Magic Reviews

We review community theatre and musical ensemble performances on invitation, see our reviews below. Please contact us on info@magicantnetwork.org to request a reviewer.

‘Sweeney Todd: The Demon Barber of Fleet Street’ presented by Ghostlight Theatre Co. and KSP Theatre

Written by Lachlan Boyes (11/11/2023)

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‘A Murder is Announced’ presented by New Farm Nash Theatre

Written by Naomi Warren (11/11/2023)

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‘The Amateurs’ presented by Ad Astra

Written by Lachlan Boyes (9/12/2023)

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‘The War of the Worlds’ presented by New Farm Nash Theatre

Written by Kelly McQueen-O’Neil – Salty Crew Productions

Nash Theatre’s production of “War of the Worlds LUX Radio Play” took audiences on a nostalgic journey back to the 1950s, capturing the essence of classic radio dramas with a sci-fi twist. Accompanied by the bonus opening radio play, “The Day the Earth Stepped Sideways,” written by Director, Jason Nash, the evening promised a delightful blend of humor and entertainment.

The production featured a reimagining of H.G. Wells’ classic tale, “War of the Worlds,” presented in the style of a 1950s radio broadcast. The bonus opening play, “The Day the Earth Stepped Sideways,” provided a fitting prelude with its “Rick and Morty meets 50s sci-fi” vibe, setting the tone for an evening of retro-inspired fun.

The cast didn’t just perform; they teleported us straight into a vintage radio studio. While accent and voice work can be difficult, John Mann and Bruce Edgerton made it seem easy, skillfully capturing the essence of 1950s radio and sci-fi narration, channeling their inner Orson Welles with voice work so smooth you could slide down it. Petra Donnison deserves a round of applause for her accent acrobatics, flipping between English, French, cockney, and southern drawls faster than you can say “what, like it’s hard?” Her seamless transitions between accents showcased her versatility and talent.

The attention to detail in production design, including coordinating outfits and a meticulously crafted sound stage, added to the immersive experience. The interaction between the sound stage and the cast was a highlight, enhancing the authenticity of the radio play format.

The script was engaging and well-paced, paying homage to the original source material while infusing it with a modern twist. Memorable lines and witty dialogue kept the audience captivated throughout the performance.

Offering a thought-provoking exploration of timeless themes within the context of a thrilling sci-fi narrative. Beneath the alien invasion hijinks, there’s a subtle nod to human resilience and the enduring power of storytelling. It’s a reminder that no matter how many Martians drop by unannounced, humanity always finds a way to survive… and crack a few jokes along the way. 

The cast’s seamless portrayal of multiple characters and their mastery of the radio play format made for a smooth and entertaining performance, Ella Bromback’s subtle facial expressions and interaction with other characters had me glued to watching her next move. Mark Corben’s comedic timing added an extra layer of enjoyment to the production, Mark had me giggling all the way through with his antics, If Doc from Back to the Future was a sound engineer on a 50s radio set, I think Mark’s performance shows us what that might be like, evoking laughter from start to finish. As a fan of radio plays and audio dramatizations, I was thoroughly impressed by the talent and dedication of the cast and crew. This show is a sassy salute to the radio plays of old, sprinkled with modern sass and interstellar charm. Bravo to the cast and crew for whisking us away on a cosmic adventure that had us reaching for the stars and beyond.

In conclusion, Nash Theatre’s “War of the Worlds LUX Radio Play” was a delightful homage to the golden age of radio, blending nostalgia with modern flair. Congratulations for delivering an entertaining and memorable theatrical experience. As a big fan of radio plays and audio dramatizations, I was left buzzing with delight by this talented troupe’s stellar showmanship.

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‘Towards Zero’ presented by St Luke’s Theatre Society

Written by Lachlan Boyes

 A beautiful holiday away at the home of Lady Tressilian is obviously the perfect opportunity for Neville Strange to bring his current and former wife under one roof. Will this holiday be a chance for Kay and Audrey to become friends, or a chance for a horrible murder? 

After driving to Hervey Bay and back (a short 6 hour round trip), one might think it best to go home and relax, but how can you when you know there is an Agatha Christie playing! One of the most incredible things about community theatre is that it isn’t just about the production. St Luke’s Theatre Society’s venue, a church turned theatre had a pop-up stall, raffle prizes (raising money for The Fred Hollows Foundation) and tea or coffee with biscuits. Community theatre at its finest. 

The night kicked off with a quick announcement from Director Sharon White, letting the audience know that leading actor Matthew Hobbs (Neville Strange) was unwell. Naturally, he would still perform and give it his best. The show must go on after all. If that is how Hobbs performs when sick, opening weekend must have been a treat indeed. Hobbs never missed a beat; he maintained his character from start to finish and had some fantastic moments. 

Throughout the performance you could hear the quiet whispers of people trying to guess the murderer and the gasps when clues were brought to light. There were several big reveals, as is typical in a Christie, but they were shocking, nonetheless. There were incredibly funny moments, and the actors allowed the audience to enjoy the moment before pressing on. The audience were constantly left guessing who was going to be murdered and who was going to commit said murder.

A slow, suspenseful opening of the curtain drew the audience into the masterful set from the get-go. White, along with Brett Simpson designed the stage with such perfection, down to the smallest detail. The walls were lined with picture frames, the bookshelf was bursting, and the furniture was immaculate as always. Despite a few confusing furniture changes, the set placement allowed for easy movement and clear line of sight. 

The stage belonged to the ladies. The magnificent Amy Bent (Kay Strange) and Philippa Dwyer (Audrey Strange) took over the stage from the minute they started. Bent played the perfect jealous wife, with a lovely touch of pure rage. Dwyer is no stranger to the White and Christie stage; this performance once again shows audiences why. Dwyer never misses a beat. Each line is delivered with careful precision, drawing the audience in for a spectacular show. Linda Morgan portrayed a wonderful Lady Tressilian, with the commanding presence of a lady who has lived a long life. Madelyn Scott who portrayed Mary Aldin, one of Lady Tressilian’s carers, carried herself with poise and grace, bringing a softer presence to the stage. 

As a whole, the cast must be commended for the ensemble work. Despite a few line difficulties, the cast rallied together and helped one another out of trouble. Accents were clear and well maintained through the production. A special mention goes to Eddie Bruce who portrayed Matthew Treves. Bruce has an incredible stage voice that echoed around the theatre, bringing about an air of respect and authority. 

The technical aspects of this production were simple, but effective. The lightning storm was done well, with brilliant arcs of light flashing across the stage. The music for this production was very effective, bringing in great dramatic tones. A point of note was the snap to black speed, it was slow at several points and left the actors stranded on stage (kudos to them for remaining frozen).

Productions like this don’t go on without a talented Stage Manager in the wings and that is exactly what Laura McIntosh is. Keeping a show running smoothly is no easy thing, add a sick cast member on top, things can easily go wrong. Thankfully under the watch of McIntosh, everything ran on time and without incident. 

There was one exceptional moment in the production where there was an echo of “how lovely” throughout the audience when Audrey and Kay Strange took the stage with their dinner gowns. Whoever picked those gowns deserves a round of applause, they were stunning and showed a point of difference in the two ladies. 

It would be remise of me not to mention the program, something that is rarely mentioned but takes up just as much time as everything else. A beautiful booklet, complete with some lovely bloodstains and bullseyes.

Overall, the production was an absolute joy to watch, it had great pacing, even in the quite scenes. The stage was used to perfection which is no surprise under White’s direction. White is further cemented as the Queen of Agatha Christie; she never misses a chance to leave the audience gripping their seats. 

If you haven’t seen “Towards Zero”, you are in luck, there is still one more weekend of shows! If you guess “Whodunnit”, congratulations, if not, better luck next time! Thank you to the cast and crew for your hard work and dedication to your craft, it was the perfect way to spend a Friday night.  

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‘Tonight with Donny Stixx’ and ‘Dark Vanilla Jungle’ presented by The X Collective

Written by Andrew Fraser

On the 13th of April I attended a showing of Brisbane based X Collective’s opening show of their season. When I say opening show, it is actually a double bill of two plays by English storyteller Phillip Ridley (Tonight with Donny Stix, and Dark Vanilla Jungle) I have read one of Ridley’s previous works Leaves Of Glass, but his work is rarely performed here in Brisbane, and so I am still somewhat unfamiliar with his works, so heading into the show I was unsure of what to expect.

The plays are both one actor shows, both follow a similar storytelling element of the characters recounting their stories through a series of monologues. And honestly I was so thoroughly impressed with both productions, but more so by the performances given by each actor in their respective shows. Tonight with Donny Stix stars Ronan Mason, and Dark Vanilla Jungle stars Whitney Duff. These two actors gave very contrasting performances, and told two very different stories, but several themes were recurrent across both shows. The first being that both productions have similar narrative devices, jumping around through time and space, keeping audiences off balance by dropping little foreshadowing clues of what happened to both characters, then returning to the main storyline and letting their stories unfold. 

The direction by experienced Brisbane based Director Wayne McPhee, might appear minimalist at first glance, subtle light changes and sound effects that serve to compliment the stories, but never taking centre stage, and never drawing attention away from both storytellers mesmerizing performances. The stage effects may seem minimal, but McPhee’s fingerprints as the director is very evident in these works. McPhee understood that he cast two very talented and skilled artists, and wanted to allow them to be the focus, and give them free reign to strut their stuff. You can see that he has worked closely with both performers, making sure they understand the scripts, then detailing and polishing each individual moving piece. So that the sum of the parts shine so brightly that the assembled works are quite the sight to behold! 

There are some narrative imagery similarities in the two pieces, that I personally found quite fun to see them reoccur. Ten points to those who pick up the “smell of lemon’s” mentioned in both shows. The final similarity between the two shows was that both actors were so engaging, that after the five minute or so warmup for the actors to get comfortable and the audience to settle into the shows – they got you hooked they never let you go. Whilst both Mason and Duff are incredibly captivating, their way of operating was completely different. 

Tonight with Donny Stixx tells the story of an aspiring magician and how he goes abouts juggling, ambition, family, and ones all-encompassing passion for their craft… or is it his passion to be famous? Right from the start Mason introduces himself to the audience, engaging with them, and inviting us all into this world that he has crafted. Mason’s energy as an actor is something not often seen. He possesses such a vulnerability and an open heart, that his energy is like a warm fluffy cloud, completely enveloping the crowd with its warm embrace. As an actor of 16 years myself, I could appreciate how in a story like this one, there is the need to project or “show” vulnerability. But McPhee and Mason both have done an incredible job, to have faith in that heart of Mason’s, that he doesn’t need to force or show anything. He just opens the door into his heart and mind, and has absolute faith in his abilities, that you will cross that threshold, take a seat, and be transfigured by what you see unfold. 

Mason’s light step of foot, and soft-spoken RP accent allows him to glide through the story. Particularly impressive was when he switched characters and changed accents, whilst I personally do not possess a perfect ear for the English dialects and all the innumerable variations of them, Mason’s switches to the various accents of the different characters were spot on! 

Those that are blessed with the “tism” or are somewhere on the spectrum, will have a slight chuckle to themselves as they see aspects of their more OCD-esque quirks reflected in Ridley’s writing, and Mason’s performance. The only downside I can really say about the show is, being a millennial, whose mind and attention span has been melted into mush by the constant barrage of 30-60 second Tik Tok and Youtube videos. I found my concentration waning, in the last 20 minutes of the show. The script’s length and pacing slows down in the setup for the big emotional reveal in the last twentieth of the show, but when the reveal happens. It makes that build-up oh so worth it. Those that are artists, are ambitious about their dreams, or feel like they are just a little bit different, will definitely resonate with this story being told on stage. 

Dark Vanilla Jungle, whilst sharing some similarities with the first show, is a completely different kettle of fish. It tells the story of a young woman damaged by trauma and searching for that very human need to be loved, and needed, no matter what the world thinks. Duff right from the start, comes out and commands attention with her stage presence. She is confident, vulnerable, brave, and whilst Mason was like a warm cloud inviting you in, Duff is like an Amazonian who will come out and effect you so deeply to the heart, that you will sit up and pay attention. Duff is an artist who one can tell possesses no fear or judgment for her character that she plays. She plays the character of a young woman, who is fighting so desperately for a want to be loved and needed, that you can see she goes after that goal with such strength and vitality. But also possesses a heart that is so raw and vulnerable, and she paints with such a beautiful juxtaposition between innocent and naive, to calculated and determined. 

I was completely hooked from start to finish with Duff’s performance and the story she told. Two moments in the show really stood out to me, one was a scene when Duff sang, the script and the performance really made this quite a poignant moment and sitting there I could feel that she had touched every member of the audience right in the deepest parts of their souls. Another is a little bit trickier to explain without giving too much of the story away but trust me you will know it when you see it. But the character is doing something that people would say is incredibly unethical, and to watch this particular scene play out on stage is definitely a rather uncomfortable moment for the audience. But I remember sitting there watching this moment, and I thought to myself “my goodness there is no trace of judgment for her character when she is doing this” which might not sound that difficult in this review. But when you see the scene, you will definitely rethink it. So, I gotta take my hat off to her for going after it with everything she had. 

One nitpicky note I would say, I did notice in some of the highly emotionally charged scenes the accent dropped for a couple of lines, but she would very quickly snap back into it. As many actors would know, trying to act out a highly emotional scene in an accent is a very tricky proposition, and to the untrained might not seem that difficult, but it is very difficult indeed. So kudos to Duff for giving an absolutely red hot go, and making sure that she got out the raw emotional fuel needed for the scene. This is a really beautiful story about love, being hurt, and doing whatever it takes to find love. For those that have ever been in love, been hurt or broken by love, but still choose to fight for it. This show is for you. 

I have tried to give away as little as possible in this review regarding the storylines of both of these shows, I didn’t want to be that guy at the movies who spoils the ending for everyone. But trust me, it is worth seeing both of these shows just for the performances alone. Every actor in town should make an effort to get along and see these shows. This is two people, performing two well written scripts, no fancy effects or gimmicks to hold attention, no other actors to bounce off or interact with. Just two people who are well directed, carrying the entire weight of a show off the back of their hearts, minds, and souls, and delivering an absolutely incredible night at the theatre. Both from an entertainment and technical aspect. An absolute labour of love by all creatives involved. These shows are a great example of why this artform has been around since the dawn of humanity, and with stories and performances like this, why it will continue, for a long long time to come.

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‘Stage of Desire’ presented by Salty Crew Productions

Written by Lachlan Boyes

Those who dabble in the theatre world know that a Sunday matinee is a great time to watch a production. Especially if there are movie style nibbles involved! Last Sunday’s matinee production was Stage of Desire presented by emerging theatre company Salty Crew Productions, written and directed by their President, Kelly McQueen. Set in the fantastic period that was the Roaring Twenties, we see the lives of four individuals crash together – but can they control their desires?

Walking into the KSP Theatre is always a delight. This time, a red carpet was rolled out and the audience were greeted with a lavish couch, a desk and a stunning bar cart (a few audience members were keen to pinch it!). Throughout the production the audience are introduced to four main players, Maxwell Worthington, Eleanor Anderson, Victoria Grayham and Reginald Winston. Each of these characters has a desire or two that drives them to enter this world of playfulness, throwing caution to the wind and enjoying life. 

Ciaran Kowold portrayed theatre owner Maxwell Worthington, providing the audience with a powerful, jealous and at times arrogant presence. Kowold had some good moments but would have benefited from greater light and shade. Melanie Pryde takes the stage next as Eleanor Anderson and the audience are instantly aware of Kowold and Pryde’s chemistry, it’s almost as if they have had practice (a little joke for those who know). Pryde brought a shy, sweet personality to complement Kowold’s larger than life persona. It was clear that Pryde has talent, and it would have been nice to see some moments fleshed out to highlight that talent. Victoria Grayham (Worthington’s leading lady), played by Izabela Wasilewska, brought a fiery energy to the stage, often leaving the audience cackling. Those who have seen Wasilewska before know that she is a theatre powerhouse that can’t be stopped. Whilst this production didn’t offer those larger moments for her, it was Wasilewska’s performance that made the show. Side note – Wasilewska, don’t shuffle your feet! The final member of the awesome foursome is Gary Farmer-Trickett who brought Eleanor’s fiancée, Reginald Winston to the stage. Farmer-Trickett had some beautiful moments in this production but once again didn’t get many opportunities to showcase his abilities.

McQueen has assembled a talented team of actors, however, the scene transitions of the production let them down. A script like this works well when the momentum is rolling, and the suspense is high. The choreographed scene changes continually broke the flow and often invalidated the emotion of the scene that occurred before a change. Whilst it is commendable that McQueen has tried to create multiple different locations within the production, it would have been more powerful to have kept it in one location or cut the scene changes in half. One of the brilliant things about the KSP stage is its mid-stage curtain, but it was under-utilised and could have helped McQueen transition from scene to scene a lot faster. The intimate nature of the script would have flourished on a smaller stage. 

There were moments at the end of scenes that felt like McQueen was going for a montage or film noir style, however, the physicality – or lack of physicality – of the actors stopped it from working. It would have been interesting to have seen the montages done as a scene was evolving, speeding up the process and exploring the physicality of the characters further. 

