Search Results

Title:  Boeing Boeing Presented By:  Tugun Theatre Company Genre:  Comedy / Farce Synopsis: This 1960s French farce, written by Marc Camoletti and translated by Beverley Cross and Francis Evans, follows Parisian bachelor Bernard, who juggles three airline fiancées — Italian, German, and American — each with frequent “layovers.” By carefully managing their flight schedules, he ensures the women never meet… until unexpected changes bring all three to his apartment at the same time. With rapid-fire dialogue, mistaken identities, and physical comedy, Boeing Boeing  whisks audiences back to the swinging ‘60s in a cheeky, high-energy romp. Audition Date:  Sunday 10 August 2025 Audition Time:  6:30pm Audition Location and Address:  Tugun Village Community Centre, 414 Coolangatta Rd, Tugun QLD Audition Requirements: Must be able to attempt required accents for the role(s) (French, English, American, Italian, German) Visit tuguntheatre.org/audition  to apply and access 40 pages of the script, character notes, and audition pieces Audition Registration:   Register Here Performance Dates: Fri 7, 14, 21, 28 Nov – 7:30pm Sat 8, 15, 22 Nov – 2:00pm & 7:30pm Thu 27 Nov – 7:30pm Sat 29 Nov – 7:30pm Performance Location:  Tugun Village Community Centre, Tugun QLD Rehearsal Dates: Mondays & Thursdays, 7:00pm start (finishing 9:30–10:00pm) at Tugun Village Community Centre Warnings:  Contains kissing and some 1960s-era lingerie costumes (handled with comfort and respect) Creative Team: Writer: Marc Camoletti Translators: Beverley Cross & Francis Evans Director: Nathan Schulz Production Website:   tuguntheatre.org Available Roles / Character Breakdown: The Men Bernard  – Male, 30s–40s; Parisian bachelor, charming yet sly (French accent) Robert  – Male, 30s–40s; shy, small-town friend of Bernard (French or English accent) The Help Bertha  – Female, 40s–60s; Bernard’s sarcastic, long-suffering housekeeper (English accent) The Hostesses   (All aged 25–35) Gloria  – American; clever, confident, outspoken (American accent) Gabriella  – Italian; lively, smart, independent (Italian accent; 1960s lingerie required) Gretchen  – German; passionate, intense yet lovable (German accent; kissing & 1960s lingerie required)

Title:  Alice in Wonderland Presented By:  Outdoor Theatre Community Genre:  Fantasy / Dark Reimagining Synopsis: Step through the looking glass into a darker, reimagined Wonderland. Opening on Halloween, this outdoor theatre adaptation of Lewis Carroll’s classic tale is packed with beloved characters — the Mad Hatter, White Rabbit, Cheshire Cat, and more — but with a mysterious twist. Join Alice on a strange and shadowy adventure where the whimsy is tinged with danger, and nothing is quite as it seems. Audition Date:  Saturday 23 August 2025 Audition Time:  9:00am – 11:00am Audition Location and Address:  Dragonfly Park, Warner QLD Audition Requirements: Prepare a monologue that captures the personality of the character(s) you are auditioning for Open to all performers interested in outdoor, immersive theatre Multiple roles available; actors may audition for more than one character Bring water and dress for movement outdoors Audition Registration:   Register Here Performance Dates: Fri 31 Oct 2025 – 7:30pm Sat 1 Nov 2025 – 7:30pm Sun 2 Nov 2025 – 6:30pm Fri 7 Nov 2025 – 7:30pm Sat 8 Nov 2025 – 7:30pm Sun 9 Nov 2025 – 6:30pm Performance Location:  Dragonfly Park, Warner QLD Rehearsal Dates: Mondays & Tuesdays, 7:00–9:00pm Note:  Tuesday rehearsals will move to Wednesdays in the second half of September Possible Sunday rehearsals, 1:00–4:00pm Warnings:  Outdoor performance – weather dependent Production Contact: Email: otc.generalenquiry@gmail.com Phone: 0423 588 833 Available Roles: Lewis Carroll Alice Red Queen White Queen White Rabbit Humpty Dumpty Gryphon Mock Turtle Mad Hatter March Hare Dormouse Frog Footman Duchess Cheshire Cat King of Hearts Queen of Hearts Knave of Hearts Caterpillar Two of Spades Five of Spades Seven of Spades

