Taking a Bite Out of Dracula: Inside Ghostlight Theatre’s Bloody New Production I recently had the opportunity to attend a rehearsal for Ghostlight Theatre Company’s Dracula. Reagan Warner, portraying the Count, already seemed entirely at ease embodying evil. He observed Van Helsing with a faintly amused, knowing expression, as if Dracula relished just how badly outmatched everyone else was. Warner's low Transylvanian accent added to the menace, complemented by the red eyes, dark features, and some truly wild eyebrow acting. This is not a tragic, glittery vampire lover. Ghostlight Theatre Company is bringing William McNulty’s stage adaptation of Bram Stoker’s Dracula to Beenleigh Theatre for just four performances this October. Yasmin Elahi is producing and directing, while also handling set, costume, and lighting design. She is supported by a talented team: Tomm Burnett as Assistant Director, Dan Pohlmann as Fight Choreographer, Sarah Latter as Choreographer, Christina McMahon as Stage Manager, and Charlotte Horn in charge of SFX Makeup. This dedicated team has much to manage, including fight choreography, blood effects, prosthetic makeup, physical transformations, stunning set pieces, a complex soundscape, ballroom dancing, and even a performer on stilts. Which version of Dracula are we getting? For over a century, Dracula has been everything from a fanged monster and mysterious aristocrat to a seductive antihero, a children’s character who runs a hotel, a classic Halloween costume, and even... Nicolas Cage. Based on Bram Stoker’s 1897 novel, Dracula follows the Count’s arrival in England and the gory consequences for those unfortunate enough to cross his path. As Lucy and Mina fall within his sights, Professor Van Helsing and his allies begin to work out exactly what they’re dealing with and how they might stop him. McNulty’s adaptation condenses Stoker’s sprawling epistolary novel into something more manageable for an evening at the theatre. This is probably wise. “We’d be here for 12 years if we tried to do the whole novel,” Warner says. Ghostlight chose this adaptation because of one important distinction. “Because it was the only one that we found that was classed as a horror and not a gothic romance,” Warner explains. “Part of the idea behind this particular production is to make it disturbing and macabre without adding too many of the romantic elements.” So anybody hoping Dracula and Mina might stare tragically into one another’s eyes while contemplating their forbidden eternal love may need to adjust their expectations. There is desire, Warner explains, but love is another matter. “He’s absolutely not capable of love in this one. Absolutely not.” Warner likens this Dracula more to Nosferatu. He’s predatory, grotesque, and ravenous, but there’s still plenty of personality beneath the fangs. I noticed that in the scene where Van Helsing first meets the Count. Warner shifted from a mysterious, almost amused host into something far more aggressive, while Andrew MacArthur’s Van Helsing held his ground firmly. MacArthur brings a calm authority to the scene, which only seems to encourage Dracula to provoke him harder. “There’s so much gravitas to that role that Andrew brings,” Warner says. In the other scene I watched, Harker and Van Helsing confronted Dracula with a crucifix. Instead of recoiling as expected, Dracula mocked them and kept pushing until the encounter turned physical. And it got loud and bloody very quickly. How do you play a vampire without making him sexy nowadays? “I get to eat so many people,” Warner told me, sounding very pleased with himself. “There’s quite a body count in this show. I pity the poor sucker who’s got to mop the stage afterwards.” Anyone who knows Reagan Warner will know that Dracula isn’t exactly a wild casting departure. He wears almost exclusively black, has long joked about sleeping in a coffin, and has been a fan of the macabre for most of his life. Actually playing Dracula, however, has required more than turning up in his usual wardrobe. “Horror is so difficult,” he says. “The preparation predominantly comes down to how the audience is going to perceive the show. I have to think about how the audience is going to experience it and make sure that it is being conveyed properly.” Much of Warner’s work has gone into Dracula’s voice. “We have discussed the accent at length,” he says. “I think that the accent is inherently a part of the character and his origin. It is probably something I spent the most time on.” Warner is a linguist and admits to being particular about accents. That same attention runs through the production, with the cast looking closely at regional voices, clothing, physicality, and the relationships between their characters. How to freak out an audience without touching them? Ghostlight’s horror