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Well-Behaved Women Presented by Footlights Theatrical Directed by: Roslyn Johnson Musical Director: Nate Stevenson Vocal Director: Rhea Basha Photography: Lou Thompson, Deb Mayes “Well who wants to be the norm? Not me.” History has a funny habit of remembering the men first. But now, the women grab the microphone, kick the door open, and remind us that history was not made by women who sat quietly in the corner waiting for permission. Presented by Footlights Theatrical, Well-Behaved Women is a contemporary song cycle celebrating the women who refused to stay small, stay silent, or behave as expected. It has a strong “herstory” energy, with a structure that feels a little like Six, in the sense that it uses original and modern musical styles to spotlight women from history. But rather than following one linear storyline, the production moves through a series of musical portraits, each one giving voice to a different woman, moment, and perspective. The show celebrates warriors, queens, survivors, artists, athletes, writers, mothers, wives, activists, and politicians. There are famous names, lesser-explored tales, and some unexpected angles along the way. This eclectic scope keeps the format engaging, especially as the production moves between humour, rage, celebration, reflection, and full-throttle “absolutely not sir” energy. The large cast never feels decorative or lost in the crowd, with each performer finding a clear angle on their featured woman. Footlights draws together plenty of familiar Brisbane theatre faces, varied in voice, age, and energy, to form a vibrant showcase of female and non-male talent. Rhona Bechaz opens the show with sass and cheek as the biblical Eve, decked out in vines and sequins. Her number gives us the lowdown on “what happened in the beginning” with wit, charm, and a dose of holy humour. Fiona Buchanan absolutely slays as Boudicca (and “slays” feels particularly appropriate here). She brings passion and authority to give the Warrior Queen a battle-ready fierceness. Sophia O’Dea shines as Cleopatra, delivering a theatrical command worthy of a queen ('Stay and Fight'). Her mighty voice is imbued with a regal strength to match the magnificence of the legendary Egyptian monarch. Asabi Goodman as Harriet Tubman offers a more subdued, poetic, and beautiful contrast to some of the show’s louder moments. Her reflective and grounded performance allows the production to have a moment to breathe early on. Naviah Morris delivers a powerful depiction of Grace Tame in 'Smile,' using a wisely calm and soulful sound to express the frustration of marginalised voices trying to be heard. Themes of the Me Too movement are integrated clearly, reminding us that these stories are not only personal but also collective, emphasising the need for solidarity and change. 'Papa, Are You There' sees Priya Shah portray Malala Yousafzai. It opens with a striking rock edge that instantly captures attention and echoes a feeling of determination and resilience. As the song progresses, the gradual addition of instruments from just a piano mirrors her emotional journey, making Priya's solo a compelling tribute to this pivotal moment in Malala's story. Loretta Melit is a highly compelling storyteller, stepping into the shoes of Virginia Woolf as she pens A Room of One's Own. Her story conjures up the imagined life of Judith Shakespeare, the fictional sister of the Bard. Loretta maintains emotional focus in her 8-minute tale, bringing Judith to life as she battles the frustration and ultimate tragic fate of being a talented and ambitious woman stuck in the shadows of a male-dominated world. Louella Baldwin's stunning voice adds a bluesy flair to Billie Jean King's song 'Hey Bobby Riggs' with a fiery glint in their eye. It is a story of true gumption, serving as both a protest against the gender inequalities prevalent in sports and society at large, while celebrating the triumphs of women who dared to challenge the status quo. Rhea Basha as Cathy Freeman takes us on a sprint down memory lane, from school sneakers to gold medal glory, as she transforms into a national treasure. It's a lovely inclusion that tugs at the heartstrings, thanks to Rhea's gorgeous tone. Rounding out the sports stars lineup, Hannah Macri and Zara Lassey take a splash in the past as they share a sweet duet as Olympic swimmers Fanny Durack and Mina Wylie in 'The Water is