A Night With The Villains 2025
There is something truly special about returning to a production that was already outstanding and discovering it has levelled up yet again. A Night With The Villains is that rare theatrical triumph, a sequel that exceeds its predecessor in scale, polish, and sheer entertainment. After the success of last year’s Matilda Award-nominated season, Mira Ball Productions has conjured a fiendishly fun spectacle that cements this show as one of Brisbane’s most anticipated annual events.
The atmosphere began building the moment patrons entered the Ron Hurley Theatre. The attention to detail was meticulous: cobwebs and candles along the stairways, lighting bathed in a sinister green, and the iconic “Enter If You Dare” sign, in dripping red letters above the theatre door. Digital projections of bats, lightning, and ghosts danced across the backdrop, while the audience (many in Halloween finery) buzzed with excitement. Before a single note had been sung, the tone was perfectly set: playful, spooky, and deliciously over the top.
The premise remains irresistibly clever. The great villains of musical theatre, all now deceased and trapped in the underworld, have one night to earn redemption through song, dance, and sheer showmanship. Their judge and emcee is none other than Hades himself. The audience, through a QR code, votes for their favourite villain, who then leads the company in the grand finale. It is part scripted, part improvised, and entirely joyous.
The script is tight and witty, while the improvised moments are spontaneous, hilarious, and often delightfully chaotic. Audience members with glowstick wristbands can choose to be part of the action, and those who do are treated with respect and playfulness in equal measure. It is the kind of interactive theatre that feels exciting but never uncomfortable.
The enormous cast deserves every accolade imaginable for their performances. Jett Sansom as Hades is a commanding presence who anchors the production with charisma and impeccable timing. His singing and dancing are strong, but it is his natural stagecraft that keeps the energy alive. He hypes the crowd, champions his fellow performers, and remains entertaining throughout. He is an ideal emcee: witty, confident, and generous in spirit.
Ashleigh Mitchell as Maleficent embodies her role with precision and grace. Her physical performance is captivating, each movement deliberate and expressive, and her dance work is exquisite. She commands the stage with quiet power, her focus and discipline evident in every beat.
Lucy Ross and Aimee Duroux as the Stepsisters, Joy and Portia, are a riot. Duroux has a wonderfully expressive face and Ross possesses a lush, smooth vocal tone that is simply a pleasure to hear. Her harmonies with Duroux are divine, their comedic timing is razor-sharp, and together they form a duo that could easily headline their own spin-off show. Their choreography is tight and dynamic, and their chemistry is infectious.
Leo Mylonas brings sensitivity and vocal richness to Claude Frollo, one of the more complex characters in the ensemble. His lower register is mellifluous and commanding, the kind of voice made for musical theatre. He shines brightest in his solo moments, where his tone and phrasing reveal both confidence and depth.
Kennedy Foley as the Queen of Hearts delivers a powerhouse performance. Her vocals are thrilling, full of energy and control, and she balances humour with just the right amount of attitude. Her stage presence is magnetic, and her mix of sass and charm makes her impossible not to watch. She earned this reviewer’s vote on the night.
Eleanor Grieve as Yzma is an absolute delight. Her characterisation is brilliantly realised, her comic instincts razor-sharp, and her voice gorgeous. Her rendition of Snuff Out the Light is one of the evening’s standout moments. She moves with elegance and precision, and her accent and vocal styling are pitch-perfect.
Kelsey Todd and Ruby Thompson as Roxie Hart and Velma Kelly are electric together. Todd strikes the perfect blend of danger, charm, and allure, while Thompson brings a mischievous glint and sultry confidence to the role. Both exude power and poise, their voices blending beautifully, and their dancing is crisp, synchronised, and exciting to watch. Their duets feel professional-calibre in every sense.
Reagan Warner as Mrs Trunchbull is uproarious, his comic delivery impeccable. He captures the physicality and facial expressions of the role with precision, and his dialogue work is among the funniest of the night. It is a performance that feels both committed and completely in the moment.