Rounding out the cast were four ensemble members. Bradley Fuller, Chantelle Currie, Elizabeth Brearley and Janelle Kerr all played their roles perfectly but felt unnecessary at times. Once again, adding an ensemble caused scene changes to drag and detracted from the story unfolding. 

Russell Jensen on lighting and sound was very relaxed with simple but effective cues. The costumes were stunning and drew the audience into the era. One small thing that needs to be mentioned. If you are working with plastic that is supposed to be glass, don’t make it obvious by slamming it down!

Overall, it was a good production and a great way to spend a Sunday afternoon. It was fantastic to hear the audience laughing and having a roaring good time, because that’s what community theatre is all about! 

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‘Mr Bailey’s Minder’ presented by Nash Theatre

Written by Lachlan Boyes (10/05/2023)

Friday night ushered in the first show of Nash’s latest production, Mr Bailey’s Minder by Debra Oswald and directed by Nash Theatre’s very own, Phil Carney. Nash had their wonderful preview night on Friday, where audience members can attend the show at a red-hot price with the understanding that it’s the casts first performance. Following the story of the alcoholic Mr Bailey and his new ‘minder’ Therese, Mr Bailey’s Minder was a perfect balance of laughter and tears. This talented cast and director came together to create a beautiful production that left many with tissues in their hands. 

Nash is renowned for their fabulous and detailed sets. This production demonstrated exactly why that is. When walking into the theatre, the audience are greeted with one of the most magnificent sets they will ever see. From incredible paintings on the wall, to empty alcohol bottles on the floor, splashes of paint up the wall to a basket of newspaper in the back. Everything brought the audience into a warm, homely estate, albeit a little dirty! 

The second the production begins, the audience are locked in. Margo Bailey, played by Linda Morgan and Therese Laurence, played by Susan O’Toole Cridland enter the stage and immediately O’Toole Cridland has the audience in fits of laughter. Morgan was a powerful and commanding presence on a stage of wild and interesting characters. O’Toole Cridland is known around Brisbane as a powerhouse of a director but every now and again, she likes to remind people that she knows how to own a stage. O’Toole Cridland delivered some incredibly funny moments and some of the most heart-wrenching scenes. 

John Stibbard delivered an amazing performance as the titular Mr Leo Bailey. Stibbard simultaneously made the audience hate Leo and sympathise with him all in one. Stibbard must be commended on his physical theatre that brought this eccentric character to life. Gary Farmer-Trickett rounded out this wonderful cast with a dual role. Farmer-Trickett spent most of his time as Karl, the chippy hired to fix up some of the Bailey estate. Karl brings such a soft and gentle energy to the Bailey estate, Farmer-Trickett performed this to perfection. 

The entire cast must be commended on their powerful ensemble work. When watching their performances, it was hard not to believe there is real love and care on the stage. Often productions have one actor who owns the spotlight. This production didn’t have that. The audience could see it was a shared stage and a space for all four to shine bright. 

Throughout the production, Carney added stunning string versions of pop songs which added a beautiful atmosphere to the room. It would have been nice to have the strings close out the production as Morgan delivered one of the most gut-wrenching moments of the show. 

Attention to detail is everything in a production like this and Carney has hit the nail on the head, several times over. The costumes of all characters tied it altogether. Special mention to Morgan who was a stage fashion icon! The pace of this production is essential and although it took a minute or two to warm up, it was clear Carney directed with this in mind. One of the big telling signs a production has a good director at the helm is the use of a stage – Carney uses every single inch! 

If you are looking for a night out at the theatre, Mr Bailey’s Minder is a not to miss production. This cast and crew have one incredible season lined up for audiences. Friday’s audience could not stop raving about this cast and a few went as far to say it should be in QPAC! See it for yourself before it is too late!

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‘Hamlet’ presented by Outdoor Theatre Community

Written by Susan O’Toole Cridland

As a long time, theatre goer and just as long time theatre doer, I never know what to expect when I go to see Shakespeare.  Shakespeare can be very easy to get wrong and not all that simple to get right – and I can’t pretend to be any form of expert in this field myself so I always have that fear that I won’t understand what is going on (and will I have to hand my theatre card back in at the door?!).

Outdoor Theatre Company took on not just the challenge of putting on a Shakespeare, but they threw in the extra challenge of performing it – well – outdoors!  (The company name should be dead giveaway there and as William himself said – what’s in a name hey??)

Bringing along picnic chairs and picnic blankets, snacks and oodies, we made sure we could settle in comfortably for a night of betrayal and drama.  The theatre company also has on offer delicious platters that you can pre-order to add to the enjoyment of your evening.

The set was simple – as one would expect for an outdoor setting, well lit and sound levels pretty much perfect.  Stripping back to basics with minimal props and black boxes served the production well and allowed us to focus on the actors and the dialogue.

Director Lachlan Boyes makes the most of the opportunity to stage this show in the round so audiences are spoiled for choice as to where to set up.  Every area of the stage is used and used well.  Entrances and exits were smooth and unintrusive as director and actors took advantage of the opportunity to move stealthily in the shadows, adding to an already heavy atmosphere of doom.

Boyes ensures that his actors do not just know their lines but are well versed in their meaning and this shone through in most performances.  Standout performers for me were George C as Horatio, Callum Brennan as Polonius and Julian Bourchier as Hamlet’s father’s ghost.  This is not to take away from the talent and dedication of any other performance, but their tone, their delivery and their physicality in these roles really stood out for me.

Andrew Fraser’s Hamlet was performed well – and you could really tell he is extremely comfortable in this genre.  Personally, I would have liked to have seen a little more light and shade in his delivery – for him to really take advantage of the lighter and more humorous (also these opportunities are rare!) lines.  Just to give us a glimpse of the person Hamlet was prior to his father’s death and to add more depth to his feelings of betrayal as his widowed mother weds his uncle so quickly.  This would have served to make his descent into madness even more tragic.  That said, he was convincing in his overwhelming thirst for revenge.

Hamlet’s onstage relationship with Horatio sizzled.  George really brought such a level of devotion in their delivery.  It was easy for us to believe that Horatio was a trusted confidante who truly loved Hamlet and delivered such a beautiful heartbreak at Hamlet’s demise.  Similar to Fraser, George was confident in their delivery of Shakespeare’s language, and it was clear they had a solid understanding of the messages they were delivering.

Callum Brennan’s Polonius was a favourite for me on the night.  The physicality and calm delivery of the lines was such a nice contrast to the mania we saw delivered in Hamlet’s scenes.  His tone and inflections were spot on, and this made for a most convincing performance.

It was obvious that Boyes had outstanding attention to detail in the staging of the show – with some scenes choreographed almost like a harmonious dance.  This ensured that, as an audience, we were all given the chance to view each scene and character from multiple angles and never felt like we were missing any of the action.  It then really leant to the powerful stillness of the more intense moments.

All in all, this was a wonderful night.  Enjoying Shakespeare pretty much in the element it was born, committed and detailed performances, insightful direction and excellent delivery.  Whilst it’s certainly not a story where you walk away feeling exactly happy, you certainly appreciate the tragedy of what you just saw and the many moments that sit with you afterwards.

I am really looking forward to seeing what Outdoor Theatre Company does next.  I suggest you keep an eye out on their socials and make sure you get along to the next production.  If the standard of their production is anything to go by, you are in for an excellent night of entertainment under the starts.

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‘Equus’ presented by The X Collective

Written by Susan O’Toole Cridland

These last 12 months, I’ve been wondering if I should be handing my theatre card back in as I have experienced a number of firsts when it comes to some classics.

Such it was with Equus for me. Despite self claiming that I am, at heart, a creative, somehow I have never managed to get me to a production of this well known psychological drama. Although that said, I’m not sorry that my first experience with this show was The X Collective’s remarkable showing.  Because it meant my first time seeing the show was an experience I will remember for a very long time.

Set in the Holy Trinity Church Hall, the spiritual surroundings and majestic style of the building sets a scene. And adds an eerie relevance to the story we are about to see unfold. The set by Chancie Jessop seemed deceptively simple but extremely effective, allowing the action to shift and move seamlessly.  Throughout the play though, you recognise the beauty in this apparent simplicity – absolutely everything had its place whilst never taking our focus away from where it needed to be.

Lighting design by Bryce Delaney was sheer perfection – letting us sit in the Gothic undertones of this deliciously dark interpretation.

I am a huge fan of having the actors on stage the whole time, watching them morph into their characters in a costume change and Wayne McPhee’s clever decision to do this on this production added an extra touch of brilliance to an already clever production.   It was also a stroke of genius to introduce such a touch of sensualness to the movement of the horses – the way these scenes were choreographed gave us a  trance like dream state and helped us get more into the psyche of Alan Strang – the young man who’s horrific actions are what this story revolve around.

The actors.  I really don’t even know where to start with the actors. Naming each actor and what they truly brought to this story risks this being a mighty long review, so I’ll do my best to be succinct so I don’t lose anyone.

Jules Berry as Magistrate Hesther Salomon appears effortless.  They manage to find this perfect balance between showing the power and responsibility that comes with a job that has seen countless evils and yet manages to maintain their humanity and empathy – and to truly want this young man to find peace.

Caroline Sparrow as The Nurse gives us a character who has seen it all, and takes her job very seriously.  She is there for her patients and really forms a connection with her new young charge.  Despite no doubt being disturbed by his crime, she has a fierce protectiveness for Alan and will not tolerate seeing more harm come to him.

Henry Solomon as The Horseman and the stable owner Harry Dalton didn’t set a foot wrong.  The exhilaration and provocative nature  of The Horseman left me guessing what was going to happen next on the beach, and the despair and rage as the stable owner gave for a wonderful contrast in his two characters and both were incredibly convincing

Stephen Jubber as Mr Strang – a father baffled by who his son is and what he has done, who imperfectly blurs the line between over-protectiveness and confusion as a father, Jubber embodied the character with sincerity and honesty.  He left us unsure as to whether we should feel sorry for him, or point a solid finger of blame in his direction.

Roxanne Gardiner as Jill Mason may not have had as much stage time as some of her counterparts, but what stage time she did have she completely owned.  There was a naivety, mixed with a wicked sense of rebellion and sexuality.  You could feel her outward recklessness was a cover for deep seeded insecurity and a want to desire and be desired.  Her energy on stage was contagious.

Julia Johnson.  What an absolute powerhouse of a performer.  From giddy highs to devastating lows, she managed to really tap into extraordinary grief and guilt as Strang’s mother.  Trying to find solace in her faith whilst all the time knowing it was this very faith that led to such tragedy,  This is an easy role to fall into a trap over overplaying, but Johnson’s experience and talent never came close to such a danger.  It was truly a magnificent performance.

That leads us to the pairing that this show is really about. Adam Dobson as Alan Strange and Greg Scurr as Martin Dysart.  I am not even sure I can find the right words to really speak to these performances.

Dobson was in the zone from the second he walked onto stage.  His character goes from madness to casually conversational in an instant.  His performance is brave, vulnerable, truthful, focussed and extremely disciplined.  No doubt, if he is not already, he will be an actor in high demand after this show.

Greg Scurr has an incredibly challenging role as he moves between breaking the fourth wall by narrating the story to us, to shifting back into scenes from the past.  He is measured, precise, calm, manic, intelligent, fierce and frightened.  He held our attention at all times, and yet never distracted from any other performer and you could see the skill and characterisation he offered to his castmates.  I know Scurr is an experienced and dedicated performer but he just takes this role to the next level.

It would be remiss of me not to mention that a number of actors took on the roles of the horses, with Lachlan Boyes taking the role of the object of Alan’s worship, desire and self loathing.  The mask completely covers Boyes’ face for the scenes he is in, but his physicality was impressive.  It speaks to his commitment as an actor and lover of the arts to take on a role that is unique and integral to the story and yet one that may get missed in critiques.

Anyone who has worked with me as a director knows I don’t ‘gush’ or sing praises easily.  We often joke that getting a compliment out of me is damn near impossible (but you all know I adore you!).  But I must be truthful speaking about this show.

It only has a short run, and you only have two more opportunities to see this.  But this is an impeccable piece of theatre,  It is disturbing, compelling, darkly humourous and artistically brilliant.  Just go and see it.  

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‘Relatively Speaking’ presented by Village Green Theatre Group

Written by Naomi Warren

‘Relatively Speaking’, a comedy by Alan Ayckbourn, directed by Sharon White and presented by Village Green Theatre Group. A show filled with laughs and if you’re a fan of miscommunication this is the one for you! A small cast but by no means less mighty, ‘Relatively Speaking’ is sure to have you laughing until your stomach hurts and giggling with anticipation for the twists and turns throughout this show! 

Lachlan Boyes plays the naïve insurance broker Greg, in love with Ginny (played by Madelyn Scott), a young woman with her own torrid secrets. As part of the audience, we could feel the chemistry and sparks fly between these two young characters, made more apparent with their rife arguments and their clear regard for each other. Boyes displays jealousy perfectly, and Scott’s attempts at avoiding these accusations are artful, and the audience is brought along for the ride where we are left questioning and wondering about Ginny’s loyalty and poor Greg’s heart. 

Amy Bent, playing Sheila, conveys brilliant innocence as her husband, Philip (played by Matthew Hobbs), throws around accusations. Bent cuts in with those perfectly innocent questions and plays the perfect gullible wife. Hobbs plays his character, Philip, with some of the best characterisations, facial expressions and gesticulations seen on stage! His outbursts and his flailing arms bring life to Philip, who seems to be just any ordinary scandalous husband. 

The set really brings these characters to life, with a quick change between Act 1, Scene 1. The flat at Ginny’s apartment is wonderfully set up and gives real life to her character. As the set is changed to a quaint garden, audience members can fall into the play with the genius set.  

A special mention must be given to Boyes who showed innovation and an ability to think fast on his feet when mid-scene, the bed, a very important part of the conversation, breaks in half mid conversation. Boyes continues using the bed as if nothing happens! 

While a small cast and quite a short show, these actors really bring the script to life! The short exchanges, the general theme of miscommunication and the confusion is all expertly conveyed throughout the production, leaving the audience on the edge of their seat throughout, waiting for the secrets to come out! 

If you’re looking for a good weekend with some laughs and some delicious banter, head down to Yarrabilba State Secondary College! You’re missing out if you miss it! 

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‘Blow The Men Down’ presented by Flaming Carnations

Written by Lachlan Boyes

*Mild Coarse Language Warning*

Sail the seven seas…or eight seas…better ask Marko Polo how many, as a ‘big’, ‘strong’ and ‘masculine’ man, he MUST have all the right answers. Right? Well, now you will never know because you didn’t go and see Blow The Men Down, presented by Flaming Carnations, written and directed by Julia Cox. If you did go and see it, then lucky you! Dick jokes are now thrusting deep into your brain.

On Saturday night, audiences were treated to the third show of Blow The Men Down held at the Yeronga Paint Factory in collaboration with Anywhere Festival Brisbane. The Paint Factory is an incredible venue that has become a creative hub after its industrial life, every audience member should jump on the chance to see a production there. It was the perfect location for Cox’s original and frankly hilarious script. Following a ship of pirates as their captain – Marko Polo, played by Dean Noffke – embarks on a mission to restore masculinity to the art of piracy, this production has the audience in fits of laughter. 

This show has demonstrated once again, what a creative powerhouse Cox is, turning an unconventional space into what felt like the hull of a mighty ship is no small feat. Walking into the space, the audience are instantly greeted with fishing nets, delightful shrunken heads and fabric waves. The set was kept minimal, with a small table being used and abused. There is no need to have an extravagant set when you have a bunch of talented actors. Please don’t ignore the fabulous name puns.

Alex Thompson played Robin Heartz, a ‘strong’ man who turns out to be a pussy with few brain cells. But there is a redeeming quality! Robin helps his one true love, Dick, rid the ship of misogynistic men. Thompson was hilarious from start to finish. Several lucky audience members were treating to up close and very personal anecdotes, where Robin demonstrates his lack of brain cells. 

Dean Noffke brought Marko Polo – more commonly known as misogynistic dick number one – to life. Noffke kickstarts the show will an awesome monologue, detailing his mission and his lovely views on women. Marko is thankfully dealt with later in the show and returns as a newly converted Mormon, everything is right in the world. 

Libby Elliot Haynes played first mate Deven Lee-Amann. Deven is tasked with an important mission – find out which crew member is a woman! Thankfully for Deven and the crew, the women were thrown overboard. Elliot Haynes was a powerful and commanding presence on stage, changing from loyal first mate to pissed off first mate in seconds. 

Amanda, played by Amyelle Pilgrim delivered a wonderful performance, complete with notebook and all! Pilgrim displayed their acting ability, in not one, not two but three characters! A personal favourite was the Bar Keep, where Pilgrim kept a straight and bored face for an entire scene. For those who couldn’t attend, Amanda’s fun fact is that she likes to chow down on a good book!

The second misogynistic prick of the show – Phil Din, played by Ben Kasper (hopefully less misogynistic). Kasper played a rich, spoilt bastard to a tee. However, the highlight of the night was seeing Kasper in a sexy pink dress and blonde wig. There were definitely a few men crossing their legs in the audience. 

