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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.

Title: Dressed to Kill Presented By: Mousetrap Theatre Company Genre: Interactive Murder Mystery / Comedy Synopsis: A local theatre group is preparing for its first-ever musical fashion show to raise money for new stage lighting. Unfortunately, the organisers aren't very organised, tensions are mounting, and the cast aren't getting along. Then somebody ends up dead. Dressed to Kill is an interactive murder mystery, with the audience invited to question the characters during part of the show. Cast members will need to think on their feet and respond to audience questions, with multiple possible endings for the production. Audition Date: Wednesday August 12th, 2026 Audition Time: 7PM Audition Location and Address: Mousetrap Theatre, 157 Sutton Street, Redcliffe QLD Audition Requirements: Auditionees will be asked to read from the script alongside other actors. You may be asked to read for multiple characters. Audition Registration: Please send enquiries to Karen Christl - kazgirl_1972@hotmail.com Performance Dates: October 23rd - November 1st, 2026 Performance Location: Mousetrap Theatre, 157 Sutton Street, Redcliffe QLD Rehearsal Dates: Tuesday and Thursday evenings and Sunday afternoons Rehearsal Location: Mousetrap Theatre, 157 Sutton Street, Redcliffe Warnings: Murder/murder mystery themes Performer Age: All cast members must be 18 years of age or older at the time of performance. Production Website: Mousetrap Theatre - Dressed to Kill Other information: This is an interactive murder mystery. During part of the show, audience members will be invited to question the characters. Improv workshops will be run during rehearsals to give cast members the opportunity to practise their off-the-cuff answering skills. There are multiple endings, all of which the cast will be required to learn. Cast members are expected to be available for as many rehearsals as possible. Any prior commitments should be listed at auditions. Successful cast members will be required to become a member of Mousetrap Theatre Company. Available Roles/Character Breakdown: Larry - Stage age: 60+ Founder of the group. Desperate for the group to perform Shakespeare and quotes the Bard whenever he can, often incorrectly and with little context. He is a dreadful ham. Barbara - Stage age: 50+ The other founder of the group. She won't let Larry have his Shakespeare because she is certain the village won't like it. She talks far too much about her successful actor daughter, who is never seen. Shirley Worthington - Stage age: 40+ Bad-mannered, bossy and brash. She is used to getting her own way and joined the drama group to ensure her daughter, Lisa, gets all the good roles. Lisa Worthington - Stage age: Early 20s Believes her mother's praise and is annoyingly overconfident. Once on stage, however, she turns to wood. Ruth - Stage age: 40+ Just as ambitious for her daughter, Karen, as Shirley is for Lisa, but she isn't as obviously pushy. Karen - Stage age: 18 Loathes drama, fashion and music and would rather be anywhere but at rehearsal. She's much happier with her head in a book. Young Peter - Stage age: 60+ The unsung hero of the group. He's desperate to leave and retire, but Barbara and Larry keep dragging him back. Gerald - Stage age: 30+ Loud and flamboyant. He joined the group hoping there would be an opportunity to put on a dress—perhaps in a pantomime—but it hasn't happened yet. Now he's been banned from the fashion show and may have to take matters into his own hands. Marigold - Stage age: 50+ A talented actress who has been with the group for years. Unfortunately, she rarely gets her moment in the spotlight, but she still has hope.

