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Tarzan – The Stage Musical Based on the Disney film The Spotlight Theatrical Company Directed by Stuart Morgan Music Direction by Matt Pearson Choreography by Jennifer and Perrin Gilbert Photography by Clay English from Vargo Studios Fellow millennials, let’s go back to 1999. Phil Collins of Genesis has just dropped a killer soundtrack for an Disney animated film about a jungle-raised man. Fast forward to now, and Tarzan The Stage Musical  swings straight back into that era of big music and bigger heart. I strolled into Tarzan  at Spotlight Theatre all set for a nostalgia trip, and before I knew it, I was swinging through a full jungle of emotions! This production doesn’t just tiptoe into the magic of Disney. It catapults off it, vine-swinging into a wild theatrical adventure that is thrilling, acrobatic, immersive, and impressively ambitious. As a 90s kid, I instantly vibe with director Stuart Morgan. Just like me, his childhood was shaped by the Disney Renaissance and those animated classics that taught us life’s most important lesson: singing absolutely solves everything. This production honours the emotional core of the story while embracing theatrical spectacle, creative risk, and a level of scale that genuinely made me whisper, “Seriously, what was their budget?!" Set deep within the African jungle, Tarzan  follows a young boy orphaned after a tragic shipwreck and a run-in with a leopard, who is raised by a family of gorillas. Taken in by the gentle Kala after she loses her own baby, Tarzan grows up learning the rhythms of jungle life, but as he matures, he begins to question where he truly belongs. When a group of humans arrive to study the wildlife, including the adventurous Jane Porter, Tarzan finds himself caught between two worlds. Before the show even begins, the jungle is alive . The "animals" roam the auditorium, interacting with the audience and being “fed” with $1 cups of animal feed available from the theatre bar. So playful and immersive, and immediately lowers the fourth wall. This is theatre that wants to drag you right into the wild world, not just sit there like a frog on a log. Stepping into the cool, dark air of Halpin Auditorium, the sound of crashing waves surrounds you. A scrim reveals an old-world map projection, with a ship sailing towards Africa. The ocean grows rough, the sound swells, and suddenly Father, Mother, and Baby Tarzan are caught in the storm, tumbled by the sea and fighting for survival. These opening moments are cinematic, tense, and beautifully staged. Then the set is revealed… Designed by Stuart Morgan and Peter Maden , this jungle is everywhere! It's as if they gathered every green and brown fabric they could find, knotted them, and hung them up to make the stage wings so densely decorated that performers had to pull them aside like curtains to enter. Upstage, a ladder climbs to a platform and a gigantic tree trunk dominates the space, opening to reveal a treehouse constructed from shipping crates... Tarzan’s first home. The lower section opens for more transformations, and cleverly integrated behind the environment is the twelve-piece band. From the opening number “Two Worlds”, the ensemble’s physicality knocked my socks off. Bare feet of course, backs hunched, weight dropped low, and plenty of grunts. Did the ensemble genuinely study gorilla movements for weeks?! It certainly looks that way! While they obviously cannot walk fully on their knuckles, they incorporate knuckle-based gestures and hunched stances with impressive commitment. The upper-body strength of the rope climbers is unreal, and the ensemble never drops character, even in the background. Watch them closely, there are some very funny choices happening. At the heart of it all is Flynn Anderson as Tarzan. After Brock Drinkwater was accepted into WAAPA (congrats!), he had to step away from the production, allowing Flynn to step in! Though his role has few words, his acting is precious, sincere, and captivating. Flynn communicates beautifully through movement, stillness, and presence. Plus, his singing voice is outstanding. In “Son of Man” (a song I've definitely listened to over a hundred times), the cast delivers everything I could have hoped for. The transition from young to grown Tarzan is slick, capped off with an incredible acrobatic (leap-flippy-feet) move that I cannot even explain, only applaud. Later, in “Strangers Like Me,” there's a minor timing issue between Tarzan, the band, and the offstage harmony, but Flynn powers through with his stunning tone. He truly has the voice of a Disney prince, which is quite fitting given his name. Someone please stage Aladdin  immediately so Flynn can star in it. Alannah Eyerich is a sensational Jane Porter. She leans fully into the proper British accent and fast-talking curiosity, crafting a Jane who is youthful, excitable, intelligent, and deeply passionate. Her first solo, “Waiting for This Moment”, introduces