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Presented by:  Queensland College of Dance Venue:  La Boite Theatre Directors:  Tim Hill & Jacqui Devereux Musical Director:  Ben Murray Choreography:  Tess Hill Assistant Choreographer:  Lauren Bensted Costume, Makeup & Wigs:  Lucia Umpierrez, Megan Cattel & Eulla Cadoo Dagley Set & Props:  Tamsyn Doyle & Lily Davis Steer Book by  Fred Ebb & Bob Fosse | Music by  John Kander | Lyrics by  Fred Ebb   Few musicals are as instantly recognisable or as intimidating to stage as Chicago.  Set in the glitzy, gin-soaked 1920s, it tells the story of Roxie Hart, a wannabe vaudeville star who shoots her lover and finds fame for all the wrong reasons. In prison she meets nightclub sensation Velma Kelly, already notorious for killing her husband and sister, and the two compete for the spotlight under the silver-tongued showmanship of lawyer Billy Flynn. It is a cynical, sexy satire of fame, justice, and the line between murder and marketing — and after fifty years on stage, it is still as sharp as a stiletto! Under the direction of Tim Hill and Jacqui Devereux , Queensland College of Dance delivered a fresh, fast-paced and fabulously polished production that captured the show’s signature style and bite. Rather than reinventing the wheel (or the garter), Hill focused on what makes Chicago  timeless: razor-sharp choreography, tongue-in-cheek humour and a pace that never lets up. Performing in the round at La Boite Theatre was an inspired choice — in fact, I’d argue it’s the only way to stage Chicago . The raised centre platform allowed the action to unfold from every angle, while the cast made excellent use of the aisles (there are no wings in this venue, after all, so they made the space part of the spectacle). The twelve-piece orchestra, led by Ben Murray , occupied the rear of the stage like a jazz-age powerhouse. The brass section in particular was outstanding, and the sound balance through the microphones remained clear throughout. The pre-show set the mood perfectly, with the ensemble slinking into the space as the audience settled, welcoming us into their smoky jazz club world. Each performer made their own acting choices, so my eyes were darting around trying to take it all in. Then, with a crisp “five, six, seven, eight,” the band struck up that iconic overture and the night took off. All That Jazz  was sultry, precise and bursting with ensemble energy. The vocals blended into a lush wave of sound, never overcrowding the mix. The dancers captured that delicious restraint that defines Fosse: clean lines, controlled movement and a slow burn of sensuality. Tess Hill’s choreography was tight, stylish and consistently well executed, particularly in Cell Block Tango,  where the red lighting, storytelling and full-cast power hit like a freight train during the final chorus. Demi-Ann Klocek  was sensational as Velma Kelly, a bona fide triple threat who strutted across the stage with the confidence of someone who knows exactly where every spotlight will hit. Her big solo I Can’t Do It Alone  was part vaudeville, part cardio marathon, showcasing her jazz, tap, and acro skills without a hint of breathlessness by the end (if it were me, I’d have been flat on the floor by verse two!). Bella Cox  infused Roxie Hart with feisty, cunning allure, playing her as a short-tempered firecracker with a dazzling smile and a knack for manipulation. Her acting felt honest and instinctive, and her comedy was spot-on. While her lower range occasionally disappeared beneath the orchestra, her bright upper register more than made up for it. My Baby and Me  was a sparkling highlight, complete with her perfectly synchronised dancers, and she delivered her solo Roxie  with devilishly shameless sass. Claudia Heffer’s Billy Flynn was all charm and cheek with just the right hint of smarm — the kind of lawyer who could talk their way out of anything. She oozed confidence from her first entrance, tap dancing with flair and singing with a rich, confident tone. I loved the speed and precision of her delivery, especially in Both Reached for the Gun,  where her nasal “ventriloquist dummy” tone was spot-on. The dancers in All I Care About  were a vision, trotting around her like glamorous showgirl peacocks, feathers fluttering in perfect formation. While the song could have used a little more punch in the final high notes, Claudia made a dazzling vocal comeback in Razzle Dazzle,  bathing the courtroom in sequins, feathers, and pure Broadway bravado. With all