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Kinky Boots - Swich Up Productions  (no, it’s not misspelt – it’s short for Ip swich !) Ipswich Civic Centre Book by  Harvey Fierstein Music & Lyrics by  Cyndi Lauper Director : Adrian Carr Musical Director:  Julie Whiting Choreographer : Holly Leeson Photography: Kris Anderson "Be yourself; everyone else is already taken." For this production of Kinky Boots, Ipswich did not come to play! The Civic Centre foyer was full of boots, glitter, and people who clearly understood the assignment. Maybe it was the pre-show runway, or maybe it was the reputation of Swich Up Productions, now firmly cemented as an award-winning company. Either way, for a one-weekend-only season, this was a must-be-there event. And what an event it was. The story follows Charlie, who inherits his family’s struggling shoe factory and, through an unexpected partnership with drag performer Lola, sets out to save it in a most unconventional way. Kinky Boots  explores growth, shifting perspectives, leading with kindness, and looking beyond the surface. At the centre of it all was Carl de Villa as Lola, stepping into the role just three weeks before opening. If you didn’t know, you’d never guess! Carl was completely at home, bringing a cheeky confidence and effortless charisma that never wavered. Vocally, they soared, with Hold Me in Your Heart  landing as a true highlight — soulful, glamorous, and emotionally grounded (in a white gown that absolutely delivered). There was a playful ease to the performance that made Lola instantly loveable and undeniably magnetic. And not to be weird, but their legs deserved their own applause. Conor Ensor as Charlie anchored the show with emotional weight. Vocally, he was rock solid. Those belts are no joke! But it was his acting that cut through. Charlie’s downward spiral was uncomfortable in the way it needed to be: harsh, messy, and recognisably human. Audience members audibly reacted to his unwarranted cruelty, a testament to how effectively the performance landed. Soul of a Man  became an intense emotional release, charged with power and control by Conor. You found yourself rooting for him, while also begging him to make better choices. Jaime O’Donoghue as Lauren was a scene-stealer. She leaned fully into Lauren’s awkward chaos with impeccable comedic timing and a beautifully easy vocal in her solo The History of Wrong Guys . I love that the show tries so hard to convince us she is not a catch with the sweater, the pigtails, the brash accent… and respectfully, I did not believe it for one second. Jaime completely overruled that narrative with her sheer star quality. Dominic Bradley as Don was thoughtfully handled, evolving beyond a close-minded bully into something far more accepting. There was a subtle shift across his performance that allowed the audience to soften towards him without ever fully letting him off the hook. It made his arc land with more weight than I expected it would. Abby Page’s Nicola was perfectly insufferable (compliment!) Sharp, polished, and just the right amount of cutting, she leaned into the role with confidence, making every appearance deliciously frustrating in the way only a well-played antagonist can be. Fiona Buchanan and Simone Behrendorff grounded the factory world with personality and humour. Their presence added a sense of history and community warmth to the space, making the stakes of the factory’s future feel more tangible and personal. The Angels brought unstoppable energy every time they hit the stage. Slick, cohesive, and clearly having a fabulous time, they lifted the pace of every number they were in. A special mention to Isaac Brown, whose punchy rock-pop vocals in In This Corner  cut through with soaring clarity and fierce attitude. Visually, there was plenty to take in. The set didn’t just sit at the back of the stage, it surrounded the performers from all sides, creating a fully realised world that transported us straight into a British factory. Detailed brickwork, an upper-level office, moving staircases, and conveyor belts — yes, fully functioning conveyor belts — were not just impressive but cleverly embedded into the choreography by Holly Leeson. Lighting and projections were outstanding, particularly in split scenes, and the handcrafted props added lovely authenticity. There was a clear sense of care in every visual choice. And then there were the costumes. The Angels? Iconic. Wigs, makeup, costumes, and boots were exactly the right amount of flamboyance that you want from Kinky Boots . Every time the Angels hit the stage, the energy jumped several levels… as it should. Lola’s wardrobe and wigs became an event in itself too. Musically, the production packed a punch. Under Julie Whiting’s direction, the blend of live band and EDM elements gave the score a driving, high-energy edge, with numbers like Sex Is in the Heel  hitting with a club-like dazzle. The ensemble harmonies were clear and bright, featured actors shone with ease, and there was a shared momentum that carried right through the show. The Most Beautiful Thing in the World  stood out with its full-bodied, resonant vocals, while What a Woman Wants  took the crown for me. Of course, there were a couple of small hiccups. At times, muffled dialogue was hard to catch over the underscoring. A persistently ringing phone during Not My Father’s Son  also pulled focus from what should have been one of the show’s most tender moments — and you could feel the audience collectively losing their patience each time it rang again. Apologies to the cast. Theatre etiquette is such a peeve of mine. Revisiting this show again after almost a decade since it came to QPAC, what stayed with me most was the heart of the piece. This is a production that celebrates individuality without apology. It champions openness, kindness, and the courage to be unapologetically yourself. It does not tiptoe around its message either: drag is not niche… "drag is mainstream", it is powerful, and it belongs. And when it’s all wrapped up in big voices, bold visuals, and a cast clearly having the time of their lives… how could you not say yeah? Be yourself. Be loud. Wear the boots!

