AD ASTRA Productions
Upcoming Productions
Into the Woods
Be careful what you wish for…
To open our new beautiufl 151 seat proscenium arch theatre, Galaxy, located in Ad Astra’s new home at 210 Petrie Terrace this September, we will be taking an exhilarating journey Into the Woods, with music and lyrics by Stephen Sondheim and the book by James Lapine,
This Tony Award winning musical follows the journey of characters from the Brothers Grimm fairy tales, including Little Red Riding Hood, Rapunzel, Cinderella and their Princes, whose wishes lead them into the depths where the way is dark, the choices are grim, where they have to mind the wolf and heed the witch.
Those who know Sondheim will not be surprised that this journey, while deliciously funny, is not for the faint hearted, nor is a wish come true necessarily a desirable outcome: in theatre, as in life, “people make mistakes… witches can be right, giants can be good.’
Though the play begins with , “Once upon a time there lived a young maiden, a sad young lad, a childless baker and his wife…” it is for the very grown up. There is the agony of lust and betrayal and missing children in the Woods.
Do not be Cinderella and get left behind. Join us in this extraordinary celebration of story telling and the wicked magic of the theatre.
Frankie & Johnny in the Clair De Lune
Frankie and Johnny in the Clair de Lune is a poignant and intimate two-character play by Terrence McNally. Set in a small New York City apartment in the 1980s, the story follows Frankie, a guarded waitress, and Johnny, an earnest short-order cook, as they navigate the complexities of vulnerability, connection, and the possibility of love after a one-night stand. With humor, heart, and raw honesty, the play explores the deep human desire for companionship and the courage it takes to open up.
Biting Tongues
Biting Tongue is a new Queensland work by playwright Madeline Römcke. It was submitted as part of Ad Astra’s emerging playwright program, Astra Nova. It was chosen as the two winners to be part of the 2026 Astra Nova Showcase which opens the season at Ad Astra’s blackbox theatre, Pluto.
Love Lies Bleeding
Love Lies Bleeding
By Don De Lillo
Directed by Michael Futcher
31st Oct - 23rd Nov
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The play concerns an artist named Alex Macklin in the last years of his life, and the effect his condition has on his son, Sean, and his second and fourth wives, Toinette and Lia, respectively. After a major second stroke, Alex is left in a persistent vegetative state and the other characters convene to reach a consensus about his fate. Sean pleads for mercy killing, arguing that his father is no longer alive except in a narrow technical sense. Toinette is sympathetic to this idea but later in the play evinces doubt and uncertainty about the metaphysical nature of their undertaking. Lia is initially opposed to the idea, arguing for a natural death without intervention, though later she agrees to Sean's plan to sedate and ultimately end Alex's life with the aid of morphine. The play also contains three scenes portraying earlier episodes in Alex's life with Lia and with Toinette.
Though written before the national debate concerning Terri Schiavo, the play predicts many of the questions central to that debate and is a powerful meditation on themes of mercy and mortality in the age of advanced medical technology. DeLillo has stated "I suppose this is a play about the modern meaning of life's end. When does it end? How does it end, how should it end? What is the value of life? How do we measure it?"
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CAST
Alex | John Stibbard
Alex in Extermis | Greg Gesch
Toinette | Helen Howard
Lia | Carla Haynes
Sean | Spencer Cliff
CREATIVES AND CREW
Director | Michael Futcher
Assistant Director | Tom Pocilujko
Stage Manager | Hayley Smith
Lighting Design & Tech | Madelyne Leite
Set and Costume Design | Ada Lukin
Composer | Zachary Miezio
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Ad Astra Original Theatre
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‘Once again, Ad Astra end their year with a poignant meditation on what it means to be alive (or not), as well as a conversation starter about medical autonomy and assisted dying.’
Backstreet Brisbane | Read Review Here
‘The theme of losing a loved one, and the difficult choices surrounding end-of-life care, is handled with sensitivity and respect. The play delves deep into these emotions, but the writing and direction bring a balance, with short, sharp scenes that focus on each character’s emotional journey. This structure keeps the play from feeling overwhelmingly heavy and instead leaves the audience with a contemplative satisfaction.’
Caroline Russo for Hush Hush Biz | Read Review Here
‘It’s been 15 years since the play premiered in Australia with Sydney Theatre Company, and while the subject matter may be grim, director Michael Futcher has done a fine job with it, helped along by some great performances from the cast…. It will certainly spark conversations post-performance around end-of-life care, an often avoided but ultimately necessary topic.’
Sarah Skubala for Theatre Matters Read Review Here
‘This is an intriguing and talent-filled production of New Yorker, Don De Lillo’s 2005 play. Directed by the experienced writer/director/performer, Michael Futcher, this streamlined two-act production perfectly suits Misterton Street’s intimate studio space. And the director has found a balance in the tone with some very confident and engaging performances which sway between the poetic and dramatic.’
Beth Keehn for Stage Whispers | Read Review Here
‘And with such well-acted realisation to provoke changing audience allegiances as more ethical arguments and had and made, Ad Astra’s production leaves legacy long after its conclusion.’
