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Off Broadway Presented by: Base Entertainment Venue: Brisbane Powerhouse Date Attended: 9 August 2026 Choreographer: Rachael Peters “Get ready to kick line and jazz hands your way through Broadway history!” Twenty-four musicals. Eight cast members. An alarming number of costume changes. Off Broadway barrels through Broadway history with its foot firmly on the accelerator. This new musical theatre revue raids Broadway’s greatest-hits catalogue for two packed acts of familiar favourites at Brisbane Powerhouse. Off Broadway isn’t digging around for forgotten gems. It’s serving the big ones (songs that have escaped their original productions and become cultural fixtures in their own right). These are the numbers audiences will recognise within a few bars. Having seen 22 of the 24 featured shows on stage (not to brag hehe), I came in with plenty of reference points. The only two missing from my theatrical bingo card were Anything Goes and Kiss Me, Kate. Everything else has reached me through Broadway, the West End, professional tours, community theatre, cabarets, cast recordings, pro shots, slime tutorials, film, TV (Glee lol), and basically every MT showcase ever. That left Off Broadway with the tricky job of competing with decades of very familiar versions. Its solution was... dazzle. Off Broadway opens at full tilt, racing through numbers from Moulin Rouge! and Kiss Me, Kate. The choreography wastes no time showing off the cast’s stamina, with the dancers already attacking demanding movement in their mirrorball leotards. I was five minutes in wondering how these dancers were expected to survive the night! With 24 shows on the itinerary, there’s no time to linger. Voiceovers and cast narration shepherd us through the decades, dropping in bits of Broadway history and giving the writers their proper credit along the way. Starting with the likes of Anything Goes and Guys and Dolls, we witness musical theatre’s sound, movement, and style evolve through the years. By the time Jesus Christ Superstar brings us into the ’70s, things have become progressively louder, sexier, and more complicated both musically and choreographically. A Chorus Line receives its deserved place in the timeline (the show famously helped drag Broadway through one of its roughest periods), before Chicago gives the cast a chance to flex their Fosse skills. The dancers’ precision captures exactly why his style is still so satisfying to watch. Chicago gets FOUR songs, by the way (“Hot Honey Rag”, “Cell Block Tango”, “All That Jazz”, and “We Both Reached for the Gun”). Somebody involved has a clear favourite. And I get it. The choreography is consistently one of Off Broadway’s strongest assets. Choreographer Rachael Peters keeps the cast in near-constant motion, with athletic movement, partnering, floorwork, and stylistic shifts between shows. The music for “Big Spender” gets a club-style remix, showing early on that the revue isn’t precious about preserving every iconic number exactly as we know it. In fact, it’s often most interesting when it makes its own choices. “The Sound of Music”, for example, gains a completely different character through a baritone interpretation. “Singin’ in the Rain” becomes a jazzy duet for Bridie Erwin-Keirl and Bailey Nathan-Park, who waltz gently around the stage as they sing. Perri Espinoza carries a considerable amount of the vocal load across the evening. Anything Goes gives us our first look at her impressive breath control, before Cabaret lets her unleash the power, range, and charisma. Her Elphaba moment arrives, inevitably, with “Defying Gravity” (because a Broadway celebration was never getting out of that building without Wicked). I also need to acknowledge the costume because I loved it! Alexander Thorpe proves particularly versatile. His Riff Raff in the Rocky Horror section has exactly the required bite, while his Phantom is commanding and vocally well suited. “The Phantom of the Opera” also delivered one of the evening’s funniest unintended moments when that organ blasted through the theatre and scared the absolute bejeezus out of the audience. Vocally, though, the number also exposed one of the revue’s recurring issues: not every song is equally well matched to its performer. Espinoza handles much of Christine’s punishing upper register, but the role sits less comfortably elsewhere in her range. Similar issues crop up later. “Hopelessly Devoted to You” loses some of its lower notes, while Connor Micallef takes several passages down an octave for the Grease and Jersey Boys material. Micallef has considerable charisma, and the Jersey Boys sequence is fun, but with material so strongly associated with Frankie Valli, I did miss that famous falsetto. Almost everything in Off Broadway