DUSTY In Concert: PROSPERO ARTS |CONCERT HALL QPAC

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Aussie Stage Buzz had the pleasure of attending Dusty The Musical – In Concert at QPAC’s Concert Hall, and it was a soulful celebration of music, womanhood, and the legacy of an icon.

Brought to life by Brisbane-based company Prospero Arts, this limited-season concert production (5–8 June) was both nostalgic and electric, with a dream cast that honoured the vocal powerhouse and vulnerable soul that was Dusty Springfield.

Returning to the role that won hearts in The Production Company’s 2016 production, Amy Lehpamer was once again magnetic as Dusty. Her voice soared through the Concert Hall, effortlessly capturing Dusty’s distinctive tone while layering the performance with aching vulnerability. Amy’s rendition of “You Don’t Have to Say You Love Me” was a particular highlight, and the emotional undercurrent she brought to Dusty’s personal struggles was both poignant and beautifully measured.

Nikola Gucciardo portrayed young Mary O’Brien (the girl who would become Dusty) with wide-eyed energy and heartbreaking realism. Her scenes with Dusty offered an emotional insight into Dusty’s inner conflict, making the arc from Mary to Dusty feel authentic and tragically inevitable.

Coming straight from TINA – The Tina Turner Musical, Jayme-Lee Hanekom as Reno brought sass and soul to the stage. Her chemistry with Amy was electric, with every scene together pulsing with fire and sisterhood. Jayme-Lee’s fierce energy was a driving force throughout the concert.

Nat Jobe as Rodney was a joyful surprise. His comedic timing and warmth brought levity to the show while never straying from truth. His portrayal felt honest and full of heart – making him a crowd favourite.

Kat Harrison’s Peg was a beautifully layered portrayal. Kat nailed the emotional tightrope of a mother wanting the best for her daughter while struggling to understand her. Her duet with young Mary was tender and felt like a genuine snapshot of a parent grasping at a child growing up too fast.

The cast was supported by a powerhouse ensemble of Queensland and Australia’s finest musical theatre performers – and what a gift it was to see new and seasoned talent share the stage in perfect harmony. The vocal blend in the group numbers like “Wishin’ and Hopin’” and “Son of a Preacher Man” gave goosebumps and was a testament to the impeccable direction and musical arrangement.

While not a traditional fully staged production, the concert-style performance allowed the music and narrative to shine. The minimalist set let the performances take centre stage, and the lighting design bathed the cast in rich vintage tones that evoked the smoky elegance of the 60s and 70s.

The live orchestra filled the Concert Hall with warmth and groove, capturing the sounds of a generation while remaining timeless. Musical direction was tight, polished, and respectful to Dusty’s legacy, with arrangements that made even her most well-known songs feel fresh.

What stood out most was the care and love poured into this production. Dusty’s story is one of stardom, solitude, and strength, and Dusty – The Musical delivered all of that in spades. With bold vocals, dynamic storytelling, and heart in every lyric, this concert reminded us why Dusty’s voice—and her story—still matter.

From toe-tapping hits to quietly powerful ballads, Dusty – The Musical – In Concert was a triumph that Brisbane won’t soon forget.

🎟️ atqp.ac/Dusty2025
📍 QPAC Concert Hall
🎭 Presented by Prospero Arts

Aussie Stage Buzz got the chance to see the classic novel turned musical, Little Women at Phoenix Ensemble. 

The unity of the March sisters was brilliantly portrayed conveying the traditional sisterly dynamics and emotional connection. Emma’s portrayal of Jo March was inspiring. With this piece being set in the 1860s, she accurately represented how a woman of her stature was treated for being ‘different’. The blood curdling scream felt throughout the entire audience as Jo witnessed Beth March’s death. Bringing tears in my eyes as we all felt that tie of sisterhood slowly being severed throughout the song.

The hopeless romantic role of Meg March was perfectly portrayed from beginning to end by Stephanie. Being the oldest March sibling you could feel the pressure that any eldest child would feel. Her chemistry with co-star Mark James was undeniable from the traditional first meeting to the final chapter in their love story. Her acting was so raw, authentic, and relatable to how a teenage girl feels. The romance felt natural and not at all forced.

