A Rock 'n' Roll Nostalgia Ride
Presented by Mad About Theatre, Writers Republic, Brisbane City Council & Brisbane Powerhouse.
Based on the beloved '90s Australian animated TV series, Li’l Elvis Jones and the Truckstoppers: The Musical brilliantly reimagines the quirky, larger-than-life characters and outback town of Wannapoo in a show that radiates joy, chaos, and plenty of rock 'n' roll energy. Presented by Mad About Theatre, the production captured the whimsical charm of the original while amplifying its chaos, colour, and cartoonish joy in ways only live theatre can achieve. I was curious about how the story would translate to the stage—and I was blown away by its imaginative execution. From the impeccable set design and zany wigs to the energetic performances and upbeat original music compositions, the show hit all the right notes for family entertainment. Adding to the fun was a buzzing audience filled with kids and parents soaking up the school holiday excitement, plus a photo section where fans could pose with cardboard cutouts of the cartoon characters.
Joined by a cast of characters from the original series, Li’l Elvis Jones and the Truckstoppers embark on an adventure filled with music, friendship, and a celebration of country and community. Li'l Elvis is a local legend, entertaining truck drivers at the roadhouse by playing Elvis Presley songs. But Li’l Elvis is tired of the music and his mum's insistence that he is 'the King' reborn. With his friends, Lionel and Janet, he creates his own sound – Didgibilli Rock. But when the greedy property tycoon WC Moore and his bumbling sidekick Duncan arrive in Wannapoo with grand plans to transform it into a tourist hotspot called Li'l Memphis, the townsfolk are quick to jump on board without fully understanding what they are agreeing to.
Set and Design: A Living Cartoon
The set design was a visual spectacle, featuring rotating structures that transitioned from the dusty streets of Wannapoo to the depths of the mines, and could even literally unfold to unveil Li'l Memphis. Madeleine Barlow, the head of design, deserves a standing ovation for capturing the animated essence of the original series. From the scribbled stars projected as the scenery to the cartoonish props, every part of the design appeared as though it had been hand-drawn and then brought to life through theatre magic. Even the lighting, awash in vibrant colours, played a key role in turning the stage into a living comic strip. The costumes and wigs were impossible to miss. They were so colourful and exaggerated they could've been mistaken for a cosplay convention, with each wig styled to be delightfully over-the-top.
Musical Numbers & Choreography
The music, composed by Glenn Moorhouse and directed by Michael Keen, was packed with rock 'n' roll beats and stirring ballads. The show’s musical energy was electric from the foot-stomping opening number "He's Li'l Elvis" to dazzling choreography that never let up. Aidan McIntyre, as the titular Li’l Elvis, shone with his soulful solo “An Existential Crisis/Who Am I?” beautifully capturing the heart and angst of a kid with a big voice and an even bigger identity crisis.
The production was peppered with memorable moments, from the torch-lit choreography of “The Tomb of Ol' Man Izzard” to the rousing ensemble piece “Be What We Wanna Be,” which featured dynamic guitar, epic percussion, and didgeridoo by Caleb Fitzpatrick. The show-stopping tap number “Here’s Your Chance (Subterranea)” had the audience cheering—because honestly, what musical is complete without some tap dancing?
One of my personal favourites was the number “My Voice,” performed by the three lead kids, the Truckstoppers. The near-final song, “I Think He's Changed His Mind,” featured excellent partner choreography. The whole cast looked like they were having the time of their lives. The creative team clearly hit the jackpot, putting together a dream team of performers who pumped the show full of energy and talent.
Standout Performances
The voice acting throughout the performance was impressive, with each performer amplifying the quintessential accent to match their animated counterparts perfectly. Aidan McIntyre led the charge as Li’l Elvis, capturing the character’s mix of determination, vulnerability, and angst with ease. Genevieve Krause as Janet and Koby Walsh as Lionel brought warmth and humour as his loyal bandmates.
Alex Watson stole the spotlight as the hilariously villainous W.C. Moore with his upbeat number “Let’s Get Down to Business”—no, not that Mulan song, but equally catchy. Dressed in a cartoonish yellow suit straight out of The Mask, Watson's striking presence and impeccable comedic timing were gold. Ben Adams as Duncan, the endearing and dramatic sidekick, was an audience favourite.
Samantha Sherrin gave a knockout performance as Grace, the adoptive mother of Li'l Elvis. Her solo, “Anytime,” was a heartfelt highlight that beautifully showcased her rich, emotive voice. The breathtaking bridge of the song was so impactful and memorable that it seemed like the kind of number added specifically to showcase Sherrin’s abilities if it hadn’t already been in the libretto.
Chloe Rose Taylor's versatility was astonishing as Rhonda Rorts, the reptilian, sultry villainess with a penchant for manipulation. Her Act 2 opener, “You Just Can’t Say That Anymore,” was both hilarious and captivating as switched personas from the slithering redheaded femme fatale to a prim blonde lawyer. Her hypnotic number, “Sweeties,” was eerie and mesmerising as she puppeteered the children with candy. Her performance was a perfect blend of camp and command.
The ensemble brought boundless energy and charming goofiness to every scene, with Carla Beard delivering a standout performance as Eileen Inyaface (I couldn't stop cackling every time her character's name was mentioned—apologies to the friend I brought along!). Sienna Randall and Chelsea Burton, members of the ensemble, made exceptionally engaging acting choices that continually held my attention. The younger cast members also excelled, especially during the rock-inspired number “Code Red,” which radiated School of Rock energy and attitude.
Direction & Execution
Madison Thew-Keyworth’s direction and choreography hit all the right notes, striking a perfect balance between nostalgic homage and fresh storytelling. The script was peppered with classic Aussie humour that had both kids and adults laughing throughout. The frequent fourth-wall-breaking moments were a brilliant touch that added to the show's playful tone. I personally loved it (I always do) when shows engage the audience that way. They also managed to keep the humour family-friendly with amusing lines like “You're a bleeping bleep, WC Moore!”
The show was brimming with clever visual gags and Aussie lingo, yet it never lost sight of its heart: a story about identity, friendship, and finding one's voice—both literally and metaphorically. Whether you grew up with the original series or were experiencing it for the first time, the production delivered an electrifyingly good time. The moral of the story? Don’t sign a contract without reading it!
It’s truly exciting to see so much new Australian theatre being developed right here in Brisbane! Productions like 'Round the Twist the Musical' by QLD Theatre, 'Eat Slay Zombie' by Playlab Theatre, and my personal favourite 'Straight from the Strait' by Opera Queensland are just the beginning. 'Fancy Long Legs' by La Boite Theatre and now 'Li’l Elvis Jones' by Mad About Theatre have quickly become standout favourites aimed at children’s audiences. I hope Brisbane keeps nurturing and supporting these vibrant new works. We are so lucky to have them!
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