We’re All Gonna Die!

There’s something thrilling about sitting in a theatre and feeling as if you’ve stumbled into a fever dream full of local landmarks, anthropomorphic rubbish piles, and unparalleled creative hilarity. We’re All Gonna Die!, the latest collaboration between Dead Puppet Society and La Boite, is that dream brought vividly to life in a high-octane comedy that’s as gleeful as it is thoughtful, delivering spectacle without ever losing its heart.

The premise unfolds with a mix of schlock horror charm and comic-book bravado. When one of Theo’s mums disappears on a CSIRO research mission, strange ripples begin to disturb the calm off the Queensland coast. Something stirs deep within the Pacific Garbage Patch, and soon the tremors of its approach are felt in Brisbane itself. The Minister for Defence turns up at school, a mysterious creature begins trailing Theo home, and amidst the chaos, a she realises that the real danger might not be the monster looming offshore, but the society that made it possible. This is eco-thriller meets farce, a monster story told with a distinctly Aussie wink.

It’s clear that this is a cast working in perfect sync from the very first scene, their teamwork both in acting and puppeteering creates a seamless, dynamic energy. Milena Nesic as Theo is the narrative anchor, charismatic and utterly believable, her physicality adding a layer of richness to a performance that captures the emotional journey of her character with sensitivity and conviction. Nesic’s thoughtful approach, delightful stage presence, and vibrant energy mark her as a performer with a bright future. Louise Brehmer is a complete chameleon, slipping in and out of at least half a dozen characters with dazzling ease. Her Prime Minister, elderly lady, and teacher characters are a comic treat, each with their own distinct voice, gait, and physicality, while her portrayal of Lana shows remarkable depth and range.

Ngoc Phan offers a masterclass in contrast, playing both the grounded and tender role of Theo’s missing mum Alice and the hilarious, posture-perfect schoolmate Jaymie. Her physical comedy is a delight, but she keeps the farce balanced with genuine humanity. Anthony Standish brings both hilarity and nuance to his roles of Jake and Harvey. As Jake, he avoids one-note simplicity, giving the character an emotional arc and a real connection to his friends, while his Harvey blusters and struts with outsized personality, a comic storm in human form. I particularly loved how Standish used his costuming to great comedic effect for both his characters. Hsiao-Ling Tang’s Nicklin brims with attitude and commitment, her energy infectious. She threads moments of sharp physical comedy into the performance with excellent timing, adding sparks of joy that make her presence on stage a pleasure to watch.

Playwright Maddie Nixon’s script is a love letter to Brisbane wrapped in a monster movie. Locals will relish the hyper-specific references, while outsiders will still find the humour accessible and sharp. The decision to turn the Pacific Garbage Patch into a living, breathing antagonist is inspired—a giant, absurd metaphor for the climate crisis that still manages to feel urgent and poignant beneath the comedy. It’s satire with bite, where laughter works as a salve for uncomfortable truths.

Co-directors David Morton and Courtney Stewart have crafted a production that brims with invention and affection. There’s a palpable sense of joy radiating from the stage, the kind that comes from a rehearsal room led with trust and collaboration. They’ve been bold in their vision, yet sensitive in their guidance, allowing both cast and crew to shine.

The design work from Morton and Dead Puppet Society is nothing short of remarkable. The sliding silhouetted Brisbane skyline, shifting to reflect the characters’ locations, is a stroke of visual genius. The LM robot that grows as it collects rubbish is both charming and thematically perfect. A couch on wheels becomes a car, cardboard skyscrapers crumble, ferries and boats traverse the river, and a stunning shadow puppetry introduction sets the tone. It’s a masterclass in creative problem-solving and theatrical ingenuity.

Ben Hughes’s lighting design elevates every scene, from the twinkling fairy lights of the Story Bridge to the drama of the car chase illumination and the shifting tones of the cityscape. Brady Watkins’s sound design grounds the action in place and mood, with delightful touches like crows in the schoolyard and a climactic crescendo that is vital to the story’s impact. The musical curation by Dean Hanson is the icing on this gloriously anarchic cake. With tracks from The Go-Betweens, The Saints, Custard, and more, the soundtrack pulses with Brisbane pride and nostalgia, giving the production a sonic identity as distinctive as its visuals.

We’re All Gonna Die! is an absolute delight. By the time the final scene lands, the show has taken the audience on a ride that is equal parts laugh-out-loud funny, visually arresting, and surprisingly moving. It’s an inventive spectacle with a strong message, a killer soundtrack, and performances that never falter. This is the kind of theatre that leaves you walking out on a high, grateful for the strange and wonderful magic that happens when fearless creativity meets exceptional craft.

Kitty Goodall

Photography by Dean Hanson