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Presented at Twelfth Night Theatre Directed by Deian Ping Music Direction by Nicky Griffith Choreography by Julianne Burke Photography by Creative Street & Pif Productions "There's a dream in the future. There's a struggle that we have yet to win." There are certain shows that never fail to lift your heart, and Hairspray  is firmly on that list for me. Queensland Musical Theatre clearly understands the joy baked into this story and jumps right in from the start. For anyone who's somehow dodged this musical/film, Hairspray  follows Tracy Turnblad, a Baltimore teen with a big heart, a bigger dream, and absolutely no interest in shrinking herself to fit anyone’s expectations. She fights for a spot on her favourite TV dance show, tumbles head over heels in love, breaks down a few terrible social norms, and pulls everyone toward a brighter future. The script is intentionally riddled with the attitudes of the era (racism, fat-phobia, ableism, etc.) so that the story can give them a good ol’ smackdown. This production keeps the set simple to allow room for the enormous cast, but it never feels bare. Bright costuming and wonderfully ridiculous retro projections do a lot of the visual lifting. Every time a new colourful graphic splashes across the back wall, it is so kitschy that you can’t help but giggle. Hairspray is notoriously tricky to cast — you need performers who can sing, dance, and have the right character "look". Big applause to director Deian Ping for putting together a team this large who can keep up with the show's demands! From the moment Eloise Newman springs out of bed for “Good Morning Baltimore”, the show takes off like a rocket. She is a brilliant Tracy, with a voice that balances sweetness and power, nailing every big number like it’s a piece of cake. “I Can Hear the Bells” is especially fabulous. She throws in an opt-up, with gorgeous harmonies (and handheld bells) swirling around her, while the haze and lighting create a dreamy rom-com glow. Eloise shines brightest when she leans into Tracy’s dorky humour. Eloise is an absolute joy both on and off the stage. Her later performance in the “Baltimore Reprise” is another standout, especially with the line “I’ll eat some breakfast then change the world!" Nicholas Joy as Link and Wednesday Reign as Penny both appear right at home the second they walk onstage. Nicholas vocally dazzles in “Without Love,” with the full band energising his committed, lovelorn acting. His chemistry with Eloise feels warm and endearing, and his solo “It Takes Two” is beautifully enhanced by excellent lighting. Wednesday’s portrayal of Penny is excessively dorky, and her voice is remarkable, particularly in “Mama I’m A Big Girl Now”. Seaweed, played by young Joshua Davis, is one of the show’s most exciting discoveries. For his first time stepping out of junior theatre, he's unbelievably cool, groovy, and confident. He breezes through “Run and Tell That” with suave ease. Shoutout to Little Inez (AvaLyn Doherty) and Gilbert (Johnathan Vongdara) — always fully engaged, dancing with passion, and totally enjoying the moment. Rudo Banya doesn’t arrive as Motormouth Maybelle until later in Act 1, but when she does, the whole room lifts. Making her grand entrance into the world of musicals, her rendition of "Big, Blonde and Beautiful" was such a blast that I wanted to sing along too! And “I Know Where I’ve Been” was a total showstopper, lifted higher by the gorgeous ensemble vocals. Jason Kiger and Steve Beck are perfect as the daggy Turnblad parents. Traditionally, a guy plays Edna, and Jason brings the sass, hilarity, and rocks that v-neck dress with some seriously epic fake cleavage. I was honestly worried they might accidentally pop out at one point! Steve Beck is the ideal match as Wilbur. Their duet “You’re Timeless to Me” is packed with humour, terrific vocals, and just the right touch of cheeky chemistry. As the villains go, Liana Hanson’s Velma von Tussle is perfectly detestable — polished cruelty, snappy lines, and a wig-and-dress-suit combo that screams "evil chic." Her vocals in “Miss Baltimore Crabs” are astounding and definitely one of the musical highlights. Jade Plaistow as Amber goes all in on a high-pitched, Tour-Guide-Barbie persona. Her slightly doll-like movements fit the character choice perfectly. Whether or not the character choice is your cup of tea, you have to admire Jade's strong commitment. Lachlan Gleadhill, playing Corny Collins, makes an impressive debut. With a stunning voice and charisma, I believe he has the potential to bring even more to the character! Gabriel King perfectly embodies Mr. Spritzer with his game-show-host grin and voice, fully embracing the character. Choreography in Hairspray  is no small task, and Julianne Burke has clearly worked hard to shape a cohesive world for such a large ensemble. “The Madison” is a particularly fun number with dance style switch-ups and a full stage of slick moves. The brief tap break in “The Big Dollhouse” was a welcome surprise that got a great reaction. Just a tiny tip for “It Takes Two”: remember that even though the spotlight is on Nicholas, audience members can see where your eyes go, so keep your adoration locked in on him! “Nicest Kids in Town” is strong and could be even more so. This show thrives on excess, and you simply cannot be "too much" in this number! Eighteen musicians, led with precision by Nicky Griffith, fill the room with that irresistible sixties pop sparkle (shoutout to the horns especially for that extra punch!) There are small moments where the pace dips or dialogue lags, but these feel like natural opening-week tweaks. There is a touch of upstaging from a few actors, though not in a way that derails scenes. It’s the kind of enthusiastic energy that naturally happens in large amateur ensembles and would be less noticeable if the whole cast matched that energy intensity. Some costumes look slightly ill-fitting and may affect performer comfort, but the overall aesthetic is colourful, bright and very sixties: colourful skirts, high hair, and groovy silhouettes. The