Brisbane Comedy - Whats The Show

Love Actually? The Musical Parody is All I Want For Christmas

16/12/202516/12/2025 Martha Graham🆕

Love Actually? The Musical Parody Rating

★★★★★

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Twinkling lights and Christmas tunes greet you as you weave your way through the theatre. Humming along to Feliz Navidad after posing for a photo op like you are debuting the red carpet, you finally get comfortable in your seat. Front row or humble rear seats, the site leaves you breathless:

Before wide-eyed and smiling patrons, the stage transports you into the heart of the iconic Christmas rom-com. Love or despise the characters, storylines and actors that make Love Actually a Christmas special, the contagious cheer and excitement elicited from the reminiscent depiction of the Christmas school concert is contagious. Christmas trees, tinsel, lights, presents and two doors that hold the keys to the exploration of notable characters and questionable notions of love ensures a night to remember.

Comprised of an ensemble of six talented actors that emulate the subtle mannerisms of the renowned actors of the film, it feels as if Hugh Grant, Bill Nighy, Emma Thompson, Kiera Knightley, Colin Firth, Chiwetel Ejiofor and the late Alan Rickman have materialised. William Kasper, Nicole Kaminski, Benjamin Hambley, Dylan Hodge, Stephanie Beza and Ashton Simpson launch the audience into a whirlwind of emotions – humour, surprise and happiness. If parody is a new venture for attendees, then Love Actually? The Musical Parody is the place to be. Clever and vulgarly quick-witted, the musical production takes flight in throwing subtle shade at actor’s for their notorious rom-com lineage and their not-so romantic antics, while featuring their more iconic roles in popular culture to enhance the absurdity of their character’s dilemmas.

The outrageous and belly-laugh-inducing antics continue throughout the musical production through catchy, original songs that act as a throwback to iconic music of the 2000s, as well as the not-so-subtle innuendo associated with the beloved characters and iconic moments. Although humour and jokes carry the show from start to finish, the parody production offers the audience a chance to reflect on the crucial question guiding the show – is this love, actually? While watching the characters fumble through unrequited and requited love, barriers in language and culture, or searching for ‘love’ abroad, the audience explores what love actually means – rather than accepting the definition presented by the film’s glamorous stars and flashing lights we were told to believe all those years ago.

Love Actually? The Musical Parody is bold, hilarious and is sure to make you leave the theatre with laughter trailing behind you. Regardless of your perceptions of the original film, the exploration of the staple Christmas movie is sure to make your thoughts and opinions of the storyline feel validated.

Think professing your love to your best friend’s wife through a cardboard montage is a tad creepy?

Maybe you are not the only one.

Should Emma Thompson have been granted justice after Joni Michell’s CD greeted her trembling grin, rather than a beautiful necklace she believed was her Christmas gift?

Perhaps you should attend to find out.

To book tickets to Love Actually? The Musical Parody, please visit https://loveactuallymusicalparody.com/.

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Wyrd Sisters – Brisbane Arts Theatre

16/11/2025 Jules Hart🆕

Wyrd Sisters Rating

★★★★★

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Stephen Briggs adaptation of Terry Pratchetts fantasy fiction novel Wyrd sisters, invites the audience into a world of parody in a humorous blend of Monty Python absurdism meets Shakespeare.

Opening with three witches (the Wyrd Sisters) huddled over a cauldron we hear the line: “When shall we three meet again?” and with a deadpan “Well I can do next Tuesday”, the satirical tone is set and we soon realise this play won’t take itself too seriously. Woven into this fantasy adaptation are meddling witches, a scheming duke and duchess, a murdered king’s ghost, a baby heir smuggled into hiding, a travelling troupe of actors and a reluctant fool. Restoring the rightful heir to the throne becomes the witches’ main plight all while challenging the philosophy of whether we control our destiny or it controls us.

Director Sally Daly undoubtedly had a task ahead of her bringing Wyrd Sisters to life and to eager Pratchett fans and non-fans alike. Stephen Briggs script manages to weave wit, fantasy, magic and thought-provoking narratives inside nuanced references to Macbeth. And in playful meta-theatrical style it makes nod to Hamlet and A Midsummer night’s dream.

