Production: Bram Stoker's Dracula Presented by: Ghostlight Theatre Co. Venue: Crete St Theatre, Beenleigh Date attended: 10 October 2026 Written by: William McNulty, adapted from Bram Stoker's novel Director and Producer: Yasmin Elahi Assistant Director / Sound Designer: Tommy Burnett Set Design, Costumes, Props, Practical Effects: Yasmin Elahi Lighting Designer: Willow Taylor Fight Choreographer: Dan Pohlmann Choreographer: Sarah Latter Stage Manager / Practical Effects: Christina McMahon SFX Makeup: Charlotte Horn Photography: Christopher Sharman and Alan Burchill Contains minor spoilers about character transformations and stage effects. “We are all damned.” Ghostlight Theatre Co. has a healthy appetite for theatrical horror. I've seen their previous four productions, including The Exorcist, and watched the company find all sorts of creative ways to torment its characters. For their latest production, they've taken on Bram Stoker's Dracula, adapted by William McNulty and directed by Yasmin Elahi. It's their largest production to date, bringing towering monsters, supernatural illusions, and an alarming quantity of fake blood to Crete St Theatre. I dread to think how much laundry detergent they went through! Something sinister is brewing in England. Mina is presumed dead after a mysterious illness, and now her best friend Lucy is suffering similar symptoms. Lucy is losing blood inexplicably, her fiancé Jonathan Harker has vanished, and Dr Seward is running out of answers. Meanwhile, there's been suspicious nocturnal activity since Count Dracula arrived in the neighbourhood. Professor Van Helsing is called in to investigate. Through detailed dialogue, journal entries, and flashbacks, McNulty gradually pieces together the horrors at play, echoing the storytelling structure of Stoker's original novel. Reagan Warner fits the role of Count Dracula so perfectly that I wonder if he's truly human. His Dracula is calculating, with a piercing gaze that forebodes suffering for his victims. The deep timbre of his voice lends his Transylvanian accent a hypnotic quality. Reagan takes his time with everything, from the measured delivery of his lines to the slow, deliberate movements of a creature accustomed to having others at his mercy. With pointed ears, red eyes, and elaborate crimson-and-black attire, Reagan looks every inch the vampire. His enormous cloak acts like an extension of himself (à la Doctor Strange), sweeping around him with every action. There's a wicked sense of humour in Reagan's performance too, but that vanishes when the Count is confronted with crucifixes and Latin prayers. Dracula erupts into a rage, all the more frightening after seeing him maintain such control. If anyone can match Reagan's commitment to character, it's Rhys Schwarten as Renfield. With disheveled hair and filthy clothes, Rhys dives into the role of the self-proclaimed “garden variety raving lunatic” with fervent enthusiasm. They scurry around the stage like a rat, muttering riddles and occasionally erupting into chaotic fits. At other times, Renfield bumbles and bounces about like a mischievous leprechaun. He might even be entertaining company (if he'd just quit snacking on insects). Even when silent, Rhys is rarely motionless. Their fearful cowering and darting eyes reveal a mind pulled in two directions, unable to settle. It's a performance equal parts ridiculous and disturbing. Andrew McArthur brings a contrasting calmness to Professor Van Helsing. His matter-of-fact delivery conveys a man who can recognise supernatural nonsense without becoming hysterical. Van Helsing listens, considers, and reads between the lines before anyone else catches up. There's considerable wit and intelligence in this restraint, particularly when dealing with Dracula. I enjoy watching Andrew meet every provocation with composure, which only aggravates Dracula further. Their showdowns are so entertaining precisely because neither is willing to concede an inch. Brayden Rewald brings a surprisingly dry wit to Dr Seward, alongside a perpetually sour expression. As Lucy's unexplained blood loss leaves the doctor scrambling for answers, frustration creeps into Brayden's voice and movements. By the graveyard scene, his professional composure begins to unravel. Conventional medicine has hardly prepared him for this. Peter Van Werkhoven has less stage time as Jonathan Harker, but his expressive reactions convey plenty about the ordeal he's endured. Poor Jonathan is quite the damsel in distress, and Peter makes his desperation convincing. Under Dracula's influence, Alynta Scott transforms Lucy from a sweet, innocent hostess into someone eerily unrecognisable. Alynta's altered posture, expressions, and voice give Lucy a siren-like allure with a sinister undertone. As she levitates (stage magic!), Alynta twists and bends at unnatural angles. I found myself genuinely tense in my seat, both from the unfolding body horror and from imagining what her back and neck must be enduring! Jem Mook brings an unsettling physicality to Mina, particularly during a violent encounter with the Child (Alex Andrews). Set to the Moderato from Swan Lake, the scene pairs the graceful flute passages and balletic movements with swelling brass, piercing screams, and bloodshed. As the scene takes a dramatic turn, the little girl's innocence makes the sudden brutality all the more chilling. Fiona Buchanan and Daniel Lewis provide a touch of comic relief and humanity as Sullivan and Briggs. Daniel's strong Cockney accent and Fiona's Irish characterisation add personality to their amusing disagreements. Briggs has the unenviable task of keeping Renfield under control, while Sullivan has enough trouble maintaining order in this household. When Dracula puts Sullivan under his spell, Fiona's sudden change in demeanour is particularly creepy. Neither character is being paid enough for what goes on at this establishment. Across the company, the vocal work is excellent. Accents are sustained, enunciation is clear, and emotion comes through in everyone's delivery. I did occasionally wish that same intensity carried into the physical performances, particularly in confrontations that felt a bit restrained. Reagan and Rhys communicate so much through movement that the stiffer moments elsewhere are noticeable. A little more physical urgency and responsiveness between characters would've helped sustain the illusion of danger. Yasmin Elahi has a hand in almost everything, from directing to designing the costumes, scenery, props, and practical effects. Yasmin's set accommodates several locations through tall scenic flats and substantial scene changes. A flashback transports us to Dracula's castle, complete with an imposing carved throne (that I wish we'd seen more of). The large backstage team deserves credit for keeping everything moving, particularly with so much stage magic to coordinate. And there's plenty of it! Wounds appear from nowhere, blood spurts onto the stage, bodies levitate into the air, and Dracula's coffin conceals a clever illusion. I caught sight of a blood pipe during one scene, but with everything else they're pulling off, I can forgive that! There's also a gigantic creature, performed by Matthew Nelson, whose shaggy silhouette towers over the cast. With grotesquely long limbs, jutting claws, and glowing red eyes, it's a rather spooky sight. Willow Taylor's lighting keeps much of the stage appropriately dark. Spotlights pick out faces and figures from the shadows (when the performers find their light). Handheld flashlights leave stretches of the stage obscured so that we are left searching the darkness alongside the characters, knowing full well what might be lurking there. Saturated reds and icy blues transform the scenery, with the graveyard's cold glow contrasting sharply against Dracula's crimson world. Tommy Burnett's sound design deserves particular praise for the tension it creates. Dracula's deep, hypnotic voiceovers draw Sullivan into a trance, while low hums creep beneath the dialogue and put us on edge. During blackouts and scene changes, layers of ominous sound fill the darkness, sustaining the suspense even when there's nothing to see. There are occasional technical interruptions, including mistimed cues, prop difficulties, and microphone issues that briefly expose the mechanics behind the illusions. Despite its sinister intentions, Dracula has a slight playful streak amid all the bloodshed, particularly during the first half. Jokes about familiar vampire conventions, Reagan's dry delivery, Andrew's well-placed insults, and Rhys' peculiar behaviour bring plenty of chuckles. But the darker scenes are given room to become genuinely uncomfortable. Having followed Ghostlight through four previous productions, I've enjoyed seeing just how far the company is willing to push its theatrical horror. And I suspect the cleaning crew is relieved Dracula's visit was only for four performances.

