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Little Shop of Horrors - Presented by Woodward Productions at QPAC Cremorne Theatre Director : Alister Smith Music Director: Heidi Loveland Music Supervision: David Young Choreography: Dan Venz Puppet Design: Brenton Van Vliet Designer: Penny Challen Lighting Design: Declan O'Neill Sound Design: Ben Murray Costumes/Props: Alex Heien Welcome to Skid Row, Los Angeles. A place where dreams go to wilt, hope is perpetually under-watered, and survival feels like a full-time job with no pay rise in sight. It’s a bleak, monochromatic corner of the world where people are told, both explicitly and implicitly, that they don’t matter. And it’s here, of all places, that a strange little plant promises something intoxicating: visibility, success, love.   Little Shop of Horrors  follows Seymour Krelborn, a timid florist’s assistant with a chronic case of bad luck and worse self-esteem. When he discovers a mysterious plant with a taste for blood, his fortunes begin to change. Fame, money and romance suddenly feel within reach — provided he keeps feeding his new green friend. As the plant grows, so too does Seymour’s moral dilemmas.   If you’ve never seen Little Shop of Horrors  before (hello, it’s me), this production is a perfect introduction. This beloved cult classic by Howard Ashman and Alan Menken (yes, those Disney legends) hails from a time when weird and wonderful movie musicals thrived. Think Rocky Horror  and Beetlejuice . Beneath the catchy-as-hell doo-wop score and absurd humour, Little Shop  is a sharp Faustian warning: don’t trade your soul for a shortcut. And whatever you do… don’t feed the plant!   This QPAC season sold out. Then it extended. Then it sold out again. Honestly? They could have filled the Playhouse. Still, the Cremorne Theatre felt electric, with excellent views from every seat. Produced by Alex Woodward , this season is directed by Alister Smith , with choreography by Dan Venz , musical direction by Heidi Loveland , music supervision by David Young , and striking, film-faithful puppet design by Brenton Van Vliet . Smith leans confidently into both the absurdity and the substance of the piece. His vision honours the camp while keeping a firm grip on the show’s darker undercurrents. The pressure to succeed. The hunger to be seen. The quiet terror of believing you’re disposable.   Dan Venz’s choreography propels the story through the doo-wop trio of Kimberley Hodgson, Anna Francesca Armenia and Nykita O’Keeffe. Their rhythmic bopping, attitude and crisp harmonies operate as a playful Greek chorus. The trio are absolute stars. Their harmonies are flawless, their sass is endless, and as ever-present observers of Skid Row, they never miss a beat. I do slightly worry about their necks after all that sassy head action, but it’s a sacrifice clearly made for the greater good. At the heart of the show are two tender, hopeful souls. Maxwell Simon as Seymour is endearingly awkward from the moment he shrinks into himself onstage. His jittery physicality, slightly whiny vocal quality and deeply relatable panic when the plant starts talking make him a compelling and sympathetic lead. His chemistry with Kirby Burgess as Audrey is a highlight. Styled to perfection with a stiff blonde wig and slinky costumes, she brings softness, sincerity and strength to a character that can so easily slip into caricature. Her Somewhere That’s Green  is intimate and heartbreaking. It’s quietly hopeful, painfully modest in its dreams, and sung directly to the audience like a secret confession. Bonus points for giving us an Audrey speaking voice that’s expressive without tipping into “annoying”. Call Back in the Morning  is staged with clever corded-phone chaos, and Suddenly Seymour soars with gospel-style backing vocals and heartfelt sincerity and goofiness. Bryan Probets’ Mr Mushnik benefits from the assurance of a theatre veteran, most evident in Mushnik and Son , where the number lands its laughs while still finding surprising emotional warmth. Stephen Hirst is a comic chameleon, particularly as the unhinged Orin Scrivello, D.D.S. His dentist is sadistic, wickedly funny, and unnervingly at ease locking eyes with the audience. He flips from charm to genuine threat in an instant. Beyond Orin, Hirst shows he's the jack of all trades (and costumes), with a standout turn as the generic rich guy, delivered with sharp satirical bite.   And then there’s Audrey II. A true marvel. Matthew McKenzie delivers a booming yet sass-filled voice performance, paired with Charles Ball’s expert puppeteering. The plant evolves through multiple forms with astonishing effect. From the wilting pot plant, to the Seymour-operated puppet, to the full monstrous reveal complete with roots that move like arms, the puppetry is mesmerising.   