Recently, the Queensland Academy of Excellence in Musical Theatre (QAEMT) presented a showcase at the Queensland Performing Arts Centre (QPAC) to spotlight the remarkable talent of its Class of 2024. The 45-minute presentation, featuring the 17 graduating students, was a celebration of their development over the past three years, blending personal expression with the refined artistry expected from participants of this esteemed program. Attending this event as a privileged guest, I was eager to witness the upcoming cohort of musical theatre luminaries within the industry.
The showcase was a culmination of three years of intensive training and mentorship from the faculty at Griffith University and Professor Paul Sabey, Director of QAEMT. I had previously seen all of these performers in 'Legally Blonde', but it was pleasant to see their true selves outside of their characters. I was informed that the students were given the opportunity to choose their own solo excerpts. While the short duration of each piece might have felt limiting, it generated this exciting sense of immediacy. These selections not only displayed their vocal capabilities and personal artistry, but also demonstrated their potential to excel in various roles across the musical theatre landscape. The musical direction and piano accompaniment by Heidi Loveland served as a perfect complement to the voices of these aspiring talents.
Held in the Tony Gould Gallery at QPAC - a space I was unaware of until now - the students performed without amplification, letting their voices resonate naturally and creating an authentic and immersive experience for the audience. Due to the lack of separation between performers and viewers, this felt more like an intimate audition than a traditional showcase. Their collective 'musical theatre' expressions were delightfully intense when viewed from up close. I mean you could practically reach out and give them a high five! Consequently, they all caught me enthusiastically mouthing the lyrics throughout the show.
The evening commenced with a stunning rendition of "Unwritten" by the entire ensemble, featuring exquisite vocal harmonies and delivered with distinctive Aussie accents. The class' strong sense of camaraderie was palpable as they took turns in the spotlight. Juliette Coates kicked off the solo acts with “Sixteen Bars” from The Taxi Cabaret. Their powerful vocals and captivating stage presence immediately drew the audience in, setting the bar high for the rest of the night. Additionally, they delivered an enticing excerpt of “Apex Predator” from Mean Girls. Their ability to navigate the slick, sharp delivery of the song shows just how in-tune they are with character work. It’s not just about the vocals for them; their entire performance is infused with personality.
Imogen Alexander offered a brilliant contrast with their two song choices—“You Happened” from The Prom and “You Oughta Know” from Jagged Little Pill. These songs sit at opposite ends of the emotional spectrum. “You Oughta Know” is notoriously difficult, with its powerhouse belting and unapologetic emotion, yet Imogen handled it with ease, leading a fierce ensemble of ladies. Their belting was strong and controlled, and they brought the necessary fire and intensity to this Alanis Morissette number. Meanwhile, “You Happened” showed a more joyful side of their range as they blended beautifully with their duet partner, Faith Oosthuizen.
The level of professionalism exhibited was remarkable, as expected. Every performer maintained their composure without faltering or making any noticeable errors. The standout moment for me was actually the rendition of Adele's "All I Ask" by Kaylen De Gersigny, Sophie Moman, and Charlotte Sligar. This trio delivered breathtaking harmonies, with their voices melding seamlessly so that no individual overshadowed the others. As someone with a background in vocal instruction, I particularly appreciated this display of musical synergy. Kaylen De Gersigny's rendition of "Secret Love" from Calamity Jane was remarkable as well, capturing the character's essence with finesse, while her voice was able to effortlessly soar with a gentle yet powerful strength.
Madelene Kirkwood took the lead in “Diamonds Are Forever” from Moulin Rouge with poise. Her performance of this classic was sultry, confident, and captivating, with her ladies backing her up to give the number a strong sense of female empowerment. Her duet with Oliver Palamara on “I Got Rhythm” was full of joy, complete with fun and impressive choreography. Madelene has an enviable control of her voice, and even with the complex footwork required for the tap section (in chorus heels no less!), she never appeared breathless. Oliver Palamara gave one of the rare pop-turned-musical-theatre numbers of the night with “Let Me Entertain You” by Robbie Williams, backed by the entire company, and boy, did he entertain.
Ally Long’s dazzling performance of “Journey to the Past” from Anastasia was another personal favourite of mine. She brought this beautiful sense of wonder and nostalgia to the piece, and her voice is perfectly suited to this soaring, emotional ballad. Her duet with Jack Ryan in “I Love the Way” from Something Rotten was equally delightful, filled with chemistry and charm. Another choice from Anastasia, Jack Ryan brought an emotional depth to the lesser-known male ballad, “My Petersburg”. His voice is smooth and full of warmth, and he delivered the song with a sincerity that really hit home.
