Taking a Bite Out of Dracula: Inside Ghostlight Theatre’s Bloody New Production I recently had the opportunity to attend a rehearsal for Ghostlight Theatre Company’s Dracula. Reagan Warner, portraying the Count, already seemed entirely at ease embodying evil. He observed Van Helsing with a faintly amused, knowing expression, as if Dracula relished just how badly outmatched everyone else was. Warner's low Transylvanian accent added to the menace, complemented by the red eyes, dark features, and some truly wild eyebrow acting. This is not a tragic, glittery vampire lover. Ghostlight Theatre Company is bringing William McNulty’s stage adaptation of Bram Stoker’s Dracula to Beenleigh Theatre for just four performances this October. Yasmin Elahi is producing and directing, while also handling set, costume, and lighting design. She is supported by a talented team: Tomm Burnett as Assistant Director, Dan Pohlmann as Fight Choreographer, Sarah Latter as Choreographer, Christina McMahon as Stage Manager, and Charlotte Horn in charge of SFX Makeup. This dedicated team has much to manage, including fight choreography, blood effects, prosthetic makeup, physical transformations, stunning set pieces, a complex soundscape, ballroom dancing, and even a performer on stilts. Which version of Dracula are we getting? For over a century, Dracula has been everything from a fanged monster and mysterious aristocrat to a seductive antihero, a children’s character who runs a hotel, a classic Halloween costume, and even... Nicolas Cage. Based on Bram Stoker’s 1897 novel, Dracula follows the Count’s arrival in England and the gory consequences for those unfortunate enough to cross his path. As Lucy and Mina fall within his sights, Professor Van Helsing and his allies begin to work out exactly what they’re dealing with and how they might stop him. McNulty’s adaptation condenses Stoker’s sprawling epistolary novel into something more manageable for an evening at the theatre. This is probably wise. “We’d be here for 12 years if we tried to do the whole novel,” Warner says. Ghostlight chose this adaptation because of one important distinction. “Because it was the only one that we found that was classed as a horror and not a gothic romance,” Warner explains. “Part of the idea behind this particular production is to make it disturbing and macabre without adding too many of the romantic elements.” So anybody hoping Dracula and Mina might stare tragically into one another’s eyes while contemplating their forbidden eternal love may need to adjust their expectations. There is desire, Warner explains, but love is another matter. “He’s absolutely not capable of love in this one. Absolutely not.” Warner likens this Dracula more to Nosferatu. He’s predatory, grotesque, and ravenous, but there’s still plenty of personality beneath the fangs. I noticed that in the scene where Van Helsing first meets the Count. Warner shifted from a mysterious, almost amused host into something far more aggressive, while Andrew MacArthur’s Van Helsing held his ground firmly. MacArthur brings a calm authority to the scene, which only seems to encourage Dracula to provoke him harder. “There’s so much gravitas to that role that Andrew brings,” Warner says. In the other scene I watched, Harker and Van Helsing confronted Dracula with a crucifix. Instead of recoiling as expected, Dracula mocked them and kept pushing until the encounter turned physical. And it got loud and bloody very quickly. How do you play a vampire without making him sexy nowadays? “I get to eat so many people,” Warner told me, sounding very pleased with himself. “There’s quite a body count in this show. I pity the poor sucker who’s got to mop the stage afterwards.” Anyone who knows Reagan Warner will know that Dracula isn’t exactly a wild casting departure. He wears almost exclusively black, has long joked about sleeping in a coffin, and has been a fan of the macabre for most of his life. Actually playing Dracula, however, has required more than turning up in his usual wardrobe. “Horror is so difficult,” he says. “The preparation predominantly comes down to how the audience is going to perceive the show. I have to think about how the audience is going to experience it and make sure that it is being conveyed properly.” Much of Warner’s work has gone into Dracula’s voice. “We have discussed the accent at length,” he says. “I think that the accent is inherently a part of the character and his origin. It is probably something I spent the most time on.” Warner is a linguist and admits to being particular about accents. That same attention runs through the production, with the cast looking closely at regional voices, clothing, physicality, and the relationships between their characters. How to freak out an audience without touching them? Ghostlight’s horror