her in spectacular style, surrounded by ensemble members as flowers while an enormous (Audrey II-style) carnivorous plant attempts to make her lunch. Alannah’s voice is bright, pitch-perfect, and expressive, with gorgeous dynamic contrast and seamless register shifts. Jane's falling-in-love ballad “For the First Time” becomes a split-stage duet with Tarzan, keeping them physically separate yet emotionally connected. It is beautifully directed, with both performers equally passionate and vocally matched. Their duet “Different” sees Jane and Tarzan narrate aloud, not understanding each other’s language, while the stage explodes with visual storytelling. Vines descend from above, the ensemble leap and climb, an aerialist flies on silks (REALLY), ropes swing across, and movement ripples through the jungle. Flynn and Alannah remain the calm centre as friendship and understanding collide with the chaos. Dana Sandry as Kala is simply breathtaking, radiating warmth and maternal strength. Dressed in warm tones of orange, brown, and purple, and crimped hair with colourful clip-ins. Her voice feels like a comforting embrace, and her face is beautifully expressive; whether distorted with grief or filled with love. When she sings “You’ll Be in My Heart” to a doll baby Tarzan (who, by the way, has a hilariously full head of hair!), it hits you right in the feels with sincerity and tenderness. Perrin Gilbert as the silverback gorilla Kerchak carries low-bellied tone and simmering intensity. His singing voice carries weight, his posture screams dominance, and his almost-constant gruffness makes his emotional arc with Kala and Tarzan especially effective. On the flip side, Jonathan Whitlow as Tarzan's bestie Terk is the ultimate scene-stealer. His character is a cocktail of hilarity and sharp detail, and his song “Who Better Than Me” is my top pick for tunes that are not in the movie, paired with some of the most energetic and physically demanding choreography in the show. “Trashing the Camp” is another jaw-dropper, led by Jonathan with ferocious energy and full-throttle vocals. Young Tarzan is played by James Mitchell and Oscar Borrett (I saw Oscar), who is sweet, confident, and comfortable on stage with significant storytelling responsibility. Perrin’s real-life child Charles Gilbert plays the baby gorilla. He is adorable… until he is eaten by the leopard. Spoiler alert. I have genuinely never seen a kid so young on stage before! Harrison Salter as the Leopard is so convincing I wonder if he was raised by actual cats. He moves on all fours with feline agility, slinking through the aisles, across the stage, and up the ladder in total silence. The Tarzan versus Leopard stage combat is epic, staged with clarity and care, and plays as a battle of instinct versus intelligence, agility versus strength. Joe Bourke adds another splash of warmth and humour as Professor Porter, playing him as an excitable scientist and doting dad. His cheerful embrace of Tarzan, his fascination, and his affection for his daughter are clearly portrayed in "Like No Man I’ve Seen." Meanwhile, Daniel Carson steps in during Act Two as the arrogant, dogmatic antagonist Clayton. Zak Drew makes a heartfelt comeback as Tarzan’s father for "Everything That I Am" alongside Flynn and Oscar. Additionally, Nicolette Ditchburn's breathtaking atmospheric vocals drift through the jungle like mist every now and then. The live music is an absolute jackpot. Under the direction of Matt Pearson , the band turns up the volume, with the percussion leading the way! It felt like a second heartbeat pounding within me. Costumes by Pina Crisafulli Omeros are richly textured fabrics, paired with deeply contoured makeup, dirtied skin, and wild hair. The gorilla makeup on Terk, Kala and Kerhak in particular is stunning and deserves special recognition (but I don’t know who to credit, sorry!). Lighting by Leonnie Jones and Ariana Sinner paints the jungle floor with layered patterns and lush colours, while projections by Stuart Morgan mark the passage of time and shifting worlds. Nick Willner's sound design is immersive, featuring bird calls, gunshots, roaring animals, and more. The choreography by Jennifer and Perrin Gilbert blends naturalistic movement with modern technique, showcasing the cast's remarkable endurance as they deliver backing vocals while in constant motion. Each dancer is a dynamo, wholeheartedly committed, and highly skilled. Seriously, what’s in the water on the Gold Coast?! The talent coming out of this region is extraordinary, with performers shaped by training grounds like NAPA, SEPAC, Spotlight Youth, and beyond; enabling Spotlight Theatre's performances to consistently excel in choreography and casting. If you want a swinging good time, you absolutely need to catch Tarzan – The Stage Musical . It’s got storytelling that will make you grin like a chimp, mind-blowing routines, stunning vocals, and epic production values. Even the bows were a spectacle!