&Juliet Presented by: Queensland Academy of Excellence in Musical Theatre (QAEMT) Venue: Queensland Conservatorium Theatre Date Attended: 5 August 2026 Director: Alister Smith Musical Director: Heidi Loveland Choreographer: Dan Venz Associate Choreographer: Emma Whitefield Set Designer and Costume Co-Designer: Penny Challen Costume Co-Designer and Supervisor: Gayle MacGregor Lighting Designer: Keith Clark Sound Designer: Steve Thornely Voice and Dialect Coach: Dr Melissa Agnew Photography: Kenn Wylchie CAST AT THIS PERFORMANCE: Juliet Capulet: AJ Betts Romeo Montague: Caelan McCarthy William Shakespeare: Saul Kavenagh Anne Hathaway / April: Ella Wood Nurse Angélique: Zoe Allsopp Lander May: Sam Thomas François Du Bois: Harry Ince Lance Du Bois: Ned Kelly The roles of Juliet, Romeo, Anne Hathaway / April, Angélique, and Lance were shared across the season with Alessia Charman, Jackson Hughesman, Lily Bennetts, Addisyn Herndon, and Lachlan Dunks. “Do we have freedom? No. But do we have hope? No.” This was my third production of &Juliet, yet Queensland Academy of Excellence in Musical Theatre gave me plenty of new details to enjoy! It also offered Brisbane audiences the rare chance to see the show after the professional Australian tour skipped our city (rude). Created by Schitt’s Creek writer David West Read, &Juliet interrupts the final pages of Romeo and Juliet before its teenage heroine can stab herself over a boy she met just four days ago. Anne Hathaway seizes her husband’s quill and asks to rewrite one of Shakespeare's most famous tragedies. In this tale, Juliet leaves her past behind to travel to Paris with her nurse Angelique and new friends May and April (aka Anne, who has written herself into the story). There they discover Lance (Angelique’s former lover) and his son François, who is looking to shake off his father’s expectations and forge his own life. With Juliet’s own parents trying to send her to a convent, who will Juliet finally choose? Or, does she need to choose at all?! From there, everyone interferes, dead boyfriends return, engagements are hastily arranged, and every personal crisis is expressed through one of Max Martin’s epic pop songs: Britney Spears, Backstreet Boys, Katy Perry, P!nk, Bon Jovi, Celine Dion, Ariana Grande, Kelly Clarkson, Demi Lovato, Ke$ha, Jessie J... You won’t believe how many bangers this show can fit into two and a half hours! Director Alister Smith frames the production as a fresh story being built in front of our eyes, with Penny Challen’s scenic design blending a rehearsal room, theatre workshop, and backstage area at a stadium concert. Cables, lighting equipment, graffitied cases, scaffolding, costume racks, neon signage, glitter curtains, and movable staircases create a world that can shift whenever Anne alters the plot. A quick clap clap from Will or Anne hits the pause button, freezing the cast mid-action so they can debate their next rewrite. Penny Challen and Gayle MacGregor’s costumes are like a time-travelling fusion of Renaissance and rave clubwear. Corsets sit over graphic tees, ruffs are paired with skinny jeans and sneakers, and fluoro paniers bounce around the dance ensemble. Ned Kelly struts his stuff in leopard-print tights, and Ella Wood's glitter boots have my wholehearted approval. Juliet’s wardrobe is an explosion of pink, from her Capulet-branded corset and shoulder-padded jacket to a jewelled crop, tiered skirt, and white cowboy boots. Her wedding look, followed by the transformation during “Roar,” was possibly my favourite version of that quick change so far. As Juliet, AJ Betts STUNS from the moment they open their mouth for “…Baby One More Time.” Singing these tunes while busting moves in a corset might seem insane, yet Betts pulls it off with the poise and power of a pop headliner. Their Juliet is wonderfully youthful and spunky, throwing herself headfirst into this sudden new freedom and the excitement of having an entire future opened up. Betts is also naturally funny, with a dry delivery that makes some of Juliet’s smallest reactions land just as well as the bigger punchlines. Vocally, Betts seems completely at home in the pop material. Their duet “Oops!... I Did It Again” with Zoe Allsopp Lander is one of the evening’s top vocal treats, with both performers nailing the Britney style. Betts and Harry Ince establish a playful dynamic between Juliet and François. Their “Confident” has the ease of two new friends hyping each other up. Ince gives François a softness that works particularly well beside Sam Thomas’s snappy interpretation of May. Thomas plays May with more sass than the sorrow I’m used to, walking into scenes with a quick tongue, a distinctive accent (Essex? I don’t know!), and no interest in making themself smaller for anyone else. When “I’m Not a Girl, Not Yet a Woman” arrives, Thomas claims that stage. The song becomes both a quiet confession and a declaration from someone who knows who they are and is exhausted by everyone else needing time to catch up. Thomas and Ince are a vocal dream team during “I Kissed a Girl” and “Whataya Want from Me.” Saul Kavenagh is hilariously pompous, dorky, and