Author Archive for Xanthe Coward


Flamenco Fire’s Viva Sevilla


Flamenco Fire’s Viva Sevilla – The Golden Age of Flamenco

QPAC & Red Chair

QPAC Cremorne

January 28 – February 6 2016

Reviewed by Xanthe Coward


Flamenco Fire is our only national Flamenco company, celebrating seventeen years in 2016. We love seeing them every year at Woodford Folk Festival, where the crowd goes crazy for the Spanish rhythms and passionate storytelling.

At first this production feels as if we’ve been invited to the fantastic late-night backyard party in Baz Luhrman’s Strictly Ballroom (it didn’t translate to the stage with quite the same ferocious passion and excitement, did it?). We’re transported to nowhere in particular in 19th century Spain seen through a contemporary Australian lens. The design is sparse and slickly metallic, with just a black-covered chair for each musician and a hat stand of flowers and troublesome fringed (guaranteed-to-get-caught-every-time) scarves for each dancer. We’re welcomed to an era of brash confidence and newly public flamboyant flamenco dance (1850 – 1920), which became known as the Golden Age of Flamenco.

Many challenges that exist in Australian society today were present in 19th century Spain. The concepts of nationhood, sovereign territory, the balancing of political and religious powers, cultural tolerance, the influences and difficulties in balancing the growth and decline of industries, the impact of migration on farming, mining and urban communities. Using the aesthetic of traditional flamenco combined with contemporary dance choreography, original composition and supporting visual and staging design, Viva Sevilla examines these cultural challenges within the Spanish historical cultural context and connects them to the contemporary Australian experience.


Without the explicit historical or political context cited in promotional materials and our gorgeous glossy program, we’re very simply presented with a series of traditional Spanish dances, performed superbly by Francesca Grima and Simone Pope. Grima, all at once stern, passionate and mischievous, comes direct from Spain, along with vocalist Olayo Jimena and sensational, sexy percussionist Andrej Vujicic. They are joined on stage by Australian musicians Andrew Veivers, Kieran Ray, Shenton Gregory and singer, Clara Domingo. The newest member of the group, Domingo sings best during the curtain call and less confidently before that. She’s lovely on stage and her full voice is beautiful, and I wish we’d heard more of it. Instead, much of her vocal work is quiet, gentle, suiting the lilting tones of the guitars but barely audible at times, lost in the music and beneath the commanding voice of Jimena. An extraordinary storyteller, on opening night Jimena elicits much laughter with his exaggerated gestures and facial expressions conveying his adoration and then angst at the hands of the women in his life-on-stage. The tales are long with many verses and others obviously enjoy his indulgent storytelling style, clapping and cheering loudly at the end of each verse. It’s wonderful drama!

Vujicic provides additional traditional vocal support and percussion throughout, and one of the evening’s highlights breathes vivid life into a lagging Act 1 when he sits with Grima to perform an exhilarating body percussion piece (Ritmos Flamencos). Later, he forms a trio with Grima and Pope to perform a tightly choreographed wooden walking stick number (Bastones Flemencos). Another highlight of the night is Veivers, his classical guitar solos (Maestro Patane & Treinta) demonstrating his mastery and sensitivity in this style. As a director, it appears as though Veivers has his focus squarely on the composition of his original pieces and on his performance, with little sense of storytelling outside of the music and dance. And this is fine – it’s a sell-out show, sensational in its separate elements and it can be argued that the history and evolution of the dance styles are revealed through the dance itself – but smoother transitions and a semblance of story to link each dance would give non-Spanish speakers another hook into the performance.

If you appreciate authentic Flamenco with its palmas, swirling skirts and Spanish song, you’ll love the music and dance and fiery energy of Flamenco Fire’s Viva Sevilla

Tour details here

Workshop details here



Carrie The Musical


Carrie the Musical

Brisbane Powerhouse & Wax Lyrical Productions

Brisbane Powerhouse Visy Theatre

January 22 – 30 2016

Reviewed by Xanthe Coward

“Carrie” opened on Broadway on May 12, 1988, and closed three days later, losing a record-breaking seven million dollars.

Michael Schulman. The New Yorker


You ain’t seen nothing yet. It’s gonna’ be a night we’ll never forget.

Carrie White’s teen angst bullshit bodycount trumps Veronica Sawyer’s doesn’t it?!

