Sunnybank Theatre was the perfect venue for the world premiere of Centre Stage – A Variety Spectacular. Produced and directed by the multi-talented William “The Juggler” Piper, the show was expertly emceed by William himself, who not only hosted but also juggled, performed magic, and had the audience laughing and participating throughout. One of the funniest moments was a balloon routine featuring a delightful five-year-old volunteer. William’s strong stage presence and obvious passion for providing up-and-coming performers with opportunities to showcase their talents set the tone for the show.
Young hip-hopper Tyrese Jok opened the show with a high-energy routine, earning cheers and applause from the appreciative audience. Dancer Macca Cloke and singer Eliza Cullerton brought Broadway to Sunnybank with sequins, soaring high notes, and undeniable flair. Former Australian representatives at the Acrobatic World Championships, Lisa Gardiner and Mia Krone, defied gravity with two spectacular acrobatic routines that had the audience holding its breath more than once.
William conceived the idea for Centre Stage in 2025, and this inaugural performance set a high standard for future productions. By the final curtain, Centre Stage had done exactly what its name promises — giving performers a moment in the spotlight and audiences an afternoon to remember.
GASHA is Cirquework’s newest contemporary circus work — a vivid, sensual, and chaotic vision of near-future Japan where bodies, cultures, and aesthetics collide.
The production imagines a world reminiscent of a futuristic pleasure district: a labyrinth of neon haze, fragmented memories, and digital noise. Performers of diverse backgrounds enter this strange landscape, their bodies marked by different histories and physical vocabularies. As they gather, clash, and intertwine, the stage becomes a living organism — shifting between seduction and volatility.
Japanese aesthetics appear only as flickering traces: the shadow of a traditional silhouette, the rhythm of a ritual gesture, the sharp geometry of ink-black light. These fragments merge with digital projections and pulsing electronic sound to create a world where tradition is not preserved, but fractured and reassembled.
Aerials slice through beams of cold light. Acrobatics unfold with both tenderness and danger. Bodies spiral through fog and color, moving like circuitry brought to life.
The cast brings an array of kinetic languages: aerial technique, acrobatics, contemporary dance, and object manipulation — refracted through a distinctly Japanese filter that makes the movement feel both ancient and futuristic.
Lighting sculpts shadows into sharp silhouettes. Video projections shimmer like unstable memories. Digital sound pulses with a seductive urgency.
GASHA is not a narrative. It is a state — a fever dream of identity, intimacy, and transformation. A place where beauty emerges from friction, and chaos becomes its own form of poetry.
This is the beginning of a new style of Japanese circus: bold, borderless, and irresistibly alive. Perth’s Fringeworld:- https://fringeworld.com.au/
Blanc de Blanc Encore (World Champagne Day) Rating
★★★★★
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Blanc De Blanc Encore is a cheeky cabaret-cirque fusion that contains more fizz than the champagne it’s themed around. Masterfully weaving elements of comedy, cirque, dance, cabaret and singing; it’s a titillating time. Furthermore, the West End Electrique feels like the perfect venue allowing for action in, on, amongst and over the audience proving to never allow a dull moment. The interactivity between the performers and audience provides an experience that will be ever changing with each show, making it feel fresh and unpredictable. An all-star cast also elevates this performance to be a next-level experience.
Dylan Ingwersen and Eric Allen enthrall the audience, be it through their comedy or the anxiety of knowing no-one is safe from their crowd work. Ingwersen does a great job embodying his outrageous French character, and has an almost sweet chemistry with Allen. Allen is no-joke, flexing his muscles in skillful work on a static pole as well as for some fun bits that play with physicality and sound recordings. The entire cast show great skill in group dance numbers, most with a fun champagne flair or mischievous twist. Abi Wells uses her talent to mesmerise us with great fluidity and control throughout her dance numbers, showcasing her temptress abilities. Brett Rosengreen is equally as established, showcasing a diverse dance skillset from thigh-high heels to isolations to feather fans. Rosengreen had great on-stage presence, constantly flirting with the audience.
Ruby McQueen makes a great addition to the dance team, but really proves herself in her aerial number. McQueen shows confidence and makes her technical movements through the air look effortless, all while remaining connected to the audience. Similarly, Maria Moncheva does expert work on the aerial chains, captivating attention skyward. Moncheva interestingly doesn’t emphasise the ‘danger’ or metallic clanking of the chains during her performance, which assists it to feel gentler and more high-class. Finally, Lily Bourne offers some vocal talent to the mix, with sassy powerful vocals that feel stylistically perfect for the show. She teases and at times bullies the audience all through song, showcasing her vocal range and character capabilities.
