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Production: Singin’ in the Rain Senior Company: Brisbane Arts Theatre Directors: Adelle O’Connell and Kathy Kunde Musical Director: Laraine Griffiths Choreographer: Marisa Bucolo Costume Designer: Kate Clarke Sound Designer: Tara Kenn Lighting Designer: Thomas Ranie Photography: Kris Anderson - Images by Anderson "If we bring a little joy into your humdrum lives, it makes us feel as though our hard work ain't been in vain for nothin'" - Lina Lamont Brisbane Arts Theatre’s Singin’ in the Rain Senior is a cheerful adaptation of a beloved musical, performed by a cast aged 55 and over. The familiar golden-age Hollywood charm is all there, but this version has its own special appeal: watching older performers step into the spotlight with humour, confidence, and the kind of sparkle that only comes from having a few decades of life under your umbrella. Singin’ in the Rain drops us into Hollywood during the bumpy transition from silent films to talkies. Don Lockwood has the charm, Lina has the famous face and famously unfortunate voice, and microphones are suddenly making everyone’s lives harder. With best friend Cosmo Brown and aspiring star Kathy Selden caught in the middle, the story becomes a bright mix of romance, reinvention, and showbiz panic. As someone who grew up with Singin’ in the Rain as part of the household soundtrack, I already have a soft spot for this musical. But full disclosure: my mum plays Lina Lamont in this production, so I am reviewing with both professional eyes and the barely contained pride of someone trying very hard not to whisper, “That’s my mum!” every time she walks on stage. Even accounting for family bias, there is plenty to enjoy in this production! Under the direction of Adelle O’Connell and Kathy Kunde, with musical direction by Laraine Griffiths and choreography by Marisa Bucolo, the production feels made with a lot of care. What I enjoy most is the atmosphere in the room: an audience full of smiles, generous laughs, and that unmistakable community-theatre warmth where everyone wants the cast to succeed. Andrew McArthur makes for a wonderful Don Lockwood, with an easy stage presence that suits the golden-boy movie star. He is at his best when Don drops the public charm and turns into a big romantic softie around Kathy. His “You Were Meant for Me” gets plenty of little “aww” reactions from the audience, and he handles the higher vocal moments really well. And of course, in the iconic song “Singin’ in the Rain,” McArthur lets Don disappear into his own lovey-dovey little world, completely swept up like a teenager with a crush. Robert McLachlan is a highlight as Cosmo Brown, bringing cheeky physicality, sharp comic instincts, and a constant sense that something mildly ridiculous is about to happen. He is one of those performers worth watching in the background because there is usually some mischief making the scene richer. “Make ’Em Laugh” gives him plenty of room to play, while “Fit as a Fiddle” flies along at ridiculous speed. And in “Good Mornin’,” he leads the trio in tap shoes with the ease of a former dancer and a level of skill that had my jaw on the floor! Jo Badenhorst gives Kathy Selden warmth and sincerity, but enough backbone to hold her own in a room full of Hollywood egos. Her scenes with Don have a gentle classic-musical romance, and “You Are My Lucky Star” is a lovely vocal moment, with Badenhorst navigating its deceptively tricky intervals with control. The contrast in “Would You?” is especially fun: after Lina’s version has done crimes against vowels, Kathy’s voice arrives like a rescue mission. “All I Do Is Dream of You,” performed by the girls’ ensemble and Kathy in a cute cake costume, is a real treat — because nothing says romance quite like dressing the leading lady as dessert. Judi Hancock is wonderfully irritating as Lina Lamont, and I do mean that as the highest compliment. Making her stage debut, Hancock throws herself into Lina’s tantrums, diva delusion, and truly alarming self-belief with great comic commitment. She has the “no thoughts behind those eyes” expression down perfectly, floating through scenes like a woman who has never once considered that she might be the problem. And then there is the voice acting: nasal, grating, and loud in exactly the way Lina demands. She keeps it surprisingly on pitch in her solo “What’s Wrong With Me?” — the only song not featured in the original film — while getting plenty of laughs and making the most of every dramatic complaint. I am biased, obviously, but I am also correct. Gabby Gastaldin has a natural