order. When Alice follows the flustered White Rabbit down a steam grate and straight through the orchestra pit, the transformation on stage is exhilarating! The music slides into jazzy intrigue, the palette bursts from sepia into shimmering colour, and Wonderland is revealed not as the rabbit-hole fantasy we know, but as the luminous imagination of Golden Age Hollywood alive with possibility! This is an Alice  built not on whimsy alone, but on industry, imagination, and the cost of creativity. A Wonderland That Never Stops Moving Once inside the Hollywood film studio, the eye is constantly drawn everywhere at once, thanks to Josh McIntosh’s  set design. This Wonderland never stands still. Dancers move the set pieces themselves with impressive coordination, meaning transitions happen mid-motion and momentum is never lost. Doors appear, dressing rooms materialise, and entire worlds shift before you’ve even registered the last one. The use of double-tiered staging at the rear of the set allows for even more visual surprises, particularly during large ensemble numbers. While one group dazzles front and centre, another is already building the next picture behind them, creating a constant sense of activity that mirrors the frantic energy of a real working film studio. Top hats off to the creative team and dancers (especially given the Concert Hall’s lack of wings or a fly tower!) Around them, neon signs — including a clever glowing “Drink Me”  vanity and “Eat Me”  diner sign — illuminated props, glowing puppetry, and sequinned showgirl flamingos flood the stage. Glamour and Glitter The costuming is nothing short of extraordinary. Rebekah Ellis’  designs lean fully into 1930s Hollywood glamour while still allowing complete freedom of movement. Alice’s transformation into her Wonderland attire is a visual delight: pink satin, golden sequins, and a signature purple ribbon that keeps her instantly recognisable amid the chaos. The attention to detail given to every costume piece of this large ensemble cannot be understated (all the way down to the colourful pointe shoes!) Even the littlest performers — dressed in tiny pink hearts, and dapper suits, they were utterly charming and brought audible “awws” from the audience. The onstage costume changes of the Diva and Alice (clearly necessitated by the venue’s constraints) become part of the spectacle rather than a distraction. Genevieve Schofield’s  Alice absolutely glistens with imagination. From her first entrance, she captures that essential sense of curiosity and wonder, balancing childlike movement with highly assured technique. Schofield blends ballet, jazz, and theatrical storytelling with ease, adapting her physical acting as Alice grows in confidence and agency. Her solo moments shimmer with dreaming and possibility, and she remains the emotional anchor of the production throughout. Jordan Lennon’s  Leading Man ( the Blue Caterpillar ) is suave, commanding, and undeniably cool, complete with a fabulous suit-and-hat design — with actual smoke  coming from his jacket somehow (?!). His movement quality is smooth and confident as he toys with Alice through riddles and gorgeously fluid lifts. As the Mad Hatter-turned-film director, Jayden Grogan  delivers one of the production’s biggest highlights. His bluesy, jazz-laced showstopper crackles with energy and showmanship, unapologetically bold in its eccentricity. The percussion section was clearly having the time of its life, propelling the number forward and pulling the audience along for the ride. One of the evening’s biggest laughs comes courtesy of the diner kitchen scene, led by Matilda Kimlin’s  gloriously frazzled Cook and Scarlett Hutley’s  serenely oblivious Duchess. Paired with a frenetic strings score and staged with gleeful screwball chaos, the comedy hits the mark. Kimlin’s reactions — especially in the later slow-motion dressing-room meltdown — had me absolutely cackling . Tweedledum and Tweedledee — Chloe Hough  and Zara Strelen  — appear as mischievous wardrobe assistants in vibrant dresses, sunglasses, and beautifully styled wigs, stitching themselves directly into the story. As the perpetually flustered film producer, Matthew Erlandson’s  White Rabbit is everywhere at once and utterly brilliant at it. Darting across the