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Midnight Murder at Hamlington Hall Presented by Centenary Theatre Group Written by Mark Kilmurry and Jamie Oxenbould Directed by William McCreery-Rye There are few things more terrifying in theatre than an opening night disaster. Forgotten lines? Bad. Broken sound? Worse. Seven sick cast members, council reps judging your funding, and a 21st birthday party next door? Community theatre nightmare fuel! Thankfully, Midnight Murder at Hamlington Hall takes that opening night disaster and wrings every possible laugh from it. Presented by Centenary Theatre Group, this affectionate farce celebrates every theatre volunteer who keeps shows alive, often with no warning, and a slowly unravelling grip on reality. Written by Mark Kilmurry and Jamie Oxenbould, the play follows the fictional Middling Cove Players, a community theatre troupe very similar to CTG. Their opening night show is supposed to be a classic 1950s whodunnit with all the usual ingredients: a confined country house, mysterious clues, dramatic deaths, and a cast of suspicious characters, because apparently nobody in Britain can just be normal. Remember the report-and-isolate era? Same... Their cast is sick. The understudies are sick. There are only three actors left, one deeply unwilling stage manager, and one poor “audience member” dragged into the fire. Why? Because the show must go on of course! There are council members watching, funding is on the line, and apparently this is what we do for fun. Or for the distant dream of “actually getting paid to do this thing we call show.” Think The Play That Goes Wrong meets community theatre survival mode. Act One takes place downstage, in front of the curtain, as the surviving members of the troupe attempt to solve the completely unsolvable. Jonathan Knox is immediately standout as Shane Tweed, the panicked director in a shiny lavender tracksuit, radiating British nicety and suppressed internal collapse. Shane regularly puts his foot in his mouth and somehow manages to be both wildly articulate and deeply unhelpful. Jill Brocklebank plays leading lady Phillipa “Pip” Chidley, bringing stern presence, many wigs, and a touch of Moira Rose-level theatrical self-importance. Pip has no intention of letting a few missing cast members ruin her moment. In Act One, some of Jill's dialogue feels a little more recited than conversational, but she comes into her own beautifully once the play-within-the-play begins. In Act Two, she is poised, classy and unflappable, holding the collapsing production together through sheer self-belief. Isaac Tibbs is a comedic whirlwind as Barney Simpson, a founding member of the fictional company and amateur actor (who works at Harvey Norman). Barney is very extra, slightly sleazy, and absolutely believes he is helping in his odd way. Isaac throws himself into the role with excellent physical comedy, panicked quick changes of toupées and jackets, dodgy "improv", excellent accents, and facial expressions that scream, “I have made a terrible mistake.” Watching Barney realise, in real time, that he needs to be in two (or three places) at once is one of the show’s best running gags. Ashleigh Tibbs is wonderfully dry as Karen, the stage manager whose entire persona says, “I did not sign up for this,” which is ironic given she chose this as her community service. With a nasal Aussie tone, a deadpan stare, and the emotional investment of someone counting the minutes until release, Karen is overworked, unimpressed, and eventually shoved onstage all because she knows the script. I have actually seen that happen to an SM here recently, so I can confirm it’s very plausible! Ash makes Karen deeply funny without ever making her try too hard. Act One does a lot of useful set-up, though it could move with a sharper sense of panic. With stakes this ridiculous, the chaos needs to feel immediate, and at times the pacing drags because the characters are not quite reacting as though their opening night is actively bursting into flames. The theatre jokes are knowingly on the nose and land funniest if you have spent time backstage. There is still plenty of affectionate cringe here, and when the jokes click, they click with painful recognition. Then Act Two arrives, the curtain opens, and the whole thing properly detonates. This is where Midnight Murder at Hamlington Hall becomes the glorious mess it promises to be. The murder mystery finally begins, though following the actual plot is almost beside the point. There is a plot (apparently) but it is fighting for its life beneath the real entertainment: the Middling Cove Players desperately trying to survive their own production. Doors slam. Luggage tumbles. Characters vanish. Direction disappears. Quick changes become cardio. Someone gets injured. The whole cast lifts in Act Two. Paul Toolis is great fun as Richard in Act Two, the planted audience member suddenly promoted to emergency cast member and handed the roles of doctor and solicitor. With his nose buried in the script and the grumpy energy of a man realising he should have stayed