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Jesus Christ Superstar – Redcliffe Musical Theatre Music and Lyrics by:  Andrew Lloyd Webber and Tim Rice Presented by:  Redcliffe Musical Theatre at Redcliffe Entertainment Centre Director/Producer:  Madeleine Johns Assistant Director:  Zahlee Brackstone Musical Director/Conductor:  Rhonda Davidson-Irwin Band Leader/Guitar:  Lachy Stewart Choreographer:  Jill Lazuta Set Design:  Jonathan Johns Lighting Design:  Jacob Olsen, Chris Walker, Madeleine Johns Sound Design:  Andy Weldon, Angus Pitman Costumes:  Vanessa Hall, Erickson Ilustre, Madeleine Johns Photography:  Bruce Redman, Christopher Sharman "Why are you obsessed with fighting times and fates you can't defy? If you knew the path we're riding you'd understand it less than I." Andrew Lloyd Webber and Tim Rice’s 1970 rock opera is intense, vocally demanding and relentless; essentially two hours of continuous singing, soaring guitars and emotional confrontation. It is not an easy show to pull off, which made Redcliffe Musical Theatre’s ambitious production all the more impressive to watch. Having seen Superstar  several times over the years, I always find it fascinating to see how each production tackles the sheer scale and stamina required by the score. So naturally, the first thing that grabbed my attention was the band. Perched on stage like rock ’n’ roll royalty, they tackled the famously tricky rock score like seasoned pros. Led by the dynamic duo of Musical Director and Conductor Rhonda Davidson-Irwin and Band Leader Lachy Stewart shredding on guitar, the musicians gave the show its driving heartbeat. Superstar  lives and dies by its music, and this band knew exactly what they were doing. Electric guitar riffs cut through the theatre beautifully, while moments of flute added lyrical softness. The score is demanding, but the musicians handled it with impressive stamina. By the end I felt like they deserved a hot tea and a lie down. Visually, the production embraced a modern industrial aesthetic. Jonathan Johns’ set centred around scaffolding structures and a raised plateau which transformed later into the crucifix itself - a striking image when it mechanically rose up. Combined with the haze and dynamic lighting design from Jacob Olsen, Chris Walker and Madeleine Johns , the stage was always sculpted by beams of light and colour, heightening the emotional moments and giving the show a strong visual identity. Choreographer Jill Lazuta jazzed up the ensemble with sharp, energetic movement. The group numbers had fun with contemp and hip hop influences, particularly in “What’s the Buzz”, where the followers moved in tight formations and layered canon sequences that grew from a handful of people into a surging crowd. The ensemble worked hard throughout the show, maintaining the momentum required in a sung-through musical where the story rarely pauses. In the spotlight we had Jeandré Le Roux as Jesus, belting out tunes like a rockstar at a heavenly karaoke night. His timbre had a stunning classical musical theatre clarity that soared through the score, first evident in his angelic rendition of “Poor Jerusalem”. His standout moment came during “Gethsemane”, of course, where the combination of haze, dramatic spotlights and his expressive performance created one of the show’s most gripping scenes. The famously punishing high notes landed with awe, drawing a very audible reactions from the audience - a kind of collective “Did we just witness a miracle?!" Erickson Ilustre brought fierce energy and vocal power to the role of Judas. Arguably the emotional engine of the show, Ilustre embraced that fury and desperation. His delivery in “Damned for All Time” was particularly strong, navigating the rapid fire lyrics with impressive clarity while the electric guitar ripped alongside him. His portrayal of Judas’ demise (spoiler alert ha!) captured the character’s turmoil and guilt. In the intensity of the moment some of the lyrics became difficult to catch, but his emotional storytelling got the point across. Stephanie Collins as Mary Magdalene provided a beautiful emotional counterpoint to the storm around her. Her voice had a gentle, angelic quality like a lullaby. Her solo moments were delivered with sincerity and