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'The Woman in Black’ - QPAC

‘The Woman in Black’ - QPAC

Review by Yasmin Elahi | 2 May 2024

Queensland Performing Arts Centre’s Playhouse Theatre welcomed the terrifying original production of ‘The Woman in Black’, as part of its Australian tour. Boasting big names from stage and screen, John Waters and Daniel Macpherson, this production stuck true to the original staging and design concept.

Adapted from the Susan Hill novel by playwright Stephen Mallatratt, this play is quintessentially a ghost story on stage. The two actors transform to portray a host

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of characters, eerily edging closer to finding out the truth about the woman in black..

Direction by Robin Herford, who directed the original 1987 production, is captivating. His use of a barren stage and minimal props – a wicker basket and chair utilised with imagination transforms into a variety of items; a desk, a train, a bed and even a horse and carriage. The use of curtains which reveal a host of secrets in Act Two was magical and added a depth and eeriness to the stage that the audience would not expect – almost as though they have stepped into the mind of the storyteller. Assisted by Anthony Eden and Tim Hill, this production excels from a directorial standpoint and goes to show that with clever concepts there is no need for elaborate staging or large casts to create a captivating and immersive theatrical experience.

Stage Design by Michael Holt was intriguing. What appears as an empty theatre stage transforms in the most creative and elaborate ways to conjure up forgotten worlds and awaken imagination. The use of scrims to conceal set changes was clever and added to the mystery of the play and the magical aspects of the staging.

Lighting Design by Kevin Sleep was superb. The sparing use of blackouts to enhance suspense, the soft and evocative coloured lights to symbolise indoor and outdoors and the positioning of the lights on stage to focus the action all contributed immensely to the suspense and terror of the play. Special mention to his use of shadows – the manipulation of the light to cast such deliberate and visually powerful shadows across the stage must be commended and enhanced the ghost story feel of the play.

Sound design by Sebastian Frost was integral in creating suspense. His use of soundscape to unsettle and scare audiences was effective and many screams were heard throughout the auditorium at the various jump scares that were elicited from the sound and lighting choices combined.

John Waters commanded the stage as Arthur Kipps. This role demanded he play a variety of characters and Waters portrayal of each was well constructed, distinct and consistent. The audience empathised with him and his comedic timing at the beginning of the show was performed well – enabling the audience to let their guard down and relax into the show – before the terror began.

Daniel Macpherson was dynamic as The Actor. His energy with palpable on stage and he filled the room with his stage presence. At times, his actions seemed a little grandiose, bordering on pantomime style, and his dialogue very fast and difficult to understand. However, as the play went on Macpherson settled into the role and delivered a powerful and captivating performance.

Together Waters and Macpherson had a rapport that naturally developed within their characters over the course of the play. They are a well-cast duo and did this script and play as a whole justice.

Overall, ‘The Woman in Black’ is an exhilarating and terrifying night at the theatre. Though the theatre is vast and full of people, once the audience is immersed in the action they feel very scared and very alone. It was a superb production of a classic piece of theatre, performed by two of Australia’s finest acting talents. A must see for those interested in theatre, ghost stories or horror of any kind. Though there is no blood and gore, the handling of this play ensures audiences are kept at the edge of their seats.

'Carrie the Musical’ - Phoenix Ensemble

‘Carrie the Musical’ - Phoenix Ensemble

Review by Yasmin Elahi | 3 May 2024

The Tin Shed at Beenleigh transformed into Chamberlain High for Phoenix Ensemble’s stellar production of ‘Carrie the Musical’. Based on the Stephen King novel, this musical centres around a religious outcast who discovers she is telekinetic and uses her powers to exact revenge on her bullying classmates.

First time director Joshua Brandon, assisted by Ashleigh Cates, delivered a cleverly directed show. The blocking was well thought out and utilised the staging

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in clever and unique ways. Action on stage was dynamic and chaotic without being cluttered. The final scene was expertly directed and incredibly memorable.

Musical direction by Hayley Marsh was solid. The talented cast were guided by Marsh to perform vocally at what was a professional level. Occasionally some of the ensemble harmonies were unbalanced but this paled in comparison to the vocally exceptional performances by the leads. Marsh also lead the six piece band which handled the rich orchestrations with ease.

Choreographer Victoria Lancaster, assisted by Hannah Macri, intertwined choreographic moments into the show that made sense and did not detract from the horror of the show. Though this is a musical that does not call for extended dance numbers, Lancaster incorporated choreographed movement that kept the audience entertained and worked within the confines of the script.

Fight coordination by Dugald Lowis was hyper-realistic and enthralling. The final scene at the prom was a spectacular display of special effects, fight choreography, lighting and directing. This scene will no doubt stay with audiences for a long time and was a powerful way to end such a dramatic show.

Sound design by Jacob Cash and lighting design by Maddy Bosanko elevated the drama on stage and contributed to the suspenseful themes of the show. Lighting choices were well thought out to focus the action on stage. Scene changes were seamless and lit in a way to cause minimal disruption to the action. The use of red lighting and shadow work enhanced the unsettling nature of the show. Sound design, especially during the telekinesis and the fight scene was realistic and perfectly times to give the illusion it was coming from the performers themselves. Both these elements enhanced the show immensely, bringing it to a professional level in a community setting.

Set design was clever. Representing the high school with a portion on stage right to feature as the White’s house, the stage could easily adapt to different locations with the use of small set pieces and lighting. It is clear the set was designed with blocking of the show in mind as it made sense to the action and was utilised in its entirety. The special effects were executed very believably and created an almost immersive feel within the theatre.

Costume design by Harly Roy and Carly Quinn captured the essence of the characters. The choice to dress Carrie in conservative clothing, with cardigans and long skirts juxtaposed with Chris’s daring and provocative clothing. This assisted in characterisation and enabled the audience to understand their personalities the second they stepped on stage.

Chelsea Sales was exceptional as Carrie White. Her vocal abilities are unsurpassed in this role, the control she exhibited in her solo numbers – gathering momentum from soft and sweet to powerful showcased her range and abilities, especially evident in her opening number ‘Carrie’. From an acting perspective, Sales came across as naïve, sweet and innocent. The audience could naturally build a rapport with her and became invested in her journey. During her transformation, Sales brought an entirely different side of Carrie to the forefront. Her handling of both these characters was expert and the balance of the two was believable and well handled. A magnificent performance by Sales in this role that cannot be faulted.

Carly Quinn embodied Carrie’s ultra-religious mother, Margaret, well. She played the role with heart and though at times the evil nastiness was lacking, overall her take on the character was still unsettling and her kind nature made the final scene perhaps even more disturbing. Vocally, Quinn’s voice beautifully complemented Sales in their duets and shone in her solo songs. Her performance on ‘When There’s No One’ was especially poignant and expertly performed.

Sophie Mason encompassed the role of Sue Snell with delicacy. Her inner turmoil at being torn between her friends and what is right was well acted and she carried the action along as the quasi-narrator of the show. Her vocal ability was unwavering and her handling of the final scene was raw, emotional and unexpectedly beautiful for the end of a horror musical.

Kyle Armstrong played Tommy Ross with dedication. His rapport with Mason’s Sue and also with Sales’s Carrie was believable. Audiences sympathised with his position and he kept the heart in a role that could otherwise come across as stuck up. Vocally, his performance of ‘Dreamer in Disguise’ was beautiful.

Storm Fraser was fierce as Chris Hargensen. Her unwavering commitment to the character and rapport with Macca Kelly, who played her boyfriend Billy Nolan, was believable and she acted as the main antagonist in the show. Vocally, her performance was solid. Fraser should be commended especially for her physical acting in the final scene which was amazing.

Macca Kelly complemented Fraser’s Chris well. Acting against such a strong performer, Kelly held his own and embodied the character fully. His dedication to the role was noted and he stood out as one of the strongest male performers from an acting standpoint.

The remainder of the cast were all very talented. There were no weak links in this cast and every member displayed exceptional talent and commitment to character.

Overall, Phoenix Ensemble’s ‘Carrie’ cannot be faulted. For a community theatre production, the talent and abilities displayed on stage by every member of the cast and crew are a testament to the talent in the Brisbane theatre scene. This show is incredibly well staged and performed and will no doubt be thought of as a memorable and exceptional production in Phoenix Ensemble’s history for many years to come.

'Loot’ - Ad Astra

‘Loot’ - Ad Astra

Review by Yasmin Elahi | 14 April 2024

The latest show to grace the Ad Astra stage is Joe Orton’s dark farce ‘Loot’. This quirky, twisted social commentary in two act was the perfect choice for the intimate black box theatre space. A funeral and bank robbery combine; no character can be trusted and everyone has a motive. Almost reminiscent of a game of Cluedo, the plotlines comes together in the end in a unique and amusing way.

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Direction by Jennifer Flowers was organic. For a small stage and a play set in one room, Flowers did well to keep the blocking dynamic and the audience interested. The simplistic set design with grandiose coffin centre stage allowed the actors playing room whilst using the prop to full effect.

Sound and lighting design was extremely minimal. Though it was not missed, one wonders whether there was more that could have been done with the technical aspects of the show.

Iain Gardiner excelled as the protagonist, Mr McLeavey. His accent, comedic timing and characterisation were maintained throughout and he was a character the audience could easily sympathise with.

Fiona Kennedy played the larger-than-life Fay with gusto. Her accent and stage presence were impressive and she held the show together, pushing along the action and keeping the energy high in such a morbid play.

Steven Grives played detective Truscott with guts. His comedic timing was also spot on and his enigmatic persona and gruff attitude perfectly complemented Kennedy’s bubbly Fay.

Jett Robson and Liam Hartley played Hal and Dennis respectively. Their urgency and panic throughout the crucial scenes in the show was believable and they balanced drama and comedy well. However, they did not come across very convincingly as lovers and their more affectionate moments seemed stilted.

Lisa Hickey played Mrs McLeavy, the corpse. Though she did not speak and was wrapped in sheets throughout the show, Hickey’s physical acting and flexibility as she was manhandled around the stage should be commended.

Overall, ‘Loot’ was a very quirky, darkly comedic farce. With a small cast and intimate staging, Ad Astra delivered a performance that was funny, puzzling and overall an entertaining night at the theatre.

'Catch Me If You Can’ - Beenleigh Theatre Group

‘Catch Me If You Can' - Beenleigh Theatre Group

Review by Yasmin Elahi | 6 April 2024

Beenleigh Theatre Co’s latest production of ‘Catch Me If You Can’ flew into their beautiful southside theatre this month. Based on the astonishing true story of Frank W. Abagnale, teenage conman extraordinaire, the show has music by Marc Shaiman with lyrics by Scott Wittman.

Direction by Nicholas Joy was dynamic. The show starts by breaking the fourth wall and Joy kept that feel throughout the show, by having the leads use the whole

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stage and a lot of the audience interaction was kept downstage. The scene changes were snappy and unobtrusive and the use of a raised stage platform kept the action interesting. Projections added a slightly comedic yet interesting dynamic and assisted the audience in orienting the scenes.

Musical direction by Rachel Love was solid. The ensemble numbers were powerful and solos were handled competently. The songs of this show are rather modern and jazzy and Love did well to reflect that vocally. The only negative was diction. It appeared to be a real issue in this show, partially a potential microphone issue but mostly cast related. Perhaps the accents were impeding the cast from annunciating their words but there were real difficulties in understanding the spoken and sung dialogue. The song ‘The Man Inside The Clues’ was particularly difficult to understand.

Choreography by Jackson Poole and Rachael King was excellent. The use of the ensemble dancers was dynamic and made sense within the scenes. At no time did they feel superfluous or unnecessary. Dance moves were unique, crisp and enhanced the action on stage. The Broadway feel of the show was enhanced by Jackson Poole and Rachael King in a show that does not take itself too seriously.

Lighting design by Ethan Houley was puzzling. A lot of spotlight use gave the grand Broadway feel of the show however the operation was sketchy. At times the spotlights would lag or wobble which would distract from the scenes. In addition, the stage was kept quite dark throughout the entirety of the show, which meant there were times when actors or dancers were performing in the dark. This was a major drawback of the production.

Sound design by Levi Rayner was competent, aside from the aforementioned issues in understanding dialogue. Unfortunately in this performance, the actress playing Brenda Strong’s microphone was not working. This continued through her solo ‘Fly Fly Away’, arguably the show-stopping number in the show. In this case, it would have been beneficial to suspend imagination and have someone provide her with a microphone before her solo number rather than the audience struggling to hear. Especially in a show with audience interaction and such blatant breaking of the fourth wall, it would not have been a huge distraction to have an ensemble member hand her a working microphone.

Costume design was professional and cohesive. From flight attendant uniforms, doctors scrubs to baseball shirts the costumes were well thought-out and cohesive adding to the Broadway feel of the show.

Prop construction by Natalie Morotti was exceptional. The aeroplane prop that Morotti designed and constructed was by far the highlight of the show. Expertly handled by Matt Malachite and the rest of the ensemble it was a spectacle moment that contributed greatly to the show.

James Bird was energetic as Frank Abagnale Jr. His youthful appearance and confident charism suited the character well.

Michael Mills was enigmatic as Carl Hanratty. His character’s transformation throughout the show was played well and his rapport with Bird’s Abagnale was heartwarming. Vocally, Mills was strong.

Jeremy Headrick was believable as Frank Abagnale Sr. He encompassed the role and was one of the strongest actors in the show.

Samantha O’Hare was a powerful Paula Abagnale. Her vocal ability, accent and characterisation were mesmerizing to watch.

Leah Harford was a sweet and innocent Brenda Strong. Her scenes with Bird were believable and sincere. Vocally, she did not miss a beat performing ‘Fly, Fly Away’ despite having microphone issues.

At this performance Nicholas Joy stepped into the role of Roger Strong. He enjoyed himself and impressively merged seamlessly with the cast. When paired with Trinette Avery’s comedic and charming Carol Strong, they were an entertaining pair.

Ruby Thompson encompassed the sassy bombshell Cheryl Ann with ease and confidence.

Douglas Berry, Sean Wilson and William Thomas played Hanratty’s subordinates well. The trio had wonderful rapport with one another and comedic timing that brought a lightness and lots of laugh to the show.

The ensemble worked well together and the cast appeared to be having a lot of fun in the show. There was a cohesion amongst the cast which contributed to the overall feel of the show.

Overall, Beenleigh Theatre Group’s production of ‘Catch Me If You Can’ was an entertaining and eye-opening musical about fraud, family and flying. It is worth watching for a night of escapism, entertainment and fun.

'Mary Poppins Jr’ - Brisbane Junior Theatre

‘Mary Poppins Jr' - Brisbane Junior Theatre

Review by Yasmin Elahi | 6 April 2024

The Emerge Church at Warner transformed into Cherry Tree Lane for Brisbane Junior Theatre’s latest production of ‘Mary Poppins Jr’. Directed by Jack Bradford, the large cast of children and youth performed the junior version of this classic show, which still contained all the much-loved songs.