plans aren’t confined to bites and blood. Warner says the production uses sensory details designed to unsettle an audience before they quite realise why. “It’s one of the rare shows that employs Theatre of Cruelty techniques,” he explains. “Things that play with the audience, make the audience feel uncomfortable subconsciously, things like scent and sound that you don’t realise is there until it stops, and special effects that will toy with the psychology of a person.” Yes indeed, scent. I sought further clarification but was advised to wait and see. Ghostlight’s soundscape combines classical music, layered voices, unsettling effects, and, naturally, bats. The familiar Toccata and Fugue appears, along with a nod to Swan Lake, which Warner points out plays at the beginning of the classic Bela Lugosi Dracula. “The atmospheric sound has been a big part of this and a big focus, and I think they’ve done a really good job so far.” Sound can tip into haunted-house territory if every entrance, scare, or suspicious moment comes with its own musical exclamation mark. From what I heard in rehearsal, Ghostlight avoids that. The sound designer was constantly tweaking cues, replaying sections, and layering sounds while scenes were being worked around them. Who is going to clean this up? The rehearsal I attended gave just as much attention to the physical aspects of the horror. At one point, Alynta Scott, who plays Lucy, was carefully working through the logistics and movement of a bite. Vampirism requires choreographic direction too. Nearby, Rhys Schwarten as Renfield rehearsed with Alex Andrews, who plays the Child. Having a child performer woven into scenes immediately makes the situation more intriguing and raises the stakes. Warner had only recently seen some of the blood effects when we spoke. “I just absolutely gasped.” Fake blood bags were on every table at rehearsal, waiting patiently for their chance to ruin somebody’s costume. Warner’s own costume includes a heavy, high-quality velvet cape that looks suitably extravagant and very fun to sweep around the stage in. The production isn’t holding back on practical effects either. There will be prosthetics, transformations, physical fights, gore effects, and one performer handling combat while on stilts. Who put this bloody thing together? Along with producing and directing, Yasmin Elahi has designed the set, costumes, and lighting, while the wider team tackles choreography, combat, makeup, effects, sound, and the puzzle of getting an ambitious horror production onto an independent theatre budget. The cast and creatives have been working from shared mood boards and visual references so they’re all inhabiting the same version of Stoker’s world. “We’ve really worked on the aesthetics,” Warner says. “We’ve done a lot of inter-relational work between the characters.” I’ve seen Ghostlight’s past four productions, so I’ve had a pretty good look at the sort of theatrical worlds this company likes building. Their production of The Exorcist remains one of the very few straight horror productions I’ve seen onstage, and I still think about it often. Horror has a different set of toys in a theatre than it does on screen. There’s no camera choosing exactly where you look, no edit to cut away at the right moment, and whatever awful thing is happening is usually only a few metres from your seat. This also happens to be one of several Dracula productions appearing on local stages this year. So, why should audiences make the trip to Beenleigh for this one? For Warner, part of the answer is simply how rarely we get to see horror onstage. “Horror is so seldom done on stage,” he says. “I can only really think of The Woman in Black off the top of my head, and this is adapting a very well-known classic specifically for the stage.” Warner is hardly new to performing either. After years of stage work across almost 100 productions, he arrives at Dracula with plenty of experience behind him, plus a lifelong affection for the character. He’s equally enthusiastic about the people doing it with him. “The cast are phenomenal,” he says. “I’ve worked with many of the cast before and can testify to their hard work and their ethic, and just how good they are to work with.” I only saw two scenes, but there was already plenty happening before the production had put all its teeth in. When I asked Warner to sum it all up, his answer was simple: “Ambitious.” He paused and added, “Dude, I hope it’s good.” With only four performances, audiences won’t have long to find out! Photography: Christopher Sharman Tickets available here: https://www.trybooking.com/events/landing/1579528 Please note: This show contains strobe lighting, loud noises, horror themes, violence, blood and gore, simulated nudity and simulated firearms. Recommended for audiences aged 16+.

