The Two Tenors Presented by: Vavachi Entertainment Venue: SunPAC Starring: Roger Davy and Matthew Leigh Guest Soprano: Tashana Hardy Photography: Freddie Klein Date Attended: 28 October 2026 Josh Groban has recorded an awful lot of music. Narrowing his catalogue down to a single concert must be the musical equivalent of packing for a month-long holiday with hand luggage only. Fortunately, The Two Tenors squeezes in a generous helping of Groban favourites (and then some), taking audiences on journey where musical worlds collide. Roger Davy and Matthew Leigh have two distinct voices, beautifully matched. Opening with the underrated 'Anthem' from Chess, the gentlemen immediately establish their vocal credentials with gorgeous harmonies. Roger Davy's formidable upper range appears completely unbothered by the passing decades. Matthew Leigh, meanwhile, is something of a vocal chameleon, adapting his style to suit each genre. His solo passages have a velvety richness, his upper notes soar, and he slips into any harmony with precision and balance. Both have decades of performing behind them, and their voices remain in excellent shape. And they are dressed rather suavely too! The programme is a feast for musical theatre lovers, drawing heavily from Groban's Stages album alongside pop classics, operatic favourites, and selections from classical eras and languages. Roger's unexpected rendition of 'If I Can't Love Her' from Beauty and the Beast suits his voice beautifully, while Matthew's 'Nights in White Satin' is an inspired pairing of singer and song. There's even room for an original Groban number among the familiar favourites. Speaking of favourites, my personal pick is 'Bridge Over Troubled Water'. Roger opens the familiar ballad before Matthew introduces his soulful flavour, slipping through intricate melismas with no trouble whatsoever. Their voices eventually unite for a rousing, gospel-style finale. A terrific arrangement that celebrates the individuality of both singers. The setlist also travels between languages, with Ed Sheeran's 'Perfect' and Robbie Williams' 'Angels' incorporating both English and Italian. There's certainly no shortage of variety here! Guest soprano Tashana Hardy is a vision in red, appearing throughout the show to add a welcome third voice to the proceedings. Tash joins the gentlemen for 'What I Did for Love' from A Chorus Line (another fave of mine, thank you!), while her duet with Matthew on 'All I Ask of You' from The Phantom of the Opera is a beautiful vocal pairing. She also takes the spotlight with a famous Puccini aria, giving the lads a momentary breather, before rejoining them for several glorious trios. For anyone who hasn't had the privilege of hearing this music performed live before, what an introduction! With a Queensland tour planned for 2027, the use of backing tracks is understandable from a practical perspective. Still, I can't help imagining how magnificent these arrangements could sound with live piano and strings, particularly 'You Raise Me Up'. I'd also love to hear more from the gentlemen themselves between songs. With no programme to guide us, a few personal anecdotes, career highlights, or stories behind their song choices would help us get to know the performers beyond their voices. The audience responded audibly whenever Roger announced a familiar favourite, so a little more conversation could build on that enthusiasm. The predominantly older audience was clearly having a marvellous time, and a grand trio rendition of 'Nessun dorma' brought the concert to a close with all three voices in full flight. I thoroughly enjoyed these musical detours, and would eagerly hear what else these gentlemen have tucked away in their tenor repertoire.