plans aren’t confined to bites and blood. Warner says the production uses sensory details designed to unsettle an audience before they quite realise why. “It’s one of the rare shows that employs Theatre of Cruelty techniques,” he explains. “Things that play with the audience, make the audience feel uncomfortable subconsciously, things like scent and sound that you don’t realise is there until it stops, and special effects that will toy with the psychology of a person.” Yes indeed, scent. I sought further clarification but was advised to wait and see. Ghostlight’s soundscape combines classical music, layered voices, unsettling effects, and, naturally, bats. The familiar Toccata and Fugue appears, along with a nod to Swan Lake, which Warner points out plays at the beginning of the classic Bela Lugosi Dracula. “The atmospheric sound has been a big part of this and a big focus, and I think they’ve done a really good job so far.” Sound can tip into haunted-house territory if every entrance, scare, or suspicious moment comes with its own musical exclamation mark. From what I heard in rehearsal, Ghostlight avoids that. The sound designer was constantly tweaking cues, replaying sections, and layering sounds while scenes were being worked around them. Who is going to clean this up? The rehearsal I attended gave just as much attention to the physical aspects of the horror. At one point, Alynta Scott, who plays Lucy, was carefully working through the logistics and movement of a bite. Vampirism requires choreographic direction too. Nearby, Rhys Schwarten as Renfield rehearsed with Alex Andrews, who plays the Child. Having a child performer woven into scenes immediately makes the situation more intriguing and raises the stakes. Warner had only recently seen some of the blood effects when we spoke. “I just absolutely gasped.” Fake blood bags were on every table at rehearsal, waiting patiently for their chance to ruin somebody’s costume. Warner’s own costume includes a heavy, high-quality velvet cape that looks suitably extravagant and very fun to sweep around the stage in. The production isn’t holding back on practical effects either. There will be prosthetics, transformations, physical fights, gore effects, and one performer handling combat while on stilts. Who put this bloody thing together? Along with producing and directing, Yasmin Elahi has designed the set, costumes, and lighting, while the wider team tackles choreography, combat, makeup, effects, sound, and the puzzle of getting an ambitious horror production onto an independent theatre budget. The cast and creatives have been working from shared mood boards and visual references so they’re all inhabiting the same version of Stoker’s world. “We’ve really worked on the aesthetics,” Warner says. “We’ve done a lot of inter-relational work between the characters.” I’ve seen Ghostlight’s past four productions, so I’ve had a pretty good look at the sort of theatrical worlds this company likes building. Their production of The Exorcist remains one of the very few straight horror productions I’ve seen onstage, and I still think about it often. Horror has a different set of toys in a theatre than it does on screen. There’s no camera choosing exactly where you look, no edit to cut away at the right moment, and whatever awful thing is happening is usually only a few metres from your seat. This also happens to be one of several Dracula productions appearing on local stages this year. So, why should audiences make the trip to Beenleigh for this one? For Warner, part of the answer is simply how rarely we get to see horror onstage. “Horror is so seldom done on stage,” he says. “I can only really think of The Woman in Black off the top of my head, and this is adapting a very well-known classic specifically for the stage.” Warner is hardly new to performing either. After years of stage work across almost 100 productions, he arrives at Dracula with plenty of experience behind him, plus a lifelong affection for the character. He’s equally enthusiastic about the people doing it with him. “The cast are phenomenal,” he says. “I’ve worked with many of the cast before and can testify to their hard work and their ethic, and just how good they are to work with.” I only saw two scenes, but there was already plenty happening before the production had put all its teeth in. When I asked Warner to sum it all up, his answer was simple: “Ambitious.” He paused and added, “Dude, I hope it’s good.” With only four performances, audiences won’t have long to find out! Photography: Christopher Sharman Tickets available here: https://www.trybooking.com/events/landing/1579528 Please note: This show contains strobe lighting, loud noises, horror themes, violence, blood and gore, simulated nudity and simulated firearms. Recommended for audiences aged 16+.

