Trophy Boys | Soft Tread & The Maybe Pile
It’s not always easy to balance sharp political and social commentary with genuinely entertaining theatre, but Emmanuelle Mattana’s Trophy Boys manages to do just this, delivering a show that’s just as laugh-out-loud funny as it is emotionally biting and politically urgent. Making its Brisbane debut at QPAC after a string of sell-out seasons and critical acclaim in Australia and the US, this queer black-comedy offers a gripping interrogation of the pervasive cultures of misogyny and toxic masculinity in private boys’ schools (and beyond).
Dance Nation | THAT Production Company
Without spoiling too much, this standing-ovation production will make you LOL, cringe, and maybe even gasp at the frankness of its language and topics. The terrific cast brought chaos, vulnerability and teenage angst to the stage, making every scene hilarious, heartfelt, and impossible to look away from; I even found myself memorising some of the lines after watching. In the end, this production was an unforgettable reminder of just how brilliantly messy growing up can be.
Accidental Death of an Anarchist | PIP Theatre
When I first heard that PIP Theatre were doing an adaptation of Dario Fo’s Accidental Death of an Anarchist set in Bjelke-Petersen-era Brisbane, I was stoked. As a fan of the original play and someone who knows the history of Pig City, I was shocked that the idea hadn’t been scooped up sooner—it seemed like a perfect match. So, it is with a very heavy heart that I say I did not like PIP’s Accidental Death of an Anarchist very much at all.
WE’RE ALL GONNA DIE! | La Boite Theatre & Dead Puppet Society
WE’RE ALL GONNA DIE! certainly has some funny moments, fabulous puppetry and set, a very hard-working cast, a great soundtrack , and a strong climate change message. But Catherine Lawrence came away feeling that this is a show that needs a little more—or, perhaps, less.
She Works Hard For (No) Money | Backyard Flamingo
With its realism, immersive staging, and light-hearted tone, this show delivered a bold, funny, engaging, and deeply thought-provoking experience.
2025 Season Launch | Queensland Theatre
From courtrooms to saloons, outback towns to the corridors of power, Queensland Theatre’s captivating 2025 program was enthusiastically welcomed with spontaneous, non-stop applause in celebration of reigniting our love for the power of theatre.
Trent Dalton’s Love Stories | Tim McGarry, Trent Dalton and Fiona Franzmann with Brisbane Festival and QPAC
Following the resounding success of Boy Swallows Universe as a novel, play, and Netflix series, it was almost a given that we would see another of Trent Dalton’s books adapted for the stage. Walking into Love Stories it is nearly impossible to not have expectations. But comparing the two adaptations is unfair, Love Stories is its own experience with a very different narrative approach.
GRIMM | Shake & Stir
Shake & Stir are one of Queensland’s best known theatre companies and they know how to put on a show. GRIMM, their latest offering, was no exception and soared into the self aware, campy horror I love with both glee and skill.
AMOR | D.I.V.E. Theatre Collective
Each phrase is a delightful piece of poetry expertly delivered. I long to read the script in it’s entirety, so that what was shared could be later accessed as a source of wisdom. I contemplate returning for another night just to hear it all again. Recitals came through in various dialects and the tonality of each reminds us of love’s universality. We all can sometimes struggle in it, or thrive in it, regardless of cultural background.
The Norman Mailer Anecdote | DOOR 3 & Queensland Theatre
Writer, Anthony Mullins, has written a ripper of a dialogue that bristles with tension and emotion. Under the deft direction of Julian Curtis, what starts off as a celebration, ends in a tangled web of lies and deceit in just under a harrowing eighty minutes.
Maze | The Naughty Corner Collective
The actors used neon tube lighting to move around the space, giving shape to the maze and blocking Wray’s path as he approached dead ends. This was a very effective use of the small stage. Further, it made the labyrinth feel alive, almost like a character itself, with the lighting being the blood pumping through the veins of the tunnels.
Same Penis Forever | Rebel Lyons
Humanising the different agents of social conditioning demonstrated that people make traditions, and traditions aren’t these immovable structures that must be obeyed at all costs. Traditions make culture, so if the diamond engagement ring was something some marketing mogul came up with to sell more diamonds, then why the hell do we take this ‘tradition’ so seriously.