Stephen King almost didn’t write Carrie. After he threw out the first three pages of the first draft, his wife found the pages, smoothed them out, read them and demanded to know the rest of the story. Carrie was his fourth novel; his first to be published (1964). Since then we’ve seen two famous film versions and the musical, infamous, earmarked by critics as one of the worst musicals of all time.

Zoe Tuffin’s production brings compassionate storytelling and mostly relatable characters to a stage that is strewn with prom night confetti from the outset and soaked in symbolic blood by the end. Tuffin’s production is uniquely imagined, deftly handled and boasts the very best of Brisbane talent, both onstage and off. The company comprises mostly Griffith University Queensland Conservatorium graduates, testament once again to the extraordinary amount of talent in this state, and to the quality of Paul Sabey’s Musical Theatre course content and high calibre of his teaching team. These graduates have rehearsed Carrie in between callbacks for the next round of Australian professional touring productions. No surprises there. The real surprise is the uniformity of triple-threat talent on stage, and the commitment of the cast to bring such deeply flawed, complex characters to life in such an authentic way, despite the flaky writing. The only over-acting comes from Tori Bailey as Chris the total bitch and Thomas Davis as her boyfriend, Billy, but others in the audience adore them. I might have enjoyed Bailey’s performance more if I could discern the words during her cute little rock pop solo, which is certainly energetically executed. Usually the Visy is spot on with the sound but the mix was an issue on opening night, just as it was recently in QPAC’s Playhouse (right up until closing night!), giving Sound Designer Ben Murray a few things to think about this week.

Dominic Woodhead leads a fantastic sounding band (we can’t see them through the haze in the dark out the back) but I’d love to hear them again in this space sans so much crashing percussion. In 1999 we built a soundproof room for the band and multi-cored to the PA for a warehouse production of Jesus Christ Superstar and I’m thinking Brisbane could do with some similarly innovative solutions, or a new breed of designer/engineer or something because the frequent problems with the mix in a couple of our top venues are old news and still unforgivable.

Most of the cast are as real as the mean girls and boys you might remember (or might have tried to forget) from your own high school days and nights, and it’s this focus, on the horror of high school that holds the original supernatural horror of the story at arm’s length until Act 2.


Sophie Perkins makes the title role one to remember. An uninformed, misunderstood social misfit on the brink of womanhood, betrayed by her mother’s mismanagement, Carrie doesn’t like being “tricked” and she finds her power in the darkest revenge. (Remember, it’s not a happy ending!). Perkins has a powerhouse voice and a fantastic palette of emotions. I’d love to see how her nuance translates to the screen.

As Carrie’s mother, the formidable, fanatical Margaret White, Jacqui Devereux dishes out the vocal power and imposing physical presence to knock the poor girl to her knees without any contact at all and I’d like to have seen this dynamic explored, although the shock of seeing her push and pull her daughter across the stage certainly has the desired effect, making her a monster in our eyes. The role is generous – the show could almost be Mother’s story – and in it Devereux offers her most credible performance to date, never less so than in Act 2’s moving When There’s No One. 


Georgina Hopson, a joy to behold and this time in a slightly less saccharine role than usual, manages even so to encompass the sweetness of Carrie’s unlikely friend, Sue, as well as her strength. Hopson’s vocal mastery, superior in every aspect, reveals the best aspect of a skill set akin to our current leading ladies of musical theatre. She’s a stand-out on stage – there must be local performers who wish they could discover the secret to Hopson’s easy presence – and she holds her own right up until the final tragic moment.

Alex Woodward as the jock boyfriend, Tommy, sings beautifully and brings sensitivity to the role, leaving no doubt in our minds that he genuinely adores Sue and for reasons he can’t quite fathom either, wants the best for her freaky friend.


Chloe-Rose Taylor and Stephen Hirst resist the temptation to present us with cardboard cutouts of boring caring teachers and offer naturally confident, competent performances. Hirst makes the most of his little moment in yet another underwritten role and Taylor takes her time to establish the maternal connection that Carrie misses out on at home. In this supporting role she shines, connecting beautifully, believably with Perkins’ Carrie. Surprisingly, the song that least fits the show, Unsuspecting Hearts, is lovely, providing much needed relief from the heavy themes throughout.