The band, Annie Silva on bass, David Whittingham on guitar, Luke Volker on keys, and Steve Fischer on percussion, bring Menken’s score to life with flair. Sound design by Ben Murray, paired with Heidi Loveland’s musical direction, delivers a rich, punchy sound that never lets the energy drop. Feed Me  in particular is a sensory feast, with lighting, sound and staging combining into something almost hallucinatory.   Designer Penny Challen’s painted set and props feel lifted straight from a sketchbook, beautifully echoing the illustrative style of Audrey II itself. The glowing florist signage and lighting strips framing the shop create a constant sense of containment, as though the characters are boxed in from the very start. The opening moments establish a striking visual language: a black-and-white world from floor to wings to flowers to costumes. It feels like a comic book come to life—flat, graphic and stylised—and sets the perfect foundation for a story that’s about to grow wildly out of control. Costumes and props by Alex Heien smartly track the show’s moral descent. Stark monochrome gives way to saturated greens as Audrey II’s influence spreads. The muses’ emerald sparkle is especially satisfying once colour finally floods the stage. Likewise, Declan O’Neill’s lighting is used sparingly at first, the palette deliberately drained of colour. Slowly, green begins to creep in. By Act Two, the visual transformation of the space is genuinely jaw-dropping and the show just keeps getting funnier. And darker. The reveal of the final Audrey II puppet drew audible gasps.   I overheard a teen at interval say, “It’s really murder-y,” which honestly feels like the most accurate review possible. This Little Shop of Horrors  is funny, stylish, musically tight and thoughtful. Beneath the camp lies a warning about capitalism, complicity and the cost of being seen in a world that profits from your silence. I walked in knowing only three songs and walked out completely converted. I would absolutely see it again if it weren’t already sold out!   A bold, brilliant musical by Woodward Productions that reminds us: know your worth, protect your integrity… and never, ever feed the plant. 🌱

Any Moment By Bradley McCaw | Presented at PIP Theatre Duration: 100 minutes (no interval) Experiencing a new Australian musical always fills me with a sense of curious excitement, like opening a Christmas present wrapped in a bizarre shape. There are no preconceived expectations, just the work, the performers, and the moment you’re sharing together. Any Moment , a new song-cycle musical by Bradley McCaw , embraces that uncertainty and turns it into its greatest strength, reminding us that life, much like theatre, only ever happens in real time. Set in Brisbane and unfolding over New Year’s Eve, Any Moment  tracks a single 24 hours as it tumbles toward midnight. Through 24 songs, including short reprises, the show weaves together snapshots of everyday lives: parents, workers, lovers, siblings, strangers, and people simply getting through their day. Inspired by John Lennon’s line, “Life is what happens to you while you’re busy making other plans,”  the musical gently asks us to slow down and really look at the ordinary lives moving around us, those moments that might otherwise pass unnoticed. The show’s spine is the recurring group number “Twenty Four,”  which appears in various forms throughout the piece. Launched by Lulu Miskin , it becomes a ticking-clock motif that repeatedly grounds us in the passage of time. Each reprise feels slightly altered and always reflective, mirroring how our perspective shifts as the day unfolds. It is a simple and effective structural choice that gives cohesion to a sprawling song cycle and reinforces the show’s central idea: any moment is just a moment away. Musically, Any Moment  is piano-driven and impressively genre-fluid. The score moves between contemporary musical theatre, soul, ballad, rap, and spoken-word influences. McCaw’s  lyrics are observational, conversational, and beautifully specific, while musical director and pianist William Martineau  supports the storytelling perfectly. Subtle backing harmonies, sometimes onstage and sometimes drifting in from offstage, add texture without overwhelming the intimacy of the work. Many of the numbers are solos, and they are beautifully matched to each performer’s vocal colour and emotional range within this cohort from the Con (QAEMT). These performers are exceptionally skilled and fully immerse themselves in the stories. “Top Shelf”  is a witty, laugh-out-loud number about punching above your weight in a relationship, executed with poise and awareness by the hilarious Connor Chadwick . “Stuck in the Elevator,”  performed by Orlando Vella , spins eight hours of panic, epiphanies, and spoiled pants into a genuinely hilarious and unexpectedly reflective journey. “My Phone,”  performed by Sam Henderson  and Chloe Flanagan , struck a particularly modern nerve, charting our love–hate relationship with technology by recognising the addiction, attempting to stop, and ultimately shrugging and giving up. I felt