Peter Wood as Lord Farquaad very nearly steals the entire show. His performance is an absolute masterclass in comedic characterisation. He sings beautifully, dances energetically, and improvises fearlessly. His rendition of Short King brought the house down and had this reviewer in stitches. Wood radiates joy and charisma, proving himself a true triple threat.
Chelsea Guard as Lydia Deetz is utterly captivating. Her portrayal is delicate and heartfelt, her vocals sweet and melodious, and her dance work graceful. Her standout number, Bring Me to Life, combines emotional depth with technical polish. She commits to the role fully, creating a character that feels both authentic and endearing.
Ally Hickey and Beau Wykes as Mrs Lovett and Sweeney Todd are a terrific pair. Their accents are excellent, their chemistry strong, and their timing impeccable. Wykes possesses a rich, warm voice, shows a wonderful command of volume and tone to create light and shade in songs, with every skill needed to be a standout lead who will only grow stronger with confidence. Hickey, meanwhile, is utterly believable, fearless, and a joy to watch. Together they bring a grounded humanity to the gothic chaos.
Jaya as Stacee Jaxx is pure magnetism. A confident, risk-taking performer, Jaya owns the stage with charisma, precision, and charm. Their comedic improvisation is sharp, their singing voice smooth and resonant, and their dancing controlled and captivating. It is a performance full of swagger and joy, balancing hilarity with genuine star power.
Behind the performers is a creative team working at the height of their powers. Jennifer B. Ashley’s choreography is a triumph of imagination and musicality. Her work integrates contemporary, hip hop, and ballroom influences while remaining cohesive and fresh. The movement vocabulary plays to the strengths of each performer and includes clever pop culture nods and moments of physical comedy that land perfectly. Every number feels purposeful and thrilling to watch.
Rae Rose’s musical direction deserves equal applause. The vocal arrangements are tight, harmonies soar, and transitions are seamless. Rose has clearly fostered both discipline and joy within the cast, resulting in performances that sound as good as they look. The music breathes with life and energy throughout.
Jackie Frederickson’s costume design is nothing short of extraordinary. Each look is exquisitely detailed, fitting each performer perfectly, and embodying the essence of their character. From fabrics to accessories, everything is considered. It is difficult to overstate how impressive it is that a show of this scale manages such uniform excellence in costuming. Frederickson’s work elevates the entire production.
Rosie Humphreys’ makeup and hair design completes the visual magic. Every performer looks fully transformed, their looks holding up flawlessly under lights and exertion. The detailing in each character’s styling is thoughtful and precise, bringing cohesion and polish to the production’s aesthetic.
Tony Kerr’s technical design is another major achievement. The lighting and special effects are timed with exactness, creating moments of real theatrical wonder. The use of colour and projection is bold and dynamic, with particular highlights in Maleficent’s staff sequence and during Snuff Out the Light. Kerr’s vision brings spectacle to the stage that feels both cinematic and magical.
Sound operator Jacob Cash also deserves special recognition. Managing a large number of microphones with no audible errors is no small feat, and the sound balance was impeccable. Vocals sat beautifully in the mix, and every cue was executed with precision. It was a technically flawless performance from the booth.
Finally, at the heart of it all is Elodie Boal. As writer, director, and producer, she demonstrates remarkable artistry and leadership. Casting a show perfectly, guiding such a large team, and giving every performer space to shine takes extraordinary skill. Boal’s direction is creative, considered, and consistently entertaining. She balances structure and freedom with grace, allowing improvisation to sparkle without ever losing control of the narrative. Her shows radiate joy and professionalism in equal measure. Boal has cultivated a loyal audience because she knows how to make theatre that celebrates both the artform and the artists. If I had a million dollars to give away, I would gladly hand it to Boal to create whatever she dreams up next.
A Night With The Villains 2025 season is a thrilling reminder of how good local theatre can be when it is fuelled by passion, professionalism, and playfulness. Mira Ball Productions continues to raise the bar for independent musical theatre, and this year’s edition is a triumph of talent and teamwork. It is funny, stylish, and spectacular, performed with heart and precision by a cast and crew who clearly love what they do. If the devil is in the details, then this production is truly divine.
Kitty Goodall
Photography by B’rit Creative
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