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Book: David West Read Music: Max Martin and Friends Director / Set and Costume Design: Tayla Simpson Music Director: Steven Days Vocal Director: Jade Enright "This is what happens when you spend THREE DAYS getting to know someone…" Created by Schitt’s Creek writer David West Read, &Juliet asks a simple question: what if Juliet simply does NOT stab herself and die for Romeo? What if Anne Hathaway storms into Shakespeare’s writing session, grabs the quill, and rewrites the whole ending herself? Suddenly Juliet is off to Paris with her besties where new relationships bloom, parents meddle, exes resurrect themselves, and everyone expresses their emotional trauma through the biggest pop anthems of the last 30 years. It is a coming-of-age jukebox musical powered by the catalogue of songwriter Max Martin: Backstreet Boys, Britney, P!nk, Katy Perry, Demi, Ariana, Kelly Clarkson and plenty more! It is knowingly silly, gloriously camp and sneakily heartfelt, with a message about reinvention, second chances and owning your own story instead of someone else’s tragedy. Tonally, the show is pure rom-com chaos stacked with clichés, dad jokes, teen angst, insider theatre winks and that "my parents just don't get me" attitude. It feels like a 2000s sleepover movie sprung to life, sparkly lip-smackers and all. As Juliet, Zara Lassey carries the emotional and vocal spine of the show. I love how she begins scenes physically closed off, head lowered and posture small, which makes her gradual shift into self-belief and confidence really satisfying to watch. And vocally she is a beast. The Britney material in particular sits so beautifully in her voice. She feeds the slow drama of “… Baby One More Time ” and “Oops!… I Did It Again ” with that perfect 2000s pop fizz and agile riffs. Her chemistry with Isaac Brown (May), Morgan Garrity (Angelique) and Rachel Love (Anne/April) forms a fearsome-foursome bestie squad. Their “ Domino ” is a shining ensemble moment, fizzing with fun, harmonies and choreographic punch. And then Zara finally gets to chill later and show off her soft, tender tone in “ One More Try, ” complete with a random Notebook -style boat ride. The show thrives on the "Anne, Will and the quill" framing device. Michael Mills is instantly magnetic as William Shakespeare in “ Larger Than Life .” As a frustrated playwright with an overinflated ego and a boyish charm he has come to rely on, there is something endearingly dorky about his portrayal that I cannot even be mad when he is being insufferable. He unravels hilariously as his wife seizes creative control of his masterpiece. Speaking of, Rachel Love gives Anne Hathaway a "hello fellow kids" energy that is very endearing. Anne is desperate to rewrite not just Juliet’s story but her own, and Rachel plays that yearning with warmth and optimism. The tango dialogue scene with Michael is a particularly inspired directorial choice that physicalises their marital tug-of-war. And then Rachel opened her mouth to sing Celine Dion's “ That’s The Way It Is ” and I practically levitated. She has one of those voices that is lush, clean, and so satisfying on top. As May, Isaac Brown is a revelation. His warm '00s pop tone suits the Britney/Katy Perry/Adam Lambert territory perfectly, and Isaac carries the emotional core of May's storyline with sass, grace and humour. “ Whataya Want From Me ” with Campbell Briggs as Francois is a showstopper: vulnerable but vocally secure and FULL of power. Isaac spends a large portion of the show in a tightly cinched corset across his diaphragm and still manages to deliver huge, sustained belts without sounding strained. His riffs are tasty, never indulgent, and he grounds May’s journey in “I’m Not A Girl, Not Yet A Woman” with a very real sense of "I just want to be seen as myself." Luke O’Hagan is fabulously eccentric as Lance Du Bois, leaning into the comedic width of the role. His “ Teenage Dream” duet with Morgan balances humour and heart beautifully. His costume absolutely sent me too. And if it is possible to roll him and Angelique on already in the bed or run on during a blackout, it would make that particular joke land much harder. As it is, the audience gets the full reveal in stage lights whoops! Liam Gatt storms back into the show as Romeo (king of main character syndrome), blasting into Bon Jovi’s “It’s My Life” like he has been waiting the entire musical for this entrance. His swagger, rock-tenor vocal attack and razor-sharp comic timing sell the role completely. Director Tayla Simpson keeps the stage mostly spacious for choreography, with a two-level balcony structure upstage and glowing Romeo & Juliet signage overhead. The costumes are modern pieces with a renaissance twist: think corsets, vests and ruffs mixed with denim, boots and glitter. April’s wardrobe in particular looks like she has stepped straight out of my Pinterest board and Juliet's final outfit is ICONIC. I found myself craving a bit more from the lighting design to match the pop energy. Don't get me wrong, there are some beautiful patterns, pulsing colours and perfect blackouts, but this is a show that can easily handle even bolder, more theatrical looks. One of the more interesting creative choices is letting many of the cast keep their Aussie accents. It grounds the show firmly in our own backyard and gives the text a cheeky, recognisable tone. At times though it becomes a guessing game of who is aiming for Australian, American or British. It is not a deal breaker, just sometimes distractingly inconsistent in a text that already plays heavily with language and period. This is a show of mostly singing, and Tayla Simpson has chosen her cast very artfully. Across the board, the vocals are incredibly strong. Zara, Rachel, Campbell and Isaac in particular deliver consistently excellent work, and Zara and Campbell's blend is especially dreamy when they sing together. The band sits visibly at the back of the stage, loud and tight, which gives the entire night that live pop concert energy. And honestly, some of these orchestral arrangements are better than the originals. You know how sometimes the Glee cover hits harder? That is what this feels like. BTG productions sometimes struggle with microphones, but here the sound is surprisingly solid hooray! Occasionally the ensemble sings a touch too loudly from offstage, but I do prefer enthusiasm over timid hesitation in a show like this. There are a lot of songs crammed in, but they never feel too random. Numbers pop up, do their storytelling job and move on before they outstay their welcome. Highlights include: Blow by Ke$ha, which explodes with club energy, party lighting and choreography that actually feels like a wild night out. Although was I the only one who thought Juliet would rise into the air on the chandelier? Show Me Love by Robyn , where a carriage set piece appears, Will is peddling away on a bike with a goofy grin, and the ensemble is absolutely loving their blocking in this one. Someone please make a sign that says “Beenleigh: 10,000 miles”. I Kissed A Girl by Katy Perry , which is a true triple threat moment by Campbell and Isaac: killer vocals, crisp choreography and sizzling chemistry. Problem by Ariana Grande / Can’t Feel My Face by The Weeknd, a sharp, punchy mashup with strong down beats and really effective lighting choices. Backstreet’s Back by The Backstreet Boys , gleefully tackled by an all-denim boy band, pure fan service and original choreo fun. Roar by Katy Perry, a massive closer with high energy choreo and pyro sparks that made me fling out of my seat like a lunatic. Plus a blackout costume quick change that is so smooth it feels supernatural! If anything, the one number that feels slightly undercooked at present is " Confident" by Demi Lovato. It is one of the biggest power anthems of the night, and while it sounds excellent with some sharp choreographic choices, I think we should get more than a slow walk downstage at the end. More drama, higher stakes (should May be witness?), and a greater sense of the song exploding out of the cast. The frame is there. It just needs the storytelling dial turned up. There are a couple of pitchy moments in " Since U Been Gone" , but it is a beast of a number even for industry professionals. The attitude is spot on though, and the girl gang energy absolutely sells the scene. We must remember that these songs are written for the lungs of Demi, Kelly, Celine, Ariana, P!nk Jessie J... So when a Brisbane community cast even attempts them and slays , it is impossible not to cheer! &Juliet is not here to wallow in tragedy. It is here to celebrate joy, identity and rewriting your life. The show repeatedly reminds us that a wedding does not always equal a happy ending, that parents do not always know best and that living honestly sometimes means breaking things open first and living with the chaos it may cause. The audience laughs, gasps and sings along (sorry not sorry). For a night of big vocals, bigger feelings and a story that insists your life does not end with one boy on a balcony, BTG’s &Juliet is absolutely worth the ticket. If you are a fun person, you are going to have a fun time, I promise! Tickets available here

