Starring acclaimed illusionist Michael Boyd. One performance only – Saturday 10 October
Prepare to be amazed when internationally acclaimed illusionist Michael Boyd returns to Sydney’s State Theatre with his breathtaking illusion spectacular, MYSTIQUE – A Journey Beyond Reality, for one performance only on Saturday 10 October.
A theatrical experience unlike any other, MYSTIQUE combines grand illusion, captivating storytelling, spectacular dance and audience participation in a world-class production that will leave audiences questioning what is real.
Created with the same creative team behind legendary illusionist David Copperfield, the production showcases some of the world’s most spectacular large-scale illusions, blending cutting-edge technology with timeless theatrical magic.
At the heart of the show is the astonishing Deadly Scorpion Illusion — a $50,000 robotic apparatus that sees Michael dicing with death beneath a swinging two-metre buzz saw blade while a giant venomous scorpion tail strikes with terrifying precision. It is one of the most dangerous illusions ever performed on an Australian stage.
Audiences will also witness the breathtaking Double Levitation Illusion, where a dancer gracefully rises high above the stage before Michael takes flight across the magnificent State Theatre in a Peter Pan-style aerial illusion that appears to defy the laws of gravity.
Packed with dazzling special effects, world-class illusions, stunning choreography, comedy, suspense and unforgettable theatrical moments, MYSTIQUE – A Journey Beyond Reality promises an exhilarating experience that will captivate children and adults alike.
Whether you’re a lifelong fan of magic or experiencing grand illusion for the first time, MYSTIQUE – A Journey Beyond Reality promises an unforgettable afternoon of astonishment, excitement and spectacular entertainment.
There is a rare, intoxicating vulnerability when world-class chamber music is experienced in an intimate performance space, and tonight at the Sydney Opera House’s Utzon Room, Brisbane-based Ensemble Q delivered a concert that was not merely heard, but deeply felt—an experience that bypassed the intellectual mechanics of music and touched the soul directly. The venue’s tight, warm acoustics placed the audience in striking, captivating proximity to the musicians. Sitting so close that you could hear the soft intake of breath before a phrase, see the delicate bow hair catch the strings, and feel the physical resonance of every note created an immediate, deeply personal connection that elevated the entire performance, making it feel less like a distant spectacle on a cavernous stage and more like a shared, living conversation between artist and listener.
Founded by husband-and-wife duo Paul Dean, a professor at the University of Queensland and one of Australia’s foremost clarinettists, and Trish Dean, an internationally respected cellist, Ensemble Q brings together a powerhouse lineup of extraordinary Australian talent. Joining them on stage were violinist Asma Chalabi, Head of Violin at ANAM performing on an exquisite 1805 Joseph Panormo violin; the brilliant violinist Anne Horton, whose international career boasts major competition victories in Cremona and Osaka; and acclaimed violist Benjamin Roskams, who added immense emotional warmth on a magnificent c. 1720 Joseph filius Andreae Guarneri viola. Completing the ensemble was acclaimed broadcaster, author, and narrator Ed Le Brocq, whose sensitive, grounded storytelling provided a gentle emotional spine for the evening’s narrative works.
The program was a masterclass in balance, artfully weaving dark classical intensity with poignant contemporary narrative and whimsical charm. The performance opened with Ludwig van Beethoven’s stormiest early chamber work, the String Trio in C minor, Op. 9 No. 3. Being so physically close to the players emphasized the fierce, conversational dialogue between violin, viola, and cello, showcasing the ensemble’s breathtaking synchronisation and flawless technique.
The emotional apex of the evening was Anne Cawrse’s ‘Sonam and the Silence’, commissioned by Ensemble Q for their 2026 season and written for narrator, clarinet in B♭, and string quartet. Based on a picture book set in bustling, Taliban-ruled Kabul—where music is forbidden—it tells the tender story of a young girl who discovers the enduring power of music. Cawrse’s evocative score paired with Le Brocq’s sensitive storytelling left the room in pin-drop silence, creating an overwhelming sense of shared empathy and hope.