Messa Da Requiem – Queensland Ballet Glasshouse Theatre, QPAC With Queensland Symphony Orchestra, Canticum Chamber Choir, Brisbane Chorale, and Opera Queensland Choreographer:  Christian Spuck Music:  Giuseppe Verdi Conductor:  Simon Hewett Set Designer:  Christian Schmidt Costume Designers:  Emma Ryott, Christopher Parker Lighting Designers:  Martin Gebhardt, Elfried Roller Chorus Director:  Emily Cox Dramaturg:  Claus Spahn Featured Singers:  Naomi Johns (Soprano), Cassandra Seidemann (Mezzo-Soprano), Kyle Stegall (Tenor), Jeremy Kleeman (Bass-Baritone)   Watch out, Timothée Chalamet, because we’ve got both ballet and  opera going on at QPAC. With more than 140 performers packed onto the stage and an orchestra ready to shake the walls, Messa Da Requiem  wastes no time reminding you just how powerful live performance can be.   Written back in 1874, Verdi’s Requiem  transforms this traditional Catholic funeral mass into something far more theatrical . This is not your traditional narrative ballet. There’s no neat storyline to follow or main character to latch onto. Instead, choreographer Christian Spuck tackles big, overwhelming, sometimes uncomfortable truths. And he does it by letting the music lead, trusting Verdi’s monumental score to carry us through the experience.   One of the coolest elements of this production is how blurred the lines are between different art disciplines. The choir doesn't just stand there like musical statues; they move, shape the space, and become part of the choreography. The 110 choristers move in waves, ripple through canon patterns, and shift across levels to constantly reshape the enclosed stage. Without any theatre wings, performers appear and disappear through the back corners, adding a sense of mystery, like figures emerging from memory and slipping away again. Trumpeters play from above, surrounding the audience. There’s no clear separation between pit and stage, singer and dancer, sound and movement. Everything feeds into everything else. Right from the start of Requiem et Kyrie , you’re hit with slow, intentional movements and striking stage visuals. Then, BOOM… Dies Irae (Day of Wrath) hits. If you haven’t heard this piece, you’ve got to give it a listen. Preferably loudly. It’s the most recognisable section of the work and easily the most relentless. It absolutely erupts in the new Glasshouse Theatre. The crashing drums and blazing brass bring out the terror of Judgement Day, with a nonstop urgency. The Queensland Symphony Orchestra delivers it with such force it almost feels seismic. The choir’s voices are unified and urgent, while dancers covered in ash contort and pulse through the chaos like an bug being tortured under a magnifying glass. There's a moment where the whole group surges across the stage in a frenzy like ants, and it's somehow both completely wild but incredibly precise.   The visuals kept surprising me too. The stage is surrounded by these towering grey walls that turn out to be blackboards, and later get covered in chalk scribbles that looked like signatures from where I was sitting. Some tables and chairs are constantly shifted and reworked to create new levels and areas. A movable light box creates stunning silhouette shadows of the dancers, especially in a pas de deux where lift after lift sends clouds of ash drifting into the air. There’s even a moment where dancers scale the wall like they’ve suddenly become gravity-defying creatures (very Spider-Man).   The choreography itself is a rich blend of classical ballet and contemporary movement. There are some delicate and lyrical pointe work, contrasted with almost primal floor work. The dancers crawl, roll, and ripple through the space like a swarm of insects. Then, just as quickly, everything goes still. There are also some truly beautiful smaller moments woven throughout. The pas de trois is fluid and sculptural, while a later pas de deux paired with the Agnus Dei  features soft, interconnected movement and genuine tenderness. A section featuring a dozen partnered couples moving in sync was particularly striking. During the tenor solo, stillness is used to great effect, with dancers (including the men) appearing in tulle gowns, bare backs turned away from us, moving in hypnotic unison.   