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Ballet Theatre Queensland – Alice in Wonderland Choreography, Direction & Story:  Clare Morehen Music, Orchestrations & Story:  Lucas D. Lynch Costume Design:  Rebekah Ellis Set Design:  Josh McIntosh Lighting Design:  Ben Hughes Sound Design:  Wil Hughes Orchestra:  Cadenza Chamber Players Photography:  Quince and Mulberry Studios Fresh off the success of Snow White  and Cinderella  in 2025 — and well-earned Stage Buzzie Awards — Ballet Theatre Queensland has built a reputation for taking familiar stories and refusing to treat them familiarly. With Alice in Wonderland , the company delivers an exhilarating reimagining that whisks Lewis Carroll’s iconic tale out of the rabbit hole and onto a bustling 1930s Hollywood film studio. Think sepia Art Deco and Depression-era grit colliding with neon signage, sequins, and big-band pizzazz. It was the kind of Golden Age glamour most of us only know through classic films and theme-park recreations… until now. From the moment audiences arrived on opening night, there was a very particular kind of buzz in the air: the “we’re about to be thoroughly spoiled”  variety. The whole venue felt celebratory before a single note was played. And when that first note did  arrive? Oh, it wasn’t a gentle invitation. It was a wink and a warning: time is ticking. Lucas D. Lynch’s  score leans into this tension, with ticking motifs and whimsical descending phrases creating a sense of urgency that never quite lets the audience relax; as if the entire world is behind schedule and only Alice is curious enough to question why. It’s an immediate signal that this production isn’t just pretty to look at; it’s purposeful, playful, and packed with ideas. Composer–choreographer collaborations of this depth are a core strength of BTQ. And it shows! Because every scene is purpose-built, musically and physically intertwined, rather than layered after the fact. With performers drawn from 24 different dance schools, this production doesn’t just showcase excellence in dance, it showcases community. The stamina required across this predominantly young cast — from rapid sequences, cramped backstage, stylistic shifts, and relentless pacing — cannot be overstated. Sepia Streets to Technicolour Dreams The ballet opens in a world of restraint and repetition: a muted, post-depression street scene. Alice enters in a brown schoolgirl outfit and boots, nimble and grounded, reading her copy of Alice in Wonderland. Around her, similarly dressed townsfolk drift beneath a dull Hollywood sign, some seeking work, others simply passing time, all caught in the monotony of routine. The action shifts into a classroom overseen by a domineering Headmistress, ruler in hand, complete with an actual blackboard (where did they find one of those nowadays?!). The children are drilled through repetitive, nonsensical exercises, their movement stripped of individuality and joy. As the teacher twirls around the room with oppressive precision, the choreography by Clare Morehen  beautifully captures control masquerading as order. When Alice follows the flustered White Rabbit down a steam grate and straight through the orchestra pit, the transformation on stage is exhilarating! The music slides into jazzy intrigue, the palette bursts from sepia into shimmering colour, and Wonderland is revealed not as the rabbit-hole fantasy we know, but as the luminous imagination of Golden Age Hollywood alive with possibility! This is an Alice  built not on whimsy alone, but on industry, imagination, and the cost of creativity. A Wonderland That Never Stops Moving Once inside the Hollywood film studio, the eye is constantly drawn everywhere at once, thanks to Josh McIntosh’s  set design. This Wonderland never stands still. Dancers move the set pieces themselves with impressive coordination, meaning transitions happen mid-motion and momentum is never lost. Doors appear, dressing rooms materialise, and entire worlds shift before you’ve even registered the last one. The use of double-tiered staging at the rear of the set allows for even more visual surprises, particularly during large ensemble numbers. While one group dazzles front and centre, another is already building the next picture behind them, creating a constant sense of activity that mirrors the frantic energy of a real working film studio. Top hats off to the creative team and dancers (especially given the Concert Hall’s lack of wings or a fly tower!) Around them, neon signs — including a clever glowing “Drink Me”  vanity and “Eat Me”  diner sign — illuminated props, glowing puppetry, and sequinned showgirl flamingos flood the stage. Glamour and Glitter The costuming is nothing short of extraordinary. Rebekah Ellis’  designs lean fully into 1930s Hollywood glamour while still allowing complete freedom of movement. Alice’s transformation into her Wonderland attire is a visual delight: pink satin, golden sequins, and a signature purple ribbon that keeps her instantly recognisable amid the chaos. The attention to detail given to every costume piece of this large ensemble cannot be understated (all the way down to the colourful pointe shoes!) Even the littlest performers — dressed in tiny pink hearts, and dapper suits, they were utterly charming and brought audible “awws” from the audience. The onstage costume changes of the Diva and Alice (clearly necessitated by the venue’s constraints) become part of the spectacle rather than a distraction. Genevieve Schofield’s  Alice absolutely glistens with imagination. From her first entrance, she captures that essential sense of curiosity and wonder, balancing childlike movement with highly assured technique. Schofield blends ballet, jazz, and theatrical storytelling with ease, adapting her physical acting as Alice grows in confidence and agency. Her solo moments shimmer with dreaming and possibility, and she remains the emotional anchor of the production throughout. Jordan Lennon’s  Leading Man ( the Blue Caterpillar ) is suave, commanding, and undeniably cool, complete with a fabulous suit-and-hat design — with actual smoke  coming from his jacket somehow (?!). His movement quality is smooth and confident as he toys with Alice through riddles and gorgeously fluid lifts. As the Mad Hatter-turned-film director, Jayden Grogan  delivers one of the production’s biggest highlights. His bluesy, jazz-laced showstopper crackles with energy and showmanship, unapologetically bold in its eccentricity. The percussion section was clearly having the time of its life, propelling the number forward and pulling the audience along for the ride. One of the evening’s biggest laughs comes courtesy of the diner kitchen scene, led by Matilda Kimlin’s  gloriously frazzled Cook and Scarlett Hutley’s  serenely oblivious Duchess. Paired with a frenetic strings score and staged with gleeful screwball chaos, the comedy hits the mark. Kimlin’s reactions — especially in the later slow-motion dressing-room meltdown — had me absolutely cackling . Tweedledum and Tweedledee — Chloe Hough  and Zara Strelen  — appear as mischievous wardrobe assistants in vibrant dresses, sunglasses, and beautifully styled wigs, stitching themselves directly into the story. As the perpetually flustered film producer, Matthew Erlandson’s  White Rabbit is everywhere at once and utterly brilliant at it. Darting across the stage in a vibrant orange tuxedo, he leaps like he’s got springs in his shoes and captures the stressed-out energy. Kohei Iwamoto  as the Diva’s devoted and long-suffering PA ( King of Hearts ) brings big attitude and big hair to the role. Lily Pietsch appeared as the energetic Cinematographer ( March Hare ), and Hadley Hooper’s adorably exhausted PA to the Director ( Dormouse) , whose commitment to perpetual fatigue was both so real and hilarious. And then there is the Diva ... Sophia Gougoulas  makes an entrance worthy of legend, arriving in a Daimler-style '30s shiny red vehicle. Draped in red fur, crowned with an enormous hat, and adorned with a dazzling heart-shaped necklace, she commands immediate attention… and fear. I literally said “YAS QUEEN”  as she stepped out. Her Queen of Hearts is deliciously dual: impossibly glamorous and soft-focus romantic when the cameras are rolling, yet ruthlessly volatile the moment they stop. Gougoulas navigates this split with relish. A romantic pas de deux in a slinky white gown and bouncy blonde wig opposite Jordan Lennon  reveals her at her most refined — all old-Hollywood grace and luminous poise. This “Action!” sequence is underscored by a score that feels like My Fair Lady  meets La La Land … but better. Then, just as quickly, the glamour unravels. Her off-camera dressing-room meltdown — staged in slow motion — is a masterclass in theatrical comedy. Music, Movement & Spectacle Lucas D. Lynch’s  ambitious score throws its arms wide and fully commits, drawing from jazz, blues, Broadway, and classical with nods to Gershwin, Porter, and golden-era film composers. Lynch makes full use of his expanded brass and winds orchestration, and at times it feels as though every instrument and sound effect at his disposal is in play at once. From smoky nightclub moods to glorious big-band blasts, the score never settles into predictability. The Cadenza Chamber Players rise admirably to the challenge of this demanding new music, navigating its rhythmic complexity with impressive stamina and cohesion. With a full 46-piece orchestra in the pit, the sound has a cinematic sweep rarely heard in dance productions of this scale. Filmic sound effects — including the whirr of a rolling film reel — heighten the Hollywood illusion and immersion, while Ben Hughes’  lighting design expertly guides the audience through the visual feast, drawing the eye precisely where it needs to be amid constant motion and layered staging. The choreography by Clare Morehen features extensive use of canons, particularly in the feathered fan sequences, creating ripple effects across the stage that are both visually thrilling and technically demanding. Full-throttle jazz explosions accompany kicklines, parasol and feather-fan movement, and exuberant Charleston sequences (while wearing pointe shoes I might add!) Every number somehow manages to top the last. A particular highlight is the Cheshire Cat — a large, glowing, fragmented puppet. Cleverly concealed puppeteers and low lighting create the illusion