Essgee’s Pirates of Penzance Presented by: Savoyards Musical Comedy Society Venue: Iona Performing Arts Centre Date attended: 26 September 2026 Original work: W.S. Gilbert and Arthur Sullivan | Adaptation: Essgee Entertainment Director / Set Designer: David Harrison | Assistant Director: Joshua Moore Choreographer: Julianne Burke | Assistant Choreographer: Caley Monro Musical Director: Nicky Griffith Stage Manager: CJ Avery Costume Coordinator: Kim Heslewood Wigs, Hair & Makeup: Lynne Swain Lighting: Gabrielle Burton Sound: Ethan Houley and David Sowdon Photography: Sharyn Hall and Bec Swain “With cat-like tread, upon our prey we steal.” They sing this extremely loudly. Subtlety is nowhere to be found. Gilbert and Sullivan wrote the original nearly 150 years ago. Essgee Entertainment’s 1994 Australian adaptation gives The Pirates of Penzance a poppier makeover while keeping G&S’s musical parody intact. Savoyards takes that already cheeky version and piles on another layer of theatrical mischief. Director David Harrison fills the production with plenty of fourth-wall breaks, audience interaction, and exaggerated movement. The result reminds me of Spamalot and Robin Hood: Men in Tights. Frederic (Oliver King) has spent his young life among pirates (and Ruth, the only woman he has ever known). Then he encounters Major-General Stanley’s many daughters and the poor boy doesn’t stand a chance... Frederic’s sudden exposure to eligible young women turns into a magnificent display of peacocking. He poses, thrusts his pelvis, and behaves like a male bird midway through an elaborate mating dance. The daughters keep spawning from nowhere while he sings, swooning in increasing numbers. It’s like watching The Bachelor set in 1879. King’s singing has a warm, rounded, old-fashioned quality that suits Frederic beautifully, like a romantic operetta lead who has wandered into a Monty Python sketch. Of course, the sole woman Frederic knows before all this is Ruth (Meg Kiddle), his former nursemaid, now considerably older than him and determined to convince him she’s a viable romantic option (totally normal right?). Kiddle sings “When Frederic Was a Little Lad” with a lovely warmth, and her voice suits the more traditional operetta writing particularly well. Ruth is already such an odd character that I’d happily see Kiddle push her characterisation further into the ridiculous. There’s room for more shamelessness in Ruth’s wildly inappropriate pursuit of this bewildered young man. Mabel (Kat Suschinsky) wastes no time staking her claim on Frederic's attention. Suschinsky’s operatic voice sails above the surrounding silliness, while her characterisation has a sweet aggression to it. Mabel can flash a pretty smile while violently elbowing her sisters out of the way. Suschinsky milks the contradiction perfectly. Against the dizzy fluttering around Frederic, her vocal confidence always powers through without fail. Anna Roche-Kelly, Ashlin Cork, and Constanza Acevedo Burckhardt are a ball as Edith, Kate, and Isobel. Decked out in vibrant dresses and blonde wigs, they look like a Victorian girl group ready to bust out “Three Little Maids” if given the chance. Alas, their actual song “Climbing Over Rocky Mountain” demands an extraordinary effort from them all. They’re moving, acting, navigating musical complexity, and keeping their harmonies precise while pretending their brains aren't whirring like crazy. As for the ensemble, the Stanley daughters collectively exude the energy of 24 women vying for a single rose. Jordan Ross’s Pirate King treats the entire theatre as territory available for conquest. Between the swagger, audience play, games with the spotlight operator, and excursions into the aisles, Ross keeps reacting to whatever is happening around him. That gives his comedy a freshly invented quality, even when every beat has obviously been rehearsed. He’s charming, witty, and makes the Pirate King look like he’s having just as much fun as we are. Vocally, Ross’s stunning deep tone reminds me of the Lion from The Wizard of Oz, which completely suits this larger-than-life rogue. His pirates follow accordingly. At one point I spotted an ensemble member running with Jack Sparrow energy, and I momentarily forget which pirate universe we'd sailed into. That’s one of the pleasures of this enormous cast. There is always some piece of character business happening somewhere. In crowded scenes, watching the ensemble becomes its own activity. Everybody has been given