It’s night-time in the suburbs. Guided down a secret laneway by torchlight, we arrive at a classic Queenslander lounge room where we settle into chairs or snuggle onto pillows in front of the fireplace.
Night-time on the river – City Cats, paddle-wheel steamers, cars on the expressway – are a great backdrop to these tales and songs of Brissie life.
Impromafia dip their quill into audience members’ daily lives to prove that the bard drew inspiration from real life.
Styled in blood-red gowns, the four sopranos of Belladiva channel opera’s heroines from the earliest decades of the art-form to the present.
Gumpoldskirchen is a tale of two brothers, family secrets and sibling rivalry.
We’re perched on top of The Edge on a remarkably crisp, clear night. Behind the make-shift stage is the best backdrop in Brisbane: the city skyline. It’s amazing that a sole performer can draw attention away from the view, but Darkwing Dubs knows how to get an audience’s attention: be loud, be funny, be charismatic.
As time-travelling tourists from an eco-sustainable 2113, we’re taken on a tour of 21st century pop culture, consumerism, politics, and individualism where no topic is sacred.
Hamilton’s 50-minute choral love-song is an adventurous a capella sound-bath: it glitters, shimmers and transports.
The heart of a man is explored through filmed scenes between the lovelorn university student and his philosophy tutors.
In fair Verona, where we lay our scene, an ancient grudge makes civil hands unclean.