its tricks, sparkle, and swagger, it was one of the show’s most spectacularly staged sequences. Luka Kovac  oozed authority and surprising warmth as Matron “Mama” Morton. When You’re Good to Mama  sat a little low for her range, but she still radiated confidence, and belted the roof off when required. Laine Devoy  was ideal casting as Amos Hart; his Mister Cellophane  was heartfelt and beautifully delivered, a professional-level performance that earned genuine empathy. Scarlet Yadlosky  as Mary Sunshine  was a riot: operatic, unhinged and unafraid of looking ridiculous (and I mean that as high praise). The Merry Murderesses — Kiyah Bourke, Georgia McNamara, Rhiannon Baird, Kate Hollis and Jess Wardle — were dynamite. Cell Block Tango  was electric with the blood-red lighting, precision movement and whipcrack fire on every “he had it coming!” Visually, this production was stunning. The lighting design captured every mood: sultry reds for the murderesses, cool blues for the prison scenes, and golds for the vaudeville glamour. The costume team, led by Lucia Umpierrez, Megan Cattel and Eulla Cadoo Dagley , nailed the black-lingerie aesthetic with sheer fabrics and sharp tailoring. I loved the varied textures, bold red lips, and perfectly secured wigs (always a win). A few small tweaks could have elevated the lead costumes even further: a flapper silhouette or detailed bodysuit for Velma would have complemented her athletic, star-quality style more than the bare black, and a slip or chemise might have saved Roxie from those constant mid-scene adjustments to pull the dress down and fix the sleeves. Minor notes for comfort rather than critique. The set by Tamsyn Doyle and Lily Davis Steer was smart and functional, with the raised centre platform giving height and shape to the action. Props were minimal and purposeful, enough to tell the story without cluttering the stage. The trial scene was a triumph of direction and blocking: snappy, witty and bursting with tongue-in-cheek absurdity (“Blah blah blah truth truth truth so help you God? I do.”). Class  was a smoky delight between Demi-Ann and Luka, My Own Best Friend  showcased lovely vocal chemistry between Bella and Demi-Ann, and the Nowadays  finale framed the pair beautifully. I also adored the ensemble costumes for this number. Then came Hot Honey Rag.  The band absolutely slayed it, and the choreography for the girls was perfection — a glitzy exclamation mark on an already impressive show! It might be a little risqué for a student showcase, but a brilliant choice to highlight such a large, talented ensemble. The production was bold, charming, and executed with absolute professionalism. Every performer gave their all. They managed to bottle the razzle, the dazzle, and the heart, and I left the theatre muttering, “My exit music, please!”

Title:  Queensland Shakespeare Ensemble – 2026 Core Ensemble & Apprentice Programs Presented By:  Queensland Shakespeare Ensemble (QSE) Genre:  Classical Theatre / Shakespeare Synopsis: The Queensland Shakespeare Ensemble (QSE) invites passionate theatre artists to audition for its 2026 Core Ensemble and Apprentice Program. Known for its vibrant, community-driven artistry and ensemble ethos, QSE is dedicated to inclusive, collaborative theatre that celebrates diversity and the transformative power of Shakespeare’s words. Applicants will train and perform alongside a company renowned for excellence in classical performance, actor training, and social impact through its Shakespeare Beyond outreach programs. Whether you’re an experienced actor ready to deepen your ensemble practice or an emerging artist looking to explore Shakespeare for the first time, QSE offers an immersive and supportive artistic home. Audition Dates: Initial Auditions:  Saturday 29 & Sunday 30 November 2025 (afternoon sessions, by appointment) Callbacks:  Monday 1 December 2025, 6:00pm–11:00pm (must be available for the full session) Application Deadline: Friday 21 November 2025 at 5:00pm Audition Location and Address: Avalon Theatre – University of Queensland, St Lucia Audition Requirements: Prepare two contrasting Shakespeare monologues: One comic piece & One dramatic piece (1–2 minutes each; pieces do not need to match your age or gender; choose material with which you feel a personal connection.) Auditions will be held in 15-minute solo sessions by appointment. Callbacks are group sessions including voice, text, movement, and improvisation work. Audition Registration / How to Apply: Email your complete application