of floating, disembodied body parts and a mischievous grin, prompting audible gasps from the audience. It’s theatrical magic at its most delightful, and yet another reminder of the ingenuity on display throughout this production. The courtroom scene swings into a deeply jazzy blues groove, anchored by a sultry bassline and shimmering cymbals that ooze drama. From there, the production launches headlong into its finale, erupting into glorious, organised chaos. Hats off to Stage Manager Emma Healy , because the sheer coordination required in these final moments is breathtaking. With onstage costume changes, fast-moving set pieces, and a cast pouring in and out of the action, the energy never drops. I found myself holding my breath, acutely aware that just beyond the makeshift wings there must have been absolute mayhem. Alice returns to a world that appears unchanged... but she is not the same girl who left it. Inspired, emboldened, and full of possibility, she pulls out a notebook and begins to write. It’s a simple, quietly powerful ending that lands beautifully, reinforcing the production’s central message: that adventure can be found through books, through imagination, and through the act of storytelling itself. I couldn’t agree more.

Heathers: The Musical – Teen Edition Presented by BG Performing Arts Director : Sam Caruana Music Director: Kate Baxter Choreography : Bella Gordon Photography : By Brit Creative There's a certain excitement when you walk into a jam-packed (and pitch-black!) theatre for a youth production, knowing you're about to see a ton  of talent on stage. That buzz was undeniable at Heathers: The Musical – Teen Edition , with a crowd of about 300+ eager folks ready for a chaotic ride through the halls of Westerberg High.   For the uninitiated, Heathers  is a darkly comic coming-of-age musical, based on the cult classic film, set within the ruthless social hierarchy of an American high school in the 1980s. At the top sit the three immaculate, terrifyingly powerful Heathers, ruling the school with colour-coded confidence and casual cruelty. Enter Veronica Sawyer, an awkward outsider who suddenly finds herself absorbed into their elite clique, along with all the moral compromises that come with it. When she meets the mysterious and volatile J.D., teenage rebellion escalates into something far more dangerous, forcing Veronica to confront popularity, power, and the very real consequences of going along with the crowd. The Teen Edition keeps the show’s sharp wit and emotional core but puts a little bubble wrap around its more risqué bits for the younger performers. That said, it is still very much Heathers . The “cleaned-up” script leans on creative synonyms, sometimes hilariously so ("Oh-my-god!"), yet still includes references to suicide, violence, abuse, implied hanky-panky, and good old-fashioned teenage terrorism. Under the direction of Sam Caruana , with energetic choreography by Bella Gordon  and musical direction from Kate Baxter , this production embraced the dark humour and emotional weight of the material while showcasing just how much these performers could handle.   The stage was absolutely packed with talented performers tackling notoriously demanding material with impressive stamina. Full-cast numbers were a major highlight. Candy Store  was expanded into a large ensemble moment with the Heathers front and centre, while Big Fun  burst with high-energy choreography, including ambitious floor chorie that showed off both skill and endurance. Shine a Light  offered a softer tonal shift, with glowing hand lights adding a cool touch!   Raine Barr  led the show as Veronica Sawyer, delivering consistently strong vocals throughout. Her performances of Beautiful  and I Say No  were as smooth as butter, with riffs and tone that could make even the toughest critic swoon. While Fight For Me  sounded effortless and was elevated by the hilarious slow-motion fight sequence. Dramatically, Veronica was played with a more blasé, laid-back approach than is often seen, which meant some jokes did not quite land as strongly as they could have. From the back of the theatre, some dialogue and lyrics were difficult to catch. Clearer articulation would lift Raine's performance further, though vocally she completely carried the show with confidence. As J.D., William Piper delivered an intense and committed performance that only grew stronger as the show progressed. Freeze Your Brain  had a cool, quiet edge, though vocal fatigue became noticeable as the night went on, with Raine carrying much of Seventeen . By the time William reached Meant to Be Yours , his acting was so intense you could practically see steam coming out of his ears. The clenched jaw, barely contained anger, and laser-focused intensity were genuinely chilling. The tension he held in his body was unsettling, and perfectly suited the volatility of the role. Among the Heathers, Amy Davidson ’s queen bee Heather Chandler stole the show, owning the stage with her confidence and killer vocals. Zofia McGuinness was dynamite as Heather Duke, especially during I Will Never Shut Up Again , where she joined the whole cast with feisty choreography. Tilly Kelly  wowed everyone with