Lighting and set design was impressive, with the use of a screen to project a variety of backdrops, from the rooftops of London to the night sky for Poppin’s

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iconic flying scene. The practical effects used to give the illusion of the practically perfect nanny soaring into the sky was effective and unexpected for a junior show, adding a magical element to the polished production.

Direction by Jack Bradford was simplistic and basic. It allowed the children to focus on their singing and dancing while still furthering the storyline. The large number of children on stage meant it was hard to see those at the very back, but the dynamic movement of Jada Parson’s choreography meant each child got a chance to shine. Choreographic highlights included ‘Supercalifragilisticexpialidocious’ and ‘Let’s Go Fly a Kite’.

Vocal direction by Debbie Bradford was wonderful. The handling of the harmonies and ensemble in ‘Feed the Birds’ was stirring. The leads were all competent in their lyrics, lines, harmonies and melodies – a testament to Bradford’s musical direction.

At this performance, the title role was played by Anna Lucas. Her self-assured and confident stage presence and consistent British accent enhanced her very believable performance as Mary Poppins. Vocally she was solid and handled the challenging vocal range of the songs with ease.

Omar Abiad encompassed the charm of Bert. His accent was charming and his persona mysterious. Vocally he kept up with Lucas and as a dancer he excelled. It would have been wonderful to see more of Abiad’s dancing talents in this show.

Noah Vanderent was compelling as Mr Banks. From an acting perspective, he balanced seriousness with comedic lightness very well. Vocally he also excelled and when paired with Jessica Bowman’s gentle Mrs Banks they made a believable pair.

Chloe Chan and Sebastian Lucas played Jane and Michael Banks. Chan’s accent and sweet vocals suited the role of Jane Bank’s perfectly. Lucas’ brash yet soft nature complemented Chan and made the pair dynamic and engaging to watch.

Hannah de Necker’s boldness as Mrs Corry suited the character well. Supercalifragilisticexpialidocious was a dynamic and joyful number. Led by de Necker and with Parson’s energetic choreography, it was surely the highlight of the show.

Haylee Simpson was the standout of the show with her performance as the Bird Woman. Though her role was small, vocally she brought soul and emotion in one of the most touching scenes. When paired with Anna Lucas and the ensemble, the number was haunting and very professional. It will be exciting to see Simpson in larger roles in the future.

Henry Gates, Emme Krause and Abril Cuellar-Tello opened the show as mini Bert, Mary and Miss Andrews respectively. Their young age belied their talent, especially Gates whose accent, voice and impact on stage was much larger than his tiny stature.

The ensemble worked well together vocally and choreographically. The sound achieved when all were singing together was much fuller and richer than one would expect from a junior production.

Overall, Brisbane Junior Theatre’s production of ‘Mary Poppins’ packed a big punch and reminds the audience that junior theatres can produce productions that are entertaining, impactful and tell a wonderful story!

'Joseph and the Amazing Technicolor Dreamcoat’ - Redcliffe Musical Theatre

‘Joseph and the Amazing Technicolor Dreamcoat' - Redcliffe Musical Theatre

Review by Rhea Basha | 22 March 2024

Redcliffe Musical Theatre’s production of ‘Joseph and the Amazing Technicolor Dreamcoat’ was full of charm, charisma, and—of course—colour. Performed in the Redcliffe Entertainment Centre, the space was filled with powerful harmonies and fun, caricatured characters that shared a story from the Bible’s Book of Genesis.

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The musical follows Joseph, who is greatly favoured by his father, much to the disdain of his eleven brothers. When his father gives him a bright, colourful coat, his brothers successfully plot to get rid of him—selling him off as a slave. Following this, Joseph navigates through Egypt, moving from slave to prisoner, until his knack for prophetic dreams is discovered by those around him. The show itself, upon being released on Broadway, was nominated for Best Musical and Best Original Score at the Tony Awards in 1982.

Although the musical is completely sung-through, director Madeleine Johns did a wonderful job at bringing out strong characterisation and cohesion within the story. The teachings of morality were delicately balanced with moments of humour, creating a fun but meaningful rendition of the tale.

This was coupled with strong vocal direction from Rhonda Davidson-Irwin, with delicious harmonies—particularly throughout the ensemble numbers. Choreography by Jada Parsons also helped create the bubbly, boisterous atmosphere of the show, making effective use of levels, different ensemble shapes, and grand movements.

Although there were a few issues with feedback and microphones catching backstage noises, lighting and set was simple and effective. There was clever use of the pyramid for levels, and the props used—from palm trees to prison cells—set the scenes with clarity. The lighting was used particularly well, helping create contrast within the lighter and darker moments of the show. A particular highlight was towards the end of Act I, where the lighting shifted from dark and sombre with torches onstage to a bedazzling kaleidoscope of colour as Joseph finds renewed hope. This was only further emphasised by fun, quirky, and colourful clothing that felt well-adapted to the setting.

Benjamin Oxley presented as a sympathetic Joseph, facing through hardships with thoughtfulness and gentleness. It made for an excellent contrast when he was given the opportunity to be spiteful and seek revenge, yet still kept him grounded as a protagonist. His vocals were beautiful, showcasing clarity and sweetness in ‘Any Dream Will Do’, but also showing off grit and power in ‘Close Every Door’.

The narrators, Sienna Randall and Abbie Gommers, had a difficult task throughout the show—keeping the show moving, and leading the changes in tone. Their vocals were consistently strong, with lovely duet harmonies, and didn’t falter once. Randall, in particular, was a powerhouse burst of energy, highlighted at the end as she led the cast through the encore.

The standouts of the show were Joseph’s eleven brothers. Full of strong characterisation, chemistry and chaos, they were nothing short of a delight to watch. They made for a fun antagonistic force, bouncing between multiple genres with ease, and creating brilliantly reverberating harmonies throughout the show. A particular standout voice was Simeon, played by Erickson Ilustre, who had the audience completely captivated with his clever, comedic timing.

The majority of the ensemble showcased energy and passion in their performance, creating big ensemble numbers that were hard not to groove along to. The youngest stage performers, particularly, were full of bright eyes and dazzling smiles.

Overall, ‘Joseph and the Amazing Technicolor Dreamcoat’ is a fun night for families. There is no shortage of big, glittering musical numbers and inspiring characterisation—creating a warm and entertaining show.

'The Wolves’ - Ad Astra

‘The Wolves' - Ad Astra

Review by Yasmin Elahi | 15 February 2024

Ad Astra’s intimate black box theatre transformed into a soccer pitch for their latest production, ‘The Wolves’. Written by Sarah DeLappe, the play follows a group of girls as they warm up for their games, all the while discussing love, politics and everything in between.

Set design was simplistic. Astro turf was installed to portray the soccer field. Lighting design by Cale Dennis was used to great effect to enhance the mood and

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action on stage. The sharp black-outs utilised in the second half of the show were perfectly timed and incredibly effective. The use of lighting to mimic that of an indoor stadium worked to great effect and made the stage area feel vast.

Direction by Caitlin Hill was captivating. Her use of the space, natural blocking, incorporation of physical activity and dance contributed to a show that was memorable, highly entertaining and gripping to watch. Her use of the space was non-conventional and lent itself perfectly to the play. It is evident that Hill is not afraid to push creative boundaries and struck the right balance between realism and stylised movement to create a production that was exceptionally directed.

The entirety of the cast worked so well as a cohesive collective, it is difficult to describe their performances individually. Each were committed to their character, which had clearly been researched and developed into well-rounded and thought out personalities, and interacted with one another with the familiarity one would expect from members of a sports team. Each brought a powerful intensity, light and shade and above all, energy, to their performance. Each actor was faultless in their execution of dialogue and blocking contributing to the overall professionalism of the show.

Sharnee Tones’ dedication and authority came through in strides. Emily Marszalek embodied the awkwardness of her character with authenticity. Tainika Kane-Potaka brought a vivacious energy and spark to the group which prevented the play from becoming too heavy. Malika Savory’s naivety and quiet confidence shone through in her character. Stella T. Page may have only made a brief appearance in the play but her performance was stellar. The audience was captivated and hung off every word and emotion, helping to bring the show to its poignant conclusion.

Overall, ‘The Wolves’ was an exceptional production. Starting with a script that was quietly clever and subtly moving, combined with the creative and powerful directing of Caitlin Hill and then brought together by an exceptional cast. There is not a negative comment to be made about ‘The Wolves’. It is as close to perfect as a piece of live theatre can get.

'Shakespeare in Love’ - Beenleigh Theatre Group

‘Shakespeare in Love' - Beenleigh Theatre Group

Review by Yasmin Elahi | 9 February 2024

Audiences were swept back to the 1500s for Beenleigh Theatre Group’s first production of the year ‘Shakespeare in Love’. Based on the popular film of the same name, this charming play follows the story of William Shakespeare who is struggling with writer’s block until he discovers a muse in Viola, who is beautiful but unavailable. Interjected with moments of humour, romance and music, the script balances Shakespearean language and charm with modern day storytelling in a play that appeals to everyone, regardless of their love of Shakespeare.

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Set design by Michael Ware was inspired. The floor, set pieces and walls were finished to look like blank parchment – mimicking the protagonist’s writer’s block and the empty pages which he is contending with. The use of a raised stage area that was easily moved around the stage to become various set pieces and locations was clever, as was the raised rostrum which served as many settings throughout the play.

Lighting and sound design complemented the minimally decorated set. The interweaving of music and live singing from the cast brought a charming English feel to the play and was used to enhance scene changes as well as the action on stage. Choreography by Trinette Avery perfectly reflected the time period and was charming to watch.

Costumes were in keeping with the period and visually striking. Wardrobe mistress Trinette Avery curated a selection of costumes that complemented one another and the era. The queen’s costume and make up was exceptional and did not in any way feel like a community theatre production.

That sentiment is echoed in Michael Ware’s directing. His use of the stage, set pieces and blocking choices were all expert. The casting was superb and the pace of the show was spritely. The use of Shakespearean quotes on the back wall was a nice touch that immersed audiences further into the world of the Bard. Ware’s ability to lean into the comedic moments of the play and allow his cast to have fun with them kept the show light, entertaining and fun. Ware’s directing of this play cannot be faulted.

Nicholas Hargreaves excelled as William Shakespeare. His energy, accent and stage presence made him a believable young Shakespeare. His enthusiasm about the words he was reciting was believable and his rapport with his fellow cast members authentic.

Hannah Martin was a sweet Viola. She balanced the character’s romantic disposition and steadfast commitment well. Her interactions with both her suitors carried different emotions which led to a believable and well-rounded performance.

Daniel Dosek was a commanding Lord Wessex. His commitment to the character was evident and he was a dynamic and captivating performer.

Rachel Hunt was a magnificent Queen Elizabeth I. Her regal physicality, deliberate and clear speech and imposing aura shone on stage. Despite having an incredible and all-consuming costume, it did not overshadow her performance.

Bradley Chapman’s natural comedic flair suited his dual characters of Richard Burbage and the boatman. At the conclusion of the boat scene, the audience couldn’t contain their applause, a testament to Chapman’s characterisation and memorable stage presence. The cameo appearances of his dog Link was a wonderful addition to the play.

Hudson Bertram’s portrayal of Sam was comedic and light. His vocal performances of the musical interludes were flawless and haunting. A striking moment of stillness between the action-packed scenes where Bertram held the audience captive with his voice.

The remainder of the cast worked together as a cohesive ensemble. Accents were consistent, characterisation and energy maintained throughout the performance and an overall professionalism was notable from the entire case.

Overall, ‘Shakespeare in Love’ was an incredibly well directed, well performed play. Audience members would be forgiven for thinking it was a professional production. Virtually a flawless performance of which all involved should be immensely proud.

'Footloose’ - Phoenix Ensemble

‘Footloose' - Phoenix Ensemble

Review by Yasmin Elahi | 2 February 2024

Phoenix Ensemble’s Tin Shed transformed into the small town of Bomont for their first production of the year, ‘Footloose’.

The Tony nominated musical, based on the beloved movie, follows Ren and his mother who move from the bustling metropolis of Chicago to the small town of Bomont - where dancing is against the law. Along the way, Ren makes friends, finds love and proves that age does not equal wisdom.

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'Jingle’ - JACs Entertainment and Brisbane Powerhouse

‘Jingle' - JACs Entertainment and Brisbane Powerhouse

Review by Gary Farmer-Trickett | 7 December 2023

Brisbane Powerhouse in New Farm was host to ‘Jingle’, a feel-good family show produced and directed by JACs Entertainment.

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Upon arrival the audience were immediately greeted with a traditional red curtain which revealed a simple, festive ensemble of Christmas presents, nutcracker soldiers, reindeer, and dancers. The talented ensemble of dancers - Tiara Lock, Shania Lock, Coby Lock, Griffin Cooper, Nick Skein and Hunter-Jai Clist executed each complex dance move, created by the creative producer and choreographer Julieanna Nugent with such precision, ease and conviction.

The Master of Ceremonies, Chris Wayne provided a warm and magical welcome and oozed charisma. He encouraged all to place their Christmas wishes in a box that remained visible on his ‘love swing’ throughout the show and this created a rapport immediately. Chris was a star and the standout of the night. He had the audience hanging off his every word and took them all on his festive journey with outstanding magic, balloon shaping and charm. He also had a beautiful balance of adult and family friendly humour.

The lighting and sound design by Andrew Haden was simple but dynamic and used to great effect. It highlighted each act beautifully and the transitions were seamless. The choice of each deliberate Christmas sound worked to perfection and Haden should be applauded for this.

The show was essentially circus acts linked together with magic and wit from Chris Wayne. Alongside him were are vocals from Aleisha Rose. Aleisha had a tender voice but at times it was hard to hear her as there were a few microphone issues. In addition to Chris and Aleisha, there were a multitude of different ‘cirque’ acts that packed a punch and had a sprinkle of Christmas cheer about them. Ashleigh Roper was mesmerizing with her aerial lyra and hula hoop acts. Jarrod Takle had the audience speechless with his high block hand balance act and Emma Goh and Scott Reynolds (Duo Synergy) showed the audience their insane and somewhat nerve-wracking roller-skating stunts.

Juggler Cody Harrington had such stage presence and that X-factor. His juggling skills were flawless and his assistant Megan Ray never faltered.

Stephen Williams with his aerial straps was phenomenal. He showcased his talent whilst flying to 'Carol of the Bells' and this was both truly haunting and magical. Violinist Quiana Morgan (complete with fairy lights in her dress) was exceptional playing 'Hallelujah’ and the ensemble of dancers made this another highlight of the show.