arrives with an iconic performer or production attached to it. That makes thoughtful vocal allocation especially important. The cast of only eight is asked to cover an enormous range of styles, voice types, characters, and decades, and there were moments where adjusting a key or redistributing a song could have allowed the performers to show themselves to greater advantage. Bailey Nathan-Park throws himself into the Peter Allen section, with the audience clearly enjoying the exuberance of "Rio" (even as I wondered how anybody onstage still possessed functioning lungs). The ensemble’s stamina throughout is formidable. The boys have a particularly cheeky time with Priscilla, Queen of the Desert. After the relentless movement and variety of the first act, the second becomes noticeably ballad-heavy. “Beauty and the Beast” uses the Celine Dion and Peabo Bryson pop duet rather than material from the stage musical for some reason, with Espinoza and Thorpe serenading one another while adding a very small amount of waltzing. Having the dancers take over the movement while the vocalists simply sang may have given the sequence more visual scale. Then there’s “Any Dream Will Do” with Thorpe in a rainbow blazer. I know Joseph and the Amazing Technicolor Dreamcoat is beloved, but I would still cut that song (sorry not sorry). By comparison, the final stretch is guaranteed to get people excited again, with Mamma Mia!, Fame, and Footloose helping close the evening exactly as a show like this needs to finish. Visually, Off Broadway keeps the Powerhouse unusually connected to its audience. House lighting remains relatively bright for much of the performance, helping the whole room feel part of the celebration. The audience was bopping their heads, tapping their feet, and occasionally singing along. I don’t blame them. For audiences who haven’t had the chance to see many of these musicals live, Off Broadway works as a tasting platter of musical theatre hits. I can imagine that choosing the setlist was a nightmare to narrow down. There are some obvious omissions, including work by Sondheim, Lerner and Loewe, Gershwin, and Bernstein, as well as Les Misérables (presumably because of song rights), but there’s still plenty here to keep musical theatre fans mentally ticking boxes. The costumes do much of the time travelling, rapidly shifting between eras, characters, and recognisable theatrical looks. I was less convinced by the AI-generated projections, which often look noticeably artificial beside performers. For a production built around Broadway spectacle, I would have loved the visual design to match that same level of human craftsmanship. Thankfully, the choreography and singing can’t be AI-generated. Sound is another area that could use some tightening. This is a very LOUD show, and the balance doesn’t always give the vocals much clarity against the tracks. That cast is ultimately what sells Off Broadway. They dance like their lives depend on it, sprint through musical theatre history with barely enough time to breathe, and step into roles made famous by some of the biggest performers in the world without the luxury of a full production building around them. Off Broadway will particularly appeal to audiences wanting Broadway’s greatest hits packed into one exuberant night. Musical theatre diehards may have opinions about the song choices and interpretations (hello, it’s me), but there’s plenty of fun in recognising what’s coming next. In the end, the dazzle did its job. I couldn’t look away.

Alice by Heart Presented by: Phoenix Ensemble Director, Set, Costume: Hayley Gervais Musical Director and Sound: Rae Rose Choreographer: Hannah Macri Lighting Designer: George Pitt Photography: By B'rit Creative "Today he is your dearest friend. Tomorrow, a statistic." Childhood stories are like little time capsules. We learn them before we know what grief is, before we understand war and before we realise that the world is not always going to feel like a storybook. For me, that comfort story growing up was Harry Potter. I knew the castle, the spells, the creatures, and the exact feeling of returning to that world when my own was just too much. For Alice, her escape hatch is Lewis Carroll’s Alice’s Adventures in Wonderland from 1865. She knows it “by heart”, not just as a book, but as this magical place she can run to when reality becomes too unbearable. Brought to you by Phoenix Ensemble, Alice by Heart takes place in an underground tube station during World War II, as Londoners shelter from Germany’s bombings. In the middle of this fear and confinement, Alice Spencer clings to the story she knows off by heart and to her best friend, Alfred, as tuberculosis and war close in around them. As she recites the story, the people in the shelter morph into Wonderland