Book by Kristina Redwood & Louella Baldwin Music & Lyrics by Your Man Alex Smith Co-Directors: Hannah Martin & Dominic Bradley Choreographer: Rachael King Music Directors: Rhea Basha & Alex Smith “You shouldn’t have to convince someone to love you.”   Phoenix Ensemble welcomed audiences to the world premiere of Antidote , a new Australian rom-com musical about two sisters, Olive and Darcy, trying to navigate the maddening (and occasionally disastrous) world of love. Olive and Darcy are both searching for that elusive spark... But Olive’s heart has inconveniently latched onto someone completely off-limits, Darcy discovers her heart fancies not one, but two people at once. As wedding plans collide with surprise confessions, queer awakenings, brutally honest friends, steamy dreams, panic attacks, and the universal desire to be chosen, these two learn that the road to love is anything but straightforward!   The theatre had a lovely buzz when I arrived. You could tell how much it meant to the community to see a brand-new Australian musical created and performed by our own. The set, made up of empty photo frames, cube blocks, and a sprinkle of small props, created a clean, flexible canvas that could shift from a coffee shop to a nightclub to a living room. The show also leans heavily (and realistically) on phones for communication between characters. In future productions, I could absolutely imagine them projecting the screen POVs like a high-tech crystal ball to make everything clearer and more immersive for us.   You can't have a rom-com without some sibling drama, a forbidden crush, and a dating disaster, right? Antidote packed all of that into just the first Act. The opening song, One Thing , launched the show with the big question we all ask: What do you really want from a relationship? The cast then introduced us to a tangled web of characters who all hang out at the same little coffee shop (probably because they can't afford therapy). Kristina Redwood was so relatable as Olive: recently dumped, clearly miserable, and trying (but failing) to appear happy for her newly engaged friends Brittany and Spencer. You could sense her emotional exhaustion... This is a character who needed a hug, a nap, and maybe a couple of weeks in Bali. Kristina gave Olive some beautiful musical moments and had a great knack for finding humour in tension breaks. What made her performance stand out was how real she played. Olive wasn’t a caricature. She was everyone who's ever been blindsided by a breakup, or fallen for the wrong person, or put on a happy face for a friend’s big news while quietly falling apart, or been totally clueless about who’s actually right for them. Louella Baldwin brought a whirlwind of charm, chaos, and queer panic to Darcy . They played the character as someone flirty, fun, and absolutely averse to stillness. Lou's performance had a bright, magnetic energy, and they landed the comedic beats with ease. Their voice had some strong, punchy chest-voice moments and a clear tone that fit Darcy’s emotional outbursts. The panic attack scene with Austin was one of the show’s most honest beats. It was intense, vulnerable, and... sadly relatable lol. Chapter One , Darcy's duet with Kaitlin Evans as Zoe, was an absolute favourite of mine. Opening with an adorable harpsichord moment, the duet blossomed into a tender, delicate number. Kaitlin, though not onstage often, made every entrance count with their natural acting and a beautiful vocal tone. Daniel Lelic  made a memorable impact with his limited stage time too. His duet Chill  with Louella was one of the funniest numbers of the night — a playful, riffy, belty narrative where two people try to interpret each other's intentions through the universal lens of “Netflix and chill.” Daniel’s vocals were crisp, confident, and exciting, and his chemistry with Louella made their scenes pop. What really stood out was how genuine Darcy’s connection felt with both Austin and Zoe. Each of them brought out a different side of Darcy, and I was cheering for both couples because they genuinely made each other happy. Jeez, I wish I  had two people in love with me and couldn't decide between them! Dang. As Brittany and Spencer, Priya Shah and Christopher Batkin were perfectly cast as the dorky, eager-to-please newly engaged couple. Their love felt earnest, even if their communication wasn’t always on point. Which brings me to Café Chaos, a scene that  showcased Chris’ great voice and anxious energy. The song was bouncy and witty, even though sound-level issues softened its full impact. Together, they formed a couple you'd definitely cheer for, even when they were emotionally worlds apart. Reagan Warner gave a lovely, down-to-earth performance as Connor, Olive's go-to best friend. His line “leave that cruel voice outside just for tonight” landed with sincerity and showcased what made his character so likeable. His naturalism made the friendship between Connor and Olive feel truly supportive and comforting. In a cast full of spiralling romantics, Reagan became the steady anchor — the one person you could count on to tell you the truth firmly and without (much) judgment. And Hannah Macri  as Miles was pure joy. They seemed to do every job in Brisbane — barista, waiter, tailor, tango teacher, florist, celebrant, emotional support human — and excelled at all of them. Honestly, I bet their name was secretly jotted down in the stage manager’s script with a note saying “If all else fails… Hannah.” Their vocal moment in 5, 6, 7, Wait!  was brilliant, and their belt-heavy rock solo Tough Love  really packed a punch. Hannah’s comedy as the overwhelmed waiter in the accidental double-date sequence (a full Mrs. Doubtfire moment) had me cracking up!   Your Man Alex Smith’s score was a delightful genre-mash, pulling from disco, rock, pop, folk, musical theatre, and even classical. No two songs sounded alike, yet they all fit comfortably within the same musical universe. Some highlights included: Just For Tonight  – An alcohol-soaked trip to The Beat nightclub where Darcy’s queer feelings suddenly unlock themselves under the pulsing lights. It was fun, flirty, messy, and captured that moment where something shifts inside you before you even realise it’s happening. More Than Words  – Christopher’s beautiful, romantic love anthem where Spencer spirals over choosing the perfect centrepieces. His anxious determination to pick the flowers that prove he knows Brittany, loves her, and wants their life together to be perfect was very touching. The Pachelbel Canon overlap was a clever musical touch too! The Bitter Truth  / Golden – These layered, emotionally charged company numbers had overlapping harmonies and shared tension. Everyone is tiptoeing around each other’s feelings like a melodramatic minefield, singing truths they absolutely did not want to deal with. Antidote  – The soaring title track with a bridge so good I genuinely thought we had reached the finale... only to realise there were still twenty minutes left whoops! Poison - The vicious sibling argument full of insults was fun in concept and staging, but pitchy unfortunately. The direction by Hannah Martin and Dominic Bradley showed a clear understanding of how to keep a small space visually alive. Their choice to have characters remain onstage during scenes they weren’t directly involved in — existing in their own miniature worlds — helped fill the space and created easy transitions between scenes. As brilliant comedic actors themselves, Hannah and Dominic made sure the humorous beats landed with confidence; their instincts in timing-focused sequences were excellent. The double date remained the comedic high point of the show thanks to its tight pacing and well-sculpted farce structure. The nightclub scenes were also shaped with strong atmospheric logic, capturing the emotional overwhelm and sensory overload of those environments. The ensemble harmonies were pretty straightforward, but they often had a tough time, which makes me think the cast could've used more practice with the mics in the space or a bit more time to get the blend just right. I know every performer in this cast can sing well, so I suspect a combination of sound balance, monitoring issues, and the difficulty of the harmonic learning played a part. Sometimes, sticking to unison lines might have worked better when time is tight. But none of this detracted from the sincerity of the performances, and the cast were very well chosen for their characters.   The script by Kristina and Louella was full of sharp, heartfelt writing. Lines like “I know what it’s like to be used and discarded” hit hard, and the show sprinkled humour into all the right places. The world they created was thrilling, over-caffeinated, and a true reflection of how real people go through love and friendship. Some relationships, particularly Olive and Brittany’s friendship and Olive and Darcy’s sisterhood, didn’t always feel as deep as the story required, but a future version could strengthen those bonds easily enough. One thing the script captured beautifully was the interconnectedness  of the characters. Every relationship looped back into another. Everyone was linked to someone. It actually echoed the Brisbane theatre scene with startling accuracy, where everyone knows everyone, friendships overlap with romances, breakups ripple through casts, and the community always has your back. Rachael King's choreography brought a sense of buoyancy and playfulness to the production; her movements aligning with the storytelling well. However, some ballads might have been more impactful with a more restrained and still approach to enhance emotional focus. Quiet mics under loud tracks caused some dialogue to be swallowed, and some lower-frequency voices were difficult to hear. But the main hurdle for Antidote was its length. At roughly three hours with each act around ninety minutes, the rom-com pacing started to drag. Some trims to transitions, repeated beats, or restructuring scenes would help keep all the songs without the stamina fatigue. And as much as I love Phoenix Ensemble, by the time we hit the three-hour mark, my tailbone was complaining HARD. Thank the musical theatre gods that new seats are coming soon! Creating an original musical is one of the most ambitious artistic undertakings a person can attempt, and this team should be incredibly proud. Antidote has heart, humour, relatability, originality, and so much potential.   I left thinking two things. Firstly, these artists are incredibly impressive. Secondly, both sisters are toxic and everyone around them deserves better.

