There is something rather delightful about spending an evening in the company of villains, particularly when they are armed with powerhouse musical numbers, outrageous personalities and absolutely no intention of behaving themselves. Returning for its fourth season, A Night With The Villains brings together an eclectic collection of infamous characters for a night of musical theatre, comedy, cabaret and plenty of theatrical mischief at Brisbane’s Ron Hurley Theatre.
Presented by Mira Ball Productions, the 2026 production is a wonderfully entertaining celebration of the characters audiences love to hate, with a clever twist on some of musical theatre’s most recognisable numbers and modern pop hits. Featuring an impressive ensemble of performers, hilarious musical parodies and an interactive experience that puts the audience right in the middle of the action, this is one villainous gathering that certainly knows how to entertain.
Setting the tone for the evening is the opening number, ‘The Villains Show’, a parody set to the tune of ‘The Greatest Show’ from The Greatest Showman. It is an energetic introduction that immediately establishes the production’s playful approach to musical theatre and brings the ensemble together for a mischievous welcome.
Leading the evening’s mayhem is Jaya as The Grinch, who takes on hosting duties with plenty of cheek and theatrical flair. A familiar face from previous seasons, having previously appeared as Captain Hook and Stacee Jaxx, Jaya makes a welcome return. Their Grinch is the perfect ringleader, keeping audiences entertained, encouraging interaction and ensuring the chaos never strays too far from the spotlight.
Aimee Duroux as the Fairy Godmother (Shrek 2) brings a larger-than-life personality to the stage. Her second-act parody, ‘Cindy’s Godmom’, is an absolute highlight, cleverly reworking ‘Stacy’s Mom’ into a song that feels almost too perfectly suited to the character.
Ashleigh Grabasch as Magenta (The Rocky Horror Show) adds a dose of gothic glamour and eccentricity to the ensemble, making the iconic character a natural fit for this theatrical gathering.
Ashleigh is joined by partner in crime and brother Riff Raff (The Rocky Horror Show) played by Harry Ince who’s character is a little too intimate with his sister as per the source material and embraces the wonderfully eccentric world of The Rocky Horror Show, adding another quirky character to the company as they perform a parody of Ricky Martin’s ‘Livin’ la vida loca’.
Billy Sim Wright as Rasputin (Anastasia) brings a darker edge to the line-up especially with a play on Billie Eilish’s ‘Bad Guy’, offering a contrast to some of the production’s more playful personalities.
Chelsea Guard as Elphaba (Wicked) brings the iconic green witch to the stage, reminding audiences that sometimes the line between villain and misunderstood hero is a little more complicated. Madeleine Ford as Glinda (Wicked) offers a playful twist on the traditional idea of a villain. The bubbly Good Witch might not immediately spring to mind as an antagonist, but her inclusion adds a clever touch of irony and humour. Together they have a fun play on words with Elphaba’s spells through Lady Gaga’s ‘Abracadabra.’
Croft Phillips as Cinderella’s Prince offers a playful twist on the traditional fairytale prince. Joining forces with Jett Sansom as Rapunzel’s Prince for the hilarious ‘I’m Just Prince’, a parody of ‘I’m Just Ken’ from Barbie, the two princes deliver one of the evening’s most entertaining collaborations.
Emily Rohweder as Ursula (The Little Mermaid) brings Disney’s unmistakable sea witch into the mix, with a character whose commanding personality and wicked reputation make her a perfect addition.
Finn George-Newman as J.D. (Heathers) introduces a darker contemporary musical theatre edge to the line-up, representing a different kind of villain from the traditional fairytale antagonists.
Joshua Moore as Willy Wonka brings the peculiar chocolatier into the mix, adding a wonderfully unconventional character to the collection.
Kennedy Foley as Miss Hannigan (Annie) brings the sharp-tongued orphanage matron to the stage. Her second-act number, ‘Smooth Miss Hannigan’, a hilarious spin on Michael Jackson’s ‘Smooth Criminal’, is a standout moment. The clever inclusion of the iconic line ‘Annie, are you okay?’ gives the parody an extra layer of comedy and is particularly well suited to the character.
Leo Mylonas as Jud Fry (Oklahoma!) introduces another darker character to the ensemble, adding variety to an evening filled with recognisable musical theatre personalities.
Lucy Ross as King Herod (Jesus Christ Superstar) brings plenty of theatrical spectacle to the villainous line-up. A particularly fabulous RuPaul-inspired number gives Lucy the opportunity to embrace the camp and drag-inspired side of performance, adding another unexpected twist to the evening.
Niamh Cadoo-Dagley as the Evil Queen (Snow White) brings classic fairytale villainy to the stage, representing one of Disney’s most recognisable antagonists.