to info@qldshakespeare.org  (PDF and JPEG attachments preferred). Your application must include: Headshot  (A4, high-resolution JPEG) Acting CV Non-acting CV  or short statement of administrative or managerial skills (for Core Ensemble applicants) One-page cover letter  stating: Whether you are auditioning for the Core Ensemble, Apprentice Program, or both Contact details and preferred audition time Why you want to work with QSE What attracts you to independent theatre in Queensland Your strengths and challenges as an actor Any specific availability limitations for your audition weekend Production Website: https://qldshakespeare.org/auditions/ Other Information: QSE actively encourages applications from First Nations, CALD, LGBTQIA+, neurodivergent, and disabled artists. Not all applicants will be offered an audition slot. Incomplete applications will not be accepted. Once received, QSE will acknowledge your application by email and confirm your audition time by Monday 24 November. Core Ensemble The Core Ensemble is the heart of QSE — a collective of skilled actors who are artistically and administratively involved in all company activities. Members receive priority for paid work, creative input in programming, and ongoing training opportunities. Ideal Candidates: Experienced theatre practitioners with strong Shakespeare foundations Artists passionate about ensemble creation and long-term company involvement Committed to QSE’s philosophy of collaboration, inclusivity, and social engagement Commitment: Approx. 8 hours per week for artistic and administrative duties across the year. Apprentice Program Designed for artists 18 years and over seeking to build a foundation in classical text, performance, and ensemble theatre. Apprentices receive intensive training in the Linklater voice method, movement, and Shakespearean performance, while engaging in company operations and community projects. Cost:  $950 (includes membership, training, accommodation & meals during intensive) Ideal Candidates: Emerging theatre artists ready to train in a professional ensemble environment Committed learners seeking mentorship and growth through hands-on creative work

Title:   Any Moment: A New Musical Presented By:  Bradley McCaw Makes Musicals / PIP Theatre Genre:  Contemporary Australian Musical / Workshop Production Synopsis : Any Moment  is a brand new Australian musical exploring the lives of ordinary people on the brink of extraordinary change. Set in real time over a single day, the show captures moments of love, loss, hope, and transformation—reminding us that life can shift in any moment . This pilot workshop offers Brisbane performers the rare opportunity to help shape a new work from one of Australia’s most dynamic musical storytellers, Bradley McCaw, in an intimate, Off-Off Broadway–style development process at PIP Theatre. Audition Date: Self-tape submission due prior to Call Backs – Sunday 2 November 2025 Audition Location and Address: Call Backs at PIP Theatre, Milton, Brisbane Audition Self-Tape Due: Submit your video audition via email to bradleymccaw@gmail.com Audition Requirements: Select one vocal part: Soprano, Alto, Tenor,  or Baritone Record yourself performing 16–32 bars of the song “Twenty Four” Backing tracks and sheet music available here: Backing & Sheet Music Playlist Submit your video link (YouTube, Google Drive, etc.) via email. Successful applicants will be invited to attend in-person callbacks at PIP Theatre on 2 November. Performance Dates: Friday 23 January 2026 Saturday 24 January 2026 Performance Location: PIP Theatre, Milton, Brisbane Rehearsal / Workshop Dates: 12 – 22 January 2026 (10-day musical development workshop) Performer Age: 18+ Production Website: bradleymccawmakesmusicals.com/news-/any-moment-audition-announcement-pip-theatre Other Information: This is a profit-share workshop production. 4 actors (plus understudies) will collaborate directly with the composer to workshop new material and perform in a developmental showcase. The project provides a unique professional opportunity to build experience in new musical development processes. Available Roles / Character Breakdown: Four roles available: Soprano  – Bright, lyrical voice; expressive and dynamic emotional range. Alto  – Warm, soulful tone; strong lower register and storytelling ability. Tenor  – Contemporary sound with mix/belt ability; emotive and engaging. Baritone  – Rich, resonant tone; grounded presence and versatility. Understudies for all vocal lines may also be cast.