seen. Painfully so... There are also many moments of vulnerability throughout the show. “Next Time,”  led by Lulu Miskin , explores sisterly dynamics with warmth and openness, her vocal delivery carrying genuine affection and ease. “Before the Story Passes By”  was a standout for me. Chloe Flanagan  delivers the number, about a journalist working through New Year’s Eve, with striking emotional intelligence, balancing ambition with frustration. I don’t say this lightly, I am seriously in love with Chloe’s voice. There were moments of musical shaping and melisma that made me turn just a little green with envy. That level of vocal craft is echoed across the cast. “Doin’ It For the Kids,”  performed by Lucy Ross  and Croft Phillips , injects humour and heart into the realities of parenthood and early morning football games. “Rover’s Song,”  performed by Niamh Cadoo-Dagley , is a joyful, chaotic stream-of-consciousness burst. It plays like a child’s ADHD thought spiral set to music and thrown into the room with complete commitment by Niamh and her "dog". “Church on Murphy Street,”  sung by William Kasper , is quietly devastating, presenting a lone figure at a wedding and capturing a particular kind of isolation. Will has a remarkable ability to sit in vulnerability without overplaying it, allowing the stillness to do the work, and it pays off beautifully here. His later number, “Rest of Our Life,”  delivered as a eulogy for a grandmother, is so intimate and tender that I genuinely felt like I was intruding on something deeply private. Lucy Ross  repeatedly commands attention, particularly in “White House Down the Road.”  Her performance was so vividly internal that I found myself closing my eyes to fully visualise what she was narrating. She stared out into nothingness, seeing the story unfold in front of her, while we could only listen. So I closed my eyes and let McCaw’s lyrics wash over me. And it was devastating. The duet “Door Duet" (Take My Hand),  performed by Connor Chadwick  and Sam Henderson , is also heartbreaking (whyyy?!), capturing the end of a relationship with restraint and emotional clarity. It is one of the show’s most affecting moments, understated and painfully real. Place is central to Any Moment . Brisbane isn’t a vague backdrop here. Aussie accents are proudly used, and “Coming In From the Suburbs”  injects groove and wit into the mundanity of suburban life. One of the show’s most compelling ideas is how our city quietly links these lives together. “Long Night”  lands as an anthem for anyone who has ever worked a miserable, unappreciated New Year’s Eve shift while the rest of the city celebrates. As midnight approaches, the emotional stakes heighten. “Light,”  an exquisitely delicate solo by Madeleine Ford , captures the ache of longing, the desire to be reunited with love in the afterlife rather than face another new year alone. Elsewhere, a child is born and a brother and sister meet the baby for the first time during the countdown. Life ending. Life beginning. All happening at once. By the time the ensemble gathers for the finale, “Turn the Page,”  the cumulative impact is undeniable. The full vocal sound of the cast swelled through the space and genuinely took my breath away. Yes, the show leans into big morals and earnest quotes, some unabashedly cheesy. But it earns that sincerity through craft, commitment, and heart. Visually, the production is intentionally minimal. There are no elaborate sets or lavish costumes, with Noah Milne’s  lighting doing much of the work to suggest time, place, and emotional weight. This restraint suits both the song-cycle format and the PIP Theatre space, keeping the focus squarely on the performers and the writing. Acoustically, the cast proves they barely need microphones at all, though balance occasionally wavers when voices overlap. Understanding the context behind Any Moment  only deepens appreciation for what’s onstage. Writing began in 2018, followed by a concept album in 2019 and years of workshops, revisions, and small performances. Writer Bradley McCaw  has spoken about the show evolving from offcuts of other works into something more focused: a piece centred on ordinary moments that don’t usually get musicalised in larger productions; such as fighting through a closed door, being stuck in an elevator, or the neighbour we live alongside but never truly know. Influenced by song-cycle writers like Jason Robert Brown, the work has taken many years, and many artists from around the country, to reach this pilot production. Any Moment  feels like the beginning of something rather than the final word, and that is its greatest promise. I left the theatre wanting the backstory to every song, every character, every fleeting moment, and reflecting on moments of my own and those unfolding around me. I have no doubt this won’t be the last time we see this thoughtful new Australian musical, because some stories are simply too alive to stay still.