Title:  Rock of Stages Presented By:  KSP Theatre Inc. Genre:  Musical Revue / Rock Concert Theatre Synopsis: To end the year, KSP Theatre is bringing the ultimate rock sensation to the stage! Rock of Stages  is a powerhouse production packed with iconic hits across every rock genre — from classic rock and heavy rock to pop rock and even country rock. Expect high energy, powerful vocals, dynamic choreography, and a full-throttle celebration of rock music. Audition Date:  Tuesday 12 August 2025 Audition Time:  7:30pm Audition Location:  KSP Theatre, 1-17 Maitland Rd, Burpengary QLD Audition Requirements: Open to performers aged 16+ Prepare 1 verse and 1 chorus of a rock song of your choice (all rock genres welcome) Bluetooth connection available in the theatre for backing tracks Dance audition required — choreography will range from simple to advanced, with choreographers assessing movement ability Audition Registration:   Register Here Performance Dates: Fri 7 Nov 2025 – 7:30pm Sat 8 Nov 2025 – 7:30pm Sun 9 Nov 2025 – 2:30pm Fri 14 Nov 2025 – 7:30pm Sat 15 Nov 2025 – 7:30pm ( Additional performances possible ) Performance Location:  KSP Theatre, Burpengary Rehearsal Dates: Tuesday nights Thursday nights Sunday afternoons Warnings:  May include loud music and strobe lighting Performer Age:  16+ Creative Team: Director/Producer: Janelle Kerr Choreographers: Chantelle Currie & Alarna Harris Technical Co-Ordinator: Russell Jensen Production Website / Contact:  Email ksptheatreinc@gmail.com Other Information: All cast members must be willing to commit to scheduled rehearsals and become financial members of KSP Theatre.

Title:  The Full Monty Presented By:  Coolum Theatre Players Genre:  Comedy / Drama Synopsis: Adapted from the hit 1997 film, The Full Monty  by Simon Beaufoy is a touching and hilarious story set in Sheffield, UK. Six unemployed steelworkers, facing economic hardship and personal struggles, come up with an audacious plan: to form a one-night-only male striptease act that will go “the full monty” — completely naked — to draw a crowd. Led by Gaz, whose motivation is to provide for his son, Nathan, the group — Dave, Gerald, Lomper, Horse, and Guy — navigate insecurities, relationships, and self-worth on their journey to the stage. Equal parts heartwarming and side-splitting, this story celebrates friendship, masculinity, and finding confidence in unexpected places. Audition Date:  Monday 11 August 2025 & Wednesday 13 August 2025 Audition Time:  7:30pm both nights Audition Location:  The Civic Centre, Coolum, QLD Audition Requirements: No prepared monologue required – audition material will be provided on the night Be prepared to read in character and work in small groups Some roles require stage intimacy (including partial undress in performance) – this will be handled with sensitivity and consent protocols in place Audition Registration:  Not required in advance – arrive at the Civic Centre ready to audition Contact for Enquiries: Nick Smith – nickinbuenos@gmail.com Caitie Elliot – caitiealice13@gmail.com Performance Dates:  December 2025 (exact dates TBC) Performance Location:  The Civic Centre, Coolum, QLD Rehearsal Dates:  Schedule to be confirmed after casting Warnings:  Contains adult themes, partial nudity, and mild language Production Website:   coolumtheatre.com.au/auditions Available Roles / Character Breakdown: Principal Roles Gaz  – Male, 30–45; spontaneous, proud, devoted father to Nathan Dave  – Male, 30–45; struggles with body image and self-esteem Gerald  – Male, 45+; former mill supervisor hiding unemployment from his wife Lomper  – Male, 25–35; shy, lonely security guard who gains confidence Horse  – Male, 45+, actor of colour only; humorous, wise, and full of vitality Guy  – Male, 25–35; charming, good-natured, with an unexpected talent Nathan  – Male, 12–15; Gaz’s smart, mature son Mandy  – Female, 30–50; Gaz’s practical ex-wife Jean  – Female, 30–50; Dave’s supportive yet frustrated wife Supporting Roles: Barry, Sharon, Bee, Alan, Linda, Brian, Annie, Terry, Alf, Reg, Michelle, Policeman/woman 1 & 2, Interviewers 1–3, Social Worker, Unemployed Man, Job Club Employee

