Brisbane Theatre - Whats The Show

I Can See You, I Can Hear You – But You Are Not Real

26/04/2026 Virginia Gray🥉

Anthropology by Lauren Gunderson Rating

★★★★★

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What happens when AI and humans combine, who/what is controlling the other.

Anthropology is an ancient science that investigates human diversity, evolution, and social life to understand the “big picture” of what it means to be human.

While theoretical foundations and ideas regarding “thinking machines” existed earlier, the term “Artificial Intelligence” was coined and adopted during a workshop at Dartmouth College in the summer of 1956.

Lauren Gunderson’s Anthropology first premiered September 2023 in Hampstead, England. The American Playwright has a string of popular plays doing the rounds including comedies The Book of Will and The Revolutionists. This however is not a comedy.

When we think of AI we are all familiar with the imagery we can create, and chatbots that interact with us (some even make sense). We watch CSI and Bones; we marvel at the technology they expose us to.

But what about creating a program to mimic loved ones so you can still talk to them and they talk back. Even when they are gone.

This is a play about a tech genius, a missing presumed dead sister, an ex-girlfriend and an emotionally absent mother. It is full of twists and turns, teetering on the brink of despair and then a landslide back to reality.

Firstly, let me say the set was tremendous and deserves the Matilda this year – designed by Freddy Komp who also brought the computer screens to life. The surreal set had a large corner desk with “working screens” and a functional living room space. The giant screen that seemed to dominate over the room played an important role in bringing the character Angie to life. Simple entrances via the black curtains at the side allowed the actors to enter and exit as if a doorway did exist.

Caroline Sparrow played the tech savvy older sister Merril, of missing teen Angie played by Rose Traynor-Boyland. A tense, distraught character whose grip on reality was slipping. Caroline was able to make this character both vulnerable and strong. The interaction between the onscreen Angie and the distraught Merril was heartbreaking to watch. Angie taunted Merril playing on her emotions while presenting as an AI Chatbot. The switching of characterizations by Rose was seamless. The ex-girlfriend, Raquel played by Vivien Whittle was a perfect choice as the warm voice of reason and human touch to ease Merril away from technology and back to a type of normality and this interplay also gave the audience a break from the tension. Sherri Smith, as the mother gave a believable version of an erratic reformed addict who was emotionally unstable.

The director Nicky Whichelow has brought together an excellent cast and certainly created an excellent piece of theatre. The production was slick, with a marvellous set that complemented the talented cast.

The crew of Zoe Power- sound, Geoff Squires- lights and Hazel Evans as SM, are also to be congratulated for the behind scenes work that helped give this show polish.

While this drama/mystery will appeal to a wide audience if you are a fan of any of the American Missing person/Crime TV shows you will certainly appreciate this work of live theatre.

Running at PIP Theatre, Milton until 2nd May, tickets https://piptheatre.org/2026-anthropology

To book tickets to Anthropology by Lauren Gunderson, please visit https://piptheatre.org/2026-anthropology/.

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We Are Not Wagging Our Finger At You… Yet

24/04/2026 Virginia Gray🥉

‘Scenes from the Climate Era’ by David Finnigan Rating

★★★★★

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Last night I attended Underground Theatre Co’s production of “Scenes from the Climate Era”, written by climate activist and theatre maker David Finnigan.

I went in cold; I didn’t know anything about it. I recognized a few of the actors, I knew the venue and I expected it to be heavy and probably depressing.

It was heavy and intense. Most I agreed with, some scenarios just annoyed me, but the important and impressive thing is I was invested and reacting with my thoughts and emotions.

This play is about past climate crises and possible future crises. Giving scenarios in first person from actual events or possible events. Cyclones, fires, heat waves and human reactions. Climate change is complex, chaotic and not a quick fix.

The Geoffrey Rush Studio is under the old Schonell Theatre – closed since 2021 while UQ work out what they do with it. But luckily for UTC the studio is available to them and is an intimate space with tiered seating and ample room for a flat or raised stage.