home, Richard adds another excellent layer to the collapsing illusion. Meanwhile, Shane (Jonathan Knox) tries to direct from inside his role as the detective, correcting lines, coaching blocking, chasing people on and offstage, and getting increasingly grouchy as the whole thing disintegrates around him. Knox is particularly strong here, somehow maintaining crisp delivery and accents while Shane loses control of the situation in real time. Isaac as Barney is in his element: jumpy, puffed, overcommitted, and always two seconds away from disaster. His not-so-subtle “corrections” are bloody hilarious to me. And once Barney cops a concussion, the memory loss means he forgets the “safe word”, which is about as helpful as you would expect. As someone who has broken a foot onstage myself, this felt less like farce and more like a flashback. Jill as Pip becomes the eye of the storm, gliding through the chaos with confident calm. Ash as Karen also gets some of the best chaos to manage, especially when her twelve-year-old niece is roped in to run sound and lights. The real lighting and sound work by Brian Hobby and Christian McCreery-Rye is timed beautifully for comedy, with cues landing cleanly enough that the “mistakes” read as deliberate. That is always the trick with a show about things going wrong: the actual production has to be very right. William McCreery-Rye directs and designs the set, and the curtain reveal is used to great effect. Act One keeps us trapped in front of the stage with the troupe, before Act Two opens up Hamlington Hall and lets the farce properly run wild. Once we are inside the murder mystery, the production gains pace, momentum and plenty of visual payoff, with a set that gives the performers plenty to play with, trip over, misplace, and break. The window gag is a great touch too, with clever projection additions. Costumes by Serena Bardsley are also key to the comedy, especially with Barney’s frantic role-swapping. Never underestimate the comedic value of a bad wig! Underneath all the silliness, there is a lovely sincerity here. Midnight Murder at Hamlington Hall is a farce, yes, but it is also about community theatre people making it work because they love it. Or because someone has handed them a script and blocked the exit. Either way, they are there. The line “We need the silliness to distract us from life” lands beautifully because that is exactly what this show offers. It knows theatre people are silly. It knows community theatre survives on goodwill, volunteers, and one person doing six jobs. On that note, shout out to the real stage management team, including Hugo Foong and assistant director/stage manager India Charlton, because a show built on fake chaos needs very real control behind it. Any actual mistakes are impossible to spot in a production designed to look like one giant mistake. By Act Two, the audience around me was laughing so hard people were practically having coughing fits, which feels like a fairly strong endorsement in any demographic. It is a show for anyone who has ever loved theatre, survived theatre, volunteered in theatre, or watched from backstage as a production collapses internally while the cast pretends everything is fine.

Queens and Wannabes Presented by Queensland College of Dance at Queensland Multicultural Centre Director: Tim Hill Musical Director: Jacqui Devereux Choreographer: Tess Hill Assistant Choreographer: Lauren Bensted There is a reason musical theatre keeps returning to high school. It is already theatrical. Adolescence is rich territory for reinvention, insecurity, longing, rebellion, humiliation, and self-discovery. With Queens and Wannabes, Queensland College of Dance stepped straight into that chaos, opening the locker on some of musical theatre’s funniest, fiercest, and most vulnerable characters. Created by Tim Hill and Jacqui Devereux, the showcase moved through the four years of high school. I thought this was such a clever framework, especially for a cohort made up mostly of teenagers themselves. With songs from the likes of Heathers, Mean Girls, Spring Awakening, Fame, Dear Evan Hansen, Grease, The Prom and many more, the students were given a wide playground of characters to step into. With a large cohort of 36 students, the whole show had that “big performing arts school” feeling rather than feeling like a simple string of songs. The creative transitions helped tie everything together, with school announcements bridging the leap between freshman, sophomore, junior, and senior year. There were some tricky technical circumstances to navigate though. With so many performers on stage, individual head mics were understandably not possible, so the music began quite softly to allow the unamplified voices to carry. In the first half, some students were clearly working very hard to project into the space, and at times that effort began to show through vocal strain, shakiness, or cracks. Encouragingly, the sound balance improved noticeably in the second half! The overhead mics picked up the voices more effectively, the music was able to come up in volume, and the students