Overall, this 70-minute show with no intermission will make you smile, laugh out loud and perhaps cry. The masterful direction, choreography and sheer talent of everyone left the audience wanting more snow and more cirque magic.

'The History of the Devil’ - Metro Arts

‘The History of the Devil' - Metro Arts

Review by Yasmin Elahi | 29 November 2023

Metro Arts’ New Benner Theatre transformed into a court room for Polymorphic Productions’ ‘The History of the Devil’. Written by British horror writer Clive Baker, the play puts the devil on trial for his wrongs. With an unlikely prosecution and defence team, they battle it out to determine whether Satan is truly as bad as everyone says. This show incorporates elements of surrealism, fantasy, comedy and horror with a running time just shy of three hours.

The minimalist set design of tables and chairs gave the illusion of a Courtroom while leaving stage space for blocking and action.

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Lighting design by Nathanial Knight was captivating and a highlight of the show. From the flickering fires, snow and rain, fireworks and a bird strike, Knight expertly handled the technical elements of the show. He used lighting changes to denote scene changes and made up for the lack of elaborate set and prop changes. Sound design by Ewan Robertson was immersive. The soundscape spanned the entire show, with forest sounds underscoring the dialogue. At times the repetitive soundtrack became a little distracting and smoother transitions between click tracks would have led to a more immersive environment.

Director James Kable did well to utilise the entirety of the stage. For the most part the blocking was logical. The absence of props and emphasis on mime was disappointing, as ropes and letters would have been a simple but effective addition to add interest and believability to the piece. The show is a long one and it would have been nice to see more daring and riskier directing as this is a show that can handle directing that pushes boundaries. Overall, the directing felt a little safe. Commendation must be made to the cohesion of the cast and the professionalism and certainty with which they delivered the multitude of lines each had.

Connor Scoble embraced his role as the Devil. A younger casting choice than what was expected, he managed to command attention and was physically dynamic on stage.

Lisa Hickey led the prosecution as Kate Lamb, among other characters. Her many characters felt distinct and her commitment to each role was evident.

Thomas Eastwood was believable as Samuel Kyle, the reluctant defence lawyer. Again, Eastwood played multiple characters with gusto and was one of the strongest actors, bringing an earnestness and gravitas to all of his roles.

Tiana Varcoe played Jane Beck, the younger of the two prosecutors, as well as a plethora of other characters. Her physical acting was impressive and her scenes as Pia Shim were captivating.

Sandra Harman played Verrier, the devil’s helper, along with other characters. Like Hickey, Harman was committed to each role.

The highlight of the show was Sherri Smith. She stole the stage and provided a hauntingly convincing performance as the witch. Vocally and physically she encapsulated that role and held the audiences’ attention.

Alexis Beebe played the Judge. Her role was the most comedic and she interacted well with the other characters.

Ben Postle was captivating as Belial, among others. Opening the show, Postle set the tone for an intriguing evening. His interactions with the audience were stealthy and he brought a devilish charm that almost overtook that of Scoble’s. It would have been interesting to see him cast as the Devil as it was clear Postle had potential and a brooding darkness.

The lead cast was supplemented by ensemble members who played smaller roles. Each were credible in their roles and formed a unified cast.

Overall, ‘The History of the Devil’ was an interesting show. Part comedy, part horror and altogether confusing it leaves audiences questioning the Devil and who is truly to be believed. It is a script with a lot of promise and it would have been nice to see the director and actors push the boundaries to elevate this show to something special. As it is, the show’s technical aspects and a few key performances make this show an intriguing but rather conservative evening.

'Falsettos’ - Javeenbah Theatre

‘Falsettos' - Javeenbah Theatre

Review by Yasmin Elahi | 26 November 2023

The quaint Javeenbah Theatre on the Gold Coast served as the perfect venue for William Finn and James Lapine’s musical ‘Falsettos’. Accompanied by a three-piece band, the talented cast and masterful direction proved for an entertaining and tear-jerking evening of entertainment.

The Broadway musical follows the story of Marvin, who leaves his wife and child to live with his boyfriend. Originally written as two one-act shows, the different chapters of Marvin’s life have been brought together in a weighty sung-through musical.

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Director Jake Goodall did an exceptional job directing this show. With a small cast and an even smaller stage, he managed to keep the blocking dynamic, conjure up beautiful and poignant tableaus and keep the audience entertained throughout the entirety of the rather long show. Blocking decisions were deliberate, set and prop design and placement skillful and scene transitions smooth.

Musical direction by Rachel Love was adept. She handled the complex and elaborate score with ease. Each of the performers appeared confident in their melodies, words and timing. The band, led by Matt Pearson was fantastic and accompanied the performers with skill and expertise.

Choreography by Charlotte Schmidt was clever. The strategic use of movement in certain musical numbers fit with the story and music and never felt out of place. ‘March of the Falsettos’ was particularly eerie and charming.

Lighting design by Colin Crow was powerful. The lighting choices throughout the show highlighted the action and emotion playing out on stage perfectly. Sound design by Mikaela Murphy was good however at times the band overpowered the vocals and overall it was difficult to understand what was being said.

Set design by Corinne Meunier and Jake Goodall was intelligent. The chess board overlaying the stage and the cube units full of tchotchkes provided the perfect backdrop for the action. Props by Tex Houston and Jake Goodall were practical and used to great effect throughout the show.

Costume design by Natalie McDonnell, Christine McLachlan and Tex Houston was effective and complemented each of the characters. The costumes for ‘March of the Falsettos’ were alluring and contributed greatly to the intrigue of that number.

Jesse Kennedy was a believable and likeable Marvin. His natural rapport with the audience invited them to feel for him and sympathise with his journey. Vocally, he was wonderful and his moments with Whizzer in Act Two were especially heartbreaking.

Hunter Wall was a standout as Whizzer. His characterisation and stage presence were magnetic and vocally he was the highlight of the show. His performance of ‘The Games I Play’ and ‘You Gotta Die Sometime’ were soul stirring and the chemistry he shared with Kennedy was truly magical. The final scene between the pair would bring a tear to any audience members’ eye.

Dominic Bradley did well as Mendel. His performance of ‘Everyone Hates His Parents’ brought a moment of much needed levity to the show. It appeared he may have been a little under the weather at this particular showing but that did not stop him from pushing through and delivering a delightful performance.

Kiran Sen was charming as Jason. The young performer had a magnetic stage presence and vocally kept up with his adult counterparts. Niamh Smith was robust as Trina. Her performance of ‘I’m Breaking Down’ was wickedly darkly comedic. Kristy Smith-Wood embodied Dr Charlotte. Her performance of ‘Something Bad is Happening’ was weighty. Emily J Hayes was believable as Cordelia and her chirpy personality served as a good foil for Smith-Wood’s serious Dr Charlotte.

Overall, Javeenbah Theatre’s production of ‘Falsettos’ was stirring. The masterful direction of Jake Goodall brought this weighty story to life, handled with care and delicacy by the talented cast. Some moments from this production, especially those towards the end of Act Two will no doubt stay with the audience for a long time. This production truly does justice to what is a heartfelt and special musical.

'The Amateurs’ - Ad Astra

‘The Amateurs' - Ad Astra

Review by Yasmin Elahi | 19 November 2023

Ad Astra’s final play for 2023 was Jordan Harrison’s ‘The Amateurs’. With a small cast, the intimate theatre served as an appropriate venue for this niche show. Set in the 14th century, the story follows a group of actors, attempting to outrun the plague. Unexpectedly, the perspective shifts and the fourth wall is broken – with the actors addressing the audience as themselves. One actor then transforms into the playwright and provides a lengthy monologue about their childhood. Another monologue follows before the audience is returned to the 14th century and the conclusion of the play.

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Director Susan O’Toole Cridland did well to deal with the rather scrambled script. Though Act One was comprised of many short scenes, her directing enabled the action to continue and flow rather naturally. The small stage was used well and for the most part the action was interesting.

Lighting and Sound Design by Russell Jensen was smart. The lighting and sound effect when the Physic was talking about the fire was a technical triumph and very memorable.

Set Design by Kim Phillips, Tim Cridland and Dan Kennedy was unique. The use of a raised stage brought interest to the set and the wagon was skillfully constructed. The prop containing images of Noah’s animals was imaginative and in keeping with the 14th century setting of the show.

Julia Cox excelled as Costume Designer for this show. Her papier mache masks denoting the 7 Deadly Sins were effective and haunting. The costumes were believable for the period of the show and the special effects were expertly achieved.

Matthew Filkins was larger than life as Larking. He brought some comedic levity to the role and played well against Lia Davies’ Rona.

Maddie Armit was an intriguing Hollis. Her tender sensitivity and feisty disposition were well balanced and her monologue in Act Two was dynamic and held the audience’s attention.

Isaiah Harrison was earnest as The Physic. He had a sincere believability that played against some of the other over the top personalities.

Greg Scurr delivered the standout performance of this show as both Gregory and then the playwright himself. Scurr’s stage presence made him magnetic to watch and his rapport with the audience when addressing them as himself felt natural. As Gregory, he was instantly likeable and won over the audience almost immediately.

Lia Davies played Rona with gusto. Her expressive face and clear speaking voice contributed to her passionate performance.

Max Phythian played Brom with heart. Though perhaps the smallest role, Phythian’s was the most intriguing – with a backstory that is never fully explored. His return in Act Two was a polar opposite performance and entertaining to watch.

Overall, director Susan O’Toole Cridland and the cast did well to stage a rather enjoyable production of what is a confused, scrambled script that lacks motivation, any real storyline or point. The actors did their best to force the audience to care about them and their plight but the flaws in the script of ‘The Amateurs’ cannot be overcome, no matter how good the acting or directing.

'A Murder is Announced’ - Nash Theatre

‘A Murder is Announced' - Nash Theatre

Review by Susan O’Toole Cridland | 11 November 2023

I must make a confession. Despite being involved in theatre for over 30 years, I realised on the way to New Farm Nash Theatre to see their latest ‘who dunnit’, that I have actually never seen an Agatha Christie on the stage. How it has taken me this long, I cannot really explain as I love a good murder mystery.However, the advantage was all mine as it turns out, as I went in with no preconceived notions, no idea of what was to come, and no idea who the guilty party was!

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Director Sharon White on the other hand is an expert at navigating a Christie (or a Christie adaption) on the stage, having been at the helm of a number of these.And her expertise shows in every moment of this show. White uses the stage masterfully and plays each suspenseful moment just right – the energy remained high and tight throughout the whole production. Her clever direction, along with the script adapted by Leslie Darbon, threw red herrings left, right and centre and we were left consistently wondering not just who was the murderer, but would we see more deaths as the weekend continued?

Set design by White and Phil Carney took us to where we needed to be – into Little Paddocks manor. It allowed the cast to move easily around the stage while keeping us well in the illusion of spending a peaceful weekend relaxing in a beautifully kept manner – were it not for the pesky newspaper announcement of the murder that was about to happen of course.

There was not one performance that let this show down in any way. While I may not have the room on this page to name each individual, every actor on stage embodied their characters physically, emotionally and, where suitable, comically. Crowd favourites were Ellie Bickerdike as Dora Bunner and Caitlin Cleary as Mitzi. Their energy was contagious and their comic timing resulted in many laughs from an appreciative audience. The role of Miss Marple can be a daunting one to take on as it’s such a famous character, but Linda Morgan handled this like a pro. Catherine Stark makes her stage debut as Phillipa Haymes and, from an audience perspective, matched the talents of the more experienced actors on stage with her (and credit goes to all for this). If this is Catherine at the beginning of her acting journey, I am excited to see what her future brings. For me, the night belonged to Phillipa Dwyer as Julia Simmons and Brendan James as Patrick Simmons. The banter and chemistry between these two from the moment they are introduced to us as siblings is very believable. Their characterisation, movement, motivation and accents were on point from start to finish.

There is a school of thought out there that maybe it’s time to put these types of shows to bed. That the story and the style is outdated and has ‘been done before’. Well I say to that train of thought – what a bunch of codswallop! Don’t misunderstand me. I do love new work. As artists we desperately need to continue finding and developing new works. But there are many reasons as to why the true classics have upheld their value for all this time – and why it’s actually an Agatha Christie that holds the record for the longest running show on West End (speaking of which, anyone putting on The Mousetrap soon, because I am there for it!). And just for those of you who want to know, The Mousetrap has been performed in Londin since 1952 and has been playing at its current home since 1974! When you have charming characters played impeccably by skilled actors under the watchful eye of an experienced and talented director then these classic stories guarantee a great night of thoroughly good entertainment. The audible gasps of surprise, murmurings of excitement and bursts of laughter on the night very much prove this. Sign me up for more!

'Live at Frankie’s' - Redcliffe Entertainment Centre

‘Live at Frankie’s' - Redcliffe Entertainment Centre

Review by Yasmin Elahi | 17 October 2023

Performer Thomas Armstrong-Robley took the stage of the Redcliffe Entertainment Centre to perform his tribute show ‘Live at Frankie’s’. Supported by a four-piece bank, Armstrong Robley performed some of the most beloved songs from Frank Sinatra and Frankie Valli.

As an avid performer, Armstrong-Robley has performed his cabaret shows on cruise-ships, taken to the stage in a variety of musicals and dabbled in directing,

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most recently directing ‘Jersey Boys’. At the Redcliffe Entertainment Centre, he has most recently taken the stage in ‘Grease’ and ‘Oliver’, both performances being fantastic and very well-received.

The stage was set as one would expect for a cabaret show; the band displayed proudly on stage, microphone stand and obligatory stool – for the performer to sit and perform more intimate numbers with the piano.

Lighting design was dynamic and helped to bring interest to the staging. Sound design was perhaps louder than necessary and there appeared to be an issue with the instrument microphone levels, as the bass guitar was more prominent in volume than the grand piano, which was unfortunate as pianist Matt Rofe had some delightful solo moments.

The show was just shy of two hours with no intermission. Armstrong-Robley took a moment to step off stage as the band continued to play. This would have been a natural place for an intermission, which would have broken up the show and allowed the audience a chance to stretch their legs.

The set-list was well curated, with a variety of well-known and lesser-known songs from these two icons of the music industry. There was a mix of up-beat hits and ballads and the performance culminated with perhaps the most iconic Sinatra song ‘My Way’, which was a nice way to end the concert.

Armstrong-Robley has his own style and it may not be to everyone’s taste. While there is an argument to be made for modernising classic songs (something Michael Bublé has made a name for himself doing), Armstrong-Robley’s insistence on changing the melody lines of essentially every verse of every song was frustrating. At times, the orchestrations of the songs were so altered it was hard to recognize them at all.

In addition, his habit of changing and rearranging lyrics, though novel, again detracted from the essence and beauty of these famous songs. It is clear Armstrong-Robley is a talented performer and it would have been nice to hear him perform some of these songs in an authentic manner.

