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Having had the pleasure of experiencing Monty Python’s Spamalot by Paterson Productions at the Twelfth Night Theatre, I can confidently say that this production stands as a comedic masterpiece that rivals the best of Broadway. The show not only met but exceeded all expectations, leaving me compelled to attend twice to bask in its brilliance once again. Under the direction of Shaun McCallum and assistant director Jasmin Flynn, Spamalot promised a tongue-in-cheek, slapstick extravaganza, and it delivered far beyond expectations. The production's distinct and defined happy ending, a delightful twist on the expected, added a unique touch to the familiar Monty Python humour. Julie Whiting, the Musical Director, led a fourteen-piece orchestra with finesse, creating a flawless harmony that perfectly complemented the outstanding vocals onstage. The choreography by Maureen Bowra, assisted by Cerys Downing, was a standout, consistently engaging and flawlessly executed by the ensemble. Now, let's talk about the cast. Patrick Oxley as King Arthur commanded the stage with a perfect balance of regality and ridiculousness. Jessica Papst, portraying the Lady of the Lake, emerged as a true standout. Her vocal performances were nothing short of extraordinary, leaving the audience in awe of her range and emotive delivery. Papst's impeccable sense of comedy and brilliant costumes and wigs added another layer of entertainment to her remarkable performance. Jake Lyle, in the role of Sir Galahad, showcased remarkable talent and versatility, delivering excellent vocals and incredible comedic nuances. James Lennox, as Sir Lancelot, demonstrated brilliance with his versatile performances, seamlessly transitioning between one ridiculous character to the next. Sam Caruana as Sir Robin established himself as a star with delightful comedy and a warm stage presence. Lyle, Lennox, and Caruana, all demonstrated levels of talent and versatility that are characteristic of Broadway-calibre performers. Joan Camuglia-May infused every moment onstage with comedic flair and captivating charm as Sir Bedivere. David McLaughlin, portraying Patsy, was a comedic masterclass, making the character highly relatable and utterly hilarious. Christopher Batkin as the Historian and Prince Herbert demonstrated remarkable comedic flair and versatility. Backing the main cast, the Laker Girls and the knights ensemble, along with the swings Ruby Thompson and Eleanor Grieve, added vibrancy to the production. Each performer brought their unique personality and boundless energy to create a truly immersive experience. The stellar cast, dedicated creatives, and skilled orchestra have crafted an unforgettable experience filled with laughter and sheer delight. Spamalot is not just a triumph; it's a testament to the caliber of talent that resides in the heart of Brisbane's theatre scene, proving that world-class productions can indeed emerge from unexpected places.

An Evening in Concert Griffith University Musical Theatre (3rd Year Students) Director: Amy Lehpamer Musical Director: Heidi Loveland Choreographer: Dan Venz Producer: Professor Paul Sabey Band: Archie Loveland (Guitar), Heidi Loveland (Keyboard), Marcelle Gunning (Drums)   Not polished into sameness or moulded into industry expectations just yet, but bursting with instinct, curiosity, and individuality, An Evening in Concert is a snapshot of artists right on the edge of stepping out on their own.   This is not a cookie-cutter showcase. Each performer chooses their own material and/or pens their own monologue. You could sense that ownership in every moment. It is like getting a backstage pass to their souls, not just a front-row seat to their skills. The entire cohort has vocal pipes that could knock your socks off. No mics needed; those full forte ensemble sections pack a punch. And when their harmonies click... it feels like the space truly lifts. The band, Archie Loveland (guitar), Heidi Loveland (keyboard), and Marcelle Gunning (drums), kept everything glued together with their expertise.   