The set was kept simple – white and black chairs lined up at the edge of the stage, a white and black table to be both table and raised podium, a backdrop that was back lit to create imagery from the actors and atmospheric conditions.

The lighting was simple but used well to set up different scenarios, as was the use of sound. With such a simple set and no costume changes the use of these could have been even more predominant without overpowering the actors or storyline.
You could tell the creatives were all passionate about this play and all gave an emotive performance.

The 8-member cast of Cullyn Beckton, Ava Kozlovskis, Lara-Kate Anderson, Abigail Thomas, Loretta Melit, Miller Braithwaite, Ruby Gleeson and Georgie Falting are all to be congratulated along with 12 creatives led by director Jai Bofinger rehearsed and brought this to production in only 7 weeks. There are 65 scenes to cover a range of human emotions and experiences.

This is a journey that invites you to listen to the danger of climate change from sharing and witnessing experiences with the actors on stage.

It runs for 90 minutes, and an interval would have given the audience a reprieve from the intensity and a chance to catch up with all the information. In saying that the actors were totally committed and an interval may have derailed the emotions and pace of the play.

Did I enjoy it you may ask. I often question my choices when thinking of the effects on the climate. My recent Shein purchases, takeaway plastic containers – this play set out to remind me that we are all part of the solution. But did I enjoy it.
YES – because I like being challenged and i was entertained. This play would not have been on my radar but as I had never seen or heard of it or the playwright, i was curious, and i was not disappointed. For further research and information look up the writer, David Finnigan, he is an interesting character himself.

It runs until the 25 April, tickets on Trybooking.com $20-$35

To book tickets to ‘Scenes from the Climate Era’ by David Finnigan, please visit https://www.trybooking.com/events/landing/1560499.

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Romeo & Juliet – An 80s Reimagining!

19/03/2026 Jules Hart🥉

Romeo & Juliet Rating

★★★★★

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St Luke’s Theatre Society’s adaptation of Romeo and Juliet reimagines this timeless Shakespeare tragedy with an 80s backdrop: the iconic decade that shocked our senses with a mixtape of neon colours and bold prints, leg warmers, lycra, big hair and rebellious youth culture.

Assuming not all are familiar with the storyline, Romeo and Juliet fall deeply in love despite their feuding families. Their secret relationship and plans go awry and lead to an untimely tragedy that finally compels the two families to reconcile.

If you’ve not had the luxury of surviving this decade, the question arises: why the 80s? The rebellious pop culture and emotionally defiant spirit of this decade echo Romeo and Juliet’s determination to follow their love despite social rules. U2’s song ‘With or Without You’ is just one example of a music transition used to reflect the pain of loving someone in impossible circumstances.

The Director-June Balfour takes us on this 80s inspired journey transitioning scenes with aptly chosen songs, often tongue-in-cheek, revisiting music icons such as Tears for Fears, Madonna, INXS, and Queen.

Nestled in the grounds of St Luke’s community church is a modern performance space. Sound production effectively delivers the dense prose often found in Shakespeare plays. A central revolving platform was used to alternate between Juliet’s bedroom and other locations including Romeo’s quarters. Utilising the centre aisle and steps as an entry and exit point for actors, cleverly extended the performance space creating a more intimate and immersive experience.

The portrayal of Romeo was delivered strongly by Lachlan Gregory Hugh, his mastery of the Shakespeare script effortlessly showing light and shade. Romeo’s footy-loving cousin Benvolio (Giorgio Impiccini) played his role with gusto and high levels of energy, bringing the scene to life wherever he went. Madelyn Scott’s commitment to the role of Romeo’s friend Mercutio brought clarity and meaning to the witty wordplay of Shakespeare.