Between songs, Armstrong-Robley would interact with the audience. His onstage demeanor was very relaxed and made the audience feel at ease. This contributed to the cabaret style of the show.

Overall, ‘Live at Frankie’s’ was a pleasant concert. For those that are fans of Frank Sinatra and Frankie Valli it is an opportunity to see their songs performed in a very different way. For purists expecting to hear performances reminiscent of the originals, this show is not for you.

'The Little Mermaid' - Queensland Musical Theatre

‘The Little Mermaid' - Queensland Musical Theatre

Review by Yasmin Elahi | 13 October 2023

Queensland Musical Theatre ventured under the sea for their latest production ‘The Little Mermaid’. Based of the beloved Disney movie and with all the well-known characters such as Ariel, Flounder and Sebastian, this show is one for audiences young and old.

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Director Deian Ping relied heavily on projections for this production. The blocking was natural and used the large stage well. Solo performances garnered a stillness, which enabled audiences to appreciate the vocal talents on display without distraction. The ship wreck scene was cleverly directed.

Musical director and conductor Julie Whiting led the orchestra with aplomb. Vocally, the ensemble numbers sounded full and the solos were performed faithfully to the original orchestrations.

Choreography by Julianne Burke was at times in keeping with the underwater theme. Some of the ensemble choreography was modern and reminiscent of an eisteddfod rather than a musical, while at other times blended well with the story. Flotsam and Jetsam’s movements were the most convincingly aquatic. The sea gull tap number was well choreographed and executed and the biggest dance moment of the show.

Lighting design by Tom Dodds was lovely. The watery affects of the lights projected onto the curtains during the Overture and Entr’acte immersed the audience into the underwater setting of the show. The use of lights from multiple positions enabled some beautiful lighting transitions and enhanced the action on the very bare stage.

Set design by Gerard Livsey was minimal. The show felt very much like a live-action movie, with the animations in the background. The use of haze, smoke and bubbles conjured up a nautical vibe and Ariel’s rock was iconic and well-constructed. The rocking boat in ‘Kiss the Girl’ was cleverly constructed and exceptionally effective.

Costumes by Deian Ping had a nod to the iconic, with a contemporary spin. Ariel’s mermaid dress was beautifully beaded, as was her wedding dress. Sebastian’s red suit, complete with matching trainers was striking, as was Flounder’s headpiece and Ursula’s dress. Flotsam and Jetsam’s costumes were incredibly well conceived and effective, as were the seagull costumes. Though some of the ensemble costumes felt out of place under the sea and could have been more sea-life inspired, overall the costumes of the leads were professional and impactful.

As is usually the case on opening night, there were sound issues. The microphones often had delays in being brought up, meaning dialogue was missed. Overall, the clarity of the sound was poor and a lot of the dialogue was muffled and difficult to follow. For those that know the story well, this is not a huge issue but is certainly disappointing.

Sophie Mason was a delightful Ariel. Vocally, her voice was well suited to the Disney princess she was playing. Her high notes were sweet and magical and her rendition of ‘Part of Your World’ did not disappoint. Her American accent was very consistent and her characterisation convincing.

Matthew McKenzie was by far the star of this show. He burst onto the stage with a magnetic stage presence and energy. His accent, commitment to the character and rapport with the others was flawless. Vocally he performed at a level deserving of a Broadway stage. ‘Under the Sea’ and ‘Kiss the Girl’ were energetic crowd favourites received by thunderous applause and much audience cheering. An absolutely exceptional performance as Sebastian by McKenzie which alone makes this show a must see.

Rhona Bechaz was commanding as Ursula. Her stage presence and physicality was every part a villain. Her performance of ‘Poor Unfortunate Souls’ was rousing and very memorable, proving to be a wonderful culmination of Act I.

Aden Lowry and Isaac Cain as Flotsam and Jetsam were exceedingly convincing as Ursula’s evil eel sidekicks. Physically and vocally they were synchronised and gave huge evil energy.

Alessia Lily Monteverde was sweet and vibrant as Flounder. Her acting and vocal ability did not pale in comparison with her adult co-stars, despite her young age. Her ability to scoot around on roller shoes made her the perfect speedy side-kick for Ariel. She took command of ‘She’s in Love’ in a number that was exceedingly joyous to watch.

Overall, Queensland Musical Theatre’s production of ‘The Little Mermaid’ was a faithful retelling of the classic Disney story. Though the set design was minimal and at times the large ensemble seemed superfluous, this show is worth watching for the standout performances of Matthew McKenzie, Rhona Bechaz and Sophie Mason. And for those with little children, it is a charming and immersive underwater experience.

'Every Brilliant Thing' - Metro Arts and THAT Production Company

‘Every Brilliant Thing' - Metro Arts and THAT Production Company

Review by Yasmin Elahi | 4 October 2023

Metro Arts’ New Benner Theatre played host to THAT Production Company’s latest one-man show, ‘Every Brilliant Thing’. The play by Duncan Macmillan with Jonny Donahoe tells the story of a young boy who creates a list of brilliant things in an attempt to assist his suicidal mother. The audience follows the boy’s journey from childhood to adulthood, all the while accompanied by his ever-growing list.

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Director Timothy Wynn transformed the New Benner Theatre into the round, with mismatched dining chairs replacing the classic theatre seating. Various hanging lightbulbs with different shades provided the lighting for the show and several rugs denoted the stage area. This unique staging fit well with the theme of the show. Wynn’s directing was natural and organic. His blocking ensured no portion of the audience was neglected and the actor’s movement was purposeful.

Sound design by Wil Hughes was precise. The soundscape was executed flawlessly and enhanced the action on stage. Lighting design by Nathaniel Knight was subtle but effective. Manipulation of the various lightbulbs hanging from the ceiling allowed focus to be directed to certain areas of the stage at pivotal moments in an unobtrusive way. The flickering of lights to denote certain emotional moments was impactful.

Jason Klarwein was instantly likeable as the show’s one actor. His rapport with the audience was easy and his personable nature contributed to the success of the show – which is largely focused on audience participation. Klarwein relied on members of the audience to serve as the other characters in the story. His improvisation skills ensured the show remained on track, despite the unpredictability of audience answers.

Interestingly, the audience members that were chosen formed an integral part of the show. Organically, the story moved and changed as more audience members became involved. The feel in the theatre was relaxed, in what at times was more of a group therapy session than a performance. Though the subject matter of the show was at times very heavy and dealt strongly with suicide, there was a certain warmth coming from Klarwein that managed to keep the show somewhat uplifting and prevent it from sinking into a dark and depressive state.

Overall, ‘Every Brilliant Thing’ was a unique one-man show. Relying heavily on audience participation, this production managed to draw the audience into the story, bond with one another and ultimately come away feeling enlightened, aware and entertained.

'The Sound of Music' - Redcliffe Musical Theatre

‘The Sound of Music' - Redcliffe Musical Theatre

Review by Yasmin Elahi | 30 September 2023

Redcliffe was alive with the sound of music as the Redcliffe Entertainment Centre played host to Redcliffe Musical Theatre’s production of ‘The Sound of Music’. The Rodgers and Hammerstein classic musical was brought to life by a cast of talented adults and children, accompanied by a 16 piece orchestra.

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Highly regarded as the best musical of all time, ‘The Sound of Music’ follows eccentric nun Maria as she becomes governess for a strict Captain’s seven children. Set against the backdrop of WWII and the impending Nazi regime, this musical bridges all emotions and carefully balances seriousness with frivolity.

Director Madeleine Johns utilised the large stage of the Entertainment Centre to good effect. The set design by Jonathan and Madeleine Johns cleverly encompassed the stage. The grand staircase served as the focal point of the set and was cleverly used for the iconic ‘So Long, Farewell’. The use of the fly tower to transform the stage into the Abbey, complete with stained glass windows was also cleverly conceived. The set change for Act II’s ‘Edelweiss’ was visually striking.

Musical Director and Conductor Rhonda Davidson-Erwin led the orchestra with aplomb. The musical direction of the singers was classic, keeping true to Rodgers and Hammerstein’s original orchestrations. The music and vocal performances certainly were the highlight of this show.

Costumes by Madeleine Johns and Karen Van Den Bos were authentic. It is clear a lot of attention has been paid to costuming this production. The children’s matching uniforms, nuns’ outfits and Maria’s various dresses were all tailored well and formed a cohesive look on stage.

Lighting design by Chis Walker was effective and complemented the action on stage without being obtrusive.

Stephanie Collins was charming as Maria. Her voice was beautifully suited to the role and her manner with the children was earnest and believable.

Loic Valmy was commanding as Captain Von Trapp. His vocals and acting ability were compelling and his rendition of ‘Edelweiss’ was stirring.

Amanda Hutton was powerful as Mother Abbess. She led the nun’s choir with assurance and her Act I finale ‘Climb Every Mountain’ was rousing.

Jamie Taljaard and Erickson Illustre played Baroness and Max believably. Their rendition of ‘How Can Love Survive’ was charming and a nice inclusion of a lesser-known song.

Ashlee Herman and Lucas Van Stam were an innocent Leisl and Rolf. Their performance of ‘Sixteen Going on Seventeen’ was vocally very sweet.

The Von Trapp children were played at this performance by Toby Bailey, Zoe Hitchcock, Benjamin O’Regan-Lambert, Zola Bulan, Maeva Kota and Tiarna Douglas. All embraced their various characters with dedication. Vocally, their voices blended beautifully and each child performed confidently and with professionalism.

The nun’s ensemble must be mentioned. Their rendition of ‘Morning Hymn/Alleluia’ was soul-stirring. What a striking way to begin such an immense show. The harmonies and vocal clarity of the performers were joyful to experience.

Overall, Redcliffe Musical Theatre’s ‘The Sound of Music’ excelled vocally. For such a well-known show, it is important the musical numbers are respected and this production delivered an authentic interpretation of the original show. With such an experienced creative team at the helm of such a beautifully written and classic musical, ‘The Sound of Music’ delivered talent, musicality and charm.

'Assassins' - Beenleigh Theatre Group

‘Assassins' - Beenleigh Theatre Group

Review by Yasmin Elahi | 30 September 2023

Beenleigh Theatre Group’s Crete Street Theatre is playing host to nine individuals who made it into the American history books for all the wrong reasons. ‘Assassins’ is one of Stephen Sondheim’s lesser-known works. The one-act ‘revusical’ bends the laws of place and time, intertwining the lives of these dark individuals in a world where they interact, communicate and share one common goal: to assassinate the President of the United States.

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Director Isaac Brown cleverly utilised the stage. His blocking choice and character direction were spot on and his use of the set and props enhanced the storyline. The execution of Guiteau was a very clever directorial moment. Brown’s director was well-thought out, energetic and visually-striking.

Musical director and conductor Ben Richards deftly led the music for this production. The ensemble numbers and solos were vocally strong and the orchestra dynamic. As notoriously difficult as Sondheim is, with Richards at the helm the musical timing and melodies never fell short. The only drawback was diction at times could have been better. With such a wordy score, some of the lyrics were hard to understand. The orchestra brought the delightful element to this show of live music which, in community theatre is such a wonderful privilege.

Lighting design by Chris Art, Donovan Wagner and Isaac Brown was exciting. The use of lights positioned in unique places enhanced the mind and space altering premise of the show. There was also a slight carnival undertone of the show which was made more immersive with the lighting design.

Set Design by Isaac Brown was truly inspired. The construction of the set utterly fit with the theme of the show. The American flag painted on the floor, multi-level stage and exposed orchestra were truly perfect for both the venue and the show. Not only visually appealing, but the set design was also incredibly practical and worked seamlessly with Brown’s blocking choices.

Costumes by Trinette Avery were realistic and fit the many decades from which the characters originated. The Proprietor’s costume was the most impressive, as was Fromme’s infamous red cape.

Michael Lewis excelled as John Wilkes Booth. As the first and arguably most important assassin, Lewis embraced the character, accent and persona of Booth with commitment. His voice was beautifully suited to the role, his rich dulcet tones bringing the music to life.

Mark James played Charles Guiteau with gusto. Again, fully embracing the character and imbuing personality into the role. His vocal performance was also very strong.

Matt Bennett played Leon Czolgosz convincingly. His strong accent was consistent throughout and his scene with Julianne Clinch was tender and believable. Andrew Kassab as Giuseppe Zangara and Nicholas Hargreaves as John Hinckley both also embraced their characters and gave committed performances.

Dan Konstantinos was wonderful as Samuel Byck, the depressed Santa Claus. His performance was disturbingly funny and his accent once again flawless.

Amelia Burton as Lynette Fromme and Alison Pattinson as Sara Jane Moore were the only female assassins in the show. Their scenes were dynamic and Pattinson provided comic levity in a show that is so heavy.

Adam Goodall was a breath of fresh air as the Balladeer. He appeared between the scenes, sometimes singing to the audiences and at other times interacting with the characters, acting as a quasi-narrator. Goodall vocally excelled in this role.

Michael Ware played the Proprietor, who among other things, takes on the role of the various presidents. His character served almost as a death knoll. When he appeared, the audience knew another assassination was near. Ware commanded the stage with presidential authority and commitment to the character was unwavering.

The leads were supported by a small but capable ensemble, including child Addison Kallio who played Billy. At such a young age, Kallio did remarkably well including in her solos.

Overall, Beenleigh Theatre Group’s ‘Assassins’ assembled a very talented cast of performers in this niche Sondheim show. Led by a talented director unafraid to take theatrical risks, this production pushed boundaries both creatively and with its subject matter. Though the show is by no means a classic musical, this production is worth seeing, if not for the wonderful creative talents that are on display.

'One Flew Over The Cuckoo’s Nest' - Ghostlight Theatre Co.

‘One Flew Over The Cuckoo’s Nest' - Ghostlight Theatre Co.

Review by Aaron Evans | 23 September 2023

In the deep bowels of an American asylum, a new patient named Randle McMurphy is forced into the bleak realm of an abused psychiatric facility that focuses more on power than mental health. As McMurphy tries to help his fellow inmates, Nurse Ratched is determined to return her order to her world.

This is an iconic piece of theatrical history, and director Susan O'Toole Cridland has delivered a magnificent interpretation perfectly. Cridland's use of choreographed scene changes keeps the audience enthralled with their uniformed, zombie-like approach to changing scenes as if everyone is trapped in their mental prisons - while her use of space and character work generates a captivating piece of theatre. Using stylised imagery to show the 'treatments' was a lovely touch. The blocking felt like a natural progression throughout.

The acting in this piece drew us all in. Each performer kept the audience invested in the story. Jon Darbro as McMurphy delivered an outstanding, award-winning performance of a man trying to survive in the system. Darbro related to the audience and ensured each moment he had was not wasted. The contrast is Izabela Wasilewska's cold Nurse Ratched, who perfectly gaslighted all the actors into following her way. Richard Rubendra, as the Chief, gave a powerful performance that gripped us throughout. Yasmin Elahi and Janelle Kerr stole their show in the party scene with great comedic and dramatic showings for such minor roles.