Constellations Presented by: Allentertainment Venue: Sir Thomas Brisbane Planetarium Written by: Nick Payne Directed by: Harrison Allen Cast B: Anna-Rose van der Wiel (Marianne), Kyle Fenlon (Roland) Intimacy Coordinator: Heidi Gledhill Date Attended: 23 October 2026 Photography: Allentertainment "We have all the time we've always had." In Nick Payne's Constellations, that line turns out to be a rather complicated premise. This play keeps handing its characters entirely different versions of a lifetime. We follow two people through the infinite possibilities of a relationship. Allentertainment has found the perfect venue for it, too. Where better to explore parallel universes than beneath the enormous dome of the Brisbane Planetarium? Marianne (Anna-Rose van der Wiel) is a cosmologist at Cambridge University, fascinated by quantum mechanics and the enigmas of existence. Roland (Kyle Fenlon) is a beekeeper. She's interested in the universe; he's all about honeycombs. They don't have an awful lot in common. But at a barbecue, Marianne attempts to break the ice with an unusual conversation starter. It goes rather well. Or disastrously. Or somewhere in between... We witness multiple versions of their first meeting, with Marianne trying the same unconventional approach each time and receiving wildly different responses from Roland. Nick Payne's writing is fascinating. Thanks to Marianne's crash course on string theory and the multiverse, we come to understand that we're peeping into alternate realities. It's like watching a cosmic game of "Choose Your Own Adventure," where the same duo makes different choices based on different circumstances. Every time we hear that distinctive whooshing sound, it's as if the universe is signaling: "REWIND!" And suddenly, we're back at the start of a conversation, eager to see what outcome will emerge this time around. The differences can be remarkably subtle. A shift in tone, an awkward pause, or a change in mood can completely alter the direction of a scene. We're gradually piecing together who Marianne and Roland are through these glimpses of their lives; assembling a relationship from fragments that don't always align. Each repeated scene gives us another piece of the puzzle, and the overall picture gets more complex as the possibilities multiply. And not only that, but it doesn't play out in chronological order either! I really admire the cleverness of this writing, and I can imagine how exciting it must have been for Harrison Allen to direct. I can't even fathom the brain gymnastics those two performers must do. With all those nearly identical conversations, each with just a sprinkle of difference, I'd be terrified of accidentally jumping into the wrong universe! Fortunately, Anna-Rose van der Wiel and Kyle Fenlon (Cast B) navigate this script like pros. Both have gorgeous accents (English and Scottish, respectively) that hit the ear nicely. Their performances cover an large range of emotional scenarios. One moment, Marianne and Roland could be nervously flirting, furious, heartbroken, confused, or overwhelmed with joy. Mostly, they're so adorably goofy together that I kept finding myself hoping we'd landed in a universe where everything works out for them. Anna-Rose van der Wiel, returning for her second production with Allentertainment, brings a lovely warmth to Marianne. Her curiosity is infectious as she throws herself into explaining some mind-bending scientific concepts. There's a sincere sweetness to her portrayal that makes the character instantly endearing. This makes her later struggles with communication all the more heartbreaking. As her character develops aphasia, Anna-Rose captures the gutting frustration of knowing exactly what she wants to say but being unable to find the words. Language, once her greatest asset for explaining the inexplicable, is now failing her. Kyle Fenlon is equally engaging as Roland, bringing an beautiful naturalism to the many versions of this beekeeper whose world is considerably more grounded than Marianne's (pun intended). He wears his heart on his sleeve, always trying to fix whatever has gone wrong, even when the situation is beyond his control. He shifts between affection, embarrassment, anger, and anxiety (often in quick succession) as repeated conversations take different turns. I particularly love his marriage proposal/s, each delivered with the same hilariously terrible speech. Together, Anna-Rose and Kyle capture the messiness of romantic relationships, from bashful flirtations to infidelity, uncomfortable run-ins as exes, and arguments that unfold differently across each universe. There's even a version of their relationship performed entirely through sign language, drawing our attention to their facial expressions, gestures, and physical interactions instead. It's these little variations that make their performances so entertaining and endearing. Harrison Allen's direction takes full advantage of the Planetarium's unique space. The 'stage' is situated in the centre of the room, with the audience encircling the action. The actors are in constant motion, moving around and across the space - approaching, retreating, chasing, dancing, or circling one another. Their positioning ensures the action can be enjoyed from every angle, without any section of the audience spending too long staring at the backs of their heads. And then there's the dome overhead. The Planetarium's curved ceiling becomes a canvas for some spectacular projections. Galaxies swirl in a cosmic dance while psychedelic bursts of colour explode overhead. At other times, we're surrounded by towering trees or sitting in the couple's apartment like unexpected guests. The imagery creates an ever-changing environment that captivates the senses. I particularly love the contrast between the vast cosmos overhead and the intimate heart-to-hearts below. There's an entire universe of possibilities to marvel at, yet it's the lives of just two people that command our attention. The play explores the highs and lows of doing life with a romantic partner by your side. As Marianne's illness enters the picture, the story takes on a slightly more confronting dimension. Her diagnosis raises profound questions about autonomy, mortality, and the choices surrounding a life-altering prognosis - though there is limited room to explore these themes in depth. Against this backdrop, the lighter, more playful versions of Marianne and Roland feel all the more precious, reminding us of the fragility of life and the importance of cherishing time together. What makes Constellations so compelling is that there's no single version of events we're asked to believe in. We watch Marianne and Roland find, lose, and rediscover each other across different realities, each conversation offering a new interpretation. It's imaginative storytelling that encourages us to reflect on our own choices, relationships, and the lives we might have led. Constellations is an inventive and intimate piece of theatre, well worth your time. Just don't be surprised if you have a bit of an existential crisis on the way home!