permission to build a complete character rather than waiting politely for their next chorus entrance. Warryn James' performance of “I Am the Very Model of a Modern Major-General” is a remarkable display of verbal dexterity, executed with precision by James, the orchestra, and all involved. He zips through it with the cheerful oblivion of a guy who’s just unknowingly dragged a whole crowd through a verbal marathon. Also, I didn't understand a word. Act Two belongs to the policemen. Graham Colenutt leads a squad of glorious professional incompetents equipped with phony moustaches, wobbly legs, elaborate formations, and absolutely no desire to catch criminals. When the Foeman Bares His Steel” erupts into organised “Tarantara” pandemonium, while “When a Felon’s Not Engaged in His Employment” confirms that these men will perform virtually any activity available to them provided it does not resemble policing. Their commitment to doing their jobs as badly as possible is magnificent. “With Cat-Like Tread” sees the pirates boldly claim to sneak around like ninjas, then make enough noise to wake the entire neighbourhood. Throw in a kickline, and any hope of stealth vanishes. Better yet, they keep providing an encore. And another. Ross’s Pirate King grows more exasperated each time the song refuses to die, until his frustration finally shifts toward the maestro, as though she personally has the power to stop this musical hostage situation. The joke is ancient and blatantly obvious, yet everybody commits to it so completely that it keeps getting funnier. Musical Director Nicky Griffith conducts a 22-piece orchestra from upstage, with the musicians becoming part of the personality of the evening. Griffith is acknowledged throughout and occasionally steps outside the usual invisible-conductor role. Her finest act of piracy may be unleashing Pirates of the Caribbean on the audience. The full company’s rendition of “Hail, Poetry” is like finding a beautiful flower in the middle of a food fight. Sung a cappella, it strips away the orchestra and lets the ensemble’s harmonies speak for themselves. For a few minutes, this circus of pirates, policemen, and ladies turns into a very fine choir. Julianne Burke and Caley Monro’s choreography understands that these people should never move as expected. Even when the stage is packed, the movement stays rooted in character. The Act One finale shows just how much coordination sits beneath the apparent disarray, with “Pray Observe the Magnanimity” moving from partnerwork into full-company choreography and carefully engineered mayhem. Visually, Harrison’s set keeps the world bright and theatrical, with ship imagery, lattice structures, and vivid green and red sails. Kim Heslewood’s costumes favour colour over historical solemnity. Pirates arrive in layered, mismatched textures and accessories, while the Stanley daughters resemble a walking box of jewel-toned sweets. Lynne Swain’s wigs, hair, and makeup push the characters another step towards storybook beauty. This is my first time seeing The Pirates of Penzance, and I’m surprised by just how contemporary the comedy can feel. The plot is absurd, everyone is trapped by increasingly dumb definitions of honour and duty, and nobody behaves themselves for more than thirty consecutive seconds. Savoyards gives the silliness room, trusts the performers to commit to it, and lets their large cast behave like they’ve all been invited to the same pirate-themed improv night. Some things simply survive the passage of time.

Title: Gypsy Presented By: Beenleigh Theatre Group Genre: Musical Synopsis: Set during the golden age of vaudeville and the rise of burlesque, Gypsy follows the formidable Rose, a fiercely ambitious stage mother determined to make her daughters stars. When her talented daughter June breaks away to pursue her own future, Rose redirects her ambitions towards the shy and overlooked Louise. Louise’s unexpected journey takes her from the shadows of her sister’s act to becoming the sophisticated and self-assured burlesque star Gypsy Rose Lee. Audition Date: Saturday 17 & Sunday 18 October 2026 Audition Time: Saturday 17 October: Adults (18+): Welcome & Brief 11:00–11:15am; Dance Call 11:15am–12:15pm; Vocal/Blend Call 12:15–1:00pm Under 18s: Welcome & Brief 12:15–12:30pm; Dance Call 12:30–2:00pm; Individual Auditions 2:45–6:00pm Sunday 18 October: Adult individual auditions, 10:00am–6:00pm Audition Location and Address: Crete Street Theatre, Cnr Crete and Kent