authority as RF Simpson, the studio boss. Alex Lanham is also comfortable as Dexter, capturing the frazzled authority of a director whose job just keeps getting harder. Diana Gogulski gives Zelda plenty of style, Lois Cutmore brings Dora’s composed polish, and Maria Chappell makes Roz a frantic, faithful presence whenever she appears. Pamela Smiles and Donnita Maher are great fun in the featured voice-coach roles, treating diction like a life-or-death crisis. Some of the best little moments happen around the edges of the main action, with background characters quietly making everything funnier. The ensemble brings generous group energy throughout, and “Moses Supposes” becomes a wonderfully frantic film sequence as everyone faces the terrifying new reality of microphones. The slow-motion cake-in-the-face blocking is also a very fun touch. Marisa Bucolo’s choreography works well for this cast, giving the production movement and character without overcomplicating the staging. “Broadway Melody” is surprisingly sprightly, with Gastaldin shining as the star, and the blocking with the flats helps cover transitions and costume changes neatly. “Singin’ in the Rain” creates a cute little rain-soaked world with twinkle lights for stars, umbrellas, and yellow raincoats. With a little more vocal lift and expression from the ensemble, this number could travel even further in the large auditorium, but the staging has a lovely homemade theatrical magic to it. It is worth noting that the production is performed without individual microphones, which is no small task in a space this large. Sound designer Tara Kenn keeps the music nicely balanced, and the cast does well to carry dialogue and vocals through the space. A little more front/diagonal-facing delivery would help moments reach even further, but for an unamplified musical in a big auditorium, the cast handles the challenge admirably. The cast does a lovely job carrying the musical side of the production, especially in the solo and featured moments where each performer gets to bring their own personality forward. The group numbers are strongest when everyone leans into the character of the music and lets the story lead the song. Kate Clarke’s costumes are one of the production’s great pleasures, with colour, variety, and a clear nod to golden-age movie glamour. The costumes help define each character quickly, from Lina’s starlet looks to the ensemble’s playful 1920s styling. My brain was perhaps expecting more flapper fantasy in “Broadway Melody,” but the production still gives us plenty of period charm. What makes Singin’ in the Rain Senior so enjoyable is the spirit of it. The cast takes on the singing, dancing, comedy, and old-Hollywood theatrics with clear affection for the material, and there is real joy in seeing older performers placed at the centre of the story rather than tucked around the edges. A reminder, really, that performance does not have an expiry date. With a short runtime, affordable tickets, and plenty of heart, it is an easy show to support. And when the weather turns… you may as well sing!

La Cage aux Folles — Gold Coast Little Theatre Music and Lyrics: Jerry Herman Book: Harvey Fierstein Based on the play by: Jean Poiret Directed by: Joshua McCann-Thomson Musical Direction by: Steven Days Choreography by: Jacksoon Kook and Lucy Taylor Photography: Clay English, Vargo Studios “If you can’t be truthful, be vague...” La Cage aux Folles is basically Meet the Parents. But make it gay, musical, and French. The story's got all the ingredients for a disastrous family dinner... then adds choreography for extra flair. Just like the director, Joshua McCann-Thomson, I'd known about La Cage aux Folles for ages, yet somehow never managed to witness its feathered flamboyance live. I was familiar with its history though, and of course, The Birdcage, (starring Robin Williams and Nathan Lane), which is one of my all-time favourite films. So, I approached with high curiosity, anticipating glitz, glamour, and heart. Gold Coast Little Theatre’s performance delivered exactly that. Taking place in 1970s Saint-Tropez, La Cage aux Folles follows Georges, who runs a drag nightclub with his partner Albin - also the club’s star attraction under the stage name Zaza. Their vibrant and affectionate life is disrupted when Georges’ son reveals his engagement to Anne, the daughter of a conservative politician. Jean-Michel arrives with youth, charm, and... the audacity. Because in an attempt to make his family appear more “respectable,” he asks his father to tone everything down and, most painfully, requests that Albin stay away. While