Title:  One Man, Two Guvnors Presented By:  Javeenbah Theatre Company Genre:  Comedy / Farce Synopsis: Francis Henshall is fired from his skiffle band and winds up in Brighton, working for small-time East End hood Roscoe Crabbe – or so he thinks. Roscoe is actually Rachel Crabbe, disguised as her own dead twin brother, killed by her boyfriend, Stanley Stubbers. To complicate matters, Francis also takes a job with Stanley – without either knowing about the other. Based on Carlo Goldoni’s classic The Servant of Two Masters  and adapted by Richard Bean, this fast-paced, chaotic farce is a wild ride of mistaken identities, dodgy disguises, slapstick physical comedy, and even a bit of audience participation. It’s part farce, part love story, part clowning – and all ridiculous fun. Audition Date:  Saturday 9 August 2025 Audition Time:  11:00am (approx. 1.5 hours) Audition Location and Address:  Javeenbah Theatre, 166 Gooding Drive, Merrimac QLD 4226 Audition Requirements: Group audition including theatre games and cold reads from the script No prepared monologue required – sides will be provided on the day Wear comfortable clothing and be prepared to move Audition Registration:   Register Here Audition Pack:   Download Audition Pack Performance Dates: Sat 29 Nov – 7:30pm Sun 30 Nov – 2:00pm Fri 5 Dec – 7:30pm Sat 6 Dec – 7:30pm Sun 7 Dec – 2:00pm Fri 12 Dec – 7:30pm Sat 13 Dec – 7:30pm Performance Location:  Javeenbah Theatre, Merrimac QLD Rehearsal Dates:  Based on cast availability – schedule to be confirmed after casting Warnings:  Contains physical comedy and slapstick Creative Team: Director: Mikayla Maree Melo Production Website:   www.javeenbah.org.au/auditions Available Roles / Character Breakdown: Francis Henshall  – Male presenting, 18–30; perpetually hungry, chaotic, charmingly idiotic Rachel Crabbe  – Female presenting, 18–30; tough, smart, disguised as her dead gangster twin Stanley Stubbers  – Male presenting, 18–30; posh, dim-witted, upper-class twit in hiding Charlie “The Duck” Clench  – Male presenting, 40–60; ex-gangster father, gruff but soft-hearted Pauline Clench  – Female presenting, 18–30; sweet, dim, hopelessly in love Alan Dangle  – Male presenting, 18–30; melodramatic aspiring actor Harry Dangle  – Male presenting, 40–60; pompous lawyer, slick talker Dolly  – Female presenting, 18–50; sharp, straight-talking bookkeeper Gareth  – Male presenting, 30–60; sardonic, deadpan head waiter Alfie  – Male presenting, 18–60; ancient, accident-prone waiter, physical comedy role

Title:  & Juliet Presented By:  Beenleigh Theatre Group Genre:  Jukebox Musical / Romantic Comedy Synopsis: From the Emmy-winning writer of Schitt’s Creek , & Juliet  flips the script on the greatest love story ever told. What if Juliet didn’t end it all over Romeo? This vibrant reimagining follows Juliet as she ditches her famous ending for a new beginning – her way – travelling to Paris with her friends, discovering love, friendship, and self-empowerment along the way. Packed with pop anthems from legendary songwriter Max Martin – including Since U Been Gone , Roar , Baby One More Time , Larger Than Life , That’s The Way It Is , and Can’t Stop the Feeling!  – this feel-good, high-energy musical proves there’s life after Romeo, and the only tragedy is missing it. Audition Date:  Saturday 16 & Sunday 17 August 2025 Audition Time:  9:00am - 5:00pm Audition Location and Address:  Crete Street Theatre, Crete Street, Beenleigh QLD 4207 Audition Requirements: Must be 18+ at the time of audition All auditionees must attend a Dance Call (Movers or Advanced) and an Individual Vocal & Acting Audition Bring a headshot (non-returnable) Prepare: Dance Call: Movers  – choreography focusing on rhythm & character Advanced  – more complex choreography, may include partnering Vocal:  Two excerpts (~1 minute each) in the style of the show (not from & Juliet ), with backing track on your own device (bring adaptors as needed) Acting:  Side reads for your chosen role (download from audition pack; physical copies provided on the day) A neutral accent is preferred (except for Lance, who requires a French accent) All auditions will be filmed Audition Registration:   Register via TryBooking Audition Pack:   Download Audition Pack Audition Sides:   Download Sides Performance Dates: Friday 28 November, 5 & 12 December 2025 – 7:30pm Saturday 29 November, 6 & 13 December 2025 – 2:00pm & 7:30pm Sunday 14 December 2025 – Bump Out Performance Location:  Crete Street Theatre, Beenleigh QLD Rehearsal Dates: September & November – Mondays & Wednesdays, 7:00–10:00pm October – Mondays & Thursdays, 7:00–10:00pm Sundays – 10:00am–4:00pm Warnings:  Some roles include stage kissing Performer Age:  18+ Creative Team: Director & Choreographer: Tayla Simpson Vocal Director & AMD: Jade Enright Musical Director: Steven Days Assistant