Discover the latest in Brisbane theatre auditions and reviews on Stage Buzz Brisbane. Your go-to source for all things theatre in the Queensland capital. WELCOME TO STAGE BUZZ BRISBANE This dynamic hub for South-East Queensland thespians is your go-to source for audition updates, performance reviews, and engaging content that celebrates the vibrant local theatre scene. From spotlighting talented actors to providing valuable tips, it's a community-driven platform that brings the magic of the stage to the forefront, fostering connection and celebration among theatre enthusiasts in the region. NICE TO MEET YOU Embrace the enchanting world of South-East Queensland's theatre scene right here on Stage Buzz Brisbane! We're your go-to hub for all things theatrical, from audition alerts and performance reviews to exclusive spotlights on local talents and invaluable theatre tips. Whether you're a seasoned thespian or a passionate supporter of the arts, join us on this exciting journey as we celebrate the magic that unfolds on our local stages. At Stage Buzz Brisbane, we believe every production deserves its moment in the spotlight. If you know of any upcoming productions or hidden gems that have slipped under the radar, don't hesitate to reach out and share your insights or let us know about the productions that deserve extra applause. Together, let's shine a light on the vibrant and thriving community theatre culture in South-East Queensland. Let the curtains rise, and let the show begin! Contact

< Back YOUTH MUSICAL: Curtains - NAPA 23 Oct 2025 Season: October 23rd - 26th, 2025 Title: Curtains: Broadway Bound (School Edition) Presented By: National Academy of Performing Arts (NAPA) Genre: Musical Theatre / Comedy / Murder Mystery Synopsis: Boston, 1959. At the Colonial Theatre, the cast of Robbin’ Hood takes their bows on opening night — but as the curtain falls, so does Jessica Cranshaw, the profoundly untalented leading lady of the production. Enter Lieutenant Frank Cioffi, a fast-talking detective with a love for musical theatre. Quarantining the cast and crew inside the theatre, he begins his investigation — but between interrogations, Cioffi can’t help but offer the company advice on improving their show. With only 24 hours until Robbin’ Hood must reopen with a new leading lady, the race is on to catch the killer and put on a killer show. Could the culprit be Carmen Bernstein, the brassy producer? Christopher Belling, the flamboyant director? Georgia Hendricks, the lyricist stepping into the spotlight? Or the ingénue Niki Harris, who might be hiding more than stage fright? Part murder mystery, part love letter to the golden age of Broadway, Curtains is a witty, musical whodunit bursting with big laughs, showbiz sparkle, and a toe-tapping score. Written By: Music by John Kander, Lyrics by Fred Ebb, Book by Rupert Holmes Performance Dates: Wednesday 23 October 2025 Thursday 24 October 2025 Friday 25 October 2025 Saturday 26 October 2025 Performance Times: 7:00 pm Performance Location and Address: National Academy of Performing Arts (NAPA), 3 Stevenson Court, Burleigh Heads QLD 4220 Ticket Costs: Regular: $40 Concession (60+): $35 Child (17 & under): $30 Ticket Link: https://app.gostudiopro.com/tickets/index.php?id=zaqlxajd29jd2584dff8d1bce009jasdklj21dx584dff8d1bd89 Recommended Age: All ages Duration: Approximately 1 hour Cast: Students of the National Academy of Performing Arts Production Website: https://napa.com.au/events Other Information: Doors open 20 minutes before showtime Wheelchair accessible venue ID will be checked for applicable ticket categories Previous Next

< Back CABARET: Kings of Kaos - MELT Festival 31 Oct 2025 Season: October 31st - November 7th, 2025 Title: MELT: Kings of Kaos Presented By: Kings of Kaos Genre: Drag / Cabaret / Burlesque Synopsis: Strap in (or on) for a night of sweat, smut, and sexiness as Kings of Kaos — Meanjin’s premier Drag King troupe — take over MELT Festival 2025. Known for their camp, masculine energy and show-stopping performances at Big Gay Day , Brisbane Pride , and Logan Loud & Proud , the Kings are ready to bring you Brisbane’s very own Chippendales Drag King Experience . Expect clothes flying, hips grinding, and lip-syncs so slick they’ll make you blush. Featuring a powerhouse lineup of Archie Arsenic, Collin Oscopy, Sev Faust, Will Turn-her, York Lit, and Zelphia Mann, these six sizzling Kings will leave you gasping for air and begging for more. Hosted by the incomparable Vollie LaVont at Come to Daddy , Kings of Kaos blends Broadway-style burlesque, drag, and jazz crooning into one electrifying, high-camp spectacle. You might even get a surprise visit from a special guest or two... Performance Dates: Friday 31 October 2025 Friday 7 November 2025 Performance Times: 7:00 pm – 8:30 pm Performance Location and Address: Come to Daddy, 208 Montague Rd, West End QLD 4101 Ticket Costs: General Admission: $45.00 Ticket Link: https://events.humanitix.com/melt-kings-of-kaos Warnings: Adults only (18+) — audience interaction, nudity, sexual references, coarse language, and adult content Recommended Age: 18+ Duration: Approximately 90 minutes Cast: Archie Arsenic, Collin Oscopy, Sev Faust, Will Turn-her, York Lit, Zelphia Mann Host: Vollie LaVont Production Website: www.melt.org.au Previous Next