REVIEW | The Human Centipede Parody Musical Presented by: Synergy Production Co., in collaboration with Left of Right Theatre Company and PIP Theatre Venue: PIP Theatre, Milton Date attended: 7 October 2026 (Preview) Music: Thomas Currie Book and Lyrics: Liam Hartley and Oliver Catton Director: Liam Hartley Assistant Director and Choreographer: Maureen Bowra Musical Director and Sound Designer: Nate Stevenson Production Designer: Tamzen Hunter Lighting Designer: Claire Yorston Costume Designer: Jemma Crowhurst Stage Manager: Lindsay Cooper Intimacy Coordinator: Michaela Faux Photography: Lavender Productions "There is always a light at the end of the anus." Possibly the most inspirational thing you'll hear from a musical about three people surgically sewn together, mouth to backside. I've seen a few horror parodies, but nothing quite like The Human Centipede Parody Musical. I haven't watched the original 2009 film, and I never will. I know enough. Yet here I am, willingly watching its musical adaptation and laughing at jokes that would be deeply concerning in any other setting. Don't let the source material get in the way of a good time! Written by Liam Hartley and Oliver Catton, with music by Thomas Currie, this spectacularly tasteless Australian creation returns under Hartley's direction. Since its 2023 Anywhere Festival beginnings, it's acquired a full set, projections, and a lighting rig, giving its characters considerably more theatrics to suffer through. The story follows two clueless American tourists, Lindsay (Rae Rose) and Jenny (Georg Gleeson), who fall into the hands of Dr Heiter (Beau Wykes), a sociopathic German surgeon with a friendly disposition and an appalling medical project. They're joined by Katsuro (Chris Nguyen), an equally unfortunate captive who thinks he's been invited to a party. Bless his soul. Before any unpleasantness, however, we're treated to a familiar opening scene lifted straight from The Princess Bride. Douglas Berry plays the grandfather reading to his sick grandson, played by Chris Nguyen in a dreadful wig (and playing with an actual Game Boy, btw!). This sets the tone for the theatrical thievery and obscene nonsense to follow, with performers committing to every ridiculous decision as though their dignity isn't already beyond saving. Beau Wykes plays Dr Heiter as a cheerful German sociopath, approaching his surgical ambitions with the enthusiasm of someone unveiling an exciting craft project! Come Act Two, Wykes channels Frank-N-Furter meets Beyoncé, later leading a tap break in which the human centipede taps with its hands. Yes, hands. There's only so much conventional choreography one can manage when one's face is attached to someone else's rear end... Rae Rose and Georg Gleeson look like they've wandered straight out of S Club 7's wardrobe and taken a wrong turn on holiday. As their predicament worsens, the pair throw themselves into frantic singing and physical comedy, with Gleeson's intense eyes conveying every stage of terror. Rose brings superb vocal control and musicality to 'The Centre of a Centipede'. Their group number, 'We're Fucked/We're Fine', sees them rolling around on chairs, desperately convincing themselves everything's fine when, quite demonstrably, it isn't. Chris Nguyen provides a comic counterpoint to the surrounding hysteria. His initial cluelessness is rather adorable. The trio eventually develop a peculiar companionship with an unexpectedly cute conclusion. I'm told the film takes a somewhat different approach to the ending... Meanwhile, old-fashioned noir detectives Kranz (Casey Martin) and Voller (Douglas Berry) investigate the situation, though they're more interested in narrating their actions and indulging in musical diversions. Their exaggerated Brooklyn accents (which they maintain even while singing), rapid-fire exchanges, and theatrical choreography make for a wonderfully ridiculous double act. Martin switches between detective smoulder and buffoonery easily, with a face made for black-and-white crime films, while Berry matches his energy and looks as though he's fighting for his life through the choreography. Their recurring number, 'Ain't a Second to Spare', sees the detectives repeatedly announce their lack of time while wasting an extraordinary amount of it. Just when you think they're finished, they're back for more. Musical theatre, country western, rock 'n' roll, crooning, and a kickline, naturally. (Martin going full hillbilly absolutely sent me). Choreographer Maureen Bowra has found another way to torture people in a show already dedicated to that activity. The song threatens to become the one that never ends, and I'm not convinced the detectives would mind. Bowra's choreography makes inventive use of the physical limitations of being attached to other humans. Thankfully, costume designer Jemma Crowhurst has provided padding and knee protection for the cast's prolonged adventures on the floor. Even a mad scientist's victims deserve appropriate workplace safety considerations. Thomas Currie's score features catchy melodies, clever reprises, and outrageous lyrics. Hartley and Catton enjoy a good pun, particularly involving rear-ends, bodily functions, or unfortunate positioning. Gleeson's song 'I'll Be Right Behind You' acquires an entirely different meaning here. The Act One finale weaves earlier songs together during Lindsay's morphine-induced nightmare. Even the musical numbers end up interconnected. I also caught references to Les Misérables, Hamilton, and A Chorus Line. 'Three Heads Are Better Than One' brings sparkling showmanship to a grotesque situation. Nate Stevenson's musical direction and sound balance ensure every dreadful pun comes through clearly. Claire Yorston's lighting design is equally sharp, with precisely timed cues and bold colour changes complementing the show's over-the-top parody style. During 'Hide and Seek', I caught myself thinking, 'Oooh, lighting change!' (Yes, I'm that person.) Alongside Tamzen Hunter's set and projections, the technical design provides a fuller playground for the madness. For all its disgusting subject matter, the staging is less visually revolting than expected. One fart noise (more of a shart, really) does much of the dirty work, while the costumes leave plenty to the imagination. The actors even break the fourth wall to judge us for attending this show in the first place. I glanced around the theatre to see most audience members covering their mouths in shock. Quite the collective reflex, considering what we've paid to watch. Perhaps we're instinctively protecting ourselves from recruitment? As the show acknowledges, "As sadistic as it is, I want to know how it ends." And I did. The performers commit completely to the satire, and I became invested in these ridiculous characters despite knowing their ghastly predicament. The Human Centipede Parody Musical is gleefully stupid, unashamedly camp, and wildly inventive (and far more entertaining than an adaptation of this film has any right to be).

A Drop Too Many Presented by Backbone Festival Written and directed by Maxi Mossman Co-writer: Peyton Hutchins Stage Manager and Costume Designer: Paige Elms Sound Designer: Andrew Oxford Lighting Designer: Caleb Bartlett Video Designer: Lani Dwyer Cast: Angela Barnard, Connor Costin, Ally Marie Wilson, Liam Linane, and Anabella Gregory Photography: Ulf Yeh (@ulfs_photography) Date Attended: 8 October 2026 "Do we swim against the pull or just let go?" I recall the four-minute shower timers, saving water in buckets, my unusual interest in the weather forecast as a child, and the silent judgement directed at anyone caught using a sprinkler or hose. Growing up in Brisbane during the Millennium Drought, these restrictions were part of daily life. After watching A Drop Too Many at Backbone Festival, I realised how much of that childhood has been lingering in my memory, waiting for someone to bring it up. Written and directed by Maxi Mossman, with co-writer Peyton Hutchins, A Drop Too Many examines Australia's complicated relationship with water. Inspired by the 2022 floods across South-East Queensland and Northern NSW, the production draws on real community experiences. Stories of hardship, resilience, and human connection unfold through verbatim testimony, poetry, and physical theatre. First presented at Anywhere Festival in 2023, the work has since evolved through Backbone's HUB Residency, bringing the Australian bush indoors to the Ron Hurley Theatre. A desolate patch of Australian bushland greets us. Brown dust covers the ground, a bare tree stands among barrels and buckets, and newspapers lie scattered around. The predominantly beige and white costumes by Paige Elms look as though they've absorbed the dust themselves. There isn't a speck of greenery in sight. Emerging from the darkness, performers crawl and contort across the dirt with distorted expressions. Their limbs twitch and jolt as though they're receiving electric shocks, and their movements wouldn't look out of place in The Walking Dead… It's an unsettling introduction to the ensemble's physical storytelling. Throughout the production, the five performers shift between characters, narrators, and representations of the natural elements. Bodies tumble and intertwine, demonstrating considerable strength, control, and trust in one another. We begin with the droughts of the early 2000s. Angela Barnard and Ally Marie Wilson recount the familiar routines of a water-conscious household. I found myself mentally ticking off each one. Timed showers? Check. Prickly dead grass? Check. An intense obsession with the weather forecast? Check. I vividly remember the restrictions from ages seven to eleven, but I'd started to wonder whether my childhood imagination had exaggerated the severity. Hearing these experiences described onstage reminded me that these experiences (endless dry days, constant conservation, excitement over potential rainfall) were shared by an entire generation. Maxi and Peyton's script is rich in these recognisable details, capturing the peculiar routines that emerged when every drop of water was precious. "When you're five and the world is still so new, no one tells you this isn't normal." Dialogue fractures between all five performers, with phrases passed back and forth in quick succession. Their precise timing creates the impression of multiple memories being recalled at once. Even the silence of drought is noted. No birdsong, no sprinklers, no cicadas, no lawnmowers… Andrew Oxford's sound design moves between this eerie stillness and a rich soundscape of birds, insects, rainfall, rushing water, and historical news reports. "Too