Choreographer: Clara Hutton Production Website:   Beenleigh Theatre Group Auditions Other Information: BTG strongly encourages applications from performers of all backgrounds, identities, and abilities, with specific commitment to authentic casting for characters identified in the script as BIPOC, LGBTQIA+, or living with disability. Available Roles / Character Breakdown: Juliet Capulet  – Female, 20s, Mezzo-Soprano with strong belt (A3–E5) William Shakespeare  – Male, 30s, Tenor/Baritenor (G3–G4) Anne Hathaway  – Female, 30s–40s, Mezzo-Soprano (A3–D5) May  – Non-Binary, 20s, Tenor (A3–D5) Francois Du Bois  – Male, 20s–30s, Tenor (C3–G4) Angelique  – Female, 40s–50s, Mezzo-Soprano/Alto (G3–C5) Lance Du Bois  – Male, 40s–50s, Baritone (G3–E4), requires French accent Romeo Montague  – Male, 20s, Tenor (D3–A4) Dance & General Ensemble  – Various featured roles

Title:  Terry Pratchett’s Wyrd Sisters Presented By:  Brisbane Arts Theatre Genre:  Fantasy Comedy Synopsis: Imagine Shakespeare’s Macbeth , then infuse it with Terry Pratchett’s unique brand of wit and a healthy dose of chaos – that’s what you get when “the knob comes off.” All the classic ingredients are here: a villainous duke and duchess, the chilling ghost of a murdered king, hapless soldiers, flamboyant strolling players, and a realm in dire straits. But the true heroes, the ones who stand between the kingdom and destruction, are a coven of witches unlike any other: the formidable and self-assured Granny Weatherwax, the earthy and unrefined Nanny Ogg, and the sweet, bunny-loving, occult-jewelry-wearing Magrat Garlick. Audition Date:  Sunday 24 August 2025 Audition Time:  1:00pm – 6:00pm (one-hour slots) Audition Location and Address:  Lavalla Centre, Paddington (Room 8) Audition Requirements: Open to actors aged 15+ of all genders, abilities, backgrounds, and ethnicities Group workshop auditions (up to 10 people per slot) Readings from script extracts (provided on the day) Prepare a 90-second monologue from any Terry Pratchett novel or play Familiarity with Terry Pratchett’s style and humour is an advantage Audition Registration:   Book Your Audition Slot Here Audition Pack:   Download Audition Pack Performance Dates:  Thursday 13 November – Saturday 22 November 2025 Performance Location:  Stage House Theatre, Stafford Rehearsal Dates:  Sunday 31 August – Sunday 9 November 2025 Rehearsal Times: Sundays: 1:00–6:00pm Mondays & Wednesdays: 7:00–9:30pm Tech week: Monday 10 – Wednesday 12 November Bump Out:  Sunday 23 November 2025 – all cast must attend Performer Age:  15+ Creative Team: Director: Sally Daly Production Website:   www.artstheatre.com.au/wyrd-sisters Available Roles: Granny Weatherwax Nanny Ogg Magrat Garlick The Duke The Duchess Fool King Verence Tomjon Vitoller Hwel Sergeant Robber Chamberlain Demon Mrs. Vitoller Gumridge Players Guards Peasants Bedlin ( Some actors may play multiple parts )

It’s not every weekend you walk into a theatre and find the audience already sparkling back at you before the curtain rises. Sequins, flares, and platform boots filled the aisles before Thank You For the Music: The ABBA Show  even began, and by the finale half the audience was on their feet — because honestly, it felt criminal to sit still! Paterson Productions has been delivering this glitter-soaked ABBA tribute for several years now, quickly cementing itself as a must-see event on Brisbane’s theatrical calendar. Though it’s been running annually, this was my first time catching it live and I left wondering how I’d managed to miss it before! Samantha Paterson (creator, MD, and powerhouse vocalist herself) and director/choreographer/wardrobe wizard Maureen Bowra gathered an all-star team for this year’s production: six phenomenal singers, four jaw-dropping dancers, and a live band that felt every bit as integral to the spectacle as the cast. The result? Two and a half hours of ABBA at full throttle, with pyrotechnics, disco balls, fog machines, glittery costumes, kaleidoscopic lights, and above all, joy! Paterson opened the show with the title number ' Thank You For the Music,' rolling straight into 'Take a Chance' and 'Super Trouper.' The dancers burst on like a glitter cannon, and the harmonies hit full force. Early on, the vocals sat a touch too loud against the band, but that was quickly ironed out, and from