The only words I could even fathom to describe Kayleigh as Beth March was oh my god. The character Beth in my opinion was the glue of the March family. The individual moments she shared with her sisters was always so humble, wise, and mature. For someone of her age it was like she was an old woman trapped inside a little girl’s body. The love was cut short at the end when we witnessed Beth’s final moments. The emotional moments I felt with Beth’s character from the beginning to her last moments on the stage will never be forgotten.

Amy March was a very simple character and accurately portrayed narrative of typical younger sibling behaviours. Madeleine’s characterisation of Amy’s rush to be in society and catch up to her other siblings was genuinely represented throughout the show. As felt by any typical youngest sibling, Madeleine revealed the struggle of a sister dynamic between Amy and Jo (Emma Erdis). Her representation of Amy’s character development from a young child into a little woman with the help of Aunt March was terrific. 

I would have to say seeing Samantha play Marmee was one of the absolute highlights of the night. Her acting ability and range was impeccable from the motherly bond with her daughters to the serious and deep moments when she was alone. Samantha’s vocal range both physically and emotionally were beautifully captured in the role of Marmee. With the acting range of Samantha her undeniable moment of the night was seeing her deer in headlights expression when she caught her daughter Jo (Emma Erdis) and Professor Bhaer (August Cocks). This had me rolling on the floor laughing as valuable acting choices like these were seen endlessly throughout the musical.

Joshua played the comedic relief Laurie so perfectly that his one-liners had me in fits of laughter. Aside from the harsh and authentic topics discussed throughout this story, Laurie was a brilliant character to remind us of the awkward kid on the block. Subtle acting choices made by Joshua not only complimented his co-stars brilliantly but also made him a standout character. 

Phillipa captivated the audience with her traditional and proper character. Emphasising the importance of the cultural values, attitudes, and beliefs of the 18060s whilst adding her own creative flare to the role.

August Cocks’ Professor Bhaer was absolutely outstanding. He utilised every second of his stage time to fill the space with knowledge of the March family and flawlessly execute his lines with emotional undertones. Particularly when he both challenged and supported Jo March to ensure her best work was eventually published.

Marks as John Brooke brought a whole new meaning to the words love and gentleman. He effortlessly played the passionate and hopeless romantic character precisely with a hint of quirkiness. Additionally, this established a clear contrast between the soft nature of Laurie and the traditional masculine duties John fulfilled like going to war.

Warryn’s portrayal of Mr Lawrences character development was a masterpiece. From his harsh emotional exterior at the beginning of the play to the soft and kind-hearted man seen at the end of the play. The transformation of Warryns characterisation was as beautiful as a caterpillar turning into a butterfly.

Stephanie Bateman’s set design although simplistic was utilised imaginatively by the cast and creative team with seamless transitions by stage crew. Using the levels of the platform and floor to differentiate various places in the narrative. The artwork around the set was very detailed right up to the drawings displayed on the wall. The use of live fire to burn Jo’s story was brilliantly unexpected.

The props were in such detail that as an audience member you were able to see the beautiful illustrations on the papers. The lighting was used amazingly by Andrew ‘Panda’ to enhance the emotional connection between the audience and the cast. 

Cohesively connecting with the sound effects created by sound designer Luke O’Hagan. Moreover, the costumes perfectly matched the period the musical was set it. The gorgeous poofy skirts were magnificent and well thought out by costume designer Maddison Joyce. The use of the live orchestra allowed the audience to feel as though they were a part of the story. 

Phoenix Ensemble’s Little Women was magnificently pieced together by the entire cast and crew. From fits of laughter to mournful sobs, the musical captivated me from beginning to end. I was buckled in for the emotional rollercoaster and was did not leave disappointed. This beautiful novel turned musical is one that you must see in the month of May.

Writer - Emily Gardiner

Falsettos by William Finn, presented by Phoenix Ensemble, is a deeply moving and emotionally charged production that Aussie Stage Buzz had the privilege to witness. With an exceptional cast and creative team, this show captures the heart-wrenching yet humorous complexities of love, family, and acceptance.