What do you get when you a Russian becomes a pirate? Not snails apparently. Jiordie Lobwein excelled as Muz and somehow, kept a straight face for the entire show. Lobwein brought a sombre yet hilarious energy to the stage – threatening to kill everyone makes for a wonderful show. 

Three actors stole the stage and had the audience pissing themselves from the start. Ashleigh Horsfield as Guy O’Viously, Bridie Middleton as Dick Dodger and Ella Bromback as Hugh Daman (something about penis in this name as well, what a surprise). Guy became known for holding up informative signs and Horsfield never missed a beat with a sign. Horsfield gave the audience some of the saddest facial expressions and you couldn’t help but feel sorry for her. Middleton brought Dick front and centre. Every line was delivered perfectly, and every facial expression had the audience in stitches. The tongue darting in and out and the incredibly sexual “that’s hot” line were Middleton’s best friends. Bromback was disgusting at every turn. Asking an audience member if they want to lick a huge sword is normally frowned upon but not when it comes from Bromback. Using the stage is a skill that Bromback has mastered, with long ‘graceful’ movements and larger than life energy. 

Cox must be commended on the ability to control this crew and their shenanigans. If this was the result, that rehearsal room must have been wild. Cox used the small stage to perfection and brought the audience deep into the folds of the ocean. If writing and directing this production wasn’t enough, Cox designed and created the props and costumes with the help of the legendary Kim Phillips. Without the numerous fake beards, there is every chance this show would not have worked.  Comedy is often seen as one of the hardest forms of theatre and writing it is even tricker. Everyone should hope and pray Cox keeps writing fantastic comedy.

A show like this doesn’t come together without an extraordinary team. There is no doubt that Producer Matthew Bapty, Production Manager Sam Hanelt and Marketing Manager Triss Niemi fully supported Cox and the cast. Thankfully companies like this exist to bring fantastic theatre to the world. If you missed this production, you should cry yourself to sleep and then make sure don’t miss the next one. 

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‘Psycho Beach Party’ presented by The X Collective

Written by Lachlan Boyes

It has been said that laughter is the best form of medicine. If that’s true, The X Collective’s Psycho Beach Party gave audiences medicine in spades. Inspired by 60’s surf movies, Psycho Beach Party brings a Malibu beach party to Aussie shores. Australia is known for its beautiful beaches so where better to stage such a production? The X Collective is well-known for delivering fantastic theatre and this year’s productions features darker themes, so it’s great to see some light-hearted camp energy, shining light on the skill of director Wayne McPhee.

Psycho Beach Party explores sexuality, virginity and the desire to fit in. Every character in this production experiences these concepts, with some facing all three. Before the production began, the audience were greeted with a video from Australian charity Minus18. This charity improves the live of LGBTQIA+ young people, with a focus on tackling social isolation, educating, advocating and empowering LGBTQIA+ youth. (Link included below).

Staged at PIP Theatre in Milton, McPhee uses every inch of this space. Actors enter from all sides of the theatre – from the back and straight down the aisle (there might even be a cheeky surprise entrance). This story is challenging to bring to life – how do you bring the beach inside, and in winter? McPhee and his team once again took full advantage of the PIP space and projected backdrops onto the back wall, transporting audience members to the picturesque beaches and homes of Malibu with ease. 

On to the incredible talent that ruled the stage. A play like this needs strong ensemble work and you could tell from the get-go that this cast had a blast in rehearsal and have carried it onto the stage. Any audience member would be hard pressed to find a weak link in this production. The show kicks off with a sitcom style introduction of the characters and their actors, with a projection on the back wall. The show hadn’t even started and the audience were clapping and cheering at every character entrance. It was going to be a true theatre audience on opening night!

Aubrey Haive as Chicklet Forrest was incredible, seamlessly alternating between multiple personalities with flawless characterisation. The audience loved Haive’s evil Ann Bowman laugh and sassy checkout chick Tylene. Haive’s Chicklet was mesmerising, every movement was purposeful. The audience couldn’t help but love Chicklet, with loud chants of ‘Chicklet’ echoing around the theatre multiple times throughout the evening. Brisbane audience will want more of Haive after seeing this production.

Chicklet’s dear mother, Mrs. Forrester is played by Izabela Wasilewska. A master at facial expressions, Wasilewska had the audience in fits of laughter. Playing the perfect, protective and disciplined mother came naturally to Wasilewska, displaying real concern over her daughters’ actions. Haive and Wasilewska had amazing chemistry on stage, with a few genuine smiles peeking out at the end of the production. 

Chicklet’s extremely close friend Berdine, played by Ella Humphreys provides audiences with a nerdy and neurotic perspective of the Malibu scene. Humphreys played this role perfectly, expertly slipping into conversations of existentialism and Mendel’s Experiment. The role of Berdine brings a bubbly energy to the stage and Humphreys does this extremely well.

This cast was nothing short of terrific. Connor Scoble brought psychology student turned beach bum Starcat to life. Scoble loved a good dramatic pose and had the audience in stitches. Daniel Kirkby (Yo Yo), Hayden Parsons (Provoloney) and Justin Ryan (Kanaka) delighted audiences with love, huge beach balls and red kites’ fun. Rachel Jordan played unhinged Marvel Ann, leading the man hunt for delicious surfers. Lisa Hickey rounded out this cast as Bettina Barnes, movie star actress extraordinaire. 

McPhee, his cast and his team must be commended on putting together a fabulous show. If you have had a long week, this is the show to see. Release some tension with a good belly laugh and a few drinks!

https://www.minus18.org.au

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‘The Odd Couple’ presented by Nash Theatre

Written by Lachlan Boyes

Nash Theatre is known for their fabulous productions and their latest show, The Odd Couple is no exception. Directed by Susan O’Toole Cridland, this female version of The Odd Couple was a wonderful experience – there is nothing like hearing a room full of laughing people! 

As the audience enters the theatre, they are greeted with several cast already on stage, playing a game of Trivial Pursuit.  It instantly felt like the audience were in Olive’s little unit, enjoying games night. As the night unfolds, the audience are introduced to the rest of cast – getting to understand this beautiful dynamic of wonderful women. 

Nash arguably have some of the most fantastic sets. What makes these sets incredible, isn’t a full stage of furniture and big designs. It is in the quite little details that make a church stage feel like a home. This production was no exception – the green walls, the discarded cans and the leaning coat rack transformed the stage into a recently divorced woman’s home! Phil Carney has outdone himself yet again. 

Special mention to the wonderful stage crew who helped orchestrate several massive set changes, all without incident. As many know, it takes a huge team to put together a show and most of that team are backstage! Thank you for your hard work. Lighting and audio were kept simple, allowing the cast to shine and strut their stuff.

O’Toole Cridland is known for directing darker material but all who see this production will agree that she can direct a bloody good comedy. Comedy is one of the hardest genres to get right on stage and O’Toole Cridland has proved she can get the job done. The space was used extremely well, however, it would have been nice to see more of the side staircase used. O’Toole Cridland’s cast worked extremely well together. 

Claire Marchesi as Olive Madison and Ellie Bickerdike as Florence Unger were the highlights of this production. Marchesi gave the audience a complex and multifaceted version of Olive. There were some incredibly beautiful moments from Marchesi, in particular her conversations with her ex-husband. She instantly went from loud, smart friend to quiet, and caring wife. Bickerdike told a million stories with her facial expressions. Playing the ever-dramatic Florence came effortlessly to Bickerdike. Despite Flo’s deep flaws, the audience couldn’t help but love her, a true reflection on Bickerdike’s skill as an actor. These two women commanded the stage the entire night and deserve every compliment. 

Eduardo Abellan and Caelen Culpeper as Manolo Costazuela and Jesus Costazuela respectively brought a light, fun and hilarious energy to the Nash stage. These two played Spanish brothers who catch the eye of Olive and Flo. Abellan and Culpeper played off each other perfectly, with the brotherly relationship taking the forefront of their acting. 

Robyn Stumm as Renae, Rhonda Wood as Vera, Lindi Milbourne as Mickey and Amanda Gomes as Sylvie rounded out this cast. Their relationship to both Olive and Flo provided a view into the lives of sisterhood and the support best friends can provide. As seen throughout the production with games of Trivial Pursuit, this relationship is incredibly important to the group of women and provides them an opportunity to talk and be heard. 

There were a few pacing issues throughout the show that slowed down scenes unnecessarily however, the flow of the overall production was well executed by O’Toole Cridland. If you are looking for a fun, light-hearted comedy, Nash Theatre’s The Odd Couple, is the show for you. Congratulations to everyone involved. 

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‘Pride and Prejudice’ presented by St Luke’s Theatre Society

Written by Lachlan Boyes

Everyone has heard of Pride and Prejudice and the tale of Mr Darcy and dear Lizzy Bennet written by the brilliant Jane Austen. This classic novel made its way into the 2024 season of St Luke’s Theatre Society and was directed by Matthew Hobbs, Susan Hobbs and Nigel Munro-Wallis. This team have put together an incredible show, with a stellar cast. 

One of the best things about St Luke’s is their generosity. Walking into the theatre, the audience are instantly offered a complimentary drink and snack pack (opening night special). They are then told about the charity raffle that St Luke’s are known for. Every production, the director picks a charity that the raffle funds go to. The charity of choice for Pride and Prejudice was NeuroEndocrine Cancer Australia (link at the end). There was also a fabulous selection of items to purchase from the pop-up stall, hosted by the Christ Church Yeronga – the current home of St Luke’s Theatre. 

When the curtains open, the audience are greeted to a visually stunning set. Incredible pink and green walls, pictures on the walls and white lace covering the panels leading to the garden. There was such detail in this set, the audience could feel the love and care that went into creating it. 

Lighting was kept simple but was fluid with every rise and fall. There was a beautiful piano piece played several times throughout the performance, reminiscent of the 2005 film. Sean Doran did a wonderful job at keeping sound and lighting running smoothly. As is expected from a production set in the early 1800s, the costumes were immaculate. Everyone looked extremely posh and emersed in the time period.  

The direction was top-notch. Matthew Hobbs has wrangled a cast of 15 together in what appears to be an effortless manner. When there was one actor on stage, it was just as full as when there were 5. Hobbs has ensured his actors have a fantastic stage presence that leaves the audience wanting more. Every actor maintained their accents throughout the production, a credit to Hobbs and his team. If the love story of Elizabeth and Mr Darcy isn’t enough for you, then how about this – Matthew directed this production to put a smile on his wife’s face! Talk about a love story.

Most reviewers would avoid mentioning each cast member with a cast this large but no one in this cast can go unmentioned!

David Scholes played Mr Bennet, the soft and kind patriarch of the Bennet family. Scholes had an incredible stage presence and commanding but soft voice. Living in a house of women, Mr Bennett has had to see the humour in everything. Scholes delivered his humorous lines to perfection. Special mention must be made to the closing line of Act 1, delivered by Scholes – there was not a single audience member not cheering and clapping for him – you will have to see it to find out why!

The matriarch of the Bennet family was portrayed by Jacqueline Kerr who grabbed the audience by the nerves and refused to let go. The minute Kerr uttered her first line, the audience were hers – there is a high probability that they still are! The awkward pauses, the facial expressions and the dramatic lines – Kerr had it all. 

Eloise Collins as Jane Bennet was controlled, powerful and pure talent. Collins delivered every line with precision and never missed a beat. Her chemistry with Lillian Dowdell (Elizabeth Bennet) was electric, conveying a real sisterly bond on stage which elevated their performances and the production. These two actors brought every bit of their own intelligence and wit to the roles of Elizabeth and Jane. Pride and Prejudice marks Collins’ community theatre debut. Hopefully for Brisbane audiences it isn’t the last time she takes the stage!

Elizabeth Bennet, arguably the whole reason this production exists, was played by Lillian Dowdell. In most productions, the lead actor is normally the centre of attention. This wasn’t the case for Dowdell’s Elizabeth. This production was a true ensemble piece and Dowdell made sure that everyone had their moment. Whilst the chemistry between Dowdell and Collins was that of love and sisterly affection, her chemistry with Lachlan Gregory Hugh (Mr Darcy), was less than kind and convincing of this enemies to lover’s tale. Dowdell delivered incredibly scathing lines towards Gregory Hugh and never missed a chance to give him a glare, while also persuading the audience of the developing conflicting feelings Elizabeth Bennet must grapple with toward Mr Darcy.

Mr Fitzwilliam Darcy, the brooding man from Derbyshire was portrayed by Lachlan Gregory Hugh. Mr Darcy can be a challenging role, what with the no smiling and all, but Gregory Hugh rose to the occasion and delivered a fantastic performance. One aspect of Gregory Hugh’s performance stood out – he kept his fists tightly balled unless he was displaying emotion. This character choice made for a powerful performance, making Darcy’s bursts of emotion even more impactful. 

Genevieve Whittred as Mary Bennet is the bookworm of the family. Reading a book and sprouting words of wisdom came naturally to Whittred. Despite having a smaller role, Whittred made the most of her stage time and often had the audience laughing from her quick wit and incredible timing. 

Elizabeth Dunbar and Shelby Hodge brought Kitty and Lydia Bennet to life respectively. What a performance from these two amazing young actors. Their laughter was infectious and had the audience in fits. This production is Dunbar’s community theatre debut – it would be difficult to tell if it wasn’t in the program! Hodge is new to the St Luke’s stage but hopefully sticks around for more. Both actors never dropped character, they delivered every line to perfection and brought bounds of energy to the stage. 

Alexander Thompson played the charming Mr Charles Bingley. Thompson brought a happy and innocent energy to the scheming stage. Emily Summer as Caroline Bingley was incredible. There was not a single smile from Charles’ overprotective and controlling sister.  Chris Sibley as Lady Catherine de Bourgh only makes a brief appearance but makes the most of it, delivering the most scathing and threatening lines of the play. Kathy Manning as Lady Lucas was nothing short of hilarious. Manning sauntered onto the stage with an aura of privilege and arrogance.  Kailan Tyler-Moss as Charlotte Lucas was the forever devoted friend to Jane and Lizzy. Tyler-Moss was the opposite of her characters mother, bringing a soft and kind presence to the stage. Madeleine Short as Hill is another debut actor in this production, Short was instrumental in bringing each character to the stage, announcing their presence and escorting them into the family room. 

Last but not least, Jock Dunbar as Mr George Wickham and Mr William Collins. Dunbar played redcoat Wickham, a friend to the Bennet family – and eventual family member – but it was his role as Collins that stole the audiences’ hearts. From the very first overdramatic bow, the audience was in stitches and wanted more of Collins. Dunbar played his two characters in polar opposite ways, whilst Wickham was slow and deliberate, Collins was wild and direct. There was one audience member in particular who didn’t even realise it was the same actor (face blindness aside!). 

An incredible production team and a talented cast is a recipe for a stellar production and that is exactly what St Luke’s Theatre delivered. Congratulations to all involved and if you haven’t got your tickets, you better be quick!

https://neuroendocrine.org.au

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‘Magic of Musicals’ presented by Redcliffe Musical Theatre

Written by Lachlan Boyes

This weekend Redcliffe Musical Theatre performed their Magic of Musicals – a celebration of their 15-year history. Over the last 15 years, RMT have produced over 30 musicals and displayed some of the greatest talent in the region. Madeleine Johns – RMT President and Director of Magic of Musicals has delivered a nostalgic roller coaster to audiences of all ages.

This magical showcase delivered songs from The Lion King Jr, Chicago, Moana Jr, Mary Poppins and many more. Despite there being no set, Jonathan Moss and Chris Walker created each scene with clever lighting design. This lighting design, paired with AV projections, guided the audience into the world of each musical. It was difficult to hear some of the singers at various points throughout the showcase – possibly a mic issue or two.

Every great musical has a band, and this showcase was no different. Viva La Musica, led by Rhonda Davidson-Irwin were wonderful. Many of the songs were performed by Viva La Musica and there is nothing better than a live band on stage. Well done to all seven musicians and thank you for supporting theatre!

The energy at the Redcliffe Entertainment Centre was electric and it seeped into the audience with regular clapping and cheering. The audience loved the show and couldn’t help but sing along with the cast. Audience members couldn’t stop talking about the young talent and in particular the fabulous costume changes. There is no doubt that a good chunk of the audience went home and watched one of these musicals (I did!)

While the entire cast were terrific, there were a few standout performances. Tylah-Jay Foster in ‘Circle of Life’ from The Lion King Jr kicked off the showcase and what a start it was! Daya Sudhi gave audiences a beautiful rendition of ‘How Far I’ll Go’ from Moana Jr, Sienna Randall blew audiences away with ‘Hopelessly Devoted to You’ from Grease. Anthony Van Stam took on ‘If I Can’t Love Her’ from Beauty and the Beast and was incredible. Erikson Ilustre had the perfect voice for ‘I Will Cover You (Reprise)’ from RENT, Georgia Murray, Naomi Drogemuller and Abbie Gommers were powerhouses in ‘It’s Raining Men’ from Priscilla. Jonny Sweeper came to life in ‘Grow For Me’ from Little Shop of Horrors and Benjamin Oxley brought a softer, stunning voice to ‘Close Every Door To Me’ from Joseph and the Amazing Technicolor Dreamcoat. 