Tuffin’s success lies in her pragmatic approach, her acknowledgment of the limitations of the theatre and her determination to create magic with so little. Set & Costume Designer, Patrick James Howe employs imaginative design solutions to fit perfectly into the intimate space and bring us disturbingly close to the action. Jason Glenwright’s cellar style lighting features a dramatically spare par can wall, which successfully shocks us into submission with its blinding white light before fading and making way for a special on Sue, centrestage, with her version of the story. This image bookends the show, the narration being one of the revisions after the monumental flop of the original production and it works well here. Importantly, the wall of light also serves to separate the “backstage” space from the stage, key to the shape and flow of the show. Unfortunately, its lights also flash unnecessarily to indicate Carrie’s telekinesis. It’s a bit kitsch when Tuffin has managed to avoid this sort of 80s’ mark elsewhere.

While there is very little telekinesis on display what we see is convincing enough so it’s clearly a matter of quality over quantity.


Prom night is the ultimate test of our willingness to suspend disbelief, not only in terms of the massacre that must follow but in terms of its orchestration. Wisely avoiding the problem of not-enough-blood, Tuffin has Carrie kill in another dramatic way (no spoilers here but has Dan Venz choreographed the sequence?). This is undoubtedly more effective for those seeing the show without any knowledge of the previous versions of the story’s grisly end. Satisfyingly, the pig’s blood bucket hits its mark and covers Perkins from head to toe in real, really disgusting, dripping red something-that-will-have-to-be-washed-outta-that-little-white-frock-every-night. I mean, c’mon! There are globules slipping slowly down her skirt! No wonder she freaks out and wreaks havoc on the town.

In less capable hands, Carrie the Musical would be a dreary disaster, but Tuffin has successfully resurrected a show that many believed would stay dead and buried.

With greater attention given to some secondary characters (twice as many in the ensemble would be terrific and also, should the question of diversity not be applied here too?) and costume design, which is woeful with not a “prom” dress in sight, Howe clearly having concentrated on the look of the space and not on the way those who fill it would look, this Carrie could live again. How about a bigger budget and a sneaky return season in a bigger space? Can you imagine the bucket of blood tipping from a much greater height with litres and litres of the sticky substance spilling and pooling all over the Powerhouse stage?! With the appropriate resources at Tuffin’s disposal is that the Carrie this company might offer? 

Wax Lyrical Productions is the most interesting company to come along since Emily Gilhome’s Oscar, and certainly deserve a bigger audience for this production, the Queensland premiere of Carrie the Muscial.

Particularly if you go in clean, without too much prior knowledge, you’ll love coming out of Carrie a little bit dirty. And if you’ve seen it or read it, regardless of how much time has passed, you’ll enjoy this ambitious reimagining and the vibrant discussion that’s sure to follow. Until January 30 at Brisbane Powerhouse.

Production pics by Joel Devereux


The Tiger Who Came to Tea


The Tiger Who Came to Tea

QPAC & Andrew Kay in association with Nick Brooke & Kenny Wax

QPAC Playhouse

January 14 – 17 2015

Reviewed by Xanthe Coward

Boy: Look! It looks like real life. Why is it real life?

Mum: That’s what theatre is. It’s real life, it’s not film or TV.


It seemed appropriate to precede The Tiger Who Came to Tea with High Tea. We visited a pretty, pretty old haunt of mine, Brisbane Arcade’s Room With Roses

High Tea was nice, though not the nicest. (Next time we’ll try the option closest to QPAC it’s my preferred overnight accommodation – check out the Showstopper Package – at Bacchus at Rydges). We consider ourselves High Tea connoisseurs and have decided it’s high time we start reviewing some of our dining and sipping experiences too.

After reading our tea leaves – there is dancing and a ship in the future – we made our way on foot via Victoria Bridge to QPAC. On a cooler day this is a fine walk but the day was hot!

Sometimes we suffer for our art, and sometimes we suffer for another’s.

Judith Kerr’s The Tiger Who Came to Tea is a well-loved children’s picture book. Poppy and I know it well and even before watching the trailer for this production I had my suspicions that it would be most suitable for much younger children. My suspicions were proved correct.


Having enjoyed more live shows by the age of nine than many adults have done, Poppy is the most genuine, generous, wildly enthusiastic audience member anybody could hope to have in a theatre. And her enthusiasm is contagious. With the opening minutes of The Tiger Who Came to Tea involving a welcome-to-our-theatre song and a naming-and-stepping-into-our-roles moment, I whispered to Poppy, “I think we were right. I think they’ve made the show for little ones.” She smiled and shrugged, and got involved in the bright and brassy storytelling, and singing and dancing anyway. Poppy is the perfect +1!

We had read the book again and I noticed Sophie wears Mary Janes so I thought it was the perfect opportunity to wear my new Mary Jane school shoes and my Ted Baker dress.