Where'. It’s a tender moment in the show, adding another layer to the historical range of stories. One of the most fun moments of the show comes from Meg Kiddle, Fiona Kennedy, Deidre Grace, and Sherryl-Lee Secomb taking the stage as the Supreme Court Justices ('Order in the Court'). Their number is playful, rhythmic, and wonderfully connected, blending entertainment with a clever commentary on the judicial system. Hannah Davies gives Mary Magdalene a musical makeover that is fresh and unexpected, with a Southern Belle folk style in 'The Only Girl at the Table' and a toe-tapping rhythm that makes the number an instant crowd-pleaser. Samantha McLaughlin truly stands out as Julia Gillard in 'Not Now, Not Ever'. They have fully embraced the role and the nuances that define Gillard’s dry public composure, right down to those strong diphthongs. Sam finds the humour without undercutting the gravity of the moment, allowing the audience to appreciate the challenges Gillard faced in office while honouring her leadership, gender, and resilience against adversity. Della Days brings a watchful intelligence to Eleanor Roosevelt in 'Ladies of the Press', capturing a woman who knows exactly how to work a room without needing to shout over it. The number focuses on a specific turning point, showing Eleanor not just as a First Lady, but as someone actively shaping the conversation. Laura Fois is magnetic in her portrayal of the iconic artist Frida Kahlo. Her performance transcends mere imitation, breathing life into the complex character, who is celebrated for her striking artwork and vibrant personality. Accompanied by the melodies of Spanish guitar, traditional rhythms, and lyrical language, it transports the audience to the heart of Mexico. Laura's impressive vocal control delivers each note with deep feeling and holds our attention with complete ease. Rowena Orcullo Ryan’s portrayal of Hau Li, Mulan's mother, gives space to a quieter kind of strength. Her performance showcases her soaring vocal abilities through a beautifully crafted interpretation. Through this character, we witness the (often-unseen) struggles and sacrifices that mothers endure in their efforts to support and protect their children. Jeanne Reynolds as Janet Armstrong offers another angle, representing the wife standing in the shadows of Neil Armstrong, and a mother dealing with the heartache of losing a child. Her story 'One Step Closer' reminds us of the women whose lives are shaped around famous men and historic moments. It provides a grounded domestic counterpoint to the more public-facing icons in the show. Led by Musical Director Nate Stevenson, the five-member band is one of the production’s strongest assets, moving confidently through folk, blues, soul, rock, ballad, and musical theatre styles. The score itself by Carmel Dean is strongest lyrically, with many songs telling each woman’s story quickly and passionately. While not every melody feels equally memorable, the cast and band squeeze every last drop out of the material. Sure, some lyrics are as cheesy as a pizza, but that suits the style and spirit of the show. They are not trying to be cold, aloof, or subtle about its message. It is here to make a point. Visually, the production supports the song cycle format well. The projections are useful, helping introduce each woman and quickly orient the audience as the show moves from one figure to the next. In a production that covers so much historical ground, those visual aids are helpful (but easier to read when not in cursive). The costumes are not overdone, giving enough visual suggestion without becoming too literal or distracting. There is a mix of microphone styles used throughout the show, and overall the sound supports the wide variety of styles well. With a cast this large and a score that shifts so often, there is a lot to balance, and the production handles that scope well. The grand finale, 'We Rise', gathers the company together with a strong sense of purpose and celebration. It is the kind of ending that leaves the audience feeling energised, connected, and ready to research at least three women that they somehow never learned about properly in school. This could have felt like a parade of historical figures, but the cast brilliantly brings out the person inside each portrait. Footlights crafts a lively tribute to those women who made history by refusing to disappear. After all, well-behaved women seldom make history.