characters, and the line between memory, fantasy, and reality blurs. Directed by Hayley Gervais, who also designed the set and costumes, this production has a lovely sense of visual invention. Hayley creates a versatile world that can shift in a blink, with hidden nooks, levels, and objects that seem to appear and disappear as Alice’s mind reshapes the space around her. The hand-painted Wonderland backdrop adds a storybook quality, placing us somewhere between a childhood illustration and a half-remembered adventure Madeleine Ford is part of the production’s central casting, with Jade Jose stepping in as the alternate Alice at the performance I attended and she was stunning. Alice is an enormous role in any configuration, requiring innocence, vocal stamina, imagination, and constant emotional engagement. This production clearly understands Alice as the beating heart of its strange, splintered world. Jade's soft English accent fit the role beautifully, with a vibrato that seemed to shimmer through the room. She gave Alice a delicate desperation, like someone fighting to hold the pages together even as the world tears them apart. In the quieter moments, she exhibited beautiful control and then transitioned into a thrilling belt for I’ve Shrunk Enough. Kaitlin Evans plays Alfred/White Rabbit, bringing a frantic, sweet, anxious energy to both roles. Their White Rabbit is an absolute cutie, full of urgency and nervous charm, while their Alfred carries a delicate fragility. The line “I have so little time” sits at the emotional centre of the production, and Kaitlin gives it a painful simplicity throughout. Jade and Kaitlin sound incredible together, particularly in Afternoon and their duet Still, which is one of the most tender musical highlights of the show. It has that suspended quality of two people trying to preserve one perfect memory while time keeps ticking anyway. I have to say, I didn’t feel the emotional connection between Alice and Alfred as strongly as I wanted to. Their vocal blend was lovely, but the relationship didn’t quite reach the aching intensity the story needs. In a musical so dependent on the terror of losing that one special person, that bond should feel almost unbearable. I’m not sure if that came down to chemistry, the writing, or simply my own read of the performance, but for me, it kept the emotional core at a slight distance. I overheard a few people nearby assuming they were brother and sister, and I can understand how that reading might happen. The emotional impact of the show relies on their bond, so the more evident their love, history, and co-dependence are, the more devastating the ending can be. Ella Maree is a divine as Tabatha/Cheshire Cat. She brings a sly, silky presence to the world, blending beautifully with Jose in Those Long Eyes. Later, Some Things Fall Away is a gorgeous showcase for her voice. Ella has that lovely quality of drawing attention without pushing for it, and there is definite star power in progress here. Anna Ryan is hypnotic as the Caterpillar, with an intoxicating mix of voice, movement, and cockney swagger. Her work in Chillin’ the Regrets is one of the production’s top group moments. The harmonies, lighting, and choreography come together for a trippy psychedelic experience, with the full ensemble wearing arm socks like caterpillar legs to create a playful and surreal stage picture. Later on, Anna's epic vocal riff in Isn’t It a Trial? also earns one of those “oh, excuse me?” audience reactions. Emma Erdis is fabulous as the Red Cross Nurse/Queen of Hearts, bringing command, mania, and vocal power. They portray just the right amount of danger and diva energy, especially in Isn’t It a Trial?, where the whole scene becomes a gleeful explosion of courtroom craziness. Emma shushing the band is a perfect comic beat, and their riffing sends the number flying into the heavens. Beside them, Campbell Briggs proves wonderfully versatile across Dr Butridge, King of Hearts, Jabberwocky, and Mock Turtle. Campbell has a strong instinct for silliness, but also knows when to sharpen it into something darker. His King of Hearts dance moves just about steal the room, while his work in the Jabberwock material gives the show a heavier, more ominous energy. Brillig Braelig, with gas masks, creepy choreography, and George Pitt’s moody lighting, is a particularly effective sequence, reminding us that Wonderland’s monsters and wartime horrors are not as separate as they first seem. Side note, the Queen and King's crowns made of scissors and syringes are a brilliant design detail, marrying medical imagery with Wonderland royalty. August Cocks brings sass, wit, and strong character detail to the Mad Hatter. Sick to Death of Alice-ness, is the strongest pieces of character work for me, with August, William