The tiger doing his little dance and bowing was funny. I liked the set up of the house. It was all neat and tidy until the tiger came.

 While the overall tone is slightly condescending, even for very little ones, I think my aversion to the particular theatrical style comes from being spoilt rotten when it comes to Australian made theatre for young people. Even when we see a “traditional” pantomime it’s often performed with a knowing wink, rather than something more self-indulgent and apparently “British” (whatever that actually means. I’ve never seen British theatre in Great Britain). But when the latter is the first or more frequent experience in a young person’s life I fear that their theatre-going may be short lived! Luckily, in Poppy’s lifetime, she has already experienced traditional pantomime as well as the humble wonder and pure magic of more than one production from Wolfe Bowart and Cirque du Soleil, and from our very own Dead Puppet Society, Company 2, Circa, Flipside and shake & stir. 

I adore the tiger in his ruffled fur; he’s life-sized, just gorgeous, with a gentleman’s fine manners (well, apart from turning up uninvited to tea!). But I wish he would speak, as he does in the book. To score bonus points with the mums he might have a Rum Tum Tugger type voice to complement his slinky walk and surprisingly poised dance moves. Despite some dreadful lyrics (yummy scrummy sausages, anyone?), the songs are upbeat and very catchy, the dance moves are fun for the under eights and the kitchen magic doesn’t disappoint. One of my favourite tricks though, features Daddy twirling centre stage to get into his jacket and catching toast in his briefcase as he races out the door, late to work.


It takes a long time to get to tea at 4 o’clock! First we must sit through breakfast, elevenses and lunch (Sophie and her mummy appear to do nothing but eat delicious treats in the kitchen all day!), as well as visits from the postman and milkman. 

The milkman was funny with all his treats on offer and the only thing they needed was the milk, which he carried on his back but had forgotten about. It was funny when he turned around to reveal the milk after they’d said eighty times they needed milk.

(Strange, in an era of helicopter paranoid parenting that each time the doorbell rings Mummy is the one who insists they had better open the door to see who it can be and the third time, with her hands full, insists Sophie answer the door to an unexpected visitor all by herself).

Each visitor is silly and clownish, as Daddy is, making the girls – unfairly I think – the smart, together characters. With the exception of the tiger, who is strangely simultaneously sly and sweet, they are all wide-eyed and completely OTT. Also, the names of the actors do not appear anywhere (no program, no foyer board). It seems a contradiction, given their efforts to establish that they are indeed actors telling the story from the book. 


The Tiger Who Came to Tea is an Olivier Award nominated adaptation (Writer and Director David Wood OBE) and it’s come to us following a smash hit season on London’s West End, but I think it’s missed something in the move from story to stage, at least for non-English audiences. With an intelligently talking tiger, a less condescending tone and truer treatment of the material, this production might enjoy much broader appeal. Despite my reservations, of course Poppy enjoyed every minute of it so by all means, take the older siblings of your little one. 

Any live show is an opportunity to take care dressing for the occasion, and to visit the theatre, practice a little patience and polite conversation with family, friends and FOH staff, get lost for a little while in the storytelling, and talk for hours afterwards about what we’ve experienced there.

I liked the costumes. The singalong songs were fun. The disco ball was funny, creating stars for everyone as they walked to the cafe. I didn’t understand why they had to keep doing the “tick tock tick tock” to show the passing of time. I guess it was like one big long scene without blackouts.

The Tiger Who Came to Tea has basically received a mini panto makeover and it’s packaged beautifully for an Early Childhood audience. It comes complete with a copy of the picture book and a plush tiger toy, each sold separately in the foyer. Just TRY walking away without either. This production is perfect fare for under eights and anybody generous and patient enough to take them to see it (final performances tomorrow at 10am & 12pm), but I challenge you, especially if your kids are 6+ to look twice at what’s being offered at our premier performing arts precinct (and at your local council venues) and make an effort just as often to choose a home-grown production.

QPAC’s Out of the Box Festival for children 8 years and under returns 21 to 28 June 2016. Join the waitlist here.


George’s Marvellous Medicine


George’s Marvellous Medicine

shake & stir theatre co.

QPAC & shake & stir

QPAC Cremorne

January 6 – 23 2015

Reviewed by Poppy Eponine

Don’t get up to mischief!