While all the other staff gave great performances and the inmates respectfully gave incredible showings, the show's highlight was Julia Cox as Billy. Cox was a relatable, loveable inmate who immediately got the audience's sympathy. Cox's commitment captivated me throughout. From little facial expressions to body language, Cox delivered an unforgettable performance.

The set may have appeared simple, but using the other stage for the doctor's area was a nice touch. The colouring of the walls gave a false sense of ease. Lighting and sound packed a punch that flowed effortlessly with Cridland's vision of the play. From the breakage of the electronics to the live microphone, the added level it delivered was fantastic. Costuming made the piece's authenticity relatable with great staff uniforms and bland inmate uniforms. The added colour for Candy Starr and Sandra gave a visual hint of who these people are.

Though the show has closed, it was one people should have seen. How this production addressed mental health and individuality made the show essential and relevant to how mental health can still be seen. Ghostlight rose to the occasion, delivering detailed and nuanced performances. I thoroughly enjoyed the immersive experience of 'One Flew Over the Cuckoo's Nest.'

'Twelve Angry Jurors' - Ipswich Little Theatre

‘Twelve Angry Jurors' - Ipswich Little Theatre

Review by Susan O’Toole Cridland | 17 September 2023

Following the closing arguments in a murder trial, twelve jury members must decide the fate of the accused – a young, inner-city teen accused of murdering his father. With two witnesses, no credible alibi and physical evidence stacked against him, this should be an open and shut case. So when one man stands against the others, tensions rise to the surface and hidden agendas are revealed as the juror’s morals and values are called into question.

Director Aaron Evans and I can certainly relate on what an incredible text this is.Having directed this show last year, I wasn’t sure what to expect. Could I be impartial? Could I let go of my own ‘vision’? Would I start reciting the dialogue? What I was met with was a reminder that the beauty of art - it really is in the eye of the beholder. Evans’ production was so very different from what I knew. From the script to the staging to the vastly differing characters.I was sold from the moment I walked in the door and was met with the twelve jurors already in the jury room.Having not yet had a proper look at the program, I found myself trying to guess which juror was which based purely on facial expressions, body language and costume. I really enjoyed the playful take on your usual ‘housekeeping’ announcements being presented as though we were also jurors and our bailiffs were laying out the way of the land for us.

The set was simple but effective – Evans’ clever decision to stage this show in the round allowed us to really feel like we were in the same room as the jurors. The stage is small compared to others – only 4 x 4 and yet the staging didn’t at any time feel cramped. Evans’ clever use of various bits of space throughout the theatre allowed the jurors to move freely and naturally. Not limiting the actors to being seated only around the table allowed for us to witness the different dynamics of the developing relationships – whether they be good, bad, or downright ugly.

This show is very much an ensemble piece and really relies on each actor being fully present at all moments throughout the entirety of the play – and this team of performers delivered just that. For the most part, performances were extremely measured with some delightful shifts in attitude, opinion and mindset. You could literally hear the audience gasp in surprise as each new twist and turn was revealed and I was left with no doubt that every audience member was enthralled. This is not an easy feat in such a dialogue heavy script. Special mention must go to Adrian Carr, Jason Nash and Shane Mallory who played Jurors 3, 8 and 10 respectively. Carr and Nash were worthy adversaries to each other as they often went head-to-head in their verdict. Both these roles are incredibly easy to over play and lean towards a stereotypical ‘villain vs hero’ but Evans’ direction and the two actors’ commitment to their roles ensured that the characters were delivered truthfully and honestly, whilst still allowing their passion in their conviction speak volumes. Mallory as Juror number 10 really took us on an unpleasant journey of becoming more and more unlikeable. As the show progressed, number 10 unveiled his true bigoted colours. It’s no easy feat to play such a divisive character with such authenticity, but Mallory made no apologies and held back no bars in this role.

It's easy to see why this piece has become a favourite for so many. It is story telling in its very essence. The audience is taken on such a wild ride from beginning to end in this production, with talented and committed direction and acting. The season may have sold out but do yourself a favour - reach out to Ipswich Little Theatre to see if you can get on a wait list or if there are any groups that may be able to offer you to purchase one of their tickets. I promise, you won’t regret it. But you don’t want to be guilty of not at least trying.

'The Friday Night Effect' - Underground Theatre Company

‘The Friday Night Effect' - Underground Theatre Company

Review by Grace Wilson | 28 August 2023

Underground Theatre’s production of The Friday Night Effect was a delight to witness. The show follows the story of three friends, Colette, Jaime and Sadhbh on a wild night out, but by the end of the night Colette will be dead. This interactive show took audience members on a hell ride through choices and disastrous consequences that led to a loud and rowdy audience that was shocked and moved by their peers' choices.

Jordon Riley’s direction of this piece is to be commended - bringing a bright spunk to the show and seamlessly integrating traditional theatre practices and interactive audience involvement. Character movement and use of space were utilised effectively within this direction, and each movement section was intentional which should be applauded. This direction was supported by an incredible and effective set design, utilising a strong green and pink colour scheme which gave strong retro funk vibes that set the tone of this piece. The use of several retro TV screens at the back of the stage, which were used to prompt audience choices, elevated the set design and immersed the audience completely. Lighting, sound and costuming should also be commended in this performance. Light and sound changes indicated a change in time and place and costumes that felt real and relevant to the characters pulled this performance together.

But it was the actors who brought this show to life - a stellar cast who put their all into this show. Cherie McCaffery, Grace Lofting and Roxanne Gardiner played with such an incredible connection to each other that it felt as if we were in the lounge with these girls. Their relationship and chemistry drew the audience in and led them into a false sense of security. Gardiner’s portrayal of Jaime was sophisticated and fun, portraying the more mature girl in the trio, and making the audience yearn and laugh in many areas of the play. Assisting Gardiner was an equally strong portrayal by Lofting with the character of Sadhbh, a young sex worker who deeply cares for her friends. Balancing the internal struggles of someone dealing with alcoholism and her intense feelings about her work and her boyfriend, Lofting gave an impressive and well-thought-out portrayal of this character. Finally, McCaffery’s performance as Colette was incredibly intense and well-structured. To portray a young girl living with bipolar disorder and an abusive relationship while also simultaneously showing episodes of extreme highs and lows shows the commitment of McCaffery to her character. Supporting the three leads were comedic and strong performances by Ziggy Enoch and Lucas Stokes who played some of the men present in the girl's life. Enoch’s switch from the abusive boyfriend Brian to street robber in the streets of The Valley was impressive to witness and caused outrageous delight to the audience. Stokes' performance as Jerry, the older lover of Jaime, was strong and captivating - almost providing a moment of brevity to several of the hectic moments in the play. This cast of five together had such intense chemistry and connection, it was hard to fault any area of the performance.

Overall, Underground Theatre Company’s production of The Friday Night Effect showed just how incredible student theatre can be. An incredible cast equalled with an equally impressive technical crew delivered such an impactful show that it was hard not to walk away without asking yourself: ‘What would you do?’

'Item' - Metro Arts

‘Item' - Metro Arts

Review by Yasmin Elahi | 17 August 2023

Dance Masala inhabited the New Benner Theatre this month in a contemporary dance show that promised to challenge the romance and romanticism of Bollywood. ‘Item’ was part dance, part discourse in a 60 minute show that oscillated between love and rejection and revealed everything which glitters is not always gold.

The stage was bare, except for an intricate hanging tapestry which served as the backdrop and projector screen. Lighting by Steven May enhanced the

dancers on stage. His use of swirling projections, strong reg lights and spotlights punctuated the choreography and enlivened the action.

Director Lisa Fa’alafi intertwined video projections, recorded interviews and live dance numbers, choreographed by Andrea Lam, to convey the intended message of the show. The concept of the show was unique and relevant for today’s more socially conscious society.

The opening number was clearly a love letter to Bollywood movies and all they encompass. However, as the evening wore on the audience was introduced to the more sinister side of Bollywood. Lifting the curtain on common practices, marginalisation and dangerous messages of consent, the dances became more serious, the moves less joyous. After bringing the audience to such a place of awakenment, they were abruptly thrust into the finale, which again sung the praises of Bollywood movies and all they encompass.

The structure of the show was somewhat problematic. Though technically, the projections and live performances blended seamlessly, the recorded content was lengthy and outweighed the dances. Audiences attend live theatre to see live performances, not watch a screen. Though the choreography for the dance numbers was well thought out and the opening number began with a bang, other times it felt repetitive.

Dancers Janaki Gerard, Mugdha Khatavkar, Andrea Lam, Ashwin Singh and Angela Nair Skinner performed well together and used both their acting ability and dance experience to convey emotion through movement. The audience interaction was unexpected but brought levity to the evening. Bringing audience members on stage to join in the curtain call was perhaps the highlight of the evening.

Overall ‘Item’ was an eye-opening and educational show about the reality of Bollywood. Though the balance between recorded content and live performances was problematic and the takeaway message confusing, it was an informative evening that will have audiences thinking twice next time they see a Bollywood movie.

'The Addams Family' - Phoenix Ensemble

‘The Addams Family' - Phoenix Ensemble

Review by Yasmin Elahi | 4 August 2023

Phoenix Ensemble’s Tin Shed is alive with the undead for their production of ‘The Addams Family’. Directed by Shane Webb, this musical version of the classic TV show is equal parts gloom, laughter and heart.

Wednesday Addams is all grown up and has found her first love, a bright and bubbly Ohioan named Lucas. When Lucas’ parents meet the Addams, accompanied by their undead ancestors, it turns into one memorable dinner

party. With music and lyrics by Andrew Lippa, ‘The Addams Family’ boasts a soundtrack of memorable tunes and powerful ballads.

Direction by Shane Webb was subtle and loose. Memorable moments include the opening number and the use of the table in the ‘Full Disclosure’. Choreography by Isabelle Quayle was contemporary with a hint of the macabre. The best choreographic moments were those which heavily characterised the undead qualities of the ancestors. Musical direction by Nicky Griffith, assisted by Lily Colmer, was outstanding. The ensemble numbers and each of the solos were musically superb and the orchestra was flawless throughout.

Lighting design by Maddy Bosanko was clever and the use of shadows and darkly coloured lights to conjure up the mood of the Addams family manor was well thought out. Set design by Breanna Gear was gothic. The moving pillars were a clever piece of set design, as was the staircase. The immersive set design, which stretched across the walls of the theatre, and the subtle Ouija board on the stage floor highlight Gear’s attention to detail.

Alex Smith triumphed as Gomez Addams. His comic timing and tender, genuine affect towards his wife and Wednesday made him an instantly likeable character. Matched with Smith’s beautiful vocals, he was a pleasure to watch. His rendition of ‘Happy Sad’ was easily the most moving number of the show.

Kate Retzki was an elegant Morticia. Her poise and grace gave her a regality, though at times she seemed perhaps a touch happier than the icy Morticia is classically played. Regardless, Retzki embodied the character physically and vocally and was a good deadpan foil to Smith’s comedic Gomez.

Micheal Enright was outstanding in the role of Wednesday Addams. They did not put a foot wrong and gave a showstopping performance. From their physical characterisation, embodiment of the character and stage presence, Enright stole the spotlight in every scene they were in. Vocally, they excelled in every number with ‘Pulled’ an especially triumphant moment. Enright as Wednesday Addams is a performance not to be missed!

Jeremiah Rees excelled in the role of Pugsley Addams. As the youngest member of the cast, Rees delivered a wonderfully confident performance. His singing and characterisation matched that of his adult co-stars.

Kurt Schouten charmed as Uncle Fester. As the audiences’ guide throughout the evening, Schouten may not have had a large role but his appearances were memorable. His rendition of ‘The Moon and Me’ was both comedic and stirring.

Ange Schoemaker embraced the role of Grandma. Her physicality and acting choices made her exceedingly convincing as an elderly, slightly unhinged woman. She embraced the role with gusto and contributed to the creepy, gothic feel of the show. As did Jo Burnett as Lurch. For a role with few lines, Burnett made a strong impression when on stage.

Chloe Jones was beautiful as Alice Beineke. A ray of rhyming sunshine, Jones had a voice as sweet as her character’s sunny disposition. Her rendition of ‘Waiting’ was incredibly powerful and she blew the audience away with her exceptional vocals.

Michael Chazikantis as Mal Beineke was a wonderful foil for Jones’ Alice. The chemistry on stage between them was believable and their scenes heartfelt. Together with James Bird as their son Lucas, the three actors formed an all-too-perfect family. Bird’s performance was full of youth and energy and he complimented Enright’s strong Wednesday well.

Overall, Phonenix Ensemble’s ‘The Addams Family’ was a creepy and kooky night out. Though at times the direction seemed unrealistic and the ensemble slightly messy, that did not take away from the exceptional performances of the leads. The talent contained within this one cast is not to be missed in a show that will have audiences clicking their fingers all the way to the safety of their own homes.

'Beethoven and Elgar' - Queensland Symphony Orchestra

‘Beethoven and Elgar' - Queensland Symphony Orchestra

Review by Grace Wilson | 29 July 2023

Saturday the 29th of July was alive with the sound of music at Queensland Performing Arts Centre with two performances of ‘Beethoven and Elgar’ by Queensland Symphony Orchestra - a tribute to some of the greatest composers of the West. For 90 minutes, Brisbane audiences were treated to three selected works that ranged in composition and tempo from Ludwig van Beethoven and Edward Elgar. Joseph Swensen delighted patrons at both the .

matinee and evening show, and the venue was buzzing with anticipation from all ages.

Beethoven’s Overture to Egmont, Op. 84, opened the night with a musical conversation between the ensemble to set the mood. Flourishes of different sections, from the woodwinds to the strings, gave context to the original performance of this piece - as incidental music within Goethe’s 'Egmont', a stage play about the Spanish rule over The Netherlands in the 16th century. Written to accompany this triumph of a story, the piece follows through the natural movement of highs and lows of the play, before ending in a huge flourish of strength and power that shook the full house.

Following this, Beethoven’s Concerto No. 1 in C for Piano and Orchestra, Op. 15, led by talented pianist Jayson Gillham, brought the house down to a more light but hopeful focus on the piano (Beethoven’s specialty). Gillham was the star of this piece - intense artistry that was well supported by a vibrant ensemble that kept the audience on edge. Bubbly and airy, this piece showed off the skills of the pianist through the Allegro con brio movement, decorated by flourishes of stringed solos that heightened the mood of the piece. The Largo brings an even lighter moment of brevity to the piece, with soft piano solos accompanied by strings that tug on the heartstrings. Finally, the concerto ends with the Rondo: Allegro, a fast and lively piece that contrasts the previous - moments of call and response partner with decorations that show off Gillham’s talent. After a strong finale and several rounds of applause, Gillham offered an encore that finished off Beethoven’s concerto in a timely fashion.