Georgy Girl: The Seekers Musical Presented by: On the Boards Theatre Company Director/Set Designer: Lyn Pelgrave Musical Director/Conductor: Robert Clark Choreographer: Sarah Russo-Cooper Lighting Designer: Tom Dodds Sound Designer: Josh Cathcart Production/Stage Manager/Marketing: Susan Fenn Photography: Aylish Tann - Artist Focused Get ready for a nostalgic, tuneful trip back to the 1960s. Georgy Girl: The Seekers Musical walks into Brisbane with big hair, melodious moments, and swinging tunes! This show has the kind of wholesome charm that had me swaying in my seat and smiling like I’d been handed a hot Milo, a weighted blanket and a little pocket of peace from another decade. Presented by On the Boards Theatre Company at the Twelfth Night Theatre, Georgy Girl follows the rise, success, breakup and reunion of The Seekers, with Judith Durham at the emotional centre of the story. With book by Patrick Edgeworth, the show moves from early local gigs to jet-setting international fame, weaving public triumphs with Judith’s private struggles around homesickness, self-image, heartbreak, tour exhaustion, and career identity. Directed by Lyn Pelgrave, this production feels like a musical scrapbook come to life... Like you a flicking through a family photo album while your parents’ old records play in the next room. It understands that The Seekers’ appeal was never about flashiness. It was about sincerity, musical clarity and four people standing together, making their music sound effortless, even when it absolutely was not. The audience was invested from the start, no convincing necessary! Whenever a familiar song began, you could feel the recognition ripple around the room. I overheard whispers like, “She looks so like her,” and “I have to keep reminding myself that I’m not listening to the actual Seekers.” And I definitely agree. The production gets wonderfully close to that clean, bell-like sound without slipping into tribute-act territory. As Judith Durham, Kiana Tann gives the show its clearest emotional pull. From the moment I heard her as young Judith, I was in awe. Her tone is pure and beautifully suited to Durham’s sound, with a soaring range, superb pitch control, and enough power to sit above the group while still blending into those famous harmonies. Tann captures Judith’s sweetness, introversion, and wholesome quality without turning her into a porcelain doll. There is softness, but there is spine too. Beneath it all, she remains "just a girl from Balwyn" attempting to make sense of the whirlwind of success surrounding her. The line “When I sing, nothing worries me” sums up Judith’s bond with music beautifully. Singing becomes her anchor in a life moving rapidly. Georgy Girl shows the tug-of-war between public triumph and private fatigue, and the most moving thread is watching Judith find comfort in her bandmates and certainty through her voice. ‘Basin Street Blues’ introduces Kiana beautifully, ‘The Olive Tree’ gives her space for gorgeous solo control and emotional stillness, and ‘I’ll Never Find Another You’ carries heartbreak with restraint. No big soppy dramatics. Just the sting, and that purity in her tone. Also, her Act II red sequinned look for ‘Mamma’s Got The Blues’ was such a moment. A full sultry goddess arrival, with jazz soul to spare. The four central performers have very sweet chemistry. Kristian Scott as Athol, Liam Waldock as Bruce, Simon Chamberlain as Keith and Kiana Tann as Judith create a quartet dynamic that feels warm and familiar, like a fuzzy jumper knitted by your nan. The line “We’ve been doing this for four years; it was supposed to be ten weeks!” gets a chuckle because it captures the madness of their rise. Imagine setting out on a quick musical side quest, only to become internationally famous! Kristian Scott has heart and soul as Athol, with his trusty double bass always tagging along like a loyal sidekick. I respect the commitment to hauling that beast of an instrument all around the stage! Liam Waldock brings a gentle, boy-next-door warmth to Bruce and nails those tricky middle harmonies, while Simon Chamberlain struts in with Keith’s cheeky ladies’ man charm and strong tenor sound, adding extra sparkle to the group. Narrating the story, Geoffrey Winter sashays onto the scene as Ron Edgeworth, popping up from just about everywhere throughout the show. He has a suave but dorky quality (somewhere in the Rupert Everett neighbourhood), which I mean as a total compliment. His commentary guides the story with verve, and his duet with Judith, ‘I Remember’, is so beautifully sung and illuminated that it seems as if even the spotlights are rooting for them! Timothy Aaron Cooper makes a strong impression as John Ashby, Judith’s first love and the guy who teaches her what heartbreak feels like, all while serenading us with his golden pipes. Samantha Paterson brings sparkle as Judith’s devoted sister Beverley, leading a dazzling second-act boost with ‘Keep A Dream In Your Pocket’. Jacob Bentley Ballard and the ensemble round out the world with plenty of featured character work, helping the production bounce through changing eras, venues and emotional chapters. Sarah Russo-Cooper’s choreography embraces the 1960s with playful energy. ‘I’m Into Something Good’ kicks Act II into gear, while the ‘I Know A Place/Downtown’ mashup brings sunniness to the group’s arrival in grey London town. Geoffrey Winter gets a playful feature in ‘Get Me To The Church On Time’, while ‘Georgy Girl’ closes both Acts as the ear-worm that will follow you home. Under Robert Clark’s musical direction, the excellent 12-piece orchestra gives the show the kind of richness and warmth only live music can bring, especially