Essgee’s Pirates of Penzance Presented by: Savoyards Musical Comedy Society Venue: Iona Performing Arts Centre Date attended: 26 September 2026 Original work: W.S. Gilbert and Arthur Sullivan | Adaptation: Essgee Entertainment Director / Set Designer: David Harrison | Assistant Director: Joshua Moore Choreographer: Julianne Burke | Assistant Choreographer: Caley Monro Musical Director: Nicky Griffith Stage Manager: CJ Avery Costume Coordinator: Kim Heslewood Wigs, Hair & Makeup: Lynne Swain Lighting: Gabrielle Burton Sound: Ethan Houley and David Sowdon Photography: Sharyn Hall and Bec Swain “With cat-like tread, upon our prey we steal.” They sing this extremely loudly. Subtlety is nowhere to be found. Gilbert and Sullivan wrote the original nearly 150 years ago. Essgee Entertainment’s 1994 Australian adaptation gives The Pirates of Penzance a poppier makeover while keeping G&S’s musical parody intact. Savoyards takes that already cheeky version and piles on another layer of theatrical mischief. Director David Harrison fills the production with plenty of fourth-wall breaks, audience interaction, and exaggerated movement. The result reminds me of Spamalot and Robin Hood: Men in Tights. Frederic (Oliver King) has spent his young life among pirates (and Ruth, the only woman he has ever known). Then he encounters Major-General Stanley’s many daughters and the poor boy doesn’t stand a chance... Frederic’s sudden exposure to eligible young women turns into a magnificent display of peacocking. He poses, thrusts his pelvis, and behaves like a male bird midway through an elaborate mating dance. The daughters keep spawning from nowhere while he sings, swooning in increasing numbers. It’s like watching The Bachelor set in 1879. King’s singing has a warm, rounded, old-fashioned quality that suits Frederic beautifully, like a romantic operetta lead who has wandered into a Monty Python sketch. Of course, the sole woman Frederic knows before all this is Ruth (Meg Kiddle), his former nursemaid, now considerably older than him and determined to convince him she’s a viable romantic option (totally normal right?). Kiddle sings “When Frederic Was a Little Lad” with a lovely warmth, and her voice suits the more traditional operetta writing particularly well. Ruth is already such an odd character that I’d happily see Kiddle push her characterisation further into the ridiculous. There’s room for more shamelessness in Ruth’s wildly inappropriate pursuit of this bewildered young man. Mabel (Kat Suschinsky) wastes no time staking her claim on Frederic's attention. Suschinsky’s operatic voice sails above the surrounding silliness, while her characterisation has a sweet aggression to it. Mabel can flash a pretty smile while violently elbowing her sisters out of the way. Suschinsky milks the contradiction perfectly. Against the dizzy fluttering around Frederic, her vocal confidence always powers through without fail. Anna Roche-Kelly, Ashlin Cork, and Constanza Acevedo Burckhardt are a ball as Edith, Kate, and Isobel. Decked out in vibrant dresses and blonde wigs, they look like a Victorian girl group ready to bust out “Three Little Maids” if given the chance. Alas, their actual song “Climbing Over Rocky Mountain” demands an extraordinary effort from them all. They’re moving, acting, navigating musical complexity, and keeping their harmonies precise while pretending their brains aren't whirring like crazy. As for the ensemble, the Stanley daughters collectively exude the energy of 24 women vying for a single rose. Jordan Ross’s Pirate King treats the entire theatre as territory available for conquest. Between the swagger, audience play, games with the spotlight operator, and excursions into the aisles, Ross keeps reacting to whatever is happening around him. That gives his comedy a freshly invented quality, even when every beat has obviously been rehearsed. He’s charming, witty, and makes the Pirate King look like he’s having just as much fun as we are. Vocally, Ross’s stunning deep