George’s Marvellous Medicine is so funny, it’s the funniest show these school holidays, and I’m lucky enough to have seen them all. Sometimes it was scary but it was always going to be a happy ending, although NOT for Grandma. I won’t tell you what happens to her…

Adapted by shake & stir, it’s like the book by Roald Dahl but it’s shaken and stirred, and fun for all ages, including grandmas and grandpas. Even grandmas and grandpas know the story. Don’t they?

On a good day, George can’t stand his Grandma. She complains all the time, she’s mean and she smells funny. On this particular day, Grandma is much more annoying than usual and George has had enough. “George – make me a cup of tea! George – rub my feet! George – stop growing!” Ugh. Wanting to teach her a lesson and to put an end to her constant nagging, George concocts a special medicine, greater than any medicine in the history of medicines. What he doesn’t expect is that this medicine may actually work – just not in the way he thinks it will…

You must have the RIGHT amount of the RIGHT ingredients!

When they were putting in the ingredients Nugget the chicken pulls out a bottle of Dom Perignon and George’s mother exclaims, “Not that! That’s my special medicine!”. That made the audience laugh. My mum applauded.


With all of those messy ingredients, the Stage Manager (Yanni Dubler) has a big job after each show, refilling bottles and pots and jars and resetting them on the stage with the exact same amount of stuff so the actors know they can make the medicine all over again for the next audience. The set is a clever combination of shelves and open doors and windows that are pushed from side to side and back and forth by the actors to create every setting in the show. They are pushed away to reveal Grandma sitting in her chair. She’s in the light of a spotlight so you literally cannot look at anything else. When the chair is turned around Grandma looks and sounds so scary. She is mean to George and sweet as pie when his parents are nearby. She fakes being grateful and treats George badly when they are not looking. She demands her medicine be ready at eleven o’clock so George has a time limit to make it. This builds tension and makes us expect that something bad will happen. Unless of course you’ve read the book, in which case you’ll know that everything will be fine…except for Grandma.

You can tell that the second and third time the medicine is made that it isn’t going to work out because they make it really obvious that something is left out. It’s very funny sometimes to expect things to go wrong. 


Josh McIntosh and Jason Glenwright always design the set and lighting for shake & stir shows because they are an excellent team. Mum says the look and feel of each show is largely dependent on what they bring to the table. She loved their design for Dracula but I didn’t see it because it wasn’t for kids.


I love all of the music and all of the effects that are so gorgeous, used sometimes more than once yet not used so many times that they become boring. This means Ross Balbuziente has done a good job directing. He has made it a fun and interesting show with lots of tricks and magic. We always notice if the actors are having fun because then we have fun too, and Ross has made sure everyone has a lot of fun.


It is good casting, which is really important. Each actor makes their character seem real when really we know they are just the actors in a show. But thank goodness mean old Grandma isn’t real! Leon Cain is hilarious as Grandma. He has curlers in his real hair and his voice sounds like an old lady’s. And Tim Dashwood will be just as good in this role, just different. Nick Skubij is George, very naughty, and Johnny Balbuziente is a very funny chicken. He jumps around a lot and Mum says he is a welcome addition to the mainstage professional company. Nelle Lee is George’s gossipy mother and she wears a very cool, very funny cow hide skirt. It could be the latest and greatest fashion. Mum loves the phone calls she makes, her shoe scene and her love for her chicken. Bryan Probets is her husband, George’s dad, and he is very funny too. They are not really like the parents in the book but the mother is up to date wearing the latest and greatest everything and the father is even crazier than in the book. Mum has seen Bryan in a LOT of shows and he is ALWAYS good.

I love all of shake & stir’s kids’ productions and Mum loves all the adult shows. We are lucky to have shows for kids like this because sometimes companies from other countries make the shows and tour them and they’re not as funny or as entertaining as shake & stir’s shows. 

Our life is anything but normal, in fact it’s quite shaken and stirred! I see a LOT of shows but shake & stir’s shows are aways some of my favourite shows. They are always funny and entertaining. They always make me smile. The actors are excellent and the story on stage brings each book to life so even if you haven’t read George’s Marvellous Medicine you can enjoy the show. That’s IF you can get a ticket and if you can’t you know for next time to book your tickets as soon as possible or YOU WILL MISS OUT.


Heathers: The Musical


Heathers: The Musical

QPAC & Showwork Productions

QPAC Playhouse

January 9 – 17 2015

Reviewed by Xanthe Coward

We’re all damaged, we’re all frightened, we’re all freaks but that’s alright.