lighting complements the colourful costuming, retro vibe and the sixties-TV-style backdrops, and there are some fun set pieces and effects sprinkled throughout. “You Can’t Stop the Beat” is notorious for being one of the hardest finales in musical theatre because it never stops and barely allows a breath, but this cast powers through with big smiles and bigger stamina. The entire ensemble throws themselves into it, but Nicholas in his dazzling jacket, gives more energy than anyone out there and absolutely owns the final moments. Overall, this is a big-hearted, enthusiastic production of Hairspray  full of emerging talent, strong vocals, colourful characters and genuine joy. You can feel the love and effort behind it. With a few polish points it will soar even higher, but as it stands, Queensland Musical Theatre offers a vibrant, fun night out that celebrates community, inclusivity, and the huge spirit of Hairspray .

Written by Emma Dean | Directed by Belinda Raisin | Musical Direction by Tony Dean Performed by Cheep Trill at Thomas Dixon Centre for the Brisbane Festival Photography by Barbara Lowing   Warm, hilarious, and overflowing with heart, Community Choir: The Musical  captured everything that makes Brisbane’s arts scene so special: the joy, the quirks, and the undeniable sense of community that ties it all together! As part of Brisbane Festival , this show was the perfect opener; a homegrown story bursting with local pride, creativity, and plenty of laughs. Written by Emma Dean and directed by Belinda Raisin , this original musical told the story of a ragtag Brisbane choir (Cheep Trill) that somehow found themselves accidentally invited to the prestigious National Choral Competition in Sydney. What begins as a simple rehearsal quickly spirals into a whirlwind of excitement, panic, drama, and a sprinkle of magic when the flamboyant Spirit of the Song  appears: a glittery guide that only one choir member can see and hear. What followed was a touching and laugh-out-loud journey through self-doubt, friendship, and finding your voice (literally and figuratively). Early on a line struck me: “People say choir is my whole life. They are correct.” At that moment, I knew we were in for something both hilariously relatable and sincere. As audience members entered, we were greeted by an interactive pre-show that made it feel like we’d stepped right into their rehearsal hall. Posters decorated the stage (“Used dentures for sale” one definitely caught my eye), and a haze-filled atmosphere set the tone for the most hauntingly beautiful Acknowledgment of Country I have ever witnessed , performed and written by Michelle Roberts under stunning lighting design. The three-piece band, led by MD Tony Dean on drums, pumped the theatre full of energy throughout. The moment the full choir launched into Welcome to the Choir , the entire theatre lifted. Their harmonies were full-bodied and joyful, and the lyrics “You are welcome, even if you can’t sing” summed up the show’s inclusive spirit perfectly. This particular performance featured the Northside Brisbane cast , and what a team they were! With more than a hundred singers of all ages and abilities, this was community theatre in its purest form. The ensemble wore bright, casual outfits that felt straight out of a local rehearsal; a beautiful visual of authenticity and colour. Jen Codognotto as Judith was a standout, delivering her scenes with comic precision and warmth, while Lucy Sweeney as the Spirit of the Song sparkled – literally and vocally – in a fairy-angel ensemble that glittered under the lights. John Catania as Johnno was hilariously endearing, especially in his solo The Chosen One . His newfound superpower: the ability to hear everyone’s thoughts through song, was a stroke of genius and had all the charm and heart of a Zoey’s Extraordinary Playlist  episode. There were so many memorable songs. Carve Out My Place , performed by Helen Beauchamp ( Harriet ), was a vocal highlight, her a strong belt holding heartfelt conviction. All By Myself  by Jaspa Woolford-Clark ( Connie ) captured the aching vulnerability of self-doubt in a crowded room. Waiting Room  was wonderfully choreographed, with furniture blocking that ticked in perfect time, while Weetbix Song  managed to be both silly and moving. Belinda Raisin’s direction was clever and clearly grounded in love for her performers. She made sure everyone had their moment. The use of risers meant the majority of the choir could always be seen, and the transitions were impressively tight for such a large cast. I adored her cameo as Bernard Dubois , the over-the-top adjudicator in a sparkly tux, complete with a fake moustache, a hoverboard, and what I can only assume was a pillow stuffed under her shirt! By the time Bigger Than Me  arrived, the whole audience was clapping along. The front row even got up to join the flash-mob style finale, and before I knew it, the entire theatre had turned into a mini Pub Choir moment. The original music was catchy and fresh, full of clever lyrics and contemporary choral arrangements. Emma Dean’s writing found that perfect balance of sincerity and silliness. I saw myself in so many of these characters: the Taylor Swift-obsessed girl, the people-pleasing administrator, the bitter ex, the hopeless romantic... and judging by the lughter around me, I wasn’t the only one relating. There was something deeply touching about how honestly these fragile, funny, real people were portrayed. Their flaws made them loveable, their chaos made them human, and their music made them unforgettable. Community Choir: The Musical  was a zesty dose of joy and confidence, a tribute to the power of music and the bonds it creates. For a cast made up of 95% non-professional performers, this was an extraordinary feat. It was personal, passionate, and quintessentially Brisbane . By the end, less like an audience observing a choir and more like a community sharing a unique experience. This original musical was for anyone who have ever sung in a choir, wished to, or simply loves the sound of people coming together to make something bigger than themselves.

