And just like that, it’s showcase season again.
For the Queensland Academy of Excellence in Musical Theatre Class of 2026, Showcase marks the culmination of three years of intensive training. Presented as a continuous performance in a single act, Showcase combines individual and small-group musical theatre segments with short acting scenes, offering each graduating artist an opportunity to step into the spotlight.
Established at Griffith University in 2011 under the leadership of Professor Paul Sabey, the Bachelor of Musical Theatre is now celebrating its 16th year and has produced graduates who have gone on to work across musical theatre, film and television in Australia and internationally.
Showcase places the focus solely on the performers, with unamplified voices, simple lighting and minimal staging. The stripped-back presentation in the intimate Tony Gould Gallery intentionally resembles an audition environment. This is apt as there are invited industry guests in attendance, including prospective talent agents.
Perhaps this is what makes a performance like this feel so unique. These are young artists taking one of their first big steps into the industry, and this is their opportunity to show the world what they can do.
The Scoop has enjoyed reviewing productions for this cohort since 2025, with Songs for a New World, 35mm and & Juliet among the titles.
Thanks to my growing Brisbane writing team, this was my first time seeing this particular cohort on stage. I arrived at Showcase in much the same position as the prospective agents; the performers had a limited window to make an impression.
This Showcase is billed as a one-hour presentation, and as a straight-through performance, it is a fast-moving event. I couldn’t help but wonder whether extra time might have allowed each performer to reveal even more of what they can do.
And, much like an audition, this review can only assess what was presented on the night. It is a snapshot rather than a definitive judgment: one performance, one set of material, and one moment in these young artists’ development.
As a collective cohort, their vocal abilities are outstanding. Griffith University has consistently demonstrated its ability to nurture exceptional vocal talent, and it was a thrill to experience the power of these young voices when they came together.
The group performances were a particular highlight, displaying impressive technical mastery through expert harmonies, dynamics and vocal control.
Standout segments included New Money from The Great Gatsby, featuring soloist Alessia Charman; Goodbye from Catch Me If You Can, featuring soloist Jackson Hughesman; and The Mob Song from Beauty & the Beast, featuring soloist Lachlan Dunks.
But the standout of the standouts was The Flesh Failures (Let the Sunshine In) from Hair, featuring soloist Ned Kelly. The sheer vocal and emotional force of the ensemble was extraordinary. It was one of those moments when the individual voices suddenly became something much bigger than the sum of their parts, and one I won’t soon forget.
Lily Bennetts and Caelan McCarthy were outstanding in their solo segments. Bennetts brought fierce, fearless commitment to What Lola Wants from Damn Yankees. It was an exhilarating performance. She absolutely went there, and it was fabulous.
McCarthy’s performance of Leave from Once showcased vocal prowess, emotional vulnerability and guitar-playing skills, allowing him to demonstrate a different set of strengths.
Among the duets, Ella Wood and Harry Ince were beautiful together in You Matter To Me from Waitress. Their connection was immediately apparent, complemented by Wood’s vocal control and her tender acting through song. It was a standout segment.
Alessia Charman and Jackson Hughesman brought genuine chills to their performance of Seventeen from Heathers.
In the straight acting scenes, Harry Ince commanded the stage in Go and Close, from Glengarry Glenn Ross. Performing such well-known repertoire can be a risk, but Ince made this scene his own, creating a character that left me eager to see more.
After the show, I reflected on the audition-room analogy. The Showcase is a short time in which to introduce yourself, particularly when the reviewer’s experience is limited to the live performance on the night. Industry guests have the benefit of additional material, including individual showreels recorded in advance.
My role is simply to assess what I see on stage. And what I saw was a cohort with an exceptionally high collective vocal standard, alongside individual performers who demonstrated the confidence, individuality and versatility to make a strong impression.
A graduation showcase is, after all, not an ending but a first glimpse of what might come next. I left the Tony Gould Gallery wanting more, which, for the Class of 2026, feels like a pretty good place to begin.
The Class of 2026 Musical Theatre Showcase runs to 19 September. It’s presented by the graduates of the Queensland Academy of Excellence in Musical Theatre (QAEMT) at Tony Gould Gallery, QPAC. Corner of Melbourne Street and Grey Street South Brisbane Qld 4101.
Tickets: https://www.qtix.com.au/whats-on/2026/qcgu-class-of-2026-musical-theatre-showcase
Website: https://www.griffith.edu.au/arts-education-law/queensland-academy-of-excellence-in-musical-theatre
Socials: https://www.instagram.com/qaemt.griffithuni/
Photo credits: Kenn Wylchi
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