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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 he is testing the limits of my forgiveness! His request that Albin disappear for the evening is cruel, even if it comes from fear and immaturity rather than malice. But Williams plays him with enough nervous romantic optimism to soften the edges, particularly in “With Anne on My Arm.” His scenes with Isabella Wiesenthal as Anne help us see him as a young guy swept up in love, rather than just a son making a crappy request. 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 edge from the Zaza persona, she still serves 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), 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 unnecessary behaviour 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 is not a show that tiptoes. It enters, poses, and waits for the applause.

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

A Night of Sherlock Holmes Three classic tales in radio play format Directed by Jason Nash Play 1: The Adventure of the Speckled Band Play 2: A Scandal in Bohemia Play 3: The Case of the Blue Carbuncle “It’s my business to know what other people don’t know.” If modern FM radio is all loud ads, endless chatter, and the same five songs on repeat, then this is its elegant, intelligent ancestor. Long before podcasts, television, or breakfast hosts yelling nonsense in your car, radio was theatre placed right in your home. It relied on voice, atmosphere, and your own imagination. And Nash Theatre dives headfirst into that vintage magic with A Night of Sherlock Holmes. Five vintage-style microphones line the front of the stage. A glowing “On Air” sign reminds us we are in the recording studio. An “Applause” light prompts our participation to clap like we mean it. Just performers, scripts and sound. But wait, what's that upstage? Along the back wall are three live foley artists, concocting entire worlds from an assortment of random objects. Hats off to Mark Corben, Lara Latham and Emma Latham, who clearly relish every second of their controlled chaos. Foley is a delicate craft though. Sometimes, we could hear every little rustle of their scripts and every accidental movement through the mics. Tightening those silent moments will make the illusion even more immersive. Arthur Conan Doyle first unleashed the dynamic duo of Sherlock Holmes and Dr. Watson upon the world in 1887, and it's hard to think of a literary character that's stuck around longer. Nash Theatre has made it a habit to kick off their year with a radio play, and this time they went for a hat-trick of Holmes adventures. Director Jason Nash makes strong use of his experienced cast by rotating roles across the three plays. Between acts, the old-timey advertisements were humorous and well executed. However, trimming all the ads slightly next time would tighten the overall pacing. The jokes land without needing the entire promotional monologue, which probably adds 15 minutes to the run time. The short violin transitions between scenes paid a nice tribute to Holmes' musical inclinations. While I do question their necessity, they certainly added a touch of dramatic flourish. There were nine performers in total, immaculately dressed in 1930s glamour. Ladies Sandy Adsett, Jenny Bonney-Millett and Kiah Latham embodied the era with polished poise. Red lips, pearls, furs and heels reminded us that even radio demanded style. Clear diction, supported projection and expressive delivery ensured that every clue landed cleanly. The cast remained fully engaged throughout. Even when seated, they listened and reacted. Mark Corben, in particular, was picking up every twist and turn. You'd think he was binge-watching his favourite show. By the end of the evening, I was mentally exhausted from the concentration because I enjoy trying to solve the mystery before the reveal. Play One: 1930s – The Adventure of the Speckled Band Domonic Thurlow stepped into the shoes of Sherlock like he was born with a magnifying glass in hand, alongside David Hill as Dr Watson to deliver a refined and measured interpretation. Domonic is a standout for his natural pacing and ease with accent work. His Holmes feels assured and grounded, never forcing the intellect but simply inhabiting it. Kiah Latham portrayed Helen Stoner with believable anxiety. Her voice carried genuine fear without tipping into melodrama. Bruce Edgerton’s Dr Grimesby Roylott was suitably booming and threatening, a voice that filled the room with menace. Meanwhile, in the foley corner, Lara Latham was having the time of her life. She frequently stole focus in the best way. The baboon sequence had the audience cackling because of the absolute commitment behind it. Play Two: 1940s – A Scandal in Bohemia The second story shifted tone into something more stylised and playful. Caleb Hockings delivered a loveable, slightly goofy Watson with a very committed “gov’ner!” accent that drew plenty of laughs. Alex Thompson’s Sherlock retained intellectual sharpness, though he did trip over a word or two. The accent buffet in this tale was quite the feat and had me recalibrating my ears with so many variations flying around. Bruce Edgerton’s German-accented King of Bohemia suited him comfortably. Matt McNeice’s Irish accent was perfectly convincing. One of the evening’s most memorable lines comes here: “I was once tricked by a woman.” Even Holmes, it seems, is not immune to humility. Play Three: 1950s – The Case of the Blue Carbuncle This was my personal favourite. For clarity, we are dealing with a dazzling blue gemstone here, not a dermatology 'carbuncle' emergency. Caleb Hockings returned, this time as Sherlock, opposite Matt McNeice as Dr Watson. Their back-and-forth was completely elementary, dear reader. Notably, they barely looked at their scripts, which gave their performance a freedom and confidence that lifted the entire piece. Set at Christmastime, the atmosphere was playful from the outset. Jingle bells rang. Carollers sang enthusiastically off key. Holmes began by deducing the entire life story of a man from a lost hat, played with smug precision by Caleb. His eyebrow acting alone conveyed complete intellectual superiority. Matt’s Watson was the perfect grounding force of the partnership, like a comforting cup of tea. Together, they most aligned with my mental image of the iconic duo. By this point, the humour was knowingly tongue-in-cheek, and it worked. Jenny Bonney-Millett’s radio announcer in this final segment was sometimes difficult to hear over the background music, but a little music adjustment would fix that in a jiffy. Three decades. Three interpretations of Holmes and Watson. One nostalgic evening of storytelling. Radio theatre asks us to lean in and truly listen. It reminds us that you do not need spectacle to create compelling theatre. You need skilled performers, precise sound and an audience willing to imagine. By the end of the night, I was as mentally wiped out, because I love playing detective and cracking the case before the big reveal! A Night of Sherlock Holmes delivers exactly that. If you enjoy clever dialogue, well-crafted accents, vintage glamour and the delight of watching artists clearly having a ball, this is well worth tuning into.