Phoenix Ensemble consistently delivers high-quality productions, and Falsettos is no exception. The live band, a hallmark of Phoenix's shows, brought an extra layer of intimacy and energy to the performance, making each song feel raw and immediate. The set design by Aimee Boyd and costume design by Sam McLaughlin and Tyler Grace perfectly complemented the narrative, creating an immersive experience for the audience. Additionally, the stunning lighting, designed by Tammy Sarah Linde, beautifully highlighted the shifting emotions throughout the show.

At the heart of the story is Marvin, portrayed by the immensely talented Luke O’Hagan. His performance masterfully balances Marvin’s internal struggle between love, control, and personal growth. O’Hagan’s vocals soar in numbers like What Would I Do?, capturing the depth of Marvin’s journey with heartfelt sincerity.

Josh Brandon’s Whizzer is charismatic and captivating, bringing both charm and vulnerability to the role. His chemistry with O’Hagan is palpable, making the ups and downs of their relationship all the more poignant. Brandon’s You Gotta Die Sometime is a show-stopping moment, filled with raw emotion that lingers long after the song ends. We got the amazing chance to interview Josh, so head over to the interview page and read that now!

Genevieve Tree delivers a standout performance as Trina, embodying the character’s resilience and emotional turmoil. Her rendition of I’m Breaking Down was hilarious and a vocal tour de force, effortlessly blending humor with genuine pain.

Alex Smith as Mendel provides a wonderfully neurotic yet endearing presence, his interactions with Trina and Jason adding depth and warmth to the family dynamic. 

We've had the chance to see Fraser Goodreid perform before in the Australian Tour of Mary Poppins, and we thought he was just amazing! However, he added a whole new level to his performing ability in this show. He brings youthful energy and sincerity to the role, showcasing impressive talent for such a demanding part. His performance is both humorous and touching, making Jason’s journey of self-discovery all the more engaging.

Rae Rose and Micheal Enright as Charlotte and Cordelia bring heart and compassion to the story. Their duet Something Bad is Happening is hauntingly beautiful, serving as a powerful reminder of the show’s emotional weight.

Phoenix Ensemble’s Falsettos is a beautifully executed production that masterfully blends humor, heartache, and hope. With a stellar cast, powerful performances, and meticulous creative direction, this show is a must-see for musical theatre lovers. Don't miss it at The Tin Shed, Beenleigh, running until March 1st, 2025!

BG Performing Arts brought to life the coming-of-age story of 13 Junior the Musical with an impressive cast and a vibrant production that showcased the incredible talent of the BGPA students. This one-night-only performance captivated the audience with its humor, relatability, and sheer talent.

Jack Grey, as Evan Goldman, delivered a charismatic and relatable portrayal of the new kid navigating the complexities of teenage friendships and social hierarchies. His vocals were strong, and he carried the show with natural ease and charm.

Montana Evans as Patrice brought a touching sincerity to her role, her amazing voice shining in songs like "What It Means to Be a Friend." Hamish Treweeke's Archie had the audience laughing; his comedic timing and physicality added depth to his performance as the lovable underdog.

Zander Hutson gave Brett Sampson a confident swagger, counterbalanced by Ebony Baird, Isabella Bonaventure, and Nina Hutchins as Malcolm, Eddie, and Richie, who collectively brought energy and humor to the popular crew.

While Chloe Mortimer perfectly captured Lucy's manipulative yet entertaining antics. Mia Le Vieux as Kendra brought a sweet innocence to the role.

Chelsea Howard as Simon, Jemma O'Donnell as Charlotte, AJ Woodford as Molly, and Mary Carter as Cassie rounded out the ensemble, adding depth and flair with well-timed delivery and dynamic vocals.

Costumes: The costumes, designed to reflect the personalities and quirks of each character, were colorful and era-appropriate. From Kendra's outfits to Lucy's bold fashion choices, the costumes complemented the characters perfectly, adding a visual layer to the storytelling.