It is great to see that the talent is strong in the Redcliffe (and surrounding) community, it is even more encouraging to know that this showcase was dominated by the juniors. Tylah-Jay, Anthony, Lucas, Daya, Daisy, Julia, Zoe, Jeremiah, Sienna, Abbie, Tessa and every other young performer – keep being awesome and showing us adults how to own a stage! 

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‘Barefoot in the Park’ presented by Thrive Productions

Written by Jonny Sweeper

Staged in the very comfortable and welcoming KSP Theatre, the premiere show of Thrive Productions is a warm and entertaining experience. The open stage allows the audience to take in the empty apartment during preshow – complete with fixed appliances, stepladders and stacked boxes. The stacked boxes placed downstage right, while effective, does block sight lines for some of the audience at times. However, this is only an issue for the very short first act. The singular set includes meticulous attention to detail, and becomes even more decorated in Act 2.

There are only a few uses of sound effects, and are timed very well, and both transitional and diegetic music well selected and executed. The lighting effects are minimal, with a general wash – very fitting for this play. Other technical effects, such as ‘snowing’ from the sky is symbolic but effective. A few mishaps occurred during the attended performance, and both stage crew and performers adjusted so well to the situation that it was unclear if these were intentional.

All performers give genuine and endearing portrayals of their characters – both in the height of comedic delivery, and intensive dramatic moments. There are a few moments where some performers could project and enunciate more – sometimes facing away from the audience during important delivery – but for the most part the performers maintain engagement very well.

Ella Bromback brings Corie to life portraying well timed comedic delivery and physical comedy with heart. Her characterisation exudes so much bubbly positivity that is shocking how well she executes her more dramatic moments.
Brad Fuller (Paul) portrays the strong straight-played character for the others to bounce off. He does so while maintaining character at all times, and demonstrates a shining stage presence.

The scene lights up any moment Izabela Wasilewska takes the stage as Corie’s mother. As Ethel Banks, Wasilewska is able to bring out the laughter in the most reserved of audiences, employing strong command of body language and facial expression to assist her well timed comedic delivery.

Eduardo Abellan captivates as Victor Velasco, giving a portrayal that is both assertive and tender. Abellan holds himself well as he plays a straight-player in Victor’s own mind, yet outlandish in his behaviour.

Max Pythian capitalises on limited but memorable stage time portraying the endearing and comedic Delivery/Telephone Man. Pythian is able to bring attention to awkward moments between characters with hilarious conviction.

Director Susan O’Toole Cridland reveals her experience and expertise across genres by presenting a well balanced comedic and dramatic production, without moving too far in any direction. Consequently, “Barefoot in the Park” is an enlightening and encouraging production that doesn’t take itself too seriously.

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‘Cleansed’ presented by The X Collective

Written by Susan O’Toole Cridland

Prior to The X Collective’s launch for their 2024 season, I personally was not familiar with Sarah Kane’s work.  From that launch though I knew that I would be in for a night of theatre – potentially unlike anything I had seen before.

I like to consider myself a director that is not afraid of a challenge.  And yet, I am not sure this would be a script that I would be brave enough to take on.  Let’s leave out some of the stage directions and the difficulty in successfully staging the near impossible, the story itself is so incredibly complex with so many detailed and hidden messages and many levels of interpretation.

Yet that is where the beauty of theatre can lie.  Wayne McPhee has never been one to back away from a challenge and while the script may terrify me creatively, it’s one he has embraced fearlessly – as has his cast and production team.

I went to the preview night not quite knowing what to expect, and I must be honest in saying there were moments of the story that I didn’t quite grasp during the performance. However, I didn’t realise how in depth my thoughts and interpretation would be in the following days.  I didn’t realise just how much I would be thinking about all of it.

Sarah Kane was an English playwright (and a theatre director and screenwriter).  She is known for her intense, challenging psychological works that showcase extreme acts of violence and are often graphically sexual at times.  It’s been 25 years since her death, and I think it’s no coincidence that we are seeing more of a resurgence of her work.  Sarah was a gifted female writer – speaking of violence and love – and we live in a world now where that topic seems like it will never go away.

From the start of the show, you know you are in for an unexpected and intense night.  There are many confrontational moments – and yet each of them has their reason.  Coming into the show, I was concerned that some of these moments had been written merely for the sake of being shocking and provoking and I could not have been more wrong.  Every moment in this show exists as an essential part of the storyline.  Without some of the ‘shock’, we would miss the intensity of the multiple layers of this memorable story.

The story starts with the mysterious Tinker (Rob Wainwright) administering a lethal level of ‘relief’ to Graham (Samuel Liddell) – a character we learn much more about throughout the progression of the show.  The physicality and life brought to both these characters was obvious from the start, but I did miss some dialogue due to a lack of projection.  As stunning as the Holy Trinity Hall is, it is a space that swallows sound. It’s incredibly tricky to find the right balance and I encourage the actors to take time before their next shows to ensure that they have that balance right.  For me personally, this was the only thing that detracted from some incredibly courageous and flawless performances.

Throughout the night, we are taken on a journey where a group of inmates are trapped in an institution overseen by the sadistic ‘not a doctor’ Tinker.  It’s not a subtle point that the patients in the institution are there because they are deemed undesirable by society’s standards.  We meet a young woman haunted by the death of her brother, two young men forced to test their love and commitment to one another in extreme ways (as Tinker quite literally tears them apart), a simple young man wanting nothing more than to be loved and an exotic dancer desperate for love and freedom.

Some scenes are not for the light-hearted and the violent and sexual nature of the show is written to be extreme and graphic.  This show looks at human emotions at their most intense and yet still manages to find unexpected moments of true beauty amongst the chaos.

Charlotte Kippax delivers a strong and honest performance as Grace.  A young woman initially seeking truth about the fate of her brother Graham.  The scent of her brother’s clothes triggers a psychotic break which sees her ending up as one of the inmates.  We soon realise that the relationship with her brother – when he was alive – was complex and disturbing.  We see him linger in every thought, every moment, every decision she is part of for her time in the institution.  The timing of the delivery of physical movement, along with overlapping dialogue between Kippax and Samuel Liddell as Graham is exquisite and is offset by a chemistry that is both beautiful and disturbing.

Michael Meredith-Pocock is endearing as the innocent Robin.  He brings such a delightful innocence which counterbalances the horror we see unfold throughout the play.  And yet he is also responsible for a couple of the most devastating moments of the show.

Rob Wainwright as Tinker is wonderfully disturbing.  Between ‘caring’ for his patients in the way a cat toys with a mouse, watching over every movement and thought and the intensity of the love he feels for The Woman, Wainwright delivers a controlled and callous performance.  And yet despite the atrocity of his acts, we can’t help but wonder who he was before life led him down this path – and we are surprised to see moments of humanity shine unexpectedly through.  This is a role that could easily be overplayed but no such fear with Wainwright who really nailed this performance.

Natasha McDonald takes on the role of The Woman – an exotic dancer who is the object of Tinker’s obsession.  Seemingly trapped in a seedy role in life and desperate to be released by the unlikely hero she sees in Tinker.  McDonald takes on this role with gusto and delivers a powerful and planned performance.

The performances of Josiah Morgan (Rod) and Lachlan Boyes (Carl) were heartbreakingly stunning.  Boyes in particular delivered a physically demanding performance, and one could truly feel every moment of his pain.  Having his speech taken away from him early on, we are left with intensely guttural and heart wrenching wails of pain and grief.  It’s an extremely committed and challenging performance.  Morgan and Boyes have a wonderful on-stage chemistry and are bold and brave in their delivery.

Lighting and sound do add that extra layer of depth and despair, but I did find at times that the music was too loud, particularly in the scenes with The Woman.  It felt like the dialogue came in under the music and it really needed to be the other way as it was a struggle to catch all the dialogue.  That said, this was the opening weekend so no doubt this is something that can be ironed out throughout the run.

Wayne McPhee is not unknown for making bold choices.  Taking on a play of this level alone is one of the boldest. He has delivered an intense, moving and emotional piece of theatre. It may not be everyone’s cup of tea, but I would encourage theatre goers to be bold themselves and accept the challenge of seeing this show in all its rawness and intensity.  It is full to the brim of honest, brave, committed, intelligent and wonderfully nuanced performances.  This show makes you think, it makes you want to look away and yet it also tells stories of love.  The actors place so much trust in each other, in the text, in McPhee and in the audience – so place your trust in them.  Push yourself out of your comfort zone.

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‘Love Lies Bleeding’ presented by Ad Astra

Written by Susan O’Toole Cridland

Love Lies Bleeding by Don DeLillo is a beautifully written script that takes us into the heartbreaking world of love, loss, impossible dilemmas and regret.  Don DeLillo holds no punches in this script.  Every character is beautiful.  Every character is flawed.  Every character is somewhat selfish.  And every character is devastatingly human.  

As you walk into the space, you can’t help but be drawn to a simply stunning set.  Ada Lukin manages to utilise every single bit of space, somehow managing to give us a feeling of both a stifling interior and a vast openness.  It mixes rustic with comfort and also manages to give off a sense of unease.  I wasn’t sure if I should feel at home or on edge.  Lighting design and tech from Madelyne Leite is on point – emphasising the set and the action.  The script is very episodic, and it would have been easy for the blackouts to become distracting, but they gave us very clear lines in time.

As the play opens, we are introduced to the characters of Alex and Lia, played respectively by John Stibbard and Carla Haynes.  I have known John for many years and have the absolute pleasure of working with him and having watched him in numerous productions over the years.  Yet the moment the lights came up and he spoke, it was as if I was watching a stranger.  An impeccable accent, a body recovering from a stroke and a pitch and tone in his voice that differed from anything I had seen him in before.  I have always believed that Stibbard is a ridiculously talented and committed performer, yet he exceeds my expectations in this role.  We first meet him weakened and reminiscing and later in the show we see him vital, charming and downright irresistible.

Carla Haynes from the moment we see her is captivating.  Hayne has an amazing stage presence and the way she holds herself and uses stillness allows for a performance that is just beautiful to watch.  Like Stibbard, Haynes delivers is an impeccable accent.  So much so that I started to forget this was not her accent in real life.  She takes us on a journey of steadfast loyalty, love, exhaustion, grief and guilt.  How does one stand by a person they love who is not quite alive, and not quite dead – who is not the person they once were and will never be again.  Who may remain this way for days, months or years.  How do you know when faced with an impossible decision if you are making the right one for you, or for the person you love.  And how do you live with that decision.  Haynes is both devastating and stoic and I really look forward to seeing what is next for this performer.

Gregory Gesch plays the role of Alex (in extremis).  A heartbreaking contrast to the character Stibbard brought to like.  Gesch shows us the man after a second, catastrophic stroke.  We can’t tell if he is there or if he is not there.  Can he hear what is happening around him?  Can he understand?  You want to believe he can as here is this man – living and breathing.  And yet, you don’t want to admit you know the answers.  Those who know him the best, who love him the best (and yes, who hate him the best) dance around this answer and yet in their tone, in their glances – we know they know.  Gesch must remain still, must be committed to helping us understand, must be there but absent.  It’s an incredibly hard role to play and Gesch nails it.

Spencer Cliff play Sean – Alex’s estranged son.  It’s difficult to imagine the depth one needs to go to get into this character.  Understandably, there is so much resentment and confusion, love lost, a desire to belong and be accepted, compassion and perhaps just a little bit misguided justice.  Cliff for the most part finds a great balance in this performance – his hurt hidden behind an acerbic wit.  A head for science and facts to possibly turn away from the hurt of his childhood that extends well into his adulthood.  A delivery at the eulogy that makes you feel embarrassed and pity.  Cliff manages to deliver some zingers with impeccable timing and when the guard is down shows us some raw human emotion.

Helen Howard.  Helen. Howard.  Let me say it again.  Helen Howard.  It’s no secret that Howard is a powerhouse.  Everything she has learned over the years, everything she has taught, everything she has put blood, sweat and tears into just rolls out in this show in a quite simply stunning performance.  While there were many moments that you could not look away from Howard, she does nothing to detract or distract from other’s performances.  Quite the contrary in fact – she gives in spades.  Howard plays Toinette.  Ex wife (not the first wife) of Alex.  Stepmom to Sean (and possibly one of the biggest constants in his life).  This character is complex.  She is tough and she is vulnerable.  She is judgemental and she is accepting.  She is brave and she is terrified.  I really don’t know what else to say.  It was like watching a masterclass (for the price of a theatre ticket!!).  I have definitely walked away with an artistic crush on this incredible actor.

Speaking of masterclass – this magic doesn’t just happen.  The direction in this play is flawless.  Every movement, every nuance, every moment of silence and stillness is there for a reason.  And yet nothing feels staged, nothing feels choreographed or forced.  We see beautifully defined characters, complicated relationships between them and almost every emotion you could imagine.  I feel that Don DeLillo produced a symphony and Michael Fulcher conducted it to perfection.  I learned so much from watching his work – I can only imagine how much his actors learn under his tenured guidance.

It would be remiss of me to not mention the soundscape.  From haunting piano pieces to the sounds of rural America, there were barely moments of background silence.  Yet it never interfered with the silence from the actors.  It added an extra layer.  A normality against the unimaginable.  I can’t talk to the intention of this, but what really got to me about the soundscape was that it drew me into a state of relaxation – my body feeling clam and at ease which conflicted with my mind that was screaming ‘things are not okay here!!’  It was an amazing conflict that I have never experienced before.  All credit to Zachary Miezio as composer of this production.

All in All, Ad Astra have ended their 2024 season spectacularly.  Go and see this.  Yes, the themes are intent, yes, it is uncomfortably real, yes, it’s a subject matter that seems taboo.  But it is also a production not to be missed.  It’s quite simply stunning.  And it’s not to be missed

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‘Murder on the Nile’ presented by Nash Theatre

Written by Gary Farmer-Trickett

I had the privilege of attending the 30th Birthday of Nash theatre in New Farm and their final production of the year “Murder on the Nile” by Agatha Christie – Directed by Sharon White.

As soon as the curtain opens, the audience were greeted to an impressive set to represent the luxurious vessel that was going to take us on the journey down the Nile. 

I particularly liked the use of a different back drop when the vessel set sale to represent the motion of travelling along the Nile and this was beautifully painted by Philippa Dwyer and Helen Barrett. Bravo ladies!!

The Egyptian paintings and appropriate furnishings enhanced the stage aesthetics to great effect and finished off the set perfectly.

This play requires a strong cast and cohesion between all actors and for the most part this was delivered. 

Linda Morgan as Miss Ffoliot-Ffoulkes burst onto the stage and was one of the stand outs of the night. Her posh English accent was perfection along with her facial expressions and mannerisms she was comedy gold. Miss Ffoliot-Fooulkes exudes an air of entitlement, a narcissist and Linda embodied her wholeheartedly. Her stage presence was mesmerising, and I couldn’t take my eyes off her.

Madelyn Scott played Miss Ffoliot’s great-niece Christina Grant and you couldn’t help feel sorry for her having to deal with the overbearing and controlling Aunt. Madelyn had a wonderful English accent and such control on stage. 

Jonathan Knox did a stellar job as William Smith, a charismatic socialist with a hidden background. Jonathon too had a really strong English accent and showcased his talent on stage in his portrayal. His interactions with Christina were a delight and you could see they both had a lot of fun in these scenes. 

Canon Pennyfather played by John Mann is such an imposing man but with a touch of “friend who you can rely on” vibe and John delivered in spades. You can tell John has had many years of experience with his stage craft. His accent never faltered, and each line was delivered with purpose. John was another stand out in the production. Well done!!

Michael Alizzi as Dr Bessner the mysterious man of unknown origin was cast appropriately. He had a wonderful German accent and just the right amount of intrigue to keep the audience engaged.

Samantha Herde played Kay Mostyn. This was Samantha’s first time on the stage and my hat goes off to her for playing such an important character. At times I felt her nerves but this can be forgiven and Samantha did a nice job for her stage debut, and I commend her on the English accent.

Simon Mostyn was played Matthew Hobbs. Simon is a charming Englishman with a secretive side who is married to Kay. Unfortunately, there seemed to be no attempt at the English accent, and this stood out to me when everyone else had such strong accents. Matthew is clearly a seasoned actor, but I felt there was no chemistry with his on stage wife Kay and the character lacked believability at times but his interactions with the character Jacqueline were some of my favourites and he should be commended on these.

Phillipa Dwyer played Jaqueline de Saverac and wow she burst onto the stage with a BANG!!! Philippa embodied her character and looked sensational in her various dresses and evening gowns. 

Phillipa knows exactly what she is doing, and her passion translated onto the stage. Her English accent was flawless and the chemistry and interaction with all the cast was top notch.  Phillipa was another standout, and I could not help but gravitate toward her when she was on the stage.

The cast was rounded out by Thomas Bean – Steward, Eddie Bruce – Mc Naught and Cheney Hossack – Louise. All three actors did a splendid job of bringing their characters to life on stage and all of their accents were on point. A special mention to Cheney for maintaining the French accent throughout. Great job!!