Following this concerto was Edward Elgar’s Symphony No. 2 in E flat, Op. 63. The piece opens with a similar Allegro vivace e nobilmente, a noble quick energy movement that contrasts the delicacy and also the ghostly tones of the strings. This leads perfectly into Elgar’s Larghetto movement: a funeral theme that brings together the richness of the strings supported by the heartiness of the brass. The following Rondo snaps the audience back into shape, fast and upbeat, carried by the woodwinds and strings. The final movement, Moderato e maestoso, brings back the artistry and delight of the first movement to top off this hour-long delight of a work. A story carried by pure symphonic momentum left the audience wanting more.

Overall, the Beethoven and Elgar concert held by Queensland Symphony Orchestra was a journey of music across the West. Both pieces were carried and performed with craftsmanship and artistry that impacted the audience and left them with a finer appreciation for two of the world’s most influential composers.

For more information visit www.qso.com.au

'Top Girls' - Ad Astra

‘Top Girls' - Ad Astra

Review by Yasmin Elahi | 22 July 2023

The latest production at Ad Astra’s black box theatre is ‘Top Girls’ by Caryl Churchill. The play, which centres around the constructs of feminism and the sacrifices a woman makes for success, was appropriately staged by a totally female-identifying cast and production team, led by director Mikayla Hosking.

Top Girls’ is an interesting exploration into what it means to be a successful woman. Set in the late 1970s at a time when feminism was making waves, the

play begins with a dinner party of famous women throughout history, then transitions to England and follows the protagonist Marlene, as she climbs the corporate ladder. The storyline is non-linear and at times confusingly disjointed with a flimsy plot line. It ends rather unexpectedly with no particular resolution and leaves the audience somewhat underwhelmed.

Director Mikayla Hosking used the intimate space well. Her staging concept, especially her use of the curtains along the back wall, was inspired and led to impressive and effective scene changes. The plethora of characters were well developed and their interactions with one another natural. Her casting choices were perfect and Hosking should be proud of the stellar team she has assembled.

Costumes by Xanthe Jones were in keeping with the era and suited the various characters well. Lighting design by Claire Yorston was unobtrusive and complemented the action on stage. Her use of hanging bulbs to connote the feeling of an office was well thought out.

Aurelie Roque was outstanding in the role of Marlene. She took command of the stage from the second she stepped onto it and her presence was noticeable throughout, even amongst the hub-bub of the dinner party and the hustle and bustle of the office. She was believable as a powerful corporate climber and her accent was unswerving throughout. As the protagonist of the play, the audience was in safe hands with Roque, who served as the only consistent touchpoint in this perplexing play.

Natasha McDonald was equally as compelling in the roles of Isabella Bird, Joyce and Louise. Each of her characters were entirely different and she embodied each with dedication and aplomb. Her accents were equally as consistent as Roque’s and their scene together at the end of the play was unnervingly realistic. These two women were captivating to watch and easily stole the show. Their rapport with one another was comfortable yet tense (as familiar relationships often are) and both delivered complex, multi-layered and intriguing performances.

Chelsea Doran played Dull Gret and Angie with heart. Though she had few lines as Dull Gret, her physical embodiment of the character conveyed all that was required. As Angie, Doran’s intensity and fragility was endearing, yet there was a darkness brewing beneath. Her scenes were emotionally taxing and she drew the audience into her journey.

Anastasia Benham played Pope Joan and Mrs Kidd with gusto. Her portrayal of Pope Joan was enthusiastic and her monologue powerful. Benham brought a multi-layered performance as Pope Joan, skillfully balancing comedy and sincerity. As Mrs Kidd she was quiet and vapid but retained the same intensity. Benham portrayed the two completely different yet compelling characters with ease.

Emmy Moore, Brigitte Fremme and Jazz Zhao rounded out the cast. Each woman embodying multiple characters with a variety of accents and backgrounds. As an ensemble, the cast worked well together with chemistry and authenticity.

Overall, ‘Top Girls’ is a play that centres around feminism and the sacrifices that come with being a powerful woman. Though the script is confusing and the plotline unclear, this production was made special by its performers. The exceedingly talented women that took the stage and held the audience captive for two hours, as well as those working backstage, were the real top girls in this show. Their performances are not to be missed and this production has once again cemented Ad Astra as a major player for quality theatre in the Brisbane theatre scene.

'Children of the Black Skirt' - Lost Child Ensemble and The Curators' Theatre

‘Children of the Black Skirt’ - Lost Child Ensemble and The Curators' Theatre

Review by Yasmin Elahi | 13 July 2023

Angela Betzien’s gothic fairytale ‘Children of the Black Skirt’ was brought to life in the heritage-listed Christ Church in Milton by Lost Child Ensemble and The Curator's Theatre. The 19th century church served as a fitting location for this haunting show, which utilised the space in a unique way to bring a semi-immersive quality to the production.

‘Children of the Black Skirt’ follows the story of five children who stumble upon an abandoned orphanage. Whilst playing dress up with the tattered clothes they discover, their bodies are inhabited by spirits of children from the past, who share their stories and are released from their forsaken childhood.

Director Helen Strube used the space in an alternative way. Utilising the entire length of the church, chairs were arranged down each side. This enabled a much larger playing area for the performers and brough an immersive quality to the production. Unfortunately, sight lines from the back row were at times obstructed and the length of the performing area made it difficult to take in all the action. However, Strube’s use of the space was dynamic, deliberate and well thought out. Her unique use of the props and set pieces to conjure up the spirit world and enhance the children’s stories should be commended. The physical acting as well as spoken work was cohesive, polished and effective. Strube’s handling of the sensitive subject matter of the play was respectful and her directing choices did justice to the text. Her repeated motifs throughout the show brought cohesion and order to the play.

Set design by Bill Haycock enhanced the natural architectural beauty of the venue. His use of a monochromatic palette and the children’s sack-like costumes brought an authenticity to the piece. Special commendation to Rosa Hirakata for her design and construction of the black skirt costume; equal parts beautiful and terrifying, it was almost another character in itself.

Lighting design by Nathaniel Knight was powerful. His use of lighting outside the many windows of the church brought a realistic and unique element to the show. His use of the lighting within the theatre was subtle yet effective and complemented the action onstage without being obtrusive.

Soundscape by Peter Goodwin was layered. Australian native sounds blended with children’s whispering voices further reinforced the eerie, Australian gothic genre of the play.

Lisa Hickey was commanding as The Black Skirt, among other characters. The unique physicality of her characters was consistent and reliable. At times, her performance leaned into the farcical realm perhaps too much, taking away some of her power and chilling presence. Overall, Hickey embodied The Black Skirt, Harold Horrock and Lost Child with commitment and dedication. As a role that is mostly silent, Hickey’s ability to act through her face and body to convey a story is to be commended.

Malika Savory played the New One and others with naivety and tenderness. Her transitions into other characters were obvious and each character she played was distinct from one another. Savory imbued her performances with a haunting and ethereal quality which was quite mesmerising to watch.

Vivien Whittle played the role of Maggie and others with dedication. Her accents were confident and consistent and her stage presence was powerful. Her raw, emotional portrayal of the mother whose children were taken was heart wrenching.

Special commendation to Mikeal Bobart and Shahnee Hunter who stepped into their respective roles with 8 days’ notice. It was impossible to tell they had only recently joined the production. Bobart’s acting ability and accents were flawless. She portrayed her characters with gusto and energy. Hunter played the Old One and others with sensitivity. Again, both of these performers did an exceptional job stepping into their roles with such short rehearsal time. Each did not miss a beat and formed and integral part of the play.

As a whole, the ensemble was cohesive. Their rapport and connection, both verbal and physical was believable and contributed to the haunting and profound impact of the show.

Overall, ‘Children of the Black Skirt’ was powerful. The directing was innovative and engaging, with the actors believably encompassing the many facets of their various characters. The set, lighting and costume design subtly complemented the gothic theme of the play. A profound piece of theatre which sheds light on Australia’s past in a haunting and engaging way and leaves the audience food for thought.

'The Cemetery Club' - Nash Theatre

‘The Cemetery Club’ - Nash Theatre

Review by Susan O'Toole Cridland | 7 July 2023

Merthyr Road Uniting Church at New Farm is home to Nash Theatre – a community theatre group that has been a New Farm local since 2007. Nash Theatre was founded in 1994 and has a known reputation for putting on excellent theatre. And it’s no wonder with the combined theatrical experience of its committee alone. Something I personally really love about Nash is not limited to its commitment to putting on high quality local productions, but also it’s genuine support of the local community theatre scene in South East Queensland.

Their latest production is Ivan Menchell’s ‘The Cemetery Club’. This play was first performed in 1990 and has certainly lasted the test of time with its themes, humour and connections still relevant and resonating today. The story is set in a Jewish community in Pittsburgh and is centred around 3 lifelong friends and, in more recent times, widows – Ida, Lucille and Doris. The three friends meet every month for tea and then go and visit their husband’s graves at the cemetery. A tradition that all three women are starting to have differing opinions on. The catalyst for change comes in the form of Sam – a local butcher and fellow widow who forms a connection with Ida that the other two find worrying.

Director Phil Carney has a wealth of experience, having been part of both professional and community theatre for over 45 years. Phil has always been passionate about the industry, its people and the stories they want to tell. His technical expertise certainly lends itself to being in the director’s seat as he has that combination of skills and experience that really does mean he can create a picture from start to finish that matches his vision. Carney makes good use of the stage, moving his actors around with confidence and ease, allowing the humour to speak for itself and allowing smooth transitions from Ida’s living room to the cemetery.

Carney is also all things designer for this show and is responsible for the lighting, sound and set design. Lighting and sound is simple yet effective and allows us to focus on the story and characters. The set is quite simply stunning. From the moment you walk into the theatre, you feel like you are in someone’s home – and you feel welcome in their home. From the wallpaper to the photos on the mantle and the elegant crystal on the sideboard, the attention to detail that was put into creating this home did not go unnoticed. As mentioned above, Carney’s technical expertise really shines through here. (Mention must be made to the thought given to the programme as well, with John Stibbard cleverly incorporating that feeling of opening the cemetery gates into the design)

The three women who took on the roles of Ida (Claire Marchesi), Lucille (Linda Morgan) and Doris (Carrie O’Rourke) do a fine job in owning their individual characters and the audience knows from their first words who is going to be our sassy one, our sensitive one and our sensible one. Despite the title of the show, and the seemingly sombre theme, 'The Cemetery Club' is written as a comedy and there are some absolute cracker one liners in this show. Morgan and O’Rourke appear to have the majority of these zingers and for the most part deliver them with wonderful timing and acerbic wit, causing many laugh out loud moments. They both also seamlessly transitioned into more serious notes where the script required. Marchesi, in comparison, brought a softness and gentle side to Ida that was an excellent contrast to her main co-stars. Although she did definitely bring a hidden feistiness out when it was needed.

I am not sure if it was a case of preview night nerves or some dropped lines, but I didn’t instantly see the connection between the three women. It certainly built up to it and was evident by the end of the show, but I personally would have liked to have seen a little more eye contact and physical comfortability between the ladies and a slightly quicker pace in their interactions to allow the audience to pick up on their shared history and strong bond from the very start. That said, I suspect that the cast will settle into this as the run goes on. When they do achieve this connection, they do it very well – their post-wedding drunken shenanigans in particular being a highlight.

Matt McNeice as Sam and Silvana Siliato as Mildred nicely round out this cast. McNeice’s portrayal of Sam’s clumsiness as he stumbles back into the world of dating was particularly endearing. Siliato only appears briefly on stage but as they say, there are no small parts, only small actors. Given that the presence of Mildred provides pivotal tension (although she is oblivious to this), Siliato ensures her time on stage is memorable without taking any focus away from our leading ladies.

'The Cemetery Club' was a great night out. After a long week at work, this was good for my soul. Despite the cold weather, this show warmed my heart and delivered lines that I am still laughing at as I think of them. If you are after a night out where you can grab a (very reasonably priced) wine, or even a hot chocolate, and be taken on a rollercoaster of emotions but still come out smiling, then this is definitely the right show for you. I strongly encourage you to get out and see this one – and support this incredible local community theatre.

To learn more, visit www.nashtheatre.com

'Trilogy' - Queensland Ballet

‘Trilogy’ - Queensland Ballet

Review by Nicky Whichelow | 23 June 2023

The presentation of triple bills, featuring three shorter original works in one evening, has long been a staple in the international ballet repertoire. What makes this genre so enticing and invigorating is not only the diversity of entertainment it offers, but also the platform it provides for choreographers and composers to embark on personal creative journeys, unlocking their passions and exploring uncharted territories.

Australian Choreographer Jack Lister's creation, ‘A Brief Nostalgia’, exemplifies this artistic exploration. This abstract work delves into the depths of our memories, unveiling elements of the psyche. Lister's vision, as he eloquently puts it, is to evoke the sensation of "feeling something, knowing something, then letting it drift away again," while recognizing that being lost can sometimes lead to unexpected self-discovery. Dark and foreboding in content, what truly impressed me about this presentation was the grandeur and complexity of the staging and visuals, transporting the audience to another realm in true theatrical fashion. Additionally, the intricate contemporary score by Scottish composer Tom Harrold, performed by Camerata - Queensland's Chamber Orchestra under the direction of Music Director and Principal Conductor Nigel Gaynor, was a truly unique auditory experience. It is evident that creating and rehearsing this piece was an immense, time-consuming task which makes the overall achievement all the more remarkable. The combination of Lister's choreography, Harrold's score, and the musicians' captivating performance resulted in an overwhelming yet mesmerizing experience.

In stark contrast, ‘Rooster’, the second presentation, choreographed by the renowned international choreographer Christopher Bruce, offers a visual interpretation of a selection of The Rolling Stones' early hits. Utilising the original recordings and lyrics as inspiration, Bruce captures the essence of life in the 1960s and 1970s, a time that holds personal significance for him. Set on a bare stage, this delightful and humorous work showcases the talent of a master choreographer, intertwining the antics of chauvinistic young men with bemused females, creating a captivating interplay of imagination, colour and unique choreography. As Bruce himself describes it, "a battle of the sexes" unfolds before our eyes. This presentation exemplifies the aspect of dance that drew me into its world—an embodiment of personal nostalgia—and serves as a compelling must-see even for those who may not consider themselves fans of the art form.

