Attending a song cycle always interests me. I enjoy seeing how a production will weave its songs together, build a narrative and use staging to bring the stories to life. You Never Know: A Song Cycle, presented by the second-year students of Queensland Academy of Excellence in Musical Theatre (QAEMT), lives up to the high standard I have come to expect from this institution.
Exploring the complicated nature of relationships, You Never Know takes audiences through the interactions between friends and lovers, the excitement of new connections and the uncertainty that comes with matters of the heart.
Featuring songs from In Pieces: The Musical, written and composed by Joey Contreras, the production brings together a collection of individual stories that feel connected through their shared experiences. The cohort even had the opportunity to work with Contreras himself during their preparation, another example of the valuable industry opportunities this program provides its students.
Under the direction of Dr Elise Greig, the storytelling is particularly strong. The relationships between the performers feel natural, with interactions and emotions that extend beyond the stage and into the audience.
What stands out most is the genuine enjoyment radiating from the entire cast. There is an infectious sense of fun and connection throughout the performance, which speaks volumes about the environment created by the creative and production team.
The full company numbers, including Fork in the Road, You Never Know, Ohio and Singin’ the Same Line, demonstrate just how impressive this ensemble can be. Their voices blend seamlessly, with recognisable harmonies that give the numbers plenty of strength.
Musical Director Brett Sturdy deserves recognition for the vocal arrangements and musical direction. The Tony Gould Gallery is a relatively small black box space, which naturally limits the possibilities for large-scale dance numbers.
However, choreographer Dan Venz makes excellent use of the available space, delivering simple, stylish and purposeful choreography that complements the story without overwhelming it. The enthusiasm of the ensemble makes even the smaller movements enjoyable to watch.
Me and Mr Popularity is performed by Patrick Davis, delivering a sweet vocal performance with just the right amount of schoolboy charm. Davis is then joined by Luke Clancy for Love Wildly.
The pair work well together, with impressive vocal control, particularly in the transitions between chest and head voice. Their interactions carry a hopeful quality, while the ensemble help bring an infectious energy to the number.
Hannah Walne explores the rather modern dilemma of sending a friend request to a crush in My Simple Request. Playing into the comedy of the situation, Walne delivers the song with a lovely vocal sweetness and an understanding of its humour.
Braden Langley takes a different approach with Unsaid, showcasing a deep vocal tone that is genuinely mesmerising. Later, Langley pairs with Molly Parrish-Gibbons in Love Me, Love Me Not. Their vocals blend with precision, complemented by some impressive vocal runs.
Elliot Peacock brings plenty of comedic energy to Ohio, portraying someone completely smitten with the attractive guy in gym class. Their excitable characterisation is wonderfully relatable and gives the audience plenty to enjoy.
Nate Purdy’s This Is Not Me showcases an impressive emotional range, with heightened moments that feel convincing rather than overplayed. The physicality of the performance adds another dimension, although the moment the road cases are pushed into each other certainly gave the unsuspecting audience member beside me a fright!
Like You Don’t Miss Me, performed by Sienna Randall, Emily Furey and Phoebe Schultz-Webb, is another standout ensemble moment. Randall has a wonderfully distinctive and powerful voice, commanding the stage with plenty of attitude. The harmonies between the three performers are particularly gorgeous.
Furey and Randall return for Singin’ the Same Line, demonstrating their dynamic stage presence and ability to work together. Furey’s expressive performance conveys the story effectively, showcasing her acting ability alongside the musical elements.
Izellah Connelly delivers a powerful performance in With Him, navigating the quieter, spoken moments through to the bigger belted sections with confidence. Her portrayal of nostalgia feels genuine and gives the song an emotional foundation.
Bringing the production towards its conclusion, Hudson Bertram performs In Pieces. With a great voice and an incredibly approachable stage presence, Bertram has the sort of natural charm that makes you feel like you want to be his friend.
The students manage to create something that feels greater than simply a collection of musical theatre favourites. Each performer brings their personality and unique interpretation to the material, giving the production a sense of cohesion.
For a second-year cohort, there is plenty of confidence, personality and individuality on display. You Never Know: A Song Cycle is an enjoyable opportunity to see emerging performers take ownership of the material and put their own stamp on it.
You Never Know: A Song Cycle runs to 7 November 2026 at the Tony Gould Gallery, QPAC. Presented by the Musical Theatre students at the Queensland Academy of Excellence in Musical Theatre (QAEMT), Griffith University.
Tickets: https://www.qpac.com.au/whats-on/2026/qcgu-you-never-know-a-song-cycle
Website: https://www.griffith.edu.au/arts-education-law/queensland-academy-of-excellence-in-musical-theatre
Socials: Socials: https://www.instagram.com/qaemt.griffithuni/
Photo credits: Stephen Henry
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