Ballet Theatre Queensland – Alice in Wonderland Choreography, Direction & Story:  Clare Morehen Music, Orchestrations & Story:  Lucas D. Lynch Costume Design:  Rebekah Ellis Set Design:  Josh McIntosh Lighting Design:  Ben Hughes Sound Design:  Wil Hughes Orchestra:  Cadenza Chamber Players Photography:  Quince and Mulberry Studios Fresh off the success of Snow White  and Cinderella  in 2025 — and well-earned Stage Buzzie Awards — Ballet Theatre Queensland has built a reputation for taking familiar stories and refusing to treat them familiarly. With Alice in Wonderland , the company delivers an exhilarating reimagining that whisks Lewis Carroll’s iconic tale out of the rabbit hole and onto a bustling 1930s Hollywood film studio. Think sepia Art Deco and Depression-era grit colliding with neon signage, sequins, and big-band pizzazz. It was the kind of Golden Age glamour most of us only know through classic films and theme-park recreations… until now. From the moment audiences arrived on opening night, there was a very particular kind of buzz in the air: the “we’re about to be thoroughly spoiled”  variety. The whole venue felt celebratory before a single note was played. And when that first note did  arrive? Oh, it wasn’t a gentle invitation. It was a wink and a warning: time is ticking. Lucas D. Lynch’s  score leans into this tension, with ticking motifs and whimsical descending phrases creating a sense of urgency that never quite lets the audience relax; as if the entire world is behind schedule and only Alice is curious enough to question why. It’s an immediate signal that this production isn’t just pretty to look at; it’s purposeful, playful, and packed with ideas. Composer–choreographer collaborations of this depth are a core strength of BTQ. And it shows! Because every scene is purpose-built, musically and physically intertwined, rather than layered after the fact. With performers drawn from 24 different dance schools, this production doesn’t just showcase excellence in dance, it showcases community. The stamina required across this predominantly young cast — from rapid sequences, cramped backstage, stylistic shifts, and relentless pacing — cannot be overstated. Sepia Streets to Technicolour Dreams The ballet opens in a world of restraint and repetition: a muted, post-depression street scene. Alice enters in a brown schoolgirl outfit and boots, nimble and grounded, reading her copy of Alice in Wonderland. Around her, similarly dressed townsfolk drift beneath a dull Hollywood sign, some seeking work, others simply passing time, all caught in the monotony of routine. The action shifts into a classroom overseen by a domineering Headmistress, ruler in hand, complete with an actual blackboard (where did they find one of those nowadays?!). The children are drilled through repetitive, nonsensical exercises, their movement stripped of individuality and joy. As the teacher twirls around the room with oppressive precision, the choreography by Clare Morehen  beautifully captures control masquerading as order. When Alice follows the flustered White Rabbit down a steam grate and straight through the orchestra pit, the transformation on stage is exhilarating! The music slides into jazzy intrigue, the palette bursts from sepia into shimmering colour, and Wonderland is revealed not as the rabbit-hole fantasy we know, but as the luminous imagination of Golden Age Hollywood alive with possibility! This is an Alice  built not on whimsy alone, but on industry, imagination, and the cost of creativity. A Wonderland That Never Stops Moving Once inside the Hollywood film studio, the eye is constantly drawn everywhere at once, thanks to Josh McIntosh’s  set design. This Wonderland never stands still. Dancers move the set pieces themselves with impressive coordination, meaning transitions happen mid-motion and momentum is never lost. Doors appear, dressing rooms materialise, and entire worlds shift before you’ve even registered the last one. The use of double-tiered staging at the rear of the set allows for even more visual surprises, particularly during large ensemble numbers. While one group dazzles front and centre, another is already building the next picture behind them, creating a constant sense of activity that mirrors the frantic energy of a real working film studio. Top hats off to the creative team and dancers (especially given the Concert Hall’s lack of wings or a fly tower!) Around them, neon signs — including a clever glowing “Drink Me”  vanity and “Eat Me”  diner sign — illuminated props, glowing puppetry, and sequinned showgirl flamingos flood the stage. Glamour and Glitter The costuming is nothing short of extraordinary. Rebekah Ellis’  designs lean fully into 1930s Hollywood glamour while still allowing complete freedom of movement. Alice’s transformation into her Wonderland attire is a visual delight: pink satin, golden sequins, and a signature purple ribbon that keeps her instantly recognisable amid the chaos. The attention to detail given to every costume piece of this large ensemble cannot be understated (all the way down to the colourful pointe shoes!) Even the littlest performers — dressed in tiny pink hearts, and dapper suits, they were utterly charming and brought audible “awws” from the audience. The onstage costume changes of the Diva and Alice (clearly necessitated by the venue’s constraints) become part of the spectacle rather than a distraction. Genevieve Schofield’s  Alice absolutely glistens with imagination. From her first entrance, she captures that essential sense of curiosity and wonder, balancing childlike movement with highly assured technique. Schofield blends ballet, jazz, and theatrical storytelling with ease, adapting her physical acting as Alice grows in confidence and agency. Her solo moments shimmer