Written by Joshua Hinton Presented by Brisbane Festival in association with QPAC Merrigong Theatre Company Directed and Designed by Leland Kean Photography Tracy Leigh During the Brisbane Festival (my favourite time of year!) I was swept into a fragrant, heart-filled adventure as Joshua and Dominic Hinton invited us to pull up a seat at their family table. A Place in Sultan’s Kitchen  was part biography, part cooking show, part heritage story, and absolutely all heart. It had the entire theatre whispering “oh my god, that smells so good…” in unison. Joshua’s story began as a search for cultural identity, and as he told us, it quickly unravelled into something far bigger. It became an exploration of the many cultures, beliefs, and histories that shaped his family tree. From Iran to India, Sri Lanka to South Africa, and finally to Brisbane’s beloved Sultan’s Kitchen , he wove this tapestry through song, memories, live cooking, and creative use of cameras and spices. The set was lovely with persian rugs, hanging lamps, and a kitchen pantry that felt magical every time he opened it. Live video feeds projected onto the walls and items kept us eager to catch every detail. Vision and sound designer Dominic (also interjecting with some zingers) added subtle soundscapes and clever tech moments that brought the history to life. Josh chatted to us so effortlessly that I genuinely forgot this was a performance and not a friend sharing stories while chopping onions. He balanced humour with honesty, whether it was discussing the tiring repetitive question “where are you from?” or the red flags that appeared simply because of his middle name. He also touched delicately on persecution in Iran, wartime displacement, grief, and the complicated experience of living between cultures. I adored how the ingredients became characters, how spices retold family journeys through World War II, and how recorded snippets of their grandmother held the whole story together. And the multitasking? I have no idea how Josh cooked an entire curry while acting, singing, reminiscing, educating, and cracking jokes. I would have burned the theatre down! Vocally, Josh had a warm, honeyed tone that suited the reflective mood of the piece, especially in the final number, Evergreen , accompanied by Dom’s beautiful guitar and harmonies. It was the perfect ending, gentle, hopeful, and full of love. The show reminded us that smell carries memory, that grief and cooking share similar heartaches ( “how can you enjoy something when you know it’s about to end?” ), and that identity is never a single flavour. We are all fruit salads, as Josh put it; a mix of everything that came before us. I walked out feeling nourished, both emotionally and… well, literally, because they fed us the curry and encouraged us to take home as much as we liked! And it was delicious. More importantly, I felt the love of the family who raised these boys radiating through every moment. A beautiful, sensory, heartfelt feast of a show. Perfect for history lovers, multicultural families, foodies, and anyone who has ever wondered where they fit in this big, complicated world.

Title: Georgy Girl – The Seekers Musical Presented By: On the Boards Theatre Company Genre: Jukebox Musical Synopsis: Georgy Girl  tells the remarkable true story of The Seekers — Australia’s most iconic and internationally successful music group.Judith Durham, a shy teenage vocalist with a golden voice, joins folk musicians Athol Guy, Bruce Woodley and Keith Potger, and together they rise from humble beginnings to become global stars.From Melbourne to London, from heartbreak to chart-topping success, the group experiences soaring highs, personal challenges, and life-changing moments — all underscored by timeless hits including “Georgy Girl,” “I’ll Never Find Another You,” “The Carnival Is Over,” “A World of Our Own,” and “I Am Australian.”Spanning decades of friendship, fame, breakups, reunions and emotional triumphs, this musical celebrates resilience, connection and the enduring power of music. Audition Dates: 7 January 2026 8 January 2026 19 January 2026 20 January 2026 Audition Time: 9:00am – 5:00pm (10-minute individual vocals/acting) 11:30am – General Dance/Movement Call (30 mins) 3:00pm – General Dance/Movement Call (30 mins) Audition Self-Tape Due (if applicable): Video auditions must be received by 20 January 2026. Audition Requirements: Minimum age: 18 years. All auditionees must prepare: Required audition song(s) for the character they’re auditioning for (see role breakdown). One contrasting song of your choice (32 bars), which may be from the show. Bring AUX-compatible or Bluetooth audio device for backing tracks, or sheet music clearly marked. A character side, available via the audition material link. Attend a dance/movement call (in-person auditions only). Details for video audition dance requirements will be emailed after registration. Audition Registration: Via the official audition form: forms.gle/ttL7WcGaaHJrzCxu6 Deadline: 5:00pm, Sunday 21 December 2025 Audition Pack: Available here Performance Dates: Gold Coast Season begins 13 May 2026 and Brisbane Season begins 1 June 2026 Rehearsal Dates: Proposed rehearsal period: 1 March – 12 May 2026 Warnings: Contains adult themes Performer Age: Minimum 18 years. Creative Team: Director – Lyn Pelgrave Musical Director – Robert Clark Choreographer – Sarah Cooper Production Website: https://ontheboards.com.au/productions-2/ Other Information: Lead roles receive an honorarium payment for rehearsals and performances. Ensemble receive an honorarium payment for performances. Casting panel includes the Director, Musical Director, and Choreographer. Callbacks: 8 February 2026 Understudies may be cast at the panel’s discretion. All casting results will be provided in writing. Available Roles / Character Breakdown JUDITH DURHAM Age: 20s–30s Vocal Range: G3–A5 Dance: Moderate–Good An iconic Australian vocalist; shy, gentle, deeply emotive. Audition Songs: #24 The Carnival Is Over and #30 Mama's Got the Blues RON EDGEWORTH Age: 30s–40s Vocal Range: G2–F4 Dance: Moderate English pianist/arranger; sincere, supportive, grounded. Audition Song: #50 Georgy Girl  (bar 65 to end) ATHOL GUY Age: Mid–late 20s Vocal Range: Bass F2–D4 Dance: Moderate Tall, charismatic, businessman of the group. Double bass skills (or mime). Audition Songs: #42 The Carnival Is Over #48 I'll Never Find Another You  (Reprise, bars 8–40) BRUCE WOODLEY Age: Mid–late 20s Vocal Range: Baritone A2–E4 Dance: Moderate Songwriter; thoughtful, creative. Guitar/banjo skills (or mime). Audition Songs: Same as Athol. KEITH POTGER Age: Mid–late 20s Vocal Range: Tenor G2–G4 Dance: Good mover Charming guitarist/banjo player; confident, warm. Audition Songs: Same as Athol/Bruce. JOHN ASHBY Age: Mid–late 20s Vocal Range: B2–B4 Dance: Moderate Tour manager; commanding presence, smooth English accent. Audition Song: #50 Georgy Girl  (bar 65 to end) BEVERLEY SHEEHAN Age: Mid–late 20s Vocal Range: A3–F5 Dance: Moderate Judith’s sister; supportive and grounded. Audition Song: #50 Georgy Girl  (bar 65 to end) EDDIE JARRETT Age: 40s Vocal Range: G2–E4 Dance: Moderate Manager; polished, smooth, English/Welsh influence. Audition Song: #50 Georgy Girl  (bar 65 to end) Ensemble Roles Vocal Ranges: Soprano C4–A5, Alto F3–E5, Tenor C3–A4, Bass F2–F4 Dance:  Good movers required. Ensemble appear in major numbers including Downtown , Glad All Over , Georgy Girl , I Am Australian , and more. Male Ensemble 1  – 40s; Judith’s father (Bill Durham) Male Ensemble 2  – 20s–30s; photographer Robert Whitaker Male Ensemble 3  – 20s–30s; Graham Kennedy Male Ensemble 4  – 30s–40s; Grade Executive Male Ensemble 5  – 20s–30s; Simon Dee Male Ensemble 6  – 20s–30s; American teenage G.I. Female Ensemble 1  – 40s; Judith’s mother (Hazel Durham) Female Ensemble 2  – 20s–30s; Mitzi Gaynor Female Ensemble 3  – 20s–30s; Waitress Female Ensemble 4  – 20s–30s; Ensemble Female Ensemble 5  – 20s–30s; Dusty Springfield