Street, Beenleigh QLD 4207 Audition Self-Tape Due (if applicable): Video submissions close 6:00pm, Saturday 17 October 2026. Audition Requirements: All auditionees must attend the compulsory dance call relevant to their age group. A choreography tutorial will be available on the audition page beforehand and should be learnt to the best of the auditionee’s ability. Only a brief recap will be provided on the day. Wear comfortable movement clothing and suitable footwear such as sneakers or jazz shoes, and bring water. Auditionees aged 18+ must also attend the compulsory group vocal/blend call. For the individual vocal audition, prepare two contrasting excerpts, approximately one minute each or around a verse and chorus/bridge and chorus, in the style of the show and character. Do not sing from Gypsy unless the character breakdown specifically permits a song. Prepare one of the provided acting sides for the character you wish to be considered for. Auditionees may also be redirected or asked to cold read. Ensemble-only auditionees should prepare Side 9 or 10 as applicable, or one of Sides 1–7. Children should prepare Side 8. All roles require a Standard American accent. Audition Registration: Book a Gypsy audition Audition enquiries: info@beenleightheatregroup.com Audition Pack: Gypsy Audition Pack Performance Dates: 5–20 February 2027 Performance Times: Friday 5, 12 & 19 February – 7:30pm Saturday 6, 13 & 20 February – 2:00pm & 7:30pm Performance Location: Crete Street Theatre, Cnr Crete and Kent Street, Beenleigh QLD 4207 Rehearsal Dates: From Sunday 25 October 2026. Promotional photo shoot Tuesday 8 December Bump-in Sunday 13 December Sitzprobe Sunday 10 January Tech from Sunday 24 January Media preview Monday 1 February. Mandatory bump-out Sunday 21 February. Rehearsal Times: Tuesdays & Thursdays, 7:00–10:00pm; Sundays, 11:00am–4:00pm. Warnings: The production contains references to burlesque and striptease, including a tasteful striptease sequence performed by Louise in Act 2. Performer Age: Adult and child performers required. All roles except Baby Louise, Baby June, and Children’s Ensemble must be performed by people aged 18+. Creative Team: Director – Patrick Lockyer Choreographer – Nikki Bovey Vocal Director – Jade Enright Production/Stage Manager – Haylee Barnett Production Website: Beenleigh Theatre Group Auditions Other information: Callbacks will be held Tuesday 20 October 2026. Successful auditionees must become Beenleigh Theatre Group members at a cost of $10 for the 2026 calendar year, payable before the first rehearsal. All cast, creatives, crew, and volunteers aged 18+ must hold, or be willing to obtain before rehearsals commence, a current Queensland Blue Card or applicable Exemption Card. Beenleigh Theatre Group encourages performers from diverse cultural and ethnic backgrounds, gender identities and expressions, sexual orientations, abilities, neurotypes, and experiences to audition. First Nations artists are strongly encouraged to apply. Available Roles/Character Breakdown: Rose – Female presenting | Playing age 35–60 | F3–C5 | The ultimate stage mother: ambitious, relentless, charismatic, manipulative, loving, and deeply flawed. Rose lives through her daughters and refuses to accept failure, moving between humour, charm, dominance, and heartbreak. Auditionees may perform either Some People or Small World as one of their two excerpts, but not both. Louise / Gypsy Rose Lee – Female presenting | Playing age 22–27 | G3–Eb5 | Rose’s initially shy, awkward, and overlooked daughter. Louise gradually transforms into the sophisticated, witty, and confident burlesque star Gypsy Rose Lee. The role includes a tasteful striptease sequence in Act 2. Auditionees may perform Little Lamb as one of their two excerpts. June / Dainty June – Female presenting | Playing age 18–25 | G3–D5 | Rose’s talented and energetic “golden child.” Beneath her cheerful stage persona, June increasingly resents her mother’s control and becomes determined to take charge of her own future. Baby Louise – Female presenting | Playing age 9–13 | Eb4–Eb5 | June’s quieter younger sister. Shy, awkward, imaginative, and frequently overlooked, with glimpses of the confident woman she will eventually become. Baby June – Female presenting | Playing age 8–12 | Eb4–Eb5 | A confident, enthusiastic child star who thrives in the spotlight. She is eager to please and spends much of her childhood performing Rose’s elaborate vaudeville routines. Herbie – Male presenting | Playing age 