Production: Bram Stoker's Dracula Presented by: Ghostlight Theatre Co. Venue: Crete St Theatre, Beenleigh Date attended: 10 October 2026 Written by: William McNulty, adapted from Bram Stoker's novel Director and Producer: Yasmin Elahi Assistant Director / Sound Designer: Tommy Burnett Set Design, Costumes, Props, Practical Effects: Yasmin Elahi Lighting Designer: Willow Taylor Fight Choreographer: Dan Pohlmann Choreographer: Sarah Latter Stage Manager / Practical Effects: Christina McMahon SFX Makeup: Charlotte Horn Photography: Christopher Sharman and Alan Burchill Contains minor spoilers about character transformations and stage effects. “We are all damned.” Ghostlight Theatre Co. has a healthy appetite for theatrical horror. I've seen their previous four productions, including The Exorcist, and watched the company find all sorts of creative ways to torment its characters. For their latest production, they've taken on Bram Stoker's Dracula, adapted by William McNulty and directed by Yasmin Elahi. It's their largest production to date, bringing towering monsters, supernatural illusions, and an alarming quantity of fake blood to Crete St Theatre. I dread to think how much laundry detergent they went through! Something sinister is brewing in England. Mina is presumed dead after a mysterious illness, and now her best friend Lucy is suffering similar symptoms. Lucy is losing blood inexplicably, her fiancé Jonathan Harker has vanished, and Dr Seward is running out of answers. Meanwhile, there's been suspicious nocturnal activity since Count Dracula arrived in the neighbourhood. Professor Van Helsing is called in to investigate. Through detailed dialogue, journal entries, and flashbacks, McNulty gradually pieces together the horrors at play, echoing the storytelling structure of Stoker's original novel. Reagan Warner fits the role of Count Dracula so perfectly that I wonder if he's truly human. His Dracula is calculating, with a piercing gaze that forebodes suffering for his victims. The deep timbre of his voice lends his Transylvanian accent a hypnotic quality. Reagan takes his time with everything, from the measured delivery of his lines to the slow, deliberate movements of a creature accustomed to having others at his mercy. With pointed ears, red eyes, and elaborate crimson-and-black attire, Reagan looks every inch the vampire. His enormous cloak acts like an extension of himself (à la Doctor Strange), sweeping around him with every action. There's a wicked sense of humour in Reagan's performance too, but that vanishes when the Count is confronted with crucifixes and Latin prayers. Dracula erupts into a rage, all the more frightening after seeing him maintain such control. If anyone can match Reagan's commitment to character, it's Rhys Schwarten as Renfield. With disheveled hair and filthy clothes, Rhys dives into the role of the self-proclaimed “garden variety raving lunatic” with fervent enthusiasm. They scurry around the stage like a rat, muttering riddles and occasionally erupting into chaotic fits. At other times, Renfield bumbles and bounces about like a mischievous leprechaun. He might even be entertaining company (if he'd just quit snacking on insects). Even when silent, Rhys is rarely motionless. Their fearful cowering and darting eyes reveal a mind pulled in two directions, unable to settle. It's a performance equal parts ridiculous and disturbing. Andrew McArthur brings a contrasting calmness to Professor Van Helsing. His matter-of-fact delivery conveys a man who can recognise supernatural nonsense without becoming hysterical. Van Helsing listens, considers, and reads between the lines before anyone else catches up. There's considerable wit and intelligence in this restraint, particularly when dealing with Dracula. I enjoy watching Andrew meet every provocation with composure, which only aggravates Dracula further. Their showdowns are so entertaining precisely because neither is willing to concede an inch. Brayden Rewald brings a surprisingly dry wit to Dr Seward, alongside a perpetually sour expression. As Lucy's unexplained blood loss leaves the doctor scrambling for answers, frustration creeps into Brayden's voice and movements. By the graveyard scene, his professional composure begins to unravel. Conventional medicine has hardly prepared him for this. Peter Van Werkhoven has less stage time as Jonathan Harker, but his expressive reactions convey plenty about the ordeal he's endured. Poor Jonathan