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Sunny Tribe District – Salad Days Collective PIP Theatre, Milton Playwright:  Patrick Mu’a Co-Directors:  Jasmine Prasser & Rebecca Day Lighting:  Noah Milne Sound:  Tommi Civili Producer:  Georgina Sawyer “Catch a falling sadness, put it in your pocket, make sure that it fades away.” I knew within about 30 seconds what kind of night I was in for at Sunny Tribe District . There were friendship bracelets being made pre-show and an audience already giggling as they entered the theatre. This is absurd comedy in its purest form. You have to meet it where it lives. Blink and you’ll miss a joke. Or five. It’s fast, chaotic, and completely committed to its own strange little world. The premise is simple enough. Knick ( Peter Hatton ) arrives at Sunny Tribe District, a wellness-style summer camp run by his missing brother Ken. The goal? Turn “sadlings” into “gladlings”. The problem? The four counsellors running the place are so bizarre they may as well be aliens. This KKKC quartet – Kurt, Kay, Kris and Celly – are completely animated from head to toe. Each of them leans into a wildly distinct voice and physicality. Kurt lives in what I can only describe as “meerkat mode”. Kris commits to a nasal, voice-cracking delivery. Kay bounces around like she's had thirteen Red Bulls. And Celly… every time she opens her mouth with that blunt, southern accent, I lost it. Peter Wood (Kurt), Isabella Berlese (Kay), Darcy Jones (Kris) and Rebecca Day (Celly) are operating at a level of commitment that honestly makes me wonder how they don’t break character every five seconds. Every tiny facial twitch, every odd physical choice, every abrupt accent switch is intentional and so funny. You need four pairs of eyes to catch everything happening onstage at once, and even then you’ll probably miss something ridiculous happening in the corner. Every time a character has something to say, it somehow turns into a full spectacle. And then there’s the stamina. This cast does not stop. Singing, rapping, dancing, sweating, crawling. It’s clear this is a cast that trusts each other completely, which is essential in a show this tightly choreographed and fast-paced. Every line, every beat, every lighting cue and sound effect is locked in with surgical precision. Directors Jasmine Prasser and Bec Day have clearly drilled this into the cast, because it lands like a perfectly timed sitcom… if that sitcom was the opposite of politically correct. Sound by Tommi Civili and lighting by Noah Milne are used to full comedic effect, punctuating jokes like a perfectly timed punchline. Visually, the show embraces a deliberately dodgy aesthetic. Fake grass, inflatable logs, painted clouds, caution tape… it’s giving “this is definitely not a cult” energy. Costumes lean into classic camp counsellor realness with fanny packs, bandanas and boots. The script by Patrick Mu’a leans hard into pop culture. We’re jumping from High School Musical  to Hannah Montana , Stranger Things , The Lion King , Shawshank Redemption , Harry Potter , the Nutbush… The audience were giving uncontrollable, hyena-level laughter every few seconds. I genuinely find myself wanting to see it again just to clock all the references I missed. There’s a looseness to the performance that made me constantly question how much is scripted and how much is improv. It feels like anything could happen at any moment, but the precision says otherwise. Either way, it keeps you on your toes! Standout moments come thick and fast. Darcy’s bizarrely brilliant rap about denying the existence of sadness has strong Turn It Off  from The Book of Mormon  energy. Isabella's alter ego “Bubbles” Welcome to Burlesque  number is full of sexual innuendos. There are puppets, random props (the fish!), abrupt Aussie accents that shouldn’t have made me laugh as hard as they did, and moments where I genuinely sit there thinking, are they all on speed? And celery? Peter Hatton as Knick plays the necessary grounding force, reacting exactly how we are thinking: “WHAT is happening?” Watching him slowly spiral into the madness is half the fun. There are also these unexpected musical and performance moments woven through the show, while other “lessons” spiral into something closer to improv games turned motivational preachy seminar. What I really love is what the show is actually poking at. This obsession with forced happiness. The idea that we can just repress/mask the messy stuff and “fix” people. The counsellors are avoiding discomfort with spectacle, deflection and increasingly unhinged “lessons”. It becomes, in its own bizarre way, a reminder that joy and connection can exist alongside the mess, and that maybe the goal isn’t to eliminate sadness entirely, but to learn how to sit with it… or at least laugh at it along the way! STD is loud, it’s naughty, it’s very self-aware, and it doesn’t apologise for any of that. This really is a zillennial fever dream of nonsense. So, if you’re up for something chaotic, clever, and genuinely different, Sunny Tribe District  is a wild little ride. But if you are an older generation or have a stick up your butt, this might not be your cup of tea. And for the record… as someone who once worked at a summer camp myself, I can neither confirm nor deny that it is exactly like this.