there it was hit after hit after hit! The choreography gave the dancers plenty of space to shine: Sunny J, Jaya Fisher-Smith, Chloe Kiloh, and Jennifer B Ashley were an unstoppable force. Jaya’s moves dropped my jaw more than once, Jen’s megawatt smile lit up the stage, and those sparkly fans in ' Chiquitita' added to the disco dream. I gasped when ' As Good As New' popped up as a dance break — finally, justice for one of ABBA’s most underrated gems! The boys couldn’t resist a cheeky, hip-thrusting 'Rock Me,' which had the crowd in stitches, and 'Hasta Mañana ' was delivered with warmth like a lullaby. Even 'Bang-A-Boomerang' made an appearance! Vocally, this cast was stacked, with every singer boasting a star moment: Finlay Underwood  was cheeky and magnetic, leading a hilariously flirty 'Does Your Mother Know' and later melting hearts in ' Fernando' with Paterson (who glowed like Glinda in the pink fog). Laura Greenhalgh  shone in ' I Have a Dream,' her eyes sparkling as I found myself singing my own harmonies from my seat. Sam Caruana  showed off his golden tenor in 'Chiquitita,' soaring above lush harmonies, and his duet 'S.O.S' with Laura was a highlight of the evening. Madeleine Ford  paired beautifully with Caruana on ' Knowing Me, Knowing You' (one of my all-time ABBA favourites!) and they nailed the bittersweet ache. Simon Chamberlain  was pure dynamite on 'Ring Ring' and 'Gimme! Gimme! Gimme!,' his energy making me feel truly “young and sweet, only seventeen.” And of course, Samantha Paterson  herself floored us with a heart-rending ' The Winner Takes It All,' holding centre stage in a single, devastating spotlight while backed by beautiful offstage harmonies. The group harmonies were strongest when the singers could stay still or when offstage reinforcement was used — handheld mics and high-energy choreography occasionally made blend tricky. But with voices this strong, it hardly mattered. Each performer could lead a show on their own, and together they created wall-to-wall ABBA ecstasy. The finale was a glitter bomb of 'Voulez-Vous,' 'Gimme! Gimme! Gimme!,' 'Waterloo,' and 'Dancing Queen,' complete with kaleidoscopic lighting and the cast in full sparkly-jumpsuit glory. By then, the line between stage and audience had blurred as the performers were dancing in the aisles with us, and honestly, I wish I’d been up there too! This production was pure escapism; the kind of show where you leave hoarse from singing along and grinning ear to ear. As I floated out into the night, I couldn’t help compiling my “requests for next year” list: Andante, Andante, I Wonder, Don’t Shut Me Down, Kisses of Fire, Angel Eyes, When I Kissed the Teacher.... A reviewer can dream, right? If you missed Thank You For the Music  this year, keep your eyes peeled — it seems to be an annual treat. And in the meantime, Paterson Productions already has us counting down to their next glitter-filled adventure: Priscilla, Queen of the Desert . Judging by the glamour, stamina, and heart of this company, it’s bound to be spectacular. Tickets to Priscilla here Created & MD: Samantha Paterson Director, Choreographer & Wardrobe: Maureen Bowra Band Leader & Keys 1: Mark Mirhan (with eight musicians) Lighting: Tom Dodds Sound: Josh Cathcart Wardrobe: Lachlan Hall Photography: Stageshots and By Brit Creative Venue: Twelfth Night Theatre

Some shows entertain, and some leave a mark. Parade  did both. In just two and a half hours, Bump In Productions  delivered gut-punching storytelling, soaring vocals, and unflinching honesty. It was my first encounter with Jason Robert Brown’s Tony Award-winning masterpiece, and I left the theatre utterly floored. For those unfamiliar, Parade  is not your usual feel-good, dance-till-curtain musical (despite its misleading title). Set in Georgia, USA in 1913, it recounts the true and tragic story of Leo Frank, a Jewish factory superintendent who found himself accused of murdering 13-year-old Mary Phagan. With flimsy evidence, rampant prejudice, and a town hungry for vengeance, Leo was sentenced to death, pardoned, then lynched. It is a chilling tale of injustice, mob mentality, and misplaced hatred, but also one of love and resilience, thanks to the devotion of his wife, Lucille. From the very first number, ‘The Old Red Hills of Home’ , fresh QAEMT Con graduate Jay