is quite the damsel in distress, and Peter makes his desperation convincing. Under Dracula's influence, Alynta Scott transforms Lucy from a sweet, innocent hostess into someone eerily unrecognisable. Alynta's altered posture, expressions, and voice give Lucy a siren-like allure with a sinister undertone. As she levitates (stage magic!), Alynta twists and bends at unnatural angles. I found myself genuinely tense in my seat, both from the unfolding body horror and from imagining what her back and neck must be enduring! Jem Mook brings an unsettling physicality to Mina, particularly during a violent encounter with the Child (Alex Andrews). Set to the Moderato from Swan Lake, the scene pairs the graceful flute passages and balletic movements with swelling brass, piercing screams, and bloodshed. As the scene takes a dramatic turn, the little girl's innocence makes the sudden brutality all the more chilling. Fiona Buchanan and Daniel Lewis provide a touch of comic relief and humanity as Sullivan and Briggs. Daniel's strong Cockney accent and Fiona's Irish characterisation add personality to their amusing disagreements. Briggs has the unenviable task of keeping Renfield under control, while Sullivan has enough trouble maintaining order in this household. When Dracula puts Sullivan under his spell, Fiona's sudden change in demeanour is particularly creepy. Neither character is being paid enough for what goes on at this establishment. Across the company, the vocal work is excellent. Accents are sustained, enunciation is clear, and emotion comes through in everyone's delivery. I did occasionally wish that same intensity carried into the physical performances, particularly in confrontations that felt a bit restrained. Reagan and Rhys communicate so much through movement that the stiffer moments elsewhere are noticeable. A little more physical urgency and responsiveness between characters would've helped sustain the illusion of danger. Yasmin Elahi has a hand in almost everything, from directing to designing the costumes, scenery, props, and practical effects. Yasmin's set accommodates several locations through tall scenic flats and substantial scene changes. A flashback transports us to Dracula's castle, complete with an imposing carved throne (that I wish we'd seen more of). The large backstage team deserves credit for keeping everything moving, particularly with so much stage magic to coordinate. And there's plenty of it! Wounds appear from nowhere, blood spurts onto the stage, bodies levitate into the air, and Dracula's coffin conceals a clever illusion. I caught sight of a blood pipe during one scene, but with everything else they're pulling off, I can forgive that! There's also a gigantic creature, performed by Matthew Nelson, whose shaggy silhouette towers over the cast. With grotesquely long limbs, jutting claws, and glowing red eyes, it's a rather spooky sight. Willow Taylor's lighting keeps much of the stage appropriately dark. Spotlights pick out faces and figures from the shadows (when the performers find their light). Handheld flashlights leave stretches of the stage obscured so that we are left searching the darkness alongside the characters, knowing full well what might be lurking there. Saturated reds and icy blues transform the scenery, with the graveyard's cold glow contrasting sharply against Dracula's crimson world. Tommy Burnett's sound design deserves particular praise for the tension it creates. Dracula's deep, hypnotic voiceovers draw Sullivan into a trance, while low hums creep beneath the dialogue and put us on edge. During blackouts and scene changes, layers of ominous sound fill the darkness, sustaining the suspense even when there's nothing to see. There are occasional technical interruptions, including mistimed cues, prop difficulties, and microphone issues that briefly expose the mechanics behind the illusions. Despite its sinister intentions, Dracula has a slight playful streak amid all the bloodshed, particularly during the first half. Jokes about familiar vampire conventions, Reagan's dry delivery, Andrew's well-placed insults, and Rhys' peculiar behaviour bring plenty of chuckles. But the darker scenes are given room to become genuinely uncomfortable. Having followed Ghostlight through four previous productions, I've enjoyed seeing just how far the company is willing to push its theatrical horror. And I suspect the cleaning crew is relieved Dracula's visit was only for four performances.