Act One sees each villain perform songs associated with their original characters, allowing audiences to enjoy familiar musical theatre favourites while celebrating the personalities and stories behind these infamous characters. The first act closes with ‘Hell Block Tango’, a fantastic reworking of ‘Cell Block Tango’ from Chicago. It is a fittingly cheeky way to wrap up the first half, with the familiar tune given a wonderfully villainous twist.
But it is Act Two where the parody concept really comes into its own. Opening with ‘Re-vived’, set to the tune of ‘Ex-Wives’ from Six, the production takes audiences in an entirely different direction. Instead of sticking to their original character songs, the villains take on modern pop hits, with cleverly rewritten lyrics, hilarious references and plenty of pun-worthy moments.
There are several standout numbers, including Aimee Duroux’s Fairy Godmother in ‘Cindy’s Godmom’, a brilliant take on ‘Stacy’s Mom’. It is one of those song choices that feels so perfectly suited to the character that you wonder why nobody thought of it sooner!
Kennedy Foley’s ‘Smooth Miss Hannigan’, a hilarious spin on Michael Jackson’s ‘Smooth Criminal’, is another crowd-pleaser. The clever incorporation of the iconic line ‘Annie, are you okay?’ makes the parody even funnier, with Miss Hannigan giving the familiar lyrics an entirely new meaning.
The two princes, Croft Phillips and Jett Sansom, also join forces for ‘I’m Just Prince’, a playful take on ‘I’m Just Ken’ from Barbie. It is a wonderfully fitting choice for the fairytale princes, with the parody embracing the humour of their characters and giving audiences another memorable moment.
Lucy Ross also gets to embrace the spectacle with a RuPaul-inspired number as King Herod, bringing a fabulous dose of drag-inspired theatricality to the evening. It is another example of the production’s willingness to think outside the box and give its characters unexpected musical personalities.
What makes these modern parody numbers so successful is just how creative, fitting and pun-worthy the song choices are. Each one feels carefully matched to its character, rather than simply being a familiar song with a few lyrics changed. The humour lands because the references make sense, the characters embrace the material and the performers clearly have fun with the concept.
Another particularly enjoyable element is how the ensemble supports one another throughout the numbers. Villains regularly join in on each other’s performances, whether through backing vocals, choreography, dance or comedic interruptions. These little additions make the numbers feel even bigger and more connected, creating a real sense of camaraderie among the cast while giving audiences plenty of extra moments to enjoy.
Bringing the evening to a close is ‘Villains Night (It’s My Life)’, set to the tune of Bon Jovi’s ‘It’s My Life’, as featured in & Juliet. It is an energetic finale that brings the villainous company together for one last musical celebration.
The parody numbers, combined with the individual character reimaginings, are a testament to the creativity behind the production. It is this unexpected musical approach that elevates A Night With The Villains beyond a traditional character showcase and makes the evening so much more entertaining than audiences might initially imagine.
What makes the experience particularly enjoyable is just how interactive and audience-driven it is. This is certainly not a production where audiences are expected to simply sit back and watch. The performers actively engage with theatregoers, break down the traditional fourth wall and create spontaneous moments that make everyone feel part of the action.
The fun continues during interval, when audience members are invited to cast their votes online for their favourite villain. Suddenly, the evening becomes more than a showcase of performances; it becomes a competition for audience affection, with every villain vying for the ultimate bragging rights.
It is a clever addition that gives audiences a genuine stake in the evening and plenty to debate before the second act begins. With so many different personalities and interpretations of villainy on offer, choosing just one favourite is no easy task!
A special mention must go to Elodie Boal and Mira Ball Productions for creating such an imaginative and entertaining theatrical experience. The concept itself is a clever celebration of musical theatre, but it is the creativity behind the parody writing, the unexpected song choices and the way each character is woven into the wider production that makes it so enjoyable.
The attention to detail in matching modern pop songs to individual villains, finding the perfect lyrical puns and bringing the ensemble together to support one another demonstrates a real understanding of comedy, character and musical theatre. It is wonderful to see a production that gives performers the opportunity to embrace their creativity, have fun with familiar characters and connect so directly with their audience.
Four seasons in, A Night With The Villains continues to offer Brisbane audiences something a little different. Combining musical theatre favourites, modern pop hits, comedy, audience participation and a wonderfully imaginative parody concept, the 2026 production is an entertaining showcase of theatrical talent and creativity.
With heroes often getting the happily ever after, it is about time the villains had their moment in the spotlight. And if this production is anything to go by, they certainly know how to make an entrance, steal a scene and put on one wickedly good show.
After all, being bad has never sounded quite so good!
All images supplied.