Eat or be eaten.

Based on the cult film (1988) starring Winona Rider and Christian Slater, Heathers – The Musical received its sold-out developmental premiere in Los Angeles in 2013 after years of development following a concert reading at Joe’s Pub (NYC) in 2010.

Well, fuck me gently with a chainsaw! Heathers: The Musical is outstanding, it’s such a fantastic, timely surprise! After last year’s movies-to-musicals Dirty Dancing and Strictly Ballroom failed to exceed expectations, Trevor Ashley’s Heathers: The Musical succeeds mightily on all levels. Book online and be quick about it because this gorgeous, talented company are only here until January 17.

Whether or not you’ve seen the cult film that inspired the Off-Broadway hit, this show demands your attention. With book, music and lyrics by Laurence O’Keefe (Legally Blonde) and Kevin Murphy (Reefer Madness), Heathers: The Musical brings the microcosm of nauseating, alienating high school life to the stage. Nominated for nine Sydney Theatre Awards, this production originated at Hayes Theatre thanks to a golden ticket from Hayes Theatre Co. (Let’s hope Hayes sends some more world class product our way). It sees cabaret and musical theatre performer Trevor Ashley in the director’s chair for the first time and from the look and feel of this stellar effort it won’t be his last. In fact, Ashley may have found his new calling – this wicked show allows him to flex his creative muscles and really play, stretching to the limit the devilish humour he loves so much. 

A1 production values, cheeky comic interpretation and some exceptional Australian talent means Ashley’s production surpasses the original minimalist attempt at New World Stages. See for yourself.


The book is fast paced and nicely condensed for the stage, more entertaining than horrifying, not a bad thing in musical theatre. The music is fantastic, easily passing the whistle test, much of it memorable days later. Immediately we hear the same chirpiness and witty extrapolation of Legally Blonde, and the punchy yet haunting sound and style of Next To Normal. It’s a neat blend of pop and rock, basic enough to be broadly accessible, that is, if you’re over the age of 14 and can’t be offended by strong language, intense adult themes and references to alcohol, drugs and guns. That’s right. Don’t know the story? Don’t take the kids. Strangely, Heathers: The Musical doesn’t come with a trigger warning. No pun intended. The story stays true to the original film.

In order to get out of the snobby clique that is destroying her good-girl reputation, an intelligent teen teams up with a dark sociopath in a plot to kill the cool kids.


Kirby Burgess is Heather #1 – the Almighty Heather Chandler (until the show goes to Melbourne in May, when Lucy Maunder returns to the role), and straight from playing the naive Baby in Dirty Dancing, Burgess effortlessly morphs into the wealthiest, wickedest, cutest bitch from hell…er, high school.

Joined by Libby Asciak (Heather Duke) and Erin Clare (Heather McNamara) the three mean girls appear to be impenetrable. Their slick and sassy Candy Store perfectly introduces them and intimidates…everyone else. But beneath their perfectly preened eighties’ exteriors even the Heathers are damaged, and the real story of how tough high school can be comes through in a surprisingly genuine way, not least within the layers of Clare’s standout Lifeboat, stinging long after the final note fades.


The phenomenal Jaz Flowers embodies social misfit Veronica Sawyer without needing to channel Winona Ryder or Barrett Wilbert Weed, bringing her unique brand of sass to the role, reminding us (in case you needed reminding) that she’s one of our brightest musical theatre stars. Her renditions of Beautiful, Fight For Me and Dead Girl Walking are powerful, informed, lingering things. Flowers’ energy and careful attention to detail, not to mention her powerhouse vocals, drive the show. Paired with the super tall, super talented Stephen Madsen as the trench coat clad sexy sociopath, the richly textured duets (Our Love Is God, Meant To Be Yours and Seventeen) provide the stuff of a love story so believable that the lines between right and wrong become blurred for us too. 

I just want my high school to be a nice place.


Of course, our investment in the relationship is largely due to Madsen looking just enough like Slater on stage to win us over even before uttering a word. Freeze Your Brain is silly and funny and seductively sung. Where has this guy been?! Next, he’ll be seen as Richard Loeb in Thrill Me: The Leopold and Loeb Story.

Our love is God. Let’s go get a slushie.

Lauren McKenna shines as Martha – her spotlit solo Kindergarten Boyfriend is tragically, hilariously poignant – but also as Ms Fleming, stealing the show with her all-singing, all-dancing whole school healing session. We’ll see McKenna next in HR’s Hairspray Arena Spectacular in the role that made Flowers famous.