Singin’ in the Rain – 24 Hour Musical Project Director : Tim Wynn Music Director: Jacob Cavanough Choreographer : Grace Clarke Plus an enormous creative team, support team, and 20-piece orchestra   "And were there more than 24 hours a day, they’d be spent in sweet content dreamin’ away" It’s my favourite time of year! Walking into a theatre knowing that what you are about to see was put together in just 24 hours. And honestly… Singin’ in the Rain  might just be the perfect storm for it. It’s one of my all-time favourite musicals too. Great choice, gang!   For those unfamiliar, the 24 Hour Musical Project is exactly what it sounds like. A cast is assembled without knowing the show, a shortlist is teased, and then once the title is revealed, the clock starts. Twenty-four hours later, curtain up. No safety net, no time to overthink, just pure adrenaline and instinct!   After a start that was definitely not delayed by 30 minutes… (they plan everything except the parking situation at Stuartholme), the energy in the theatre was lifted. And that theatre was full of community members, friends, and fellow artists, all ready to witness whatever chaos and brilliance was about to unfold. The 1920s-inspired wigs and costumes did a lot of heavy lifting in establishing the world quickly, leaning into classic Hollywood glamour with just enough theatrical flair.   You could sense  the insomnia in the room. There’s a special giddy delirium that hits when you've been awake for far too long, especially  when that time is spent learning and memorising non-stop information. Every joke feels ten times funnier, every mishap is a slapstick masterpiece, and every success is like a whole group triumph. Also, immediate shoutout to the 20-piece orchestra who were operating on a completely different level. They heroically and impressively delivered a worthy performance based on mostly sight-reading. One standout for me was Benjamin Cole in the role of Cosmo Brown. His comedic delivery was divine, and his energy seemed somehow limitless. Make ‘Em Laugh  had me actually laughing out loud, particularly due to the clever addition of chaotic filmed segments. Ben managed to keep it all together superbly and his voice remained remarkably strong throughout. Zach Price as Don Lockwood leaned beautifully into the old Hollywood leading man style, maintaining charm and composure while not-so-subtly eyeing the prompter like a pro. Bec Swain brought a softness and sincerity to Kathy Selden, with You Are My Lucky Star  offering a genuinely lovely vocal moment amidst the drama. Her adorably delirious giggles only added to the charm.   Ellen Axford was a whirlwind force in the role of Lina Lamont. Lack of sleep seemed like the secret weapon to crank up the character's crazy essence. Her melodramatic solo What’s Wrong With Me and the Duelling Cavalier film sequence were comedic high points. David Goodwin as Dexter leaned right into the madness of being a director, serving up a performance that was knowingly unhinged and utterly committed. Carly Quinn as Dora Bailey delivered a shimmering performance with strong character flair, while Kyle Armstrong gave us a smooth crooner moment in Beautiful Girls , complete with a powder blue tux and dancers draped in flowing silks. Across the ensemble, the commitment to bold, heightened character choices was a joy to watch. No one played it safe, and that’s exactly what this format thrives on. And truly, the entire cast are stellar stars in our community, each finding their moment to shine within the madness.   Also worth noting, articulation and accents across the cast were surprisingly strong considering the circumstances. But by Act 2, things became delightfully loopy. I am fairly certain some performers were seeing double by the end. There were moments where I genuinely wondered if the cast knew what they were saying anymore. Prompter delays became punchlines. Timing mishaps between band and actor became comedy beats. But the cast supported each other beautifully, never breaking character ( much ), no matter what went wrong.   More memorable moments: All I Do Is Dream of You  had excellently tight choreography and infectious energy. The fact that any choreography existed at all, let alone moments of cohesion, is honestly remarkable in this format. Moses Supposes  (the tongue-twister nightmare) was attempted with full tap choreography… bravo Zach and Ben! Broadway Melody  showcased the orchestra at their absolute best, with the cast giving it everything they had left in the tank. The filmed sequences, very likely shot in the early hours of the morning, added an extra layer of humour The real pie-in-the-face moment A couple of early onstage falls in the first 10 minutes (hopefully everyone was okay!) The accidental house lights moment… whoops! And a special mention to Andrew CP’s demonstration of the “talking picture"   This kind of performance requires a very specific skill set. Strong memory, excellent sight-reading, quick instincts, and the ability to just go with it when things inevitably go off track. And this cast rose to that challenge with heart, humour, and an incredible sense of community. The 24 Hour Musical Project is a reminder of just how much talent exists within our local community, and how powerful it is when those artists are given the space to simply create together. The audience was rapturous throughout, all sharing in the same unpredictable experience.   If you ever get the chance to see one of these shows, take it. No two are ever the same of course. And sitting in that audience, surrounded by a room full of people cheering them on, it was very clear… this was one of those “you had to be there” nights. And I’m very glad I was!