Meredith Walker for Blue Curtains Brisbane | Read Review Here
‘The direction in this play is flawless. Every movement, every nuance, every moment of silence and stillness is there for a reason. And yet nothing feels staged, nothing feels choreographed or forced. We see beautifully defined characters, complicated relationships between them and almost every emotion you could imagine.’
Susan O’Toole Cridland for Magic Ant Network | Read Review Here
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Love-Lies-Bleeding is a beautifully-written play which tells, in an achingly true way, the story of what happens when three people gather to decide the fate of a man who has suffered a catastrophic stroke. Should he be allowed to live or die? Who takes responsibility for the decision, and in whose best interests is the decision being made? When I first read the play I was immediately struck by the compelling and uncompromising nature of the subject matter – when asking myself why put on this play and why now, the answer couldn’t have been more simple: The central theme of this play touches us all and it will be ever thus. Losing someone close will happen to everyone – maybe sooner, hopefully later, but it will come. It is a universal rite of existence and how we face it is one of the most important tests for any individual. This sublime play explores how we attempt to deal with this inexorable moment, and how we come to terms with ourselves, and the people around us (however painfully), in the process.
Don DeLillo’s writing is a dynamic mixture of brilliant observation, spare poetic dialogue and the odd wickedly hilarious turn-of-phrase, wrought with a supremely deft and sensitive hand. The challenge for actors and director is immense. The play takes no prisoners. Detail is neglected at your peril. DeLillo provides no cheap or easy answers which pander to the dopamine hits of our expectations – he eschews all these with a voice which comes from a very deep and fascinating place somewhere in the chamber of his unconscious. He deals in parallel stories, symbols, odd connections, which we are challenged to try to piece together, like detectives. If we follow the clues and enter his world patiently, with an open mind, the riches are waiting for all to experience. And they are rare and rewarding - and often surprisingly funny. Like many of the greatest master playwrights DeLillo avoids wrapping up his theme or “point of view” into a simple and easily digestible “message”. Instead he presents the characters in the midst of their inner and outer dilemmas and asks us to interpret and if necessary, judge for ourselves. That is how I believe theatre is best served and it has been an absolute honour and delight to delve into and share this important story.
Michael Futcher
Creatives & Crew
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Production Photos
Photography credits go to Barbara Lowing
Instagram missboo18
Merrily We Roll Along
Merrily We Roll Along
Music and Lyrics by Stephen Sondheim, Book by George Furth
Directed by Tim Hill
16th May - 8th June, 2024
Director’s Notes
How do you stage a musical with a live band in the tiniest of the city’s theatres? How do you convince people of a show that has been called the ‘Best Worst Thing That Ever Could Have Happened’? How do you condense a full Broadway ensemble to a mere 8 actors and ask them to perform one of the most complicated musical theatre scores? When I decided to put on Stephen Sondheim’s often forgotten masterpiece, "Merrily We Roll Along," all these questions ran through my mind. The answer was simple: surround yourself with the most dedicated, skilled, and passionate team of performers and creatives whose enthusiasm for this show almost exceeded my own. This show has been an absolute labour of love for me and the entire team.
Thank you so much to Ad Astra for the opportunity to stage this show. Their passion for programming interesting and challenging theatre is driving our local theatre scene forward. Thank you to the creative team: Ben Murray, Tess Hill, James Shaw, and Wes Bluff. Your work, as always, was full of skill and passion that resonates throughout the stage. Thank you to our band led by Ben, who make this incredibly complex score sound incredible. A very special thank you to Stage Manager/Production Manager Caitlin Scott, who has gone above and beyond every single day to get this show on stage. Finally, thank you to this phenomenal cast. They have worked so hard and dug so deep to explore every corner of this complex and dense show. I won’t say more because I think their work speaks for itself.
"Merrily We Roll Along" is a fascinating character study. It boasts a quintessential Sondheim score and complex narrative structure. In short, it is everything you want a great musical to be. Yet it is rarely performed. In an age where we see too many blockbuster musicals over and over again, it is such a privilege to have the opportunity to bring this masterpiece to a Queensland stage for the first time. We hope you enjoy it as much as we have enjoyed bringing it to you. It’s our time, and we are just going to breathe it in.
Tim Hill
Director
About the musical
Merrily We Roll Along is a 1981 American musical with music and lyrics by Stephen Sondheim and a book by George Furth.
Merrily We Roll Along begins in the present and moves backwards, tracing the lives of wealthy, jaded composer Franklin Shepard and his two estranged friends through each milestone of their personal and professional lives (good and bad). The show ends with a touch of rueful irony, as the three best friends at the start of their careers face a bright future: young, talented and enthusiastic about the worlds waiting to be conquered.
Content Warnings: Please be advised that this production uses haze, and contains adult themes, course language, simulated drug use and loud sudden noises.