Title: Bleep Quest by Nicky Peelgrave Presented By: Play on Stage Genre: Contemporary Theatre / Youth Theatre / Comedy-Drama Synopsis: What do you do when a bully is swearing in your face at school and threatening to smash you? Kate wishes she could transform into Harriet Hulkinator, her wrestling hero — then she could crush Billy without consequence. But life isn’t a wrestling ring, and fighting back could get her expelled. When Kate discovers something even more powerful than muscles — words  — she realises she may be stronger than she ever believed. Bleep Quest  is a funny, heartfelt story about bravery, finding your voice, and learning that there’s more than one way to stand up for yourself. Audition Date: Tuesday 16 December 2025 Audition Time: 4:00pm - 5:30pm Audition Location and Address: Play on Stage, 97 Fernberg Road, Paddington Audition Requirements: Register for a timeslot via the Play on Stage website. Before applying, ensure you are available for all rehearsals and performance dates (schedule downloadable online). Be prepared to read scenes and take direction appropriate to your age group. Audition Registration: Register online via Play on Stage’s “Get Involved” page. Performance Dates: Friday 27 February – 7:30pm show Sunday 1 March – 10:30am show Sunday 1 March – 3:00pm show Performance Venue: Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills Rehearsal Dates: Thursday 15 January  – 9:00am–3:00pm Thursday 22 January  – 9:00am–3:00pm Monday 26 January  – 9:00am–12:00pm Wednesday 28 January  – 5:15pm–7:15pm Wednesday 4 February  – 5:15pm–7:15pm Wednesday 11 February  – 5:15pm–7:15pm Wednesday 18 February  – 5:15pm–7:15pm Wednesday 25 February  – 6:00pm–9:00pm ( Technical Rehearsal at Ron Hurley Theatre ) Rehearsal Venue: Play on Stage, 97 Fernberg Road, Paddington Warnings: Themes include bullying, name-calling, and staged conflict suitable for young performers. Performer Age: Children and young teens (ages 8–14 depending on role). Production Website: https://www.playonstage.com.au/get-involved Available Roles / Character Breakdown: KATE Female, age 8–10 The hero of the story; funny, imaginative, brave, and sensitive. ACTOR TWO   (Male, 9–14 – multiple roles) Billy  – Primary school bully; loud, reactive, insecure. Signor Ferranti  – Dramatic Italian teacher. Mr Spencer  – Classroom teacher. ACTOR THREE   (Male/Female, 9–14 – multiple roles) Mum/Dad  – Kate’s parent. Mr/Ms Lawson  – Drama teacher. Michael/Michaela  – Kate’s best friend. Billy’s Mate  – Schoolyard sidekick. ACTOR FOUR   (Female, 9–14 – multiple roles) Zara  – Kate’s sibling. Granny  – Kate’s grandmother. Mrs Percival  – Office lady. Billy’s Mate  – Schoolyard cohort.

Title: Almost, Maine by John Cariani Presented By: Villanova Players Theatre Genre: Contemporary Play / Romantic Comedy / Magical Realism Synopsis: Set on a cold, clear, moonless night in the remote, mythical town of Almost, Maine, this whimsical and heartfelt play explores love in all its strange, surprising, funny, and deeply human forms. As the northern lights shimmer overhead, the residents of Almost fall in and out of love in unexpected ways: hearts break, bruises heal, relationships change, and magical moments transform ordinary lives. A series of loosely connected, tender, and poignant vignettes, Almost, Maine  celebrates the mysteries of the heart with humour, sincerity, and a touch of sorcery. Audition Dates: Wednesday 17 December 2025 & Saturday 20 December 2025 Audition Time: Wed 7:30pm or Sat 10:00am Audition Location and Address: Villanova Players Hut, 10 Jean Howie Drive, Balmoral Park, Morningside QLD 4067 Not required; submit an Expression of Interest form if you cannot attend in person. Audition Requirements: This is a relationship-driven show, so auditions will be group calls with cold reads to observe how actors interact, listen, and build chemistry. The script is sincere, romantic, and intimate — actors should show emotional truth and connection. Audition Registration: Book an audition time   For questions: email Isabelle Stone at izzystone02@hotmail.com Audition Pack: Available here Performance Dates: 20–22 March 2026 Rehearsal Dates: Rehearsals begin Monday 12 January 2026. Rehearsal Times: Mondays – 7:00pm to 9:30pm, Wednesdays – 7:00pm to 9:30pm, Sundays – 11:00am to 4:00pm Warnings: This production includes: Intimacy between various couples, characters undressing to undergarments (Dave & Rhonda). Adjustments to intimacy and comfort levels will be discussed with the creative team. Performer Age: Seeking young adult actors, able to portray characters aged 20–35. Creative Team: Director – Isabelle Stone, Assistant Director – Ella Uhlmann Production Website: https://www.villanovaplayers.com/auditions Available Roles / Character Breakdown: Casting six actors — three male-presenting and three female-presenting  — each portraying multiple characters. Male Characters Pete  – Pessimistic but loving; struggles to express emotion. Steve  – Kind, open, physically numb to pain. Jimmy  – Sensitive; heartbreak has silenced him emotionally. Randy  – Rough-around-the-edges; develops feelings for his best friend Chad. Dave  – Soft-hearted and in love with Rhonda. East  – Calm, thoughtful repairman. Lendall  – Collected and steady; trying to understand Gayle. Chad  – Confesses romantic feelings to his best friend. Phil  – Hardworking man whose marriage is strained. Daniel  – Hope’s ex. Female Characters Ginette  – Optimistic, chatty, loving toward Pete. Sandrine  – Jimmy’s ex; composed and compassionate. Gayle  – Long-time girlfriend of Lendall; fiery and emotional. Hope  – Returned to Almost after years away; jittery and unresolved. Glory  – Nervous hiker carrying guilt. Waitress  – Sassy, grounded, meant for Jimmy. Marvalyn  – Guarded nurse in a troubled relationship. Marci  – Overworked, frustrated wife of Phil. Rhonda  – Tough, timid, awkward around Dave. Suzette  – Daniel’s wife.

Title: Romeo and Juliet Presented By: St Luke’s Theatre Society Genre: Classic Drama / Shakespearean Tragedy Synopsis: In a city divided by a long-standing feud, Romeo Montague and Juliet Capulet fall deeply and dangerously in love. As their secret relationship blossoms in the shadows, violence, misunderstandings and impulsive choices build to a heartbreaking climax. This production invites actors to dive into raw emotion, loyalty, humour and heartbreak, exploring one of Shakespeare’s most iconic and enduring love stories. Audition Date: Sat 13th December, 2025 Audition Time: 10:00am Audition Location and Address: St Luke’s Church, 193 Ekibin Road East, Tarragindi Audition Requirements: Auditionees are required to present: An interpretation of one of Shakespeare’s sonnets, or A soliloquy from any Shakespearean text. If you are unable to attend at 10:00am on the audition date, you may contact the director to discuss an alternative audition time. Audition Registration: Email the director, June Balfour, at juneabalfour@gmail.com  to register your interest and book an audition. Performance Dates: 13 March – 28 March 2026 Performance Times: Friday evening, Saturday matinee, Saturday evening Rehearsal Dates: Rehearsals commence following casting. Held on Monday evenings, Wednesday evenings, Sunday afternoons Warnings: Themes include violence, death, and suicide (standard for Romeo and Juliet ). Production Website: https://stlukestheatre.asn.au/index.php/auditions/ Available Roles/Character Breakdown: (Indicative – subject to director’s casting vision.) Romeo Montague  – Passionate, impulsive young lover. Juliet Capulet  – Intelligent, courageous and strong-willed Mercutio  – Romeo’s witty, charismatic friend. Benvolio  – Romeo’s cousin; peacekeeper with a good heart. Tybalt  – Hot-headed nephew of the Capulets; expert fighter. Nurse  – Juliet’s confidante; earthy, humorous and protective. Friar Laurence  – Well-meaning priest who marries Romeo and Juliet in secret. Lord & Lady Capulet  – Juliet’s parents; status-conscious, volatile, and controlling. Lord & Lady Montague  – Romeo’s parents; concerned but less present. Paris  – Nobleman seeking Juliet’s hand in marriage. Prince Escalus  – Ruler of Verona, trying to keep the peace. Benvolio, Balthasar, Abram, Sampson, Gregory, Peter  – Friends and servants to the Montagues and Capulets.