Thomas as Dormouse, and Kaitlin Evans as March Hare playing with rhythm, attitude, and cockney bite as they gleefully toy with Alice. The music and lighting work tightly together here, and the number has a lively, mischievous feel with a darker undercurrent beneath it. Delilah Bennett, as Clarissa/Queen of Diamonds, adds colour and texture to the ensemble with bright character work and lifting voice. Jack Barrett had the audience laughing so hard they were practically rolling in the aisles in the role of the Duchess. With a towering wig, hip bustles, heels that are a workout in themselves, and a flair for drama, this Duchess is a spectacle. Every “PIG!” is delivered with the gravitas of a royal decree. It’s the perfect kind of absurdity, and Jack transforms a character most of us vaguely recall from the original story into someone suddenly impossible to forget. Ammi Johnson as Young Alice and Spencer and Fraser Goodreid as Young Alfred tug at the heartstrings in their brief appearances, reminding us that Alice and Alfred’s bond begins before the crumbling world starts asking adult things of them. Their tender presence gives the production its sense of lost innocence. “I thought we would come down here again and again” lands as one of the most painful lines in the show: the childhood belief that the people and places we love will simply keep being there. Musically, Rae Rose does excellent work as musical director, with a band sound that is high quality throughout. Under Rae's direction the harmonies are clear, the ensemble numbers have weight, and the band supports the singers without swallowing the sound (even when the mics are being crunchy). Rae's sound design also helps bridge the war and Wonderland atmospheres. Hannah Macri’s choreography is so inventive and full of personality. It is at its strongest when the movement feels born from the strange logic of Wonderland: the Caterpillar’s many limbs, the Jabberwock’s gas-mask menace, the ensemble surges in The Key Is, and the epic physicality of I’ve Shrunk Enough. George Pitt’s lighting design is a major asset. The shadow work used to create Alice’s changing size is particularly effective. The lighting in Chillin’ the Regrets, Sick to Death of Alice-ness, and Brillig Braelig works exceedingly well, giving each number its own distinct texture while supporting the emotional and visual shifts of the story. I see how director Hayley Gervais is drawing inspiration from the original production’s costume style, where characters don’t need rabbit ears or cat whiskers to tell us who they are. It keeps Wonderland feeling like something built from memory, not a literal dress-up box. There is cleverness in the way this production lets reality and fantasy bleed into one another. The world around Alice is never quite what it first appears to be. I did find myself wanting a little more visual grit from the Blitz setting. Given the historical reality of overcrowded tube shelters, illness, exhaustion, and fear, I think the hair and makeup could have leaned a touch further into wartime dreariness. Alfred, especially, could perhaps appear more physically affected by tuberculosis and his confinement in quarantine. The paleness is there, but I found myself wanting clearer visible signs of illness, perhaps through red splotches, more unkempt hair, or gaunter makeup, to help the stakes land more immediately. It is worth saying that Alice by Heart is not a straightforward musical. Like the original Alice’s Adventures in Wonderland, it is nonsensical, symbolic, and deliberately confusing. Some folks might find it hard to follow, and some of the symbolism may pass you by on a first watch. But that strangeness is part of its identity. What Alice remembers “by heart” is not always what is actually on the page. Trauma distorts things. Memories can get twisted. Across two one-hour acts, Phoenix Ensemble offers a production that is highly whimsical, nostalgic, musically and choreographically strong, and full of striking individual performances. This is a show set in an era where death was common and indiscriminate, where children were not spared just because they have had less time to live. Around 43,500 civilians were killed over nine months during the Blitz, but grief remains heavy no matter how much of it surrounds you. Loss may have been everywhere, but that does not make it lighter for anyone. “The pages turn so quickly,” the show reminds us. Alice by Heart asks us to look at Wonderland not just as a place of escape, but as a place where a young woman finally begins to understand what she cannot change. When the bombs are falling and the pages are slipping from our hands, a childhood story cannot save us. But it can sit beside us, familiar and worn, and help us breathe through the hard things, one page at a time.