with dreaming and possibility, and she remains the emotional anchor of the production throughout. Jordan Lennon’s  Leading Man ( the Blue Caterpillar ) is suave, commanding, and undeniably cool, complete with a fabulous suit-and-hat design — with actual smoke  coming from his jacket somehow (?!). His movement quality is smooth and confident as he toys with Alice through riddles and gorgeously fluid lifts. As the Mad Hatter-turned-film director, Jayden Grogan  delivers one of the production’s biggest highlights. His bluesy, jazz-laced showstopper crackles with energy and showmanship, unapologetically bold in its eccentricity. The percussion section was clearly having the time of its life, propelling the number forward and pulling the audience along for the ride. One of the evening’s biggest laughs comes courtesy of the diner kitchen scene, led by Matilda Kimlin’s  gloriously frazzled Cook and Scarlett Hutley’s  serenely oblivious Duchess. Paired with a frenetic strings score and staged with gleeful screwball chaos, the comedy hits the mark. Kimlin’s reactions — especially in the later slow-motion dressing-room meltdown — had me absolutely cackling . Tweedledum and Tweedledee — Chloe Hough  and Zara Strelen  — appear as mischievous wardrobe assistants in vibrant dresses, sunglasses, and beautifully styled wigs, stitching themselves directly into the story. As the perpetually flustered film producer, Matthew Erlandson’s  White Rabbit is everywhere at once and utterly brilliant at it. Darting across the stage in a vibrant orange tuxedo, he leaps like he’s got springs in his shoes and captures the stressed-out energy. Kohei Iwamoto  as the Diva’s devoted and long-suffering PA ( King of Hearts ) brings big attitude and big hair to the role. Lily Pietsch appeared as the energetic Cinematographer ( March Hare ), and Hadley Hooper’s adorably exhausted PA to the Director ( Dormouse) , whose commitment to perpetual fatigue was both so real and hilarious. And then there is the Diva ... Sophia Gougoulas  makes an entrance worthy of legend, arriving in a Daimler-style '30s shiny red vehicle. Draped in red fur, crowned with an enormous hat, and adorned with a dazzling heart-shaped necklace, she commands immediate attention… and fear. I literally said “YAS QUEEN”  as she stepped out. Her Queen of Hearts is deliciously dual: impossibly glamorous and soft-focus romantic when the cameras are rolling, yet ruthlessly volatile the moment they stop. Gougoulas navigates this split with relish. A romantic pas de deux in a slinky white gown and bouncy blonde wig opposite Jordan Lennon  reveals her at her most refined — all old-Hollywood grace and luminous poise. This “Action!” sequence is underscored by a score that feels like My Fair Lady  meets La La Land … but better. Then, just as quickly, the glamour unravels. Her off-camera dressing-room meltdown — staged in slow motion — is a masterclass in theatrical comedy. Music, Movement & Spectacle Lucas D. Lynch’s  ambitious score throws its arms wide and fully commits, drawing from jazz, blues, Broadway, and classical with nods to Gershwin, Porter, and golden-era film composers. Lynch makes full use of his expanded brass and winds orchestration, and at times it feels as though every instrument and sound effect at his disposal is in play at once. From smoky nightclub moods to glorious big-band blasts, the score never settles into predictability. The Cadenza Chamber Players rise admirably to the challenge of this demanding new music, navigating its rhythmic complexity with impressive stamina and cohesion. With a full 46-piece orchestra in the pit, the sound has a cinematic sweep rarely heard in dance productions of this scale. Filmic sound effects — including the whirr of a rolling film reel — heighten the Hollywood illusion and immersion, while Ben Hughes’  lighting design expertly guides the audience through the visual feast, drawing the eye precisely where it needs to be amid constant motion and layered staging. The choreography by Clare Morehen features extensive use of canons, particularly in the feathered fan sequences, creating ripple effects across the stage that are both visually thrilling and technically demanding. Full-throttle jazz explosions accompany kicklines, parasol and feather-fan movement, and exuberant Charleston sequences (while wearing pointe shoes I might add!) Every number somehow manages to top the last. A particular highlight is the Cheshire Cat — a large, glowing, fragmented puppet. Cleverly concealed puppeteers and low lighting create the illusion of floating, disembodied body parts and a mischievous grin, prompting audible gasps from the audience. It’s theatrical magic at its most delightful, and yet another reminder of the ingenuity on display throughout this production. The courtroom scene swings into a deeply jazzy blues groove, anchored by a sultry bassline and shimmering cymbals that ooze drama. From there, the production launches headlong into its finale, erupting into glorious, organised chaos. Hats off to Stage Manager Emma Healy , because the sheer coordination required in these final moments is breathtaking. With onstage costume changes, fast-moving set pieces, and a cast pouring in and out of the action, the energy never drops. I found myself holding my breath, acutely aware that just beyond the makeshift wings there must have been absolute mayhem. Alice returns to a world that appears unchanged... but she is not the same girl who left it. Inspired, emboldened, and full of possibility, she pulls out a notebook and begins to write. It’s a simple, quietly powerful ending that lands beautifully, reinforcing the production’s central message: that adventure can be found through books, through imagination, and through the act of storytelling itself. I couldn’t agree more.