tone reminds me of the Lion from The Wizard of Oz, which completely suits this larger-than-life rogue. His pirates follow accordingly. At one point I spotted an ensemble member running with Jack Sparrow energy, and I momentarily forget which pirate universe we'd sailed into. That’s one of the pleasures of this enormous cast. There is always some piece of character business happening somewhere. In crowded scenes, watching the ensemble becomes its own activity. Everybody has been given permission to build a complete character rather than waiting politely for their next chorus entrance. Warryn James' performance of “I Am the Very Model of a Modern Major-General” is a remarkable display of verbal dexterity, executed with precision by James, the orchestra, and all involved. He zips through it with the cheerful oblivion of a guy who’s just unknowingly dragged a whole crowd through a verbal marathon. Also, I didn't understand a word. Act Two belongs to the policemen. Graham Colenutt leads a squad of glorious professional incompetents equipped with phony moustaches, wobbly legs, elaborate formations, and absolutely no desire to catch criminals. When the Foeman Bares His Steel” erupts into organised “Tarantara” pandemonium, while “When a Felon’s Not Engaged in His Employment” confirms that these men will perform virtually any activity available to them provided it does not resemble policing. Their commitment to doing their jobs as badly as possible is magnificent. “With Cat-Like Tread” sees the pirates boldly claim to sneak around like ninjas, then make enough noise to wake the entire neighbourhood. Throw in a kickline, and any hope of stealth vanishes. Better yet, they keep providing an encore. And another. Ross’s Pirate King grows more exasperated each time the song refuses to die, until his frustration finally shifts toward the maestro, as though she personally has the power to stop this musical hostage situation. The joke is ancient and blatantly obvious, yet everybody commits to it so completely that it keeps getting funnier. Musical Director Nicky Griffith conducts a 22-piece orchestra from upstage, with the musicians becoming part of the personality of the evening. Griffith is acknowledged throughout and occasionally steps outside the usual invisible-conductor role. Her finest act of piracy may be unleashing Pirates of the Caribbean on the audience. The full company’s rendition of “Hail, Poetry” is like finding a beautiful flower in the middle of a food fight. Sung a cappella, it strips away the orchestra and lets the ensemble’s harmonies speak for themselves. For a few minutes, this circus of pirates, policemen, and ladies turns into a very fine choir. Julianne Burke and Caley Monro’s choreography understands that these people should never move as expected. Even when the stage is packed, the movement stays rooted in character. The Act One finale shows just how much coordination sits beneath the apparent disarray, with “Pray Observe the Magnanimity” moving from partnerwork into full-company choreography and carefully engineered mayhem. Visually, Harrison’s set keeps the world bright and theatrical, with ship imagery, lattice structures, and vivid green and red sails. Kim Heslewood’s costumes favour colour over historical solemnity. Pirates arrive in layered, mismatched textures and accessories, while the Stanley daughters resemble a walking box of jewel-toned sweets. Lynne Swain’s wigs, hair, and makeup push the characters another step towards storybook beauty. This is my first time seeing The Pirates of Penzance, and I’m surprised by just how contemporary the comedy can feel. The plot is absurd, everyone is trapped by increasingly dumb definitions of honour and duty, and nobody behaves themselves for more than thirty consecutive seconds. Savoyards gives the silliness room, trusts the performers to commit to it, and lets their large cast behave like they’ve all been invited to the same pirate-themed improv night. Some things simply survive the passage of time.