sounded more supported and comfortable. What was most impressive, especially under those circumstances, was the commitment. Every student on stage was switched ON. In the full ensemble numbers, we could see every single face, and nobody dropped their character. It showed discipline, training, and a real understanding that ensemble work was not “waiting for your solo.” The group intensity and cohesion were one of the strongest features of the whole showcase. The show opened, very understandably, with “Beautiful”, the opening number from Heathers, led by Gisella Vickers. It was the perfect entry point into this world of hallway hierarchy. This flowed into a delicious mashup of “Candy Store” and “Meet the Plastics”, performed by six fabulously intimidating queens. “Telephone Hour” from Bye Bye Birdie was an early highlight, with bright choreography, polka dots and breathless teenage gossip. It captured the infectious cheer of the musical’s vintage style. Costumes throughout were well matched to the repertoire, quickly establishing the worlds of their songs, whether through the modesty of Spring Awakening, the flair of The Prom, the big skirts of Grease, or the rebellion of Jagged Little Pill. The solo song choices were thoughtfully matched to each soloist. Miranda Brown brought clear youthful character work to “The Lamest Place in the World”, while Georgia McNamara captured the beautifully unfiltered enthusiasm of “I Love Play Rehearsal.” Ava Fitzsimons had a ball with “Think of Meryl Streep,” embodying that specific theatrical-kid ingénue energy. Fangirls followed, with Sianna Thew performing “Wait and See.” She captured the feeling of being 14 years old and finding comfort through a pop star obsession. Been there, girl. Her voice carried impressively without a mic, with a soaring quality to her sound. The Spring Awakening section shifted the tone fast. Kai Sorbello stepped into Melchior for “All That’s Known” with real presence and young star power. This was followed by Rowan Eastgate and Ben Smith leading the excitable boys through “The Bitch of Living,” giving the group a chance to tap into frustration, rebellion, and restless adolescent energy. “Sincerely Me” from Dear Evan Hansen was one of the most enjoyable character numbers of the evening. Oscar Lowe brought strong comedy and vocal confidence as Connor, while Rowan Eastgate was a winsome and believable Evan, nailing that final note with real control. Maximillian Martin was very funny as the extremely unhelpful Jared. The six boys in this cohort had a lot of featured opportunities, and they made strong use of them. Neilla Bradstreet brought a powerful voice to “Ironic,” complete with full chair-ography by the ensemble. Cooper Lansley burst onto the stage as Jamie in “And You Don’t Even Know It.” It was camp, high-energy, and a total crowd-pleaser. The dancers earned big cheers, and Cooper led the number with sparkle. And now I want a full version from this cohort immediately. Ben Smith made a strong impression with “Michael in the Bathroom,” balancing the awkward dorkiness of the character with a solid vocal performance. It was a song that needed both humour and genuine pessimism, and he found both. One of the strongest group numbers was “Second Thoughts,” featuring Miranda Brown, Rowan Eastgate, Oscar Lowe, Josie Folland, and Isabelle Thomsett. I will admit, this was a number I was not familiar with, but it was wonderful to experience. The blend of personalities, the staging, and the overlapping clarity of vocal lines made it one of the most polished moments in the showcase. Among the many upbeat numbers, Laine Devoy’s “Once Upon a Time” from Bare stood out for its stillness and vulnerability. It was one of the rare ballads in the program, and Laine brought one of the strongest unamplified voices of the night. The song required emotional openness without melodrama, and he handled that beautifully. The second half continued to make room for both familiar and lesser-known repertoire. Vanities, another musical I was less familiar with, gave Keira Whyte, Jaiselle Hunter, and Jasmine Sinclair a wonderfully sassy moment with “Organised Life.” With southern belle accents, plastered grins, and a plan to rig the homecoming queen vote, they were a terrifying little trio. Indya Munroe stepped into queen bee mode for “Killer Instinct” from Bring It On, bringing confidence, attitude, and impressive vocal riffs. It was a great fit for her, and she knew exactly how to command the moment. The mascs had an absolute blast with “Mama Says” from Footloose, led by Maximillian Martin as Willard, crutches and all. They were all clearly loving every second of playing up the redneck, country-boy comedy. These boys were very comfortable being clowns, and that is absolutely a compliment. Speaking of, “Screw Loose” from Cry-Baby, performed by Tessa Parrish, was another standout comedy solo. Her gliss, belt, tone, and unhinged character choices all landed well, making it one of the most vocally and comedically exciting moments of the night. Zombie Prom brought in some fun full-group staging, led by Rhiannon