many days exactly the same... Hoping it will get better next week, next month, next year." And then, finally, the rain arrives. The group's reaction is childlike. Faces turn skyward, bodies freeze in delight, and tongues stretch out to catch imaginary droplets. Their poses loosen and they start dancing as the pattering sounds develop into a downpour. After so much drought, the sense of relief spreads among them like a contagion. I can practically smell that glorious scent of rain hitting the parched earth. But Australia's rainfall has never been particularly good at moderation… What was once a landscape desperate for moisture is suddenly drowning in it. Caleb Bartlett's lighting design trades bright oranges and fiery reds for deep, saturated blues. Lani Dwyer's video projections flash images of rain, inland tsunami, cyclone, and flooding. Combined with Andrew's soundscape, these elements transform the modest theatre into a hostile, waterlogged environment. One of the production's most inventive choices is its use of translucent plastic sheeting to depict water. Initially, it ripples gently across the stage, but as the flooding intensifies, it rises and thrashes around the performers, swallowing their bodies beneath its surface. Anabella Gregory spends a disconcerting amount of time underneath the material (could you breathe?!). Watching the lightweight plastic billow and twist around the ensemble is mesmerising, its movement evoking the overwhelming force of the inland tsunami that tore through Toowoomba and the Lockyer Valley. Strobing lights accentuate the violence of the floodwaters as the group battles the current. Liam Linane's frantic attempts to "swim" to safety capture the exhausting futility of fighting water that refuses to release you. Performers cling to one another and scramble for higher safety. The bare tree becomes a beacon, a sanctuary. Illuminated with colour from within, its trunk glows against the surrounding darkness. The accounts of the 2011 Brisbane floods are uncomfortably familiar. At fifteen, I was old enough to grasp the danger but too young to understand the enormous burden placed on my family. Through personal recollections and archival recordings, we're reminded of the sudden evacuations, SES volunteers who appeared like superheroes, and the extraordinary mobilisation of Brisbane's Mud Army. I remember watching people arrive from everywhere, armed with shovels, buckets, and a determination to help us. The water may eventually recede, but the mud of the Brisbane River remains. My home was unrecognisable, belongings were contaminated or floated away, and treasured possessions disappeared beneath layers of debris. "Memories are scattered throughout the mud." Moving beyond Brisbane, the production also examines rural communities, where drought endangers livelihoods and natural disasters threaten lives. Connor Costin delivers a powerfully confronting portrayal of a farmer driven to despair. His frustration escalates into anger as he describes starving animals, mounting financial burdens, and the agonising responsibility of euthanising livestock to prevent further suffering. Even the toughest farmer has a breaking point, and Connor's strained physicality exposes the exhaustion beneath his character's fury. It's an important perspective on the emotional and financial toll that rarely receive the same attention as those affecting our cities. Anabella Gregory provides a scientific perspective, swiftly and thoroughly explaining how El Niño and La Niña influence Australia's weather patterns. Her exchanges with Liam Linane offer a reprieve from the heavier material. They share a physical duet in which his excessively clingy behaviour continually interrupts her explanations. It's like attempting to deliver a serious class presentation while your partner insists on using you as a climbing frame. The storytelling has a collage-like quality, moving between personal recollections, scientific explanations, recorded testimony, and abstract movement. Announcement of newspaper headlines paint a picture of a country perpetually bracing for the next climatic emergency. Exaggerated slow-motion movement turns a family sitting together and drinking water into an almost ceremonial occasion. Ally and Connor's swinging, circular arm movements look like an impromptu rain dance, as though they might summon a change in the weather through sheer willpower. Despite its confronting depictions of loss, A Drop Too Many is equally interested in the care Australians offer one another in a crisis. The final scenes replace isolated suffering with physical connection. Arms wrap around shoulders, performers support one another's weight, and the ensemble gathers around the tree that has weathered so much alongside them. I find A Drop Too Many fascinating and deeply beautiful. Its portrayal of the Millennium Drought had me reliving childhood memories I hadn't revisited in years. The flood sequences recalled the fear, heartbreak, and astonishing generosity I witnessed firsthand. I feel an intimate connection to these stories, right down to the smallest details. I wasn't expecting a piece of physical theatre to bring so much of my own history rushing back. Maxi and the ensemble have created a visually inventive and physically demanding production that understands the contradictions of living in Queensland. We spend years desperately wishing for rain, only to find ourselves pleading for it to stop. There's beauty in the way this production portrays both the ferocity of our landscape and the tenderness of the people living within it. I connected with A Drop Too Many more deeply than I anticipated, and I left with an overwhelming appreciation for the communities who continue to pick themselves up, clean off the mud, and help their neighbours do the same.

Bring a Very Big Net Presented by Backbone Festival Writer: Zoë Schramm Director: Annabel Gilbert Stage Manager: Kat Coomber Dramaturg: Jordon Riley Cast: Bec Day, Eve Grace, Hayden Parsons, Geena Schwartz Photography: Ulf Yeh (@ulfs_photography) Date Attended: 8 October 2026 "Cringe is a cage and I want to be a free bird!" Four unlikely explorers venture into the bush in pursuit of a legendary creature. Equipped with backpacks, problematic survival skills, and an alarming amount of confidence, this expedition into Mount Kilcoy National Park is already looking like a disastrous idea. Written by Zoë Schramm and directed by Annabel Gilbert, Bring a Very Big Net is an outrageously silly Australian comedy about yowie hunting, unlikely friendships, and four people carrying far more emotional baggage than their backpacks can hold. Presented as part of Backbone Festival, this camping trip features slapstick comedy, bizarre plot twists, and an unexpected amount of Kylie Minogue... Leading the expedition is Leah (Bec Day), a wildly enthusiastic yowie believer determined to prove the existence of Australia's elusive hairy cryptid. Her incredible energy is exhausting just to watch. Bec throws herself into Leah's increasingly ridiculous schemes with the conviction of someone who has never once considered the possibility that she might be wrong. Then there's Julian (Hayden Parsons), a fitness fanatic who appears to have mistaken being physically fit for knowing how to survive in the bush. Hayden spends much of the play skedaddling around the stage, flinging himself into situations without a moment's foresight. His dramatic reactions and inexhaustible energy are hilarious. Alice (Eve Grace) is a TikTok "influencer" with 40K followers, a fully charged phone, and an outfit better suited to a pilates class than a trek through the Australian bush. She's vegan, fluent in Gen Z slang, and convinced that every experience (however life-threatening) can be transformed into online content. Eve nails Alice's exaggerated mannerisms, chirpy delivery, and complete lack of self-awareness. She's hopelessly out of her depth, although I'm not entirely convinced she'd notice anything out of the ordinary unless someone pointed it out in the comments. And finally, there's Charlie (Geena Schwartz), a thoroughly unimpressed park ranger who has exhausted her patience before the expedition has even begun. While the others debate mysterious noises in the wilderness, Charlie offers the less supernatural explanation: "it's just koalas mating!" Geena's deadpan delivery and facial expressions are bloody golden. A raised eyebrow, a withering stare, or a look of pure disbelief tells us exactly what Charlie thinks of these idiots without her having to say a word. I spent half the performance watching her react to everyone else's nonsense. The set has styrofoam trees, large green net, and Mount Kilcoy NP sign. Plus, voodoo-like dolls are used to track the hikers' locations (a navigation system I wouldn't recommend). Even the theatre's existing architecture gets involved, with a hole in the wall put to imaginative use. A Chewbacca-looking visitor might even make an appearance there... "How long till we start eating people?" asks Julian. "Cannibalism is very anti-community," Alice responds. The dialogue is full of these ridiculous exchanges. Naturally, everything that could go wrong on this camping trip does: bad weather, venomous wildlife, lack of food, injuries, and arguments. Director Annabel Gilbert keeps the action moving, making excellent use of the cast's physical comedy and willingness to look completely ridiculous. At one point, a spider bite sends Leah into a psychedelic state and Bec's performance becomes entirely unhinged. Poor Charlie trying to coax Leah into cooperating is like attempting to shepherd an overtired toddler through a supermarket, except this toddler is hallucinating yowies. And then there's Kylie… The unmistakable "la la la" of Can't Get You Out of My Head repeatedly interrupts the adventure, providing the perfect beat for bushwalking. I bet the song is in your head now too! As wildly exaggerated as these four characters are, they're all lonely, secretive, and a bit weird. Each has something they're avoiding, and being stuck in the bush together is proving a rather inconvenient way to keep those things hidden. Between the arguments and absurd discoveries, they begin to learn a few things about themselves and one another. Aww. Bring a Very Big Net is a hilarious and affectionate addition to the Backbone Festival. I love how wholeheartedly the cast commits to all the nonsense, right down to the spontaneous choreography. Beneath the yowie masks lies a sweet story of four oddballs finding friendship in unlikely circumstances. Come with your funny bone, leave your common sense at home, and bring a very big net...