From the very first downbeat, this concert made it abundantly clear that this was not going to be a polite evening of string quartet. Nope, this was strings unleashed . The event, hosted by Nicholas Tam in partnership with Honour Productions, began with an exhilarating rendition of Adele’s Rolling in the Deep. The performance showcased four outstanding string musicians, accompanied by keyboard and drums, all enhanced by dramatic programmed lighting, swirling fog, and a fully electrifying sound experience. Free earplugs were provided at the entrance, as the performance was magnificently loud and immersive! One of the most impressive elements of the performance was the cohesion between the instrumentalists. With string superstars Kat Augustakis (Violin I), Nyssa Corney (Violin II), and Asa Deacon (Violin III), alongside Sam Hewerdine on keys, Mitchell Patullo on guitar, Julian Sagan on bass, and Nathanael Clyde Tadle on drums. With no conductor, this ensemble was completely locked in with each other, listening attentively and responding instinctively. The setlist itself was clearly curated with purpose, personality, and a deep love of music spanning all genres. And this year’s song choices were absolutely fire! The program dipped into classical territory with Fauré’s Pavane Op. 50  and Corelli’s Christmas Concerto , offering moments of elegance and restraint before launching straight back into contemporary and film. Nicholas Tam on cello beautifully led Hans Zimmer’s Time  from Inception . The slow tempo, rich tone, and low pulsing orange lights created a moment that begged the audience to close their eyes and simply feel. It was cinematic, meditative, and quietly breathtaking. Then came Test Drive  from How To Train Your Dragon by John Powell, and honestly.... goosebumps from the first note. Somehow, with just six instruments, the ensemble created the illusion of a full orchestra. The drive, the lift, the sheer scale of sound was astonishing. Vivaldi’s Winter received a rock-infused makeover that absolutely ripped. Cymbals crashed, the harpsichord shimmered, and each violinist had their own frantic, virtuosic solo moment. When the kick drum hit and fully synchronised lighting blasted along with it, I genuinely felt like moshing.... at a string concert. The millennial heart of the setlist then made itself known quickly! We veered into Britney Spears’ Toxic  in a killer metal arrangement, Linkin Park’s Numb , and a Green Day medley featuring American Idiot , Boulevard of Broken Dreams , 21 Guns , Holiday  and more — all expertly arranged by Kat. There was something genuinely surreal about hearing the strings absolutely slay the melody of Numb  while my brain filled in the lyrics from 23 years ago! It felt like an out-of-body experience. Nostalgia hit hard during Boulevard of Broken Dreams , where I could see Asa mouthing the words while playing. These performers weren’t just executing notes; they were living the music. They were clearly having an absolute ball onstage, and I hope they could hear the whoops, cheers, and very enthusiastic reactions coming from the audience. This was a show for all ages. I even brought along some aspiring music students of mine, and watching their faces light up was incredibly special. The lighting design deserves its own standing ovation. It went so  hard, elevating every genre shift and accentuating the drama of each piece. It was bold, dynamic, and perfectly matched to the music. Later highlights included an absolutely ferocious arrangement of Ozzy Osbourne’s Mr Crowley , arranged by Nyssa and Mitchell, complete with electric guitar solos that went all in. And of course, the Pirates of the Caribbean theme absolutely slapped! The encore was the cherry on top... Holding Out for a Hero, the Shrek 2 version, made famous by Jennifer Saunders. It was perfection. No notes. A joyous, cathartic, crowd-pleasing end to an already stellar night. This concert powerfully showcased the unlimited potential of string instruments in contemporary music. It's always a loud, thrilling, and mind-blowing experience and I look forward to the next one! May I please request Avril Lavigne's I'm With You and the scores to Spirit: The Stallion of the Cimarron and Peter Pan (2003). Photographs: Jamie Cripwell Photography