with more than 30 songs packed into the score! The boogie-woogie piano work is a treat, and the overall sound is bright, folksy and full. Those famous harmonies come through clearly, carrying the familiar Seekers sound with crisp, clean precision. In ‘The Carnival Is Over’, the a-cappella singing strips everything back for a tender moment, letting the bare voices do the talking. ‘Walk With Me’ shifts the mood again, with hauntingly beautiful off-stage vocals giving the Vietnam-era material a ghostly, reflective quality. Performed by the full company and children’s community choirs standing in the aisles, ‘I Am Australian’ spills out beyond the stage and wraps itself around the room. It gives the finale a sense of shared memory rather than simple sentiment, and knowing Bruce Woodley wrote the song adds another little emotional kick to the ribs. During the final stretch, I had a lump in my throat. The story moves quickly through years, cities and career milestones, as bio-musicals tend to do, so the visual world has to do a lot of quick storytelling. Lyn Pelgrave’s two-level set supports it well, giving the cast clear spaces to shift between performance, memory and narration. The beige, rusty brown, white and black palette fits the era without screaming “'60s theme party,” and the blocking uses the levels suitably. Sarah Bowerman’s costumes, paired with Niamh Cadoo-Dagley’s big styled wigs, place us firmly in the era with bright colours, go-go boots and plenty of handmade-style dresses for Judith. Her (many) costume changes help track her journey through different stages of fame and selfhood, while the on-stage ‘Georgy Girl’ changes bring a burst of fun. Josh Cathcart’s sound design is superbly balanced, with the band, singers and ensemble sitting together cleanly. And for a show built on harmony, that matters enormously. Tom Dodds’ lighting neatly separates concert numbers, intimate scenes and memory-like moments, so the show can shift from public spotlight to private moments without getting muddy. One extra thrill of the night: the real Keith Potger was in attendance. No pressure, cast. Just one of the actual Seekers was watching on! What I enjoy most about this production is that it does not rely only on recognition. It reminds us why these songs endure. The Seekers’ music is hopeful, gentle, and extremely singable, with a sincerity that knows how to move you. Georgy Girl: The Seekers Musical taps into the strange magic of songs that live in our country’s collective memory. By the end, the sold-out house was grinning, grooving, and maybe getting a little misty-eyed. I am not naming names...

Presented by Thundering Productions Anywhere Festival – Paint Factory, Yeronga Written by Kate Paraskevos Directed by Mikayla Maree Melo The Heartbreak Club had everything I enjoy in a dark comedy: a terrible man, women comparing stories, and group therapy taking a very illegal turn. Presented by Thundering Productions as part of Anywhere Festival, this new play by Gold Coast playwright Kate Paraskevos takes the bad-ex revenge fantasy of The Other Woman and John Tucker Must Die and lets it spiral from “he is a horrible boyfriend” to “so… are we killing him?” That premise is instantly juicy. In the depths of a suburban basement, four women gather after being emotionally chewed up and spat out by the same ex-boyfriend. And he absolutely earned the nickname “Rob the Knob.” He is described as a chronic liar, cheater, narcissist, blackmailer, and predator. He hides cruelty inside charm and insults inside compliments. Rob is not physically on stage, but is was absolutely in the room, existing through stories, memories, and the way each woman has been altered by him. That makes him feel less like a man and more like a haunting. Veronica’s basement is the perfect setting for this particular brand of emotional collapse. With storage boxes, pink couch, washing machine, and household clutter, it is an ordinary family space hijacked by heartbreak and poor impulse control. These women always seem one moment away from hiding evidence beside the Christmas decorations or being interrupted by Veronica's mum asking if anyone wants tea. The Heartbreak Club begins as a place to heal (or at least to compare emotional damage). Veronica, Tess, and Neve have already built their basement bunker of shared Rob trauma when Claudia, freshly dumped and emotionally bruised, accepts a mysterious invitation to join them. As Claudia adds her own Rob-related horror stories to the pile, the mood shifts from support group to vigilante committee. So, naturally, the group lands on the only reasonable next step. Rob “the Knob” must die. It is all very “he had it coming” energy if the Cell Block Tango ladies had a whiteboard, more snacks, and less choreography. Written by a woman (of course), Kate Paraskevos' script is a strong new piece of writing. It takes a familiar revenge-comedy premise and gives it more bite, folly, and female rage. It is funny, but it also has a bruised tenderness underneath it. The script works so well because it understands that heartbreak is rarely just heartbreak. Sometimes it is embarrassment, fury, grief, confusion, and the horrifying realisation that you let someone rewire your confidence, your instincts, your interests, and your sense of self. One of the lines that stayed with me was, “Rob’s interests became my interests,” because it says so much with so little. It conveys the dreadful experience of losing yourself to someone who never deserved such access to you, along with the annoying recognition of how much of yourself was altered without your consent. What makes the play work so well is that it is never really about Rob. He is the shadow