Lighting: The lighting design enhanced the mood of each scene, from the soft hues during tender moments to vibrant flashes during high-energy numbers like "A Little More Homework." Effective use of spotlights ensured the focus remained on the performers.

Choreography: Bella Gordon's choreography was a highlight of the show. The routines were inventive and suited the young cast’s abilities, blending synchronized group numbers with character-driven movements. The standout dance sequences during "Opportunity" and "Brand New You" received well-deserved applause.

BG Performing Arts’ 13 Junior the Musical was a joyful celebration of teen angst and friendships. The production showcased the talents of a promising young cast and creative team. With polished choreography, engaging performances, and thoughtful production design, the show was a memorable experience for the audience and a testament to BG Performing Arts’ commitment to nurturing local talent.

Bravo to the entire cast and crew for a night filled with laughter, music, and heart!

The Musical Company by Stephen Sondheim, presented Phoenix Ensemble. Aussie Stage Buzz had the opportunity to view this show, and it was amazing in every way, including the set and costumes design by Tammy Sarah Linde and Luke O'Hagan.

The shows at Phoenix all feature a live band, which was something special you don't see in every community production! Jacqueline Atherton provided the show's unforgettable amazing vocals, and Bec Swain choreographed the big dance numbers like Side By Side By Side. Tammy Sarah Linde also designed the absolutely amazing lighting!

The protagonist of the story, Robert, is portrayed by Cameron Rollo as a perceptive observer who seems content. The only person in his circle still single. Terrified of marriage, but fears a lifetime of loneliness., delivers a performance that is both nuanced and deeply resonant. His portrayal captures the underlying vulnerability of a man searching for meaning, balanced by a subtle, yet engaging charisma. Rollo’s vocals in numbers like “Being Alive” showcase his emotional depth and vocal control, making for a compelling lead performance it filled the small space and made you feel like you were really in the story.

Sarah Engelsmann’s April is endearingly awkward and delightfully naive. Her rendition of “Barcelona” is both humorous and touching, perfectly embodying the character’s sweet, but confused nature. 

Ruby Thompson as Kathy brings a grounded presence to the stage, her lines were delivered with a tinge of sassiness, and her voice very much resonated in “You Could Drive a Person Crazy.”

Samantha Paterson’s whos protraying Marta is a standout definitely the right choice for this role! Infusing the role with infectious energy and a rebellious spirit. Her rendition of “Another Hundred People” captures the bustling, chaotic life of New York, resonating with those who’ve ever felt both overwhelmed and exhilarated by city life.

Genevieve Tree and Dugald Lowis, as Sarah and Harry, offer a beautifully comic yet sincere depiction of a couple caught between love and conflict. Sarah’s martial arts sequence during “The Little Things You Do Together” is a comedic highlight, executed with perfect timing and chemistry it was very much enoyed by us!

Stephanie Collins as Amy is another big standout of this performance, delivering “Getting Married Today” with such frenetic precision and comic timing that it leaves the audience breathless. Tim Nielson as Paul also complements her perfectly, offering a calm and steadfast counterpoint to Amy’s neurotic energy.

Meg Kiddle’s Joanne is a force to be reckoned with. Her performance of “The Ladies Who Lunch” is a masterclass in bitterness, wit, and hidden vulnerability. Kiddle’s portrayal digs deep into the character and shows her complexity, making the moments on stage unforgettable. 

And finally Andrew Dark’s Larry provides a gentle contrast to Joanne’s sharp edges, his understated performance highlighting the nuances of a long-married couple.

Phoenix Ensemble’s Company is a thoughtful, well-executed production that delves into the complexities of relationships with humor and heart. The cast, led by the incredible Cameron Rollo, delivers strong performances across the board, supported by creative direction and a technical team that enhances the storytelling. It’s a must-see for Sondheim fans and anyone who appreciates a musical that blends sharp wit with emotional depth. 

Don’t miss it at The Tin Shed, Beenleigh, running until August 23th.