The Stagehouse theatre, plays host to this production and offers a lovely expansive stage. The tri-level minimalist set relies heavily on the lighting to shape scenes requiring more intimate space. At other times the very large stage wasn’t helpful to the actors and often diminished the actors’ presence and impact.

Sound also proved challenging. Without strong projection or microphones, several lines were lost into the void, extinguishing the punch of some of the sharper comedic beats. This was disappointing for the actors and I noticed more than a few audience members leaning in to hear. Sound projection was an ongoing issue, especially with the Fool (Sam Bentley), whose enthusiastic movement and antics often muffled his dialogue.

Sam Bentley as The Fool embodies the presence and accent reminiscent of Lord Percy in the Black Adder, and is very fitting to this period piece.

Costuming was on point and provided much of the authenticity and atmosphere this farcical period piece demanded. The three witches each had their own distinctive costume style as are their characters. Granny Weatherwax played by Amanda Lay provided a formidable anchor for the two other witches. The junior witch Magrat played by Marisa Bucolo added a youthful energy to her role. Nicky Whichelow as Nanny Ogg is a standout with her delightful contorted facial expressions providing great comic relief.

The Duke (Aodhan Thomas) and Duchess (Jacqueline Ellis) deliver their lines with confidence though there are times when their exchanges lack cohesion and flow. The duke navigates his personal demise and nervous breakdown with great energy again emphasising a nod to Shakespeare.

Nick Daly’s portrayal of the oblivious heir Tomjon shines with his bright upper register voice, conveying the naivety and innocence essential to the character.

Special mention goes to the support actors and ensemble cast who often play more than one role with quick changes. Although the first act suffered with some pacing issues, and tentative delivery of dialogue at times, the second act was a lot stronger. The sound projection had improved, and I’m sure these opening night nerves and tweaks will resolve with future shows.

All things considered, the production’s strong ensemble work and the clever Shakespeare-tinged script make Wyrd Sisters an entertaining show.

Wyrd Sisters is running at StageHouse theatre Stafford for a limited season until the 22nd of November.

For bookings go to: Terry Pratchett’s Wyrd Sisters Tickets, Stagehouse Theatre, Stafford | TryBooking Australia

To book tickets to Wyrd Sisters, please visit https://www.artstheatre.com.au/wyrd-sisters/.

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She Works Hard For (No) Money: A Reality Delivered With Precise Hilarity

31/07/2025 Martha Graham🆕

She Works Hard For (No) Money Rating

★★★★★

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She Works Hard For (No) Money is an ode to the superheroes in our lives: the women that make magic seem real when everything is miraculously taken care of.

Handled with precise hilarity, She Works Hard For (No) Money showcases the unspoken reality of women carrying the mental load of getting things done and sacrificing themselves to keep everyone a float; while juggling everyday pressures and endless labour.

Framed within dark humour, the interactive production thrusts the audience into the throws of the play. Immediately welcomed to ‘the office’ by members of the ensemble, the audience is escorted through different checkpoints until reaching the heart of the performance area. Once seated amongst props and intriguing stage blocking, viewers become immersed in the narrative’s drama.

Through boisterous scenes that establish the satirical tone of the show, the audience are shown depictions of women and men moving through everyday events (whether in the domestic sphere or workplace). The women perform activities where the men continually showcase their intentional (or unintentional) incompetence; highlighting the extra pressure women endure daily through expected gender roles and responsibilities.

Despite the humorous atmosphere, there are moments where the audience are brought to a halt for reflection. The tone of the narrative shifts from sentimental to melancholy, as the ensemble brings to life the unfair truth of work within the workplace being legitimised, or viewed as ‘real work’, over labour within the home. The devastation of these carefully crafted scenes presents the core message of the play with a breathtaking swiftness that causes the audience to reflect on how things can, and should be, improved within their own lives.