Songs and monologues are interwoven with ease, and the pacing never drags. Just as one energy settles, something new will shift it. I also appreciate that many of the selections are not the typical MT staples. Sure, there were a few familiar favourites sprinkled throughout, but much of the material was new to me, allowing me to experience the performances without any preconceived impressions. What I always enjoy most about these showcases is discovering the individuality of each performer, and this group has that in spades. I could already start to see what makes them distinct and the roles they might gravitate towards. QAEMT has produced so many acclaimed performers over the years, and it’s always inspiring to see a new cohort stepping into that space. Honestly, I got the sense that everyone on that stage had found their genuine calling. Looking at the program as a whole, there was a large mix of emotional tones and a few thematic threads that began to emerge. Saul Kavenagh opened the night with the charming New York (Two Strangers Carry a Cake Across New York), bringing an easy charisma as if he had walked straight out of a Broadway workshop. His monologue, featuring a memorable Nutbush story, had the audience instantly on side. This subtle New York theme kept popping up across the showcase, tying together several pieces in a way that felt unintentional but satisfying. Hannah Mohr added to the romanticised view of NYC in her sparkling rendition of Another New York Love Story (In Pieces). Harry Ince continued that motif with Playbill (It’s Only Life), delivering an intimate performance rich in poignancy. Zoe Allsopp Lander brought a bright, bubbly energy to Morning Person (Shrek the Musical), while Aarya Doolabh’s So Easy (To Fall in Love) was an unexpected pop inclusion for a musical theatre showcase, but still offered a different tonal texture. Sam Thomas took the stage with Madrid Is My Mama (Women on the Verge of a Nervous Breakdown) and turned it into a comedic masterpiece with animated facial expressions and an engaging storytelling style. And his eyes have a soul-piercing gaze to draw you in. Lily Bennetts’ Two Little Lines and Caelan McCarthy’s No Turning Back Now both explored impending parenthood, each from their own angle, but with the same level of anxiety and fear in their performances. That introspective tone continued through Priya Gill’s formidable Life As We Know It (My Brilliant Career), Lucas Harm’s bittersweet Mom Could Play Guitar (We Aren’t Kids Anymore), and Lachlan Dunks’ expressive and emotionally stirring It All Fades Away (The Bridges of Madison County). Addisyn Herndon’s Pretty Funny (Dogfight) showcased profound vulnerability, while Lottie Smith's rendition of Home (Beetlejuice) was passionate with a unique tonal quality for this challenging song. Alessia Charman tackled Astonishing (Little Women) with clear and controlled vocals. Jackson Hughesman’s Santa Fe (Newsies) exuded a steady, classic confidence. Ned Kelly’s Waiting For Life (Once on This Island) was delightfully playful, full of character, and a notable standout. Annika Reilly’s I’m Done (Rocky the Musical) conveyed pure determination and drive, while Tayler Ramsay’s dainty rendition of Sister’s Pickle (Amélie) presented a charming tale of the chatter running through her mind. Changing My Major (Fun Home) seemed like it was tailor-made for AJ Betts, who delivered it with a conversational, cheeky, and unforced flair. There was this sense of genuine thought behind every line, rather than just hitting beats. Plus, the monologue about their, frankly, glorious hair added extra humour and personality, truly capturing their essence.   Written by the performers themselves, the other monologues added an extra layer of vulnerability and creativity to the evening. Some were playful, some reflective, all were personal. Ella Wood’s camel story was particularly memorable, and across the board, it was clear that these students are not just performers, but strong storytellers already.   Visually, the staging remained simple. Mirrors were moved around the space, and costumes were self-selected, which tied nicely back into the theme of individuality. The ensemble numbers brought a great sense of cohesion, particularly Break From the Line, which felt almost symbolic of the entire cohort: a group of individuals all striving to stand out in their own way. That Ball (Shane Warne the Musical) brought a burst of humour that the audience clearly enjoyed, and Taking the Wheel (It’s Only Life) closed the night on an epic, unified note.   Being allowed to watch performers at this stage of their training is always a special experience to me. Griffith’s Musical Theatre program continues to produce singers of an exceptionally high calibre, bursting with skill, individuality, and possibility. I'm eager to witness their complete triple-threat abilities in their upcoming shows and I have no doubt we’ll be hearing many of these names again shortly after they graduate.