The final production, choreographed by European Artistic Director Cathy Marston, beautifully translates Stella Maria Sarah Miles Franklin's 1901 novel, ‘My Brilliant Career’, into the language of dance. Set in the Australian outback and depicting the dreams and aspirations of a teenage girl and her impact on the lives of those around her, the ballet is a complex portrayal filled with uncertainty. The central character, Sybylla, is portrayed by two dancers, Syb and Bylla, who skillfully convey her conflicting emotions through meticulously crafted movements. The high level of professionalism demonstrated by the dancers, as well as the dedication of the designers and production crew, greatly enhanced the experience. Moreover, creating a 45-minute ballet score from scratch is no small feat, and Matthew Hindson deserves praise for composing a score that adeptly captures the atmosphere and character of the work while propelling the story forward. Nigel Gaynor's musical direction also deserves recognition for maintaining a tight and accomplished performance, keeping both the orchestra and dancers in perfect harmony.

Overall, Queensland Ballet's 'Trilogy' showcased a diverse range of artistic expressions, demonstrating the company's commitment to pushing the boundaries of ballet. Under Li Cunxin's leadership, Queensland Ballet has flourished, and although his impending departure is unexpected, the company is well-equipped to continue its journey of success. With a strong foundation, world-class productions and a talented ensemble, Queensland Ballet is poised to thrive and continue attracting international acclaim in the years to come.

To learn more, visit www.queenslandballet.com.au

'Break' - Metro Arts

‘Break’ - Metro Arts

Review by Alexandra Murray | 23 June 2023

To see a production at Metro Arts is truly a unique experience. The venue, tucked away in West End’s West Village, is sleek and modern meets edgy and industrial. As you enter the New Benner Theatre within Metro Arts, you descend several flights of stairs underground, before making your way through dark hallways, streaked with light, and into the mysteriously low lit theatre. ‘Break’ is still to begin, yet the journey into the theatre has been an experience in itself.

‘Break’, by Cecilia Martin and The Farm, is an autobiographical one woman show that tells the story of Cecilia, an ambitious acrobat, as her body reaches breaking point. Two broken wrists and an abandoned career later, Cecilia is left questioning if passion is enough to sustain a career in a physically demanding and unforgiving industry. As both the creator and star of the show, Cecilia invites us into the inner workings of her mind in a deeply personal and provocative work that highlights the interconnected nature of physical and emotional health.

Directors Kate Harman and Gavin Webber perfectly craft a performance that is a symphony of theatre, dance and circus. Traditionally, circus is a medium that provokes joy and conveys beauty; however, the circus elements of ‘Break’ have quite the opposite effect. At the top of the show, Cecilia removes her gold, shimmering acrobat costume, signalling to the audience that she is shedding the facade of circus and is going to use her art form to showcase her most vulnerable self. Cecilia’s various circus acts, which range from spinning plates to complex acrobatic stunts, convey both the wonder of circus and the crippling pain that it has forced upon the performer since the age of 13.

As far as picks for the star of a one woman show, Martin is an excellent choice. Her performance is mesmerising; even in the show’s quietest moments, the audience is transfixed on Martin’s every breath. It is clear that Martin has meticulously thought out each and every movement of her body, yet she appears to move with an effortlessness that most performers strive for their entire careers. ‘Break’ features a surprising amount of audience participation for a one woman show, which does cause the performance to lose momentum at times; however, it is hard not to applaud the creative risk of the decision, and for the most part, Martin handles the awkwardness with ease.

Whilst ‘Break’ is far from a musical, sound designers Ben Ely and Anna Whitaker thoughtfully use music throughout the play to reflect Cecilia’s deteriorating mental state. Furthermore, a sparse set with minimal props paired with Briana Clark’s engrossing lighting design creates an immersive theatre experience where the lines between stage and spectators are constantly blurred.

Whilst ‘Break’ has some creases that will certainly be ironed out over the course of its run at Metro Arts, it is a play that should not be missed. Cecilia Martin is certainly one to watch, and it was an honour to take a seat inside her mind for 60 raw, brilliant minutes.

To learn more, visit www.metroarts.com.au

'Proof' - Ad Astra

‘Proof’ - Ad Astra

Review by Madeleine Johns | 16 June 2023

If you haven’t been to Ad Astra before then you are in store for quite a treat – this unique and cosy little theatre hidden away in the Valley is simply waiting to welcome you to a unique and immersive theatrical experience. When entering the theatre, you are immediately drawn into another world – the backyard and deck of a run-down home in Chicago. The set draws you in immediately and while simple, is extremely effective in setting the scene for what is to follow.

‘Proof’ is a Tony and Pulitzer award-winning play written in 2000 which centres around Catherine – a troubled young woman who struggles with mathematical genius and mental illness. We move quite smoothly backwards and forwards in time throughout the play. The play opens with Catherine sharing a birthday drink with her father, Robert - a mathematical genius and Professor at the University of Chicago, only to discover that Robert has just passed away. Catherine has been caring for her father during the latter stages of his life through mental illness. Enter Hal – an ex-graduate student of Robert’s who is looking through the work Robert has left behind in the hope of finding something to publish. He and Catherine are immediately drawn to one another. The last character we are introduced to is Claire – Catherine’s sister who lives in New York and who has returned for Robert’s funeral and to sell the family home and take care of Catherine.

Hal discovers a paradigm-shifting proof about prime numbers in Robert’s office. Hal is not sure who is the author of the work as Catherine has similar hand-writing to Robert. The play explores Catherine’s fear of following in her father’s footsteps, both mathematically and mentally and her desperate attempts to stay in control. The title – ‘Proof’ – refers both to that proof and to the play’s central question – can Catherine prove the proof’s authorship?

The play itself is very wordy and the topic somewhat esoteric - is the lack of prominent women in maths a gender bias or prejudice? Are genius and madness really aligned? Act One rockets along introducing the characters and the story, whereas in Act Two we do get somewhat bogged down by these esoteric questions. Auburn clearly wants this to be a story where mathematical and emotional equations collide and he throws everything at it – flashbacks, sibling rivalry, guilt and a ghost – but the play lacks some elegance and we find the central questions are never really answered.

Catherine, played by Janaki Gerard, gave us a joyous and exuberant version of the puzzle of Catherine and she brought all the elements of the character to light in this performance – vulnerability, mental agility, confusion, love and tenacity.

Doll Hunt as Robert gave us a highly charged and commanding performance – allowing us into the vulnerability of his character in the later stages of the play.

Pierce Gordon as Hal, Robert’s ex-student, assisted us to see the layers of Catherine’s character by engaging with her romantically, by being combative with her in terms of who has written the proof and by being ultimately supportive and believing in her.

The performance I enjoyed the most in this production came from Aimee Duroux who played the older sister, Claire. Aimee swept on to the stage totally in command of every situation presented to her and added levity to the intense, pressure-cooker of emotions – she was sharp, biting through the difficult situations with humour and good-sense.

The lighting design by Justin Harrison was a highlight and elevated the script and flow of the play. The soundscape and original music by Tony Brumpton was unobtrusive and supportive to the story. Congratulations to first-time director Caitlin Hill – ‘Proof’ was considered, magical in places and certainly a great night of theatre.

For more information, visit www.adastracreativity.com

'Ordinary Days' - New Worlds Stage

‘Ordinary Days’ - New Worlds Stage

Review by Nicola Morrison | 16 June 2023

This week, Brisbane’s professional premier of ‘Ordinary Days’ has been brought to audiences by New Worlds Stage. Fortitude Valley’s Holy Trinity Church is hosting the intimate musical, reimagined as New York’s Time Square.

The sung-through show follows four young people, Deb, Warren, Claire and Jason, as they go about their ordinary lives in the big city. Through joy, heartbreak, curiosity and chance, their lives interconnect in unexpected ways.

With the help of storytelling tunes by American composer and lyricist Adam Gwon, the characters find extraordinary moments in everyday situations and take us on a small exploration of what it means to be human.

With a cast of only four, Musical Director Dr. Dan Jess and Stage and Production Manager Laraine Griffiths curated a wonderful performance and chose a high calibre of Australian talent to drive the story. The use of space created a clear sense of location and activity. Thoughtful staging throughout the show allowed for multiple stories to come to life simultaneously, without the audience losing track of where focus should lie. Some blocking decisions hid characters faces in shadow momentarily when they spoke.

Music direction specifically was well executed. Though mostly solo numbers, any harmony work in bigger numbers was well balanced and exemplary.

Pianist/ Répétiteur Alexandra Angus was excellent accompaniment and felt at times like an extra character in the close-knit cast. Her pacing and tone flowed through the show’s various emotions and shaped entire scenes.

Soung design, also managed by Laraine Griffiths, fluctuated throughout the night. When the piano and vocals were balanced, they swam in the church's acoustics quite perfectly. Unfortunately, this was not consistent, with varying microphone volumes sometimes losing words under the piano.

The lighting choices from designer Nathaniel Knight were simple and worked effectively in the small space. The changes were subtle enough not to draw any attention but aided in seamless transitions to a different scene. The close spotlight and blue hues during some more emotional solos were powerful in bringing the whole room into a single moment.

The set design was also uncomplicated, comprised of less than five well considered pieces. The park bench was able to double as a taxi seat, couch and balcony, not only because of thoughtful design but more so immersive acting.

Use of props by the actors could be improved, for example rapid movement of coffee cups that were ‘full’ as well as handling/folding of paper and books was distracting at times.

Costume design choices were well suited to the characters and plot. Plain and authentic costumes kept the audience immersed in the feeling that the characters are only normal humans on ordinary outings. Costumes reflected the approximate age of each character and hinted that the show was likely set ten years ago, without being too on the nose.

Daniel Kirkby started off the show by introducing us to Warren, a hopeful artist, who he played with care and charm. Kirkby had excellent audience engagement and interaction in the intimate venue.

Stephanie Williams played Deb, an anxious and fiery student, with great conviction. Her comedic timing was commendable. Her acting showed Deb’s character arc in a natural way, supported by strong vocals.

Chelsea Burton played Claire, one half of a couple coming into a rocky patch. Her performance was exceptional. She was consistently captivating and portrayed palpable emotions with a rare authenticity.

Cal Silberstein played Claire’s boyfriend Jason and did a superb job. He embraced the romantic character wholeheartedly and displayed clear, vibrant vocals. Together, their chemistry was quite believable.

Overall, ‘Ordinary Days’ is a highly entertaining watch that is sure to make you laugh and might just make you cry, carried by a small but highly accomplished cast who at times brought the energy of an entire ensemble.

To learn more visit www.neworldstage.au

'The Turquoise Elephant' - Observatory Theatre

‘The Turquoise Elephant’ - Observatory Theatre

Review by Yasmin Elahi | 2 June 2023

Converted warehouse, Studio 1 in Yerongpilly served as the venue for Observatory Theatre’s latest show ‘The Turquoise Elephant’. This absurd comedy, written by Australian playwright Stephen Carleton, is set in a post-modern world in the grips of climate change of apocalyptic proportion. The antagonist Basra is supplemented by a cast of quirky and overblown characters, all with hidden agendas and varying political views. The show uses

absurdism to convey the extend metaphor of its title turquoise elephant and provides social commentary on politics, climate change and extreme wealth.

Director Lachlan Driscoll assembled a talented cast for this production. Each actor embraced their character and was well chosen. Driscoll’s blocking choices were simple. At times movements felt unnecessary or unrealistic but overall the direction of the play was in keeping with the script. The choice to have actors deliver their lines to one another from different corners of the stage, which would otherwise be deemed unnatural, worked in the context of this play and formed some powerful tableaus.

Lighting design by Noah Milne was effective. The use of lights pointing towards the stage leant a post-apocalyptic and modern feel to the show. The tight spotlight on Augusta during her speech was visually domineering and enhanced the importance of the scene.

Set design was streamlined and practice. The large stone bust effectively indicated the family’s wealth. The futuristic coffee table served as a great area to store props, as well as a raised stage when stood on. Though minimal, the set conveyed what it needed to in the context of the show and provided a usable space for the actors to perform within.

Costume design was confusing. Augusta’s outfits were old-fashioned and reminiscent of those worn by Margaret Thatcher, while Basra’s clothes could have been off the rack of any department store. The other characters’ costumes were unremarkable. In a play that is so clearly absurd, there was a missed opportunity to play up the absurdism and apocalyptic landscape inherent to the story via over-the-top costuming.

Amanda McErlean embraced the role of Aunt Olympia wholeheartedly. It was obvious McErlean threw herself into this role and did not hold back in her performance, both physically and vocally. She provided many of the comedic moments of the show and was a vivacious and overly-optimistic contrast to Rebecca Day’s Basra.

Rebecca Day played Basra with heart. As the most serious of all the characters, she brought an earnestness to the role and her commitment to politics and climate change seemed believable. Day did well to keep a straight face during some of the play’s preposterous and downright disgusting moments.

Clarise Ooi played the role of Visi credibly. Her role was perhaps one of the hardest to portray, with limited lines and opportunity to grow her character. Ooi’s delivery of Visi’s impassioned speech - aimed at her fellow characters - was a powerful and vitriolic moment of the show.

Robert Wainwright was delightful in the role of Jeff. As the love interest and ultimate catfish, Wainwright brought a performance that was equal parts charming and sleazy. His accent was also a nice touch to the role and very consistent throughout.

Sandra Harman played the role of Augusta with gusto. As the matriarch, Harman commanded the other actors well and brought a regality to the role that was vital. Her monologue, presented atop the coffee table, was extravagant without being overdone. Harman straddled the border between absurd and cartoonish well, in a performance that was larger-than-life but still believable.

Overall, this show worked because of its strong actors. ‘The Turquoise Elephant’ is certainly not a show for everybody – a healthy regard for absurdism is required to enjoy and understand this piece. Serious monologues are combined with inexplicable dance breaks, characters are over-the-top to the point of caricature and the overall plot line does not ever seem to take off or reach a climax. The dialogue is witty but the show lacks a story arc. Though it runs for just shy of two hours, no great change or transformation occurs in the plot or the characters and there does not appear to be a resolution. There is nothing audiences are left with, no journey or takeaway. Arguably theatre, especially political satire, is about starting conversations however ‘The Turquoise Elephant’ merely serves as a slightly funny yet confused piece of entertainment.

To learn more visit www.observatorytheatre.com

'Broadway By The Beach' - Redcliffe Musical Theatre

and ROAR Academy

‘Broadway By The Beach’ - Redcliffe Musical Theatre and ROAR Academy

Review by Yasmin Elahi | 4 June 2023

To celebrate the end of the Moreton Bay Anywhere Festival, Redcliffe Musical Theatre and ROAR Academy put together a showcase of Broadway’s best musical numbers. As the premise of the Anywhere Festival is performances ‘anywhere but a theatre’, this closing event was set to be staged at the Redcliffe Amphitheatre - a wonderful and underutilised space on the Redcliffe waterfront.