Vincent Hooper (Ram Sweeney) and Jakob Ambrose (Kurt Kelly) play to the hilt those horny footballers, earning plenty of laughs and little gasps because, well, they’re cute too. N.B. No cows are tipped during this production.

MD Bev Kennedy leads a sensational sounding band (a pity about the opening night mix) and the ensemble shines in The Me Inside of Me, a surprise reprise of the boys’ hilarious number Blue and an even more surprising gospel number, Dead Gay Son. Cameron Mitchell’s choreography throughout is first class. With a beat change and a break up,Yo Girl successfully builds the tension needed during a tricky, speedy denouement. It’s a tough ending to pull off and this production almost succeeds in creating the same level of horror and humour in the original movie scenes before its upbeat Broadway-worthy finale and extended curtain call. Emma Vine’s inspired set design, Gavan Swift’s lighting and Angela White’s cute costumes contribute vivid colour and distinct style.


I don’t know how Trevor Ashley made this show happen whilst playing Master of the House Thenadier in Les Mis but he’s done it and he’s done it in the same masterful way. If you miss Heathers here you’ll have to catch it in Melbourne in May, and if you miss it there you should see what you can do to help get it to Broadway. It would be a shame to see Fickman’s underwhelming production go there before Ashley’s does. The red scrunchie should go to Trevor Ashley next. This show wins everything.


Cirque Adrenaline


Cirque Adrenalin

QPAC and Tim Lawson & Simon Painter

QPAC Concert Hall

January 7 – 17 2016

Reviewed by Henry Elvis & Oscar Maton

Cirque Adrenaline_20151007_053043_506

WOW! This circus really lives up to its name.“>Cirque Adrenaline’s opening sequence has so much in it that on opening night we didn’t know where to look and what to watch. There is a Russian Swing Act to begin with that is pretty impressive but very short. Actually, most of the acts are pretty short. It’s as if they only have a short amount of time and have to fit in all of the really good tricks very quickly.

The Contortionist on the Aerial Hoop is very expressive and some of the positions she gets into made us squirm in our seats.

The Clown, Dizzy, is probably the best as he is on so many times. He asks for audience participation, which is okay, but I’m glad he didn’t pick any of us out of the crowd. On Opening Night he was a bit mean, pointing out that one of the guys was fat and we thought he didn’t need to do that. He was very funny though. He was also a good juggler and acrobat.

The Wheel of Death, which finishes the first act, is the highlight as far as danger and tricks are concerned.

Two young guys start inside the wheels, at first with some flips to warm up, and then they run and jump around the outside of the massive contraption. At any moment they could fall off, and on Opening Night they nearly did, but managed to save it just in time.


This circus has lots of different acts. High Bars, Ropes, Trampoline and Hand to Hand from some acrobats who obviously have been performing their act for a long time. They really know how to make it look good and get the audience to like them. The porter climbed a ladder with his partner doing a one arm handstand on his head! That is a great trick.


There is a cool fire twirler, who fills the stage with fire, and a straps duo who perform crazy tricks and spins in a short amount of time. The motorcycle Sphere of Fear was noisy and fast and fun. At one point a crazy lady stood in the middle of the cage while three motorcyclists did laps around her.

The music is loud and the lights are bright and colourful. Some of the costumes are weird but the men mostly look like pirates so that’s okay. Mum and Dad said it reminds them of a Vegas show. Maybe they mean the dancing girls.

It’s not the best circus we’ve ever seen (with Mum and Dad both working on Cirque du Soleil shows we’ve seen a lot!), but we really enjoyed it and recommend you go and see it!“>Cirque Adrenaline is an awesome night out for the whole family!


Carnival of the Animals


Carnival Of The Animals

QPAC, QPAC’s Out of the Box Festival & Circa

QPAC Playhouse

January 9 – 13 2016

Reviewed by Xanthe Coward

It’s a joyous, bubbling show and the performers have lovely skills and I am still staggered by them.

– Yaron Lifschitz, Circa AD


Circa is renowned for their fine execution of contemporary circus and their sense of fun and exuberance.

Pure joy pervades this delightful production, inspired by French romantic composer Camille Saint-Saens’ Carnival Of The Animals. Since premiering at QPAC’s Out of the Box Festival in 2014 the show has entertained sell-out audiences throughout Australia, France, Chile and Columbia. It returns to QPAC for a few days only this week, with final performances on Wednesday January 13 – book online to secure the last tickets.