Blue – Sun and Wine Arts Company at PIP Theatre Written and Directed by Claire Yorston Starring Laura Renee, Hayden Parsons and Reagan Warner Sound Design by Hannah Page and Composition by Ziggy Enoch Lighting Design by Claire Yorston Sun and Wine Arts Company presented this original play by Claire Yorston , tracing a love story that appears sweet on the surface yet slowly reveals uncomfortable truths about trust, power, and control. Content warnings include domestic violence along with verbal, physical and emotional abuse. Set inside the intimate PIP Theatre studio, the space had been transformed into a cosy coffee shop, complete with pages plastered across the walls and columns. The old theatre seats meant we were all angled in one direction, which gave us a bit of a neck-tilt, but the overall design suited the grounded, everyday realism of the story. The sound design by Hannah Page and song composition by Ziggy Enoch added much to the atmosphere too: the café ambience, the ocean waves when they sat on the pier, the soft hum of songs. At first, Blue  appeared to be a simple romantic drama… but that soft glow didn’t last long. Elias, just 23 and working as a barista, falls hopelessly in love at first sight with a customer, Annette. “This is a love story,” narrator Reagan Warner tells us, already settled in his corner observing the pair like a Fate who wandered in for a coffee. The pacing moved quickly by design, taking us through the initial spark, the awkward flirting, the honest conversations and the moment they made things official. The writing had the lyrical feel of reading a novella or watching a short indie film. Annette, played by Laura Renee , entered the story with her walls built up high around her heart, and even armed with a list of printed questions for their first date in case the conversation stalled. Elias, played by Hayden Parsons , did his best to answer, sweet and awkward, while she silently judged every response (red flag number one). The whole date felt hilariously and painfully true to life, full of random tangents, unfiltered confessions and those tiny moments of vulnerability that catch you off guard. And when Elias looked at Annette and said “you add to my happiness,” I melted a bit. But Annette openly looked down on Elias for working in hospitality (red flag number two). As the relationship progressed, their dynamic shifted in ways that felt painfully familiar. People can absolutely lose their identity inside a relationship, and this play explored that slow erosion with uncomfortable accuracy. Reagan’s corner-of-the-room narration and emotional commentary became one of my favourite devices in the show. As the couple’s relationship sours, his frustration echoed the audience’s own. My early (good) assumptions about Annette transformed into a genuine frustration (props to Laura!) as she became increasingly dismissive and secretive and slowly chipped away at Elias’s sense of worth. Elias, meanwhile, wore his heart on his sleeve and didn’t recognise the warning signs until they were unavoidable, barely noticing her obvious body language. A short musical interlude from Laura on guitar landed beautifully, her voice expressive and aching on the lyric: “Now I’m covered in blood and I’m always blue, but thank God I don’t have to deal with you.” It felt like the emotional thesis of the show wrapped inside a haunting melody. The humour in the first half really worked, mostly thanks to Hayden’s natural timing and the easy chemistry between him and Laura. Their playful banter and the rare moments where they truly communicated were believable. Elias tried to set boundaries with real maturity, vowing he would never cage her, but by the final third things had soured. Annette pushed him to change his career and even talked him out of breaking up with her. Her past trauma explained parts of her behaviour, but it definitely didn’t excuse it. The final act was tough to watch as violence unexpectedly crept in. Laura's performance became genuinely chilling, while Hayden withdrew into himself - posture tightening, avoiding eye contact, his voice shrinking with exhaustion and fear. The play tackled the stigma around male victims of abuse directly with the line, “It’s not abuse? He’s a man." Despite Annette and Elias being, objectively, a terrible match, Laura Renee and Hayden Parsons created something magnetic onstage. Reagan Warner, however, was the standout for me. Invisible to the characters but completely present for us, his emotional accessibility and honesty were phenomenal. His final narration landed like a blow: “This is a real love story. One that didn’t have to happen. But not everyone deserves love.” That line absolutely wrecked me Claire! Her writing and direction carried us there with excellent pacing and a structure that was polished and compelling from start to finish. The audience was collectively absorbed by this story. Blue  was gripping, uncomfortable, beautifully acted and unexpected in its exploration of how love can curdle when control creeps in. A powerful original work from a team with huge potential.

Written by Rodgers & Hammerstein Directed & Choreographed by Lucy Martin Vocal Direction by David Valks Additional Choreography by Natalie Cassaniti “Don’t talk purty to me!” GCLT closes their 2025 season, celebrating their massive 75-year milestone, with a production of the comforting classic Oklahoma!  The season is basically sold out, and it only takes about ten seconds into “Oh, What a Beautiful Mornin’” to understand why. Now, confession time: I have never seen Oklahoma!  before. Not the film, not a school version, nothing. I walked in a blank slate, and I walked out thinking, “Oh… this is why it’s been revived since dinosaurs roamed the Earth.” So before we dive in, a short synopsis of the classic tale: Oklahoma!  is set in early 1900s America, following the romance between Curly, a charismatic cowhand, and Laurey, a strong-willed farmgirl who is far less immune to flirting than she pretends. As the community heads toward statehood, tensions simmer between farmers and cowmen, all while the brooding, volatile Jud Fry lurks at the edge of Laurey’s world. It is a story of young love, rivalry, community spirit, and the darker undercurrents beneath the prairie sunshine. Sean Curran’s set is a total GCLT special: detailed, immersive, and charming, like a toy-box prairie town that looks real enough to move into. A farmhouse and a barn façade straight from an old sepia photograph are paired with AV projections of rolling countryside and a cozy dance hall. The whole thing creates a subtle forced-perspective illusion that makes this modest stage feel twice its size, beautifully lit by Michael Sutton’s warm sunset tones and moody shadow cuts. Lucy Martin’s costumes are frilly, floral, flannel, and beautifully considered. The colour palettes suit each performer with uncanny accuracy. Isabella glows in soft pastels, and Elysium pops in bright blue and golden yellow that echo the sky and fields. It feels like early-1900s prairie couture with a modern eye for what flatters. Lucy Martin’s direction is light-footed and intentional. She leans into the light joy of Act I: the community riffs, the flirtations, the optimism... while letting the shadows creep in slowly at the edges. There is no live orchestra this time around because the stage simply cannot hold one, so the production leans on the R&H tracks instead. Under David Valks’ vocal direction, the cast sounds steady, strong, and wonderfully unified. Noa Fogarty, a bright young talent heading to the QLD Con next year, steps out to deliver “Oh, What a Beautiful Mornin’”. His tone is warm and golden (and dare I say deliciously James Marsden-coded). You can practically feel the sunshine cracking through the stage walls at his voice. Isabella Wiesenthal’s Laurey is pretty in pink, soft-spoken but steel-spined, and her crystal-clear, supported soprano is the kind of voice that makes you instinctively fix your posture. As the original will-they-won’t-they, Curly and Laurey’s duet “People Will Say We’re in Love” is sweet, flirty, and brimming with early-love coyness. Isabella plays Laurey as demure, but her eye-acting betrays the whole game. She adores every second of Curly’s attention. “Many a New Day” glimmers with sincerity, and the ladies’ dance break that follows is sweet and spirited, all perfect smiles and hopeful twirls. Shoutout to the duo choreography team of Natalie Cassaniti and Lucy Martin. And I believe all the hairdos are real? Ringlets everywhere! Shoutout to hair