All the great talent on display really shines through thanks to adventurous and creative staging. Performers are often situated right amongst the audience, or doing numbers that include interaction such as a giant parachute being sent out over everyone. These interactive additions elevate this from a show to an experience that really includes everyone present. The choreography felt well suited, combining elements and style from more classical jazz with a contemporary flare. The lighting design created a heightened atmosphere, with fantastic use of backlighting to provide silhouettes at times, or spots to highlight performers situated throughout the venue. The content of the show was unique and didn’t feel contrived or dated; bringing an exciting modern feel to the classic tropes of cabaret. With the exception of two numbers, the pacing felt perfect throughout the show with well placed transitions driving us forward. Blanc De Blanc Encore is an exceptional, classy and playful experience that ensures every member of the audience will leave with a smile. Be sure to catch this one before February, when the fizz runs out and they leave the West End Electrique.
Smash-hit ‘champagne cabaret’ Blanc de Blanc Encore celebrates World Champagne Day on 24 October and announces a season extension until February 2026, making it one of the river city’s longest running shows.
Since opening in November last year, Blanc de Blanc Encore has wowed audiences so much that the show is still running, with new dates now on sale until February 2026 at bespoke and award-winning theatre and bar The West End Electric.
“Blanc de Blanc Encore has run longer than many major musicals do, and we couldn’t be more thrilled with the overwhelming response. It shows just how much Brisbane loves a cheeky ‘champagne cabaret’! So we’ll be sticking around for the ‘party-season’ with shows all through summer,” says Producer Jess Copas, who has had a busy year, with the company presenting shows in London as well as all over Australia.
The cast and venue are celebrating their success with a World Champagne Day event for the ages, on Friday 24 October. The one-of-a-kind night will feature free-flowing Moët & Chandon, champagne oysters, exclusive surprise show moments, ‘champagne glam’ best dressed prizes and more.
“You haven’t lived until you’ve eaten champagne oysters – where the vinaigrette is replaced with unadulterated French champagne, thanks to our official sponsor Moët & Chandon,” says Venue Manager Rachael Hale.
Festivities will begin at 5:30pm, with the Blanc cast sabreing a bottle of French to begin the night of decadence. Flowing Moët & Chandon is included in the standard ticket price to see Blanc de Blanc Encore on World Champagne Day only. Which might just make it one of the hottest tickets in town!
After the show, the two most gloriously dressed attendees will be crowned ‘Champagne Monarchs’, in a nod to the drink’s history as the official libation of kings and queens.
Blanc de Blanc Encore transports guests from a sophisticated French lounge to a pumping nightclub party with the world’s finest acrobatic talent, great tunes, big laughs, lots of skin and more than a few surprises.
The international cast includes world-class circus, theatre and dance performers who have worked alongside the likes of Kylie Minogue, Robbie Williams and Rihanna, ripped up the floor on Dancing with the Stars and graced major stages on many continents.
Global powerhouse production house Strut & Fret are thrilled to extend the Blanc de Blanc Encore season again at Brisbane’s bespoke new theatre and bar The West End Electric.
The minds behind The Garden of Unearthly Delights, The Spiegeltent, The Grand Electric and now The West End Electric, Strut & Fret have toured their signature circus-cabaret shows to 25 countries from Brussels to Bogota and Perth to Prague.
Tickets are selling fast for World Champagne Day and all other dates via The West End Electric. Bookings are also being taken for Christmas parties and group events. Audiences are encouraged to be quick to secure their favourite seats for the festive season.
VENUE: The West End Electric, 125 Boundary St, West End, QLD 4101 DATES: Season extension until February 2026; World Champagne Day on Friday 24 October SHOWTIMES: Wednesdays & Thursdays 7:30pm, Fridays 7:30pm, Saturdays 4:30pm & 7:30pm; Sundays 5:30pm (times may differ, see the website for all show times) PRICES: Tickets from $64 + booking fees with special discounts and balcony bar hire options for parties.
“The Blanc experience serves up the top shelf of cabaret-burlesque-circus entertainment with a devilish smile and a knowing wink. This show is bubbling over with hilarious hosts, talented performers dressed up (and down) in dazzling couture-fashion-level costuming, interactive stunts and so-rude-it’s-right jokes.” — Time Out Sydney
“Whether it was risqué cancan in stilettos, striptease, slapstick, vamping, the pole or aerial rings…. [the performers] did not miss a beat” — Theatre Thoughts
Praise for The West End Electric
“Officially Brisbane’s coolest theatre venue” — The Westender
“The West End Electric evokes a sense of bohemian opulence” — Brisbane Times
“Think vaudeville, New York cabaret, Moulin Rouge vibes mixed with cocktails upon cocktails. What’s not to love?” — Urban List Brisbane