over the play, but the real story is the friendships formed in the crater he left behind. It is about the strange, giddy relief of finding people who understand the exact shape of your hurt. These women recognise their pain in each other, not as competition, but as proof. Proof they are not dramatic, not stupid, not alone. That validation comes with a spinning moral compass attached. One minute they are sliding from “he deserves consequences” into “so, hypothetically, how hard is it to poison a protein shake?” The Heartbreak Club finds the humor in that slide, then pushes it into murkier territory, asking where the line sits between justice, revenge, and wanting someone gone for good. Each of the four women brings a different flavour of Rob-related damage to the club. Candice Jean gives Veronica a grounded, brooding authority as the mastermind of the club. She is still, watchful, and organised, with the unnerving calm of someone who has a plan. In the open-space venue, I did need a little more vocal projection from her at times, as some of her lines were lost. Even so, her restraint suits Veronica well, heightening the character's resolve and concealed past. Sophie Lawson plays Tess as the club’s sharp, resident tech sleuth. Every revenge group needs someone who can dig online, connect the dots, and collect the receipts. Tess has the practicality of a woman who could turn emotional damage into a full spreadsheet if she wanted. Lawson keeps her grounded and purposeful, helping the group’s increasingly terrible ideas move with alarming efficiency, even when that direction is legally unwise. Cassie Baan is an absolute scene-stealer as Neve, the club’s chaos goblin. She operates at an energy level that suggests her inside thoughts have never once stayed inside. Chatty, unfiltered, and overly friendly, she seems like she's walked straight in from a Melissa McCarthy comedy (then convinces you to help hide a body). Baan’s comic timing is brilliant, but beneath Neve’s absurdity sits bitterness, hurt, and a very specific kind of post-breakup madness. Samantha McClurg portrays Claudia with an especially intriguing emotional arc. Claudia arrives bruised, hesitant, and still close enough to Rob’s damage to feel the pull of it. She is the sweet and sensitive newcomer, but she is not simple. Through Claudia, the play explores the messy overlap of love, harm, longing, shame, and the horrible little voice that still wonders if you were the problem. Claudia could have just been the audience’s entry point into the plot, but McClurg makes her one of the most compelling parts of the story. Then there is Jack Lovett as Elliot, Veronica’s brother and fellow adult still living at home. His dynamic with Veronica has that sibling rhythm of teasing, eye-rolling, and knowing exactly how to be supportive while still being deeply annoying. They mock each other like professionals, but the affection underneath is clear, giving the play a lovely bit of warmth among all the murder chat. Lovett also brings a sweet awkwardness to Elliot’s crush on Claudia, especially while Neve makes it extremely clear she would like to be considered for the role of Elliot's love interest instead. Director Mikayla Maree Melo shapes the production with a strong sense of momentum and tonal balance. The play juggles heartbreak, comedy, paranoia, moral debate, and a touch of whodunnit, and Melo keeps it sharp and cohesive. As secrets unravel and suspicion sparks among the women, the mood tips into (as Shaggy once said) "it wasn’t me” territory, with red herrings, rapidly deteriorating trust, and an ending that gave me exactly the satisfaction I wanted without flattening the thrill of getting there. The venue did its own little lighting cues. At Paint Factory, Yeronga, the early part of the show was still exposed to the natural light around us, which meant the actors could see us in the audience for much of the first act. That could have been distracting, but it actually felt fitting, as if we had been pulled into the cheeky basement meeting too. As the light outside darkened, the atmosphere shifted with it. The stage lighting became harsher and more focused, and the play’s darker instincts came forward at exactly the right time. That said, the venue did bring its own practical hurdles. Sound from nearby performances will always drift in and pull focus at The Paint Factory, and some dialogue needed a little more volume to carry across the open space. But the bones of the production were strong, and in a tighter theatre or comedy club, this piece could really fly. I could also see a future staging having a lot of fun with Tess’s digital detective work, bringing in text messages, screenshots, maps, and photos as projections to heighten the experience. I mean, if you are going to make a murder plan, you may as well make it multimedia, right? At 90 minutes with a short interval, the show held its shape well. It never felt like it was stretching one joke past its breaking point. The comedy kept landing well, but the real sting came from the tenderness underneath. The Heartbreak Club was dark comedy, absolutely, but it was also catharsis. A play that understood how one person can walk through multiple lives like a wrecking ball (and enjoy doing it), and the strange relief of finding people who help you feel less alone among the same wreckage. The Heartbreak Club is funny, sharp, thrilling, and emotionally satisfying. It is a strong new Australian script with a fantastic premise, a distinct voice, and characters I would happily watch again. If you have ever had a shitty ex like Rob "the Knob", this one may feel a little too familiar. And if you have not? Lucky you. Keep it that way.