Company The Musical
Phoenix Ensemble, 2nd - 23rd MAY 2024

Bookings: https://phoenixensemble.com.au/

📸: Creative Street Photography

Performance: 3rd August, 2024

Carrie The Musical presented by phoenix ensemble. Aussie Stage Buzz was given the chance to see this production on opening night and let us say everything about this production was top notch, the costuming by Harley Roy and Carly Quinn, vocals by Hayley Marsh, choreography by Victoria Lancaster, lighting by Maddy Bosanko, plus the show featuring a live band which were absolutely amazing!

Carrie: The Musical follows a young woman with telekinetic powers. An outcast at school, where she is bullied viciously for her differences, Carrie is also lost at home, with a fervently religious mother whose love traps her in its maw. The class viciously bullies Carrie until she's pushed to the brink, Carrie’s powers threaten to overwhelm her, and devour everyone around her in flame.

With Music by Academy Award Winner Michael Gore and lyrics by Tony Award Winner Dean Pitchford it really helps tell the story of Carrie. With enjoyable upbeat group pieces such as “The World According to Chris” to strong powerful Ballads such as “And Eve Was Weak” and “Carrie” This song significantly contributes to advancing the storyline and provides insight into Carrie's perspective of herself and those around her, including her home life.

Highlighted Performers

Chelsea Sales as Carrie White was definitely the perfect choice! Her vocals were incredible, especially in songs like “Carrie,” where Sales' voice stood out the most and Hayley Marsh's vocal direction was also shown. Moreover, Sales' acting was unlike anything I've seen in the community theatre scene before; she skillfully conveyed her character's story through her performance.

Carly Quinn as Margaret White, Carrie's mother, was another excellent casting decision. Quinn's voice was incredibly strong and powerful, particularly in her big numbers such as “And Eve Was Weak” and “I Remember How Those Boys Could Dance” the ending to the first act resonated throughout the theatre. The natural connection between Sales and Quinn enhanced the authenticity of their portrayal as mother and daughter and made their performances even more captivating.

A notable standout in our ensemble is Dana Summer, who portrays Norma in a cheeky and charismatic manner that truly captured our attention. Her performance in this role undoubtedly earned her the top spot among the ensemble cast. Additionally, Dana's versatility shines as she also serves as a cover for the role of Chris, demonstrating her talent and dedication to the production. Jenna's presence on stage added a delightful spark to the show, showcasing her range and leaving a lasting impression on the audience. Her portrayal of Norma and her readiness to step into another key role highlight her as a standout performer in the ensemble.

Movement

The direction by Joshua Brandon and choreography by Victoria Lancaster brought a remarkable energy and precision to the production of "Carrie: The Musical." Brandon's keen direction ensured a cohesive and engaging narrative flow, allowing the actors to fully embody their characters and to focus and bring depth to the story.

Victoria Lancaster's choreography was both dynamic and expressive, complementing the emotional intensity of the music and lyrics. Together, Brandon and Lancaster created a seamless integration of movement and storytelling, enhancing the audience's experience and leaving a lasting impact. Their collaboration truly elevated the production, making it a standout theatrical experience.

Set Design

The set design for "Carrie: The Musical," crafted by Joshua Brandon, Harley Roy, Isaac Tibbs, and Breanna Gear, is exceptional. One side of the stage transforms between school settings and the White family home, creating seamless transitions.

During the intense climax where Carrie takes over the school, chaos ensues as air conditioning units, pipes, and school lockers dramatically fall and swing around the actors. The climax culminates with Carrie delivering a lyric about spreading her wings. As she does, the wall behind her shifts to reveal LED glowing wings, symbolising her empowerment and freedom. This visual transformation adds a poignant touch to the production's conclusion, leaving a lasting impact on the audience.