Baird, before the inevitable inclusion of Grease. Charlotte Ball had a strong moment as Sandy, especially in the “But now! There’s nowhere to hide...” section, which she delivered with great conviction. Eulla Cadoo-Dagley was OTT extra as Rizzo, to the point that she accidentally hit the overhead mic multiple times. Then came “The Ballad of Sara Berry,” a favourite of mine, and it was epic! Led by Olivia Crow, who showcased a great low register despite the lack of amplification, the group choreography in prom dresses was sharp and the beat was killer once the music was turned up. It was one of the numbers that really benefited from the full group’s commitment. To bring us back to a more wholesome version of high school, Theo Hunt led “It’s Time to Dance” from The Prom. It closed the main body of the showcase with a full dance section from the entire cohort. The tempo was fast, the synchronisation was slick, and everyone gave 110%. By this point, the students had well and truly earned their ovation. The evening came full circle with “Bring On Tomorrow” from Fame, as the “graduates” looked ahead. It was a sweet closing choice and brought a lovely sense of optimism. After a showcase filled with popularity battles, heartbreak, obsession, insecurity, and rebellion, this final number felt like a hug. The students were living through their own formative years as artists, learning how to take up space, support each other, and find their voices. The program also reminded me how many high-school-set musicals exist! I did find myself mentally adding Carrie, High School Musical, and Hairspray to the list. The creative team clearly understood how to build a showcase that served both the students and the theme. Tim Hill’s direction gave the evening a clear arc, Jacqui Devereux’s musical leadership allowed a wide range of repertoire to sit within one world, and Tess Hill’s choreography, with assistance from Lauren Bensted, gave the cohort plenty of opportunities to move with style. With a group this large, it would have been easy for the evening to feel crowded or uneven, but the structure kept the momentum moving and gave the students room to shine. These students are all at exciting stages of their musical theatre journeys. What I admired most was that they were all having a go at big material. They were tackling songs that asked for stamina, vulnerability, humour, stylisation, accents, high-speed choreography, and strong character choices. Even with the challenges of sound, they remained focused, brave, and committed. That is how young performers grow. Not by waiting until everything is perfect, but by stepping into the work with heart and giving it a go!

Xanadu | Presented by Mira Ball Productions at Ron Hurley Theatre Book: Douglas Carter Beane | Music and Lyrics: Jeff Lynne and John Farrar Producer: Elodie Boal | Director: Timothy Wynn Choreographer: Jennifer B Ashley Music Director: Rae Rose | Band Leader: Ruby Tate Makeup, Wigs and Set: Rosie Humphreys | Costumes: Jackie Fredericksen Sound Design: Jacob Cash | Lighting Design: Carter Firmager Pegasus Design: Garry Hull Photography: By B’rit Creative “Let it be known: in 1980, inspiration left the arts!” The original Xanadu film may have been considered a flop in 1980, but Mira Ball Productions’ stage version was anything but! This was a vivid, shimmering, farcical, self-aware journey on wheels. Literally. I’d never seen Xanadu before (oops!), so I went in only knowing the basics: roller skates, disco balls, Olivia Newton-John, Gene Kelly... and what I experienced was a full-throttle musical fever dream about inspiration, Greek mythology, legwarmers, and the terrifying thrill of making art and hoping someone else sees the magic in it too. The script was completely on the nose and absolutely knew it. It was packed with 80s slang, fourth-wall breaks, and some cheeky local and current references tucked into the glorious nonsense. Nothing about this production asked to be taken seriously, which was exactly why it worked. But beneath all the camp, Xanadu revealed a genuinely beautiful little heart: a love letter to every theatre person who knows the chaos of making something from nothing. That is where we truly live: somewhere between inspiration, panic, and sequins. The story follows struggling LA artist Sonny Malone, who is ready to give up on his life (bit dramatic...) when the Greek muses magically come to life from one of his murals. Clio disguises herself as an Aussie gal named Kira and stays on Earth to help inspire Sonny. Together with Danny McGuire, they dream up Xanadu, an entertainment venue in Venice Beach. But when two jealous muse sisters decide to meddle, love breaks divine rules, and suddenly we are off to Mount Olympus... a disco in the sky! Nykita O’Keeffe was enchanting as Kira/Clio. She had exactly the sweet, shimmering tone needed for this score, with that clean 80s popstar quality that made the whole thing feel bright and dreamy. As Clio, she carried herself with magical muse confidence. As Kira, she committed fully to the terrible (American idea of an Australian) accent. I