Review: The Sapphires
Picture (L to R): Ruby Henaway, Aurora Liddle-Christies, Taeg twist, and Tehya Makani Image supplied, credit: David Kelly (NOT a Creative Futures Photography image).
If you are not a fan of musicals, you’ll enjoy this play. If you are a fan of musicals, you’ll like this show. And if you are just up for a concert of 1960’s soul classics, you will definitely want to catch the Queensland Theatre Company (QTC) production of The Sapphires.
Drawing on the experiences and memories of writer Tony Briggs’ mother, The Sapphires features four Yorta Yorta women whose success as the ‘Australian Supremes’ takes them from regional Victoria to performing in concert for American troops fighting in Vietnam. The play is set in 1968—a year of upheaval and change, following the 1967 Australian referendum—which makes for a great backdrop to an inspiring and joyful tale of First Nations women, family, story, and song.
If you feel that you are already familiar with the title and plot, it’s possibly because you have seen the 2012 film. Don’t use having seen the film as an excuse to skip this latest QTC production. The QTC Sapphires is a funny and occasionally uplifting drama, that features four excellent singers and a strong band.
The four male actors are well-cast, with a strong dramatic performance by Dave Lovelace (Jack Bannister), fabulous dance moves from Garret Lyon (Jimmy/Dance Captain), Cameron Leonard’s heroic (and funny) American helicopter pilot (Robby), and the clever representation of some of the experiences of the Vietnamese inhabitants (Joe, played by Chris Nguyen).
However, it is the four feisty, funny, and talented McCrae sisters who are the stars of the show, with an impressive QTC debut by each actor. Aurora Liddle-Christie (Kay McCrae) has a fabulous soul voice, and the audience really enjoys the humorous ‘Black Angel’ moments between Kay and Robby (Cameron Leonard). Tehya Makani (Julie McCrae) is well cast as the youngest sister, Julie, with excellent vocals and a strong dramatic performance. Ruby Henaway’s sassy Cynthia McCrae has some of the best lines, particularly when interacting with Jimmy (Garret Lyon). Henaway makes the most of every comic opportunity, and is a talented vocalist. But it is Taeg Twist’s portrayal of the strong older sister, Gail, that is the standout for me. Twist has an excellent voice, and is a great comic actor—which meant that I particularly enjoyed Gail’s interactions with their disorganised manager, Dave Lovelace (Jack Bannister).
Richard Roberts’s set is deceptively modest, evoking the simplicity of touring sets and referencing 1960s television studios, and providing sufficient space for Musical Director, Nathaniel Andrew, and band to be onstage thorough the show (Andrew is joined by the excellent Eli Badger [Bass], Dimple Bani [Drums] and James Feagai [Keys]). The impressive video design communicates some of the key moments of history, and is used to great effect in the closing scenes (Craig Wilkinson, Video Designer). And Robert’s costume design is of the period, cleverly supporting the portrayal of the quartet from its early beginnings through to the later sequinned success.
Wesley Enoch first directed The Sapphires in 2004, and it is a masterful choice by the QTC production team to attract Professor Wesley Enoch AM back to direct this new generation show. Enoch concludes the program note with the comment that ‘these stories are not just about the past. They are about who we are becoming.’ The Sapphires had the QTC opening night audience on its feet—cheering the new generation, and celebrating those who have travelled before. The celebrations are particularly joyful in QTC Sapphires show thanks to excellent choreography (Yolande Brown, Choreographer) and the strong vocals of the four leading ladies. It’s an enjoyable play, but the best moments in this production are the fabulous harmonies and excellent performances of classics such as Respect, Ain’t No Mountain High Enough, Heat Wave, I Heard It Through the Grapevine, and The Shoop Shoop Song (It’s in His Kiss).
In the program notes, Briggs comments that ‘it’s a thrill […] to share it with Brisbane audiences for the first time,’ noting ‘I’ve always believed our stories should hold more than just what’s been done to us. They should also carry what we give to each other. The laughter, the music, the connection, the pride. The parts of our lives that bring us together and move us forward. Because there is power in joy. There is strength in choosing to celebrate who we are. Bringing this story back now, in this place, reminds me why it had to be written in the first place. And why it still matters.’
If I had one wish it would be that this production had landed in a different Brisbane venue. Most of the action is directed toward the central seating area, including the movement of the ‘luggage trailer’ for various scenes. If you can buy tickets for this show, I strongly suggest avoiding any seats at the edges of the amphitheatre, to fully enjoy the drama. But, if sitting in a seat in the side aisles is the only way to see this latest QTC production, then I still recommend that you ‘Get on Up!’
Picture: A poignant moment, connecting with home and family. Image supplied, credit: David Kelly (NOT a Creative Futures Photography image).
Audience information: The Sapphires, Bille Brown Theatre, 78 Montague Rd, South Brisbane (28 April-24 May 2026). Tickets $84-$89 (season ticket, Blaktix, and under 36 options also available, all plus transaction fee of $5). 130 minutes, including one interval. Program and education resources available. Recommended for ages 12+. The production includes references This production contains coarse language, adult themes, depictions of racism, war and violence, and the use of theatrical haze. It contains culturally sensitive content and may contain images of those who have passed. It includes the use of historical racial language and moments of threat. The work also explores themes of pregnancy, including references to abortion. There are depictions of alcohol use and smoking (herbal cigarettes are used on stage), with dynamic sound effects, including gunfire.
Additional Credits: Ben Hughes (Lighting Designer), Isaac Ogilvie (Sound Designer and Sound System Designer), Chenoa Deemal (Assistant Director), NJ Price (Fight Choreographer), Andrea Moor (Intimacy Coordinator), Naomi Andrew (Vocal Coach), Yanni Dubler (Stage Manager), Lialize du Plessis (Assistant Stage Manager) and Tara Kenn (Stage Management Secondment).
The reviewer attended the Friday 1st May 2026 opening night performance.