Lillian Dowdell earnestly portrays Juliet bringing a quiet confidence to the role. The dynamic between Juliet and her Nurse was engaging and playful, their banter evoking much laughter from the audience. Ellie Bickerdike, as the bawdy touchy-feely nurse, leans into the role so much it’s bordering on cringeworthy.

The costuming showcased the hyper-coloured boldness of 80s fashion. Using set props like a Walkman and a gremlin plushie were fitting nods to the decade. I particularly liked the inclusion of Juliet’s drop-waist wedding dress!

While well-intentioned, the 80s tracks to transition scenes sometimes disrupted the mood, creating a disconnect with the story. The attempt to blend upbeat 80s music as light humour with the emotional volatility of the play occasionally interrupted the momentum, ultimately causing certain moments to fall flat.

Overall, the production succeeded in highlighting the timelessness of Shakespeare’s story. While it made bold use of 80s fashion and music, the theme was more decorative than immersive, still offering enjoyable relatability and engagement with the audience. This connection was further enhanced by creative staging and strong performances.

Romeo and Juliet is showing at St Luke’s Theatre Society, Brisbane until the 28th March. For tickets go to:
https://stlukestheatre.asn.au/

To book tickets to Romeo & Juliet, please visit https://stlukestheatre.asn.au/.

Photographer: carpediam.ink

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The Many Faces Of Sherlock Holmes

21/02/2026 Virginia Gray🥉

A Night Of Sherlock Holmes Rating

★★★★★

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Nestled in the burbs of New Farm is a church and in that church is the very vibrant Nash Theatre. Each year they produce a radio play – well, extremely well.

A simple set with actors dressed appropriately for the era (1930’s), mircrophone stands at the front of stage and the ‘On Air’ sign glowing with the “Applause” sign lighting up to remind you that you are part of a studio audience – it is marvelous.

But best of all is the live action foley – set up along the back of the stage were three foley artists and I have to say, the horses and carriage sounds – spot on. Congratulations to Mark Corben, Lara and Emma Latham who entertained us with their enthusiasm, facial expressions and creative techniques – yes, I am still giggling at the Baboon.

I often listen to the Sherlock plays on Spotify and I was pleasantly surprised to hear a new one among the mix; ‘ The case of the Blue Carbuncle ” – hilarious. With the actors playing a range of characters from the vagabond thief to the well educated Sherlock and Watson.

Presenting old time radio shows is a great way to entertain an audience without elaborate sets. The stories rely on the actors ability to react appropriately without props, and once again, director Jason Nash has produced excellent work. The American and English accents on the whole were consistent and added to the believability you truly had stepped back in time to the 1930’s.

The roles of Sherlock and Watson were shared amongst the cast which took each story to a different era and there were some interesting accents. Caleb Hocking’s Watson accent for “A Scandal in Bohemia” was definitely unexpected but very humourous and Bruce Edgerton has definitely found his niche with the different characters you find in radio plays. King of Bohemia suits you Bruce.

Radio plays have advertisements and the cast brought these to life very much reminiscent of an era where entertaining folks was simple and mixed with a good dose of humour.

The actresses on stage, Sandy Adsett, Jenny Bonney-Millett and Kiah Latham were immaculately dressed and authentic with their characters, it definitely was a more glamourous era. Bright red lips, pearls, diamonds, heels and furs, they each delivered applause worthy performances and it is a joy to go to a play where you can hear what people are saying – great diction, accents and expression.

The first story, ‘The Adventure of the Speckled Band,” was delivered with the emotion and mystery that set the actors up for a great show run, drawing in the audience and giving us all the shivers at the end. The stories were broken up by the jingles, which also offered great entertainment.

So if you are looking for good quality well priced entertainment here it is, take along a friend and enjoy the show.

Show runs until the 14 March, at Nash Theatre 52 Merthyr Road, New Farm

Tickets via Trybooking – https://www.trybooking.com/events/landing/1490448

To book tickets to A Night Of Sherlock Holmes, please visit https://nashtheatre.com/.

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