James Macaulay took on the renowned tenor number “Out There” from The Hunchback of Notre Dame. His voice rang out clear and strong, capturing the longing and hopefulness of the character with such purity. His duet with Ashley McLaren in the lighthearted “Bad Idea” from Waitress exemplified their banter and musical interplay. Ashley McLaren also presented a segment of "Dead Mom" from Beetlejuice. While I have not yet been lucky enough to experience this musical firsthand, I have taught this song numerous times and it is evident that Ashley is perfectly suited to the role; manoeuvring through the intricacies of the song with vulnerability and impactful strength. Plus, she has this magnetic aura that illuminates the stage in a manner that is hard to describe.
The diverse selection of numbers, ranging from popular to more obscure musicals, created a culturally enriching experience. The fusion of musical theatre and pop hits with varying tempos, styles, and emotions provided a platform for each performer's distinctive choices to shine. Alyssa Mastromanno demonstrated her divine soprano tone in “Think of Me” from Phantom of the Opera, filling the space with her ethereal sound. Her modern musical prowess was exhibited in “Apex Predator," proving she can easily switch from the classical soprano to more belty numbers. Sophie Moman gave a brilliant performance in “Show Off” from Drowsy Chaperone, showcasing a lively and playful portrayal that involves physical comedy and exaggerated expressions.
Jay Monck delivered “30/90” from tick, tick... BOOM! with ease, capturing the essence of the character's yearning for fulfilment. When the ensemble vocals kicked in, it was a rich musical feast that elevated the auditory experience (an eargasm, if you will). Jay’s voice has a rich, warm quality that really stands out, and they delivered a short original monologue that further showed off their skills as a storyteller. Faith Oosthuizen tackled the whirlwind of lyrics in "Watch What Happens" from Newsies, a song that's as much about acting prowess as vocal agility. The number is notoriously fast-paced and Faith hit every beat while maintaining clarity and expression throughout.
Another standout, Ebony Portelli, delivered a soul-stirring rendition of “And I Am Telling You” from Dreamgirls. It’s a song that demands both vocal and emotional intensity, and Ebony more than delivered. Her duet with Nick Smith in “Come What May” was characterised by a deep connection and harmonious blend of voices. Nick Smith chose “Good Kid” from The Lightning Thief as his solo, an anthemic number packed with raw energy and emotional intensity. His voice is strong, and his delivery was both heartfelt and charged with the angst and frustration of the character.
Finlay Underwood's solo performance of “Her Voice” from The Little Mermaid brought a sincerity to the piece that made it feel deeply personal. His voice carried the yearning and wonder of Prince Eric perfectly, offering a delicate yet strong rendition of the beloved ballad. But it was Finlay's second number, “Sympathy for the Duke” from Moulin Rouge, where he really let loose, requiring him to switch gears into a more sinister, swaggering persona. Backed by the company, he took on this darker, more playful character with great energy, proving he can tackle both romantic and villainous roles with equal skill.
Charlotte Sligar had the honour of closing the show with none other than “Defying Gravity” from Wicked, and she absolutely soared. This song is a monumental challenge for any performer, but Charlotte’s voice was strong, clear, and full of the defiant power needed to make it work. She truly embodied the role of Elphaba, and I wouldn’t be surprised if she were ready to step onto the QPAC stage in the full production right now.
We also enjoyed several fun group numbers, including “Always a Bridesmaid,” performed by Ashley McLaren, Alyssa Mastromanno, Sophie Moman, and Charlotte Sligar, transitioning into “Why? Cause I’m a Guy” featuring the seven lads in the class. Additionally, the trio of performers who portrayed Elle Woods - Ally, Ashley, and Alyssa - delivered a harmonious rendition of "So Much Better" from Legally Blonde. The performance concluded with a spirited group rendition of "Run Freedom Run" from their class musical of 2023, Urinetown with Nick Smith shining as the lead.
Heidi Loveland's musical arrangements and accompaniment were impeccably executed, providing solid support to the performers. The flow of the program, uninterrupted by applause breaks, kept the audience engaged as the cast remained on stage throughout. My only wish, which hardly qualifies as a complaint, is that I wanted longer snippets of each song! The audience responded enthusiastically, showering the performers with resounding applause in appreciation for their dedication and talent.
The Class of 2024 showcased their potential brilliantly, and I look forward to following the careers of these gifted artists as they embark on their professional journeys now. The QAEMT continues to be a beacon of excellence, and I eagerly anticipate their plans for 2025 and the continued growth of this exceptional program. Bravo to the Class of 2024 and all involved in this memorable evening!
Witness more QAEMT musical magic at An Evening In Concert with 2nd Year Musical Theatre Students from 25th to 26th October, followed by Edges, a compelling song cycle by Pasek & Paul, running from 12th to 16th November.
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