Songs for a New World Presented by Queensland Academy of Excellence in Musical Theatre (QAEMT) at Griffith University Performed at Queensland Performing Arts Centre (QPAC) Music & Lyrics: Jason Robert Brown Director: Dr Elise Greig Musical Director: Brett Sturdy Choreographer: Dan Venz Music Supervisor: Heidi Loveland Lighting Designer: Keith Clark Band: Brett Sturdy (Keys), Archie Loveland (Guitar). Lucas Harm (Percussion) Photography: PIF Productions Songs for a New World sees emerging artists step into material that truly demands everything from them. It asks performers to leap emotionally and vocally without the safety net of a traditional narrative arc. This QAEMT cohort rose to that challenge with impressive maturity. This second-year showcase felt less like a student production and more like a company of artists already poised on the brink of their own “new world.” Rather than a linear plot, the show presents a series of moments. It offers glimpses of people on the brink of change, exploring themes of love and loss, faith and fear, optimism and cynicism. It does not tie everything up neatly, but instead invites us to sit in that uncertainty and recognise the beauty in beginning again. That feeling of standing on the edge was beautifully captured by the entire ensemble. Every performer was giving “wistful”, and I mean that in the most complimentary way possible! The design aesthetic was clean and cohesive, with a simple clothing palette of layered browns, blues, blacks and whites that worked beautifully across all the different stories. Some Americana-inspired props added detail to suggest place without cluttering the stage. And a small but genuinely impactful detail to me: the consistently tidy hair styling across the cast. It might seem minor, but it really adds to the overall polish and professionalism in a noticeable way. As the cast boarded the metaphorical ship and moved into the opening number “The New World”, there was a strong sense of everyone stepping into the same journey together. Ned Kelly’s solo emerged seamlessly from that swell, supported by the full-company sound behind him, while Lucas Harm’s live percussion anchored the moment with a subtle sense of propulsion. You could really feel the musical direction from the get go, especially in the way the dynamics were shaped; building organically into genuinely goosebump-worthy moments. For a Jason Robert Brown score, the harmonic complexity alone requires incredibly sharp musicianship. The band delivered rhythmic drive throughout, never overpowering the vocals, which is so important in a show like this. “On the Deck of a Spanish Sailing Ship, 1492” - Ned Kelly set the tone early with a voice full of emotion. There was something very honest about his sense of storytelling. “Just One Step” - Addisyn Herndon spiralled through this number, in the best way. This was chaotic, unhinged, slightly terrifying energy, perched on that bench while Alessia Charman, Priya Gill and Hannah Mohr circled as her ever-supportive (or enabling) muses. Controlled mania is such a specific skill and they all nailed it. “I’m Not Afraid of Anything” - Lottie Smith and Aarya Doolabh gave us a beautiful take on motherhood. Lottie, in particular, has a literal sparkle in her eye when she performs. It’s not forced, it’s just there to naturally draw you in. “The River Won’t Flow” – My favourite group number of the show. I don’t quite know how to explain it, except that I felt like a female bird watching this. The masc company, led by Caelan McCarthy (giving strong Heath Ledger lookalike), had this effortless leading-man energy, with Lucas Harm adding a beautifully raspy tone. The staging had so much life to it, full of movement, humour and depth. “Steam Train” - AJ Betts and Harry Ince led a high-energy, choreographically demanding number that was impossible not to bop along to, complete with a basketball prop and a moment of enthusiastic commitment that may have slightly collided