40–60 | Ab2–B3 | A former salesman turned theatrical agent who becomes Rose’s manager and romantic partner. Kind, patient, dependable, and quietly strong, he loves Rose and cares deeply for her daughters but eventually has to stand up for himself. Tulsa – Male presenting | Playing age 18–30 | F3–G4 | One of the boys in June’s act and her eventual love interest. Charming, ambitious, energetic, and charismatic, Tulsa dreams of escaping children’s vaudeville and becoming a star in his own right. A strong song-and-dance role. Tessie Tura – Female presenting | Playing age 30–55 | Bb3–Db5 | A glamorous, worldly, funny, and unapologetically theatrical burlesque performer who helps introduce Louise to the profession. Her performance gimmick incorporates ballet, so ballet experience is advantageous. Mazeppa – Female presenting; female impersonator considered | Playing age 35–60 | G3–Db5 | A tough, confident, blunt, and intimidating but ultimately supportive burlesque performer. Her famous gimmick combines trumpet playing with a centurion-inspired routine. Electra – Female presenting; female impersonator considered | Playing age 35–65 | Bb3–Db5 | A sweet, bubbly, slightly ditzy burlesque performer whose act incorporates lights and electricity. Although seemingly naïve, she is an experienced professional who understands the business. Ensemble – Various ages and rolesA mixture of named and unnamed, speaking and non-speaking, singing and non-singing roles, including the Master of Ceremonies, Rose’s Father, theatre secretaries, agents, restaurant staff, Hollywood Blondes, stage managers, burlesque performers, and other characters. Children’s Ensemble – Under 18 - Young performers appearing throughout the vaudeville world of the production. Children auditioning for Baby June, Baby Louise, or Children’s Ensemble should prepare Side 8 and are invited to create a big entrance, incorporating skills such as cartwheels, splits, or pirouettes if able.

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: upcoming performances adult audition alerts youth auditions performance reviews exclusive spotlight interviews with local talents rehearsal/performance venue database 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 DANCE: Cyvasa 2.0 - HOTA 3 Oct 2026 Season: October 3rd - 5th, 2026 Title: CYVASA 2.0 Presented By: HOTA Genre: Experimental Dance / Contemporary Dance Synopsis: Indonesian and diaspora dance artists Juliet Widyasari Burnett and Ishvara Devati create a speculative world where ancient Javanese spirituality collides with techno-fantasy and glitch aesthetics. Trans and cis female bodies become sacred, ever-evolving entities, transforming and reincarnating within a space imagined as part temple, laboratory and server room. Written By: Concept and choreography by Juliet Widyasari Burnett & Ishvara Devati Performance Dates: 3–5 October 2026 Performance Times: 3 October – 2:00pm | 4 October – 6:00pm | 5 October – 2:00pm Performance Location and Address: HOTA Gallery 2, HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise QLD 4217 Ticket Costs: $24–$29 Ticket Link: Book Tickets – HOTA Duration: 50 minutes Cast: Juliet Widyasari Burnett & Ishvara Devati Creative Team: Juliet Widyasari Burnett & Ishvara Devati – Concept, Choreography & Performance | Metatesis (Dyah Isaka & Nadya Hatta) – Music | Aleisa Jelbart – Costume Design | Alex Torney – Lighting Design Other information: Presented as part of BLEACH Festival 2026. The original music score is by Indonesian feminist noise duo Metatesis. Previous Next

< Back CIRCUS: A Simple Space - HOTA 3 Oct 2026 Season: October 3rd - 5th, 2026 Title: A Simple Space Presented By: Gravity & Other Myths Genre: Contemporary Circus / Acrobatics Synopsis: Seven acrobats push their physical limits in an intimate performance built around trust, risk and human connection. With the audience brought close to the action, A Simple Space strips circus back to its essentials, showcasing raw strength, skill and playful competition without elaborate staging. Performance Dates: 3–5 October 2026 Performance Times: 3 October – 2:00pm & 7:00pm | 4 October – 2:00pm & 7:00pm | 5 October – 2:00pm Performance Location and Address: HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise QLD 4217 Ticket Costs: Adult $49 | Concession $44 | Child $39 Ticket Link: Book Tickets – HOTA Warnings: Loud noises Recommended Age: 5+ Duration: 1 hour Creative Team: Darcy Grant – Director Production Website: Gravity & Other Myths Previous Next