Title: The Pirates of Penzance Presented By: Savoyards Genre: Musical Comedy / Gilbert & Sullivan Synopsis: Savoyards sets sail in 2026 with a bold, high-energy new production of The Pirates of Penzance, inspired by the iconic Essgee revival and reimagined for a new generation. Featuring the same creative team behind the smash-hit Shrek the Musical in 2024, this production blends the classic wit of Gilbert & Sullivan with contemporary theatrical flair, sharp comedy and dynamic choreography. Fast, funny and fresh — pirates have never looked, sounded or moved like this. Audition Date: June 26th - 29th, 2026 July 1st, 2026 (Callbacks) Audition Time: Principal Auditions Friday June 26th: 7PM - 10PM Saturday June 27th: 11AM - 12PM Sunday June 28th: 9AM - 12PM (with accompanist) & 12:30PM - 5PM Monday June 29th: 7PM - 10PM Movement & Ensemble Auditions Saturday June 27th: 12:30PM - 1:30PM or 4PM - 5PM Ensemble Vocals: 1:30PM - 2:30PM Dance Ensemble: 2:45PM - 4PM Callbacks Wednesday July 1st: 7PM - 10PM Audition Location and Address: June 26th, 28th & 29th - Savoyards Hall, Ferguson Street, Manly June 27th - Waterloo Bay Leisure Centre, 241 Tingal Road, Wynnum July 1st - Wynnum State High School, Peel Street, Manly Audition Requirements: Principal Auditions Prepare: Two contrasting 60-second song excerpts (32 bars) Material that demonstrates vocal strength and versatility in the style of the show Applicants will receive script sides upon registration confirmation. Movement & Ensemble Auditions General ensemble auditions include vocals and movement Dance ensemble auditions include vocals and dance Dance audition choreography taught on the day General ensemble and soloists will receive movement video prior to auditions Attire Requirements: Clothing suitable for movement Sneakers/enclosed flat shoes Jazz/ballet shoes and chorus heels encouraged for dance auditions Audition Registration: Register via email: auditions@savoyards.com.au Include: Name Mobile phone number Roles auditioning for Whether accompanist is required Audition Pack: The Pirates of Penzance Audition Pack Performance Dates: September 25th - October 10th, 2026 Performance Times: Fridays & Saturdays Evening - 7:30PM Sundays Matinee - 1:30PM Saturday 3 October & Saturday 10 October - 1:30PM & 7:30PM Performance Location: Iona Performing Arts Centre, 85 North Road, Wynnum West Rehearsal Dates: Commencing Sunday July 5th, 2026 Additional key dates Launch Event - Saturday August 8th, 2026 Sitzprobe - Sunday September 13th, 2026 Bump-in - September 11th - 12th, 2026 Bump-out - Sunday October 11th, 2026 Rehearsal Times: Sundays - 12PM - 5PM Mondays & Wednedays - 7PM - 10PM Rehearsal Location: Wynnum West State School, School Road, Wynnum West Performer Age: Minimum age 16 years Creative Team: Director - David Harrison Musical Director - Nicky Griffith Choreographer - Julianne Burke Assistant Director - Joshua Moore Production Website: Savoyards - The Pirates of Penzance Other Information: Savoyards is Brisbane’s oldest continuously running musical theatre company This is an amateur community theatre production All cast and crew are expected to assist with production duties including bump-in and bump-out Savoyards is committed to diversity, inclusion and cultural safety Performers of all backgrounds, identities and abilities are encouraged to audition A social media blackout applies until official cast announcements Available Roles / Character Breakdown: Frederic - Male | Playing Age 20–30 | Tenor (C3–B4) Earnest, loyal and unintentionally dramatic. Strong singer with charm. Mabel - Female | Playing Age 18–30 | Soprano/Coloratura (C4–D#6) Bright, confident and vocally fearless with excellent comic timing. Pirate King - Male | Playing Age 30–50 | Baritone/Bass-Baritone (F#2–F4) Charismatic, theatrical and larger-than-life. Ruth - Female | Playing Age 40–60 | Alto/Mezzo-Soprano (F3–A♭5) Fiercely devoted with bold comic energy. Major-General Stanley - Male | Playing Age 40–65 | Baritone/Tenor (B♭2–F4) Fast-talking, witty and absurdly confident. Sergeant of Police - Male | Playing Age 25–55 | Bass/Baritone (F2–C4) Deadpan and gloriously over-serious. Edith - Female | Playing Age 18–30 Confident and delightfully bossy. Kate - Female | Playing Age 18–30 Sweet, romantic and grounded. Isabel - Female | Playing Age 16–25 Bright, eager and energetic. Samuel - Male | Playing Age 20–40 | Baritone/Tenor (B♭2–E4) The Pirate King’s loyal right-hand man. Dancer Ensemble - Any Gender | Playing Age 16+ High-energy dancers with strong technique and stamina. General Ensemble - Any Gender | Playing Age 16+ Versatile performers portraying pirates, police and daughters throughout the production.