Deal With It! – Hanson Creative Presented at PIP Theatre Written by  Aimee Sheather and Aarya Dath Directed by  Aimee Sheather and Aarya Dath Set Design by  Aimee Sheather Sound Design by  Aarya Dath Producer  Emma Hanson Deal With It! by Hanson Creative is a dark comedy-thriller that manages to be sharply witty while poking at some uncomfortable truths. All with a devilish grin. Literally. Set in a Brisbane sharehouse littered with Amazon boxes, we meet couple Alix and Max, whose lives are quietly unravelling thanks to their elusive roommate Bridget. She is behind on rent, jobless, and rarely home… until suddenly everything shifts. When money appears, blood stains turn up, and suspicion starts to brew. What unfolds is a slow-burn mystery with supernatural twists, dark laughs, and a growing sense that something far more sinister is at play. Without giving too much away, Bridget has made a deal with the devil via your everyday, run-of-the-mill satanic ritual. In exchange for wealth, she becomes tangled in the manipulative grip of Zizi, a sharply dressed, smooth-talking devil who delights in pulling the strings as puppet master of Bridget’s fate. Ruby Gleeson (Max) and William Kasper (Alix) are the undeniable comedic dynamite of the show, with a rhythm that feels instinctive and easy. Ruby’s Max considers herself a detective, concocting wildly imaginative theories while concealing a little darkness of her own. William’s Alix is peak golden retriever energy, friendly, goofy, and blissfully oblivious. Their scenes consistently guaranteed plenty of giggles. Gianni-Mia Attril-Dowling gives Bridget a withdrawn, internalised intensity. Bridget is something of a hermit, often journalling her thoughts aloud to the audience rather than interacting with those around her, which creates an eerie sense of distance. Her moments of vulnerability land well and will only grow stronger with further development of the character, particularly when the themes turn toward women’s autonomy, fear, and survival. One line in particular really got me, “I don’t hate men, but it’s something I tell myself to stay sane”. Caleb Hockings is fabulous as Zizi the devil, strutting onstage in a sparkly red and black tux with a low, gruff, wonderfully theatrical delivery. His physicality and vocal precision give the character real presence, and his puppeteering of Connor Costin’s characters is cleverly staged. Even in the darker moments, humour sneaks in unexpectedly, with “Please, my cats need me!” earning a big laugh from me (cause... real). Connor also does excellent work as Paul, a man Bridget meets at a bar who is immediately unsettling. His casual entitlement quickly curdles into something far more disturbing. Kyle Armstrong also pops up as John, the Amazon delivery driver, in brief but consistently great moments; short, sweet, and always a treat! Visually, the show commits hard to its colour aesthetic. The set features towering red velvet curtains, a crimson rug, a black and red chaise lounge straight out of soap opera, a marble table, a raised stage with string pulled taut in patterns, and an ever-growing pile of Amazon boxes that anchor the supernatural story firmly in modern domestic life. It is striking without being cluttered. Sound design is particularly effective, using eerie droning textures, sharply timed effects, and music cues to signal the passage of time. Red lighting washes the stage during darker scenes, heightening the sense of danger, while fake blood makes multiple appearances. Stage combat is also well executed to add to the tension. The only consistent technical note is projection. A memorable monologue describing lucid dreams, delivered beautifully by Gianni-Mia,  would have benefited from more volume, particularly when facing away from the audience without a microphone. Direction is solid and confident, especially given this is a brand-new play written by local artists, Aimee Sheather and Aarya Dath. The script is interesting and ambitious, revealing itself slowly and trusting the audience to piece things together. I particularly enjoyed the distinct Brisbane references scattered throughout the script. Plus, well-placed references to the Daniel Craig character in Knives Out  was particularly satisfying because I have JUST recently seen it and caught the joke. Deal With It! is a rare beast, a thriller comedy that blends humour, horror, and social commentary with a distinctly Brisbane flavour. This is an ambitious, locally written work with a strong cast, clever design, and plenty of originality. With further workshopping development (split staging scenes, higher urgency, etc), it has the potential to go even further. If you like your theatre just a little bit satanic, Deal With It!  is well worth catching.