Next to Normal Produced by: Millennial Productions Presented at: Ron Hurley Theatre, Seven Hills Date attended: 26 September 2026 Music: Tom Kitt | Book and Lyrics: Brian Yorkey Director: Taylor Atley Associate Director / Intimacy Liaison: Ellen Axford Musical Director: Victoria Keomahavong Production Manager: Jaime O'Donoghue Stage Manager: Daniel Lelic Lighting: Pavani Wickremasinghe | Sound: Lane Agostinelli Costume: Ned Kelly |Props: Lauren Bensted Mental Health Consultant: Maddison Joyce Photography: Jacob Atley “We haven’t had a normal day in years.” I’d never seen Next to Normal before, but with Millennial Productions’ reputation and this creative team behind it, I knew I was in safe hands. The tissues being sold at the bar should probably have warned me what those hands were about to do though... By the end, I understood why. The Goodman family have spent seventeen years arranging themselves around grief and mental illness. Diana (Morgan Heynes) swings between mania and medication. Dan (Conor Ensor) keeps reaching for the next practical fix, as though enough appointments and reassurance might hold the house together. Natalie (Madeline Harper) retreats into piano and perfection. Gabe (Jackson Hughesman) hovers close to Diana, loving and unsettling in equal measure. Henry (August Cocks) tries to reach Natalie from outside the family’s orbit as her sweetly persistent boyfriend. Diana’s psychiatrists, Dr Fine and Dr Madden (both played by Sam Ford), are entrusted with decisions that can alter the shape of her life. Director Taylor Atley places the Goodmans in a recognisably suburban home where they move around each other on autopilot. Lauren Bensted’s props fill it with the usual family clutter, right down to medication bottles scattered across the kitchen bench. A raised level stretches above the set, creating space for characters who are present yet seem detached from the reality below. Pavani Wickremasinghe’s lighting, including LED strips framing the upper level and doorway, shifts the house between warmth, unease, memory, and the cooler world of treatment while the scenery itself stays fixed. That domestic ‘normality’ feeds straight into “Just Another Day”. Everyone races through the morning, performing the rhythms of a functioning family while the routine is already fraying around the edges. Brian Yorkey’s writing can jump from observational humour to absolutely vicious within moments, and this production embraces that whiplash. “It’s Gonna Be Good” lets the room relax into laughter before “You Don’t Know” tears straight through it with Diana’s rage. Nobody receives the courtesy of one emotion at a time. Morgan Heynes has an enormous task as Diana, vocally and dramatically, and never flattens her into a diagnosis. Her acting keeps Diana mercurial: she adores her family, resents them, reaches for help, rejects it, and describes herself with the beautifully understated, “My mum called me high-spirited” (relatable). Heynes’ control of those shifts is as impressive as her singing. In “I Miss the Mountains”, Diana has reached the point where medication has dulled everything, including the parts of herself she misses. Heynes changes her vocal texture as the song grows, letting rough cries break through the cleaner phrases until the desire to feel anything becomes physical. Later, following ECT, she alters Diana’s entire presence. Her gaze disconnects, her responses arrive differently, and familiar people seem to be standing in the wrong places inside her own life. The contrast is unnerving, showing just how much detail Heynes has built into Diana beyond the score. Jackson Hughesman as Gabe initially appears protective, a son hovering near his mother when she needs him. The gentleness of his character makes his eventual pull over Diana far more disturbing. In “I’m Alive”, Hughesman unleashes a voice full of riffs, height, and rock power, but distress and torment sit underneath all of it. Gabe wants to remain. He wants to be remembered, not erased. Depending on where Diana is emotionally, he shifts between comfort, grief, temptation, and threat. His physical presence feeds that unease. He climbs onto furniture, looms above the family, and draws Diana towards the promise of peace with a magnetic insistence. He occupies the house completely while remaining unreachable to everyone living outside Diana’s reality. And then the production turns Gabe towards Dan. I won't discuss that sequence in detail because I’d like at least one other unsuspecting person to suffer as I did. Ensor and Hughesman’s “I Am the One” had people all around me wiping their faces. Ensor’s reaction strips away years of repression in seconds. Conor Ensor is excellent at showing exhaustion without playing Dan as permanently defeated. Earlier, “I’ve Been” gives him space to admit what maintaining this family has cost him. His support for Diana is loving, desperate, and increasingly threadbare. The production also lets us see the much younger Dan and Diana, full of hope at 22, before parenthood and loss rearranged their lives and love. Natalie is dealing