In a similarly enchanting vein, the ensemble performed Calvin Bowman’s ‘Curly Pyjama Letters’, a work across seven movements for narrator and string quartet set to texts by the late Michael Leunig (1945–2024). Originally commissioned for the Flinders Quartet in 2011, the piece brought Leunig’s beloved, whimsical universe to life. Bowman’s score—stylistically inspired by the sound world of the Academy of Ancient Music, gargling angels, and Schubert—matched the quirky correspondence between lone voyager Vasco Pyjama and his mentor Mr. Curly of Curly Flat with immense warmth, wit, and charm.
The concert concluded with Wolfgang Amadeus Mozart’s timeless Clarinet Quintet in A major, K. 581. Paul Dean’s clarinet tone was liquid gold throughout, and the famous Larghetto movement, performed with transcendent delicacy, felt like a private lullaby played specifically for each person in the room.
What made the night truly unforgettable was this remarkable synthesis of raw virtuosity and ultimate physical closeness. Ensemble Q did not simply play music; they opened a window directly into the human spirit, demonstrating not only breathtaking technical mastery but also a rare ability to tell profound stories through sound. An unmissable event.
Omega Ensemble is thrilled to present New Now 2026 at Sydney’s Walsh Bay Art’s Precinct on Friday 14th August. A showcase of boundless creativity and bold new directions, New Now celebrates the next wave of Australian musical voices.
Born out of Omega Ensemble’s CoLAB program, New Now 2026 features a program of four world premiere works by some of Australia’s most exciting new musical voices, Jessie Leov (NSW/NZ), Robert McIntyre (VIC), Thomas Misson (TAS) and Beth Roche (NSW), four composers whose distinctive voices reflect the diversity, curiosity and ambition shaping the future of Australian music.
Jessie Leov’s ‘A Map to Nowhere’ focuses on the environmental challenges facing us all, creating a world which navigates the sensory experience of a forest through the eyes of a child. This new piece marks Jessie’s first time writing for a combination of clarinet, violin, viola, cello and piano.
Robert McIntyre’s work ‘Solastalgia’ also focuses on the environment and climate change, exploring how nostalgia for the natural world transforms into solastalgia: a feeling of homesickness experienced while still at home. Robert’s previous song-cycle ‘Our Duty to Care’ also covered the topic of climate justice and earnt him the Dorian Le Gallienne Composition Award in 2023.
Thomas Misson will take audiences on a unique, sensory journey in ‘Cicerone Suite’, a musical pairing for four types of beer, creating a playful exploration on the shared “bitterness” of contemporary music and brewing, and the self-discovery inherit in trusting your senses.
In Beth Roche’s ‘The Lambton Worm’, she reimagines a 14th century legend from North-East England, detailing the battle between John Lambton and a giant worm, capturing the duality between the naivety of young Lambton and the sinister, deceptive nature of the worm.
Omega Ensemble’s Artistic Director David Rowden said, “New Now is easily one of my highlights of the year. The program is always fresh and exciting, and this year is no different with one piece influenced by craft beer and another by far off lands. Each composer we’re working with this year is bringing their own distinctive, adventurous voice, reflecting the depth, diversity and ambition of the next generation of Australian music.”
Launched in 2021, CoLAB has rapidly become one of Australia’s leading professional development programs for fresh compositional talent, offering direct collaboration with world-class musicians and composer mentors. The 2026 edition continues the series’ commitment to championing bold musical thinking and new chamber music compositions.
Celebrated composer and CoLAB mentor, Holly Harrison, describes the initiative as “one of the greatest gifts any performing organisation has devised. CoLAB was driven by an unwavering commitment by the Omega Ensemble to advance the future of Australian musical creativity.”
Now in its sixth year, and with previous showcases selling out, New Now has quickly become an annual meeting ground where artists, industry and audiences alike come together to experience and celebrate the music and voices shaping tomorrow.
New Now plays for one show only this August – 90 minutes, no interval with tickets priced at only $49.00 – this is the perfect night out on the Harbour.
In the self-proclaimed ‘arse end of England’ there is a tavern in the village of Gotham (pronounced Go-tham, not Batman’s Gotham). Picture yourself in ye olden times of 1206, ruled by the King, the mystical wonder of knights and the clinking of mead in tankards. Lose yourself in an era where the lute and the medieval fiddle, the vielle, play in harmony with the gentle beat of the tabor and tambourine.