there is plenty of farce in the cover-up, underneath the comedy lies a simple, heartbreaking wound: being asked to hide by someone you love. Naturally, the whole scheme goes awry. Thankfully, Ashley Williams portrays Jean-Michel in a likeable manner, because on paper that boy is testing the limits of my forgiveness! But Williams plays him with enough excited romantic optimism to soften the edges, particularly in “With Anne on My Arm.” His scenes with Isabella Wiesenthal as his fiancé Anne help us to see him as a young guy swept up in love, rather than just a son making a crappy request; even if it comes from fear and immaturity rather than malice. Tomer Dimanstein as Georges has the aura of a man who's already hosted enough chaos to know how to smile through it. He plays the devoted father and partner with warmth and a fabulous purple jacket. His accent sits somewhere in the realm of kinda-sorta-French, but it suits the MC quality of the role. Dimanstein’s velvety vocal tone shines in “With You on My Arm” and “Song on the Sand,” and his serenade to Albin is one of the sweetest moments of the production, complete with an accordion-ish flourish. David Valks absolutely crushes it as Albin/Zaza. “I Am What I Am” steals the show in Act One, delivered with dignity and power rather than treated as a stock-standard belt anthem. Albin has to be a diva, a wounded partner, a comedian, a mother figure, and a nightclub legend (sometimes all in the same scene), and Valks shifts through those layers with ease. While I expected a little more from the Zaza persona, she still serves and slays as the club’s headliner, commanding the room with her fierce makeup, fabulous gowns, and sass to the max. Albin is then hilariously out of his depth in the Act Two “Masculinity” sequence, where heterosexuality appears to be the hardest role of all! Luan Fitzgerald as Jacob (the butler/maid/queen), enters every scene with mischief. Decked out in wigs, gowns, maid outfits, an endless supply of attitude, and the serenity of a fire alarm going off at 3am, Fitzgerald quickly became a crowd favourite. He grabs every chance to ake the role pop, and his slow-motion death drop is exactly the kind of over-the-top behaviour that I respect. I bet Hank Azaria would be impressed. Nicky Fisser as Jacqueline glides through with a posh persona, French accent and gorgeous gowns, arriving just when the evening needs another fabulous enabler. Carey Parsons and Melissa Quirk as Mr and Mrs Dindon arrive deep into Act Two with disapproval and confusion. The home has been redecorated in monk-like restraint, the dinner table is prepared, the lies are served, and everything is just a moment away from disaster. The Cagelles — Nathan Gollan, Jasper Jacovou-Johnson, Hiwaru “Wasz” Paku, Ziv Manor — bring sass, stamina and plenty of visual fun. The can-can scene is completely bonkers, with fierce high kicks and choreography that looks exhausting before you even factor in the shoes! Jasper as Hannah, complete with a whip and kitty-cat dancers, was especially fierce. Plus, Melissa Quirk's incredible soprano voice caught me completely off guard in "The Best of Times," which was one of the night's brightest group performances. Visually, this is not a beige production. Thank goodness! The set, designed by Michael Sutton and Joshua McCann-Thomson, includes a glittering archway for the club’s main stage, a rolling set with a chaise perfect for a dramatic swoon, a hot pink vanity and cocktail bar, and pop-art of Zaza overseeing everything like the patron saint of fabulous choices. Thomas Bell’s lighting splashes the stage with colour, of course. Plus, the queens turn the audience rat-run into their personal runway during the club performances, adding extra engagement and cheekiness for us. The live orchestra, led by music director Steven Days, is a major strength. Although the musicians are out of sight, they are the driving force beneath the performance. When it comes to costumes, the show really gets to shine (literally). The costume team — Nada “Red” Kulic-Cvetkovic, David Valks, Joshua McCann-Thomson, Pina Crisafulli Omeros — understood the assignment: more is more! Think feathers, lace, sequins, leather, chains, and wigs with their own gravitational pull. Side note: Zaza’s green gown? David Valks wears it better than most women could. Choreographers Jacksoon Kook and Lucy Taylor give the show many of its strongest visual moments, particularly when leaning into the Cagelles’ athleticism and mayhem. The choreography works so well because it lets the performers be polished and ridiculous at the same time, which is exactly