Title: Jesus Christ Superstar Presented By: Gold Coast Little Theatre (GCLT) Genre: Rock Opera / Musical Theatre / Biblical Drama Synopsis: Featuring music by Andrew Lloyd Webber and lyrics by Tim Rice, Jesus Christ Superstar reimagines the final week of Jesus Christ's life through the eyes of Judas Iscariot. Set against the backdrop of political unrest in Roman-occupied Judea, the musical explores the increasingly complicated relationships between Jesus, Judas, Mary Magdalene, the apostles and the Roman authorities. As Jesus' popularity grows, Judas becomes concerned about the consequences of his influence, leading to betrayal, arrest and ultimately crucifixion. Told entirely through song, this iconic rock opera features a powerful 1970s-inspired score. Audition Date: First Round: Vocal video submissions close 23 October 2026. Second Round: Thursday 29 October 2026 (in-person callbacks and dance call). Audition Location and Address: Gold Coast Little Theatre, 21a Scarborough St, Southport Audition Requirements: The first round consists of a vocal video submission. Audition material depends on the role. Jesus, Judas and Mary Magdalene: Prepare the specified character excerpt using the supplied sheet music and backing track. Role Required Song Starting Point Jesus Gethsemane 1:43 Judas Judas' Death 0:57 Mary Magdalene I Don't Know How to Love Him 2:40 All other named roles and ensemble: Prepare a 1–2-minute excerpt of a 1970s rock or pop song in the style of the production. Instrumentalists: Applicants indicating instrumental ability must also prepare a 30–60-second demonstration of their skills, such as chord progressions, riffs, strumming or plucking. Performers may accompany themselves during their vocal audition. Audition Registration: Register via Google Forms Audition Pack: Jesus Christ Superstar Audition Information (PDF) Performance Dates: 29 January – 20 February 2027. Performance Location: Gold Coast Little Theatre, Gold Coast, Queensland. Rehearsal Dates: Begin Sunday 1 November 2026, late afternoon/evening. Christmas Break: 22 December 2026 – 3 January 2027. Rehearsals Resume / Sitzprobe: Monday 4 January 2027. Rehearsal Times: Primarily Monday and Wednesday evenings and Saturdays during the day. A full rehearsal schedule will be provided at the first rehearsal. Warnings: The production depicts religious persecution, betrayal, suicide, physical violence and crucifixion, with emotionally intense themes surrounding faith, sacrifice, power and death. Creative Team: Director: Andrew Kassab Musical Director: Michelle Watkins Vocal Director / Assistant Director: Ruby Tate Production Website: Gold Coast Little Theatre Auditions Other information: Understudies will be cast for Jesus, Judas and Mary Magdalene, with dedicated performances. Intermediate guitar or bass skills are preferred, but not essential, for Jesus, Judas, Mary Magdalene and Simon. The production is also seeking instrumentalists who can sing and perform as part of the ensemble. Some ensemble performers will double as apostles and priests. Applicants should indicate any instrumental skills when registering. Audition Enquiries: JCS@gclt.com.au Available Roles/Character Breakdown: Jesus Any gender | Rock Tenor | Optional high G5 The central figure of the story and leader of the twelve apostles. Regarded by his followers as the Son of God and King of the Jews, Jesus struggles with the enormous expectations placed upon him and the consequences of his growing influence. Requires a powerful rock tenor voice capable of conveying emotional intensity and vulnerability. Intermediate guitar or bass skills preferred but not essential. Judas Iscariot Any gender | Rock Tenor One of Jesus' twelve apostles and arguably the antagonist of the musical. Judas becomes increasingly concerned about Jesus' fame, the welfare of the poor and the political consequences of his followers' devotion. A complex, conflicted character who drives much of the story. Requires a strong rock tenor capable of delivering emotionally charged material. Intermediate guitar or bass skills preferred but not essential. Mary Magdalene Female-presenting | Mezzo Belter A devoted follower of Jesus who finds herself developing romantic feelings for him. Mary provides a compassionate and stabilising presence amid the escalating conflict. Requires an actress capable of portraying grace, strength, vulnerability and compassion, alongside a strong contemporary musical theatre belt. Intermediate guitar or bass skills preferred but not essential. Pontius Pilate Any gender | Rock Baritone / Rock Alto The Roman governor of Judea who dreams of Jesus' crucifixion before finding himself responsible for determining his fate. Pilate struggles with the political and moral implications of his decisions. Requires a commanding presence and the ability to communicate internal conflict. King Herod Male-presenting | High Baritone The flamboyant King of Galilee, to whom Jesus is brought for judgment. The production describes the character as a David Bowie type, suggesting a theatrical, charismatic and larger-than-life stage presence. Requires strong character acting and confident rock vocals. Peter - Male-presenting | Tenor One of Jesus' twelve apostles. Despite his loyalty, Peter denies knowing Jesus three times on the night of his arrest in an attempt to protect himself. Requires the ability to convey loyalty, fear and remorse. Simon Any gender | High Baritone One of Jesus' twelve apostles who passionately encourages Jesus to lead his followers into battle against Roman rule. An energetic, politically motivated character requiring strong rock vocals and stage presence. Intermediate guitar or bass skills preferred but not essential. Caiaphas Male | Low Bass with Rocky Top The high priest who regards Jesus' growing influence as a threat to the nation and its stability. The production describes Caiaphas as a Mick Jagger type, suggesting a distinctive rock-inspired performance style and strong stage presence. Requires an exceptionally low bass voice with the ability to access a contrasting rock sound. Annas Male | High Baritone A priest who is persuaded by Caiaphas that Jesus represents a threat. Works alongside Caiaphas in the effort to bring Jesus before the authorities. Requires strong character acting and rock vocal ability. Ensemble Rol Seeking versatile performers with strong rock/pop vocals and confident movement skills. Ensemble members will portray a variety of characters throughout the production, with some doubling as apostles and priests. Seeking strong instrumentalists who also possess good rock/pop singing abilities. Some performers will double as apostles and priests. Preferred instruments include: Guitar Electric bass Piano Brass: trumpet and trombone Woodwind: flute and saxophone Violin Auxiliary percussion Instrumentalists must prepare a 30–60-second demonstration of their musical ability as part of their audition.

Title: Annie JR. Presented By: RMT Youth and ROAR Academy Genre: Musical Theatre / Family / Comedy-Drama Synopsis: Based on the beloved comic strip Little Orphan Annie and adapted from the Tony Award-winning Broadway musical, Annie JR. follows a spirited young orphan determined to find the parents who abandoned her on the doorstep of a New York City orphanage. Set during the Great Depression of the 1930s, Annie's optimism and determination help her navigate life under the cruel Miss Hannigan. When she is invited to spend Christmas with billionaire Oliver Warbucks, her life takes an unexpected turn. With help from Warbucks, his secretary Grace Farrell and her loyal canine companion Sandy, Annie discovers that family can be found in the most unexpected places. Audition Date: Saturday 17 October 2026 Audition Time: Three audition sessions available. Each session is limited to 25 auditionees. 10:00am–12:00pm 12:30pm–2:30pm 3:00pm–5:00pm Audition Location and Address: Redcliffe Showgrounds, Bicentennial Room, Scarborough Road, Redcliffe Audition Requirements: Auditionees should prepare the song associated with their preferred character or role category. Auditionees should also be prepared to participate in a dance audition Audition Registration: Register for your preferred audition session through the ROAR Academy Annie JR. webpage. Audition Pack: Annie JR. Audition Pack (PDF) Role Audition Song Annie Tomorrow Other Orphans It's the Hard Knock Life Grace Farrell I Think I'm Gonna Like It Here Rooster Hannigan / Lily St. Regis Easy Street Miss Hannigan Little Girls Older Ensemble NYC Performance Dates: Saturday 6 February 2027 Sunday 7 February 2027 Performance Times: 11:00am and 3:00pm on both days (four performances). Performance Location: Redcliffe Entertainment Centre (REC), Redcliffe QLD. Rehearsal Dates: November: Thursdays 5, 12, 19 and 26 November 2026 December: 14–16 December 2026 January: 20–22, 28 and 30 January 2027 February: 2, 4 and 5 February 2027 Rehearsal Location: All rehearsals take place at the Redcliffe Showgrounds, Bicentennial Pavilion, except the final dress rehearsal on 5 February, which takes place at the Redcliffe Entertainment Centre. Performer Age: ROAR Academy caters to young performers aged 5–18. Specific character playing ages are listed below. Other information: Optional Audition Preparation Workshops: Saturday 10 October 2026 at Redcliffe Showgrounds: 10:30am–12:30pm or 1:00pm–3:00pm These workshops cover vocal preparation and the audition dance routine. Cost: $50, deducted from the production workshop fee if the performer accepts a role in Annie JR. Production Participation Fee: Early Bird: $325 if paid in full by 1 November 2026. Standard Fee: $395, due by 1 December 2026. Instalment Option: Three payments of $140, due 1 November, 1 December and 1 January (total $420). The fee includes costumes, script and score, show shirt, pizza party and an after-show party at the Showgrounds following the final performance, including a visit from an ice cream van. ROAR Academy encourages culturally diverse casting. Performers do not need to physically resemble traditional portrayals of the characters, provided they can communicate the character's personality and intentions. Enquiries: Madeleine Johns — 0488 103 759 Available Roles/Character Breakdown Annie Female character | Playing age: 11 A tough, streetwise orphan who is also surprisingly vulnerable. Independent, resourceful, spirited and occasionally aggressive, Annie longs to find a family who will love her. Despite her difficult circumstances, she remains compassionate and optimistic. Requires strong singing and acting abilities, with the confidence to carry the production. Oliver Warbucks Male character | Performer age sought: 15–18 A wealthy, middle-aged billionaire who initially appears confident, authoritative and businesslike. His relationship with Annie gradually reveals a warmer, more affectionate side as he becomes completely charmed by her personality. Requires maturity and a commanding stage presence. Miss Hannigan Female character | Mature character role The cruel, flamboyant director of the orphanage. Manipulative, selfish and convinced of her own glamour, Miss Hannigan can switch instantly between genuine nastiness and exaggerated affection when it suits her. Requires a strong comedic actress with excellent timing, a mature singing voice and the ability to create a larger-than-life character. Grace Farrell Female character | Older youth role Oliver Warbucks' elegant and capable private secretary. Calm, composed, well-dressed and compassionate, Grace becomes an important source of kindness and stability in Annie's life. Requires a strong singer with a more traditional or legitimate musical theatre vocal style. Rooster Hannigan Male character | Older youth role | Brooklyn accent Miss Hannigan's scheming brother. Flashy, confident and dishonest, Rooster moves with the swagger of a gangster and works closely with his girlfriend Lily