warmth, particularly when she stepped downstage to sing directly to the audience for “I Don’t Know How to Love Him”, drawing us into Mary’s blanket of compassion and confusion. A microphone issue during “Everything’s Alright” meant her voice did not cut through as clearly as it deserved, but Rhonda’s flute accompaniment was absolutely gorgeous there. Th e Pharisees str utted onto the stage with an air of ominous doom. Steven Eggington’s Caiaphas delivered a truly resonant low bass that vibrated through the theatre, while Anthony Van Stam as Annas matched him with an exquisite vocal presence of his own. Their scenes together created an imposing wall of sound, especially when supported by the intense offstage gospel style chorus proclaiming “Crucify him!" Lucas Van Stam injected joyful energy into “Simon Zealotes”, complete with cheerleader-at-church style choreography by the ensemble. Jake Hollingsworth as King Herod leaned fully into the character’s outrageous theatricality. His flamboyant accent, playful sass and flapper backup dancers made “Herod’s Song” the most entertaining moment of the night. Honestly I was wishing he had a crown to top off the look. If you are going to be that fabulous, you might as well go all in! Vocally, the production delivered many impressive moments, particularly from the apostles' harmonies in "The Last Supper". However, in a show that is essentially wall to wall music, clear and purposeful staging becomes crucial. At times the blocking felt a little sparse, leaving performers with plenty of stage to roam but not much to do. For instance, “The Temple” is often staged as a chaotic explosion of movement like a casino floor, yet here it felt more contained than expected. Or when the lepers crowd around him, I expected Jesus to appear more overwhelmed by the chaos than he did. There were also a few dramatic moments that could grow further with stronger physical reaction. During the 39 lashes scene the emotional stakes would have felt even stronger if Jesus’ physical response had matched the brutality being implied. The title song “Superstar” had the cast grooving with its boogie-style moves and disco ball. Ilustre as ghost-Judas rocked a memorable red leather outfit, but spent much of the number addressing Jesus rather than the audience, which made the energy feel slightly inward for such a big show-stopping moment. It's the kind of number that practically begs the performer to play directly to the crowd, not just to the Son of God. But at this point, I am just nitpicking as a result of being cursed to have seen Superstar enough times to develop strong opinions about biblical staging logistics, apparently. Jesus Christ Superstar  is a challenging show for any company to mount. It demands vocal stamina, emotional intensity, strong musicianship and clear storytelling, often all at once. Redcliffe Musical Theatre approached the material with ambition, musical strength and clear respect for the iconic score. With a talented cast, a rock solid band and striking visual elements, this production delivered many memorable moments from a musical that continues to dazzle more than fifty years after it first shook the musical theatre world.

The Shawshank Redemption Presented by Ipswich Little Theatre Based on the novella by  Stephen King Adapted for the stage by  Owen O’Neill and Dave Johns Director & Set Design:  Shane Mallory Assistant Director:  Amanda Harrison Stage Manager:  Leanne Bamford Sound & Lighting Design:  Phil Holmes Costumes:  Dior Austin-Greenhill Dialect Coach:  Martie Blanchett Photography:  Amanda Harrison   “On the outside I was an honest man, straight as an arrow. I had to come to prison to be a crook.” Few stories about hope and resilience are as enduring as The Shawshank Redemption . Ipswich Little Theatre’s production brings the iconic tale to the stage with an intimate and atmospheric interpretation inside the aptly industrial Incinerator Theatre. With only five rows of seating, you are right inside Shawshank whether you like it or not. (Practical tip: take a cushion. Three hours on those seats is not for the faint of backside!) From the first piercing wail of sirens, low groans of metal and the sombre piano underscoring, the production establishes its intention: cinematic