where this show lives. Joshua McCann-Thomson’s direction keeps one foot in glitter and one foot in the family drama. The acting style is occasionally uneven, with some performers leaning into farce more freely while others feel a little more restrained. Still, the writing gives them plenty to play with, including killer lines like “With hair like mine, you can do anything,” and “You are a boy. She is a girl. What will you talk about??” The sold-out audience was clearly having a wonderful time, responding strongly to the comedy, costumes, and cabaret. But beneath the glitter, I found something really moving in watching Albin/Zaza continue to bring joy after being brushed aside and insulted. Even when asked to disappear, they return with their head held high. It is worth remembering when this story is set. In the 1970s, this family would not be received with the same public acceptance many modern audiences may offer now. The show’s politics may arrive in heels rather than with a lecture, but the message is still clear: love is love, family is family, and no one should have to edit themselves into acceptability. Gold Coast Little Theatre’s La Cage aux Folles does not hold back. It strides in, strikes a pose, and waits for the applause.

The Addams Family Presented by: Millennial Productions Venue: Ron Hurley Theatre, Seven Hills Music and Lyrics: Andrew Lippa | Book: Marshall Brickman and Rick Elice | Based on characters by: Charles Addams Director: Taylor Atley | Assistant Director: Amelie Clarke Musical Director: Kaitlin Evans Choreographer: Lauren Bensted | Assistant Choreographer: Kennedy Foley Lighting Design: Pavani Wickremasinghe Sound Design: Lane Agostinelli Costume and Wig Design: Taylor Atley Set Design: Taylor Atley and Jacob Atley Photography: By B’rit Creative and Red Dog Productions "Life is a tightrope, my child, and at the other end is your coffin." I have somehow made it this far in life without seeing The Addams Family musical! So, I arrived knowing only the important basics: the click click, the monochrome branding, and the general commitment to death as a personality trait. What caught me off guard was how much heart was sitting beneath the gloom. It's really a story about growing up, letting go, and accepting that the people we love might be slightly different weirdos than the weirdos we expected they'd be. Presented by Millennial Productions at Ron Hurley Theatre, The Addams Family follows Wednesday Addams, who is growing up and has fallen in love with Lucas Beineke: a sweet, seemingly normal boy from a respectable Ohio family. She invites Lucas and his parents over for dinner, but first asks her dad (Gomez) to do the unthinkable... keep her engagement a secret from Morticia! For a guy whose entire personality is his devotion to his wife, this is basically emotional terrorism. Throw in Uncle Fester, Lurch the butler, little bro Pugsley, wacky Grandma, and a house full of dead Ancestors and you've got yourself a par-tay! Naturally, this strange dinner quickly spirals with family pressure, truth-telling games, accidental potions, and the Addams clan facing something their beloved darkness cannot shield them from: change. Tristan Vanyai heads the family as Gomez, a loveable, devoted husband and father who would do anything to keep the women in his life happy, even when that means emotionally short-circuiting for two acts, much to the audience’s enjoyment. His song “Happy Sad” with Wednesday captures that painful little parental realisation that your child is becoming their own person. His dynamic with Ruby Thompson’s Morticia is a treat too, with their height difference played for laughs and their chemistry full of frustration and flirtation. Ruby Thompson is a clear standout as Morticia. She looks the part instantly: tall, slinky and elegant, with sharp brows, dramatic liner, striking nails, and hips that don’t lie. She floats through the production with the composure of someone who has never once apologized for being overdressed at a funeral. Thompson brings dry humor, a killer smile, fluttering eyelids and tightly controlled drama to the role. Every line carries a hint of danger, and her old Hollywood-style voice suits the smoky glamour and gloom of Morticia beautifully. While Morticia may appear cool on the surface, Thompson lets the cracks show whenever Wednesday pulls away. And it stings because mother and daughter are so clearly cut from the exact same black velvet cloth. Angelina Bourke gives Wednesday all the eerie, rigid, deadpan intensity you want, while still showing the pull of a young woman caught between her family and her