a stunning rendition of Lifeboat , smoothly transitioning from a nervous vulnerability to a vocal powerhouse, showing off excellent dynamic contrast. Rose Hancock  gave a beautifully nuanced performance as Martha, with Kindergarten Boyfriend  emerging as one of the emotional highlights of the night. Her gentle tone, clear storytelling, controlled vibrato, and dynamic range completely held the room. A genuinely lovely performance of a heartbreaking song. Comic relief was in very good hands with Toby Bailey and Alex Townsley as Kurt and Ram. The casting felt spot-on, with bold physical comedy and fearless commitment. I was genuinely surprised to see You’re Welcome  included, but it landed with big energy. My Dead Gay Son  was a clear crowd favourite, with Hamish Treeke and Zander Hutson clearly having a blast leaning into the song’s absurdity. Isabella Bonaventura’s Ms Fleming brought a funky, humorous presence that added plenty of personality. Visually, the show was clear, colourful, and easy to follow, especially impressive given the holiday workshop time crunch. The two-level set helped create height and gave most of the cast a chance to be seen, with lockers and simple props like croquet mallets, a 7/11 counter, and a piñata adding to the storytelling without overcomplicating things. I also loved that the ensemble costumes avoided over-the-top 80s clichés. That said, sightlines became a little tricky during extended floor choreography, particularly without tiered seating. Sound was the biggest challenge of the night, with underscoring sometimes overpowering vocals and a few microphone hiccups along the way. Even so, the cast never dropped their energy, pushing right through to the final bow and earning loud, well-deserved applause.   Ultimately, Heathers: The Musical – Teen Edition  by BG Performing Arts was a vibrant, ambitious production overflowing with talent. These young performers tackled a difficult score and complex themes with courage, commitment, and connection. It is always exciting to watch emerging artists push themselves into new territory, and many of these performers are absolutely ones to watch.   (Also, a special shout-out to the ensemble character who became pregnant and ended the show cradling a baby. Iconic long-form storytelling. No notes.)

Beauty and the Beast: The Broadway Musical Brisbane Musical Theatre Director : Jesse Bradford Musical Director:  Mark Beilby Choreographer:  Ava Moschetti Lighting Design:  Spencer Mitchell Costume Design : Geena Lukin & Andrea Halter Photography : Artist Focused Brisbane Musical Theatre wrapped up their season of Beauty and the Beast with a packed final performance, after the earlier show I was supposed to attend was unexpectedly cancelled due to a power outage (thanks, Brisbane weather!). The closing night turnout was massive, with a crowd so warm and supportive, it could have melted even the Beast’s heart. Everyone was eager to finally catch this beloved Disney classic and cheer the cast across the finish line! From the moment the overture began, it was clear this production was reaching wholeheartedly for fairytale magic. The projected backdrops were a thing of beauty, clearly establishing the village, castle, woods, and tavern with storybook charm. The opening sequence featuring the Enchantress and the Prince was particularly effective, using costume, fog, narration, and lighting to create a strong sense of atmosphere that pulled the audience into the story right away. The opening number, “Belle,” seemed a bit overwhelmed by its own enthusiasm. With a very full stage, a few missed lines/early microphone hiccups, the scene seemed quite hectic, but undeniably bustling! The little village set pieces were a thoughtful inclusion, but with such a large ensemble, the cast seemed like they were trying to squeeze one more shopping trolley down an already crowded grocery store aisle. Musically, the show was in excellent hands under Musical Director Mark Beilby, whose orchestra delivered a polished and superb performance. The iconic sweeping score was handled beautifully, and the ensemble vocals in the large group numbers were consistently strong — something Brisbane Musical Theatre does particularly well. A standout of the evening was Reagan Warner  as Gaston, who entered to immediate cheers and clearly knew how to command the stage. His voice acting, physicality, and commitment to character were spot on. His bravado-filled solo “ Me ” was staged with playful flair, allowing his rich tone to shine. “ Gaston ” was a riot: full vocal power, coupled choreography, and clever use of tankards and props. While “ The Mob Song ” carried real urgency and menace (his eyebrows doing some very heavy lifting indeed!). And though the “ Gaston Reprise ” between Reagan and Alex Sturdee  had great energy and character interplay, the harmonies were not present. Nonetheless, Reagan looked like he was having an absolute blast playing the villain. Dan Pohlman’s was a roaring success as the Beast. He used gruff vocals, heavy movement, and growls to establish presence, with the elevated staircase staging cleverly enhancing his authority. Vocally, Dan was excellent; “ If I Can’t Love Her ” was beautifully