storytelling on a compact stage. First penned in 1982 by Stephen King and immortalised in the 1994 film (still IMDb’s highest-rated film), this stage adaptation leans heavily into resilience, institutionalisation, and the dangerous, radical act of hope. When banker Andy Dufresne is sentenced to life imprisonment for a double murder he insists he did not commit, he finds himself navigating the harsh realities of Shawshank Prison. There he forms an unlikely friendship with Ellis Boyd “Red” Redding, the prison’s pragmatic contraband smuggler. Over the course of two decades, Andy’s quiet resilience and determination begin to chip away at the despair that surrounds the men of Shawshank. Within the stone walls designed to crush hope, it flickers — sometimes dimly, sometimes defiantly. Jon Darbro delivers a remarkably thoughtful portrayal of Andy. As a banker from New England, Andy’s speech is educated, calm and articulate, which contrasts with the rougher, more colloquial tones of the other inmates. Darbro captures this refinement beautifully, keeping his delivery measured and steady, even in moments of confrontation. There is also an analytical quality to Andy’s characterisation that Darbro captures with great care. His fascination with small details — geology, numbers, routines — alongside his thoughtful pauses and watchful presence give the impression of a mind that works a little differently from those around him. This is a man who thinks before he speaks and survives through careful observation. At times the resemblance to Tim Robbins’ iconic portrayal is uncanny, particularly in looks, mannerisms and quiet intensity. Physically, the details matter: the banker’s suspenders in early scenes, the darkened makeup under his eyes, the split lip, and the visible wear of Shawshank. Over twenty years, we see subtle ageing through hair, posture and costume, with touches of grey hairspray and wrinkle makeup gradually introduced as the years pass. Chemark Rehder II anchors the story as Ellis Boyd “Red” Redding, the story’s narrator. Rather than attempting to imitate the iconic film performance by Morgan Freeman, Rehder brings his own grounded warmth to the role. Red begins as resigned, a man who has long since abandoned hope, but through his friendship with Andy we gradually see that outlook shift. His narration provides the emotional backbone of the production and guides us through the years spent behind Shawshank’s walls. Many of the show’s scattered moments of humour land through Darbro and Rehder's delivery. ILT's all-male supporting ensemble is strong across the board, with each actor bringing a distinct presence to the prison population. Daniel Stanton's volatile presence as Bogs Diamond is constantly unsettling, while Gaige Harrison’s Rooster trails behind him with an unnerving loyalty and convincing redneck drawl. Shannon Griffiths brings an intimidating authority to Chief Guard Hadley, while inmates are vividly realised by Aaron Evans, Michael Civitano, James Sheehan, Mark Scott and Sean Gibson . Director Shane Mallory — stepping into the role of the Warden — projects natural authority as he speaks with a presidential polish: measured, composed and chillingly self-righteous. Brooks is one of the play’s most intriguing figures, and Jason Lawson handles the role with sensitivity. Lawson captures the character’s nervous energy and quiet despair beautifully, so his monologue — weary, fearful, stripped bare — lands heavily. Brooks represents the tragic side of institutionalisation: the man so shaped by routine that freedom becomes terrifying. The audience reaction during his scene was… interesting. Nervous laughter appeared in multiple places where there is nothing humorous. Perhaps it was due to shock, but nonetheless this isn't a comedy. The weight of those moments deserves silence from the audience. Stage combat appears frequently and is generally well executed. I think more reactive sound from the actors would definitely heighten the physical impact and believability though. Shane Mallory’s set design embraces a rustic minimalism — prison bars, movable tables, bunks and an elevated guard’s viewpoint all contributing to the confined atmosphere of the prison. Costumes by Dior Austin-Greenhill reinforce the world