to swindle Warbucks. Requires strong comedic acting, a wide vocal range and excellent chemistry with Lily. Lily St. Regis Female character | Older youth role | Brooklyn accent Rooster's glamorous but dim-witted girlfriend. Lily is obsessed with appearances, wealth and personal gain. A confident comedic performer is needed, with a strong singing voice and the ability to play off Rooster's schemes. Molly Female character | Playing age: 6 The youngest and smallest orphan. Easily frightened and vulnerable, Molly looks to Annie for comfort and motherly reassurance. Kate Female character | Playing age: 7 One of the youngest orphans, second only to Molly in size. A member of the mischievous orphanage group. Tessie Female character | Playing age: 10 The most emotional orphan, quick to laugh, cry or become overwhelmed. Known for her repeated exclamation, "Oh, my goodness!" Pepper Female character | Playing age: 12 The toughest orphan. Outspoken, strong-willed and defensive, Pepper stands up for herself and the other girls. July Female character | Playing age: 13 The quietest orphan. A more reserved member of the group. Duffy Female character | Playing age: 13 The tallest and most mature orphan, often displaying an older, more confident presence. Supporting and Featured Roles Bundles McCloskey - The orphanage laundry man who enjoys flirting with Miss Hannigan. A character acting role. Apple Seller / Dog Catcher - Small featured roles with dialogue alongside Annie. No solo singing required. Sandy - Annie's lovable stray dog. This production is auditioning a performer to portray Sandy rather than using a live dog. Lieutenant Ward - A police officer who encounters Annie. A featured cameo with dialogue but no solo singing. Drake - Oliver Warbucks' English butler and head servant. Ideally, the performer should be tall or strong enough to carry Annie. Cecille and Annette - French maids employed at the Warbucks mansion. Strong singing ability required, with dance skills an advantage. Mrs. Greer - The head housekeeper at the Warbucks mansion. Part of the mansion staff ensemble. Mrs. Pugh - The Warbucks household cook. Her surname is pronounced "Pew." Star-to-Be - A glamorous aspiring Broadway star with a featured solo in "NYC". A strong singing and performance opportunity. Usherettes - Featured performers with small vocal solos in "NYC". Bert Healy - The charismatic host of the Oxydent radio show. A natural scene-stealer who loves being the centre of attention. Requires a big voice, comic confidence and strong stage presence. Bert Healy's Girls - Three radio show singers who perform close vocal harmonies. Strong ensemble singing and blending required. Radio Announcer - A featured speaking role requiring a polished, professional announcer's voice and manner. Sound Effects Man - A comedic radio performer responsible for operating old-fashioned sound effects props. May be combined with the Radio Announcer role. President Franklin D. Roosevelt - The President of the United States. Requires a performer who can convincingly portray an older, authoritative character, use a wheelchair onstage and imitate Roosevelt's distinctive voice and mannerisms. Louis Howe - President Roosevelt's trusted assistant. A featured supporting role. Ensemble - Additional performers will portray orphans, New Yorkers, tourists, servants, radio performers and other featured characters throughout the production.

Title: Finding Neverland Presented By: Spotlight Theatrical Company Genre: Musical / Fantasy / Drama Synopsis: Based on the Academy Award-winning film and the play The Man Who Was Peter Pan, Finding Neverland follows the relationship between playwright J.M. Barrie and the family that inspired his beloved creation, Peter Pan. Struggling to find inspiration, Barrie encounters recently widowed Sylvia Llewelyn Davies and her four sons in Kensington Park. As he becomes increasingly involved in their lives, he discovers the extraordinary power of imagination, particularly through Peter, a young boy struggling with grief after losing his father. Together, they rediscover the magic of childhood and inspire Barrie to create a theatrical world where children can fly, pirates roam, and nobody has to grow up. Audition Date: Saturday 10 October 2026. Online audition submissions close at 5:00pm on Friday 9 October 2026. Audition Time: Individual audition times allocated through registration. Callbacks, if required, Wednesday 14 October 2026. Audition Location and Address: 4/50 Johnston Street, Southport QLD Audition Requirements: Lead roles: Prepare two contrasting 90-second musical theatre excerpts that demonstrate vocal ability and suitability for the character. Ensemble and youth roles: Prepare one 60–90-second musical theatre song demonstrating vocal ability. Backing tracks: Provide your own accompaniment via USB, AUX or Bluetooth. No rehearsal pianist will be available. Dance/movement: All auditionees must attend a compulsory movement and dance call, except those auditioning exclusively for Mrs. du Maurier. The combination caters to all experience levels, with opportunities for advanced dancers to demonstrate technique. Audition Registration: Register via Jotform Audition Pack: Finding Neverland Audition Brief (PDF) Performance Dates: 4–27 February 2027. Performance Location: Spotlight Theatre Complex, Halpin Auditorium, 185–187 Ashmore Road, Benowa QLD 4217. Rehearsal Dates: Commencing Tuesday 3 November 2026 for approximately 12 weeks, with a break over Christmas and New Year. Rehearsal Times: Sundays during the day, Tuesday and Thursday evenings. Additional filming, photoshoot and marketing calls will be scheduled with advance notice. Warnings: The production explores mature emotional themes, particularly grief, bereavement and family loss. Specific performance requirements include: J.M. Barrie and Sylvia: Onstage romantic intimacy, including hugging, close dancing and kissing. Youth roles: Emotionally challenging scenes involving grief and loss, physical lifting during fantasy/flying sequences, and platonic familial contact such as comforting hugs. Adult cast and ensemble: High-energy movement, theatrical play-fighting and partner lifting. Aerial flying: Selected ensemble performers must be comfortable with heights and professional harness flying. Live animal: Principal and ensemble performers must be comfortable working onstage with a dog. Performer Age: 17+ for adult roles and ensemble, with exceptions for the four child roles. Character ages are suggested playing ages rather than strict performer ages. Applicants outside the listed playing ages may still audition if they can convincingly portray the character. Creative Team: Director/Choreographer: Clay English Musical Director: Shari Willner Creative Producer: Laura English Production Website: Spotlight Theatre Auditions Other information: This is the Queensland premiere of Finding Neverland and an unpaid amateur production. All successful performers must become financial members of Spotlight Theatrical Company and be locally available on the Gold Coast throughout the engagement. All adult cast and crew aged 18+ must hold a current Queensland Blue Card before rehearsals begin. Audition enquiries: findingneverlandgc@gmail.com Available Roles/Character Breakdown: J.M. Barrie Male identifying | Playing age: 30–40 | Vocal range: Ab2–A4 | Scottish accent A successful Scottish playwright with a rebellious, childlike spirit. Barrie struggles against the restrained expectations of society while maintaining a generous, imaginative outlook. Requires excellent comic timing alongside emotional vulnerability, a strong pop/rock tenor voice and confident movement ability. Dance training is not essential. Specific requirements: Romantic intimacy with Sylvia and interaction with a live dog. Sylvia Llewelyn Davies Female identifying | Playing age: 25–35 | Vocal range: F#3–F5 | English RP accent A recently widowed mother of four boys who encourages creativity and independent thinking. Sylvia is warm, playful and spirited but must also navigate serious emotional circumstances. Requires a strong pop/rock belt and mix with confident soprano notes. Specific requirements: Romantic intimacy with Barrie and interaction with a live dog. Charles Frohman / Captain Hook Male identifying | Playing age: 50–60 | Vocal range: B2–G4 | Standard American accent A wealthy American theatrical impresario who has supported Barrie throughout much of his career. Also portrays Captain Hook, representing Barrie's darker alter ego, with a mischievous and wicked sense of humour. Requires a strong character actor with an excellent pop/rock baritenor sound. Strong movement skills are important, although formal dance ability is not essential. Mrs. du Maurier Female identifying | Playing age: 50–60 | Vocal range: C#4–F5 | English RP accent Sylvia's mother, a socially conscious woman who values etiquette, propriety and tradition. Stern and occasionally overbearing, she genuinely wants the best for her daughter and grandchildren. Requires dry comic timing and a strong alto voice with pop/rock sensibility. This is the only role exempt from the compulsory dance/movement audition when auditioning exclusively for the character. Peter Llewelyn Davies Male identifying | Playing age: 8–10 | Vocal range: Ab3–E5 | English RP accent The second youngest Davies boy, Peter is deeply affected by his father's death. Initially withdrawn, angry and reluctant to embrace imagination, he gradually learns to believe in magic and rediscover the joy of childhood through his friendship with Barrie. Requires a pop/rock singing voice and strong emotional acting ability. Specific requirements: Emotionally demanding scenes involving grief, physical lifting and familial contact. George Llewelyn Davies Male identifying | Playing age: 12–14 | Vocal range: G3–E5 | English RP accent The eldest Davies boy. Sensible, mature and responsible, George naturally assumes a leadership role among his brothers while retaining his capacity for imagination and play. His character develops into a more responsible young man during Act Two. Specific requirements: Emotionally demanding scenes involving grief, physical lifting and familial contact. Jack Llewelyn Davies Male identifying | Playing age: 10–12 | Vocal range: A3–Eb5 | English RP accent The second eldest Davies boy. Mischievous, adventurous and outspoken, Jack is often the naughtiest of the brothers, although his cheekiness comes from a good heart. Requires a pop/rock singing voice. Specific requirements: Emotionally demanding scenes involving grief, physical lifting and familial contact. Michael Llewelyn Davies Male identifying | Playing age: 6–8 | Vocal range: A3–Eb5 | English RP accent The youngest Davies boy. Loud, confident and enthusiastic, Michael is unafraid to express himself and embraces the imaginative adventures around him. Requires a pop/rock singing voice. Specific requirements: Emotionally demanding scenes involving grief, physical lifting and familial contact. Mary Barrie Female identifying | Playing age: 25–35 | Vocal range: E4–D5 | English RP accent Barrie's wife and a former actress. Serious, proper and concerned with social appearances, Mary increasingly struggles to connect with her husband's unconventional interests and imagination. Their differences gradually drive them apart. Requires a strong pop/rock sound with soprano ability. The performer will also appear in the ensemble. Minor Roles / Ensemble Any gender | Ages 17+ A versatile, physically expressive ensemble portraying multiple characters, including townspeople, actors, maids, butlers and characters from Barrie's plays, including Peter Pan. Movement and/or dance experience is desirable. Ensemble members will participate in energetic theatrical sequences, with selected performers undertaking aerial flying using professional harness equipment. Some roles also involve interaction with a live dog.

