‘Flight’ was indescribable.
Are you ready to take a trip of a lifetime? Then HOTA and Darkfield Australia have you covered! Get ready for one epic FLIGHT, you won’t want to miss boarding!
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‘Hide the Dog’ was action-packed.
Every parent knows the challenge of keeping kids engaged in theatre for anything less than awesome and so in that sense, youth theatre can sometimes be a gamble. ‘Hide the Dog’ was a crowd-pleasing, action-packed comedy that not only held my 10-year-old son’s attention but also had us both entertained.
‘Party Ghost’ was entrancing.
Returning from festivals across the globe, the award-winning macabre, and wonderfully hilarious ‘Party Ghost’ has arrived to haunt and delight audiences for the 2023 Brisbane Festival. Directed by Nicci Wilks and performed by the talented duo Olivia Porter and Jarred Dewey, this show is uproarious, mesmerising, shocking and clever all at once.
‘Leave to Enter’ was self-deprecating.
Billed as the 2017 story of how “the most Scottish-looking person, with the most Scottish last name, was denied leave to enter in Scotland” when they were just 22 years old, the set briefly touched on themes of displacement, anxiety, and gender identity.
‘Sherwood: The Adventures of Robin Hood’ was light-hearted.
Following the titular character Robin Hood as he goes from young child of noble birth to the most wanted man in all of Nottingham, along with his band of merry men, the show that will leave you in fits of giggles has now made its way to Javeenbah Theatre in Nerang, Gold Coast.
‘Cirque Bon Bon’ was mesmerising.
While the Piazza is packed for the rest of the ‘Cirque Bon Bon’ BrisFest run, you can catch Jacs Entertainment’s next enthralling circus show at Brisbane Powerhouse this December, with their upcoming production, ‘Jingle’.
‘The Making of Pinocchio’ was personal.
In its audacity and complexity, “The Making of Pinocchio” blurs the line between the familiar and the taboo, creating a space for contemplation and reflection, and beckoning the audience to a place where honesty, creativity, and self-acceptance converge.
‘Crazy F*cking B*tches’ was unapologetic.
A non-narrative physical theatre piece, ‘Crazy F*cking B*tches’ is radical in both it’s form and it’s content with a complete disregard in presenting itself in a digestible manner.
‘Ravenous’ was scoff-worthy (in a good way).
As a performer, Brookfield has some great material to work with, and when he feels passionately about something and has a clear goal for a bit, his delivery thrives.
‘Les Misérables’ was enchanting.
Toowoomba Choral Society’s production of ‘Les Misérables’ at the Empire Theatre offered a well-executed rendition of Victor Hugo’s timeless masterpiece. The production’s technical prowess, attention to detail, and strong performances across the cast contributed to a memorable theatrical experience.