School of Rock! The Musical Book by Julian Fellowes | Lyrics by Glenn Slater | Music by Andrew Lloyd Webber Presented by Passion Productions Director:  Connor Clarke Musical Director:  Jacqueline Atherton Choreographer:  Stephanie O’Shea Featured Cast Dewey Finn:  Lachie Gleadhill / Rhys Schwarten Rosalie Mullins:  Isabel Kruse Ned Schneebly:  Jackson Kellaway Patti Di Marco:  Isabella Farry Summer Hathaway:  Saana Chang / Olivia Cowdrey Tomika:  Alessia Lily Monteverde / Addison Vogel Zara:  Emily Winwood / Olivia Hancock Freya:  Chloe Coleman / Alex Andrews Katie:  Shaynna Allen / Darci Allen Lawrence/Laura:  Joshua Ngo / Ammi Johnson Billy:  Henry Hedger “You guys have what everyone wants… and that’s talent.” When wannabe rock star Dewey Finn poses as a substitute teacher at a prestigious school, he accidentally discovers a classroom full of hidden musical talent. What starts as a scheme to pay rent quickly turns into something much bigger, as Dewey forms a secret band with his students and sets their sights on the ultimate goal: Battle of the Bands. As a music teacher myself, I had so many reflective moments at this show. That excitement, that pride, that spark where a young performer realises what they're capable of. That feeling of spotting something special and wanting to nurture it is something Passion Productions' School of Rock  captures beautifully. It already feels like something’s about to happen when you take your seat. The lighting hits straight away, bold, colourful, and very “rock concert”. Paired with a live on-stage band, the production has a strong sonic and visual foundation from the get-go. Let’s start with the obvious: the kids run this show, and they absolutely know it. From their very first entrance, there’s a spark. Not just fizzling energy, but an unfeigned thrill to be on that stage. And what makes it even better is that they’re not pretending to be a band… they are one. Playing their own instruments, navigating choreography, vocals, and dialogue, and doing it all with confidence in front of a packed audience. Honestly, some of these kids are already cooler than I’ll ever be. I don’t want to single anyone out too heavily, because the ensemble as a whole is incredibly strong. No one fades into the background. The cohesion, the commitment, the character work, it’s all there. That said, there are a few moments that really land. Olivia Cowdrey as Summer is all precision and assurance, kicking off Act 2’s opener Time To Play like she’s been waiting her whole life for it. Addison Vogel as Tomika delivers an Amazing Grace  that completely stops the room; an astonishingly soulful sound from someone so young, it will catch you off guard. With more acting experience, she will grow into a knockout performer. Olivia Hancock as Zara brings a smooth, warm tone that sits beautifully in the mix while shredding on the electric guitar. Henry Hedger as band stylist Billy is an energetic delight, full of personality and completely in his element in this role. Alex Andrews as Freya is a tiny powerhouse behind the drum kit, already showing serious control and rockstar attitude. Darci Allen locks in on bass as Katie with a cool, confident air, while Ammi Johnson’s Laura on keys brings a quiet focus that balances out the group. The musicianship across the board is genuinely impressive… and, not going to lie, a little intimidating! As Dewey Finn, Lachie Gleadhill steps into the big shoes of Jack Black and makes the role his own Aussie version. He captures the scruffy charm of the character well, with a strong vocal presence for his many songs and an easy rapport with both the audience and the kids. I would have loved him to push even further into the goofiness at times, really leaning into that larger-than-life comedy, but there is no denying his command as this mighty character. Isabel Kruse as Principal Rosalie Mullins is poised and polished to perfection, with a stunning soprano and just the right amount of rigidity to make her arc land. Jackson Kellaway’s Ned fits the “classic teacher” awkward mould perfectly, and Isabella Farry’s Patti is… a lot, in exactly the way she’s meant to be. With many roles double cast, there’s clearly a huge pool of talent across the company, and it would be well worth catching the alternate cast to see what a completely different lineup brings to these roles. Under Jacqueline Atherton’s music direction, the band and vocals work harmoniously together, creating a full rock sound while still allowing the young performers' voices to shine. At times, particularly in faster-paced stamina songs or rapid dialogue exchanges, clarity slips slightly. Stick It to the Man  is easily the standout for pure energy. Stephanie O’Shea’s choreography