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

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

Title: Hadestown: Teen Edition Presented By: Valmy Academy Genre: Contemporary Musical Theatre Synopsis: Hadestown: Teen Edition is a bold and contemporary musical presented as a fully staged holiday production for committed young performers. Designed for teens ready to engage in a focused rehearsal process, the production develops advanced ensemble skills and culminates in performances to a live ticketed audience in a professional theatre venue. With rich storytelling, layered ensemble work and contemporary musical theatre technique, this is a serious and rewarding performance experience. Audition Date: Saturday March 14th, 2026 Audition Time: 1PM - 4PM Audition Location and Address: 127 Sandgate Road, Albion Audition Requirements: All participants will be cast. Auditions determine principal and featured roles. Audition Registration: Registration required prior to audition. Register HERE. Audition Pack: Provided upon registration (if applicable). Performance Dates: Friday April 17th & Saturday April 18th, 2026 Performance Location: Old Museum Building, Bowen Hills Rehearsal Dates: April 13th - 17th, 2026 Rehearsal Times: Intensive structured rehearsal process (daily schedule provided upon casting) Rehearsal Location: 127 Sandgate Rd, Albion Performer Age: 12–17 years Production Website: Valmy Academy - Hadestown Other Information: Teen Holiday Production (13–18 April) $495 per performer Cast capped at 30 performers Includes professional theatre venue performance Stage lighting and sound design Professional performance video Available Roles / Character Breakdown: ORPHEUS: High Tenor with falsetto up to G#5. (A2 – F5). Orpheus is an optimist, an idealist, a counter-culturalist. Orpheus should feel unique and have the sensitive soul of an artist. Plays guitar. HADES: Bass. G1 – Eb4 Lord of the Dead. Powerful, immortal and deeply in love with Persephone. Strong authoritative presence. Tyrannical and a bit menacing. PERSEPHONE: Alto/Mezzo. (E3 – C5). Goddess, playful, mercurial and fun. Persephone is not too feminine and lets her sharp edges show. She is the seasons and is cut from the same cloth as Orpheus. She must have a wryness and intelligence that she uses sharply for both entertainment and as a defense mechanism. HERMES: Tenor/baritone. (D3 – B4) Hermes is the narrator/guide/emcee of the story. Charismatic, often mysterious, with a trickster-ish quality. EURYDICE: Alto/Soprano. (E3 – E5). A practical leading heroine with an extremely vulnerable underbelly, a haunted bird. She takes the leap to the underworld as a step towards something reliable. There is both toughness and delicacy in her being and her singing; she uses a belt for some songs, real subtlety for others. FATE 1: (F#3 – E5) FATE 2: (G3 – E5) FATE 3: (F3 – C5) Powerful and dark. Operate as one of the “voices in the heads” of the other characters. Fates may play instruments of some kind and should be skilled with harmonies

Discover the latest in Brisbane theatre auditions and reviews on Stage Buzz Brisbane. Your go-to source for all things theatre in the Queensland capital. WELCOME TO STAGE BUZZ BRISBANE This dynamic hub for South-East Queensland thespians is your go-to source for audition updates, performance reviews, and engaging content that celebrates the vibrant local theatre scene. From spotlighting talented actors to providing valuable tips, it's a community-driven platform that brings the magic of the stage to the forefront, fostering connection and celebration among theatre enthusiasts in the region. NICE TO MEET YOU Embrace the enchanting world of South-East Queensland's theatre scene right here on Stage Buzz Brisbane! We're your go-to hub for all things theatrical: upcoming performances adult audition alerts youth auditions performance reviews exclusive spotlight interviews with local talents rehearsal/performance venue database Whether you're a seasoned thespian or a passionate supporter of the arts, join us on this exciting journey as we celebrate the magic that unfolds on our local stages. At Stage Buzz Brisbane, we believe every production deserves its moment in the spotlight. If you know of any upcoming productions or hidden gems that have slipped under the radar, don't hesitate to reach out and share your insights or let us know about the productions that deserve extra applause. Together, let's shine a light on the vibrant and thriving community theatre culture in South-East Queensland. Let the curtains rise, and let the show begin! Contact

< Back MUSICAL: 74 Redland Grove - Sunnybank Theatre 3 July 2026 Season: July 3rd - 18th, 2026 Title: 74 Redland Grove Presented By: Sunnybank Theatre Group Genre: Original Musical / Family Drama Synopsis: Step into the heart of 1970s working-class Nottingham in this brand-new original musical. 74 Redland Grove is a heartfelt celebration and moving exploration of the fragile, funny and fierce connections that make a family. Guided by the narrator, audiences are transported to number 74 Redland Grove, where matriarch Marina Coningsby, her often-absent husband Jonathan and their eight wildly different children share one lively household. The story unfolds through the eyes of the youngest child, four-year-old Riffs, whose boundless imagination transforms everyday moments into magical adventures. Blending humour, nostalgia and heartfelt emotion, 74 Redland Grove weaves family dysfunction into a kaleidoscope of laughter, grief and unforgettable music inspired by the 1970s. Performance Dates: July 3rd - 18th, 2026 Performance Times: Friday - 7:30PM Saturdays - 2PM & 7:30PM Sunday - 2PM Performance Location and Address: Sunnybank Theatre, 14 Mains Rd, Sunnybank, QLD 4109. Ticket Costs: A Reserve - $22 - $32 B Reserve - $17 - $30 Ticket Link: Buy Tickets - 74 Redland Grove Recommended Age: Recommended for ages 15+ due to coarse language and sexual references. Duration: Approximately 2 hours 30 minutes, including interval. Creative Team: Book, Music & Lyrics – Mark Westby Directors – Chris O'Leary and Tammy Sarah Linde Production Website: Sunnybank Theatre Group - 74 Redland Grove Other Information: Sunnybank Theatre offers wheelchair-accessible entry, designated wheelchair seating and accessible amenities. Patrons requiring accessible seating or assistance are encouraged to contact the theatre prior to booking. Previous Next

< Back CHILDREN'S THEATRE: My Hamster is a Pirate - Brisbane Arts Theatre 4 July 2026 Season: July 4th - 11th, 2026 Title: My Hamster is a Pirate Presented By: Brisbane Arts Theatre Genre: Family / Children’s Theatre / Adventure Comedy Synopsis: Ben Jinks has a pet hamster named Stinky — but Stinky is no ordinary hamster. He can talk, he is super-intelligent, and he may just be the key to a treasure-hunting adventure. When Ben and his family head to the Gold Coast on holiday, they uncover a decades-old mystery, search for buried treasure, and discover hidden talents of their own. This action-packed comedy celebrates friendship, imagination, and the idea that big adventures can come in very small, furry packages. Written By: Dave Lowe Directed By: Sandra Harmen Performance Dates: Saturday 4 July – Saturday 11 July 2026 Performance Times: 11:00am for all shows Performance Location and Address: South Bank TAFE, C Block Auditorium, 66 Ernest St, South Brisbane QLD Ticket Costs: • Adult $30 • Concession $20 • Family/Group 4+ $20 each • Members $20 Ticket Link: https://artstheatre.com.au/events/my-hamster-is-a-pirate-tickets/ Recommended Age: Children and families Previous Next