Shout out to Laura McIntosh for orchestrating the various gun shots on que, its always difficult to time these live but they were executed with precision.  I was a little perplexed when it came to the random sounds throughout the production and wondered what they were to represent and if perhaps, they were necessary? 

Kudos to the experienced vision of Director Sharon White who steered this vessel to success. This production can be a tough task to stage, but Sharon directed this piece beautifully. She used every inch of the stage ensuring each actor got their shining light moments on stage. Her excellent choice of set pieces were deliberate and nothing was there “just because”. Congratulation Sharon on creating this wonderful piece of theatre.

Nash theatre never fail to create great theatre and this production will keep you entertained and guessing who done it to the last minute. Murder on the Nile run until December 7^th, 2024.

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‘Australian Open’ presented by 7th Floor Theatre & PIP Theatre

Written by Al Bromback

I had the absolute pleasure of seeing Australian Open on its – if you pardon the pun, or actually, even if you don’t it’s probably best to get used to them now because Australian Open has plenty – opening night. 

I know what you’re thinking – but I promise this show isn’t really about tennis. Despite the title, a knowledge of tennis is not a necessary pre-requisite for enjoyment of Australian Open. Even someone with only a passing knowledge of who Rodger Federer is and the vague recollection that the sport includes a racket and a ball will not be lost. Australian Open is a witty and suggestive comedy where no shot is out of bounds. Written by Angus Cameron in 2019, Australian Open employs a queer lens to challenge traditional exclusive relationship dynamics and confront the reality of connection outside the lines of societal norms. 

One of the delightful things about shows at PIP Theatre is the propensity for adding decoration beyond the stage space. It serves to immerse the audience before they’ve even reached their seats and welcomes them into the world of the story. Certainly, the rainbow pride flag garland made of g-strings above the door as you entered made it clear what we were in for with Australian Open.

The show opens on protagonist Felix’s – played by Tye Shepherd – 31st Birthday. All he wants to do is have a quiet night celebrating with his boyfriend Lucas – played by Jackson Paul – who lost to Rodger Federer in the American Open the night before. But Felix is joined, against his wishes, by his parents. The celebration quickly turns disastrous when Felix mentions that he and Lucas plan to continue their open relationship even if they decide to get married. This sets off a chain reaction that puts his parent’s marriage into question and even seems to bring his successful scientist sister Annabelle – Whitney Duff – back from Switzerland.

Cameron has done a clever job of wrapping up a few topics that could be quite challenging to digest for more traditional, conservative audiences. Discussions of queerness, kinks, and open relationships can be wildly uncomfortable and taboo for some but the humour of the script makes these topics much more comfortable to consider and digest. Director Hayden Burke has also done a marvellous job of carrying that sentiment and comedic presentation over to the Brisbane version. Which, if voting maps on any progressive issue reveal, is a far harder task here in sunny Queensland than in much more liberal Victoria where it was originally staged.

The script, for the most part, consists of fast-paced comedic dialogue akin to the fervour of an intense rally on the tennis court. These fast-paced moments are where this show shines. The ensemble dinner table conversations – especially, the Christmas Dinner scene that closes Act One – are stand-out moments that are down-right hilarious in a schadenfreude-esque way. The characters all feel genuine and hypocritical – certain members of your own family will likely come to mind here. During these scenes, not a single actor is lagging. They are all able to keep up with the speed of the performance, deliver the lines with sincerity, and be genuinely funny at the same time. Certainly no easy feat. It’s certainly a talented cast that Burke has assembled. 

Tye Shepherd plays the neurotic Felix masterfully. Shepherd embodies the tense and indecisive nature of the character and delivers each line with dry wit and perfect comedic timing. Jackson Paul’s Lucas provides a sincerity that the show sorely needs. Every comedy needs a straight-man (as it were) to keep it grounded, which Paul did admirably. Paul also did well jumping from moments of being provocative and seductive to heartfelt and awkward. However, while both Paul and Shepherd shine separately, they don’t have much chemistry on stage together. Which is unfortunate as they form the central couple of the show’s plot.

Lisa Hickey lights up the stage as Belinda, bringing a hilarious energy to the stage that is mesmerising and engaging. She perfectly portrays the concerned-‘mother knows best’-controlling-perimenopausal energy required of the role. Sandro Colarelli does well portraying Peter’s journey from conservative father who puts the word “gay” in air quotes to a man no longer being held back by his self-enforced dedication to the upholding of societal norms and expectations. Hickey and Colarelli do a wonderful job of bouncing off each other. Audiences have no trouble believing they’ve been married for decades and that, despite their troubles and changes, they still love each other. Rounding out the cast is Whitney Duff who portrays the sister Annabelle. The play gains new life as she enters the main fold. On stage she is equal parts haughty-to-cover-her-own-issues and troublemaker. A true delight to watch.

The direction is competently done. The largest directorial challenge with such a verbose script, which often goes overlooked, is working with the actors to facilitate the delivery of their lines naturally and believably, which Burke achieves triumphantly. The only facet of the script that may lose audiences, which didn’t manage to be saved by this same directorial magic, is the TedX talk segments about quantum physics and finding the graviton. Viewed favourably, these moments serve as a framing device through which to perceive the rest of the play, adding a layer of metaphor. Viewed unfavourably, they are a confusing side step that never convincingly or thoroughly ties itself to the main story and is mostly abandoned when the story is set in motion. 

Set design by Burke and Jennifer Ashlan is minimal but I am always fond of designers who are able to manipulate minimal building blocks to create distinct spaces within the play – especially on smaller theatre stages. This skilled creation of space was aided by a white stage curtain and an LED netting that announces the change of location in text. It is also a very clever way for the locations of the show to be personalised to Brisbane without needing to stop the play to announce it.

The sound design by Ziggy Enoch is mostly well done. The diegetic sounds were well-integrated and appropriate and really added to the reality of the world on stage. The transition soundscapes mostly work well, but a few are so layered they become fried or are occasionally too loud and too random to serve the intended purpose. The lighting design by Claire Yorston is nice, however some scenes were not fully lit. The show also could benefit from more distinct lighting identities.

Tye Shepherd, pulling double duty as both our main character and the costume and prop designer, did a masterful job with costuming the show. Each character has a distinct aesthetic identity in the first half of the play which changes with them as their characters grow. It’s always lovely to see a character’s journey represented visually through their clothing. It’s a level of attention to detail that really serves to elevate the play. Lucas’ tennis outfit is also very well designed, complete with Brisbane-specific sponsorships.

Both PIP Theatre and 7th Floor Theatre profess a commitment to fostering local talent and creativity and to staging shows that ‘mean something’. Australian Open is proof of that. A queer story that isn’t a tragedy, a show that proves that it’s never too late to question and change, and proudly says whatever your sexuality, you’re still worthy of love. It’s a show that does all of that and leaves you with a smile on your face.

It’s very early in the new year, and I’m not one for grand declarative statements, but I genuinely think it will be difficult to watch a show this year that is funnier than Australian Open. Comedy is a notoriously difficult genre for a play. To keep an audience laughing for the full 2+ hour run is damn near impossible and takes a delicate mix of character humour, situational humour, and one-liners. But Australian Open succeeds marvellously and has the audience laughing until the last line. It’s running until January 18th, 2025 and if you can make it out to see it, you should.

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‘Mary Poppins Jnr’ presented by ROAR Academy & Redcliffe Musical Theatre

Written by Gary Farmer-Trickett

Staged in the beautiful Redcliffe Entertainment Centre, Mary Poppins Junior is a colourful and entertaining experience. Upon arrival in the theatre, you are greeted with the generic show banner projected onto the red velvet curtains which was simple but worked to great effect.  

The curtains opened and a projection of moving imagery dominated the back wall of the stage. The clever use of this gave the illusion that Mary Poppins was flying high into the sky using her infamous Parrot Umbrella. Throughout the production the use of imagery to depict the various locations of London were a delightful choice and I commend the shows Director Madeleine John on this.  

I am very familiar with Mary Poppins and have seen the show a dozen times and I can honestly say that the vocal work of the main characters was sublime. Musical Director Rhonda Davidson-Irwin (Viva La Musica) did a stellar job along with Vocal Coach Anthony Van Stam. They managed to get the actors to hit all their notes and incorporate their own spin on these iconic characters. Bravo!! 

One disappointment, however for me was that some of the microphones were not working to their full potential and at times the music drowned the performers. One of my favourite songs is “Brimstone and Treakle” and sadly you could not hear Zahlee Brackstones wonderful voice due to the microphone not working.  

I am always a strong believer in the actor’s moving furniture and setting the stage where possible and it was a delight to see for the most part that the actors did this, but the stage crew were on hand to ensure everything was “spit spot” and in the right place. I loved the regular use of the backdrop for Mr and Mrs Banks house, this simply set the scene perfectly. 

All costumes were fitting of the era and worked very well. The performers were full of energy, and you could see everyone was having a great time on the stage and their energy was infectious, seeping into the audience who showed their appreciation for the performers with regular cheering and clapping. 

Choreographer Meredith Johns was very accomplished and ensured all the performers nailed their moves. A Special mention to Mike Lampot who was a guest choreographer for “Step in Time” which was one of the standout songs for me. Congratulations to both. 

I thought everyone did a super job embodying their characters and I was blown away to see so many young performers with mountains of talent and it is wonderful to know that the arts are going to thrive and the talent is just going to continue to grow with these young performers.  

There were three performers who really stole the show for me and when driving back in the car my son agreed wholeheartedly. Toby Bailey as Bert was a sheer delight to watch, so charismatic and demanded the stage. His English accent and mannerism were top shelf, and I couldn’t take my eyes of him.   

Sanna Chang and Riordan Francis as Jane and Michael Banks were “practically perfect in every way”. They had such chemistry together on the stage and it was a delight to see them shine. I am so excited to see what the future brings for them. 

Roar Academy and Redcliffe Theatre have created a vibrant, entertaining and heartwarming production which is simply…. “Supercalifragilisticexpialidocious.” 

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‘In A Moment’ presented by Tammy Tresillian & Tim Jackman

Written by Lachlan Boyes

“Life’s just a series of moments.”

A beautiful line that serves as the basis for In A Moment, produced by Tim Jackman and Tammy Tresillian. Presented in Brisbane’s independent theatre hub – PIP Theatre – this production was simple yet immensely powerful and emotionally charged. Following the lives of Sam, played by Jackman and Laura, played by Tresillian, as they meet for lunch nearly every day. Sam is a homeless man that is struggling with the loss of his father, Laura is an accountant going through the trials and tribulations of life.

Entering the theatre, audiences are greeted with a very simple set. Three chairs in a forward-facing line to be exact. It is easy to fall into the trap of thinking a show needs a grand set or a ‘realistic’ set to set the scene. This production is proof that this isn’t the case. The action takes place on these three chairs and is engaging start to finish.

Written by the two leading actors, this piece was clever, witty and packed with heart. One of the easiest ways to draw an audience into an emotional play is with humour and this script had it in spades. To hear an audience go from fits of laughter to a dead silence is one of the many magics of theatre. Tresillian and Jackman have done a superb job in developing this script. There is no intermission in this production, it definitely doesn’t need one and would risk breaking the emotional build.

Jackman commanded the stage at every turn, bringing warmth, hilarity and a touch of sadness. The audience are instantly captivated by Jackman with his humming and unkept appearance. Flipping between happiness and sadness isn’t always easy but Jackman had no trouble. As the audience follows Sam’s life, they can’t help but see a kind, gentle and caring human – an energy Jackman brings to the stage.

Tresillian had great moments of strength and fight in her but overall, the performance felt monotone and lacked conviction. There were some brilliant moments between Laura and Sam where audiences could see the pain in Tresillian’s eyes.

Rounding out the cast was Andrew Rose, playing Laura’s husband Kirk and Estella Hall, playing Laura and Kirk’s daughter Zara. Despite having little stage time, both actors did an admirable job. Rose brought a nervous energy to the stage that complimented Jackman’s calm demeaner. Hall brought a youthful bounce to the stage – a bounce that rivalled the playfulness of Sam.

Unfortunately, the lighting and set movement broke some of the beautiful moments created by the actors. Lighting was overall unnecessary and could have been left a simple white state. It appeared as though the lighting was trying to simulate ‘moments’ but it took the audience out the scene, this was particularly evident during softer, sadder moments. In a similar vein, there were times when the actors moved the three chairs to change the setting. This broke the flow of the story and left audiences waiting for the next scene. The script is strong enough to tell the story and create a new setting without changing the stage.

As the lights faded, audible sniffles echoed throughout the theatre, highlighting the emotional rollercoaster that was this production. A story of loss, love and hope, In A Moment is stunningly beautiful piece of theatre and isn’t to be missed.

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‘Broken to Brilliant’ written by DFV Survivors

Written by Lachlan Boyes

Reading about someone’s experience in a Domestic and Family Violence situation is never easy, but it MUST be done. Society MUST hear these stories and MUST push for change. The wonderful team at Broken to Brilliant are doing this through their incredible book writing program. This program allows survivors to tell their story – to not just be another statistic. Broken to Brilliant give a voice to those that need to be heard.

The first book published is named Broken to Brilliant, fitting when these stories share a journey – from broken to brilliant. The book is broken into ten chapters, all telling a different story. At the end of each of these chapters the team have provided a place for the storytellers to share their quick guide to becoming brilliant.

Each chapter starts with a quote, a line from their story – the ten quotes are below and perfectly sum up each chapter and the book as a whole.

“It’s not what you HAVE, it’s what you DO that makes the DIFFERENCE”

“Does your partner always make you feel safe?”

“Contribution is an incredibly uplifting and empowering act of kindness. It lifts your soul, ignites passion and motivates you to do more for others. It heals in a way that nothing else can.”

“Make peace with yourself; know your own mind and heart.”

“Look back on all of the past events and believe that they have helped to make you the special woman that you are today.”

“I changed my victim mentality to one of empowerment, confidence and internal happiness.”

“You are smart, brilliant and never broken. You don’t need to be fixed and nobody can take what you don’t give them. Own your brilliance, own your power and own your radiance. Once awakened, acknowledged and embraced, it is yours forever.”

“With confidence and love for yourself, I believe that you can achieve anything.”

“Life is about finding happiness.”

“Why keep going? Why stands for What Heightens You to go out and take action against the odds.”

The biggest take away from this book is education. The need for education in schools, in hospitals, in workplaces – everywhere. The more society knows about the beast that is domestic and family violence, the easier it will be to stop.

Every line in this book is written with heart and buckets of emotion. For some of the survivors, it was difficult to write their chapter and it is beautiful to read some of the acknowledging the support they received from Broken to Brilliant. Everyone who was brave and wrote about their experience deserves the highest congratulations, sharing their story with the world would be no easy feat.

The Broken to Brilliant team have published three more survivor books and are starting their fifth. If you are a survivor of domestic or family violence, reach out the team and share your story – it may just change your life.

https://www.brokentobrilliant.org/

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‘Gunsmoke’ presented by Nash Theatre

Written by Susan O’Toole Cridland

Nash Theatre, nestled in the leafy suburb of New Farm, is a long standing stalwart in the Brisbane community theatre scene and are well known for presenting us with high calibre shows that highlight the amazing talent that Brisbane offers.  They know what their audience likes and they deliver in spades.

As per tradition, they open their season with a radio show, and this year’s offering is Gunsmoke, and American radio and television show that graced the airways from 1952 – 1961, as well as the small screen from 1955 – to 1975.

Set in Dodge City, Kansas in the 1870’s, the series was centred around the character of Marshall Matt Dillon and its writers were determined to talk more to the brutal reality of the Old West, creating a central character that, while wanting to uphold the law, was almost as scarred as the ne’er-do-wells that would drift into town.

I was introduced to the world of radio plays only last year when I saw Nash Theatre’s production of War of the Worlds and was immediately enamoured by being taken into this almost forgotten era.

Gunsmoke may not have as many of the bells and whistles of War of the Worlds when it comes to the Foley Tech requirements but Mark Corben and Aiden Carey still manage to make the most of every opportunity to show us creative (and at time hilarious) ways to create wonderful sound effects to back the actors’ stories.  And boy do they have fun doing so.  They manage to steal some scenes without ever fully distracting us from where our focus needs to be.

Director Eddie Bruce has managed to corral (pun absolutely intended) a talented cast with a wide range of experience.  Some having had an impressive theatrical resume, others diving back in after a sabbatical and some making their stage debut.  It’s a cohesive group that work well together, blend beautifully in the background scenes and  deliver some drama and delightful comic moments.  The pace could at times pick up a bit, not so much in the delivery of the actual lines but in coming in a couple of beats faster on cues.  But that is this reviewer being pedantic – and it was opening night so I feel like this will balance out with more performances.

Every member of the cast has their moment to shine.  From showing their prowess in delivering differing characters using only shifts in vocal tones and acting through to taking us back to the now seemingly absurd world of cigarette advertising, (David Hill as the announcer supported by various cast members delivered some of my favourite laugh out loud moments of the night), the Nash stage showed no shortage of talent.