sung and well-staged and lit. As the character softened, his awkward, dorky charm emerged, making the Beast’s transformation feel genuine by the end. The final fight with Gaston was intense and impressively committed — including Dan yeeting himself down the stairs like he was in an action movie! Leah Harford was lovely as Belle, showing off some impressive vocal power and a consistently strong belt. Her performance of “ Belle Reprise ” had that classic American princess style, while “A Change in Me ” highlighted her contemporary musical theatre strengths. Dramatically, Belle’s emotional journey felt a bit surface-level. Numbers such as “Home”  lacked authenticity and emotional shaping, which felt more like a blocking or directorial matter than a lack of effort from Harford herself. The enchanted household characters brought warmth and humour in abundance. Jose De Andrade leaned fully into theatrical melodrama of Cogsworth, while Michael Chazikantis  was a wonderful highlight as the funny, sincere, and flirty Lumière with an excellent French accent, comic timing and an easy rapport with his fellow cast members. Together, their performances balanced charm and heart beautifully, grounding the humour without tipping into caricature. Annie Sutherland’ s Babette matched them well with her confident accent and playful characterisation. Lauren Bull played the sassy wardrobe Madame with her beautiful operatic tone, while Melissa Beilby’s  Mrs Potts offered warmth and sincerity, particularly in “ Beauty and the Beast .” Chip — a shared role between Olivia Cowdrey and Ashton Nowers  — earned plenty of well-deserved “awws” from the audience. Alex Sturdee’s  Le Fou made hilariously unsettling expressions that, on reflection, felt absolutely spot-on for the goofy character. The Silly Girls ( Elloise O’Connell, Emma Johnstone, and Tobey Ogilvie ) lived up to their name — perky, intense, and delightfully unhinged — they injected bursts of energy whenever they appeared. As Maurice, Barry Haworth  was sweet and kooky, though his delivery sometimes lacked genuine urgency. “ No Matter What ” would have benefited from emotional shaping to give the moment more weight and some movement to give audience a better view of both characters. Choreography by Ava Moschetti  was ambitious for the size of the stage and the cast! “ Be Our Guest”  delivered excellent ensemble vocals and high energy, though spacing around the large staircase set piece was tight. The featured dancers impressed with fouettés and tap moments, even if the costumes lacked that essential visual dazzle for me. “ Human Again”  was vocally gorgeous, though movement was minimal again. The wolf stage combat was a howling success, with choreography that packed a punch. “ Beauty and the Beast ( Tale as Old as Tim e)” was sweet like a sugar-coated donut. Director Jesse Bradford  clearly leaned into family-friendly fun, and many scenes looked like an absolute joy to perform. The castle set was a standout, particularly the clever transformation of the West Wing into the library. The wilting rose was a lovely effect. While most leads entered and exited fully in character, the ensemble at times appeared to be searching for their marks. The makeshift wings were clearly a circus side stage — so maybe letting characters come in through the aisles or downstage entrances could have helped ease congestion. Shoutout to the crew for handling those frequent scene changes! It did cause the runtime to feel long, with some moments dragging as a result, but they clearly did their best. Some spoken dialogue also felt a bit bland, which is understandable in a story audiences have known for over 30 years, and likely far more exciting for the younger audience members who are very much the target demographic. Speaking of, when it comes to kids the lack of tiered seating can affect sightlines, but they worked well for me except during the final "death" scene. Costume design by Geena Lukin and Andrea Halter  shone most clearly in the furniture character costumes. The Beast, Gaston, Le Fou, Lumière, Cogsworth, Madame, Mrs Potts, and Chip were all thoughtfully designed and well suited for movement. Belle’s blue-and-white village dress and later pink and yellow ballgowns were less effective, with fit and styling choices that didn’t quite serve the character as well as they could have. Lighting design by Spencer Mitchell  was effective overall, contributing strongly to the show’s atmosphere. I did find the extended strobe effects during the transformation quite intense, and audience members seated close to the speakers (myself included) may have found the volume overwhelming at times. Despite this, I thoroughly enjoyed the commitment and energy of the wonderful cast, who maintained strong momentum through to the final bow, with the show met by generous applause from the audience. Beauty and the Beast  is a demanding musical — vocally, technically, and logistically — and Brisbane Musical Theatre approached it with clear affection. With several standout performances and moments of theatrical excitement, this production continues BMT’s commitment to delivering accessible, family-friendly musical theatre for Brisbane audiences.