Monck  opened the show in an astonishing display of vocal power, setting the bar sky-high for what was to come. The ensemble followed with the patriotic Confederate Day celebration ‘The Dream of Atlanta’ , an unsettling opener for modern audiences, but brilliantly effective in establishing the dangerous undercurrent of the time. The Performances Michael Lewis  gave a tour-de-force performance as Leo Frank, a Brooklynite Jew trapped in the unforgiving hostility of the Deep South. His every nuance carried the weight of fear and isolation: the anxious fidgeting, the sheen of sweat, the trembling voice that cracked under panic. His distress was palpable, his confusion devastating, and his humanity undeniable. Belinda Lewis  was extraordinary as Lucille Frank, a woman whose world crumbles before our eyes yet somehow holds onto her poise and grit. ‘What Am I Waiting For’  shimmered with yearning, while ‘You Don’t Know This Man’  erupted with righteous fury and heartbreak. When she and Michael reunited for ‘All the Wasted Time’ , it was a moment of pure tenderness as two souls cling to love before the inevitable darkness; made even more poignant by the fact that they are a real married couple. Mabel Tamone  radiated as Mary Phagan, the picture of small-town youth, blissfully unaware of the violence waiting just around the corner. Her duet ‘The Picture Show’  with Casey Martin’s Frankie Epps was playful yet carried a thread of unease beneath the flirtation. Later, Casey’s ‘It Don’t Make Sense’  became a gut-wrenching outpouring of grief that swiftly hardened into anger as right-wing extremist Tom Watson ( Chris White ) and prosecutor Hugh Dorsey ( Jay Monck ) whipped the town into a vengeful frenzy. Jay Monck  and Chris White  made formidable antagonists: slick, smirking, and utterly unrepentant. Corruption oozed through every exchange, from blackmailing witnesses to twisting the truth for public favour in ‘Somethin’ Ain’t Right’ . The line “You want evidence? Look at him!” hit like a punch to the gut, exposing just how flimsy the case against Leo truly was. Alex Watson  as reporter Britt Craig gave the story its pulse, narrating events with journalistic flair and bright, confident vocals in ‘Big News’ . Both he and David McLaughlin , as Governor Slaton, charted compelling arcs of conscience and growth. Matthew McKenzie  was another standout as Jim Conley, delivering ‘That’s What He Said’  with irresistible rhythm, soul, and storytelling prowess. The number was so electrifying that the audience instinctively wanted to applaud, but the seamless transition into the next scene left us sitting in stunned silence instead. As Mary’s grieving mother, Nicole Kaminski ’s poignant ‘My Child Will Forgive Me’  stilled the room, her sorrow palpable. Mabel Tamone  then reappeared in spirit for ‘Come Up to My Office’ , her ethereal vocals blending with the eerie harmonies of Lucy Ross , Paige McKay , and Carly Bettinson  in a chilling depiction that cast Leo as the monster of their imagining. The Act II number ‘Rumblin’ and a Rollin’  featured Ashton Simpson , Mina Aanat , and Matthew McKenzie  as the trio of Black workers whose simmering frustration at the injustice around them added a striking layer to the story. While the world fixated on Leo’s case, they reminded us of the deeper racial divide simmering beneath it — a powerful, soul-stirring commentary on America’s hypocrisy. Later, David McLaughlin ’s Governor John Slaton began to re-examine the case, urged on by Lucille’s relentless belief in the truth. In ‘This Is Not Over Yet’ , Belinda Lewis  shone once again as Lucille exposed Hugh’s deceit and blackmail, cementing herself as the true hero of the story. Music and Direction Jason Robert Brown’s score is notoriously difficult, filled with complex rhythms, jagged harmonies, and sudden tempo changes, but Michael Keen  (Musical Director) and his band pulled it off with precision and passion. Numbers like ‘Big News’  exploded in frenzied chaos, capturing the media’s role in stoking hysteria. ‘It Goes On and On’  (sung by Alex Watson ) built into a show-stopping ensemble moment, while ‘Blues: Feel the Rain Fall’  (led by Matthew McKenzie ) filled the theatre with soulful intensity. Director Johnny Peek  staged this musical masterfully, particularly the trial scenes. The testimonies were paced