One thing I love about Nash, and community theatre, is that they are not afraid to show that talent does not always necessarily have to come from experience alone.  Previously mentioned for his work on the foley aspects, newcomer Aiden Carey delivered a solid performance.  With clear and defined vocals and a joy that was contagious, Carey seemed to really be in their element on stage.

Stuart Loudon may be a stalwart in Brisbane Poetry’s slam scene, but there were no signs that this was his acting debut.  Clearly his experience performing his original works leant towards a successful debut.  He was suitably stoic and at times cold in the role of Marshall Matt Dillon.  I would just suggest to be careful with the accent as at times it did slip into more of a broad Australian drawl.

The women owned the night for me with Julia Cox and Sam Herde delivering enthralling performances.  Their vocal delivery and accents were spot on and throughout the entire night, and they nailed the radio starlet persona.  I found both of them to be extremely engaging and was constantly drawn to them throughout the night.  This is no surprise for me as I have seen Cox deliver some unforgettable performances over the years.  It was pleasantly surprising though to read that this is only the second stage performance for Herde, (having made her debut in Nash’s ‘Murder on the Nile’ last year).  Herdes’ performance was impeccable – she looked the part, she physically owned the part in her stature and movement and her vocal delivery was outstanding.  I really look forward to seeing what Herde does next as there is a real natural flair there.

Another top notch performance came from Tyson Hargreaves as Chester – that good hearted, brave and loyal sidekick to Loudon’s’ Dillon.  Hargreaves quickly became and audience favourite and he really brought Chester to life.  A faultless accent, beautiful vocal tone and endearing facial expressions had us all rooting for him.  Hargreaves is no stranger to the world of acting, but returns after a bit of a hiatus and can I tell you – the Brisbane theatre scene is all the more better for it.

The show is rounded out with a fabulous set and effective FX design – no surprise given that Phil Carney and Rob Crook were at the helm of this.  It’s the attention to detail that you really notice and, given that there are 9 cast members, chairs for each of them, radio mics and all things foley needed on the stage at all times, they have managed to create the perfect world of the radio studio while somehow making it not appear crowded! As for so many of us, TC Alfred interrupted this radio programme last weekend and Nash Theatre quickly made the difficult decision to cancel shows in the interest of the safety of their cast, crew and patrons.  The season cannot be extended unfortunately and it must close on March 22.  Do yourselves a favour – make the time to see this one.  Support a local theatre that has always supported the Brisbane theatre community. 

You’ll have a hoot!

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‘The Haunted Through Lounge and Recessed Dining Nook at Farndale Castle’ presented by St Luke’s Theatre Society

Written by Lachlan Boyes

March brings about the first production of St Luke’s Theatre Society’s 2025 season, where they are greeting audiences with The Haunted Through Lounge and Recessed Dining Nook at Farndale Castle. This production follows the women (and one man) of the Farndale Dramatic Society as they tell the story of young June and her fiancé Marty as they attempt to seek shelter in Farndale Castle. As in expected in a Farndale – things don’t exactly go to plan.

The fictitious – but wonderful – world of the Farndale Ladies is nothing short of chaotic, whacky and hilarious. Audiences are greeted to a set very unlike those usually found at St Luke’s – it looks haphazardly thrown together! St Luke’s might know how to put together a set but the Farndale Ladies might need to look a hiring some outside help. With a painted bookshelf, window and fireplace, the set doesn’t have too many moving parts – cast and audiences should be thankful the window was painted, otherwise there might be a shard of glass or two around the place.

Starting the production with some audience interaction, Philippa Dywer (Mrs Reece) and Madelyn Scott (Felicity) run through the audience making sure everyone has their raffle tickets. These two actors are no strangers to a production directed by Sharon White and they weren’t afraid to get out into the audience.

Throughout this production, audiences are introduced to five main players; Dwyer, Scott, Susie Williams (Thelma), Jonathan Knox (Walter Smith) and Ellie Bickerdike. (Jasmine Boniface). These five actors each take on at minimum a second role within the play! Alex Thompson tries to aid the cast as the Producer David McTavish. It is always difficult to play a character as another character, it often makes it difficult to switch in and out of that secondary role. There were a few moments throughout the production where this characterisation was lost and it was difficult to determine who was being portrayed.

Special mention must go to Bickerdike for her – what felt like 10 minute – death scene.

Pace. Pace. Pace. It is one of the most important aspects of any theatre production, doubly so in a comedy. There were several moments during this production where pace was extremely slow, which impacted how a joke landed. One such moment was the suitcase gag – extremely funny in practice and causes a lot of fun and entertaining confusion. However, because of the slow pace, it felt drawn out and stopped being funny almost immediately. This gag could have been more effective with another set of suitcases. This would have speed it up but also allowed for more chaos and hilarity!

St Luke’s are known for their charitable contributions and their 2025 season delivers. This production had The Fred Hollows Foundation as its focus charity and it was wonderful of White to have the cast talk about the wonderful work the organisation is doing. St Luke’s is always such a warm and inviting theatre, with the ever-present pop-up stall selling all kinds of goodies! Bravo to all.

Anyone in theatre knows that productions aren’t possible without the help of a dedicated team of individuals and St Luke’s has those in spades. Stage Manager Laura McIntosh is back again for their millionth show and would have no doubt had a handful with this play (and cast).

If you are looking for a night out at the theatre then St Luke’s is definitely one to check out. They will be back at their ‘old’ new home in June for their second production of the year.

https://www.hollows.org/

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‘Charlie and The Chocolate Factory’ presented by Redcliffe Musical Theatre

Written by Amanda Harrison

Charlie and The Chocolate Factory is a beloved family story that some regard a classic and
household staple. The musical is no different, encapsulating hope and whimsy into an
extravaganza of song and dance. Redcliffe Musical Theatre’s production was focused on
providing opportunities to young performers and approached the direction and staging as
such. They had a wonderful display of talent in their youth castings, as well as some familiar
favourites cast amongst the adults. The audience was alive and encouraging throughout the
performance, motivating the young performers onwards.

The star of the show was the casting of Gary Farmer-Trickett as Willy Wonka. Trickett
showed much vocal talent, seeming at ease wielding his craft to deliver smooth and melodic
musical numbers. He is a competent performer whose acting ability had time to shine in Act
Two with the children’s accidents. I would have liked to see more energy in his initial entry,
however his performance was consistent and well done. The youth including Charlie Bucket
had clean projection during musical numbers and seemed to be enjoying themselves.

The youth however could’ve been assisted with cleaner direction to give them something to
do in still moments, to prevent nervous movement and tension building in the young
performers. Additionally, there were multiple moments adult performers could have jumped
in to save lost lines but instead allowed the children to panic and find their own recovery.
More consideration of these things would have fostered an environment that created
confidence in the young people taking on big roles in this musical.

The lighting design was phenomenal and beautifully met with the set and choreography to
enhance scenes. Particular set pieces stood out as high quality such as the forest made of
candy, and the wonka shop. Some directorial choices really paid off such as Australian jokes
being made by Grandpa Joe, which helped the production feel relevant to its local audience.
Special commendation should be given to the news reporters seen in act one who had
fantastic character work and diction. There was also high energy from the cast, specifically
the ‘parents’ of the 4 children going to the factory.

The things that could use further development with this production are the pacing and
transitional scenes. There were many moments the cast were left waiting for a cue, or there
were pauses between lines, tightening these things up would’ve assisted the energy being
given by the cast. There were a handful of transition scenes where set pieces were being
moved by Wonka himself, which broke the immersion and made it hard to hear lines
delivered during these moments. I would like to see these duties delegated to stage
management in the future.

Overall, this production was a heartwarming adventure that could be enjoyed by families with
young children and gives a valuable performance opportunity to the youth of the theatre.
They should be commended on their efforts and should continue having fun with the
production.

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‘GRIT’ presented by Perseverance Theatre Company & PIP Theatre

Written by Lachlan Boyes

How do we overcome hardship? How do we continue on when life seems so hard? The incredible cast of GRIT answered these questions for Brisbane audiences this weekend. Hailing from Gympie, Perseverance Street Theatre Company are the perfect example of why you don’t need to be in the ‘big’ city to produce outstanding theatre. Their production of GRIT, written by Sofia Abbey and directed by Sharon Hogan has set a new bar for theatre across Queensland.

A stunning mix of music and monologues, GRIT follows actor Fletcher Colfs as the Storyteller as they deliver six unique characters and their stories. Audiences are immediately greeted by a simple but incredible set, with a clothes line taking up half the stage, a chest and a chair. The cast entered from side stage in simple greys and blacks. Simple but effective seemed to be the theme for this show and bloody hell it paid off.

Colfs started the show by introducing the theatre company and the story of GRIT. This seemed unnecessary when the production told the story extremely well. If this is something needed then it would have been nice to wrap up the same way, with Colfs closing the show on behalf of the theatre company. Backed up by the wonderful vocals of Abby Bowyer, Ben Adams and Sarah Harvey, Colfs transforms into The Saint, The Recluse, The Romantic, The Rationalist, The Runaway and The Nomad.

The Saint introduces an older mother as she folds the washing on a chair. Colfs morphed into this character with ease. Leg crossed, hand on back and instant voice change. This story is accompanied by the song “They said”, a song that tells the story of The Saint’s previous relationships. Adams portrayed the interesting men in The Saint’s life and was awarded a few chuckles at his fantastic smirk! It would have been nice to have The Saint folding children’s clothes as she is telling her story.

The Recluse reveals a man who has struggled with addiction and a difficult childhood – now a father himself. Once again, a complete character change brought this story to life, now with a lovely man spread and nose tic. During this story The Recluse reveals that finding out he had a son saved his life and leading him to write a song for him. Delivered with support from the chorus “Look at my boy” was heart wrenching and vocally magical. Colfs shoved a knife into the audience with this one.

Young love never leaves, and The Romantic told this story beautifully. Now wearing glasses, Colfs demonstrated their talent once again with a new younger energy bouncing onto the stage. “Whenever I closed my eyes” is the song used to wrap up this story and Colfs danced around the stage with his young love.

The Rationalist was the highlight of this production. Playing a man in his 70s, Colfs adopted a limp and hunch. The characterisation of this mad engineer was superb and emotional. The song “It is as it is”, sung by not only the chorus by also Colfs was visually stunning, with cast dressing The Rationalist with a surgery gown and cap. Ending with Colfs on their knees, this story will stick in audiences’ minds for years to come.

The Runaway brings a light and humorous energy to the stage. A bit more laid back and a ‘I don’t care’ attitude, Colfs yet again wowed audiences with a complete character transformation. Telling the story of a young teenager wanted to get out of their town, The Runaway believes that a move to the ‘big’ city will bring about a new and better life. “Get out” was the best musical number in the show with a great rock vibe!

Last but not least, The Nomad brings to life the story of a queer artist and their return to their hometown. This story details the beauty of life and the world. Wrapping up with “Everyone has a story”, the chorus deliver another beautiful number.

As the show closes, “This Town of Mine” – the same song that starts the show – wraps up the emotional rollercoaster that audiences have just been on. As the cast sing, they peg pieces of Colfs costumes to the clothesline. This was the perfect way to sum up the story of six unique and incredible individuals, it tied them all together to represent the story of grit.

Two members of the creative team that haven’t been mentioned yet but deserve mountains of praise are Jonas White and Alex Harvey. White’s lighting design was extraordinary. It was simple solid colours but the transitions were spot on and the colours represented each character beautifully. Harvey composed the incredible music that left chills throughout the audience. Each song was unique and once again told each story perfectly.

Hogan has put on one of the best productions Queensland has seen – and it is only April! Directors fall into the trap of overdirecting monologue productions but Hogan proved her experience with precise, careful and simple direction. The ability to bring stillness into a character is powerful and Hogan and Colfs delivered power in spades. Using simple and quick bows at the end of the production was an excellent decision and allowed the audiences to sit with the stories they have just been told.

There was only one thing that felt out of place in the production and that was the choreographed piece that had all cast member folding a white sheet each into babies. It was visually stunning and emotionally charged but didn’t work between story two and three. Between story one and two might have been effective – just a small note!

GRIT wasn’t just a production; it was a masterclass in theatre. It told the stories of those who needed to be heard and those who possible haven’t had anyone listen before. The entire team have shown Brisbane audiences what a cohesive and talented team can deliver.

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‘The Hound of the Baskervilles’ presented by UpStage Theatre

Written by Lachlan Boyes

Nestled in the wonderful suburb of Northgate, UpStage Theatre brought to life the Sherlock Holmes Mystery The Hound of Baskervilles. Directed by David Bell & June Tretheway this murder mystery follows Sherlock Holmes (Toby Chittenden) and Dr John Watson (Shaun King) as they investigate the death of Sir Charles Baskerville.

The show starts with the curtain revealing a man who is presumed to be Sir Charles, playing the violin. No one would be expected to learn how to play violin for a volunteer show but if the simulated playing is completely out of time, it immediately pulls the audience out of the story.

 As the show slowly introduces characters such as Dr James Mortimer (Joel Day), Jack Stapleton (Andrew Paltridge), Sir Henry Baskerville (Grant Caldwell) and John Barrymore (Andrew McCallum), it becomes apparent that projection wasn’t a focus. For most of the show, it was difficult to hear all cast members – aside from Chittenden, King and Virginia Gray. It can be difficult to push your voice across a large hall, especially with aircon and fans going but it is essential to ensure audiences hear every line.

The direction of this production felt unnatural and at times didn’t make sense. The set comprised of two armchairs on left and right and a large three-seater couch in the middle. During several conversations between two characters, one actor would sit in the stage left armchair and another in stage right – leaving the couch bare. There was little character interaction between actors, with most of them facing the audience for line delivery. Facing outwards does have its place but it makes it difficult to establish a good chemistry with fellow actors.

As with all volunteering roles, it is hard to find time to hone your craft and remember lines for a production. Several times in the production actors forgot their lines – which happens – but it was made obvious by the actors. This made the show feel under rehearsed and under directed.

Special mention must be given to King and Gray for their character portrayal. King is an experienced Brisbane actor, and this was evident. Fantastic projection, movement and characterisation made Watson a show highlight. Gray’s portrayal of Mrs Franklind injected some much-needed comedy. Gray delivered each line with perfect pace and great projection.

Unfortunately, there was a major lighting issue on opening night which isn’t anyone’s fault – however the stage manager should have paused the show before King had to improvise a line from the darkness. Thankfully, the lighting was fixed during intermission and there weren’t any further complications.

The costumes for this production were fantastic, kudos to Gray and Tabitha Egan for developing a cohesive set of costumes for the broad cast. It would have been nice to see a few more characters change their costumes as the story progressed but only a small thing. When such attention is given to costumes, it is easy for one tiny thing to draw the audience’s attention away from the show. In the first act Dr Mortimer sat down on the couch, causing his trousers to rise and reveal black socks with thick ‘GROOM’ lettering up the sock. It may have been a creative or character choice, but it was distracting – it felt modern and out of place for this 1900s classic.

This is only UpStage Theatre’s second production since its inception and there is time to grow and develop. The script choice is fantastic but stronger direction would have tightened this show up and led to a more cohesive production.

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‘Firebringer’ presented by IQ Productions & PIP Theatre

Written by Lachlan Boyes

IQ Productions have teamed up with PIP Theatre to deliver the StarKid production of Firebringer. There are many myths and legends of how humanity came to discover fire, from Prometheus to Coyote, fire always finds a way! This production puts a fun twist on myth and science when showcasing how fire came to be. Following the best tribe of prehistoric times, Firebringer tells the story of Zazzalil and their greatest invention – fire.

The audience are greeted to a simple stage, with corflute grass, a painted stone backdrop and a tall tree. With a cast of 12 dancing around the stage, it is easy to understand why the set needs to be bare.

One of the most exciting aspects of this production is the live band, led by Musical Director Benjamin Richards. Having live music in the theatre created an incredible atmosphere that lifted the on-stage performances. In an intimate theatre, it can sometimes be difficult to hear the actors singing on stage with a live band and unfortunately this occurred a few times in this production. Despite this, the live band was a welcome addition.

Vocally this production was incredible. The production team assembled a cast of powerful and commanding voices.

Lucy Ross as Jemilla, The Peacemaker, displayed a commanding and serious presence on stage. Their rivalry with Zazzalil was portrayed authentically.

Zazzalil, played by Kaitlin Evans displayed great vocal control with several big numbers.

Everyone needs a friend to try and see if a colourful berry is poisonous or not – thankfully this tribe have Emberly, played by Ally Hickey. Along with loner Grunt, played by Kyle Armstrong, Hickey delivers one of the funniest moments – the first paintings! You will never guess what the secret ingredient is…

All good documentaries need a narrator, and this doco (extremely loose term) is no exception. Rae Rose plays Molag, the older tribe member who is on a journey to find the edge of the Earth. Rose was a wonderful comedic presence, with great timing.

Chorn, Chorn, Chorn. Loretta Melit unfortunately has a lot of lines to learn in this production. Playing the dirty Chorn, Melit makes each use of the world chorn sound unique and expressive. After a surprising reveal, the audience are greeted with Melit’s incredible vocal talent.