Director: Fiona Kennedy Assistant Director & Set Design: Prue Robb Intimacy Coordinator: Heidi Gledhill Stage Manager: Isabel Foland Lighting & Sound Design: Kyle Royall-West Set Build: Scott Lymbery “This is not a spontaneous person you have before you!” Walking into Ad Astra’s brand-new black box space, Pluto , feels a little like déjà vu. There’s an echo of their much-loved Fortitude Valley venue here: close walls, low ceilings, and that quiet hum of anticipation that only a tiny theatre can hold. Upstairs, the Galaxy waits for the big, bold productions… but downstairs? Down here is where intimacy thrives. And honestly, Frankie and Johnny in the Clair de Lune  is the perfect christening. The house lights dim, the theatre drops into darkness, and we are immediately thrown into the unmistakable sounds of enthusiastic lovemaking. Bed squeaks, grunts, giggles... there’s no easing us into this one! Before we even see Frankie and Johnny, we’re eavesdropping on one of the most vulnerable moments two humans can share. When the lights lift, we land in Frankie’s 1987 New York walk-up apartment, a tiny but homely apartment made up of a kitchenette, a cramped bathroom, a bed, and their clothing scattered like evidence across the floor. Candice Hill’s Francis (Frankie) sits right on the edge of that post-intimacy awkwardness: half flattered, half panicking, already tidying the room like she wishes she could tidy away the whole situation. Beside her, Nathaniel Currie’s Johnny is a whirlwind of words, babbling with the confidence of someone who believes he has just discovered destiny. Frankie, on the other hand, is trying desperately to remain polite while pushing him toward the exit in her mind. Candice is mesmerising to watch. Her avoidance of eye contact, the way she curls into herself when he compliments her, the tightrope walk between wanting connection and wanting to survive it; every expression tells a story she’s terrified to speak aloud. Meanwhile, Nathaniel leans into Johnny’s chaotic sincerity. He’s weird, irritating, intense… yet disarmingly endearing, with a perfect Brooklyn accent. When he looks at Frankie, he sees his Brigadoon... a magical place that appears once in a hundred years. When she looks at him, she’s torn between “please leave!” and “please don’t leave me alone.” The natural humour between them bubbles up organically. Their small talk is painfully real; picture the kind of chat you have when you’re half-naked with a co-worker and pretending it’s totally normal. As the night unfolds (well, 3am), their first impressions unravel into something far deeper. They share memories, fears, old wounds. They fight. She explodes, quite literally destroying parts of her apartment in a panic spiral. He stands there, bewildered and bold, insisting that love is worth the risk. “When it comes to love, life is cheap and short,” he says, and even though it sounds like a line from a tragic romance novel, in the moment, it lands with truth. The set by Prue Robb and Scott Lymbery is wonderfully lived in: rotary phone, tiny television, radio humming with soft piano throughout the night, and lighting hat gradually shifts from the sleepy glow of lamps to a gentle morning warmth as the sun rises. Those small production choices make the long night feel real, like time is truly stretching around them. Director Fiona Kennedy and Assistant Director Prue Robb keep the blocking fluid and natural, especially in the scenes where Johnny cooks for them. Watching a real sandwich being made while the pair discuss lost time and lost dreams somehow grounds this heightened night into everyday reality. It’s a clever juxtaposition: grand emotions nestled in the banality of late-night snacks. The two actors seem utterly alone in this room; no audience, no world outside, just two flawed adults battling their own loneliness. Frankie’s terror of being hurt again comes pouring out of Candice, raw and vulnerable. Johnny stands in it, unwavering, offering not perfection but presence. This production celebrates everything black box theatre does best: closeness, honesty, discomfort, humour, and the quiet bravery it takes to be seen. With only 50 seats, every breath of the performance lands directly in your lap. It’s unfiltered, human, and beautifully messy. If you’re after a date night that promises honesty, laughter, and a surprising amount of emotional truth, Frankie and Johnny in the Clair de Lune  is absolutely worth the trip to Pluto. Just… prepare yourself for the first 30 seconds!