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< Back THEATRE: The Day the Internet Died - Ipswich Little Theatre 12 June 2026 Season: June 12th - 20th, 2026 Title: The Day the Internet Died Presented By: Ipswich Little Theatre Genre: Comedy Theatre Synopsis: On a sunny day in the town of Bloomington, a devastating occurrence happens. No, it’s not famine, or floods, or loss of your basic rights. The internet has gone down! And it will continue to be down! For a week! A whole week! Pandemonium! In a world that is so dependent on the internet for shopping, mailing, and posting pictures of cute babies, how will society function? Not well as it turns out. The Day the Internet Died hilariously explores how inept we are at dating, research, and basic human interactions when we don’t have a screen to look at. Performance Dates: June 12th - 20th, 2026 Performance Times: 7:30PM Performance Location and Address: Walter Burley Griffin Incinerator Theatre, 15 Burley Griffin Drive, Ipswich QLD 4305 Ticket Costs: Adult - $17 Child - $12 Ticket Link: Buy Tickets - The Day the Internet Died Recommended Age: PG Production Website: Ipswich Little Theatre - The Day the Internet Died Other Information: Set in the fictional town of Bloomington, this comedy examines modern society's reliance on technology and social media through a humorous lens. Accessibility information has not been provided. Patrons with accessibility requirements are encouraged to contact the venue or presenter prior to attending. Previous Next

< Back CONCERT: Prime Time Broadway - Honour Productions 13 June 2026 Season: June 13th - 14th, 2026 Title: Prime Time Broadway Concert Presented By: Honour Productions Genre: Musical Theatre Concert / Broadway Revue Synopsis: Prime Time Broadway returns in June 2026 with fresh new musical theatre hits performed by a talented, multi-generational and multicultural cast of Brisbane artists, supported by a live band. Featuring songs from a range of contemporary Broadway productions, this feel-good concert celebrates the power of musical theatre through outstanding vocal performances, storytelling and live music. Selling out annually, Prime Time Broadway has become a favourite event for Brisbane theatre lovers and families alike. Performance Dates: June 13th - 14th, 2026 Performance Times: Saturday - 2PM & 7:30PM Sunday - 2PM & 6PM Performance Location and Address: Honour Productions, 3/61 Holdsworth Street, Holdsworth Commerce Centre, Coorparoo QLD 4151 Ticket Costs: General Admission - $30 Group of 2 - $50 Group of 4 - $80 Ticket Link: Buy Tickets - Prime Time Broadway Recommended Age: Suitable for the whole family. Duration: 120 minutes, including a 20-minute interval. Cast: A multi-generational cast of Brisbane musical theatre performers, accompanied by a live band. Production Website: Honour Productions - Prime Time Broadway Other Information: The 2026 concert features songs from a wide range of contemporary musicals, including Hercules , Tuck Everlasting , The Wild Party , SIX , Follies , Sister Act , It Shoulda Been You , Waitress , She Loves Me , Hadestown , Super You , The Unauthorized Autobiography of Samantha Brown and Ordinary Days . Accessibility information has not been provided. Patrons with accessibility requirements are encouraged to contact Honour Productions prior to attending. The venue is located in Coorparoo and offers free onsite and street parking, nearby public transport options, and a range of cafés and restaurants within walking distance. Previous Next