effectively, with numbered prison shirts, denim workwear and the sharply dressed authority figures. Scene transitions, unfortunately, became distracting. Sometimes a buzzer, voiceover or underscored music carried us smoothly forward into the next scene. Other times, there was silence — just the shuffle of tables and actors hauling pieces into view. I began to feel like I should offer to help carry something! After major emotional climaxes, actors would have to stand up and simply walk off while the set was rearranged. It broke the spell more than once, and I heard giggles from the audience. I recommend closing the curtains briefly or masking these resets to preserve the gravity of those big moments (three instances that I recall). Especially in a story built on tension and payoff, transitions must demand respect. Phil Holmes’ sound design is particularly effective. Creeping piano motifs, cello swells, groaning metal, low whistles, sirens, rain and thunder create a soundscape that is immersive and often beautiful in its restraint. There were moments where transitional music choices felt slightly mismatched, and I found myself wishing for subtle ticking to indicate the passing of time. The lighting rig makes strong use of cold blues and stark whites to emphasise the oppressive atmosphere, with warmer tones appearing in rare moments of hope. The use of stage cigarettes certainly adds authenticity. In a theatre this intimate, you will definitely smell Shawshank. Video design leans into the director’s cinematic ambition. Images of the famous Rita Hayworth poster appear throughout Andy’s cell, while larger projections help fill visual gaps and reinforce key moments in the story outside our "set" with shots taken from the film (faces excluded). The projections work best when integrated into action. At times, however, the glowing projected poster remained visible in moments where darkness or exterior settings should have seen it disappear. Perhaps my biggest surprise of the evening was the audience reaction. The audience was highly responsive throughout, reacting strongly to both dramatic and lighter moments. I was particularly amused by the audible gasps at the famous twist. I was honestly stunned that people remain unaware of it, given the novella’s age and the film’s cultural status. But in a way, that reaction is a gift to the actors. Ipswich Little Theatre’s The Shawshank Redemption  is a brilliantly immersive, emotionally grounded production that thrives on strong performances and atmospheric design. Shane Mallory’s direction is largely effective, particularly in its emotional stakes and sense of confinement. It is intimate in a way film cannot be. In five rows, you sit with these men. And as this story has always reminded us, even behind the thickest prison walls, hope has a way of finding cracks. Content warnings:  murder, suicide, abuse, coarse language, sexual assault, gunshots and fake blood. Audiences should be prepared for confronting themes.

Review: The Sound of Music – Youth Edition Presented by:  Redcliffe Musical Theatre and Roar Academy Venue:  Redcliffe Entertainment Centre Producer/Director: Madeleine Johns Musical Director: Rhonda Davidson-Irwin Choreographer: Meredith Bailey   I have watched The Sound of Music  so many times that I could probably recite the script in my sleep. So, sitting down to see the Youth Edition with Roar Academy and RMT felt like revisiting a very familiar friend. I knew exactly where the story was going, but the joy came from seeing how a new group of young performers would bring it to life. Directed by Madeleine Johns , the production moved along at a lively pace as Maria arrives at the stern Von Trapp household and gradually fills it with music again. Projections established the various locations, shifting us from the mountains of Austria to the calm interior of the Abbey. A small staircase and scattered furniture pieces created a simple playing space that allowed scenes to transition without cluttering the stage. It kept the focus squarely on the performers, which suited the streamlined Youth Edition nicely. Ruby Marriott  led the show as Maria (a role shared with Mia Dacey ) and brought a bright voice and witty warmth to the part. Maria is a character who needs both