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< Back THEATRE: Sidekicks - PIP Theatre 18 Feb 2026 Season: February 18th - 28th, 2026 Title: Sidekicks Presented By: PIP Theatre in co-production with Simon Chugg and Tammy Tresillian Genre: Romantic Comedy / Theatre Synopsis: Are you the star of your own story… or just someone else’s sidekick? From acclaimed Australian writer Stephen Vagg comes Sidekicks , a smart, funny and heartfelt romantic comedy with razor-sharp dialogue and emotional insight. It explores friendship, love and the question we all quietly ask ourselves — what if we’re not the main character? After successful runs at Sydney Fringe, Melbourne International Comedy Festival, and Adelaide Fringe, Sidekicks makes its Brisbane debut. Performance Dates: February 18th - 28th, 2026 Performance Times: 6:30PM - 18th & 25th February 7PM - All other performances Performance Location and Address: Level 2 Theatre, PIP Theatre, 20 Park Rd, Milton QLD 4064 Ticket Costs: Preview - $31 Adult - $41 Concession - $26 Group (4+) - $30 Ticket Link: Buy Tickets - Sidekicks Warnings: Adult Themes, Coarse Language & Sexual References. Recommended Age: 16+ Duration: 110 minutes (including a 20-minute intermission). Cast: Tammy Tresillian as Caitlin Buckner Simon Chugg as Mackenzie Graham Creative Team: Written by Stephen Vagg Produced by Tammy Tresillian & Simon Chugg (Co-Production with PIP Theatre) Co-Directors - Simon Chugg & Tammy Tresillian Production Website: PIP Theatre - Sidekicks Other information: PIP Theatre is fully accessible via a foyer lift with dedicated accessibility spaces, wheelchair-accessible amenities, and Companion Card support. Email info@piptheatre.org for assistance or accessible seating requests. On-site parking in the Savoir Faire Car Park (free on weekends and after 4 pm weekdays) and street parking along Park Road & surrounding streets. Licensed bar opens prior to doors for refreshments. Previous Next

< Back THEATRE: For the Sake of Love - Sun and Wine Arts Company 13 Feb 2026 Season: February 13th - 15th, 2026 Title: For the Sake of Love Presented By: Sun and Wine Arts Copmany Genre: Theatre / Comedy / Valentine’s Day Themed Show Synopsis: For the Sake of Love is a one‑act comedy following eight people and their multifaceted relationships with love in a chaotic workplace setting. Whether it’s self‑love, family, friendship, career, or romance - these stories explore how love affects everyone differently, often with hilarious and heartfelt results. Performance Dates: February 13th - 15th, 2026 Performance Times: Friday - 7:30PM Saturday - 3PM & 7:30PM Sunday - 3PM Performance Location and Address: Wonargo Revue, 62 Flower St, Northgate QLD 4013, Australia Ticket Costs: General Admission - $30 Hot Date Ticket - $55 Ticket Link: Buy Tickets - For the Sake of Love Recommended Age: All ages Duration: Approx. 60 minutes per performance Production Website: Sun and Wine Arts Company - For the Sake of Love Other information: A quirky, heart‑centred theatre comedy celebrating all forms of love - not just romantic - in a workplace setting. Check directly with the Wonargo Revue venue for details on wheelchair access and seating accommodation. Tickets sold via Humanitix support charity (profits from fees go to charitable causes). Previous Next