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 MUSICAL: RENT - Javeenbah Theatre 7 Mar 2026 Season: March 7th - 21st, 2026 Title: RENT: The Musical Presented By: Javeenbah Theatre Company Inc Genre: Rock Opera / Musical Synopsis: Set in New York City’s East Village, RENT follows a group of impoverished young artists and musicians as they struggle to survive, create, and love in the face of adversity, including the shadow of HIV/AIDS. A powerful story about friendship, chosen family, and living for today, this Tony Award and Pulitzer Prize–winning rock musical features iconic songs and themes that resonate with audiences. Performance Dates: March 7th - 21st, 2026 Performance Times: Fridays & Saturday - 7:30PM Sundays - 2PM Saturday March 14th - additional 2PM matinee Performance Location and Address: Javeenbah Theatre, Cnr Stevens & Ferry Streets, Nerang QLD 4211 Australia Ticket Costs: Non-Member - $30 Concession - $28 Member - $25 Group (10+) - $25 each Ticket Link: Buy Tickets - RENT Warnings: Contains mature themes including references to death, drugs, coarse language, and adult content. Rated 16+ advisory. Recommended Age: 16+ recommended due to mature content. Duration: 2.5 hours including interval Creative Team: Director - Kaela Gray Musical Director - Rachel Love Production Website: Javeenbah Theatre - RENT Other Information: A community theatre production presented by Javeenbah Theatre Company, one of the Gold Coast’s longstanding theatre groups. Javeenbah Theatre offers accessible entry options and patron support — contact the venue for specific access information. Previous Next

< Back CIRCUS: Duck Pond - HOTA, Circa 6 Mar 2026 Season: March 6th - 7th, 2026 Title: Duck Pond Presented By: HOTA and Circa Genre: Circus / Contemporary performance Synopsis: Feathers will fly in Circa’s exuberant take on Swan Lake , where the world’s most romantic ballet is re-imagined as a circus spectacular full of physicality, cheeky humour and contemporary energy. Be swept away by a tale of swans and hapless princes, with jaw-dropping acrobatics, sumptuous aerials and quirky touches like a sequinned flipper-wearing duck army and a burlesque black swan. It’s touching, funny and utterly entertaining, a story about identity and finding your true self. Performance Dates: March 6th - 7th, 2026 Performance Times: Friday 7PM Saturday 11AM Performance Location and Address: Theatre 1, HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise QLD 4217 Australia Ticket Costs: Adult - $59 Child - $39 Senior - $49 Student - $39 Family (2 adults + 2 children) - $180 Ticket Link: Buy Tickets - Duck Pond Warnings: Includes haze effect during performance. Recommended Age: Suitable for ages 6+ Duration: 1 hour 15 minutes Creative Team: Created by Yaron Lifschitz and the Circa ensemble Director, Stage Design – Yaron Lifschitz Composer and Sound Designer – Jethro Woodward Costume Designer – Libby McDonnell Lighting Designer – Alexander Berlage Associate Director – Marty Evans Dramaturg/Associate Choreographer – Rani Luther Voice Over Artist – Elise Greig Production Website: HOTA - Duck Pond Other Information: Duck Pond is a co-commission supported by QPAC, The Arts Center at NYU Abu Dhabi, The Art House Wyong, Frankston Arts Centre, HOTA – Home of the Arts, Merrigong Theatre Company and Orange Civic Theatre. Home of the Arts offers wheelchair access, accessible toilets and step-free entry; patrons with specific requirements should contact HOTA ahead of the performance to arrange assistance. Previous Next