designer Ann-Britt Riget. If Laurey is subtle charm, Ado Annie is pure chaos and sunshine. Elysium Hipwood steals Act I with “I Cain’t Say No,” a wildly energetic, giggle-laced ode to being a hopeless flirt who simply cannot help herself. She is the original loveable dork who just so happens to have an astonishing belt! Her chemistry with Torrek Elbeb’s Will Parker is absurdly cute, especially in “All Er Nuthin’,” a duet that feels like watching two golden retrievers attempt to discuss exclusive dating. Torrek also leads the lads in a hilariously hyperactive “Kansas City,” a full song-and-dance expulsion of restless boy energy. Ashley Williams as Ali Hakim is a comedic gift. He plays the sleazy travelling peddler with a gravelly Harvey Fierstein-style voice and the timing of someone who has been doing vaudeville since birth. His big number “It’s a Scandal! It’s an Outrage!” is pure musical-theatre serotonin. Louise Thorpe grounds the entire town with a firm hand and a soft centre as Aunt Eller. She is both referee and heartbeat, offering warmth and authority in perfect balance. Then there is Gertie, with Nicolette Ditchburn weaponising perkiness with a giggle that should come with a warning label. Then... the lights shift, the humour drains, and something prickles. Jake Stubbs enters as Jud Fry, the unwashed, isolated, intimidating farmhand. “Lonely Room” becomes an unsettling glimpse into his twisted inner world, alongside beautifully lit staging. His presence around Laurey is genuinely uncomfortable to witness, exactly as it should be. Jud is the embodiment of everything simmering beneath the town’s wholesomeness, and Jake commits fully to the role. The tonal whiplash of Curly singing “Pore Jud Is Daid” is confronting, as Curly literally tries to convince Jud he would be more appreciated if he were to unalive himself. Noa delivers it with a chilling, cheerful darkness. These two young actors, Jake and Noa, are undeniable rising stars. Oklahoma! ’s famous dream ballet lands with a bang, beautifully executed. It moves from soft, sweeping romance — the ladies’ ensemble spinning in hopeful circles, curls bouncing, dresses fluttering — into Jud’s fantasy, a burlesque-style silhouetted nightmare dripping in red light and oppressive power. The use of chairs, shadows, and stage combat is fantastic. It is vivid, brutal, and even prophetic. “The Farmer and the Cowman” plays exactly like the childish campfire brawl it is, joyful, stompy, and silly. I caught myself tapping my feet like I was in an actual square dance. “Oklahoma!” (the song) remains one of the catchiest pieces ever written. Their rendition is rich, full, and bouncy in all the right ways. From here, things get funnier, flirtier, and then the rural bliss fractures. The final scenes unfold with a surprising dose of darkness, a reminder that Oklahoma!  is deceptively complex beneath its cornfed cheerfulness. This production is a sun-drenched celebration of young love, small-town pride, and simple life. A duality of a show, handled with enormous heart by a gifted young cast and a creative team that understands exactly how to blend nostalgia with bite. It is the perfect finale for GCLT’s 75th year. And I am still humming “Oklahoma!” (Help.)

I spent a full day at Queensland Theatre immersing myself in their free play readings and artist workshops, and honestly, it fed my creative soul in ways I did not even know I needed. Thank you to everyone involved. It felt like being handed a backstage pass to the future of Australian theatre. If they run The First Twenty again, I will be lining up at the door before they even unlock it. Kitty Cleans Up – By Maxine Mellor Directed by Sanja Simić This reading kicked off the day with an absolute bang. Kitty Cleans Up was a very Aussie, very funny whodunnit that explored the delightfully mundane world of house cleaning... and murder! Kitty, a no-nonsense mature-aged cleaner with the driest delivery, visits a regular client with her grandson Jet in tow. Jet is the picture of youthful disinterest, more invested in avoiding work than making an earning. When they stumble upon piles of cash hidden throughout the apartment and then find the actual dead body of Mr Madden in the study, the audience collectively leaned forward like we had just been handed popcorn. Then, a heavily pregnant stranger walks in claiming to be the dead man’s daughter, and from that moment onwards the twists just kept coming. Kitty had a wonderfully unfiltered sass, the kind of old broad who had lived long enough to stop caring about being polite. Maxine Mellor’s writing was sharp, playful, and wonderfully self-aware. The whole thing carried the tone of Only Murders in the Building if it had been plonked straight into suburban Brisbane. I left the reading already craving the next instalment of this delightfully messy mystery! Light – By Vidya Makan and Tasnim Hossain Even though we only saw three scenes and three songs of this musical-in-progress, Light already felt like the groundwork for something big, heartfelt, and culturally rich. It opens with a joyous ensemble number about community, connection, and the juggling act of everyday expectations. The music had a gorgeous percussive pulse running through it and, even though we were hearing recordings, you could feel the energy rippling through the room. The FMC’s solo is a beautifully grounded piece about the heavy responsibility of running her family’s medical clinic while still holding space for her own inner world. It was honest, tender, and instantly recognisable for anyone who had grown up around family businesses or inherited expectations. Jay’s solo, sung while he delivers UberEats (an international student trying to make ends meet), was cheeky with the quiet ache of someone caught between survival mode and ambition. Tonally, the whole piece hit that perfect sweet spot of Indian-family dramedy: blunt, warm, culturally specific, and deeply self-aware. I loved the way it blended ancient mythologies and gods with modern anxieties, adding a sense of magic and timelessness to what was, at its heart, a very human story. Even in this early state, the creative chemistry between Vidya Makan and Tasnim Hossain is undeniable. The writing was sharp and sincere, the music was catchy and rhythmically exciting, and the world-building felt both specific and universal. Something truly exciting is brewing here, and I can't wait to see where Light goes next. Aurochs – By Kathryn Marquet Directed by Daniel Lammin This one absolutely fascinated me. Bold, original, and quietly devastating, Aurochs unravelled the tangled history between humans and cattle, tracing our relationship across centuries like a living, breathing tapestry of ethics, survival, power, and consequence. I loved how Kathryn Marquet designed the narrative to move backwards through time, an incredibly clever choice that allowed each scene to reframe the one before it. We begin in 2067, with the world buckling under a future crisis of beef production, the kind of speculative fiction that does not require much speculation at all. From there, we jump to the 1980s and the panic of mad cow disease, then further back to the rise of industrialised beef production around the turn of the century. Next is the pre-American Civil War era, where issues of labour, class, and human cruelty intersect sharply with the treatment of cattle. Finally, we arrive in the 1600s and the extinction of the aurochs, the enormous wild ancestors of modern cattle. In this reading, we only visited the pre-American Civil War era, but I could already feel that the play will nudge the same quiet question in every period. How did we get here, and what have we learned? We met several characters. Charlotte was all fire and fury, railing against injustice with a conviction like she could drop into any century and still be wrestling with the exact same systems. Mary possessed a grounded, wise leadership as a former-suffragette, making her the emotional anchor of the scenes. Then there was Robert, a stuttering, nervous wreck attempting to confront the "big cheese" about the terrible conditions of the cows supplying milk to New York City (and ultimately poisoning the infants). There were so many great lines sprinkled throughout the reading, however “Fight for what you believe in, but do not lose your kindness” lodged itself firmly in my chest. The idea that advocacy without compassion becomes another form of violence. Stylistically, Aurochs never felt like a lecture, even though it tackled slavery, animal cruelty, capitalism, and