Overall Impression:

"Overall, 'Carrie: The Musical' delivered a compelling and memorable theatrical experience. Chelsea Sales as Carrie White and Carly Quinn as Margaret White showcased exceptional talent, supported by an array of ensemble members including 

Sue Snell Sophie Mason (she/her)

Tommy Ross Kyle Armstrong (he/him)

Chris Hargensen Storm Fraser (she/they)

Billy Nolan Macca Kelly (he/they)

Ms. Gardner Lisa Alsop (she/her)

Mr. Stephens Michael Chazikantis (he/him)

Helen + Carrie Cover Kristen Barros (she/her)

Frieda + Sue Cover Jenna Nixon (she/her)

Norma + Chris Cover Dana Summer (she/her)

George + Tommy Cover Dugald Lowis (they/them)

Freddy Brandon Taylor-Cotton (he/him)

Stokes Sebastian Vine (he/him)

Roderick Ren Gerry (they/any)

Eloise Rachel Peake (she/her)

Jessica Lily Chippendale (she/her)

Margaret Cover Alicia Brite (she/her). 

Conclusion:

In conclusion, "Carrie: The Musical" offers a captivating and innovative take on a classic story. The stellar performances, Particularly memorable was the climactic sequence where Carrie's telekinetic powers were unleashed, highlighted by impressive technical effects. Overall, "Carrie: The Musical" succeeded in delivering a powerful and visually striking adaptation that left a lasting impression on the audience, making it a must-see theatrical 

Experience.

Carrie The Musical
Phoenix Ensemble, 4th - 25th MAY 2024

Bookings: https://phoenixensemble.com.au/shows/carrie/

Images: Carly Quinn, Chelsea Sales, Sophie Mason, Kyle Armstrong 

📸: By Brit

Performance: 3rd May, 7:30pm

Aussie Stage Buzz had the chance to experience the international multi-award-winning musical, CHICAGO, now playing at The Queensland Performing Arts Centre. 

Over 30 years since its debut in New York, Chicago The Musical remains just as pertinent today. The latest rendition of this musical masterpiece not only preserves the essence of Chicago but injects a renewed vitality into its performance.

The lighting, orchestra, set design, costumes, and cast all contribute to a seamless and polished presentation. The choreography reaches transcendent heights, with every movement—from fingers to heads—executed in perfect harmony, showcasing Fosse at its pinnacle.

The minute the doors to the theatre opened you are met with a bright gold shimming CHICAGO sign which blows you away. The Opening number “All That Jazz” Really Expressed Zoe Ventoura’s talent in dancing, acting and singing. Vantoura’s comedic timing was on point all throughout the performance. 

Roxie’s first number “Funny Honey” is portrayed and directed so well, with Roxie ( Lucy Maunder) being up high above everyone on the ladder with Amos (Peter Rowsthorn) down below talking to the officer to make the illusion Roxie is looking down on her unloved hubby.

Asabi Goodman’s Portrayal of The Keeper Of The Key’s,  Matron “Mama” Morton Was electrifying. Goodman’s Voice in “When You're Good To Mama” was so bold and grand it filled the entire theatre.

Anthony Warlow, the renowned icon of musical theatre, takes on the role of lawyer Billy Flynn with his trademark charm and charisma, never failing to deliver a captivating performance in the spotlight. He effortlessly commands attention, particularly in the standout dance sequences where he is surrounded by dancers wielding giant feather fans and enveloped in falling confetti.

Mary Sunshine played by S. Valeri were  powerful and their voice reached the top of the theatre.

The well known lovable performer Peter Rowsthorn plays Amo’s Hart with brilliant comedic timing. His performance of Mr Cellophane had the audience feeling empathy as he walked around the stage.

Don’t miss your chance to see some of Australia’s finest musical theatre talent perform in one of the best known Broadway musicals. Chicago is the show of 2024!

Chicago The Musical
QPAC, 2nd Jan - 4th Feb 2024

Bookings: https://qpac.n.qtix.com.au/tickets/series/chicago24

Chicago will play Her Majesty’s Theatre, Melbourne from 23 March, and the Capitol Theatre, Sydney from 9 June 2024. For more information, visit: www.chicagomusical.com.au for details.

Images: Zoë Ventoura as Velma Kelly and the Australian Cast of Chicago – photo Jeff Busby | Lucy Maunder as Roxie hart and the Australian Cast of Chicago – photo by Jeff Busby | 

Performance: Wednesday 3rd Of January 2024