Upcoming Performances 27 Aug 2026 THEATRE: Ode to a Lost Love - Cornerstone Theatre Season: August 27th - September 5th, 2026 Read More 27 Aug 2026 BURLESQUE: Laced in Shadows - Sass and Soul, HOTA Season: August 27th, 2026 Read More 26 Aug 2026 THEATRE: Dead Bat on the Night Shift - Observatory Theatre, PIP Theatre Season: August 26th - September 5th, 2026 Read More 22 Aug 2026 CABARET: Addicted to Love - Em Rusciano Entertainment Season: August 22nd, 2026 Read More 22 Aug 2026 THEATRE: Parrot & Marbles - Montville Village Hall Season: August 22nd - 23rd, 2026 Read More 21 Aug 2026 YOUTH MUSICAL: Footloose - Toowoomba Anglican School, Empire Theatre Season: August 21st - 22nd, 2026 Read More 21 Aug 2026 YOUTH THEATRE: Season of Four One-Act Plays - Acting Up! Youth Theatre Academy Season: August 21st - 23rd, 2026 Read More 20 Aug 2026 OPERA: There's Nothing Like a Dame - Opera QLD Season: August 20th - 22nd, 2026 Read More 20 Aug 2026 OPERA: Triple Bill - Voxalis Opera Season: August 20th - 21st, 2026 Read More 20 Aug 2026 THEATRE: The Wolf of George Street - UQ Law Revue Season: August 20th - 22nd, 2026 Read More 20 Aug 2026 YOUTH MUSICAL: Mamma Mia! - St Thomas More College, SunPAC Season: August 20th - 22nd, 2026 Read More 19 Aug 2026 THEATRE: Goodbye Eli Anderson - THAT Production Company, Ipswich Civic Centre Season: August 19th - 22nd, 2026 Read More 19 Aug 2026 THEATRE: The DPS Lab - Dead Puppet Society, Princess Theatre Season: August 19th, 2026 Read More 19 Aug 2026 THEATRE: Heartbreak Hotel - HOTA Season: August 19th - 22nd, 2026 Read More 19 Aug 2026 THEATRE: The Monologue Show - Things That Happen Season: August 19th & 25th, 2026 Read More 18 Aug 2026 THEATRE: The Gospel According to Paul - Soft Tread, QPAC Season: August 17th - 23rd, 2026 Read More 17 Aug 2026 YOUTH DANCE: Wakakirri - Logan Entertainment Centre Season: August 17th - 20th, 2026 Read More 17 Aug 2026 YOUTH PANTOMIME: Girl in the Hood - Flinders Dramatic Arts Season: August 17th - 19th, 2026 Read More 15 Aug 2026 THEATRE: Ravenscroft - Growl Theatre Season: August 15th - 29th, 2026 Read More 15 Aug 2026 BALLET: Romeo and Juliet - The Australian Ballet, QPAC Season: August 15th - 22nd, 2026 Read More 15 Aug 2026 YOUTH MUSICAL: Shine On - Shine Performing Arts Academy Season: August 15th, 2026 Read More 15 Aug 2026 FUNDRAISER: Rhythms for Recovery - Brisbane Powerhouse Season: August 15th, 2026 Read More 15 Aug 2026 YOUTH MUSICAL: Legally Blonde Jr. - Shine Performing Arts Academy Season: August 15th - 16th, 2026 Read More 15 Aug 2026 YOUTH MUSICAL: Annie Kids - Shine Performing Arts Academy Season: August 15th - 16th, 2026 Read More 14 Aug 2026 FESTIVAL: Sunshine Coast Youth Theatre Festival - Lind Theatre Season: August 14th - 16th, 2026 Read More 13 Aug 2026 THEATRE: The Removalists - Bear Minimum Theatre, Empire Theatre Season: August 13th - 15th, 2026 Read More 13 Aug 2026 THEATRE: The True Midnight Cry - Minola Theatre, PIP Theatre Season: August 13th - 22nd, 2026 Read More 13 Aug 2026 THEATRE: Intro to Time Travel - UQ Engineering Revue Season: August 13th - 14th, 2026 Read More 13 Aug 2026 THEATRE: Loving Ashes - PIP Theatre, Sun and Wine Arts Company Season: August 13th - 