Reagan Warner played the religious Ducker for this particular performance and was a standout performer. With impressive voice work – special mention to his ‘quacks’ – Warner owned the stage. Slipping between deep and booming to high and squeaky, Warner knows how to manipulate those vocal cords.

Keeri, may take a few moments to understand what is happening but Kaitlyn Burton had no such trouble. Burton demonstrated their flexibility several times throughout their production but struggled to catch any nuts using their foot! Burton’s facial expressions were spot on and displayed her confusion.

Now, it is understandable that back in prehistoric times, there would have been some smelly folks. This knowledge makes it extremely concerning when Christopher Batkin’s character is called Smelly-Balls – it must have been bad.

Madeline Harper plays Shwoopsie, apparently the creator of some of the first jokes. Harper portrayed this comedian well and played perfectly into the awkward moments when their jokes didn’t land.

Imagine holding the sky up for your whole life and then finding out there was no point. Poor Tiblyn, played by Ruby Gleeson had to suffer this fate. In a personal note, I have had to hold my hands out for a performance before and it is a lot harder than people think. Kudos to Gleeson for maintaining the position.

Last but not least, audiences are exposed to a different type of human – the Neanderthal. Isaac Brown brought this character to life – they also play Ducker when Warner is not present. Brown brought out intense laughter from the audience with their elegant and extravagant dance entrances.

There were several elements in the production that the creative team and cast had to pull off. Overall, they were extremely successful and had the audience in stitches most of the night. Firebringer involves the use of a mammoth and tiger puppet. Both were done well but it would have been nice to see some more movement variation in Snarl, it seemed to lull into a simple pattern.

Choreographer and Producer Isabelle Quayle has created some fun and engaging dance numbers for this production. Quayle made excellent use of the stage, something they share with Director Louella Baldwin. Baldwin kept direction simple but effective. These two make a great pair and hopefully we see more from them in the future.

The costumes for this production were done well with earth colours to fit with the prehistoric theme. There were a wide range of costumes, all displaying the characters personality well.

Firebringer is on at PIP for one more weekend and then it is gone. If you are looking for a laugh and enjoyable theatre, check this one out!

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‘Grand Horizons’ presented by Nash Theatre

Written by George C

I’ll admit, I didn’t think I’d enjoy Nash Theatre’s production of Grand Horizons. A comedy about an old couple divorcing? Please. Like I hadn’t already heard every ‘I hate my wife’ joke before. How could this show capture the emotional complexities of everyone involved in this life changing decision?

            Oh. My. God.  

            The show on opening night was one of the most enjoyable nights of theatre I’ve had. From the warm welcoming of the front of house volunteers, to the amazing performance, to the surprise of a lavish spread accompanying the post-show mingling – I had a continuous smile.

Nash Theatre performs in the Brunswick Room of the Merthyr Road Uniting Church. I mention this, as the acoustics allow a performance with no mics, but you’d never really know. Sat up the back, I could hear every word being said, every sigh, every shuffle. To have every cast member project their lines, loud and clear, was stunning. In the opening scene, the music was too loud during the first lines of dialogue, but I could still hear both actors. Director, Phil Carney, must be overjoyed; I know a few directors who are forever telling actors to project.  

            Carney’s set design and stage direction were very simple but very effective. The effective use of the space allowed us to immerse ourselves into this unit in the Grand Horizons retirement village and into the chaos unfolding in this family. No corner was left untouched, every detail purposeful, right down to the number on the door and the frame on the wall.  The compact living/dining/kitchen paired with the blue and white walls were so reminiscent of the retirement villas I have visited. The actors moved around the stage with meaning, guided by their own personal motivations. Carney has certainly created a memorable performance.  

Even as I write this, I can remember all the characters that entered the story because the actors behind them gave such an enjoyable and believable performance. This also lent itself to me not knowing who I should side or sympathise with since everyone appeared as people. Watching this play, you realise you know who all the characters are because you’ve met them before in real life. It tugged me in a way I wasn’t expecting.

The comedy, as well, was something amazing. The script in itself was hilarious to start with, but the performances lent to more laughs than there were jokes.  Every actor, whether they delivered the punch line or comical reaction, had that perfect comedic timing. And I’m not exaggerating the hilarity; my friend and I were told after the show we could be heard on stage from all the way down the back.

            Eddie Bruce has such a hilarity to his line delivery, and I never once doubted Bill would make it as a stand-up comedian. Jess was such a sweet but strong character, made possible by Catherine Sturk’s conviction to her agency. And Matthew Ginman’s Tommy left us wanting him to return for the second act after sweeping us away in fanciful amusement.   

            But, there are two standout scenes for me.   

            First, the scene between youngest son, Brian (Tyson Hargreaves), and Nancy (Linda Morgan). Hargreaves is a very physical and emotive actor. To get away from the uncomfortable conversation, he sinks so deep into the couch he practically becomes part of the furniture. And the horror on his face as he tries to hide is so raw you start to feel his emotions second-hand. But Morgan is not to be upstaged. It was hard not to side with Nancy when Morgan literally lifted years off the character with just her line delivery. The way she shifted her voice from the hardness of talking about the lifeless years with Bill, to the softness that accompanied a retelling of a brief but blissful moment of a woman in love left me heartbroken for her.  

Second, Act II’s opening scene between Nancy and Carla (Gillian Simpson), and once again, Morgan’s mastery of delivery did not go unnoticed. She handled Nancy’s emotional shifts so smoothly you were on her side the entire time. And Simpson had such a youthful and vibrant joy radiating off her the entire scene. Even when the topic of conversation turned to the harshness of reality, she still had that spark of hope that she could take on the world. Her one scene had Carla almost stealing the show as she was so instrumental in driving home the larger truths Grand Horizons seeks to discuss.  

An honourable mention goes to Erik de Wit as Ben, the eldest son, when he reached his breaking point. It was the best emotional crash I’ve seen yet and still retained enough humour to help keep the tone of the play flowing.   

Before I finish, Rob Crook needs to be given a huge round of applause for the set construction. Without spoiling too much, you will not be able to tell anything that is about to happen to the set. I will never be shocked like that again.  

Through a myriad of quick wit, unflinching truths, and emotional realness, Grand Horizons is about a family coming together rather than falling apart. The cast and crew have done a tremendous job in presenting this real but humorous look on something quite devastating. Do yourself a favour and have a great night out at this wonderful production.

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‘Identity’ presented by D.I.V.E Theatre Collective

Written by Lachlan Boyes

Who are you?

This is one of the biggest questions posed by D.I.V.E Theatre Collective in their bold new work Identity. Navigating one’s place in the world is never easy and it is made harder by the societal pressures of everyday life. Identity follows four talented performers as they move around an undefined space, at an undefined time, expertly weaving script, movement and dance to create immersive theatre.

Director Cesar Genaro has led this team of creatives with precision, experimentation and connection. At a typical theatre experience, one would expect the show to start after entering the ‘theatre’. This was not the case with Identity. The show started with an incredible display of puppetry, with two actors inside a creature, the lead actor speaking to the audience. The audience are then led into the theatre where they must find their designated square to stand in for the performance. These designated squares were decided by the audience members when they chose one of three labels at the front door.

Walking into the space, the audience are greeted with a simple set – a tv, stacked black boxes and a bed. There is also a distinct lack of seating – as mentioned before entering the show, audience members are encouraged to stand for the 1-hour performance (seating can be arranged for those unable to stand). As the audience are guided to their designated boxes, the performers are already on stage and in character, reading to tell their story.

This production was a magical blend of physical theatre, dance, song, script and language. Reading the actors biographies, it is easy to see how Genaro has created such a sublime piece of theatre. Expertly twisting and turning their bodies to create sometimes freaky creatures, this cast have delivered physical theatre 101.

Bella Wanwei Liu, Wanrong Liu, Megan O’Hare and Valentina Ayala weren’t just actors telling a story – they were the story. Beginning in straight jackets, they used dance to visualise the struggle of getting their jackets off before diving into overlapping speech and more movement. Wanrong Lui brought a touch of humour with her characterised walk as Dr Aliena. These four artists battle with this idea of identity and what is means to be an individual. Genaro lent into the actor’s culture and had them speak their native language for several captivating moments of the production. Even if the audience couldn’t understand exactly what was being said, the emotion was captivating. The audience were constantly engrossed in these performers and their facial expressions, every part of their body was used to tell a story.

One key moment in this production was when a voice over of a young child was heard. The child was talking about labels and what society labels children and how these labels change over time. It is a particularly emotional scene as it reveals to the audience the societal pressures placed on children. They are taught to do their studies, get a job and then they become that job. With identification becoming “He is a fireman”, “They are a doctor”, “She is a pilot”. Society forces children to stay in a lane and not to stray – but what if people can be more than one thing, what if they can take on multiple identities?

Throughout the production a voiceover played asking the audience to move to other boxes around the room, but only if they identified with what was being said. Things like “I’m a workaholic”, “I have been betrayed”, “I have felt loss”. This experiment not only allowed audiences to speak their truth, but it also allowed them to move to a different section of the room and view the show from a different perspective. Special mention to David Erskine and Noah Genaro for providing their voices.

Hayley Davis designed the costumes for the production and has done an outstanding job. Everyone was in white to create a hospital, asylum feel but each character had their own unique flare. Max Doson was the Stage Technician for this production and executed each lighting and sound cue with precision, creating a wonderful nature transition between moments.

Everyone should see this production, it is a masterclass in theatre and what actors can do with their bodies.  Producer Priscila Da Cunha, Genaro and these talents performers have created an incredible production that needs to travel wide and far. Congratulations to all involved and we can’t wait to see more of your brilliant work!

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‘Matilda Jr.’ presented by St Benedict’s College

Written by Lachlan Boyes

The future of theatre rests on the next generation of performers, it always has and always will. Thankfully the next generation of performers are up for the challenge and are proving time and time again that there is no need to fear!

St Benedict’s College presented their school production of Matilda Jr. The classic Roald Dahl tale of a young girl gifted with superior intellect and for a moment, telekinetic powers. This story has been thrilling audiences since Dahl published in 1988, and it doesn’t seem to be slowing down anytime soon!

Directed by St Benedict teachers, Paula-Mary Camilleri and Teagan Fudge, this production was nothing short of theatre magic. With expert musical direction and choreography from Eli J Ball, this trio have delivered a true school musical experience.

Audiences flooded into the hall to see this production and were never short of applause for this talented cast of students. Kicking off the production with “Miracle”, the audience soon realised they were in for a treat. With talented singers, exceptional dancers and award-winning actors – it is easy to feel comfort when thinking about the future of theatre.

Kinsley Ward as Matilda was her character personified. With her notorious kindness and ability to stand up to bullies, Ward displayed expert characterisation. Vocally, Ward was outstanding, with great control and once again brilliant characterisation. At only 14, Ward is going places in her career.

Everyone has had nightmares about dear Agatha Trunchbull, the terrifying Headmistress and Jeremy Hales did nothing to stop those nightmares. There was no one else who could have played this character. Hales is well known in Brisbane theatre scene and it is easy to see why. It was easy to hate Trunchbull with Hales’ spitting, aggressive stomping and abrupt voice.

Miss Honey is the teacher everyone wants, and Theo Hunt brought this character to life perfectly. Hunt glided onto the stage with all the softness in the world and immediately became a warm presence for the audience. The chemistry between Hunt and Hales was incredible and sold this story of niece and aunt.

Nyah Ford played Mrs Wormwood on this particular night and brought all the annoying energy Mrs Wormwood is known for. Constantly complaining and wanting more money, Ford had all the attitude in the world.

Making his stage debut, Charles McKenzie brought greedy Mr Wormwood to life. For McKenzie’s first run on stage, he did a fantastic job. Bringing all the sleezy salesman vibes to the stage, McKenzie channelled his inner Mr Worwood.

Sam Keats as the slightly challenged Michael Wormwood was hilarious. With several one-word lines, Keats had the audience in stitches. The height Keats brought to the stage was also brilliant – bravo directors!

Ariana Boveri as Mrs Phelps brought an awesome librarian feel to the stage, with her attention going to Matilda and her wonderful storytelling. Boveri had a wonderful nurturing nature and that shone through in her scenes with Matilda.

Skyla Goodwin, Jack Urquhart, Bonhee Van Tent, Miguel Gambley, Emma Fuller, Amelia Schade, Zara Zoghbi and Wayne Francisco played Eric, Tommy, Amanda, Bruce, Lavender, Alice, Hortensia and Nigel respectively. These talented students embodied their characters with professionalism and skill. Bringing to life these new students of Crunchem Hall Elementary School is one of the key elements of this production and these performers nailed it.

Jack Rozario and Shanaida D’Penha brought the story of the Escapologist and the Acrobat to life. D’Penha got a chance to show off her acrobat skills with cartwheels and handstands. Rozario made his stage debut in Matilda Jr. and we can’t wait to see where he goes!

Aidan Sullivan as Rudolpho was always on the move and challenging some real Shakira! The sass was forever present and had the audience laughing. Mrs Wormwood will have no shortage of dancing lessons.

Daniel Cunningham played Sergei and Cook. Cook brings out the large chocolate cake the poor Bruce must eat. Cunningham has incredible characterisation and was often disgusting in his brief moments as Cook – to be expected of Trunchbull’s cook.

Alyssa Bernardo was given the position of Dance Captain and had helped Ball created some incredible dance numbers on stage. There may be a choreographer position in her near future.

A show like this doesn’t work without a talented ensemble and they all deserve a mention. The vocals on these students could rival most Brisbane performers and their dancing would win any dance battle! Congratulations to Melah Bennett, Alyssa Pearson, Autumn Irvine, Adelina Fanti, Ameliah Perry, Hollie Woolmer, Penelope Miranda, Jullienne Penas, Sophie Morris, Kayla Brooks, Evie Connor, Lilly Dippelsmann, Samantha Swenson, Emily Dunne, Jake Barbaro, Brooklyn Atkins, Bethany Edmonds, Siarna Robertson, Mary-Jane Watters, Glian David, Sommer-Rae Sheldrick, Millie Huynh, Isobel Rose, Ava Gransbury, Xanthe Harding, Charlie Burge, Katelyn Woodward, Emily Gold, Glain David, Avie Neilson, Angelle Matthews, Katherin Hernandez, Elliara Ward, Lewis Baird, Olivia Stocker, Samantha Cook, Eliza Welter and Indigo Devitt on incredible performances.

Camilleri, Fudge and Ball have created an incredible piece of theatre that should go down in school musical history! It isn’t easy to get 60+ students to work together to create a full musical but these three have done so and with an incredible result. Special mention to several of the awesome movement and slight of hand moments that helped to create magic on stage. Light up scooters coming into the audience were also a lovely touch.

Sarah Hunt, along with Fudge and Camilleri created the wonderful costumes for this production and it felt as if the audience were sitting in the halls at Crunchem, watching their own school musical – something dear Agatha would never allow!

A massive special mention to Stage Manager Megan Davis, Stage Assistant Leah Angliss, Staging Assistant Michael White and all the backstage hands for ensuring smooth set transitions, it makes a massive difference when set pieces move in and out with ease.

Sound by Dominic Gibson and Ball was fantastic, along with the artwork and set construction by Megan Davis, Julie Catalan, Elizabeth Lacopetta, Shaun Manning, Steve Lawrence and Graeme Fry.

A special mention must go to Emma Wainwright for an incredible program that showcases the brilliant production this was.

Congratulations to everyone involved in this outstanding production and well done to the several students who had their stage debut, please stick around and help theatre grow. Fudge, Camilleri and Ball, thank you for being shining educators and nurturing the next generation of performers.

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‘Mamma Mia’ presented by Padua & Mount Alvernia Colleges

Written by Lachlan Boyes

The school musical season is well and truly underway! Last weekend, Padua and Mount Alvernia Colleges joined forces to delivery a spectacular production of Mamma Mia! Produced by Daniel Allen and Directed by Susan O’Toole Cridland, this production sold out two nights before it opened and sold out its last night during the run.

The story of Mamma Mia! is iconic and well loved around the world and that love was evident in the performances and in the audience. From the very first number, the audience were hooked and loved every second. Boasting a cast of 112, the energy in the hall was electric.

Walking into the hall, audiences were greeted with a wonderful hand-painted taverna on multiple rotating backdrops, bringing the beauty of Greece straight to Brisbane. The feeling of being on a stunning Greek island was elevated by the light colours of white, blue and yellow. Congratulations to the incredible team who brought this set to life, through designing, painting and constructing.

The show opens to Sophie, played by Lily, walking through the audience singing “I have a Dream (Prologue)”. From the first note, Lily captivated the audience, and they held on until the very last song. Lily was the perfect Sophie, with a soft, kind nature but with all the fight she inherited from her mother. Lily has fantastic banter with her stage mum, dads, fiancé and friends. She never slipped out of character and the audience felt her inner conflict when dealing with Bill, Harry and Sam.

As more characters are introduced, it becomes clear that this is no ordinary show, this is one with immense talent, skill and dedication. Isabella played Donna Sheridan, a role that immediately brings Meryl Steep to the forefront of the mind. Well, Isabella could stand toe to toe with Meryl any day of the week. The audience wouldn’t have been able to tell but the show before, Isabella lost her voice. Not only did Isabella come back the next night, but she also delivered a brilliant performance and was determined to sing those songs. A true performer – the show must go on!