REVIEW | The Human Centipede Parody Musical Presented by: Synergy Production Co., in collaboration with Left of Right Theatre Company and PIP Theatre Venue: PIP Theatre, Milton Date attended: 7 October 2026 (Preview) Music: Thomas Currie Book and Lyrics: Liam Hartley and Oliver Catton Director: Liam Hartley Assistant Director and Choreographer: Maureen Bowra Musical Director and Sound Designer: Nate Stevenson Production Designer: Tamzen Hunter Lighting Designer: Claire Yorston Costume Designer: Jemma Crowhurst Stage Manager: Lindsay Cooper Intimacy Coordinator: Michaela Faux Photography: Lavender Productions "There is always a light at the end of the anus." Possibly the most inspirational thing you'll hear from a musical about three people surgically sewn together, mouth to backside. I've seen a few horror parodies, but nothing quite like The Human Centipede Parody Musical. I haven't watched the original 2009 film, and I never will. I know enough. Yet here I am, willingly watching its musical adaptation and laughing at jokes that would be deeply concerning in any other setting. Don't let the source material get in the way of a good time! Written by Liam Hartley and Oliver Catton, with music by Thomas Currie, this spectacularly tasteless Australian creation returns under Hartley's direction. Since its 2023 Anywhere Festival beginnings, it's acquired a full set, projections, and a lighting rig, giving its characters considerably more theatrics to suffer through. The story follows two clueless American tourists, Lindsay (Rae Rose) and Jenny (Georg Gleeson), who fall into the hands of Dr Heiter (Beau Wykes), a sociopathic German surgeon with a friendly disposition and an appalling medical project. They're joined by Katsuro (Chris Nguyen), an equally unfortunate captive who thinks he's been invited to a party. Bless his soul. Before any unpleasantness, however, we're treated to a familiar opening scene lifted straight from The Princess Bride. Douglas Berry plays the grandfather reading to his sick grandson, played by Chris Nguyen in a dreadful wig (and playing with an actual Game Boy, btw!). This sets the tone for the theatrical thievery and obscene nonsense to follow, with performers committing to every ridiculous decision as though their dignity isn't already beyond saving. Beau Wykes plays Dr Heiter as a cheerful German sociopath, approaching his surgical ambitions with the enthusiasm of someone unveiling an exciting craft project! Come Act Two, Wykes channels Frank-N-Furter meets Beyoncé, later leading a tap break in which the human centipede taps with its hands. Yes, hands. There's only so much conventional choreography one can manage when one's face is attached to someone else's rear end... Rae Rose and Georg Gleeson look like they've wandered straight out of S Club 7's wardrobe and taken a wrong turn on holiday. As their predicament worsens, the pair throw themselves into frantic singing and physical comedy, with Gleeson's intense eyes conveying every stage of terror. Rose brings superb vocal control and musicality to 'The Centre of a Centipede'. Their group number, 'We're Fucked/We're Fine', sees them rolling around on chairs, desperately convincing themselves everything's fine when, quite demonstrably, it isn't. Chris Nguyen provides a comic counterpoint to the surrounding hysteria. His initial cluelessness is rather adorable. The trio eventually develop a peculiar companionship with an unexpectedly cute conclusion. I'm told the film takes a somewhat different approach to the ending... Meanwhile, old-fashioned noir detectives Kranz (Casey Martin) and Voller (Douglas Berry) investigate the situation, though they're more interested in narrating their actions and indulging in musical diversions. Their exaggerated Brooklyn accents (which they maintain even while singing), rapid-fire exchanges, and theatrical choreography make for a wonderfully ridiculous double act. Martin switches between detective smoulder and buffoonery easily, with a face made for black-and-white crime films, while Berry matches his energy and looks as though he's fighting for his life through the choreography. Their recurring number, 'Ain't a Second to Spare', sees the detectives repeatedly announce their lack of time while wasting an extraordinary amount of it. Just when you think they're finished, they're back for more. Musical theatre, country western, rock 'n' roll, crooning, and a kickline, naturally. (Martin going full hillbilly absolutely sent me). Choreographer Maureen Bowra has found another way to torture people in a show already dedicated to that activity. The song threatens to become the one that never ends, and I'm not convinced the detectives would mind. Bowra's choreography makes inventive use of the physical limitations of being attached to other humans. Thankfully, costume designer Jemma Crowhurst has provided padding and knee protection for the cast's prolonged adventures on the floor. Even a mad scientist's victims deserve appropriate workplace safety considerations. Thomas Currie's score features catchy melodies, clever reprises, and outrageous lyrics. Hartley and Catton enjoy a good pun, particularly involving rear-ends, bodily functions, or unfortunate positioning. Gleeson's song 'I'll Be Right Behind You' acquires an entirely different meaning here. The Act One finale weaves earlier songs together during Lindsay's morphine-induced nightmare. Even the musical numbers end up interconnected. I also caught references to Les Misérables, Hamilton, and A Chorus Line. 