also genuinely think Nykita had been possessed by the spirit of roller-disco Barbie. She glided around the stage with this sparkly quality, all while remembering singing, acting, blocking, landing jokes, and skating in circles like she had no concern for dizziness. Her sng “Suspended in Time” was especially beautiful, giving her a chance to show off her angelic voice while riding a Pegasus, as you do. Croft Phillips was wonderfully sweet and ridiculous as Sonny Malone. His Sonny was artsy, funky, chatty, sincere, and magnificently delusion in the way only a struggling artist in a musical can be. He gave Sonny such an earnest golden retriever heart towards Kira. His voice sparkled in the melodramatic “Don’t Walk Away.” I also need to mention the epic XANADU sign, which looked fantastic, even if Croft put the N backwards. Spelling is hard. Dreams are harder. Chris Kellett brought old-school charm and authority as Danny McGuire, later doubling as Zeus with great (bearded) fun. His duet with Nykita, “Whenever You’re Away From Me,” had a beautiful crooner quality, and the dance work by Jaya was slick, playful, and full of vintage glamour. Then there were the sisters. Samantha Sherrin as Melpomene and Kennedy Foley as Calliope were a wickedly funny pair, and their number “Evil Woman” absolutely brought the house down. Sam had us eating out of the palm of her hand. She knew exactly when to command the room, when to throw in some improv, and when to let a look do the damage. And Kennedy proved she could do no wrong, with immaculate comic timing and a gift for making every ridiculous moment completely intentional. Together, they were theatrical menace in drapes. Peter Wood, Ashleigh Grabasch, Jaya, Molly Campbell, Sam Caruana, and Sophia Marzano gave the show so much of its sparkle. They kept popping up with little comic beats that made them impossible to glance away from. I kept catching something funny happening just off to the side: a face being pulled, a dramatic pose being struck, or a muse silently judging someone’s choices with divine authority. “Fool” became a bright, upbeat anthem, with Nykita leading beautifully while her sisters swirled around her like a glittery emotional support system with attitude. I particularly loved Jaya, Peter Wood, and Sam Caruana as three of the “sisters,” bringing supportive backup with sass, singing, and plenty of dance flair. The choreography by Jennifer B Ashley knew exactly what show this was. It was camp, character-driven, and full of fun. “Dancin’” was a highlight, throwing 1960s swing against 1980s excess in a dance-off that let the cast really play with the clash of styles. The muses constantly swept in and out of scenes with purpose, creating that feeling that inspiration could strike at any second, probably wearing a toga. Musically, the show was in strong hands with Rae Rose as Music Director. The band, featuring Ruby Tate, Mark Mirhan, Bryce Francis, and Dominic Nicholson, was tucked tightly into the "wings" but sounded fantastic. Ruby especially killed it in those jazzy keys moments. The live music gave the production a huge lift, and the score had that bright, electric nostalgia that made it very hard to stay seated. There were moments where the group vocals became a little overwhelming. Everyone on that stage had a powerful voice, which was a great problem to have, but it meant the blend occasionally got lost when they were all singing together. It may have been a mic balance issue rather than a performance one, but a little more definition in the mix would have helped the harmonies land more clearly. Visually, the show was a sugar rush. Jackie Fredericksen’s costumes were perfectly bright, sparkly, and outrageous in all the right ways, while Rosie Humphreys’ makeup, wigs, and set gave the production its cartoonish pop. Everyone looked like they had been styled by a Greek muse who had discovered an 80s aerobics VHS. Garry Hull’s Pegasus design added a wonderful bit of stage magic, and Carter Firmager’s lighting filled the world with every colour of the rainbow. The Olympus scene was one of the most absurd parts of the night, and I mean that as a compliment. The gods appeared with wild accents, wilder logic, and a parade of mythological creatures. Once Cyclops, Medusa, and Nessus appeared, the production had fully surrendered to its own madness. That was where Timothy Wynn’s direction really worked its magic. He let the show be ridiculous, but every pause, pose, and dramatic reveal was placed with care. The cast played the comedy boldly, but still cared enough about the story to make the audience care too, so that by the end we were on our feet giving them a standing ovation. I genuinely left with a headache from grinning/laughing so much. Mira Ball Productions gave us a glitter-drenched celebration of creativity, carried by a cast who committed completely to the bit. For all its neon and mythological chaos, it found something genuinely magical underneath it all. It was a ridiculous, joyful reminder that sometimes the dream really is worth chasing, especially if it comes with roller skates.