The Addams Family Young@Part Presented by: Second Star Youth Theatre Book: Marshall Brickman and Rick Elice Music and Lyrics: Andrew Lippa Based on characters created by: Charles Addams Director and Musical Director: Lauren McNamara Choreographer: Isabella Maric Date attended: 3 October 2026 “That’s a good distance for romance.” Uncle Fester is talking about the moon. Naturally. The Addams Family Young@Part is packed with gloriously odd lines, and Second Star Youth Theatre’s young cast has a good feel for the comedy. A pause here, a look there, one perfectly dry response, and suddenly I’m cackling at children discussing torture, marriage, death, and the unbearable humiliation of having parents. That last one is what the story comes down to. Wednesday Addams has fallen in love with a normal boy and would very much like her family to behave themselves when his parents visit for dinner. Her parents proceed to do what parents do best: embarrass their child spectacularly. Led by director Lauren McNamara, this show's premise is particularly well suited to this age group - where the horror of your family being weird in front of someone you like probably rivals anything the Addamses keep in the basement! Sacha Fleming as Gomez Addams gets plenty of laughs with his accent, drawn-on moustache, and melodramatic delivery. He knows how to find the always find the joke without forcing it. “When You’re an Addams” quickly introduces both the family and the considerable talent spread through the company. Chloe Coleman as Morticia has suitably formidable presence, although perhaps her greatest threat is a high kick performed in those heels. Lethal! Her quieter tango moment with Gomez during “Live Before We Die” gives the pair a chance to step away for a softer scene together. Harper MacGregor gets an early chance to show off her lovely voice in Wednesday’s solo “Pulled”, a tricky number that she handles with impressive ease and no visible nerves. There’s plenty of strength in her sound, and she has just as much fun with Wednesday’s permanent exasperation outside the songs. Once the Beinekes arrive, Harper wears the growing frustration of realising that absolutely nobody is going to cooperate. Ronin Cooper-Jackson is completely adorable as Pugsley, whose main worry about Wednesday growing up is that she might stop torturing him and ruin all their sibling fun. Ronin gets a lovely vocal moment in “What If”, showing off a powerful, blossoming young voice with plenty of promise. Sacha’s own version of the song gives Gomez his turn to show off his rich voice too. In true Addams fashion, both characters are basically saying “I love you” in their own strange way. Harry Zappert is a particular highlight as Uncle Fester. His wig may leave him looking slightly more Voldemort than Addams on occasion (sorry, Harry), but his performance is so entertaining! There’s a gentleness to his singing, including a soft vibrato that suits Fester’s utterly sincere romantic ballad. With little glowing spherical props, the Moon Dancer (Victoria Rezende), and Harry singing earnestly about his celestial beloved, the number becomes one of the sweetest oddities in an already very odd musical. Leo Crowther is hilarious as Mal Beineke and gets some of my biggest laughs of the show. Isabel Notari-Markey as Alice Beineke acts peppy and sweet, while Nate McKenna as Lucas is simply trying to survive introducing his girlfriend to his parents. The fun is watching this supposedly normal family get dragged further and further into Addams territory. By “Crazier Than You”, both couples are embracing the hullabaloo, with Wednesday/Lucas, and Alice/Mal, all getting their turn to prove that “normal” was never going to last very long! Around them all, the Ancestors have plenty to do rather than becoming decorative ghosts parked at the back of the stage. Choreographer Isabella Maric gives them featured moments through almost every number, while “Full Disclosure” uses the whole company particularly well, with energetic choreography and group tableaux built around the long dinner table. Visually, the production keeps things gothic with red velvet curtains, projections, and that long, dark table. The costumes and wigs add to the characterisation: Morticia’s sleek silhouette, Gomez’s snappy suit, the pale Ancestors, and Fester’s very committed bald look. Also, one useful lesson for any young performer wearing a microphone: assume it is always on! We can hear you backstage darlings. That’s an easy technical habit to learn, though, and it hardly dents the fun of watching this company tackle such character-driven comedy. The jokes depend heavily on timing and delivery, and these young performers understand far more of that rhythm than I was expecting! Second Star Youth Theatre’s The Addams Family Young@Part is full of dry one-liners, odd family affection, strong young voices, enthusiastic dancers, and children discussing torture with alarming casualness. For a family this obsessed with death, they’re having a very good time.

ESCAPE by DIAVOLO | Architecture in Motion Presented by: Brisbane Festival in association with Queensland Performing Arts Centre Venue: QPAC Playhouse Date attended: 23 September 2026 Creative Director & Choreographer: Jacques Heim Associate Choreographer: Kate Dougherty Writer & Dramaturg: France Nguyen-Vincent Sound Designer & Media Specialist: Simon Larson Greenberg Lighting Designer: Jean-Yves Tessier Costume Designer: David Touster Structure Designers: Adam Davis and Daniel Wheeler Photography: George Simian, Cheryl Mann, and others “Stability is not the absence of movement.” People throw themselves from cages. Doors tilt beneath dancers. Metal arcs become an enormous human hamster wheel. Bodies fling themselves through the air on the assumption that another person will be standing in exactly the right place at exactly the right millisecond. My jaw was clenched for much of the hour. My brain, meanwhile, was going weeeee! Created by Los Angeles company DIAVOLO | Architecture in Motion®, ESCAPE began taking shape during the pandemic, when confinement had become a very literal part of daily life and the urge to get out was hardly an abstract concept. The performers move through a changing landscape of enormous engineered structures, finding themselves trapped, thrown off balance, climbing out, and relying on each other to bring them safely back down. Their backgrounds span dance, gymnastics, parkour, acrobatics, and tricking. You can see those disciplines constantly colliding onstage. They're like very athletic monkeys who’ve been given access to expensive construction equipment. The opening cage proves the comparison immediately. Performers scramble across the metal frame, hanging, leaping, and squeezing themselves through its gaps with a kind of Tarzan abandon. My less sophisticated thought was that I would hit my shins on this thing SO much if I tried that. A performer falls. The audience gasps. Someone catches her. This becomes a dominant rhythm throughout ESCAPE. The company repeatedly introduces the possibility of disaster, lets us imagine it for half a second, and catches the body before gravity finishes the job. There’s no room for vague timing here. The performers call across the stage and yell cues to one another, and I loved hearing the work happen. Their communication becomes part of the score of the production. Things get angrier during the “boxed in” material. Numbered vests replace the earlier black costumes, spoken text asks “Is there anybody out there?”, and the song Another Brick in the Wall hardly needs its metaphor explained. The choreography begins with rigid unison before bodies become more agitated. The spoken language circles confinement, pressure, and a refusal to be constrained. Even the scene changes belong to the company. They haul, rotate, assemble, and climb on this mega playground. Architecture isn’t decoration in ESCAPE. It keeps changing the rules. Curved metal pieces first behave like individual seesaws before combining into the enormous circular structure. With EDM thumping around the Playhouse theatre, performers climb through its spokes while others propel the whole contraption across the stage. Human hamster wheel feels like an undignified description for such a feat of engineering, but I mean it affectionately. This company understands physics in the coolest possible way! In another sequence, a performer holds themselves inside a metal tube with ridiculous upper-body strength. Nearby, a rounded structure riddled with glowing holes looks like a chunk of cratered moon. Bodies pop through its craters like curious aliens. Jean-Yves Tessier’s lighting deepens that otherworldly quality, moving between stark beams, silhouettes, shadows, starlight, and pools of colour. A contemporary duet around a single doorway turns an ordinary object into a balancing apparatus. The dancers climb its frame, counterweight one another, and hang from positions requiring iron grip! Their safety repeatedly sits in the other person’s hands. Set against “Can You Hold Me”, it’s a striking change of scale after all that machinery. The soundscape sees EDM, rock, spoken word, drums, screams, and atmospheric music hammer through the theatre with considerable force. There are gentler stretches too. Twinkling light and softer music give us a break from all that impact. One “Falling Far” sequence had me giggling with glee. That response probably tells you where I sit on the sophisticated contemporary-dance-critic spectrum. The biggest balancing act comes at the end. With choral voices and increasingly insistent drums underneath, an enormous boat-like structure rocks to and fro like a gigantic rocking horse. Performers scatter across it at different heights, adjusting continually as the floor beneath them rises and drops. I hope nobody got seasick! “Someone will always be there to catch you,” we’re told. After watching bodies genuinely catapulted into the air, the idea has muscle behind it. Their colleagues are quite literally the difference between completing a trick and falling. I left with aching sympathy for their shoulders, stunned by their grip strength, and a strong desire to climb on almost every piece of equipment despite possessing none of the qualifications required to survive the attempt. I’d definitely see ESCAPE again.