'Three Heads Are Better Than One' brings sparkling showmanship to a grotesque situation. Nate Stevenson's musical direction and sound balance ensure every dreadful pun comes through clearly. Claire Yorston's lighting design is equally sharp, with precisely timed cues and bold colour changes complementing the show's over-the-top parody style. During 'Hide and Seek', I caught myself thinking, 'Oooh, lighting change!' (Yes, I'm that person.) Alongside Tamzen Hunter's set and projections, the technical design provides a fuller playground for the madness. For all its disgusting subject matter, the staging is less visually revolting than expected. One fart noise (more of a shart, really) does much of the dirty work, while the costumes leave plenty to the imagination. The actors even break the fourth wall to judge us for attending this show in the first place. I glanced around the theatre to see most audience members covering their mouths in shock. Quite the collective reflex, considering what we've paid to watch. Perhaps we're instinctively protecting ourselves from recruitment? As the show acknowledges, "As sadistic as it is, I want to know how it ends." And I did. The performers commit completely to the satire, and I became invested in these ridiculous characters despite knowing their ghastly predicament. The Human Centipede Parody Musical is gleefully stupid, unashamedly camp, and wildly inventive (and far more entertaining than an adaptation of this film has any right to be).

A Drop Too Many Presented by Backbone Festival Written and directed by Maxi Mossman Co-writer: Peyton Hutchins Stage Manager and Costume Designer: Paige Elms Sound Designer: Andrew Oxford Lighting Designer: Caleb Bartlett Video Designer: Lani Dwyer Cast: Angela Barnard, Connor Costin, Ally Marie Wilson, Liam Linane, and Anabella Gregory Photography: Ulf Yeh (@ulfs_photography) Date Attended: 8 October 2026 "Do we swim against the pull or just let go?" I recall the four-minute shower timers, saving water in buckets, my unusual interest in the weather forecast as a child, and the silent judgement directed at anyone caught using a sprinkler or hose. Growing up in Brisbane during the Millennium Drought, these restrictions were part of daily life. After watching A Drop Too Many at Backbone Festival, I realised how much of that childhood has been lingering in my memory, waiting for someone to bring it up. Written and directed by Maxi Mossman, with co-writer Peyton Hutchins, A Drop Too Many examines Australia's complicated relationship with water. Inspired by the 2022 floods across South-East Queensland and Northern NSW, the production draws on real community experiences. Stories of hardship, resilience, and human connection unfold through verbatim testimony, poetry, and physical theatre. First presented at Anywhere Festival in 2023, the work has since evolved through Backbone's HUB Residency, bringing the Australian bush indoors to the Ron Hurley Theatre. A desolate patch of Australian bushland greets us. Brown dust covers the ground, a bare tree stands among barrels and buckets, and newspapers lie scattered around. The predominantly beige and white costumes by Paige Elms look as though they've absorbed the dust themselves. There isn't a speck of greenery in sight. Emerging from the darkness, performers crawl and contort across the dirt with distorted expressions. Their limbs twitch and jolt as though they're receiving electric shocks, and their movements wouldn't look out of place in The Walking Dead… It's an unsettling introduction to the ensemble's physical storytelling. Throughout the production, the five performers shift between characters, narrators, and representations of the natural elements. Bodies tumble and intertwine, demonstrating considerable strength, control, and trust in one another. We begin with the droughts of the early 2000s. Angela Barnard and Ally Marie Wilson recount the familiar routines of a water-conscious household. I found myself mentally ticking off each one. Timed showers? Check. Prickly dead grass? Check. An intense obsession with the weather forecast? Check. I vividly remember the restrictions from ages seven to eleven, but I'd started to wonder whether my childhood imagination had exaggerated the severity. Hearing these experiences described onstage reminded me that these experiences (endless dry days, constant conservation, excitement over potential rainfall) were shared by an entire generation. Maxi and Peyton's script is rich in these recognisable details, capturing the peculiar routines that emerged when every drop of water was precious. "When you're five and the world is still so new, no one tells you this isn't normal." Dialogue fractures between all five performers, with phrases passed back and forth in quick succession. Their precise timing creates the impression of multiple memories being recalled at once. Even the silence of drought is noted. No birdsong, no sprinklers, no cicadas, no lawnmowers… Andrew Oxford's sound design moves between this eerie stillness and a rich soundscape of birds, insects, rainfall, rushing water, and historical news reports. "Too many days exactly the same... Hoping it will get better next week, next month, next year." And then, finally, the rain arrives. The group's reaction is childlike. Faces turn skyward, bodies freeze in delight, and tongues stretch out to catch imaginary droplets. Their poses loosen and they start dancing as the pattering