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< Back THEATRE: Comedy of Errors - Griffith University 4 June 2026 Season: June 4th - 5th, 2026 Title: William Shakespeare’s Comedy of Errors Presented By: Griffith University Genre: Comedy / Shakespeare / Physical Theatre Synopsis: This fast-paced adaptation of Shakespeare’s The Comedy of Errors brings mistaken identities, slapstick chaos, and sibling confusion to life in an energetic sixty-minute production performed by Griffith University’s second-year acting students. Featuring physical comedy, accessible storytelling, and contemporary staging, the production reimagines one of Shakespeare’s funniest plays for modern audiences. Performance Dates: June 4th - 5th, 2026 Performance Times: Thursday - 11AM & 7:30PM Friday - 7:30PM Performance Location and Address: Kingston Butter Factory Cultural Precinct, Butterbox Theatre, 270 Jacaranda Avenue, Kingston QLD 4114 Ticket Costs: Adult - $30 Concession / Student - $22 School Groups - $17 students Teachers/Carers - One free ticket per 10 paying students Ticket Link: Buy Tickets - Comedy of Errors Warnings: Contains adult references and mature themes presented in a comedic and exaggerated style. Recommended Age: Recommended for ages 15+ Duration: Approximately 60–70 minutes, no interval. Cast: Performed by Griffith University second-year acting students. Production Website: Griffith University - Comedy of Errors Other information: The production uses contemporary staging and physical theatre techniques to make Shakespeare accessible for younger and general audiences. The Kingston Butter Factory Cultural Precinct offers accessible parking, wheelchair access, accessible amenities, and companion seating options. Nearby Logan Arts venues include Logan Entertainment Centre and Logan Art Gallery. Previous Next

< Back SHOWCASE: Starstruck - Allstar Dance, Ipswich Civic Centre 3 June 2026 Season: June 3rd, 2026 Title: Starstruck Presented By: Allstar Dance, Ipswich Civic Centre Genre: Dance Showcase / Musical Theatre / Family Entertainment Synopsis: Starstruck Showcase is Allstar Dance’s annual performance spectacular, featuring dancers of all ages performing across multiple dance styles including jazz, ballet, hip hop, tap, acro, lyrical, contemporary, and musical theatre. The showcase combines energetic choreography, theatrical storytelling, dazzling costumes, and contemporary music in a family-friendly celebration of dance and performance. Performance Dates: Wednesday June 3rd, 2026 Performance Times: 6PM Performance Location and Address: Ipswich Civic Centre, 50 Nicholas Street, Ipswich QLD 4305 Ticket Costs: Adult - $40 Student/concession - $35.50 Child ticket (3 - 15 years) - $32 Ticket Link: Buy Tickets - Starstruck Recommended Age: Suitable for all ages / family friendly Cast: Students from Allstar Dance Production Website: Ipswich Civic Centre - Starstruck Other information: The showcase features performers ranging from young children through to adult dancers in a large-scale community dance concert environment. Ipswich Civic Centre offers wheelchair accessibility, accessible bathrooms, hearing assistance, Companion Card acceptance, lift access, and nearby parking facilities. Pre-show dining is also available through the venue precinct. Previous Next