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 YOUTH MUSICAL: Hadestown Teen Edition - BG Performing Arts 11 July 2026 Season: July 11th, 2026 Title: Hadestown: Teen Edition Presented By: BG Performing Arts Genre: Musical / Folk Opera / Youth Theatre Synopsis: This beautiful and haunting folk opera follows two intertwining love stories: young dreamers Orpheus and Eurydice, and immortal rulers Hades and Persephone. Inspired by classic American folk music and vintage New Orleans jazz, Hadestown: Teen Edition takes audiences on a journey to the underworld and back, exploring industry, nature, doubt, faith, fear and love. Written By: Anaïs Mitchell Performance Dates: Saturday 11 July 2026 Performance Times: • 2:30pm – 5:00pm • 7:30pm – 10:00pm Performance Location and Address: The Star Theatre, Wynnum State High School, 5 Peel Street, Manly QLD 4178 Ticket Costs: • General Admission, ages 2+ $30 • Children under 2 free on lap with paid ticket holder Ticket Link: https://www.trybooking.com/events/landing/1582358 Previous Next

< Back IMPROV THEATRE: Masters of Theatresports - Improv QLD 12 July 2026 Season: July 12th, 2026 Title: Masters of Theatresports Presented By: Improv Queensland Genre: Improv / Comedy / Theatresports Synopsis: Masters of Theatresports brings together some of Improv Queensland’s quickest wits for a night of improvised comedy challenges. With no scripts and no second takes, performers compete to become Brisbane’s Masters of Theatresports. Expect ridiculous characters, unexpected twists and spontaneous comedy that could go absolutely anywhere. Written By: Improvised by the performers Performance Dates: Sunday 12 July 2026 Performance Times: 6:30pm – 8:00pm Performance Location and Address: BackDock Arts, 103 Brunswick Street, Fortitude Valley QLD 4006 Ticket Costs: General Admission $15 Ticket Link: https://www.tickettailor.com/events/backdockarts/2254024 Duration: 90 minutes Production Website: https://improvqld.com.au/classes-and-events/masters-of-theatresports-2026 Previous Next