with unbearable tension: witnesses spinning lies under Hugh’s shark-like questioning while the jury averted their eyes from Leo, leaving him to sob through his statement, bewildered and broken. Jay’s villainous smirk as the town turned against Leo was chilling. The sound quality was superb, with discreetly hidden head mics ensuring crystal clarity, while historically accurate costumes and headwear grounded us firmly in 1913. David Lawrence ’s set design embraced minimalism that allowed each scene to bleed seamlessly into the next. Scene changes were swift and efficient, never breaking the tension, often filled with choral interludes from the ensemble that gave the show a haunting continuity. The Impact What made this production unforgettable was its energy from the cast and the audience. Opening night buzzed with electric intensity. Scene changes left no time for applause, but trust me, inside we were bursting! The finale was incredible and overwhelming: an ensemble wall of sound that hit like a tidal wave, ending with Leo’s tragic death and Lucille’s broken grief. Michael’s final moments as Leo - whimpering, questioning God’s reason, bewildered by the injustice - were almost unbearable to watch. As the last note rang out, silence hung heavy before applause erupted. More than one audience member near me whispered, “That was the best show I’ve seen all year.” I couldn’t argue. Parade  is not light entertainment. It is uncomfortable, confronting, and profoundly human (in a bad way). It asks impossible questions: Who truly murdered Mary Phagan? Was it the night watchman, the 19-year-old boy, the scapegoated Black worker, or someone else entirely? We never find out, and that’s the point. The show forces us to sit with the crushing injustice, the prejudice, and the cost of hate. Yet, through Lucille, it also gives us hope... a reminder that love, courage, and faith can flicker even in the darkest shadows. For a company new to Brisbane stages, this was an astonishing achievement: worthy of QPAC’s grand stage, worthy of thunderous applause, and worthy of remembrance. Photography by Stage Shots

Here I go again... Mamma Mia!  will always have me by the heartstrings. It was the first musical I ever saw live and the first one I ever performed, so ABBA’s music runs deep in my veins. For me, it’s nostalgia bottled in melody; dancing around the living room to ' Super Trouper' , belting ' Knowing Me, Knowing You'  like I’d lived through three divorces, and gawking at Agnetha and Frida's ridiculous choreography and costumes. So walking into Spotlight Theatre’s Mamma Mia!  felt like diving headfirst into a sun-soaked memory of yesteryear. Under the direction of Jamie Watt , with musical direction by Peter Laughton  and assistant direction by Shari Willner , this production overflowed with colour, laughter, and affection for the music that shaped generations. While preparing for her wedding to Sky ( Jake Cropley ), young Sophie ( Alannah Eyerich ) makes a startling discovery: her mother Donna ( Jessica Papst ) once had three lovers — Sam  ( Andy Macfarlane ), Harry  ( Jonathan Whitlow ) and Bill  ( Sean Curran ) — any of whom could be her father. So naturally, Sophie invites them all to her Greek island wedding in the hope of solving the mystery before she says “I do.” What follows is a dramatic mix of hilarity and heartfelt moments, all stitched together by ABBA’s timeless hits. I love that Spotlight keeps their set visible from the start. We were dropped straight into Donna’s taverna under a canopy of twinkling stars, with Sky quietly strumming his guitar (or trying to, over the excited chatter of the audience!) The set, designed by Jamie Watt  and Andrew Kassab , was a total postcard moment plucked straight from the Greek isles: Whitewashed walls, bursts of bougainvillea, and bright blue shutters straight out of Santorini that framed a two-level hotel, connected by a bridge that overlooked the “ocean” below. Every detail felt considered and alive. The lighting design by Jamie Watt , LJ Jones , Ariana Sinner , and Thomas Bell  dazzled from the overture, washing the stage in shifting colours that pulsed perfectly with the music and remained consistently stunning throughout the show (with plenty of dazzling cameos from the disco ball!) Jessica Papst  was magnetic as Donna, capturing