stage in a vibrant orange tuxedo, he leaps like he’s got springs in his shoes and captures the stressed-out energy. Kohei Iwamoto  as the Diva’s devoted and long-suffering PA ( King of Hearts ) brings big attitude and big hair to the role. Lily Pietsch appeared as the energetic Cinematographer ( March Hare ), and Hadley Hooper’s adorably exhausted PA to the Director ( Dormouse) , whose commitment to perpetual fatigue was both so real and hilarious. And then there is the Diva ... Sophia Gougoulas  makes an entrance worthy of legend, arriving in a Daimler-style '30s shiny red vehicle. Draped in red fur, crowned with an enormous hat, and adorned with a dazzling heart-shaped necklace, she commands immediate attention… and fear. I literally said “YAS QUEEN”  as she stepped out. Her Queen of Hearts is deliciously dual: impossibly glamorous and soft-focus romantic when the cameras are rolling, yet ruthlessly volatile the moment they stop. Gougoulas navigates this split with relish. A romantic pas de deux in a slinky white gown and bouncy blonde wig opposite Jordan Lennon  reveals her at her most refined — all old-Hollywood grace and luminous poise. This “Action!” sequence is underscored by a score that feels like My Fair Lady  meets La La Land … but better. Then, just as quickly, the glamour unravels. Her off-camera dressing-room meltdown — staged in slow motion — is a masterclass in theatrical comedy. Music, Movement & Spectacle Lucas D. Lynch’s  ambitious score throws its arms wide and fully commits, drawing from jazz, blues, Broadway, and classical with nods to Gershwin, Porter, and golden-era film composers. Lynch makes full use of his expanded brass and winds orchestration, and at times it feels as though every instrument and sound effect at his disposal is in play at once. From smoky nightclub moods to glorious big-band blasts, the score never settles into predictability. The Cadenza Chamber Players rise admirably to the challenge of this demanding new music, navigating its rhythmic complexity with impressive stamina and cohesion. With a full 46-piece orchestra in the pit, the sound has a cinematic sweep rarely heard in dance productions of this scale. Filmic sound effects — including the whirr of a rolling film reel — heighten the Hollywood illusion and immersion, while Ben Hughes’  lighting design expertly guides the audience through the visual feast, drawing the eye precisely where it needs to be amid constant motion and layered staging. The choreography by Clare Morehen features extensive use of canons, particularly in the feathered fan sequences, creating ripple effects across the stage that are both visually thrilling and technically demanding. Full-throttle jazz explosions accompany kicklines, parasol and feather-fan movement, and exuberant Charleston sequences (while wearing pointe shoes I might add!) Every number somehow manages to top the last. A particular highlight is the Cheshire Cat — a large, glowing, fragmented puppet. Cleverly concealed puppeteers and low lighting create the illusion of floating, disembodied body parts and a mischievous grin, prompting audible gasps from the audience. It’s theatrical magic at its most delightful, and yet another reminder of the ingenuity on display throughout this production. The courtroom scene swings into a deeply jazzy blues groove, anchored by a sultry bassline and shimmering cymbals that ooze drama. From there, the production launches headlong into its finale, erupting into glorious, organised chaos. Hats off to Stage Manager Emma Healy , because the sheer coordination required in these final moments is breathtaking. With onstage costume changes, fast-moving set pieces, and a cast pouring in and out of the action, the energy never drops. I found myself holding my breath, acutely aware that just beyond the makeshift wings there must have been absolute mayhem. Alice returns to a world that appears unchanged... but she is not the same girl who left it. Inspired, emboldened, and full of possibility, she pulls out a notebook and begins to write. It’s a simple, quietly powerful ending that lands beautifully, reinforcing the production’s central message: that adventure can be found through books, through imagination, and through the act of storytelling itself. I couldn’t agree more.