sincerity and mischief, and Ruby leaned confidently into that playful spirit. Her singing was impressively pitch accurate with a clear tone that carried easily through the theatre. What really worked was the chemistry she built with Ben Smith  as Captain Von Trapp. Their early scenes together had a lovely comedic rhythm as Maria’s optimistic approach collided with the Captain’s rigid household rules. Ben Smith , (sharing the role with Joshua Darcy) , presented a commanding Captain Von Trapp with excellent diction and an authoritative presence. His transformation from strict father to rediscovering music again was nicely handled, and his vocals were showcased beautifully in the ensemble version of “ The Sound of Music. ” Later, his rendition of “ Edelweiss” landed with warmth and sincerity. The Von Trapp children appeared in their distinctive navy outfits with Austrian style braids. Isaac Van Stam  (Friedrich), Clover Wilson  (Louisa), Kirill Yaremchenko  (Kurt), Matilda Day  (Brigitta), Daisy Wilson  (Marta) and Alice Ritchie  (Gretl) all brimmed with youthful energy. One of the evening’s standout moments came with “ So Long, Farewell. ” The number was performed by the children alone, without a conductor guiding them. They handled the challenge well, with Kirill Yaremchenko  delivering a particularly memorable moment as Kurt. Matilda Day  also shone as Brigitta, especially during “Do-Re-Mi,” where her expressive charisma suggests a young star in the making. Zola Bulan  brought a lovely presence to Liesl, paired with a warm mezzo tone that suited the role beautifully. Her performance of “ Sixteen Going on Seventeen ” alongside Tyler Haynes  as Rolf was precious, supported by excellent lighting and complex choreography choices from Meredith Bailey . Some of the trickier transitions and movements could have benefitted from a little more rehearsal time to fully settle, but the scene still captured the sweetness of the characters’ young romance. The Abbey scenes offered some particularly lovely vocal moments. Mikaelah Bolton , Darcee Buckingham  and Isabella Giddy  opened the convent atmosphere with a very pretty and proper rendition of “ Maria .” Their sound was clear and elegant, though I did find myself wishing for the harmonies that usually make that number sparkle. Zahlee Brackstone  stood out strongly as Mother Abbess, bringing both gentleness and authority to the role. Her performance of “ Climb Ev’ry Mountain ” was a highlight of the evening, beginning softly before growing into a powerful and resonant finish. She also shared a lovely musical moment with Ruby Marriott  in “ My Favourite Things ,” where the pair blended warmth and sensitivity in the duet. Providing plenty of humour was Angus Pitman  as Uncle Max. Apparently not an actor by trade, his dry delivery proved surprisingly effective, particularly with the line following the children’s performance: “That’s really nice, but it’s no good.” I suspect that line may become my new go to phrase when giving feedback to my own students ha! Because this is the Youth Edition, several familiar elements from the full musical are trimmed or rearranged. The Baroness does not appear in this version, and “ I Have Confidence ” and "Something Good" is absent. Interestingly, “The Lonely Goatherd” appears during the thunderstorm scene instead of “My Favourite Things,” with the ensemble briefly joining in to create a short group number. With fewer ensemble songs available in this version, the opportunities for large group musical moments are naturally more limited. Redcliffe Musical Theatre makes sure to share the roles across multiple casts so that more young performers have the chance to step into the spotlight. It is a generous approach that allows many students to gain valuable experience, even if rehearsal time must be divided between more performers. Overall, this production is a sweet celebration of a classic musical, carried by a group of enthusiastic young performers. For families and lovers of this timeless story, it is always a pleasure to hear those iconic Rodgers and Hammerstein melodies ringing out once again under the musical guidance of Rhonda Davidson-Irwin . After all, few musicals remind us quite so warmly that a little bit of music can change everything.