feelings. Her solo “Pulled” is an early highlight, showing off her insanely impressive voice and dark comedic touch. “Crazier Than You” shines too, because by then, the idea of being crazy in love actually sounds pretty appealing. Jamieson leaps onto the stage as Pugsley like a hyperactive little frog. Amid all the sibling shenanigans, Pugsley’s fear of losing Wednesday gives the character an emotional undercurrent. Their solo “What If” turns little-brother anxiety into something surprisingly tender: the heartache of realising your favourite torture buddy is growing up and leaving you behind. Caleb Holman is a crowd favourite in the role of Uncle Fester, bringing a playful, offbeat sweetness to every scene. Fester's romantic saga with the moon is one of the oddest bits of the musical (and that's really saying something), but Holman dives in with full enthusiasm. Plus, kudos to him for shaving his head for the part. Now that's commitment! Aden Lowry has mastered the art of playing Lurch: stillness, silence, miming, and the looming presence of the Frankenstein-adjacent butler. Lowry spends the show lurking around in a maid’s outfit and observing everyone else’s chaotic antics without cracking a smile (which is definitely harder than it looks!) Mik Bobart as Grandma is random, noisy, and completely unbothered by conventional reality. She seems to operate on her own private frequency, occasionally tuning into the rest of the show only to cause trouble before wandering back into the mist. Carly Wilson is a major highlight as Alice Beineke. At first, she is polite, cheerful and deeply repressed, but once the truth starts escaping, Wilson turns her into full musical theatre detonation. Her solo “Waiting” is belted out with comedy, frustration and liberation. Her duet with Ruby Thompson in “Secrets” also works beautifully, with Morticia’s cool control contrasting Alice’s increasing instability. Zach Price gives Mal Beineke the necessary stiff-collared rigidity, setting up the collision between respectable suburbia and gothic household. Hunter Ireland brings an earnest sweetness to Lucas, Wednesday’s normal boyfriend - though in this show, “normal” should always come with quotation marks. The Ancestors, played by Caitlyn Brindley, Emily Fuller, Ally Hickey, Lucinda Isbel, Aidan Cobb, Peter Wood, Ellen Axford, Emily Rohweder, and Sian Van Blerk, bring the Addams family’s dead relatives to life (get it?) with committed, detailed character work and odd little portraits from the family tree. Also, shoutout to Daniel Lelic as Thing, popping up throughout as the household’s disembodied helper. Taylor Atley and Jacob Atley’s set design wastes no time dropping us into the Addams family home, which is less “come on in and get cozy” and more “please mind the electric chair.” The set is like a spooky graveyard playground, packed with all sorts of morbid little details. Here, headless dolls and dead bunnies are not red flags, but rather interior design choices. As the iconic Addams Family theme played, the audience instinctively snapped along - it must be hardwired into our collective memory! Lane Agostinelli’s sound design and Pavani Wickremasinghe's lighting adds haunted-house vibes, while fog creeping from the staircase adds to the ghostly drama. That visual world is most enhanced by Atley’s costumes, wigs, and makeup. Each member of the Ancestors ensemble possesses their own ghostly backstory, so well disguised that I almost failed to recognise any of the performers! Lauren Bensted’s choreography keeps the stage buzzing, especially whenever the Ancestors suddenly join the routine. “When You’re an Addams” and “One Normal Night” have that satisfying big-group buzz at this haunted family reunion. “Tango De Amor” showcases Ruby Thompson’s Morticia in all her gothic elegance - the dress, the wig, the shoes, the backbend! While “Death is Just Around the Corner” turns from solo into spectacle, complete with a kick-line and faultless harmonies. Kaitlin Evans’ musical direction brings out the score’s mix of comedy, character and big musical theatre drama. “Full Disclosure” is the strongest group moment, with the vocals, drama, and prop choreography all working together. But the final surprise belongs to Aden Lowry, whose glorious bass voice appears after a whole show of silent looming. Millennial Productions finds the warmth beneath the cobwebs in a production that is funny, visually detailed, and full of big character performances. It has all the gloom, glamour and family dysfunction you could want. The Addams family may be obsessed with death, but this production is very much alive.