This is where A Kingdom of Fools, a one act comedic farce, directed and written by Ryan Atkins, begins with a burst of excitement. The tavern owner Mildreth (Meredith Welch) commands her workers, chef Simple Thomas (Alex Hutchison-Smith) and tavern wench Ethelfleda (Nala Davies) to prepare for the arrival oenf a knight, Sir Guy Ashcombe (Brendan Atkins) and nobleman Sir William Drakeford (Yarno Rohling). To present their best face in tavern hospitality, the tavern is rushed to be cleaned. The chamber pot “near to overflowing” is brought out ready to empty, a fixing of the floor near the door is attempted, Ethel practices her best bosomy sexy postures in the hope of snagging the knight, the welcome horn and the pouch of rose petals are at the ready. All these make their way back into the story later, serving as the accomplices to some hilariously comedic scenes.
Whilst waiting for the noblemen, Gerd (Lachlan Atkins) a sweet and simple miller, and Alfric (Ryan Atkins), a man with his head and both hands enclosed in a long wooden pillory arrive. Ryan’s Alfric unknowingly slams the wood into two characters, causing one to tumble outside and Gerd to become a temporary wall decoration which was one of my favourite scenes. It is difficult to describe this scene without giving away spoilers, but I’ll just say that it was so well timed and had the audience laughing and wondering how the set would recover.
Sir Ashcombe and Sir Drakeford also made a memorable entrance onto the stage. Sir Ashcombe tripped over and fell onto his back. Brendan’s portrayal of the knight, scrambling furiously and failing several times to get up off the ground because of the heavy armour was played to perfection, and reminded me of a cockroach with legs running askew!
The knight and the nobleman were at the inn to announce that King John was seizing it for himself. Everything, he says – including the tavern and the people, the animals and the flowers in the fields. The villagers are outraged at this greed, with Meredith’s Mildreth shooting the darkest and murderous looks at Sir Drakeford. Thus begins an outrageous plan of rebellion to convince the noblemen to leave and never return. Father Godric (Arnold Walsh) is brought in by the noblemen in attempt to temper the situation, but this fails and the audience most likely silently cheer as he flees.
The chaos that ensues from the villagers’ plan is all encompassing, involving the characters in non-stop scenes of utter hilarity and originality. One standout scene was when Sir Drakeford was reading the decree to Mildreth, unspooling it and reading it slowly line by line in a totally matter-of -fact way. Meanwhile, Ethel, Gerd and Simple Thomas are in the background, in their own world creating the most ridiculous skits, yet being one hundred percent true to their characters, which made it even funnier. This was one of the cleverest ways of involving a lot of the cast onstage, separate yet together to create one unforgettably funny scene. Ryan Atkin’s script was witty, fast paced and engaging, eliciting clever wordplay to capture the audience and tickle their funny bone.
The costumes were period perfect, especially their medieval tunics, brown soft sole boots and hanging coin pouches, as were the props and the set. The end scene was outrageously messy, and the physicality of Simple Thomas’ actions had the whole audience “laughing their head off” which is my way of giving a nod to the Ryan’s Aldric who spent the majority of the play with his head and hands trapped as well as something else.
Although I could see that there was no one ‘main character’ as such, as each character was written with their own flair, Lachlan’s portrayal of loveable ‘village idiot’ Gerd was a standout. He managed to deliver many not so hidden innuendos with the innocence of the young, which added to the comedy.
It was no coincidence that A Kingdom of Fools was at the Sydney Winterfest Medieval Fair on the weekend before the play’s opening week at The Eternity Playhouse. It was a strategic stroke of genius, because putting your head and hands into a pillory for a photo opportunity was perhaps the best advertisement for this play. A hilarious comedy of Monty Python-esque proportions, A Kingdom of Fools gathered the audience into a medieval time machine and stepped us back to where the little people overthrow the powerful. I’ll fill my tankard with mead and drink to that!
A Kingdom of Fools is playing at The Eternity Playhouse. 39 Burton St, Darlinghurst 90 minutes Season: 16 July – 26 July 2026 Tickets: www.events.humanitix.com/a-kingdom-of-fools