Vocally, the work is just as impressive. Cassandra Seidemann’s mezzo is rich and velvety, with a grounded warmth that carries beautifully, while Kyle Stegall’s tenor rings out with clarity and precision, slicing cleanly through the texture. Jeremy Kleeman’s bass-baritone provides a deep, resonant foundation that anchors the sound. And then there’s Naomi Johns, whose soprano soars effortlessly above the 110 voices of the choir and cuts through the orchestral swell… honestly unfair how easy she makes it sound.   The Sanctus  gives the choirs a chance to really shine, and it’s thrilling to hear that many voices working together with such clarity and power. The a-cappella quartet section is another standout for its restraint… although, unfortunately, it was interrupted by an audience phone ringing not once, not twice, but four times! A gentle reminder that live theatre etiquette is still very much a thing (we beg of you).   What I appreciated most about this production is how immersive it feels. Not in a gimmicky, interactive way, but in the sense that you’re completely surrounded by it. The sound, the movement, the sheer scale of bodies on stage, it all pulls you in. There are moments of beauty, moments of intensity, and moments that are deliberately unresolved. This isn’t a light, easy watch. It gets slow in places, highly introspective, and is unapologetically dramatic. But if you enjoy opera, choral and classical music, ballet, contemporary dance, or simply witnessing what a huge group of artists can create together, there is so much to admire here.   It’s one of those experiences I'm very glad I didn’t miss, even if I wouldn't hurry back right away. Still, I'm pumped to see what Queensland Ballet and Opera Queensland have in store this season, and I might even check out a performance by the Queensland Symphony Orchestra, Brisbane Chorale, or Canticum Chamber Choir while I'm at it.

Title: Singin’ in the Rain - Senior Presented By: Brisbane Arts Theatre Genre: Musical Theatre Synopsis: Set in 1920s Hollywood, Singin’ in the Rain  follows silent film star Don Lockwood as the industry transitions to “talkies.” When his leading lady Lina’s voice threatens their success, aspiring actress Kathy Selden steps in—sparking romance and chaos. Audition Date: April 18th, 2026 Audition Time: 1PM - 4PM Audition Location and Address: Brisbane Arts Theatre, Suite 3a/70 Prospect Terrace, Kelvin Grove QLD 4059 Audition Requirements: All applicants must be 55+ Please provide a headshot on the day Prepare a 'read' for the character you are interested in (Audition Reads found HERE ) Please prepare an excerpt of a theatrical/ Broadway upbeat song of no more than 2 minutes. You must bring a recorded backing track that can be connected to a Bluetooth speaker. You may be asked to sing some simple vocal exercises to determine vocal range. Prior to the audition, please learn the choreography snippet in the video HERE . Ensure you wear comfortable clothes and shoes you can easily move in and bring your water bottle. You will be learning additional choreography on the day. Tap shoes are not required, but please bring them along if you own a pair. Audition Registration: Complete the online registration HERE Audition Pack: Singin' in the Rain Senior Audition Pack Performance Dates: July 2nd - 11th, 2026 Performance Times: 5PM Sunday evening 7PM all other evenings Performance Location: Southbank Tafe, 66 Ernest St, South Bank Rehearsal Dates: April 23rd - July 1st, 1016 Rehearsal Times: Tuesdays & Thursdays - 6PM - 