22nd, 2026 Read More 13 Aug 2026 THEATRE: Truck Driver - HOTA Season: August 13th - 15th, 2026 Read More 11 Aug 2026 THEATRE: Do Not Go Gentle - QLD Theatre Season: August 11th - 30th, 2026 Read More 8 Aug 2026 BALLET: Giselle - Brisbane Ballet, Empire Theatre, Thomas Dixon Centre Season: August 8th & 15th, 2026 Read More 8 Aug 2026 THEATRE: Present Laughter - Javeenbah Theatre Season: August 8th - 22nd, 2026 Read More 7 Aug 2026 THEATRE: Harvey - Tugun Theatre Company Season: August 7th - 29th, 2026 Read More 7 Aug 2026 THEATRE: The Murder Room - Nash Theatre Season: August 7th - 29th, 2026 Read More 7 Aug 2026 THEATRE: The Opposite Sex - Act1 Theatre Season: August 7th - 23rd, 2026 Read More 7 Aug 2026 MUSICAL: She Loves Me - Phoenix Ensemble Season: August 7th - 29th, 2026 Read More 7 Aug 2026 THEATRE: Freshblood Festival - Vena Cava Productions Season: August 7th - 16th, 2026 Read More 6 Aug 2026 THEATRE: Second Coming - La Boite Theatre Season: August 6th - 22nd, 2026 Read More 6 Aug 2026 THEATRE: Hot Tub - Ad Astra Theatre Season: August 6th - 29th, 2026 Read More 31 July 2026 MUSICAL: Alice (in Wonderland) - Mousetrap Theatre Season: July 31st - August 16th, 2026 Read More 31 July 2026 MUSICAL: The Book of Mormon - QPAC, Jones Theatrical Group Season: July 31st - October 4th, 2026 Read More 27 June 2026 CHILDREN'S THEATRE: Room on the Broom - CDP Kids Season: June 27th - August 14th, 2026 Read More 9 May 2026 MUSICAL: Hey Felicia - The Sit Down Comedy Club Season: May 9th - November 7th, 2026 Read More 14 Feb 2026 MAGIC: Theatre of Magic - Empire Theatre Season: February 14th - December 5th, 2026 Read More 9 Feb 2026 PLAY READING: Playground - 7th Floor Theatre, PIP Theatre Season: Monthly from February 9th, 2026 Read More

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< Back BURLESQUE: Laced in Shadows - Sass and Soul, HOTA 27 Aug 2026 Season: August 27th, 2026 Title: Laced in Shadows Presented By: Sass and Soul Dance, HOTA Genre: Burlesque / Cabaret / Dance Synopsis: You think you know what's next. You don't. Back by popular demand, Sass and Soul Dance returns to HOTA for its sixth and most daring production yet — bolder, darker and more unapologetic than ever before. Laced in Shadows enters a world of burlesque cabaret, where darkness is beautiful, movement is everything, and every moment is crafted to catch you completely off guard. Fully costumed and unexpected at every turn, this one-night-only production invites audiences to discover what's behind the velvet curtain. Hosted by Terry Daktyl, QLD Drag Performer of the Year 2025. Performance Dates: Thursday August 27th, 2026 Performance Times: 7PM Performance Location and Address: Theatre 1, HOTA, 135 Bundall Road, Surfers Paradise QLD 4217 Ticket Costs: $50 Ticket Link: Buy Tickets - Laced in Shadows Warnings: Coarse language Strobe effects Haze Smoke machine Adult themes Recommended Age: 16+ Duration: 2 hours, including interval Production Website: HOTA - Laced in Shadows Other information: The production is Sass and Soul Dance's sixth production and is described as their most daring production yet. Accessibility and venue information can be confirmed through HOTA when booking. Previous Next