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< Back CHILDREN'S THEATRE: Where is the Green Sheep - Monkey Baa Theatre 24 Mar 2026 Season: March 24th - April 18th, 2026 Title: Where is the Green Sheep? Presented By: Monkey Baa Theatre Company in co‑production with QPAC, The Events Centre, Empire Theatre & Logan Entertainment Centre Genre: Family / Kids Theatre Synopsis: An immersive visual theatre experience based on the beloved children’s book by Mem Fox and Judy Horacek. Join Blue Sheep, Red Sheep, Bath Sheep and Bed Sheep as they search for the elusive Green Sheep . With puppetry, animation and the voices of young narrators (co‑created with students from Bankstown West Public School), this magical production celebrates curiosity, colour and joy. The Events Centre Season: Performance Dates: March 24th - 25th, 2026 Performance Times: Tuesday - 4:30PM Wednesday - 10AM & 12:30PM Performance Location and Address: Kings Theatre, The Events Centre, 20 Minchinton St, Caloundra QLD 4551 Ticket Costs: General Admission - $32 School Group (10+) - $26 pp Ticket Link: Buy Tickets - The Events Centre Where is the Green Sheep Logan Entertainment Centre Season: Performance Dates: March 28th, 2026 Performance Times: 10AM Performance Location and Address: Logan Entertainment Centre, 170 Wembley Rd, Logan Central QLD 4114 Ticket Costs: General Admission - $25 Ticket Link: Buy Tickets - Logan Entertainment Centre Where is the Green Sheep The Empire Theatre Season: Performance Dates: March 31st - April 1st, 2026 Performance Times: Tuesday - 6PM Wednesday - 9:30AM & 11:30AM Performance Location and Address: The Empire Theatre, 54-56 Neil St,, Toowoomba City QLD 4350 Ticket Costs: Adult - $32 Groups (6+) - $29 pp Empire Cardholder/Child (Under 15) - $28 Ticket Link: Buy Tickets - The Empire Theatre Where is the Green Sheep QPAC Playhouse Season: Performance Dates: April 13th - 18th, 2026 Performance Times: Monday - 1:30PM Tuesday to Saturday - 9:30AM & 12:30PM Performance Location and Address: Playhouse Theatre, Russell St, South Brisbane QLD 4101 Ticket Costs: General Admission - $45 Ticket Link: Buy Tickets - QPAC Where is the Green Sheep Warnings: Contains use of puppetry and animation; very mild theatrical haze/smoke may be used in some performances. Recommended Age: Ages 1–6 years and their families Duration: Approx. 45 minutes (no interval) Creative Team: Writer & Director - Eva Di Cesare Visual Art Director - Judy Horacek Production Designer - Tobhiyah Stone Feller Composer - Me‑Lee Hay Puppet Maker - Kay Yasugi Puppetry Director & Assistant Director - Kailah Cabanas Video Designer - Susie Henderson Lighting Designer - Matt Cox Sound Designer -Zac Saric Stage Manager - Cally Bartley Choreographer -Nat Jobe Other Information: All venues are accessible. Please contact the venue box office when booking for specific assistance needs. Previous Next

< Back MUSICAL: Legally Blonde - Vargo Studios Theatrical, Events Centre 21 Mar 2026 Season: March 21st, 2026 Title: Legally Blonde the Musical Presented By: Vargo Studios Genre: Musical Theatre / Comedy / Family Synopsis: Elle Woods appears to have it all - a glamorous life, devoted friends and the perfect boyfriend - until she’s dumped so he can pursue “more serious” ambitions. Determined to win him back, Elle charms her way into Harvard Law School and discovers that confidence, courage, and staying true to herself are more powerful than anyone ever gave her credit for. Bursting with catchy songs, dynamic choreography, and infectious optimism, Legally Blonde the Musical is a feel‑good theatrical celebration of self‑belief and empowerment. Performance Dates: Saturday March 21st, 2026 Performance Times: 1PM & 7PM Performance Location and Address: Kings Theatre, The Events Centre, 20 Minchinton Street, Caloundra QLD 4551, Australia Ticket Costs: All tickets $69.90 Ticket Link: Buy Tickets - Legally Blonde Warnings: Light mature themes, smoke and haze effects used during the performance. Recommended Age: Parental guidance recommended Duration: Approximately 2 hours 26 minutes, including a 20‑minute interval. Production Website: The Events Centre - Legally Blonde Other information: The Events Centre Caloundra is a major performing arts venue on the Sunshine Coast with accessible seating options, wheelchair access and facilities - book accessibility or Companion Card tickets via the box office or ticketing system. Contact the box office at (07) 5491 4240 for group bookings, accessibility requirements and assistance. Previous Next