ecological collapse. Instead, it felt like a deep exploration of how humans justify harm, how systems swallow us whole, and how our actions ripple endlessly forward or, in this case, backward. By the end, I was completely hooked. It was one of those readings where you could feel the potential radiating off the pages. This was only a taste, a sliver, a doorway into a much bigger world. I am genuinely desperate to see the full version one day because this reading only scratched the surface. No Need To Hide A Light When It Shines Like Hers – By Matthew Whittet This reading was adorable, chaotic, and heartfelt. Ada Lukin as Connie brought an excitable, nervous, slightly over-caffeinated energy that felt so true to young adults on the edge of big decisions. She had a comedic stutter in her delivery that hit just the right amount of “my brain is sprinting faster than my mouth can catch up!" Siena D’Arienzo as Grace was the perfect gentle counterpart. Where Connie fidgeted and spiralled, Grace floated around like the calm centre of the storm. She was serene, composed, a little clueless in a charming way, and unfailingly loyal. Together, Ada and Siena captured the dynamics of the friendship with such honesty: the comfort, the magnetism, the breathless confessions of every terrifying thought you cannot hold inside. I loved how sincerely the play explored identity through the world of physie and competitive dance, especially in a world where kids are often funnelled into paths chosen for them before they have a chance to find their own passions. Instead, we watch Connie realise that dance feels more like an obligation, while singing begins to feel like a true calling. The story deepens once Connie starts confronting questions about her absent father. Her decision to track him down leads to an awkward, strangely sweet meeting with Derek, played by Stephen Hirst. He is a gifted musician, socially strange, unexpectedly tender, and apparently... believe he is a werewolf? His quirks could have tipped into caricature, but Stephen balanced them so well that he became genuinely sympathetic. Their scenes together were some of my favourites, a mix of cringe, sweetness, and a surprising mutual understanding that neither of them quite know how to articulate yet. This reading slotted perfectly into the wave of YA stories I have been loving this year: Katie is a Marker-Sniffing Lesbian, Dance Nation, The Virgin-mobile, Tell Me Something, Blue. All these works capture the messy, bright, emotionally honest landscape of coming of age. By the end of the reading, I felt fully invested in Connie’s journey. I wanted to know what would happen when she tried singing. I wanted to see how Grace supported her. I wanted more Derek weirdness. I wanted Connie’s mum in the mix. I wanted the physie championships. If this becomes a full production, I will be there immediately because I am already wildly attached to these characters. The Light in the Sahara – By Lewis Treston Directed by Sanja Simić This two-hander was a massive highlight for me. It was the kind of piece that sneaks up with its humour and then suddenly blindsides you with emotional honesty. The play begins with a jarring and oddly funny moment: Boomer, her colleague, has died from a sudden heart attack. She calls her son from the wake, and the story launches into a wonderfully surreal journey that bounces between wanderlust, existential dread, and the kind of mother-son relationship that probably needs therapy but settles for a holiday instead. From the moment Christine O’Leary opened her mouth as the "mother", the audience was completely hers. She had that glorious Kath Day-Knight energy , the perfect mix of loveable dagginess, misplaced confidence, and an unshakeable belief that she was coping just fine even when she absolutely was not. She was instantly hilarious, instantly familiar, and instantly endearing. Her "son", played with a warm blend of exasperation and affection, asked his mum where she would go if she could travel anywhere in the world. She chose the Sahara, of all places, and suddenly we were swept into a bizarre and blackly comic adventure. "The world just got so loud one day" felt like the kind of line that summed up midlife burnout, modern overstimulation, and unspoken emotions with painful accuracy. "I cannot talk her out of an existential crisis when I am going through one myself" had the room laughing while quietly nodding in understanding. One of my favourite parts of the experience was seeing Lewis Treston in the audience absolutely cracking up at his own lines. For a two-hander, this felt surprisingly expansive, a reminder that you do not need a large cast to tell a big story. You only need two excellent actors, a sharp script, and a whole lot of humanity. I would see a full production of this in a heartbeat.   WORKSHOPS Scene One: A Director’s Guide – With Dr Benjamin Schostakowski This workshop was a little treasure chest of directing wisdom. Dr Benjamin Schostakowski, from NIDA has this calm, grounded confidence about him that makes every word feel like something you want to scribble down immediately. A few tips that I noted: Meet the play first.  Read the original version, do the research, immerse yourself in its history. Do not squash your concept onto it before it has had a chance to speak to you. The first read-through is sacred.  No interruptions, no intellectualising, no “what if we…” ideas. Just absorb it. Hold onto the lure.  That initial spark you felt when you first connected with the play is the anchor you return to when things get messy or confusing. Slow read equals facts and questions.  Do a slower read next and let the text show you what it contains. Write a column of facts and a column of questions. The questions become a collaborative journey you take with your actors. Active analysis.  Get up on your feet, improvise, explore, encourage autonomy. Let actors bring forward their own ideas. Break scenes by events, not tiny beats.  Focus on the major shifts, the big "ball game change" moments. It was such a generous and practical (albeit short!) session. I left with a full page of notes and a clearer sense of how I might approach directing if I ever step into that role again. Staying Present in the Creative Storm – With Emily Burton Emily Burton approached nerves, fear, perfectionism, and burnout with so much compassion that you could feel the whole room exhale a little. She shared somatic tools that were simple but powerful. The butterfly taps on the chest, the grounding breaths, the literal shaking of the body. She encouraged us to find our personal version of safety, whether that is music, movement, a mantra, a pet, a person, or something else. I appreciated how honest she was about the relentless schedules artists face. She reminded us that when the stress response cannot complete its cycle, it just keeps building until the body shuts down in whatever way it can: sleep, digestion, anxiety, exhaustion. We need to close the stress cycle so your nervous system knows the “threat” is over each day. Her workshop felt like a loving interruption to that spiral, a reminder that recovering from stress is a skill we must practice, not something that magically happens on its own. Nurturing Your Creative Practice – With Dr Margi Brown-Ash This was the most soothing, reflective way to end the day. Dr Margi Brown-Ash spoke with the kind of soft authority that instantly made the space feel safe and warm. We moved through meditation, creative journaling, gentle movement, and the idea of building a personal creative sanctuary. I loved the encouragement to think about where all our artistic selves live. What does our creative space look like when it is curated with intention? What does it need to contain so that we feel held, energised, and open? It felt like a permission slip to slow down and check in with ourselves, to nourish rather than constantly produce. After a full day of new ideas and buzzing inspiration, this workshop felt like a deep breath. FINAL THOUGHTS I walked out of Queensland Theatre absolutely buzzing. The readings were diverse, bold, funny, moving, and bursting with potential. The workshops cracked open parts of my artistic brain that had been sleeping for months, and I felt genuinely recharged in a way I had not expected. The whole day reminded me why I adore this community. The generosity, the curiosity, the excitement for new work, the willingness to share knowledge and hold space for emerging ideas; exactly the kind of accessible creative offering Brisbane needs more of.