Discover the latest in Brisbane theatre auditions and reviews on Stage Buzz Brisbane. Your go-to source for all things theatre in the Queensland capital. WELCOME TO STAGE BUZZ BRISBANE This dynamic hub for South-East Queensland thespians is your go-to source for audition updates, performance reviews, and engaging content that celebrates the vibrant local theatre scene. From spotlighting talented actors to providing valuable tips, it's a community-driven platform that brings the magic of the stage to the forefront, fostering connection and celebration among theatre enthusiasts in the region. NICE TO MEET YOU Embrace the enchanting world of South-East Queensland's theatre scene right here on Stage Buzz Brisbane! We're your go-to hub for all things theatrical, from audition alerts and performance reviews to exclusive spotlights on local talents and invaluable theatre tips. Whether you're a seasoned thespian or a passionate supporter of the arts, join us on this exciting journey as we celebrate the magic that unfolds on our local stages. At Stage Buzz Brisbane, we believe every production deserves its moment in the spotlight. If you know of any upcoming productions or hidden gems that have slipped under the radar, don't hesitate to reach out and share your insights or let us know about the productions that deserve extra applause. Together, let's shine a light on the vibrant and thriving community theatre culture in South-East Queensland. Let the curtains rise, and let the show begin! Contact

< Back THEATRE: Seasons Greetings - Toowoomba Repertory Theatre 28 Nov 2025 Season: November 28th - December 6th, 2025 Title: Seasons Greetings Presented By: Toowoomba Repertory Theatre Society Genre: Black comedy / Stage play Synopsis: Set in the 1980s, Seasons Greetings follows the Bunker family over a chaotic Christmas celebration. With guests arriving, family tensions rising, and unexpected surprises, it's a darkly humorous look at dysfunctional relationships, secrets, and middle-class holiday traditions. Performance Dates: 28 November – 6 December, 2025 Performance Times: 7:25PM Performance Location and Address: Toowoomba Repertory Theatre, 94 Margaret Street, East Toowoomba, QLD Ticket Costs: Adult - $25 Concession (pensioner / school children) - $20 Member (TRTS) - $15 Ticket Link: Buy Tickets - Seasons Greetings Creative Team: Writer - Alan Aykbourn Director - Beth Geoghegan Production Website: Toowoomba Repertory Theatre – Seasons Greetings Other information: Due to the age of the venue, there are no disabled toilet facilities, and access is via two steps Wheelchair access is limited: only non-motorised wheelchairs can be pulled up the steps by someone assisting There are “group fundraiser” nights (25, 26, 27 Nov + 2, 3, 4 Dec) where ticket pricing may differ from public performances Ticket includes 1 complementary drink, but only if you arrive before 7:20 pm Previous Next

< Back CHORAL: All You Need Is Love - Cappella Chorale 6 Dec 2025 Season: December 6th, 2025 Title: All You Need Is Love Presented By: Cappella Chorale Genre: Choral / Community Choir Concert Synopsis: Love is in the air and love is all around! Throughout history, composers and songwriters have always been inspired by the subject of love — whether it’s the heady joy of a new romance or the devastating pain of love gone wrong. This concert celebrates love in all its many forms with music ranging from Renaissance madrigals, Romantic lieder, and Classical opera arias, to contemporary pop, rock, TV themes, and disco. Performance Date: December 6th, 2025 Performance Time: 1:30PM Performance Location and Address: St Gerard Majella Church, 146 Maundrell Terrace, Chermside West, QLD 4032 Ticket Costs: Entry by donation (cash or card) Recommended Age: All ages Creative Team: Artistic Director / Conductor -Timothy Sherlock Piano Accompanist / Co‑founder - Tina Liu Production Website: Cappella Chorale - All You Need Is Love Other Information: Free parking is available on-site and in surrounding streets The donations from ticket entry go to support St Gerard Majella Church Cappella Chorale is a non-audition, community choir that rehearses weekly at Holy Spirit College, Fitzgibbon Previous Next