Review: Torch The Place
There is much to enjoy in the latest Queensland Theatre Company (QTC) production, but I came away feeling slightly disappointed—probably because I wanted to love Torch The Place more than I did. Benjamin Law is a talented and prolific Queensland writer, and recent QTC productions of Calamity Jane, A Few Good Men, and The Great Gatsby have set a high bar.
Milestone birthdays are often an excuse for a gathering of the clan. Recovering from cancer, Mum (Hsiao-Ling Tang) is delighted that all three of her adult children will be home for her 60th birthday. Teresa (Denise Chan) has persuaded siblings Natalie (Kristie Nguy) and Toby (Logan So) that their joint birthday gift to Mum should be a thorough de-clutter and clean of the family home—with the support of Teresa’s husband, Paul (Peter Thurnwald), and by hiring a skip. Letters of complaint from the Council and neighbours…not to mention a rat infestation and broken toilet… make the decision somewhat inevitable.
The biggest problem is that Mum is a compulsive hoarder—accumulating ‘bargains’ and cherishing memories connected with old toys, collectibles, recordings, clothes, and magazines. A perfect scenario for an experienced sitcom writer to make us laugh while also uncovering family histories. However, Law probably had enough material for at least one TV series, as Torch The Place riffs through commentary on capitalism, communism and sustainability, and shifts from farce through to tragedy.
Ngọc Phan (Director) ensures that we each recognise our own family traditions of routine and connection, beautifully celebrated throughout the show in the ‘jinx’ pauses for laughter and how everyone—irrespective of how quickly they need to enter/leave—always changes from outside shoes to ‘house slippers.’ The first act caricatures are entertaining, plus the production makes excellent use of the full auditorium and includes several memorable set pieces.
Comic scenes, such as the camp game show hallucination, are a definite hit, and some of the funniest lines are linked to the ‘Princess Di’ collectibles. Hsiao-Ling Tang gives a standout performance as Mum, with a special mention for Kristie Nguy who makes the most of the ‘brand ambassador’ role. Hats off also to Wil Hughes (Composer and Sound Designer), as the sound design really enhances the production— from the walk-in organ music through to the interweaving of Eric Carmen’s All By Myself.
Picture: Members of the cast of Torch The Place (Image credit: Sam Scoufos for QTC. NOT a Creative Futures Photography image).
However, the Torch The Place transition, mood switch, and hidden history reveal didn’t work for me, leaving the second half moments that should have been moving and dramatic to fall a little flat.
As Pippy Productions demonstrated in Clutter, stories about hoarding, family dynamics and hidden secrets can make for great drama and impressive dark comedy. The QTC production of Torch The Place brings together some excellent ingredients, but delivers a bowl that is rather too full. As the opening night show ran for 110 minutes, I would love to have been served less of the red mist, furniture moving, and waiting in the hospital—and shorter speeches about politics.
If you are a Millennial looking for fun evening out I am sure that you will find much to enjoy in this QTC production, particularly if you are a fan of Benjamin Law or are new to QTCs excellent work; just try to get a seat in the central block if you can. If you are not in the younger Torch The Place target audience, then join me in looking forward to the rest of the QTC 2026 Season instead. So much more good stuff to look forward to, including The Sapphires, Pride & Prejudice, Do Not Go Gentle, Strong Is The New Pretty, Small Mouth Sounds, and Into the Woods.
Audience information: Torch The Place, Bille Brown Theatre, 78 Montague Rd, South Brisbane (10-29 March 2026). Tickets $70-$85 (season ticket, Blaktix & under 36 options also available, all plus transaction fee of $5). 110 minutes, no interval. Recommended for ages 15+. The production includes references to drug use, mortality, cancer, and infant death, as well as mental health themes including hoarding disorder and suicide. The text includes coarse language, racism, and sexual references. The show uses dynamic sound effects, theatrical smoke and haze, controlled live flame, flashing lights, and has moments of complete blackout.
Additional Credits: Jeremy Allen (Set and Costume Designer), Briana Clark (Lighting Designer), Emily Burton (Assistant Director), Gabrielle Rogers (Voice Coach), Mark Wong (Voice, Text and Accent Coach), NJ Price (Fight and Intimacy Coordinator), Jacinta Way (Stage Manager), and Tia-Hanee Cleary (Assistant Stage Manager).
The reviewer attended the Friday 13th March 2026 opening night performance.