9:30PM Sundays - 12PM - 7PM Rehearsal Location: Lavalla Centre, 58 Fernberg Road, Paddington Warnings: Requires singing, dancing (including tap), and physical movement. Time commitment required for rehearsals. Performer Age: 55+ (Senior version) Creative Team: Directors - Adelle O’Connell & Kath Kunde Musical Director - Laraine Griffiths Choreographer - Marisa Bucolo Production Website: Brisbane Arts Theatre - Singin' in the Rain Senior Other information: Audition form will request personal details, vocal range, and conflicts Cast members are expected to commit to rehearsals and attendance requirements. Available Roles/Character Breakdown: Don Lockwood (M) Cosmo Brown (M) Kathy Selden (F) Lina Lamont (F) Dora Bailey (F) Roz (F) R.F. Simpson (M) Roscoe Dexter (M) Young Lady (F) Miss Dinsmore (F) Zelda Zanders (F) Teacher (M/F) Other Ensemble (M/F) Kathy’s Girls / Chorus Girls (F) – for those with strong dance abilities Singers – for those with mobility considerations

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, from audition alerts and performance reviews to exclusive spotlights on local talents and invaluable theatre tips. 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 CABARET: Marvelous: A Risqué Parody - Fever, Twelfth Night Theatre 18 Mar 2026 Season: March 18th - April 4th 2026 Title: MARVELous: A Risqué Parody Presented By: Fever & Twelfth Night Theatre, Brisbane Genre: Live Show / Cabaret / Parody Theatre Synopsis: MARVELous: A Risqué Parody flips the Marvel Universe on its head with outrageous comedy, jaw‑dropping stunts, live vocals, aerial performance, dance, and irreverent twists on iconic superhero moments. This adult‑oriented variety show blends circus‑style spectacle, cabaret energy, and musical parody into an over‑the‑top theatrical experience guaranteed to entertain and surprise. Performance Dates: March 18th - April 4th, 2026 Performance Times: Wednesday - Friday & Sunday 7:30PM Saturday 2:30PM & 7:30PM Performance Location and Address: Twelfth Night Theatre, 4 Cintra Road, Bowen Hills QLD 4006, Australia Ticket Costs: $99 - $139 Ticket Link: Buy Tickets - MARVELous Warnings: Adult‑themed content, risqué humour, and material unsuitable for young children. Recommended Age: 15 + (Anyone under 18 must be accompanied by an adult) Duration: Approximately 80 minutes, no interval Production Website: Fever - MARVELous Other Information: Twelfth Night Theatre is a well‑established live performance venue in Bowen Hills with wheelchair‑accessible seating available (bookable via the ticket options). A companion seat is included for guests requiring assistance (proof may be requested onsite). Contact the theatre directly for accessibility needs beyond standard wheelchair width limits. Previous Next

< Back THEATRE: Oedipus Doesn't Live Here Anymore - Australian Performing Arts Conservatory 14 Apr 2026 Season: April 14th - 15th, 2026 Title: Oedipus Doesn’t Live Here Anymore Presented By: The Australian Performing Arts Academy Genre: Theatre / Comedy‑Drama Synopsis: A razor‑sharp, darkly funny reimagining of the classic Oedipus story, this play imagines what happens when the tragic tale is transplanted into a contemporary setting — think Oedipus as a “Logan bogan.” Expect thought‑provoking twists, sharp humour and a fresh new take on the ancient Greek myth. Performance Dates: April 14th - 15th, 2026 Performance Times: Tuesday - 1PM & 6:30PM Wednesday - 12PM Performance Location and Address: Pip Theatre, 20 Park Road, Milton QLD 4064 Ticket Costs: Free entry — booking required. Ticket Link: Book Tickets - Oedipus Duration: 90 minutes Cast: Cale Evans Gemma Bouveng Jazlin Briscoe Shirley Moran Sophie Briggs Production Website: APAC - Oedipus Doesn't Live Here Anymore Other information: Tickets are free but bookings are required. Check directly with the organiser for accessibility information and exact venue details. Previous Next