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Triple Bill: Glassworks + Rendezvous + One of Those Days Presented by Brisbane Ballet at QUT Gardens Theatre Choreographed by Rosetta Cook, Arianna Marchiori, Emrys Goldsworthy Photography by Alisa Poturaeva Dance has a way of communicating what words often make clumsy. It lets dancers tell stories without handing you the words, which is fortunate, because I am not going to pretend I know ballet terminology beyond the basics. I came to Glassworks + Rendezvous + One of Those Days as someone who appreciates dance more than I can technically explain it, and what I got was three bold, beautifully performed works that made me sit there completely absorbed. This was not a program that stayed in one lane. 'Her' moved beautifully between three worlds: the sensual tango of Rosetta Cook’s Rendezvous, the pulsing complexity of Arianna Marchiori’s One of Those Days, and the ambitious force of Emrys Goldsworthy’s Glassworks. Rather than presenting female experience as one neat, easily defined thing, the triple bill allowed it to shift shape. It appeared as desire and connection, as repetition and solidarity, and as discipline and transformation. The program opened with Rosetta Cook’s Rendezvous, performed by Lucinda Worthing-Shore and Tynan Wood. Set in the world of Argentinian tango, it carried heat, restraint and elegance, with ballet softening the movement without draining its suspense. The lighting and haze softened the stage into a secretive blur, like a private affair glimpsed through gauze. Wood opened with playful nerves, all preparation and anticipation. But that energy changed as soon as Worthing-Shore appeared. She was a stunner in elegance, control and presence. Her heel work was immaculate, and she moved with such confidence that the stage seemed to rearrange itself around her. Though Rendezvous was brief, only two movements, it felt complete. The choreography used chairs, floorwork and close partnering to build sensuality through trust. The lifts had strength without showboating, and there was genuine intimacy between the two dancers. Arianna Marchiori’s One of Those Days was danced by Hannah Nash, Shanti Barlow, Rebecca Dooley, Maeve Rooney, and Molly Bell. These five women in rusty brown and navy dresses took the stage in socks to create a completely different world for this piece. One of Those Days felt like being dropped inside the nervous system of a group of women trying to get through the day, the week, the body, the expectations, the everything... It opened with a pulsing beat and a series of tableaux around a table, each one caught for just a few seconds in the spotlight. Those brief images gave flashes of mood and meaning before vanishing. I read them as fragments of girlhood; tiny snapshots of emotion, pressure, performance, fatigue, and defiance. The synchronised work of the dancers was especially striking. These five girls were clearly distinct in style, yet they frequently moved as a single entity. The choreography progressed from fast, sharp phrases, bodies throwing themselves to the floor, to more fragmented sections where they seemed separate and self-contained. Then the distance broke. They carried, held, embraced, and acknowledged each other. That transition from isolation into support was one of the most affecting parts of the piece. The lighting was stunning throughout this work. Much of it came from wide spotlights above, carving the dancers out of the dark and letting shadows become part of the storytelling. The music, often EDM-like and heavy, thumped around the space and gave the work a restless charge. Some recurring images threaded through the work stayed with me: movements of “lifting yourself up,” sprinting in circles, hints of “three wise monkeys” motif, and poses that startled because of the sheer strength they revealed. Some choreographic moments were unlike anything I had seen before, which is probably both a sign that I should watch more dance pieces and that this work was doing something truly fresh. For me, One of Those Days travelled through many facets of girlhood and sisterhood. It looked at the internal cycles women move through, but also the external expectations that shape how much of those cycles they are allowed to show. It captured empathy, tension, conformity, exhaustion, resistance, and recognition. The final and largest work of the evening was Emrys Goldsworthy’s Glassworks, named for composer Philip Glass and set to his hypnotic, orchestral music. Performed by Lucinda Worthing-Shore, Tynan Wood, Rafaela Morel, Rubi Hawkins, Hannah Nash, Shanti Barlow, Rebecca Dooley, Maeve Rooney and Molly Bell, this was an immense work that fused post-classical contemporary dance, pointe work and neoclassical ballet. And look, I am not going to pretend I can technically explain everything I saw. I cannot. What I can say is that Glassworks was wildly impressive! The first movements had a fast, urgent quality that I loved immediately. The dancers hit frame after frame with startling precision, and they did it on pointe! They glided across the stage like they were on ice skates, skimming through space with speed and grace while the music surged underneath them. Rafaela Morel also delivered some truly astonishing moments. I wrote in my notes, “Rafaela does the craziest shit I swear,” and while I should probably phrase that more professionally, the sentiment remains accurate. Her movement had a daring, almost reckless quality, but with the control of someone who knew exactly what she was doing. She seemed to attack the choreography with complete commitment. One of the most fascinating things about the choreography was how often the dancers moved around each other in entirely different ways. Rather than everyone simply doing the same thing at once, the stage was full of intersecting patterns, separate choreographic ideas, and shifting relationships. Dancers crossed, chased, circled, curved and cut through the space, creating a constant sense of intricate motion without chaos. As the music calmed, the work shifted. Pointe shoes were shed and replaced with sockettes, opening the door to more contemporary movement. This change altered the whole texture of the piece. It became less about the crystalline sharpness of pointe and more about the body folding, reaching, stretching, contracting and grounding itself. The lyrical variations stood out to me as some of the coolest choreography of the night, paired with some of the most beautiful music. The dancers seemed to use every body part with complete conscious control, down to the smallest ripple or redirection. Worthing-Shore and Wood were stunning in their pas de deux together, this time in a completely different mode from Rendezvous. I mean just look at these photographs! Instead of tango intimacy, their connection in Glassworks had a chasing quality, like two forces being pulled toward and away from each other across the stage. Their partnering was elegant and athletic, and emotionally charged. There was no obvious narrative to cling to and there was not meant to be. Glassworks was far more interested in subverting expectations of ballet and pushing the artform into stranger, sharper, more elastic territory. It was ballet, yes, but not the traditional storybook version. It was progressive, athletic and sometimes unhinged... Goldsworthy’s choreography felt like the work of someone determined to stretch, crack, twist and reassemble the body in every conceivable way. I mean that as a compliment, though I am not sure the dancers’ hamstrings would agree! Together, the works made for a rich and varied performance. The program did not flatten female experience into one neat idea. It let womanhood arrive in contradictions: passionate and powerful, tired and vulnerable, soft and strong, connected and distant, beautiful and unstoppable, disciplined and wild.

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...

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< Back YOUTH PERFORMANCE: Antigone - NAPA 19 June 2026 Season: June 19th, 2026 Title: Antigone Presented By: NAPA Genre: Tragedy, Youth Performance Synopsis: After Oedipus' self-exile, his sons Eteocles and Polynices engaged in a civil war for the Theban throne, which resulted in both brothers dying fighting each other. Oedipus' brother-in-law and new Theban ruler Creon ordered the public honoring of Eteocles and the public shaming of Thebes' traitor Polynices. The story follows the attempts of Antigone, the sister of Eteocles and Polynices, to bury Polynices, going against the decision of her uncle Creon and placing her relationship with her brother above human laws. Performance Dates: June 19th - 20th, 2026 Performance Time: 7PM Performance Location and Address: The NAPA Studios, 3 Stevenson Ct, Burleigh Heads Ticket Costs: General Admission - $26 Senior - $22 Child - $18 Ticket Link: Buy Tickets - Antigone Cast: Students of NAPA Productions Website: NAPA - Antigone Other Information: NAPA Studios is an accessible venue. Patrons are encouraged to contact the event organiser when booking for specific access needs. Previous Next

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