is punchy, scrappy, and full of attitude. Not overly polished, just the right amount of mess to appear rebellious. This is where the cast really lets loose, and you can feel it ripple through the audience. If Only You Would Listen presents a lovely tonal shift, beginning with an intimate performance by a group of four before broadening to include the entire youth cast to highlight the strain and distance between the parents and kids. And then Teacher’s Pet  closes things out exactly how you want: loud, proud, and fully committed. Rhythm and cohesion in this number is tricky, but they absolutely rise to the challenge and do their best! Connor Clarke’s direction leans into the fun of the piece, and it’s clear the cast, especially the kids, have been given space to play. There are some great improv moments scattered throughout, which keeps the show feeling fresh and alive rather than mechanical. The accents, the little local nods, the throwaway jokes that only we would get, all gives this production its own identity rather than feeling like a copy of the original. My favourite was the line: “Without Battle of the Bands, there’s no Harvard or QUT… you might get stuck going to Griffith,” which definitely got a snort-laugh from this reviewer! The staging works cleverly with the space too. With no elevated stage, the action spills outward, especially during Battle of the Bands , pulling the audience right into the action rather than keeping them at a distance (shoutout to the daggy dad and mum dancing on stage left!) Visually, the contrast between strict school uniforms and full rockstar transformation is noticeably brilliant. By the end, it’s safe to say these kids are running the school. What really stuck with me wasn’t just the performances, but the effort behind them. This is community theatre, and while it’s not a professional production, the level of passion, commitment, and talent on display proves just how strong this community really is. Between the live music, the fearless young performers, and a creative team that clearly understands the joy at the core of the show, School of Rock  delivers exactly what it promises. It’s about finding your voice… and having the guts to use it. And this cast? They’ve definitely found theirs.

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< Back SHOWCASE: Dare to Share - Queensland Shakespeare Ensemble 23 Apr 2026 Season: April 23rd - 25th, 2026 Title: Dare to Share Presented By: Queensland Shakespeare Ensemble Genre: Theatre, Shakespeare, Devised Performance, Training Showcase Synopsis: Dare to Share is an annual training-sharing performance by the Queensland Shakespeare Ensemble, offering audiences an intimate glimpse into the company’s rehearsal and actor-training processes. Drawing on Shakespeare’s speeches, sonnets, and scenes, the ensemble explores themes such as deception, identity, and truth through a series of devised and rehearsed pieces. The work highlights the company’s collaborative approach and the evolving craft of its performers. Performance Dates: April 23rd - 25th, 2026 Performance Times: 7:30pm Performance Location and Address: The Avalon, UQ, 172 Sir Fred Schonell Drive, St Lucia QLD 4067 Ticket Costs: $14 pp Ticket Link: Buy Tickets - Dare to Share Production Website: Queensland Shakespeare Ensemble - Dare to Share Other information: The Avalon Theatre at UQ is wheelchair accessible, with automated sliding doors at the main entrance, accessible seating areas, ambulatory all-gender toilets, and designated wheelchair spaces in the main theatre. Accessible parking is available on site with PWD bays. Previous Next

< Back CABARET: Miscast Musical Cabaret - Sun and Wine Arts Company 23 Apr 2026 Season: April 23rd - 24th, 2026 Title: Miscast Musical Cabaret Presented By: Sun and Wine Arts Company Genre: Cabaret, Musical Theatre, Variety Synopsis: Miscast Cabaret is a playful celebration of musical theatre with a twist, where performers take on songs and roles they would not traditionally be cast in. Expect gender-swapped, age-swapped and type-swapped performances that celebrate creativity, surprise casting choices and reimagined musical theatre moments in a fun, inclusive cabaret setting. Performance Dates: April 23rd - 24th, 2026 Performance Times: 7:30PM Performance Location and Address: 28 Tallowwood St, Seven Hills QLD 4170, Australia Ticket Costs: General Admission - $30 Ticket Link: Buy Tickets - Miscast Musical Cabaret Production Website: Sun and Wine Arts Company - Miscast Musical Cabaret Other information: Community-focused cabaret encouraging non-traditional casting and inclusive performance practice. Non-refundable tickets. Please contact the venue for accessibility information. Previous Next