endearingly irritating as William Shakespeare. He knows Will is ridiculous, and plays it so. His ego is enormous, his frustration becomes increasingly childish, and he still retains enough boyish appeal to explain why Anne has tolerated him for this long. Kavenagh and Caelan McCarthy form an entertaining dude-bro alliance once Romeo makes his comeback through “It’s My Life.” In sequinned trousers and aviators, McCarthy carries himself like the headline act has finally bothered to show up, while Will trails behind like an overexcited roadie (with his dramatic fog machine) At one point, McCarthy appeared to be swallowing half the fog machine’s output and continued serving rockstar confidence (professionalism king!). His voice matches the entrance, with a muscular rock sound and super impressive upper range, while his playful characterisation keeps Romeo’s ridiculous self-importance likeable. The number “One More Try” with Betts is also a reminder that the role requires far more than swagger. Both their vocal ranges are frankly outrageous and had me in constant awe. Against a starlit backdrop, the pair circle one another on the moving staircases, remaining connected while the physical distance reflects everything still unresolved between them. Ella Wood as Anne Hathaway is sweeter and more composed than the pun-driven, cutely-cringe versions I’ve previously seen. Rather than leaning heavily into April’s social awkwardness, Wood brings a gentle, materal presence that strengthens her relationship with Juliet and gives Anne’s own desire for a different life much more weight. And then she sings... “That’s the Way It Is” is DIVINE. Wood’s tone is pure and clear, with a healthy mix belt that blooms as the number builds. She sings with such sincerity that the audience cheered before she had even finished the song, leaving Heidi Loveland and the band patiently waiting for the room to settle before continuing. Zoe Allsopp Lander brings terrific momentum to Angélique. Her dialogue rolls effortlessly off the tongue, and she makes the Nurse’s combination of maturity, exasperation, and romantic chaos feel completely natural. Her rendition of “Perfect” is vocally gorgeous, giving Angélique and Juliet’s relationship room to bloom amid the louder numbers. Ned Kelly as Lance Du Bois is French, shameless, and doing the absolute most at ALL times. During “Teenage Dream,” he chases Angélique around the room like a lovesick cartoon character while still managing to sing cleanly through that deliberately outrageous accent. Later, “Everybody” turns the Du Bois men into a fully-costumed Backstreet Boys tribute band against a hypnotic glitter-curtain effect. Dan Venz and Emma Whitefield’s choreography blew me away. “Larger Than Life,” “Show Me Love,” and “Blow” are particularly packed with movement, while the ensemble handles the material with professional precision. The choreography is littered with musical theatre and pop-culture references that flash past in seconds (but I see ALL). Kavenagh’s shameless participation in “I Kissed a Girl” was one such detail. I saw you there, puppet master Shakespeare. I think &Juliet is an ideal choice for this cohort, needing bold personalities, dancers who can attack pop choreography, and singers capable of handling material written for some of the largest voices in modern music. The third-year performers lead the principal cast, second years fill out the dance ensemble, and first years contribute vocals while helping move the set pieces. It turns the musical into a genuine academy-wide showcase. Steve Thornely’s sound design gives these huge voices room to fly while keeping the lyrics clear, and each new song earns happy murmurs of recognition before the arrangement kicks in. Heidi Loveland leads a cracking live band of Queensland Conservatorium and Young Conservatorium musicians, with strings adding extra richness to the pop arrangements. Keith Clark’s lighting supports that scale beautifully. LED strips frame the front of the stage, vertical neon tubes lower into scenes, and standing spotlights are wheeled through the action like concert equipment. “Roar” feels like the finale of a stadium concert, with Betts at its centre beneath the full lighting rig, completing a major costume transformation, and belting over the full ensemble and band. It is a demanding final stretch, and they OWN it. I can imagine how unstoppable that moment must have felt. Beneath the backstage machinery, neon excess, and pop-culture silliness remains a simple idea: the ending somebody else wrote for you doesn’t have to become the life you accept. Juliet gets to survive, May gets to define themself, and even Romeo receives another chance to be slightly less of a douche. For Brisbane audiences who missed the professional tour, this production is a pretty spectacular introduction to &Juliet. It gives this graduating cohort exactly the kind of material they can sink their teeth into: ridiculous pop vocals, relentless choreography, huge personalities, and plenty of room to show us who they are as performers. This next generation of musical theatre performers are very much ready to take the mic.