with a different kind of disappearance. She’s gifted, driven, embarrassed by her family, frightened by what she sees happening to her mother, and woefully aware of how frequently she is overlooked. “You tend to miss a lot of things,” she tells Diana. Madeline Harper has a beautiful, expressive voice that rises easily through Kitt’s demanding score. In “Superboy and the Invisible Girl”, resentment keeps cracking wounds open, while “Catch Me I’m Falling” builds into the panic of a daughter asking to be noticed before she disappears completely. And when Diana decides to stop taking her medication, Natalie begins self-medicating. August Cocks brings a welcome softness to Henry, keeping him warm, earnest, and slightly awkward. His “This planet is pretty much broken beyond all repair” philosophy is perhaps not the cheeriest opening gambit for teenage romance, but his scenes with Harper have an easy sweetness that lets Natalie briefly drop the hyper-achiever armour. Their relationship gives the show room to breathe, even as the chaos at home keeps pressing in. Sam Ford’s doubling as Dr Fine and Dr Madden marks one of the production’s more theatrical departures from the Goodman household. Diana’s treatment suddenly resembles a rock concert, her psychiatrist elevated into “Doctor Rock” as medications, diagnoses, and treatment options fly at her. The humour evaporates once those choices carry frightening consequences. Diana needs medical care, yet handing parts of her mind and body over to treatment is terrifying. When the pain of living is unbearable, which is worse: the illness, or what the treatment takes from her? Is feeling nothing preferable to feeling everything? With Maddison Joyce as mental health consultant and Ellen Axford as intimacy liaison, the production approaches Diana’s illness as lived experience rather than spectacle. And Dan and Natalie’s exhaustion, neglect, and fear are given equal weight. Musically, this cast is formidable. Victoria Keomahavong guides a score that barely gives its performers time to breathe, and the layered harmonies in numbers like “Song of Forgetting” are so beautifully controlled. The main issue is sound balance. At points, the underscoring sits too loudly beneath dialogue and lyrics, swallowing lines that carry important information in an already dense story. Still, this is a musical built around people missing things. Diana loses pieces of her memory, Natalie is missed in plain sight, and Dan hides grief from himself. Next to Normal is brutal, but Millennial Productions doesn’t leave us entirely in the dark. “Light” arrives as a beautiful sliver of hope after so much trying, failing, and trying again. Around me, the audience quietly wept and gathered themselves after everything that came before.

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< Back DANCE: Cyvasa 2.0 - HOTA 3 Oct 2026 Season: October 3rd - 5th, 2026 Title: CYVASA 2.0 Presented By: HOTA Genre: Experimental Dance / Contemporary Dance Synopsis: Indonesian and diaspora dance artists Juliet Widyasari Burnett and Ishvara Devati create a speculative world where ancient Javanese spirituality collides with techno-fantasy and glitch aesthetics. Trans and cis female bodies become sacred, ever-evolving entities, transforming and reincarnating within a space imagined as part temple, laboratory and server room. Written By: Concept and choreography by Juliet Widyasari Burnett & Ishvara Devati Performance Dates: 3–5 October 2026 Performance Times: 3 October – 2:00pm | 4 October – 6:00pm | 5 October – 2:00pm Performance Location and Address: HOTA Gallery 2, HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise QLD 4217 Ticket Costs: $24–$29 Ticket Link: Book Tickets – HOTA Duration: 50 minutes Cast: Juliet Widyasari Burnett & Ishvara Devati Creative Team: Juliet Widyasari Burnett & Ishvara Devati – Concept, Choreography & Performance | Metatesis (Dyah Isaka & Nadya Hatta) – Music | Aleisa Jelbart – Costume Design | Alex Torney – Lighting Design Other information: Presented as part of BLEACH Festival 2026. The original music score is by Indonesian feminist noise duo Metatesis. Previous Next

< Back CIRCUS: A Simple Space - HOTA 3 Oct 2026 Season: October 3rd - 5th, 2026 Title: A Simple Space Presented By: Gravity & Other Myths Genre: Contemporary Circus / Acrobatics Synopsis: Seven acrobats push their physical limits in an intimate performance built around trust, risk and human connection. With the audience brought close to the action, A Simple Space strips circus back to its essentials, showcasing raw strength, skill and playful competition without elaborate staging. Performance Dates: 3–5 October 2026 Performance Times: 3 October – 2:00pm & 7:00pm | 4 October – 2:00pm & 7:00pm | 5 October – 2:00pm Performance Location and Address: HOTA, Home of the Arts, 135 Bundall Road, Surfers Paradise QLD 4217 Ticket Costs: Adult $49 | Concession $44 | Child $39 Ticket Link: Book Tickets – HOTA Warnings: Loud noises Recommended Age: 5+ Duration: 1 hour Creative Team: Darcy Grant – Director Production Website: Gravity & Other Myths Previous Next