Shrek the Musical Communication in Action Talbot Theatre, Thomas Dixon Centre Directed: Tim Hill Music Director: Jacqui Devereux Choreography: Justin Anderson Photography: By Brit Creative Walking into a completely full Talbot Theatre is always a promising sign, and Shrek the Musical wasted no time proving why every seat was taken! The show leaned fully into what makes Shrek so much fun: outrageous characters, bold humour, and joyful theatrical silliness. The musical honours the film while giving the comedy a fresh stage twist, with plenty of jokes that flew straight over the kids’ heads and landed squarely with the adults. Henry Marsh as Shrek brought warmth, humour, and a very solid accent to the role. Vocally, he handled the demands of the score with confidence, as did the other boys across the cast. “Who I’d Be” was a lovely, sincere solo that showed the gentler side of the character. I would have loved to see Shrek lean even further into that fed-up frustration at times, but overall his performance of this tremendous role was incredible. Hamish Treweeke as Donkey was an absolute highlight. Donkey has to be a speedy talker, crystal clear, and relentlessly energetic, and Hamish delivered all of that with sass to spare. He was a walking encyclopaedia of pop culture references, a constant ball of energy, and absolutely nailed “Don’t Let Me Go,” cementing the Shrek-and-Donkey dynamic as the strongest duo on stage. Murphy O’Connor as Princess Fiona was a complete standout. She played Fiona as the glorious crackpot she is, with bold physicality, dramatic gestures, and excellent comic timing. Vocally, Murphy was fantastic, switching effortlessly from a bright musical theatre belt to a sweet, delicate classical tone. (“the waiting!!!!!” moment was chef’s kiss.) “I Know It’s Today,” shared with Aria McGregor (Young Fiona) and Dottie Reisener (Teen Fiona), was beautifully layered, confident, with harmonies that blended seamlessly. Archer Grounds’ Lord Farquaad was iconic, from the sparkly outfit and sassy attitude to the impressive knee-sprinting across that enormous stage (no small feat... pun fully intended). Henry Woodward as Thelonius added to the laughs and was the perfect sidekick in Farquaad's scenes. Ella Reynolds as Gingy was a joy. I loved that she didn’t lean into the overly squeaky voice we so often hear. Her natural voice was divine and gave the character warmth and sympathy. Ariella Meehan’s Pinocchio was full of personality, and the nose effect was a very fun visual gag for the audience! Alessia Lily Monteverde as Dragon brought serious funky energy to “Forever” complete with spotlights, a killer outfit, and strong support from the Knights. Without the option of a giant dragon puppet, the moment relied entirely on Alessia, and she delivered vocally in a big way! I would have loved to see that sass shared with the audience a little more (face us more cause we want to see you!), as the blocking had her chasing Donkey all over the stage in her stilettos. “Story of My Life” was a delightful explosion of fairytale chaos, with an absurd number of characters filling the stage! It was cleverly cast to spread featured moments among the more senior performers. The fairytale creatures truly shone in “Freak Flag,” which completely blew me away. The commitment to character was fantastic, the choreography was high-energy, and the whole number felt joyfully unhinged. Standouts included Bella Pietrobon’s Wicked Witch, Saana Chang’s Ugly Duckling, Neil Marco Il Aballe’s Big Bad Wolf, and Stephanie Dortolina-George as Mama Bear. Visually, this production was stunning. The massive digital backdrop looked like storybook paintings brought to life, and the lighting on this stage was, as always, fabulous. The designer made excellent use of patterned lights to add texture without overwhelming the action. I also loved how the audience walkway was used during the travel sequences, giving the staging scale and helping the world feel bigger than the stage. “Welcome to Duloc” was a fun ensemble moment, full of bright energy and costumes. I would have loved to see even more plastered grins and crisper articulation to really lean into that aggressively cheerful dystopia. “Morning Person” was a crowd-pleaser, with strong choreography, though I couldn’t help wishing the tap sections had been performed in actual tap shoes. Let those rhythms sing! “I Think I Got You Beat” was a standout musical moment between Fiona and Shrek, with great chemistry and comic timing. Donkey observing from further upstage meant some of his reactions were lost, and I think perching him closer to the stage edge would make that moment even stronger. The ensemble as a whole was a real strength of this production. Their commitment, energy, and character work lifted every scene. Bonus points as well for the Princess Bride reference at the wedding, which absolutely tickled me. Under the direction of Tim Hill, with choreography by Justin Anderson and music direction by Jacqui Devereux, Shrek the Musical was fun, fast-moving, and full of heart. It embraced the ridiculous, celebrated its performers, and left the audience smiling.