'A Baroque Tribute' - Queensland Symphony Orchestra

‘A Baroque Tribute’ - Queensland Symphony Orchestra

Review by Grace Wilson | 2 June 2023

A Baroque Tribute by Queensland Symphony Orchestra combined the best of the best for an hour-long trip into the early era of baroque musicianship. Held on the weekend of the 2nd of June, QSO presented this tribute in the very intimate QSO Studio in South Brisbane, where the audience was only metres away from the performance. Despite a full house on the evening of the 2nd, every moment of the performance was intimate to the audience and the ensemble themselves.

'Cosi' - Ghostlight Theatre Co. and Redcliffe Musical Theatre

‘Cosi’ - Ghostlight Theatre Co. and Redcliffe Musical Theatre

Review by Nicky Whichelow | 26 May 2023

Così is a backstage farce that follows the misadventures of a group of misfits who are putting on a play: in this case, a group of asylum inmates who, under the direction of Nowra’s fresh-out-of-uni alter ego Lewis (Lachlan Boyes), mount a production of Mozart’s opera Così Fan Tutte, despite the fact that none of them can sing or speak Italian.

'Legally Blonde' - Mount Alvernia and Padua Colleges

‘Legally Blonde’ - Mount Alvernia and Padua Colleges

Review by Yasmin Elahi | 25 May 2023

Students from Mount Alvernia and Padua Colleges came together to present ‘Legally Blonde’. Directed by Susan O’Toole Cridland, this production featured over 80 students aged between 12 and 17.

‘Legally Blonde’ is a 2007 Broadway musical, based on the film with the same name. It follows Elle Woods, who enrolls in Harvard Law School in an attempt

to win back her ex-boyfriend. Along the way she meets new friends, finds a passion for law and uncovers her self worth. The show has quickly become popular with millennials, given its upbeat soundtrack and sorority feel.

Director Susan O’Toole Cridland cleverly incorporated a large number of students into this production. The blocking of the large cast was done in such a way that it did not feel excessive. The use of the ensemble of children in classrooms, courtrooms and as sorority sisters made sense and did not interrupt the flow of the storyline. Directing a school musical is very different to directing a show with adults. Given the young age of the performers and the limited rehearsals, O’Toole Cridland managed to direct a show that did not feel rushed or disorganised. With a cast of performers with varied abilities, O’Toole Cridland provided opportunities for all performers to be not only included but featured in the production.

Musical Director Daniel Allen and Choral Director Daniella Curcuruto handled the young voices well. The ensemble numbers featured harmonies and the leads had good command of their songs. Towards the end of Act Two there were some numbers where the cast perhaps didn’t know all the words but to their merit they continued singing and managed to get the song back on track.

This school production was privileged enough to have a live orchestra as accompaniment. Singing with an orchestra can be daunting but this cast, especially the leads, handled their live accompaniment flawlessly. Trevor Beyer’s management of the orchestra, comprised of a mix of students and past students, was dynamic and he accompanied the students with ease.

Choreographer Bonnie Howard created movements of varying difficulty, to complement the dance experience of the students. Her choreography was energetic and the students brought the high level of energy required to pull it off. ‘Whipped Into Shape’ and ‘What You Want’ were standout choreographic moments.

Sound design by John Taylor was adequate. However, several times throughout the show their was a delay in bringing up the microphones, so some of the beginning of songs and sentences were lost. A frustrating issue to have but unfortunately very common. Despite this, the sound levels were balanced and both orchestra and singers could be heard evenly.

Lighting design by Jasmine Kennedy was fantastic. The lighting enhanced the bright and bubbly mood of the show. Kennedy used a variety of coloured lights and washes which enhanced the set and costume design and created a spectacle on stage. The roving spotlights in ‘Blood in the Water’ which moved through the audience created an ominous vibe and echoed the sentiments of the song. The green stage wash in ‘Ireland’ transported the audience to the lush green pastures. Lighting was a standout element of this show.

Set design was unique. The use of rotating pillars and a box-like structure which rolled on and off stage to create various rooms was effective and allowed for quick scene changes. Risers and chairs to create the courtroom was very effective, as was the caravan façade that featured in one of the scenes.

Costumes were authentic. The decision to dress no one except Elle Woods in pink ensured she stood out and her signature style was not lost. The cheerleader outfits could easily have passed as professional and the orange jumpsuits equally as realistic.

Chloe Nettle embraced the role of Elle Woods. She commanded the stage with grace and style and handled the songs, especially ‘So Much Better’ which has a notoriously difficult ending, with confidence and gusto.

Oscar Lowe was charming and patient as Emmett Forrest. His rapport with Nettle was believable and their voices complemented one another. Lowe is a sincere actor with strong vocal ability.

Sarah Bensted embodied the role of Paula Bonafonte. Her comedic timing was on point and Bonafonte’s zest for life shone through. Bensted’s performance of ‘Ireland’ was rousing.

Hamish Stone excelled in the role of Professor Callaghan. From the moment he stepped on stage, he adopted the role of the stern law professor. His rendition of ‘Blood in the Water’ was the standout moment of the show and quickly made the audience forget this was a school musical. Stone is one to be watched – he will go far.

Jacob Bell as Warner Huntington III, Niamh Halfpenny as Brooke Wyndham and Grace Riley as Vivienne all gave convincing and justified performances. Halfpenny’s ability to skip rope and sing needs to be commended.

The ensemble enhanced the leads and supporting actors. They were featured in many numbers and added value both vocally and through their acting. Being an ensemble member is in some ways harder than being a lead, as they have to adopt a variety of characters in one show and this ensemble should be proud of the performances they gave.

Overall, Mount Alveria and Padua Colleges’ ‘Legally Blonde’ has raised the bar for school musicals. A cast of exceedingly talented children, an accomplished production team and high calibre set, costumes and lighting all contributed to a show that was enjoyable for the general public, not just those with children in the show.

'Cats' - Queensland Musical Theatre

‘Cats’ - Queensland Musical Theatre

Review by Yasmin Elahi | 20 May 2023

The Twelfth Night Theatre took on a rather feline energy this month as Queensland Musical Theatre’s production of ‘Cats’ moved in. Directed by Caley Monro and featuring a cast of over 30 talented performers, this show was a dynamic and faithful representation of the Andrew Lloyd Webber musical.

‘Cats’ bounded onto the West End stage in 1981. Featuring a fully-sung score and the actors dressed as cats, this show can be rather divisive. However,

with playful and rich orchestrations and feline-flavoured choreography, it is still regarded as one of the most popular musicals of all time, over 40 years later. It is wonderful to see Queensland Musical Theatre staging such a classic musical and judging by the rapturous applause and standing ovation, Brisbane audiences can’t get enough of this production.

Production director Caley Monro staged this production with care. Her blocking choices were dynamic and fast-paced and her decision to keep various cats onstage throughout the show brought the set to life in different and magical ways. There could have been a greater emphasis on feline movement. More attention to the way the actors were sitting and even holding their hands, with fingers curled instead of spread, would have connoted a

more cat-like feel. Monro’s use of thick smoke and fireworks in ‘Mr Mistoffelees’ made that a stand-out moment of the show.

Musical Director Michael Keen handled this show, which is virtually sung-through, with ease. The ensemble singing and harmonies were well-blended and the orchestra handled the score competently.

Choreographer Jo Badenhorst must be commended for the mere volume of dancing in this production. ‘Cats’ is known as a dance musical, however it felt as though Badenhorst inserted even more choreography. Every movement of every cat appeared to be timed and rehearsed. A mammoth task for any choreographer and Badenhorst succeeded with flying colours. Each number included different and varied moves and at no time did the dancing feel repetitive. The only criticism is that the choreography was missing that distinctive cat-like physicality. At times, there appeared to be a group of talented dancers on stage rather than a cluster of cats.

Set design by Gerard Livsey was inspired. The stage possessed the iconic junkyard look, complete with tyre. Livsey had incorporated different levels, areas for cats to climb and sit on and a unique platform that formed an integral part of the end of the show. Different entries and exits allowed the cats to sneak on and off stage slyly. Overall, a very well-conceived set design that was not only aesthetically effective but also practical.

Lighting design by Tom Dodds was commanding. The beams of light shining from above the actors connoted the feeling of starlight. Dodds’ illumination of various areas of the stage, while other areas were dark or dimly lit created an illusion of creatures lurking in the dark, usually cats. This crafted a mysterious and almost magical atmosphere.

Costume and Makeup design was authentic. The cat-patterned leotards, tails and styled wigs, along with the makeup design were professional standard. The look of ‘Cats’ is so well-known and this production did not disappoint in the replication of that iconic look.

On the night of this performance, the role of Munkustrap was played by a cover. David McLaughlin stepped into the role with 24 hours' notice and still managed to be one of the standout roles. His command of the stage and the other cats, beautiful rich voice and physicality belied the little time he had to prepare for the role. McLaughlin should be proud of the performance he gave. A testament to his theatre abilities.

Catherine Schwarten shone in the role of Jellylorum. Her vocals were beautiful and clear and she had such feeling in her performance, especially interacting with Gus in ‘Gus: The Theatre Cat’.

Kelly Modulon’s portrayal of Demeter was intense. Her rendition of ‘Macavity’ was smoldering, with moves and vocals to match.

Georgina Walsh excelled in the role of Rumpleteazer. She is a dynamic and talented performer with a dazzling smile. Her ability to continue singing perfectly on pitch while doing a cartwheel is one to be admired. Walsh has an unmistakable stage presence and produced one of the standout performances of the night.

Lexi Free was a charming Victoria. The all-white cat with the iconic pose, Free made this character her own. A graceful and talented dancer, it was always a pleasure to watch Free leap and bound across the stage.

'Urinetown' - Phonenix Ensemble

‘Urinetown The Musical’ - Phoenix Ensemble

Review by Yasmin Elahi | 20 May 2023

The Tin Shed theatre was transformed into a grimy, dystopian future for Phoenix Ensemble’s latest production of ‘Urinetown The Musical’.

A quirky show that may not immediately pop into one’s mind when they think musical theatre, ‘Urinetown’ is a Tony-award winning Broadway show. Though described as a political satire, the show is so much more than that and has a wide appeal, even to those with little-to-no interest in politics.

Director Hayley Gervais excelled in her vision for this production. It was evident to see that she is passionate about this show. The scene changes, blocking and overall concept of the show was cohesive, well thought out and immersive. Her choice to dress the stagehands in costumes and have them cleaning and acting during scene changes made these transitions feel streamlined and unobtrusive. ‘Urinetown’ is unique in that there are two narrators that continually break the fourth wall. Gervais handled these sections of the show with aplomb and clarity, to ensure there was no confusion regarding the characters. One moment of standout directing was in the song ‘Tell Her I Love Her’ - a number which Gervais managed to make both hilarious and slightly disturbing with her choices. Out of the box directing is exactly what a show like ‘Urinetown’ requires and Gervais was able to bring that in spades.

Musical Director Benjamin Richards, who also conducted the band, skillfully handled the music of this show. The ensemble numbers were exceptional – the harmonies perfectly blended and balanced. From the first number, it was evident this was going to be a powerful show. The acapella section in Run, Freedom, Run is a testament to the casting choices and Richards’ musical directing ability. There were numbers in this show that would rival the original cast album.

Jaime O’Donoghue’s choreography was superb. For a show with such a unique flavour, O’Donoghue’s choreography perfectly matched the theme of the show. Her use of sharp, staccato movements gave the numbers major impact. Her choreographic choices in ‘Don’t Be The Bunny’ walked the line between cute and sinister. Her use of torches in the ‘Cop Song’ was inspired. The number was so crisp, clean and menacing, it became a highlight of the show and one which the audience applauded with gusto.

Set design by Breanna Gear, Hayley Gervais and Emma Erdis was quirky. A dystopian future with an almost steampunk flavour, they had installed pipework around the stage and littered the walls of the theatre with graffiti. The drainpipe that functioned as an entrance was effective, as was the smoke that sprayed from the copper pipes. An unsettling, grungy and mechanical set, devoid of softness, echoed the sentiment of the show and proved the perfect setting for the ensuing action. Their use of revolving set pieces made maximum use of the intimate space.

Lighting design by Maddy Bosanko was clever. The lighting choices were well thought out, especially when the characters would break the fourth wall. The dim lighting of the sewer system made the set even more believable and the lighting effect during the fight scene and Bobby’s exit in act two were visually spectacular.

Costume design by Breanna Gear was smart. It was evident who was poverty-stricken and who was wealthy. The use of dirty browns, creams and greens for the poor characters blended with the set design in an overall dingy colour palette. This juxtaposed strongly with the flashy, bright purples and pinks of the wealthy characters and highlighted the power struggle and class system that underpins the show.

Isaac Tibbs played hero Bobby Strong with sincerity. His vocal prowess was fully evident, especially in the song ‘Run, Freedom, Run’. Tibbs has a wonderful stage presence that makes him magnetic and compelling to watch.

Lauren Clark’s performance as Hope Cladwell was multi-layered. She nailed Hope’s naïve and saccarine speaking voice and brought depth to her character. As the show progressed, Clark revealed that perhaps there was more than a just hope and a big heart lurking behind that sweet exterior. Though a competent singer, her and Tibbs’ voices did not match as well as was expected in their duet ‘Follow Your Heart’. Clark’s voice blended much better in ‘Why Did I Listen To That Man’, where she took the soprano line with confidence and contributed to the fullness of that number.

Zoe Costello was fierce as Penelope Pennywise. She set the calibre for the rest of the show with her solo ‘It’s a Privilege to Pee’, in a performance that did not hold back. It was a privilege to watch Costello tackle that song with gusto and zest.

Lachlan Clark encompassed the role of Officer Lockstock with command and authority. He served as the quasi-narrator and sheparded the audience through the story. His comedic timing, vocal ability and physicality contributed to this well-rounded performance. Clark served as a reliable touchstone throughout the show and came across convincingly as a cop.

Abby Page excelled as Little Sally. A little girl with an enquiring mind, she served as the other quasi-narrator. Page and Clark had a natural rapport. Page’s performance was earnest and full of heart. Vocally, she got her moment to shine in ‘Tell Her I Love Her’. It is a shame Little Sally does not have more solo singing moments in this show as Page is an experienced and talented singer. She was also one of the strongest dancers and character actors.

All the other performers succeeded both individually and as a whole. This production must be commended for the fact the cast performed together, as a united ensemble. There were not 17 separate performers on stage, each vying for attention, but a united company, working together to create a masterpiece. This was exemplified in the dance numbers but most evidently in the ensemble singing, in which the quality and balance of the sound was truly beautiful.

Overall, Phoenix Ensemble’s production of ‘Urinetown’ was a fulfilling show that was nuanced, quirky and offbeat. Every single member of the cast and crew should be proud of the show they created. Though the show may promise no happy ending, there is no doubt that audience members were more than happy to have seen it.

To learn more, visit www.phoenixensemble.com.au

Queensland Stage Critics