< 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

Discover the latest in Brisbane theatre auditions and reviews on Stage Buzz Brisbane. Your go-to source for all things theatre in the Queensland capital. WELCOME TO STAGE BUZZ BRISBANE This dynamic hub for South-East Queensland thespians is your go-to source for audition updates, performance reviews, and engaging content that celebrates the vibrant local theatre scene. From spotlighting talented actors to providing valuable tips, it's a community-driven platform that brings the magic of the stage to the forefront, fostering connection and celebration among theatre enthusiasts in the region. NICE TO MEET YOU Embrace the enchanting world of South-East Queensland's theatre scene right here on Stage Buzz Brisbane! We're your go-to hub for all things theatrical: upcoming performances adult audition alerts youth auditions performance reviews exclusive spotlight interviews with local talents rehearsal/performance venue database Whether you're a seasoned thespian or a passionate supporter of the arts, join us on this exciting journey as we celebrate the magic that unfolds on our local stages. At Stage Buzz Brisbane, we believe every production deserves its moment in the spotlight. If you know of any upcoming productions or hidden gems that have slipped under the radar, don't hesitate to reach out and share your insights or let us know about the productions that deserve extra applause. Together, let's shine a light on the vibrant and thriving community theatre culture in South-East Queensland. Let the curtains rise, and let the show begin! Contact

< Back CABARET: Addicted to Love - Em Rusciano Entertainment 22 Aug 2026 Season: August 22nd, 2026 Title: Em Rusciano – Addicted to Love Presented By: Em Rusciano Entertainment, QPAC Genre: Comedy / Cabaret Synopsis: Addicted to Love is Em Rusciano at her most unfiltered, feral and finely tuned. This comedy cabaret explores what we are conditioned to chase — romance, approval and validation — and the idea that if we are good, flexible and patient enough, everything will eventually work out. It is a show about what happens when that doesn't happen, and about leaving behind a relationship, a job, a version of yourself, or all three, and wondering what comes next. This is a love story — just not the one we were sold. Performance Dates: Saturday August 22nd, 2026 Performance Times: 8PM Performance Location and Address: Concert Hall, Queensland Performing Arts Centre, South Bank, Brisbane QLD 4101 Ticket Costs: $59.90 – $149.90 Ticket Link: Buy Tickets - Addicted to Love Warnings: Coarse language and sexual references. Recommended Age: Please check QPAC for current age recommendations. Duration: 1 hour 30 minutesNo interval. Duration is subject to change without notice. Cast: Em Rusciano Creative Team: Em Rusciano Entertainment Production Website: QPAC - Addicted to Love Other information: VIP packages are available. VIP 1 includes one front-row ticket, a meet and greet with Em Rusciano with a photo opportunity on your own device, and access to the pre-show fan event. VIP 2 includes one ticket within the first 10 rows and access to the pre-show fan event. Exact VIP pre-show and meet-and-greet times will be emailed directly to ticket holders closer to the event. There is a ticket limit of 6 per transaction. If you use a wheelchair or require assistance due to mobility difficulties, accessible seating can be booked by calling QPAC on 136 246 or emailing info@qtix.com.au . QPAC also provides a Concert Hall Visual and Sensory Guide. Previous Next