Brendan as Sky oozed charisma and had wonderful chemistry with Lily. He portrayed Sky’s worry about Sophie’s true motives about the wedding to perfection and brought a warm voice to the leads. Brendan had great banter with the rest of ‘they boys’, especially when it came to the pearl necklace dive before the wedding!

There is a joke that the men of Mamma Mia! can’t sing. Thankfully, this was far from the truth in this production. Nathaniel as Bill, Riley as Harry and Oscar as Sam brought such a beautiful energy to the stage and they sounded superb. These students have excellent on-stage banter, and it was easy to believe they became the best of friends. Their interactions with Lily as Sophie were genuine and truthful.

Georgette, Mariana, Monica and Matilda played Lisa, Rosie, Tanya and Ali respectively – the best friends of Donna and Sophie. Everyone needs those special BFFs that support you no matter what and Donna and Sophie have them. Georgette and Matilda busted out the dance moves with Lily and brought a giddy energy to the stage. Mariana and Monica dazzled audiences with their voices and attitude.

Ewan played the romantic Pepper and had the audience cackling every time he was on stage. Fraser brought Eddie to life and complimented Ewan and his larger-than-life personality. John was the most relaxed Father Alexandrios.

With such a massive cast it would be easy to make the stage feel cramped, uncoordinated and out of sync. Thankfully, with Allen, O’Toole Cridland, Musical Director Daniella Curcuruto and Choreographer Bonnie Howard it felt natural, well balanced and every dance move was perfectly executed. It is fantastic that these students are learning valuable theatre skills from this talented and professional team of four.

A musical is amazing with strong leads, but it becomes magical when there is a strong ensemble supporting and lifting the leads. Mamma Mia! had one of the strongest ensembles ever. Every single one of them deserves a mention and deserves to be remembered by every audience member. Amelia, Anna, Charlotte B, Ella, Emma, Grace, Hannah, Indy, Lilia, Maddi, Preeya, Ryley, Sienna, Tahlia, Abby B, Abby F, Adyson, Alana, Alex, Allegra, Alyssa, Amelia, Amy, Andie, Ariana, Audrey, Aurelia N, Aurelia V, Bethany D, Bethany R, Bronte, Caitlin, Charli, Charlie, Charlotte B, Charlotte M, Charlotte R, Chelsea, Chloe, Claudia, Dominic, Edward, Eleanor, Emelia, Emily G, Emily V, Erin, Faye, Gemma, Georgia, Gwen, Harley, Imogen, India, Izzy, Jayden, Katie, Lara, Lauren, Lewis, Lizzie, Luca, Maddie, Madi, Marianne, Matylda, Meera, Meredith, Mia, Millie, Molly, Nancy, Naylee, Oliver, Phoebe, Pia, Reg, Rigby, Rose, Ruby, Ryleigh, Saadhana, Senna, Skylah, Sofia, Sophia B, Sophie H, Sophia S, Stefano, Stephanie, Summer F, Summer L, Thomas, Tiffany, William, Xavier, Xean and Zali – congratulations on a brilliant production and please stick around in the theatre world!

This production was incredibly lucky to have a pit band to create an incredible atmosphere. Conducted by Allen, this band brought everyone’s favourite ABBA songs to life. The crew is an integral part of any production, and this show has an outstanding backstage crew who ensured scene transitions were smooth and purposeful. Mamma Mia! had a massive team of brilliant people behind it to make it a huge success, from costumes to catering – it takes a village.

The entire cast, creative team, crew, families and friends should be immensely proud of the hard work and dedication they put into this production. If it wasn’t for the support of a school environment, these things aren’t possible and hopefully both Padua and Mount Alvernia continue supporting and growing their arts programs – how could you not with so much talent!

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“Bright. Young. Things” presented by Sun and Wine Arts Company

Written by Lachlan Boyes

Georgia Christou’s Bright. Young. Things. tells the tale of six contestants as they fight to see who is the smartest. Sun and Wine Arts Company brought this production to the Wonargo Revue stage July 2025 along with their production of Compass.

Walking into the theatre, the audience are greeted with Kip Jeffee playing one of the main characters Dad, sitting down by the phone. As the show starts and evolved, the audience become more and more aware of just how important this phone is to Rochelle. Slowly, the audience meet the rest of the cast – the smart kids, the judges, the producers and the presenters.

Director Claire Yorston has used multiple levels of the theatre, the auditorium floor and the raised stage. The use of the auditorium floor was effective when the actors were standing up however, when sitting down they were lost behind other audience members. That being said, bringing the ‘break’ room down into the audience created a nice divide that almost doubled as a ‘safe’ location for the kids to talk.

Costuming was simple but captured each character’s essence and their unique flair. The set consisted of chairs on the stage, a mic stand centre stage (which was in the way a few times) and table on the auditorium floor. These simple designs allowed the audience to focus on the actors on stage.

This was overall, a talented young cast. A special mention to Zara Kan as Rochelle and Isabel McKeown as Hester. These two brought a great energy to the stage and dealt with some heavy topics in such a beautiful way. Kan dealt with her charaters maternal trauma in such a wonderful way (phone callback) and this was one of Yorston’s finest direction moments. With wonderfully choreographed character movement, it was hard not to feel for Rochelle.  Levi Bell and Mia Hartigan as Jasper and Shera respectively had fantastic sibling chemistry. Grace Grey as Bernie and Lola Rocksmith as Amber delivered solid performances. A funny and effective trope in theatre is to have an actor split down the middle and portraying two characters. This production tried to bring this trope to life but didn’t have clear enough transitions from side to side. This is something that would have really elevated the production if a little more time was spent on it.

Overall, this production was a good night out and the cast and crew must be congratulated on another successful season. Audiences are eagerly awaiting Sun and Wine’s next production.

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‘Veronica’s Room’ presented by New Farm Nash Theatre

Written by Lachlan Boyes

Nash Theatre have opened their third show of 2025 – Veronica’s Room – with a bang and further cemented their place as one of Brisbane’s best theatres. Following two youngsters and an older couple, this production takes audiences on a rollercoaster of plot twists and the occasional jump scare! Written by Ira Levin, this thriller is not to be missed.

On such a cold night, the audience were eager to get inside and experience some fantastic theatre and that is exactly what they received. Walking into the space, audiences are struck by a detailed set. With deep purple walls, furniture covered in white sheets, a four-poster bed and a small window with iron bars. A powerful duo in Phil Carney and Kim Phillips brought this stage to life and told a story before the show even started.

As the show begins the audience are introduced to The Man (John Stibbard), The Woman (Ellie Bickerdike), The Girl (Al Bromback) and The Boy (Alex Thompson), with a flourish as they enter the stage mid conversation. Stibbard and Bickerdike are sweet in their old ways and have an incredible appreciation for The Girls resemblance to young Veronica who passed away. There is not a single moment where the audience would see anything but a sweet old couple looking to help Veronica’s dying sister – until Stibbard and Bickerdike decide it is time (no spoliers!) This was a true masterclass in acting from these two seasoned actors. Without revealing the superb plot twists, Bickerdike delivered one of the best performances on a Brisbane stage this year. Going from quiet and sweet to venomous and rageful in milliseconds, Bickerdike had the audience jumping in their seats. She commanded the stage from start to finish and made it look easy. Stibbard is the perfect scene partner. Keeping his voice calm despite dealing out some harsh violence, Stibbard radiated control and precision. His soft nature isn’t revealed until later in the production, but it was an excellent glimpse into the versatility of Stibbard.

Bromback and Thompson were the perfect choice for these two younger roles. Bromback is relatively new to the onstage world of theatre but hopefully is here to stay for a long time. Perfectly portraying a sweet nature and kind heart, Bromback made it clear that their character would be willing to help a kind old couple in any situation. The change between Act 1 and Act 2 is stark and incredibly acted by Bromback, there is no sweet girl, it is all bite and venom – a glimpse into that 1970s rebellion. Thompson shone in this role, and audiences would agree that there needs to be more Thompson in these dark dramatic roles. Again, without spoiling too much, it is difficult to play a role that requires such duality. To slip from kind, shy and nervous to controlling, angry and disgusting is not easy task, but Thompson pulled it off with ease. A special mention to one of Thompson’s final moments when The Girl is in the four-poster bed. Those who have seen it will understand that the feeling Thompson gave the audience is unique and unpleasant.

The entire cast held their accents extremely well and slipped between different ones with ease. Their characters never disappeared, and it was easy to believe the action was taking place behind that beloved fourth wall.

Director Susan O’Toole Cridland is well known for her directing skills and in particular, her ability to take a dark script and make it darker. This production was no exception, and some would argue went further than her previous work. What O’Toole Cridland has done exceptionally well in this production is highlight the comedy. The best way to make an audience feel horrified and queasy is by making sure they never see it coming. What better way than making them laugh right before gasping in disbelief. O’Toole Cridland has used this stage to perfection and hasn’t left a corner untouched, ensuring every actor has their own unique moment. Ending with a visually stunning tableau, the final image of this production is forever seared into audience’s minds.

This is an outstanding display of Brisbane theatre and what it has to offer. There is one final weekend of Veronica’s Room – don’t miss this wonderful love story…

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‘Blackrock’ presented by Thrive Productions

Written by Izabela Wasilewska

Blackrock, by Aussie playright Nick Enright, is a popular play that has been performed many times in Austalia and Brisbane since its 1995 initial release – but this new adaptation by Brisbane theatre company Thrive Productions is something to behold. The play centres around the beachside town of Blackrock and follows the lives of a group of teenagers who live there. We follow them as they surf, navigate young relationships, squabble with their parents, and hold parties – until a young girl is found raped and beaten to death following one such party, and everything takes a sinister and dark turn.

Director Susan O’Toole Cridland has embodied a unique, bold, Brechtian approach with this production: gone were costumes and staging; we were left with a stage stripped bare. Black blocks were moved between scenes and simple chairs aligned the parameter. A handful of props were brought in occasionally and only when absolutely necessary. All cast members were dressed in plain black. The effect was stark and powerful, as we were left to rely on the acting, direction and sound – all of which were executed masterfully. All 12 cast members stayed on stage for the duration of the story, moving to the perimeter when they were not in the scene, sometimes facing their back to the audience, sometimes sitting in the periphery observing the action, sometimes engaging to the music. Scene transitions were executed to music, with all actors involved in the changes together. They were fast, sharp and seamless, with all 12 cast members deftly weaving between each other on the stage – like smooth waves on the Blackrock seashore. Every moment of the story was filled with action and was visually captivating; a testament to the skill of the cast and their director.

The group of actors in this production were of an outstanding calibre. Lachlan Boyes reprised his role as Jared with depth and sensitivity, and the strong chemistry between him and Michelle Allan as his mother Diane was one standout for me; their scenes together were a delight to watch. Oscar Hawkins was superb as Ricko, navigating some intense moments with honesty and nuance. A special mention deserves to be given to newcomer Viper Valu, who was captivating as Tiffany; powerful and natural, she exhibited incredible emotional range with this challenging and important character. Neve Isles was a strong Cherie, the best friend of the murdered girl, navigating grief and tortured guilt with skill and sensitivity. Jules Rey as Rachel, Hugo Harris as Toby, Bailey Sprecak as Scabby, Cameron Egginton as Davo and Tiarne Clark as Shana were fantastic. Lindi Milbourne and Greg Delchau were excellent in their portrayals of the parents, handling multiple parts.

Themes such as consent, domestic violence, toxic masculinity, slut-shaming, teen peer pressure, victim-blaming, the way relationships can be destroyed by horrific events and the societal norms that allow it to happen, are fodder for impassioned conversation and debate and are some of the very reasons for the play’s enduring popularity. To their credit, Thrive productions have seized this opportunity for opening these conversations: they have toured their performance to a number of local schools, and are holding Q&As with invitations to local political figures and contacts from DFV charities. It’s great to see a company with a social conscience, working hard to spread important messages and engaging the community. 

BackDock Arts was a perfect venue choice for this production; walk into this fun, edgy, grungy event space in Fortitude Valley while the likes of Soundgarden, Nirvana, Garbage and The Verve take you back to the 1990s (the soundtrack was fantastic – I wanted a mix tape!), enjoy the spacious courtyard, grab a drink from the well-stocked bar, and let this extremely talented group of creatives take you through this edgy, confronting story that will leave you shaken. This show is not to be missed.

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’The Mousetrap’ presented by Nash Theatre

Written by Al Bromback

I have never seen The Mousetrap. I do not know whodunnit or whydunnit. Not that I’ll tell you here – if you want to know whodunnit, you can watch the show or read the Wikipedia summary. I only mention this fact to make it clear I had no preconceptions going in. I only knew that there would be a murder, and it would be a mystery.

Before getting too much into the nitty-gritty of it all, I want to make it clear that Nash Theatre’s The Mousetrap is a great night out. If there are still tickets available, definitely see it. It’s a lot of fun, especially if you don’t know the plot and allow yourself to be swept along in the drama that’s expertly handled by the charismatic cast. 

Indeed, there are a lot of things to love about Nash Theatre’s version of this iconic show. Nash Theatre excels at creating realistic, lived-in sets on a community theatre budget. Phil Carney has done an incredible job of realising the set, consisting of four doors, a hallway, a set of stairs, and a window you could climb into (or perhaps escape out of…), and a flickering fire. The set added to the delight and drama of the play whilst simultaneously creating a realistic playspace that felt congruent with the time period and characters. 

It’s undeniable that Agatha Christie has created iconic detectives – Poirot and Miss Marple are both legends of the murder mystery genre. But Christie was notable because she put such a strong emphasis on developing the cast of characters beyond the detective. She made it so you cared who was going to die next. These were no longer disposable characters in a paint-by-numbers mystery tale. You wanted the characters to survive until the end. You cared about them. You wanted to find out not just who the killer was, but why they were killing. All of which is to say, these actors all had very rich characters to embody. Every actor in Nash Theatre’s The Mousetrap did a wonderful job portraying their character. However, the more emotional moments were a little weaker across the board. John Stibbard as the eccentric Mr Paravicini was a scene-stealing delight. His experience and skill as an actor were clear in his command of the stage at all moments. He made bold, in-character choices that absolutely shone – from quiet moments of reaction, to loud outbursts of suspicious observations. Matthew Hobbs as Giles Ralston was dry and unaffected in his delivery as usual. At times, this flat delivery was played very well for comedy. It should also be noted that Matthew Hobbs stepped into this role, learnt his lines, and slipped seamlessly into this cast of actors in only two weeks – a truly impressive feat worthy of commendation and a great accomplishment for any actor. Brendan James was entrancing on stage as Christopher Wren. He delivered his unsettlingly joyous lines with natural ease. He was an immediate audience favourite from the moment he burst onto the stage. Philippa Dwyer fully embodied her character, Miss Casewell, with impressive control of voice and mannerisms. Tyson Hargreaves played Detective Sergeant Trotter with a warmth that immediately endeared the audience to the character. Helen Barrett as Mollie Ralston, Chris Sibley as Mrs Boyle, and Matt McNeice as Major Metcalf rounded out our cast of characters, and they all delivered compelling performances. Each actor did a great job playing their character across all aspects of the murder mystery spectrum, from adorably innocent to suspiciously nefarious. 

In a murder mystery with a whole slew of red herring characters, it’s easier to forgive an inconsistent accent. You can internally pass it off as ‘they’re all lying about who they are, that’s probably why the accents are a bit all over the place’. Nash Theatre’s Mousetrap is a prime example of the age-old community theatre debate: is it better to attempt accent work or forgo accents altogether? In The Mousetrap, they seem to do both. Those who did attempt an accent had one that wandered very broadly across the western world and spent a lot of time in Australia. With the exception of McNiece, who was strictly using his native accent, and Dwyer, who was doing impressive and consistent voice work throughout. 

Director Sharon White is no stranger to directing an Agatha Christie tale and presented a very by-the-book interpretation of the script. Less of an adaptation, more of a recreation. The first half of the show felt more dynamic, with rapid character introductions, many entrances and exits through the myriad of doorways scattered around the set, and multiple ensemble scenes where the actors were able to play off each other. The second half was a little more repetitive; a detective pacing while he detects, a suspect sitting in a seat acting suspicious, only to leap to their feet to deliver a dramatic personal reveal. The ending felt rushed and could’ve used some fight choreography. Christie’s work is designed to have a tipping point – the final reveal typically spirals dramatically into the conclusion. The tension of this conclusion was undermined by unclear direction and awkward shuffling.

The costuming felt period accurate and reflective of the characters. Special shout-out to the design choice to have the aloof woman wear pants – a period-accurate indication of personality – and John Stibbard’s velvet suit, which was in character and entrancing to gaze upon. It’s always a bonus to see an understanding of character extend to the wardrobe.

If you are a lover of The Mousetrap, this version offers nothing new. However, the actors are charming and having a great time on stage, so it may still be worth the watch. If you’ve never seen the show before, then definitely get along to see it. It’s an iconic and beloved play for a reason, and Nash Theatre’s version is sure to be beloved by Brisbane audiences.