sounds develop into a downpour. After so much drought, the sense of relief spreads among them like a contagion. I can practically smell that glorious scent of rain hitting the parched earth. But Australia's rainfall has never been particularly good at moderation… What was once a landscape desperate for moisture is suddenly drowning in it. Caleb Bartlett's lighting design trades bright oranges and fiery reds for deep, saturated blues. Lani Dwyer's video projections flash images of rain, inland tsunami, cyclone, and flooding. Combined with Andrew's soundscape, these elements transform the modest theatre into a hostile, waterlogged environment. One of the production's most inventive choices is its use of translucent plastic sheeting to depict water. Initially, it ripples gently across the stage, but as the flooding intensifies, it rises and thrashes around the performers, swallowing their bodies beneath its surface. Anabella Gregory spends a disconcerting amount of time underneath the material (could you breathe?!). Watching the lightweight plastic billow and twist around the ensemble is mesmerising, its movement evoking the overwhelming force of the inland tsunami that tore through Toowoomba and the Lockyer Valley. Strobing lights accentuate the violence of the floodwaters as the group battles the current. Liam Linane's frantic attempts to "swim" to safety capture the exhausting futility of fighting water that refuses to release you. Performers cling to one another and scramble for higher safety. The bare tree becomes a beacon, a sanctuary. Illuminated with colour from within, its trunk glows against the surrounding darkness. The accounts of the 2011 Brisbane floods are uncomfortably familiar. At fifteen, I was old enough to grasp the danger but too young to understand the enormous burden placed on my family. Through personal recollections and archival recordings, we're reminded of the sudden evacuations, SES volunteers who appeared like superheroes, and the extraordinary mobilisation of Brisbane's Mud Army. I remember watching people arrive from everywhere, armed with shovels, buckets, and a determination to help us. The water may eventually recede, but the mud of the Brisbane River remains. My home was unrecognisable, belongings were contaminated or floated away, and treasured possessions disappeared beneath layers of debris. "Memories are scattered throughout the mud." Moving beyond Brisbane, the production also examines rural communities, where drought endangers livelihoods and natural disasters threaten lives. Connor Costin delivers a powerfully confronting portrayal of a farmer driven to despair. His frustration escalates into anger as he describes starving animals, mounting financial burdens, and the agonising responsibility of euthanising livestock to prevent further suffering. Even the toughest farmer has a breaking point, and Connor's strained physicality exposes the exhaustion beneath his character's fury. It's an important perspective on the emotional and financial toll that rarely receive the same attention as those affecting our cities. Anabella Gregory provides a scientific perspective, swiftly and thoroughly explaining how El Niño and La Niña influence Australia's weather patterns. Her exchanges with Liam Linane offer a reprieve from the heavier material. They share a physical duet in which his excessively clingy behaviour continually interrupts her explanations. It's like attempting to deliver a serious class presentation while your partner insists on using you as a climbing frame. The storytelling has a collage-like quality, moving between personal recollections, scientific explanations, recorded testimony, and abstract movement. Announcement of newspaper headlines paint a picture of a country perpetually bracing for the next climatic emergency. Exaggerated slow-motion movement turns a family sitting together and drinking water into an almost ceremonial occasion. Ally and Connor's swinging, circular arm movements look like an impromptu rain dance, as though they might summon a change in the weather through sheer willpower. Despite its confronting depictions of loss, A Drop Too Many is equally interested in the care Australians offer one another in a crisis. The final scenes replace isolated suffering with physical connection. Arms wrap around shoulders, performers support one another's weight, and the ensemble gathers around the tree that has weathered so much alongside them. I find A Drop Too Many fascinating and deeply beautiful. Its portrayal of the Millennium Drought had me reliving childhood memories I hadn't revisited in years. The flood sequences recalled the fear, heartbreak, and astonishing generosity I witnessed firsthand. I feel an intimate connection to these stories, right down to the smallest details. I wasn't expecting a piece of physical theatre to bring so much of my own history rushing back. Maxi and the ensemble have created a visually inventive and physically demanding production that understands the contradictions of living in Queensland. We spend years desperately wishing for rain, only to find ourselves pleading for it to stop. There's beauty in the way this production portrays both the ferocity of our landscape and the tenderness of the people living within it. I connected with A Drop Too Many more deeply than I anticipated, and I left with an overwhelming appreciation for the communities who continue to pick themselves up, clean off the mud, and help their neighbours do the same.