Presented by: Taree Arts Countil at Manning Entertainment Centre Director / Choreographer / Costume Design: Ayesha Haeata Musical Director: Jess Evans Stage Manager: Lia Wrigley Set Design: David Denning Props: Helen Grooteman Lighting & Tech: Nathaniel Keegan Photography : Dave Evans Yes, this is Stage Buzz Brisbane and yes I’m reviewing a show in regional NSW. But it’s my former theatre company and frankly I can do what I want. So let’s start with the important question. What if Juliet didn’t die? That little question drives this joyful pop musical that flips one of theatre’s most famous tragedies and replaces the tears with glitter, girl power, and an alarming number of 2000s hits. Instead of ending in a tomb beside Romeo, Juliet chooses life and sets out to discover who she might become without the expectations of Shakespeare’s original script. As good-old Willy Shakespeare attempts to tell his tragic love story, his wife Anne Hathaway interrupts and insists Juliet deserves a better ending. What follows is a playful rewriting of the narrative in real time, sending Juliet beyond Verona into a glittering world of friendship, self-discovery, and pop anthems that audiences (particularly millennials) will instantly recognise. Built around the catalogue of pop hitmaker Max Martin, the show blends chart-topping songs with a theatrical twist. Banger after banger! The question becomes how many songs we can squeeze into one show? And this is a big show. But Taree Arts Council embraced that scale wholeheartedly. From the moment the actors appeared for some cheeky pre-show entertainment, it was clear this company had come ready to play. Then the opening number “Larger Than Life” exploded onto the stage and the show truly kicked into gear. For a pro-am production, their design ambition was striking. David Denning’ s set construction was impressively elaborate. A checkerboard floor, revolving set, aerial wires, and a looming mausoleum created a bold visual playground for the story. Graffiti artwork added modern texture while projected map visuals marked Juliet’s journey beyond Verona. The costumes, selected by director Ayesha Haeata , leaned fully into the show’s contemporary pop aesthetic. Corsets paired with sneakers and strong wig styling created a playful fusion of Shakespearean and modern fashion. Anne and May’s looks were particularly standout, while Juliet’s Act Two outfit was gorgeously eye-catching. Nathaniel Keegan’s lighting design was also spectacular, shifting from intimate storytelling to full concert spectacle. Pop musicals thrive on visual energy and the lighting here kept the stage buzzing with colour and movement from start to finish. Kate Simpson  shone in the central role of Juliet. She did not stay heartbroken for long once she learned of Romeo’s… extracurricular activities across Verona. Kate captured that pivot beautifully. Wounded, then empowered, then unstoppable. A true pop powerhouse, she tackled the demanding score with stamina and flair, particularly in Demi Lovato’s “Confident,” Britney Spears’ “Oops!... I Did It Again,” and the far too short “Stronger.” There were occasional microphone inconsistencies affecting Juliet and Shakespeare, which is unfortunate in such vocally demanding material. When balanced correctly though, Kate’s voice soared through the MEC! Travis Cross  was an undeniable scene stealer as Francois Du Bois. His outrageous accent, sassy stage presence, and natural comedic instincts made every appearance entertaining. It quickly became difficult for me to imagine anyone else playing the role. Katy Perry’s “I Kissed a Girl” was staged brilliantly, and Travis proved he had chemistry with the entire cast, particularly Juliet. Their friendship dynamic grounded the show nicely amongst all the noise. The Bois Band moment performing Backstreet Boys’ “Everybody” was a nostalgic highlight for this millennial reviewer, while Travis’ commitment during NSYNC’s “It’s Gonna Be May” earned plenty of cheers. Adam Gordon  fully embraced the theatrical absurdity of the lovably self-obsessed William Shakespeare. His portrayal leaned into the character’s ego and drama while maintaining playful self-awareness as he keeps quoting himself and inserting himself into the story. The cast committed well to the show’s British accents too, helping ground the action in Shakespeare’s world. Jessie Davidson  was a revelation as Anne Hathaway. Her adorably dorky, passionate characterisation injected heart and bite into the story, and her mix belt was phenomenal. Celine Dion’s “That’s the Way It Is” became one of the show's most sincere moments. Kim Stevens  was perfectly cast as Angelique, Juliet’s nurse. Katy Perry’s “Teenage Dream,” which turned into a mash-up with Ariana Grande’s early hit “Break Free,” became a delightfully absurd sequence alongside Dean Snook , while her performance of P!nk’s “Perfect” provided a genuinely lovely moment with Kate Simpson. Layla Clarke  showed wonderful promise as May, a talented young performer absolutely blooming. May’s story felt earnest and contemporary, and Layla handled it with maturity. Dean Snook  provided great comic support as Lance Du Bois, while Emily Ryan’ s Benvolio brought so many entertaining moments to Act 2. Meanwhile, Romeo feels like the “princess track” that pops up when least wanted. Just when you thought the show had moved on from him... His surprise rooftop return during Bon Jovi’s “It’s My Life” was peak ick, and Alex Blenkin leaned right into the character’s smouldering arrogance. His self-aware line “I am a douche!” may have been the most honest moment of the night. The twenty strong ensemble rarely stopped moving. They pranced, lifted, spun, and filled every corner of the stage with energy. Ayesha Haeata’s choreography was punchy and demanding, particularly during “Roar,” where the quick change moment was epic. The light-up jackets and fans in “One More Try” created striking visuals, even if the duet itself wandered pitch-wise at times. Musical Director Jess Evans  guided both cast and band through a vocally demanding score. With jukebox musicals like this the stamina required from everyone is enormous, and the band delivered the hit after hit soundtrack with finesse. Offstage singing was mostly clean as well. Other standout musical numbers included Jessie J’s relentless “Domino,” Kelly Clarkson’s famously difficult “Since U Been Gone,” and the beautiful duet Adam Lambert’s “What Do You Want From Me.” Director Ayesha Haeata  clearly understood the vibe of &Juliet . The production leaned fully into the camp, satire, and absurd humour that define the show. After all, the original Romeo and Juliet  is pretty ridiculous when you think about it. Two teenagers hook up, fall in love, marry, and die within a matter of four days. Producing & Juliet  is a huge undertaking for any company. Taree Arts Council rose to the challenge, assembling a talented cast and creative team who clearly had a lot of fun bringing this story to life. Most importantly, the production captured the show’s central message. Juliet’s story no longer belonged to tragedy. Instead it became a celebration of self-love, friendship, and the courage to choose your own ending.

Title: Disney’s Beauty and the Beast JR. Presented By: Brisbane Junior Theatre (BJT) Genre: Youth Musical Theatre Synopsis: A magical 60-minute adaptation of the beloved Broadway and Disney classic, Beauty and the Beast JR.  follows Belle, a bright young woman from a small provincial town, and the Beast, a prince trapped under an enchantress’s spell. Only if he learns to love and be loved can the curse be broken. With iconic songs by Alan Menken, Howard Ashman and Tim Rice, and a host of colourful supporting characters, this “tale as old as time” offers spectacular roles, imagination and fun for young performers of all levels. Audition Date: 13 December 2025 Audition Time: 1:00pm, 2:00pm or 3:00pm Audition Location and Address: Emerge Church, 1 Coorparoo Road, Warner Audition Requirements: BJT follows a structured audition process: Step 1: Memorise a monologue (from the Monologue Pack) with characterisation and any required accents. Step 2: Learn the audition song linked at the bottom of the monologue sheet. Dance will be taught on the day. Step 3: Book an audition time by SMS to Debbie (0438 896 436). Step 4: Complete and email the Production Registration Form to brisbanejuniortheatre@gmail.com . Step 5: Optional – Submit a T-Shirt Order Form at your audition. Note: Students cannot audition unless they are registered and pay the fee on the day. Performance Dates: 9–10 January 2026 (double-cast performances) Rehearsal Dates: 5–9 January 2026 (intensive rehearsal week) Production Website: https://brisbanejuniortheatre.com.au/ Other Information: Fees: $425 inc. GST (covers costumes, rights, scripts, staff, sets/props, venue hire, insurance, and a Friday pizza dinner). Everyone who auditions is guaranteed a place in the cast. All shows are double-cast to provide more opportunities. Available Roles / Character Breakdown: All roles are open to youth performers. Belle  – Smart, confident, compassionate. (F5–G3) Beast  – Dramatic acting role; emotional range needed. (B3–E5) Narrators  – Strong speakers; non-singing. Old Beggar Woman / Enchantress  – Dramatic, non-speaking. Gaston  – Arrogant, comedic leading man. (A3–F5) Maurice  – Belle’s eccentric father; character role. Lefou  – Gaston’s silly sidekick; physical comedy required. (B3–E5) Les Filles de la Ville  – Gaston’s fangirls; trio harmonies. (C4–F5) Lumiere  – Charming French maître d’, strong singer/actor. (A3–D5) Cogsworth  – Stuffy but loveable clock; comedic. (A3–E5) Mrs. Potts  – Warm, motherly, sweet vocals. (F3–E5) Chip  – Innocent, youthful. (D4–D5) Madame de la Grande Bouche  – Operatic diva; big voice. (A3–C5) Babette  – Flirtatious feather duster; elegant harmonies. (A3–B4) Monsieur D’Arque  – Sinister; mostly acting. Servants  – Enchanted objects; large ensemble roles. Villagers  – Ensemble with featured lines and moments.