CAST
Franklin Shepard - Stephen Hirst
Mary Flynn - Natasha Veselinovic
Beth Spencer / Ensemble - Heidi Enchelmaier
Charley Kringas - Alex Watson
Gussie Carnegie / Ensemble - Jordan Twigg
Joe Josephson / Ensemble - Chris Kellett
Meg Kincaid / Ensemble - Chelsea Burton
Male Ensemble - Liam O’Byrne
Frank Jr | Edward Hill (May 19, 24, 25, 30 June 2 & 7)
Frank Jr | Milo White (May 16, 17, 18, 23, 31 June 1, 6 & 8)
CREATIVES AND CREW
Director | Tim Hill
Musical Director | Ben Murray
Choreographer | Tess Hill
Associate Director | James Shaw
Stage Manager | Caitlin Scott
Assistant Stage Manager | Loretta Melit
Production Assistant | Libby Harrison
MUSICIANS
Ben Murray - Keys 1 (also Musical Director as above)
Lucas D. Lynch - Keys 2
Peter Lavrencic - Drums
Reviews
Ad Astra have put together a flawless production of local cast and creatives that leans into the musical’s poignancy and nostalgia not for an era so much as longing back to more youthful days before long term friendships became complicated by life. And all of these factors make it a must see show for musical lovers.
Meredith Walker - Blue Curtains | Read Review Here
When Stephen Sondheim rewrote a 1934 stage play as his new musical Merrily We Roll Along for the 1400-seat Neil Simon (Alvin) Theatre on Broadway, I’m sure he would not have thought that an outstanding performance of his musical would be 40 years in the future in a small 40-seat black box theatre in Brisbane! But I am sure that, wherever he is, the late, great Mr Sondheim would be nodding his approval at the superb cast in Ad Astra’s production.
Beth Keehn - Stage Whispers | Read Review Here
Ad Astra’s debut musical production is Sondheim’s masterpiece Merrily We Roll Along, and, like the title of the Act Two song, it’s a hit! Director Tim Hill has successfully managed to condense a full-scale Broadway musical into a show using a cast of eight performers and an orchestra of three in their intimate, 40-seater black box theatre.
Sarah Sekula - Theatre Travels | Read Review Here
According to theatre director Tim Hill, he asked himself how he could get the massive Broadway production of Stephen Sondheim’s “often forgotten masterpiece” Merrily We Roll Along done in Brisbane’s smallest theatre, Ad Astra. He answered the question admirably by getting a great cast and crew. Friday’s show was to a packed house that thoroughly enjoyed it.
Most of the cast plays ensemble roles. But Jordan Twigg gives a gorgeous femme fatale feel to Gussie’s role. Chris Kellet gives Joe Josephson a creditable New York Jewish accent and feel. Heidi Enchelmaier gives Beth Spencer, Frank’s first wife, a poignancy, difficult to deliver in a musical.
At one point, Alex Watson almost rouses the audience to a standing ovation with Charley Kringas’ spitfire speech/singing. Chelsea Burton plays several characters, but as Meg Kincaid, she’s almost irresistible. Liam O’Byrne creditably camps up his characters. Two young fellows, Edward Hill, and Milo White, apparently play the role of Frank Jr. It seems Milo can look forward to a career in show biz.
Kudos to musical director Ben Murray, choreographer Tess Hill, and the crew for fitting the many facets together in this frolic. It’s fabulous.
Gareth Macready - Dark Stories | Read Review Here
Director Tim Hill, assisted by James Shaw, clearly put a lot of thought into the use of the tiny theatre. His blocking choices and use of the space made the audience never once feel this was a large musical that had been scaled down to fit. If anything, the stage felt expansive and more than enough room to portray the variety of scenes. Casting choices were also perfect, as every role was unique, well-rounded and embraced fully by the actor playing them.
Musical director and conductor Ben Murray did an exceptional job not only conducting the small band but also directing the vocal performances of the cast. The complex harmonies that are often a signature of Sondheim were handled exceptionally and beautifully blended at all times to create a sound that filled the space with richness.
Yasmin Elahi - Queensland Stage Critics | Read Review Here
Director, Tim Hill, has taken a gamble, staging Merrily We Roll Along, in the small studio theatre at Ad Astra. It seems an impossible task to get a live band and a group of talented cast assembled onto this limited stage space. Tim has managed to achieve this successfully. He has taken this not so well- known Sondheim musical, written in 1981, and developed it into a charming and enjoyable boutique style entertainment, which had a cast of eight.
Lilian Harrington - Absolute Theatre | Read Review Here
The main point of difference of this production is taking a show with 21 actors and condensing it down to a mere 8. This reviewer was extremely skeptical at this as it is a very difficult task ensuring all parts are covered in a musical whilst maintaining its integrity, however, director Tim Hill showcased this with ease. At no point did the production feel lackluster or that it was missing pieces, it felt full and completed. Hill's direction was simple but extremely impressive, the blocking was natural and helped the audience understand the backward linear progression of the story.
Jake Goodall - Drama Dispatch | Read Review Here
Actors
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Creatives & Crew
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