Beenleigh Theatre Group didn’t just open their 2025 season—it BURST onto the stage in a riot of sequins, soaring music, and unstoppable energy in 'The Boy From Oz.' From the first note, the orchestra was pitch-perfect, the cast delivered knockout performances, and the leading performer’s sheer charisma could’ve powered the entire theatre. From laughter to heartbreak, the show swept us through Peter Allen’s extraordinary life—from small-town dreamer to international stardom. Packed with iconic hits and electrifying choreography, it was a night to remember.
The show bounced between three timelines—Peter’s childhood in Armidale, his climb to stardom, and his final concert, performed directly to us in the audience. The set was beautiful, with multiple pianos (of course), including a grand and an upright that transported us back to his early days. A starry backdrop and a central stairway brought the necessary showbiz glamour. And then there was the elevated 15-piece orchestra upstage—under the musical direction of Nate Stevenson—bringing Peter Allen’s signature sound to life. Lachlan Dodd’s direction masterfully captured both the razzle-dazzle of Peter Allen’s showbiz persona and the raw vulnerability beneath it. He kept the energy high in the big numbers while allowing the quieter, more intimate moments to breathe—ensuring the heart of Peter’s story always remained front and centre.
At the heart of the show, Jaya Fisher Smith is Peter Allen. A true triple threat, they embodied Peter's spirit with boundless energy, cheeky humour, and a magnetic connection with the audience. From the opening number 'Not the Boy Next Door', Jaya was unstoppable—diving into the role with charisma that brought to mind the legendary Hugh Jackman (and I can attest to this, having had the incredible experience of performing with Hugh during the 2006 Brisbane tour of The Boy From Oz). Jaya never faltered. They were constantly in motion, likely only offstage to change costumes and gulp down some water before reappearing full-throttle. Their improv skills were razor-sharp, effortlessly charming the audience with witty remarks. Plus, the fabulous shirts were in abundance!
Ballads like 'Best That You Can Do' and 'Tenterfield Saddler' were standout moments, where Jaya transitioned from the larger-than-life Peter to his more tender side. They moved between Peter’s classic Aussie accent and the hybrid accent he picked up later, showcasing impressive vocal versatility. But it wasn’t just Jaya’s voice that shone. Their phenomenal dancing skills were also on full display, making this performance a true masterclass in showmanship. The energy Jaya brought to the stage was off the charts—every move, every note, and every grin was infused with pure star power.
Special mention must also go to Koby Walsh, who portrayed Young Peter Allen in a role shared with Jeremiah Rees. Koby sang 'Name in Lights' with tons of youthful energy every time. The audience adored him from start to finish, and he earned big cheers for his impressive tap dancing skills. Throughout it all, Jaya, always watching from close by, looked on with a sense of nostalgia and pride.
Sarah Lea’s portrayal of Judy Garland was uncanny. She commanded the stage with a mesmerising presence at all times, even in her spiritual form. From her unsteady mannerisms to her sharp wit, Sarah beautifully captured the essence of the older Judy Garland. Her vocal performances, particularly 'All I Wanted Was the Dream' and 'Don’t Wish Too Hard', left the audience in awe. Equally impressive was Ashleigh Mitchell’s portrayal of Liza Minnelli. Ashleigh owned every moment she was on stage, with seemingly limitless vocal and dance power. It was 'She Loves to Hear the Music' that truly showcased her talent. Each outfit she wore was pure Liza perfection, capturing the bold, glamorous style Liza was known for. Ashleigh’s charisma brought Liza’s larger-than-life personality to the stage with ease, while her portrayal of the moment she left Peter was brutally honest and emotionally raw.
Patrick Lockyer brought warmth and sincerity to his portrayal of Peter’s longtime partner, Greg Connell. I was fully absorbed in their love story, especially as the show delved into its later years during the AIDS crisis. His rendition of 'I Honestly Love You' was beautifully heartfelt, resonating as a powerful reminder of how far we've come in accepting queer love stories. The trio of Phoebe Imberger, Anna Ryan, and Ruby Thompson were absolute stars—gorgeous singers and dancers with perfectly balanced three-part harmonies, paired with gorgeous go-go boots that were the perfect 60s nod.
Janice Hancock’s portrayal of Marion Woolnough radiated warmth and classic Aussie mum humour. Her heartfelt rendition of 'Don’t Cry Out Loud' was a standout moment, embodying Marion’s unwavering belief in Peter’s dreams. She was his rock from the very start, a constant source of love and encouragement. Andrew McArthur tackled multiple roles with skill, but it was his portrayal of Peter’s father that left a haunting impact—a shadowy, traumatic presence lingering in Peter’s subconscious. As the show moved into Peter’s later years, the weight of loss became more palpable, with the deaths of Judy and Greg marking some of the most emotionally raw moments.
And then there was 'I Still Call Australia Home'—an iconic moment. Jaya, draped in that sequined Australian flag shirt, led the ensemble in breathtaking harmonies. Sure, there were microphone issues (Jaya’s mic seemed cursed that night), but they projected like a pro, undeterred. As the show moved to its crescendo, the ensemble delivered everything they had. The upbeat numbers like 'Bi-Coastal' and 'Everything Old is New Again' were fabulous, of course. But what truly elevated them was Jennifer B Ashley’s choreography—some of the best I’ve seen from BTG—high energy, stylish, and completely fitting for Peter Allen’s flamboyant world. By the time 'I Go to Rio' rolled around, the entire theatre was electric with maracas, flashy costumes, boundless enthusiasm—it was everything you’d want from a grand finale. Jaya even leapt into the splits. THE SPLITS. Who does that after almost three hours of belting their heart out?
The show ran a bit long due to Jaya's fourth-wall-breaking and audience engagement, but I wouldn’t have cut a second of it. And just when we thought the energy had peaked, 'Once Before I Go' landed—a final, emotional gut-punch. Fresh off the wildly exhausting Rio, Jaya was visibly out of breath, but it didn’t matter. They delivered, as they had all night, with heart, soul, and staggering talent.
All in all, 'The Boy From Oz' was a glorious celebration of a true Australian legends. From dazzling choreography to show-stopping numbers, this was a production I’d happily watch again and again. If Peter Allen were here, I think he’d be proud. I know I was.
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