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< Back THEATRE: Constellations - All Entertainment 15 Oct 2026 Season: October 15th - November 21st, 2026 Title: Constellations Presented By: All Entertainment Genre: Contemporary Drama / Romance / Science Fiction Synopsis: A chance encounter between Marianne, a quantum physicist, and Roland, a beekeeper, unfolds across a seemingly infinite number of possible realities. As their relationship shifts through different choices, conversations and outcomes, Constellations explores love, free will, fate and the fragile possibilities that shape our lives. Written By: Nick Payne Performance Dates: 15 October – 21 November 2026 Performance Location and Address: Sir Thomas Brisbane Planetarium, Mount Coot-tha Road, Toowong QLD 4066 Ticket Costs: Adult $65 | Student / Concession $55 | Group 6+ $50 per person | Ticket Link: https://allentertainment.sales.ticketsearch.com/sales/salesevent/158584 Duration: 70 minutes, no interval Creative Team: Harrison Allen – Director Production Website: https://www.allentertainment.com.au/constellations/ Other information: An immersive production staged inside the Planetarium's 12.5-metre Skydome, featuring 8K, 360-degree projection mapping. Limited to 125 audience members per performance. Previous Next

< Back THEATRE: Small Mouth Sounds - Queensland Theatre, Counterpilot 13 Oct 2026 Season: October 13th - November 1st, 2026 Title: Small Mouth Sounds Presented By: Queensland Theatre Genre: Contemporary Theatre / Comedy / Drama Synopsis: Six strangers arrive at a silent retreat in search of peace, clarity and personal transformation. Forbidden from speaking, they must navigate awkward encounters, unexpected connections and their own emotional baggage through gestures, glances and the occasional involuntary noise. A quietly hilarious and deeply human exploration of loneliness, vulnerability and our desperate need to connect. Written By: Bess Wohl Performance Dates: 13 October – 1 November 2026 Performance Times: Tuesday–Wednesday – 6:30pm Thursday–Saturday – 7:30pm Wednesday Matinee – 1:00pm Saturday–Sunday Matinee – 2:00pm Performance Location and Address: Bille Brown Theatre, 78 Montague Road, South Brisbane QLD 4101 Ticket Costs: Adult from $72 | Concession from $70 | Ages 35 & Under from $36 Ticket Link: https://queenslandtheatre.com.au/plays/small-mouth-sounds Warnings: Mature themes, mild infrequent coarse language, simulated sex sounds and full-frontal male nudity. Recommended Age: 15+ Duration: 1 hour 40 minutes, no interval Cast: Louise Brehmer (Joan), Stephen Geronimos (Rodney), Judy Hainsworth (Alicia), Kieran Law (Jan), Jodie Levesconte (Judy), Barbara Lowing (The Teacher / Voice) and Anthony Standish (Ned). Creative Team: Bridget Boyle & Nathan Sibthorpe – Co-Directors | Isabel Hudson – Set & Costume Designer | Christine Felmingham – Lighting Designer | Mike Willmett – Composer & Sound Designer Other information: An innovative audio-immersive production created with Counterpilot, providing each audience member with headphones to experience the subtle sounds of the performance. Night with the Artists: 20 October Auslan-interpreted performance: 23 October Audio-described performance: 31 October Previous Next