Get 4 tickets for just $79 here.

Carnival Of The Animals is perfect school holiday fare, dished up with generous doses of smiles and laughter, suitable for the whole family. For a full day of fun for everyone head to Southbank Parklands, the museum, the galleries and the State Library of Queensland after the show (Performances at 10am & 12pm). There’s always so much on offer and now you can keep up via Culturist, the new app for Brisbane’s Cultural Precinct, which includes interactive maps, lists of events and playlists. Check it out here.

QPAC is chaotic with kids! But in a good way and the excitable energy is contagious. We colour animal mandalas and Poppy insists on sampling the watermelon slushy. So do I…it’s delicious. We have three generations at the show, and Nanny knows the music and we know Circa so we’re well prepared.

The show is bookended by a magical theatrical event that lets us know WE’RE HERE TO SEE A SHOW. A cleverly choreographed opening sees the acrobats appear with suitcases as soon as they are beckoned to busily set the stage. Suddenly we’re in the Big Top where anything can happen. It’s glee inducing magic of the theatre. Sixty minutes later the set is cleverly (magically!) dismantled in a similar sequence to herald the conclusion of the show. No one is disappointed because we’re satisfied with what’s taken place and accept that the performers have adequately – SUPERBLY – done their jobs.

The performers are dressed in exquisitely elegant yet practical and playful costumes of black velvet, brocade and white lace complete with Victorianesque frilled collars (and the red noses of the most recognisable circus clowns). Brightly coloured animated interactive AV designed by Australian Michaela French provides a backdrop of natural habitats and additional characters, prompting our imaginations to take off as penguins chatter and patter over rapidly diminishing ice formations, schools of fish swim faster and faster to escape a shark in the ocean, a beautiful butterfly emerges from its chrysalis and the skeleton of a dinosaur plods off to the forest, which morphs into a jungle in which a thoughtful tiger waits.


The music is so interesting, completely enchanting – of course you’ll realise you’ve heard it before – and the way the performers use their bodies to show the animals is wonderful. They’ve mastered unique characteristics of animals, isolating and employing different body parts so that each time they transform from one species to another the kids in the audience immediately recognise the creature and call out FROG! FISH! GORILLA! An elephant created by the ensemble cleverly shows the connection and trust between the performers and later, individual elephants take turns to show off their best moves in an urban breakdance challenge.


The application of slow motion during a leaping and tumbling sequence lifts the comedy element through the roof, with funny facial expressions frozen right up until the moment before each performer takes a real-time dive through a hoop. A series of skipping rope routines begin with the acrobats as kangaroos, impressing all ages, parents probably viewing the daring tricks with some nostalgia, and kids and parents alike gasping in awe at a successful jump rope finale involving the whole company.

In every moment Circa maintains the delightful sense of play that makes their productions so enjoyable for all ages.

An entire sequence involving red balloons and kid-kissing inflatable sharks appears to be included for no reason other than to encourage audience interaction but during the Saturday morning performance we found the balloons and oversized red balls didn’t reach us more than once and settled for watching those in front, in the first few rows in the stalls, having fun with them. One father in particular, unfortunately for his children who have no chance of reaching a bouncing ball before their dad does, is so enthusiastic about this segment that I feel compelled to look around for a partner who will tell him to settle down and let the kids have a go (so I don’t have to), but there isn’t one so rather than send any more judgemental vibes, with some bemusement I celebrate the dad who is a child at heart and hogs the ball, and who is brave enough to take three children to the theatre. 


Luckily for mums and dads and nannies, it’s easy to take the kids to a show at QPAC, with plenty of underground parking, clean amenities (we tend to take the neat state of our public places for granted until we’ve travelled!), and an abundance of colouring pencils, creature mandalas, popcorn, Poppers, watermelon slices and slushies available in the foyer before the show starts.

Circa offers one of the most innocent, joyful, fun and memorable theatrical experiences for all ages in Carnival of the Animals. Make sure this show is part of your day out this week.

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Fantastic opening night last night! Great to hear afterwards which stories you and family and friends connected with + your very funny stories too! (Can there be a Queensland-specific sequel?!) Only three more shows (tonight at 7pm and tomorrow at 4pm & 7pm), part of the fabulous #MELTQueerFest at @bris_powerhouse Book online #GAYBIES #family #samesexparents #thiscouldbeyourstory #australianstories #thisisaustralia #qldtheatre #actors #actorlife


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