Shrek the Musical JR Presented by: Stage School Australia Book and Lyrics: David Lindsay-Abaire Music: Jeanine Tesori Date Attended: 1 October 2026 Director: Georgia New Musical Director: Lucy Ross Choreographers: Grayson McBurney and Caity Bond Assistant Musical Director: Lauren Bull Costume Supervisor: Morgan McAleer Sound Operator: Derek Wilson Lighting Operator: Sev Harman Photography: By B'rit Creative "Do you know the muffin man...?" I have now seen Shrek the Musical enough times that I should probably be paying council rates in Duloc. Thankfully, Stage School Australia’s Shrek the Musical JR gives me a new cast of young performers to cheer for, wrapped up in a fast, colourful school holiday production. This is Stage School Australia’s third full-scale Brisbane production (and the third I’ve seen). Directed by Georgia New, the show flies by! It packs a lot of story, music, costumes, and fairytale creatures into its shortened junior runtime. Although I do quietly mourn a few of my favourite songs that have been sacrificed along the way… Harrison Slater plays a sweeter, gentler Shrek than many I’ve seen. I also love the decision to use green face paint rather than covering him with a heavy mask, leaving Harrison’s expressions visible throughout. His enunciation is excellent, and I applaud his attempt at the Scottish accent. Shrek doesn’t actually get a huge amount of solo singing in the junior version, but Harrison opens strongly with “Big Bright Beautiful World”. Also, shoutout for spending the better part of a week painted green. Theatre is so glamorous! Neil Marco II Aballe is an adorable Donkey, tackling one of the wordiest roles in the show and the sheer quantity of memorised dialogue valiantly. His enunciation stays strong through all that chatter, too. “Travel Song” captures the pair’s growing friendship (and the experience of being trapped on a road trip with someone who will not stop talking), while “Make a Move” lets Neil lead the company with full gospel-choir enthusiasm. The duet between Shrek and Fiona, “I Think I Got You Beat”, remains a thing of beauty (romance via competitive childhood trauma and bodily noises). What a courtship ritual! Esperanza Falconi has fun with Fiona’s two settings: pristine storybook princess and ball of aggression. One moment she’s all poised smile and perfect princess manners, and the next she’s ditched the whole facade because Fiona’s impatience or competitive streak has won. Essie carries that same split into her singing. “Morning Person” sits in a pretty, bright head voice, while the unhinged bridge of “I Know It’s Today” (“the waiting, the waiting…!”) lets her unleash a crazed belt. Across both, she has such a strong, assured musical theatre voice, and I really hope this is a path she keeps pursuing. Alongside Indiana Osborne and Chelsea Carman as Young and Teen Fiona, the three voices blend beautifully once the harmonies start stacking together in “I Know It’s Today”. Lucie Roy gets another of the production’s biggest vocal moments as Dragon in “Forever” amid enormous castle gates, glittering knights, and huge dragon wings. Excellent. More is more. I’d love to see gloves added to complete Roy’s Dragon costume and disguise the mechanics of manoeuvring the wings a little more, but the overall effect is suitably grand. Duloc is colourful and mildly terrifying, populated by cloned children maintaining the strained smiles (mostly) through “Welcome to Duloc”. The synchronised choreography is wonderfully rigid and cheerful. A few of the kids occasionally dissociate instead of grinning, which I assume is what happens after several days of rehearsals, performances, and being ordered to smile like a tiny citizen of a fascist theme park. Oskar Stam’s entire Lord Farquaad situation deserves appreciation, from the costume and physical comedy to the small matter of spending virtually the entire week performing on his knees. My knees hurt simply thinking about it! The costumes have plenty to look at, from the detailing on Fiona’s dress and wig to the endless parade of fairytale creature looks. “Story of My Life”, led by Eliza Cullerton as Pinocchio, gives those characters their first chance to spill across the stage together, each with their own personality. Eliza later transforms into the Pied Piper and leads a troupe of tap-dancing rats! “Freak Flag” brings the whole collection of oddballs together. Shoutout to Mina Brailov as Mama Bear and Gracie Ollerenshaw as the Wicked Witch in their lovely featured vocal moments. With such a large company, performers are continually rotated through the musical numbers rather than disappearing into the background for half the show. Grayson McBurney and Caity Bond’s choreography helps with that too, keeping the ensemble busy rather than letting every number dissolve into the same lines and formations. The spoken comedy doesn’t always receive the laughs it’s reaching for, and the accents occasionally take an international holiday between Scotland, America, and Australia. The leads’ clear dialogue helps enormously, particularly given how quickly this version races along and how little time the cast has to learn it. One detail I particularly enjoy is that the experience doesn’t begin and end with the curtain. Characters mingle with audiences before and after the show, with plenty of photo opportunities for kids. School holiday productions like this give young performers a concentrated taste of putting on a full musical: learning choreography, managing costume changes, developing characters, singing as an ensemble, and facing a live audience after an intense rehearsal period. And after all that, everyone still has enough left in the tank for an encore of “I’m a Believer!" Stage School Australia’s Shrek the Musical JR is bright, busy, and fuelled by a young company throwing themselves wholeheartedly into the swamp.

The 18th Annual Miss Virtue Beauty Contest Created and Presented by: Vena Cava Productions Venue: VENTspace, South Brisbane Date Attended: 27 September 2026 Director: Daniel Gough Assistant Director: Lottie Babic Artistic Director: Georgia Hollis Sound Designer: Hannah Grabski Lighting Designer: Jon Whitehead Stage Manager: Kat Coomber Assistant Stage Manager: Abi Roots Cast: Cleo Bell, Annabel Baker, Sophie Duck, Reid McWha, Nicola DeFazio, Georgia Holland, Genevieve Nix, Lillian Murrell-Edwards, Millie Costello, and Liv Gainsford. Photography: Aidan Calleja "Empowered women change societies!" Welcome to The 18th Annual Miss Virtue Beauty Contest! The smiles are compulsory, the beauty standards unattainable, and all the contestants wish for world peace. Their visible distress is no cause for concern. Presented by Vena Cava Productions, this student-devised theatrical experiment takes the spectacle of a beauty pageant and subjects it to a rather gruesome makeover. Beneath the glitter, gowns, and fake pleasantries lies an industry that exploits women and commodifies their bodies. The cast and creative team have devised this unnatural world together. Our lovely contestants have labels like Miss Chastity, Miss Liberty, Miss Joy, Miss Courage, and Miss Kindness. Each represents an admirable quality. Right? They resemble reality TV personalities, programmed to be appealing and endlessly available for public consumption. Draped in satin and sequins, these women parade before us with plastered smiles and terrified eyes. Their bodies twitch, jerk, and glitch like robots caught in the rain, as though their programming is beginning to malfunction. The competition follows familiar pageant conventions, including glamorous introductions and the all-important talent portion. Singing, juggling, ballet, magic... all perfectly respectable choices. But one contestant takes a slightly different approach to demonstrating her talents. She gives birth onstage. Yes, childbirth as a talent. I suspect that's a first for the pageant circuit! And given the show's warning that audiences may encounter blood splatter, those sitting closest to the action have good reason to remain vigilant. The beauty industry's relationship with consumerism receives particularly scathing treatment through a series of live advertisements. From weight-loss solutions and cosmetic surgery to nappies and motherhood products, the contestants enthusiastically promote everything a woman supposedly needs to "get perfect fast!" These commercials are performed behind a sheet, with live footage projected onto its surface. The women deliver their sales pitches with the nervousness of hostages reading prepared statements. They're selling products while being presented as products themselves. Elsewhere, the pageant's corporate dealings unfold behind translucent sheeting, like a crime procedural we're not supposed to be witnessing. The real competition happens beyond the contestants' control, in rooms where money and influence dictate their fate. Even the pageant hosts remain anonymous. Concealed behind a pink glitter curtain, they communicate through microphones and expressive hand gestures. The people orchestrating this nightmare remain safely out of sight. Even the programme serves the purpose. Designed like a police investigation report, it describes each creative through their physical appearance and suitability as the 'perfect contestant'. Under Daniel Gough's direction, Miss Virtue unfolds as a collage of advertisements, pageant rituals, and disturbing interruptions. There's no conventional narrative to follow, and the writing swings wildly between broad satire and graphic horror. The creative team draws inspiration from disturbing real-world revelations. Their writing reflects a generation watching these stories emerge and wondering how much worse the truth could be. There's anger behind the satire, and a confronting awareness that the freedoms many of us enjoy coexist with suffering elsewhere. The play doesn't pretend to have solutions. It's more interested in making us uncomfortable enough to question what we accept, and for how long. I admire the ambition of this young ensemble. They've created the work together, from its initial concept to the finished product. There's an appealingly rebellious quality to the whole affair. They've taken every expectation of what a respectable beauty contest should look like and fed it through a meat grinder. The 18th Annual Miss Virtue Beauty Contest is messy, provocative, and grotesque. And after all that smiling, singing, and suffering, one contestant is crowned the winner. Of course, the title comes at a price. In this competition, the winner can be purchased by whoever is willing to pay the most. Smile for the cameras, ladies. Someone's always watching. After all, guess who co-owned the Miss Universe Organisation for nearly two decades? Go look it up.