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< Back THEATRE: Constellations - All Entertainment 15 Oct 2026 Season: October 15th - November 21st, 2026 Title: Constellations Presented By: All Entertainment Genre: Contemporary Drama / Romance / Science Fiction Synopsis: A chance encounter between Marianne, a quantum physicist, and Roland, a beekeeper, unfolds across a seemingly infinite number of possible realities. As their relationship shifts through different choices, conversations and outcomes, Constellations explores love, free will, fate and the fragile possibilities that shape our lives. Written By: Nick Payne Performance Dates: 15 October – 21 November 2026 Performance Location and Address: Sir Thomas Brisbane Planetarium, Mount Coot-tha Road, Toowong QLD 4066 Ticket Costs: Adult $65 | Student / Concession $55 | Group 6+ $50 per person | Ticket Link: https://allentertainment.sales.ticketsearch.com/sales/salesevent/158584 Duration: 70 minutes, no interval Creative Team: Harrison Allen – Director Production Website: https://www.allentertainment.com.au/constellations/ Other information: An immersive production staged inside the Planetarium's 12.5-metre Skydome, featuring 8K, 360-degree projection mapping. Limited to 125 audience members per performance. Previous Next

< Back THEATRE: Small Mouth Sounds - Queensland Theatre, Counterpilot 13 Oct 2026 Season: October 13th - November 1st, 2026 Title: Small Mouth Sounds Presented By: Queensland Theatre Genre: Contemporary Theatre / Comedy / Drama Synopsis: Six strangers arrive at a silent retreat in search of peace, clarity and personal transformation. Forbidden from speaking, they must navigate awkward encounters, unexpected connections and their own emotional baggage through gestures, glances and the occasional involuntary noise. A quietly hilarious and deeply human exploration of loneliness, vulnerability and our desperate need to connect. Written By: Bess Wohl Performance Dates: 13 October – 1 November 2026 Performance Times: Tuesday–Wednesday – 6:30pm Thursday–Saturday – 7:30pm Wednesday Matinee – 1:00pm Saturday–Sunday Matinee – 2:00pm Performance Location and Address: Bille Brown Theatre, 78 Montague Road, South Brisbane QLD 4101 Ticket Costs: Adult from $72 | Concession from $70 | Ages 35 & Under from $36 Ticket Link: https://queenslandtheatre.com.au/plays/small-mouth-sounds Warnings: Mature themes, mild infrequent coarse language, simulated sex sounds and full-frontal male nudity. Recommended Age: 15+ Duration: 1 hour 40 minutes, no interval Cast: Louise Brehmer (Joan), Stephen Geronimos (Rodney), Judy Hainsworth (Alicia), Kieran Law (Jan), Jodie Levesconte (Judy), Barbara Lowing (The Teacher / Voice) and Anthony Standish (Ned). Creative Team: Bridget Boyle & Nathan Sibthorpe – Co-Directors | Isabel Hudson – Set & Costume Designer | Christine Felmingham – Lighting Designer | Mike Willmett – Composer & Sound Designer Other information: An innovative audio-immersive production created with Counterpilot, providing each audience member with headphones to experience the subtle sounds of the performance. Night with the Artists: 20 October Auslan-interpreted performance: 23 October Audio-described performance: 31 October Previous Next