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 CHILDREN'S THEATRE: Emma Memma's Jungle Picnic - Live Nation, Empire Theatre, Princess Theatre 18 July 2026 Season: July 18th - 19th, 2026 Title: Emma Memma’s Jungle Picnic Tour Presented By: Live Nation Genre: Family / Children’s Music / Interactive Performance Synopsis: Emma Memma brings her new Jungle Picnic album to life in a joyful, movement-filled stage show created especially for young children and their families. Audiences are invited to bring their picnic baskets and pet rocks, dance with elephants, sing along to catchy new songs and play games with Emma Memma and her Memma mates. Featuring energetic dance, imaginative storytelling and plenty of opportunities to join in, Jungle Picnic celebrates outdoor adventure, shared play and communication. Sign language is naturally incorporated throughout the performance, with Emma Memma and Elvin Melvin signing alongside a dedicated Auslan interpreter. Performance Dates: Toowoomba: Saturday 18 July 2026 Brisbane: Sunday 19 July 2026 Performance Times: Empire Theatre, Toowoomba: Sat 18 July – 10:00am The Princess Theatre, Brisbane: Sun 19 July – 10:00am Sun 19 July – 12:30pm Sun 19 July – 2:30pm Performance Location and Address: Empire Theatre, 56 Neil Street, Toowoomba QLD 4350 The Princess Theatre, 8 Annerley Road, Woolloongabba QLD 4102 Ticket Costs: $42.50 Everyone aged 12 months and over requires a ticket Ticket Link: Toowoomba: https://empiretheatre.com.au/whats-on/emma-memma-s-jungle-picnic-tour Brisbane: https://theprincesstheatre.com.au/events/emma-memma-26 Recommended Age: Young children and families Duration: 50 minutes, no interval Other information: Every performance includes an Auslan interpreter positioned beside the stage, while Emma Memma and Elvin Melvin also sign throughout the show. Families requiring seats with a clear view of the interpreter can contact team@emmamemma.com in advance. Wheelchair seating and Companion Card bookings are available through each venue. Previous Next

< Back INTERACTIVE CABARET: A Villainous Sing-Along - Javeenbah Theatre Company 18 July 2026 Season: July 18th, 2026 Title: Sip & Sing: A Villainous Sing-Along Presented By: Javeenbah Theatre Company Genre: Musical Theatre / Sing-Along / Interactive Cabaret Synopsis: Raise your glass and unleash your inner baddie at Sip & Sing: A Villainous Sing-Along . This wickedly fun “sin-along” invites audiences to belt out favourite villain anthems, from Broadway bangers to Disney’s most devilish hits, while enjoying a drink. Featuring Javeenbah’s charismatic crooks and glamorous misfits, this interactive musical event is part performance, part party and entirely devoted to letting the villains take centre stage. Performance Dates: Saturday 18 July 2026 Performance Times: 7:30pm – 9:30pm Performance Location and Address: Javeenbah Theatre, Cnr Stevens & Ferry Streets, Nerang QLD 4211 Ticket Costs: Non-Member: $25 Member: $20 Ticket Link: https://www.trybooking.com/events/landing/1506966 Duration: 2 hours Creative Team: Director: Maegan Weir Production Website: https://javeenbah.org.au/playbill/sip-and-sing/ Other information: This is an interactive sing-along event featuring villain songs from Broadway and Disney. Previous Next