The ensemble of She Works Hard For (No) Money were meticulous with their performance; showcasing their skills with seamless transitions between characters and scenes. The writer and producer, Samantha Hill, director, Julie Ritchey, and crew handled the sensitive nature of the play’s themes with a precision that validated the experiences of countless women. The acknowledgment of the ‘not all men’ discourse was also conducted in commendable manner that brought the conversation back to the issue at hand; that we are here to give women a voice, for it is long overdue.

Although the heavier moments of the play invoke incredible sadness and rage, it also acts as a beacon of hope. By giving a voice to the women that carry the mental load, there is a tangible sense of hope for change: whether that be by a partner stepping up and recognising they should be doing more, or by a woman reclaiming her power and deciding to put herself first by shedding the mental load instilled by others. As the play comes to a close, the audience is left with a sense of triumph and with a silent promise that life can, and will be, better.

To book tickets to She Works Hard For (No) Money, please visit https://anywhere.is/series/she-works-hard-for-no-money.

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Esther Hicks: So….What’s it like in the Vortex?

04/04/202503/12/2024 Jules Hart🆕

Esther Hicks is Vibrationally Speaking Rating

★★★★★

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Last night I joined Esther and Jerry along with their ethereal counterpart ‘Abraham’ for “Esther Hicks is Vibrationally speaking” at the intimate PIP theatre space in Brisbane. The show is an engaging and quirky parody of the real-life teachings of American inspirational speakers Esther and Jerry Hicks.

From the very outset – and before we even take our seats, we’re allocated participant lanyards and instantly plunged into a simulated workshop that promises closer alignment to the vibrations inside the vortex and the laws of attraction!

The audience buzzed with playful anticipation of what was ahead of us. In just under an hour, award-winning director Elizabeth Millington cleverly guides us through the simulated interactive self-help workshop. Woven into this timeline is Jerry and Esther’s behind-the-scenes journey to inspirational speaking, which also hints at their increasingly tense relationship.

Claire Pearson (actor, writer, producer, comedian) and Kyle Walmsley (actor, comedian and RAW National finalist, 2012) hilariously bring Esther and Jerry Hicks to life with heart and conviction. Claire’s adept ability to morph into the entity ‘Abraham’ with such physical intensity made it impossible not to laugh! The show’s interactive nature encouraged the audience to ‘co-create’, ‘manifest’, and, in a mantra-like style, engage in a call-and-response communication, highlighting the powerful conformity of group behaviour.

Opposite Claire, Kyle delivers a strong portrayal of Jerry Hicks, the Ex-Amway businessman focused on sales, who grounds Claire’s whimsical Esther in the earthly plane.

The chemistry between Claire and Kyle is so palpable and convincing in their delivery that at one stage during the ‘workshop’ I found myself, along with other audience members reaching under our seats to find that elusive latest release book, which they hinted was there. They drew the audience into their world effortlessly, creating a shared experience that felt communal but also individual.

The minimalist set used subtle lighting to divide the stage, ensuring Esther and Jerry could be the central focus. They seamlessly moved from the cooler ‘on-stage’ left side to the warmer, soft purple glow of their home on the right side. The use of projected wall images effectively supports real-life excerpts of writings, teachings, and even a real video clip of Esther Hicks speaking.

The apt use of sound effects and music reminded me of the vibrations of a theremin instrument with an overlay of heartbeat sounds, adjusting the mood and pace of the show. The music signalling the show’s end was much more joyous and almost childlike.

Whether you’re a fan of self-help teachings or a curious sceptic, this show will resonate and make you laugh. Whilst there have been other iterations of inspirational teachings and books over the years, “Esther Hicks is Vibrationally Speaking” makes a brave move in highlighting the absurd attempts people make to find their true happiness.

If Abraham could speak to us now, he might say: “Are you ready to launch your rockets of desire and find your bliss?” With a blend of humour, tension, and unforgettable ‘mantra’ moments, “Esther Hicks is Vibrationally speaking” will leave a lasting impression and will likely resonate with audiences long after.

“Esther Hicks is Vibrationally Speaking” was performed as part of Pip Theatre’s annual Toucan Club festival, running until 21st December. For more details, visit www.piptheatre.org/toucanclub/.

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Jules Hart🆕

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

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