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, from audition alerts and performance reviews to exclusive spotlights on local talents and invaluable theatre tips. 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 THEATRE: For the Sake of Love - Sun and Wine Arts Company 13 Feb 2026 Season: February 13th - 15th, 2026 Title: For the Sake of Love Presented By: Sun and Wine Arts Copmany Genre: Theatre / Comedy / Valentine’s Day Themed Show Synopsis: For the Sake of Love is a one‑act comedy following eight people and their multifaceted relationships with love in a chaotic workplace setting. Whether it’s self‑love, family, friendship, career, or romance - these stories explore how love affects everyone differently, often with hilarious and heartfelt results. Performance Dates: February 13th - 15th, 2026 Performance Times: Friday - 7:30PM Saturday - 3PM & 7:30PM Sunday - 3PM Performance Location and Address: Wonargo Revue, 62 Flower St, Northgate QLD 4013, Australia Ticket Costs: General Admission - $30 Hot Date Ticket - $55 Ticket Link: Buy Tickets - For the Sake of Love Recommended Age: All ages Duration: Approx. 60 minutes per performance Production Website: Sun and Wine Arts Company - For the Sake of Love Other information: A quirky, heart‑centred theatre comedy celebrating all forms of love - not just romantic - in a workplace setting. Check directly with the Wonargo Revue venue for details on wheelchair access and seating accommodation. Tickets sold via Humanitix support charity (profits from fees go to charitable causes). Previous Next

< Back MUSICAL REVUE: Side by Side with Sondheim - A Night at the Musicals, Brisbane Powerhouse 12 Mar 2026 Season: March 12th - 14th, 2026 Title: Side By Side with Sondheim Presented By: A Night At The Musicals Inc. at Brisbane Powerhouse Genre: Musical Theatre Concert / Revue Synopsis: A celebration of the extraordinary work of Stephen Sondheim, Side By Side with Sondheim brings his iconic songs, stories and characters to life in an intimate concert setting. Featuring music from Company , Into the Woods , Merrily We Roll Along and other favourites, this revue presents Sondheim’s genius with artistry, humour and unforgettable music for both fans and newcomers alike. Performance Dates: March 12th - 14th, 2026 Performance Times: Thursday & Friday - 7:30PM Saturday - 2PM & 7:30PM Performance Location and Address: Underground Theatre, Brisbane Powerhouse, 119 Lamington Street, New Farm QLD 4005 Ticket Costs: A Reserve - $74.95 B Reserve - $64.95 C Reserve - $54.95 Ticket Link: Buy Tickets - Side by Side with Sondheim Warnings: Contains adult themes, coarse language and sexual references. Recommended Age: Suitable for 15+ Duration: Approx. 2 hours 10 minutes (including interval) Cast: Featured soloists include Courtney Monsma, Sarah Morrison, Renae Suttie, James Shaw, Lachlan Greenland, Jordan Koulos and Erica Wild, supported by quartet performers Liam J. O’Byrne, Josh Whitten, Paige McKay and Laura Garrick. Production Website: Brisbane Powerhouse - Side by Side with Sondheim Other information: Brisbane Powerhouse is a major arts venue in New Farm hosting contemporary theatre, music, cabaret and festivals year-round. Brisbane Powerhouse venues, including the Underground Theatre, are wheelchair accessible and offer facilities for patrons with access needs — contact the Box Office for specific arrangements. Children under 18 months may sit on a caregiver’s knee with a valid ticket for older attendees. Previous Next