Pride & Prejudice* (*sort of) Produced by: Neil Gooding Productions & Woodward Productions Venue: QPAC Playhouse Written by: Isobel McArthur, after Jane Austen Directed by: Simon Harvey Date Attended: 30 September 2026 Associate Direction & Choreography: Simone Sault Set & Costume Design: Ana Inés Jabares-Pita Lighting Design: Jason Bovaird Composition & Sound: Michael John McCarthy Sound Design: Marcello Lo Ricco Musical Direction: Kohan van Sambeeck Dialect Coach: Jennifer White Photography: James Terry “I've got a really sexy pair of ankles.” Before a single Bennet daughter has made any stupid romantic decisions, the household maids have the audience doing the YMCA. Dressed in white frocks, black boots, and yellow cleaning gloves, they wander through the theatre stalls making friendly conversation and encourage a Mexican wave for us in the balcony. Written by Isobel McArthur and directed by Simon Harvey, Pride & Prejudice (sort of) takes one of literature's most beloved romances, hands it to the servants, and lets five versatile performers run riot with it. There are Regency gowns, switching accents, disastrous marriage prospects, live instruments, karaoke classics, quick changes, and enough drama to keep Mrs Bennet permanently on the verge of a nervous breakdown. Somewhere among the chaos, Austen's original story remains intact. Austen's sharp observations about class, gender, and the absurdities of human behaviour have always been witty, even if the bonnets and ballroom etiquette might put some people off. McArthur simply turns up the volume. The Bennet household is still desperately trying to marry off five daughters because, in Regency England, a woman's financial future depends on securing a husband. Romance is lovely, of course, but so is having somewhere to live. While the wealthy families of Longbourn, Netherfield, and Pemberley concern themselves with marriage, manners, and money, their overworked servants have been watching the whole business unfold. Now they're taking charge of the storytelling! And the best part? Not a single man in the cast. The five sisters bicker, tease, interfere, gossip, and are prepared to strangle one another at a moment's notice. Like any siblings would, regardless of era. Their personalities are exaggerated: the overlooked Mary, the dramatic Lydia, the absent Kitty, the lovestruck Jane, and Elizabeth, whose tolerance for people is very limited. Teo Vergara plays Elizabeth Bennet with all the bite and sarcasm the character deserves. Their Liz is outspoken, intelligent, stubborn, and unimpressed by the social circus surrounding her. When Mr Darcy arrives with his considerable fortune and equally considerable inability to hold a conversation, the familiar battle of wits begins. He's the OG socially awkward rich man. Zoe Ioannou plays both Mrs Bennet and Mr Darcy, two characters who could hardly occupy more distant ends of the emotional spectrum. Her Mrs Bennet is loud, embarrassing, and perpetually melodramatic. Her Darcy, meanwhile, barely moves a facial muscle. With his nose in the air, an intimidating stare, and a posture suggesting he'd rather be anywhere else, he's a complete buzzkill. His manspreading is so extreme that she's practically holding a second-position plié. "You know who I can't stand? People." The audience is still rooting for Elizabeth and Zoe as Mr Darcy. Every meaningful glance, awkward exchange, and romantic development earns a chorus of gasps, cheers, and appreciative 'ooohs'. Considering we've known how this relationship ends for more than 200 years, the excitement is unexpected and adorable. Amy Lehpamer is a particular favourite of mine, performing as Charles Bingley, Caroline Bingley, and Charlotte Lucas. Her Caroline is the sort of wealthy, insufferably superior woman who could comfortably join Pru and Trude from Kath & Kim for a lengthy discussion about expensive homewares and people they consider beneath them. She even borrows their accent, and I couldn't stop mimicking it during interval. Her pursuit of Darcy inspires an outrageous display of seduction, complete with peacocking and a Nutbush dance break. I couldn't tell how much was choreographed and how much Amy improvised. As Charlotte, Lehpamer introduces an unexpected romantic crush that adds a different perspective to the familiar story. Ruby Shannon throws herself into the different personalities of Mary Bennet, Lydia Bennet, and Mr Collins. The latter is an irritating creation, all nasal delivery, misplaced confidence, and a remarkable talent for misunderstanding social situations. Shannon switches between the sisters' exaggerated personalities and Collins' pompous nonsense at remarkable speed. Koari Maeda Judge is equally busy as Jane Bennet, George Wickham, and Lady Catherine de Bourgh. Her Jane is all romantic optimism and girlish desperation, while Wickham is theatrical as hell and Lady Catherine's sense of self-importance is as bloated as a pufferfish. And spare a thought for Mr Bennet, represented by an armchair and a newspaper. Given how much he contributes to solving his family's problems, it's an accurate portrayal. Ana Inés Jabares-Pita's set and costumes create a Regency playground. A sweeping white staircase dominates the stage, books decorate the steps, and a towering bookcase stretches so high you'd need a pogo stick to reach the upper shelves. The elegant drawing room accommodates modern intrusions too, from red plastic party cups and Pringles to microphones and an enormous rubbish bin dubbed the 'Jane Aust-Bin'. Empire-waist gowns, decorative feathers, and elaborate period detailing fill the stage, while the actors swap bonnets, jackets, and accessories at breakneck speed. The Netherfield ball descends into chaos, with karaoke replacing the refined entertainment Austen might have imagined. Jane and Bingley's romantic duet of 'Will You Still Love Me Tomorrow' provides a sweet musical interlude, while Darcy receives a deserved serenade of 'You're So Vain'. Act Two opens with 'Holding Out for a Hero', which is certainly one way to drag an audience back from interval. 'Careless Whisper', 'Smooth Operator', and 'Chapel of Love' also make appearances, sometimes only for a fleeting musical joke before the story races onwards. A personal favourite is Jane arriving on horseback, singing 'At Last' with enormous romantic conviction. The horse itself is a magnificent theatrical contraption, accompanied by traditional coconut-shell hoofbeats. Although I was half-expecting Daryl Braithwaite's 'The Horses' to start playing. A missed opportunity, perhaps? The performers provide live musical accompaniment throughout. Lehpamer moves between violin and piano, Shannon plays guitar and kazoo, and Maeda Judge handles percussion, accordion, and xylophone. The arrangements, under musical director Kohan van Sambeeck, are full of playful surprises. Under Simon Harvey's direction, with associate direction and choreography by Simone Sault, the action moves at an alarming pace. Entrances, exits, musical interruptions, physical comedy, and dramatic scene changes arrive in rapid succession. The lighting by Jason Bovaird and sound by Michael John McCarthy and Marcello Lo Ricco punctuate revelations and overblown entrances with precise comic timing. Between the handheld microphones, head mics, live instruments, and constant character changes, I can only imagine the backstage coordination required. Somewhere, a stage manager deserves an enormous glass of wine. The production also knows its audience. There are cheeky references to famous screen adaptations, including a nod to Darcy's absence from a certain lake. Contemporary expressions slip casually into the Regency dialogue, with one servant declaring Mr Darcy a "dead set legend", while another character surveys the wealthy surroundings and announces, "Fuck me, it's posh!" This is Austen with swearing, sexual innuendo, and no respect for the fourth wall. Familiarity with Pride and Prejudice helps. Some of the funniest jokes rely on recognising the characters, anticipating plot developments, or knowing how thoroughly McArthur is misbehaving with the source material. With five actors portraying so many people, newcomers may need a moment to catch up. Still, I enjoyed hearing audience members gasp at revelations as though the story had only just been published. Beneath all the partying, ridiculous accents, and karaoke, the story's gender politics remain relevant. These women are constantly scrutinised, judged, and encouraged to secure their futures through marriage. Having performers take on both female and male roles adds another layer of commentary. The servants, usually overlooked in grand romantic narratives, finally get to have their say. Having recently enjoyed Queensland Theatre Company's more traditional production of Pride and Prejudice, I find it fascinating how differently the same material can be interpreted. Austen's characters are so richly drawn that they can survive even the most outrageous adaptations. Pride & Prejudice (sort of) is so ridiculously funny that I found myself cackling obnoxiously throughout. It's a rom-com for literature lovers and musical theatre enthusiasts, full of affection for the novel it's busy dismantling. And as someone stuck living with her mum, I could've done without the pointed observation that "loads of people live with their mums indefinitely..."