Heathers: The Musical – Teen Edition Presented by BG Performing Arts Director : Sam Caruana Music Director: Kate Baxter Choreography : Bella Gordon Photography : By Brit Creative There's a certain excitement when you walk into a jam-packed (and pitch-black!) theatre for a youth production, knowing you're about to see a ton  of talent on stage. That buzz was undeniable at Heathers: The Musical – Teen Edition , with a crowd of about 300+ eager folks ready for a chaotic ride through the halls of Westerberg High.   For the uninitiated, Heathers  is a darkly comic coming-of-age musical, based on the cult classic film, set within the ruthless social hierarchy of an American high school in the 1980s. At the top sit the three immaculate, terrifyingly powerful Heathers, ruling the school with colour-coded confidence and casual cruelty. Enter Veronica Sawyer, an awkward outsider who suddenly finds herself absorbed into their elite clique, along with all the moral compromises that come with it. When she meets the mysterious and volatile J.D., teenage rebellion escalates into something far more dangerous, forcing Veronica to confront popularity, power, and the very real consequences of going along with the crowd. The Teen Edition keeps the show’s sharp wit and emotional core but puts a little bubble wrap around its more risqué bits for the younger performers. That said, it is still very much Heathers . The “cleaned-up” script leans on creative synonyms, sometimes hilariously so ("Oh-my-god!"), yet still includes references to suicide, violence, abuse, implied hanky-panky, and good old-fashioned teenage terrorism. Under the direction of Sam Caruana , with energetic choreography by Bella Gordon  and musical direction from Kate Baxter , this production embraced the dark humour and emotional weight of the material while showcasing just how much these performers could handle.   The stage was absolutely packed with talented performers tackling notoriously demanding material with impressive stamina. Full-cast numbers were a major highlight. Candy Store  was expanded into a large ensemble moment with the Heathers front and centre, while Big Fun  burst with high-energy choreography, including ambitious floor chorie that showed off both skill and endurance. Shine a Light  offered a softer tonal shift, with glowing hand lights adding a cool touch!   Raine Barr  led the show as Veronica Sawyer, delivering consistently strong vocals throughout. Her performances of Beautiful  and I Say No  were as smooth as butter, with riffs and tone that could make even the toughest critic swoon. While Fight For Me  sounded effortless and was elevated by the hilarious slow-motion fight sequence. Dramatically, Veronica was played with a more blasé, laid-back approach than is often seen, which meant some jokes did not quite land as strongly as they could have. From the back of the theatre, some dialogue and lyrics were difficult to catch. Clearer articulation would lift Raine's performance further, though vocally she completely carried the show with confidence. As J.D., William Piper delivered an intense and committed performance that only grew stronger as the show progressed. Freeze Your Brain  had a cool, quiet edge, though vocal fatigue became noticeable as the night went on, with Raine carrying much of Seventeen . By the time William reached Meant to Be Yours , his acting was so intense you could practically see steam coming out of his ears. The clenched jaw, barely contained anger, and laser-focused intensity were genuinely chilling. The tension he held in his body was unsettling, and perfectly suited the volatility of the role. Among the Heathers, Amy Davidson ’s queen bee Heather Chandler stole the show, owning the stage with her confidence and killer vocals. Zofia McGuinness was dynamite as Heather Duke, especially during I Will Never Shut Up Again , where she joined the whole cast with feisty choreography. Tilly Kelly  wowed everyone with a stunning rendition of Lifeboat , smoothly transitioning from a nervous vulnerability to a vocal powerhouse, showing off excellent dynamic contrast. Rose Hancock  gave a beautifully nuanced performance as Martha, with Kindergarten Boyfriend  emerging as one of the emotional highlights of the night. Her gentle tone, clear storytelling, controlled vibrato, and dynamic range completely held the room. A genuinely lovely performance of a heartbreaking song. Comic relief was in very good hands with Toby Bailey and Alex Townsley as Kurt and Ram. The casting felt spot-on, with bold physical comedy and fearless commitment. I was genuinely surprised to see You’re Welcome  included, but it landed with big energy. My Dead Gay Son  was a clear crowd favourite, with Hamish Treeke and Zander Hutson clearly having a blast leaning into the song’s absurdity. Isabella Bonaventura’s Ms Fleming brought a funky, humorous presence that added plenty of personality. Visually, the show was clear, colourful, and easy to follow, especially impressive given the holiday workshop time crunch. The two-level set helped create height and gave most of the cast a chance to be seen, with lockers and simple props like croquet mallets, a 7/11 counter, and a piñata adding to the storytelling without overcomplicating things. I also loved that the ensemble costumes avoided over-the-top 80s clichés. That said, sightlines became a little tricky during extended floor choreography, particularly without tiered seating. Sound was the biggest challenge of the night, with underscoring sometimes overpowering vocals and a few microphone hiccups along the way. Even so, the cast never dropped their energy, pushing right through to the final bow and earning loud, well-deserved applause.   Ultimately, Heathers: The Musical – Teen Edition  by BG Performing Arts was a vibrant, ambitious production overflowing with talent. These young performers tackled a difficult score and complex themes with courage, commitment, and connection. It is always exciting to watch emerging artists push themselves into new territory, and many of these performers are absolutely ones to watch.   (Also, a special shout-out to the ensemble character who became pregnant and ended the show cradling a baby. Iconic long-form storytelling. No notes.)