with a stage light. It happens. “Christmas Lullaby” - A really lovely reset in the middle of the show. Priya Gill, Hannah Mohr and Tayler Ramsay delivered this with a sincerity that let the emotion speak softly. “Stars and the Moon” - The femmes came together for this one to deliver power and heartbreak. The harmonies were confident and well-balanced in a deceptively challenging number. “She Cries” - Sam Thomas and Lachlan Dunks created an intimate connection with the audience through direct eye contact. It made the whole moment feel a bit more exposed and intimate in a way that really suited the song. “Surabaya Santa” - The unexpected comedic highlight. Zoe Allsopp Lander strutted in with full Mrs Claus-meets-Roxie Hart energy, belting like an absolute weapon while navigating tricky blocking. Plus, an unhinged Saint Nick and sassy elves played by Harry Ince, Sam Thomas and Jackson Hughesman. “The Flag Maker, 1776” - Alessia Charman, Aarya Doolabh and Zoe Allsopp Lander each brought something completely different here. Tender, desperate and numb, all existing at once. It created this really layered emotional picture that was quietly devastating. “King of the World” - The only song I knew going in, and perfectly assigned to Saul Kavenagh. His tone carried a Jeremy Jordan-like clarity and ease, while still feeling entirely his own. The control, the build and the payoff were just really exciting to witness. “Flying Home” - Jackson Hughesman, I was not prepared for that voice! His falsetto floated, the high belts rang out without a hint of tension. Genuinely stunning. Finale “Hear My Song” - A full-company moment that brought the emotional threads together, reinforcing the show’s themes of hope, uncertainty and new beginnings. This cohort is involved in every aspect of the production. Stage management, dance captaincy, voice captaincy, dramaturgy, dialect work, costumes, props, sets, projections, social media, program design and photography. Their professionalism extends far beyond performance. There were a few noticeable adjustments, likely due to injuries or vocal conservation. Although I'm sure these were handled with care, and the adaptability only highlighted the strength of the ensemble as a team. The audience was filled with QAEMT graduates who were absolutely living for every riff, belt and harmony. The pride in the room was undeniable. This production captures the heart of the show. Hopeful and wary. Brave and uncertain. Bright and bruised. It is not plot-driven theatre. It is emotional, reflective storytelling, and this group clearly understood that. Watching these artists stand onstage singing about stepping into the unknown, knowing they themselves are on the verge of doing exactly that, felt beautifully meta. I look forward to seeing their next performance!

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

Upcoming Performances 29 Apr 2026 CHILDREN'S OPERA: Ellis and the Night Orchestra - Backbone Youth Arts Season: April 30th & May 2nd, 2026 Read More 28 Apr 2026 THEATRE: Hamlet - Sh!t-faced Shakespeare, Brisbane Powerhouse Season: April 28th - May 3rd, 2026 Read More 28 Apr 2026 MUSICAL PLAY: The Sapphires - QLD Theatre Season: April 28th - May 24th, 2026 Read More 25 Apr 2026 COMEDY: Elf Lyons Swan - Brisbane Powerhouse Season: April 25th, 2026 Read More 25 Apr 2026 BURLESQUE: Swamplesque - HOTA Season: April 25th, 2026 Read More 24 Apr 2026 THEATRE: UnderDog: The Other Bronte - The Lind Theatre Season: April 24th - May 2nd, 2026 Read More 24 Apr 2026 MUSICAL: Urinetown - Tamborine Mountain Little Theatre Season: April 24th - May 9th, 2026 Read More 24 Apr 2026 COMEDY: Brisbane Comedy Festival - Brisbane Powerhouse Season: April 24th - May 24th, 2026 Read More 24 Apr 2026 SHOWCASE: Cabaret Night - FAME Performing Arts Season: April 24th, 2026 Read More 23 Apr 2026 CABARET: Miscast Musical Cabaret - Sun and Wine Arts Company Season: April 23rd - 24th, 2026 Read More 23 Apr 2026 SHOWCASE: Dare to Share - Queensland Shakespeare Ensemble Season: April 23rd - 25th, 2026 Read More 23 Apr 2026 MUSICAL: Footloose the Musical - Brisbane Showgrounds Season: April 23rd - May 3rd, 2026 Read More 22 Apr 2026 CHILDREN'S THEATRE: The Party - Catbird Theatre Company Season: April 23rd & May 9th, 2026 Read More 22 Apr 2026 IMPROV: Murder Village - Brisbane Powerhouse Season: April 22nd - 24th, 2026 Read More 22 Apr 2026 THEATRE: Scenes from the Climate Era - Underground Theatre Season: April 22nd - 25th, 2026 Read More 22 Apr 2026 THEATRE: Anthropology - VOX Productions, PIP Theatre Season: April 22nd - May 2nd, 2026 Read More 21 Apr 2026 BURLESQUE: Swamplesque 2 - Cluster Arts, Brisbane Comedy Festival Season: April 21st - 24th, 2026 Read More 17 Apr 2026 THEATRE: Love Letters - Staged Theatre Company Season: April 17th - 25th, 2026 Read More 17 Apr 2026 THEATRE: The Narcissist - Gold Coast Little Theatre Season: April 17th - May 9th, 2026 Read More 17 Apr 2026 THEATRE: Tiny Beautiful Things - Maleny Players Season: April 17th - 26th, 2026 Read More 16 Apr 2026 THEATRE: Three Little Words - Ad Astra Theatre Season: April 16th - May 9th, 2026 Read More 14 Apr 2026 CHILDREN'S THEATRE: Bluey's Big Play - BBC Studios, Andrew Kay & Windmill Theatre Co Season: April 15th - 25th, 2026 Read More 9 Apr 2026 MUSICAL: The Last Ship - QPAC Season: April 9th - May 3rd, 2026 Read More 28 Mar 2026 MUSICAL REVUE: Ovation - Events Centre, Empire Theatre, QPAC Season: March 28th, March 29th & May 1st, 2026 Read More 27 Mar 2026 MUSICAL: MJ the Musical - QPAC, Michael Cassel Group Season: March 27th - May 24th, 2026 Read More 21 Feb 2026 BALLET: Sleeping Beauty - Fever, QUT Gardens Theatre Season: February 21st - August 1st, 2026 Read More 14 Feb 2026 MAGIC: Theatre of Magic - Empire Theatre Season: February 14th - December 5th, 2026 Read More 9 Feb 2026 PLAY READING: Playground - 7th Floor Theatre, PIP Theatre Season: Monthly from February 9th, 2026 Read More 31 Jan 2026 BALLET: Ballet of Lights: Cinderella - Fever Season: January 31st - July 18th, 2026 Read More 10 Jan 2026 THEATRE: The Jury Experience - Fever Season: January 10th - June 25th, 2026 Read More

< Back PLAY READING: Playground - 7th Floor Theatre, PIP Theatre 9 Feb 2026 Season: Monthly from February 9th, 2026 Title: 7th Floor PLAYground Presented By: 7th Floor Theatre in collaboration with PIP Theatre Genre: Play Reading / Experimental Theatre Synopsis: 7th Floor PLAYground (formerly Pot Luck Plays ) is a spontaneous, exhilarating theatrical event where local actors and writers come together for live play readings. Each month, scripts are announced on the night and performed as a live reading with no rehearsal, offering audiences a fresh and unpredictable theatre experience while actors sharpen their cold-reading skills. Performance Dates: February 9th, 2026 March 9th, 2026 April 13th, 2026 May 11th, 2026 June 22nd, 2026 July 20th, 2026 August 3rd, 2026 September 14th, 2026 October 12th, 2026 November 9th, 2026 December 14th, 2026 Performance Times: Doors open - 6:00 pm Announcement & casting - 6:15 pm Play reading starts - 6:30 pm Performance Location and Address: PIP Theatre, 20 Park Road, Milton QLD 4064, Australia Ticket Costs: Audience Ticket - $12 Play Reader Ticket - $22 Ticket Link: Buy Tickets - Playground Warnings: Content varies week-to-week, as plays are revealed on the night; specific content warnings are announced prior to each performance. Recommended Age: Generally suitable for adult and older teen audiences; content depends on the scripts selected. Duration: Approximately 1.5–2 hours Production Website: PIP Theatre - Playground Other Information: PIP Theatre is fully accessible via the foyer lift and provides dedicated wheelchair-accessible seating and amenities. Companion Card bookings are available by contacting the theatre. Parking available in the Savoir Faire Car Park and surrounding streets (free after 4 pm weekdays and all weekend, subject to signage). Previous Next