her stubborn streak, free-spirited independence, and vulnerability all at once. Her powerhouse vocals could have lifted the roof in ' The Winner Takes It All ,' and her first big number, ' Mamma Mia' , perfectly captured Donna’s chaos, complete with the most magnificently unhinged crazy eyes! Papst balanced comedy and heart with ease, revealing a woman both worn down and wildly alive. Alannah Eyerich  was a radiant Sophie, matching Donna’s energy every step of the way. Her glorious belt was front and centre all night, used often and to great effect. After powering through a five-song marathon in Act 1, her voice understandably began to tire by ' Name of the Game', but honestly, I found myself loving her softer moments much more. When she let her tender voice take over in ' I Have a Dream' , it was gentle, luminous, and the perfect way to close the show. Jake Cropley  fit the role of Sky beautifully. Youthful, carefree, and quietly caring, with a voice that was far stronger than I expected (and one I wish we could have heard more of, but alas, that’s the “princess track” life). He shone in ' Lay All Your Love on Me' , both vocally and physically, bringing real passion and playful chemistry to his scenes with Sophie. The three dads were ideally cast for their contrasting energies. Andy Macfarlane ’s Sam brought a steady, grounded presence, his duet with Donna in ' S.O.S.'  bubbling with years of unspoken words. Jonathan Whitlow ’s Harry was warm, earnest, and delightfully dorky, especially during ' Our Last Summer' ; one of the show’s sweetest moments. And Sean Curran ’s Bill was a total scene-stealer: playful, cheeky, and just the right amount of rogue. His comic instincts brought fresh life to a familiar role and his chemistry with Rosie in ' Take a Chance on Me'  was everything that number should be: wild, naughty, flirty. Together, the three dads shone in ' Thank You for the Music' , a scene that perfectly captured the heart of the show. The Dynamo trio of Donna, Tanya, and Rosie were every bit as dynamic as the boys! Jacy Lewis ’s Tanya glided through each scene with a cocktail in hand and a perfectly arched eyebrow, oozing effortless glamour and wit. Melissa Dorge ’s Rosie was a comic firecracker and just as confident as Tanya. The crocs, the wig, the bikini t-shirt, the sun-visor.... I'm obsessed. Together, their tag-team antics with Donna in ' Chiquitita'  and 'Dancing Queen' were brilliant. Their chemistry was that of sisterhood, sequins, and slapstick all rolled into one. Andrew Kassab  made a brilliant Pepper, the island flirt with no off switch, strutting about with cocky swagger, while Clay English ’s Eddie  kept pace beside him, firing off witty one-liners with perfect timing. They were a hilarious duo, bouncing off each other's energy, especially as Pepper shamelessly (and unsuccessfully) tries to win Tanya's attention. Meanwhile, Sophie’s bridesmaids — Alana Schokman  as Ali and Brianna Lane  as Lisa — captured the jittery joy of being twenty years old. Their hyper energy in ' Honey Honey'  and their friendship with Sophie in the opening scenes seemed highly natural. The choreography by Jamie Watt  was bold, precise, and bursting with life. ' Money, Money, Money'  allowed the ensemble to burst forth from every corner of the stage, setting the pace for a production that never stood still (except for the literal tableau during ' Mamma Mia' ). By ' Voulez-Vous' , the ensemble’s stamina and precision were on full display, while the leads handled the notoriously tricky dialogue-versus-track timing well. The ensemble harmonies were ever-present, enriching the sound even when they weren’t visible. The microphones were clear against the backing tracks and the timing tight from start to finish. Only in ' One of Us'  did Jessica Papst ’s falsetto momentarily lose its battle with the backing choir. The big production numbers came thick and fast: the wetsuit-and-swim-cap hilarity of ' Lay All Your Love on Me'  (complete with bubbles!), the exhaustingly vigorous dance-off in 'Does Your Mother Know', and the Dynamos’ metallic jumpsuits and bedazzled microphones for ' Super Trouper'. Sharp, robotic choreography gave way to the sultry, disco-ball dazzle of ' Gimme! Gimme! Gimme!'  as the girls rocked their sparkly party outfits. Honestly, I hope my own hens night looks exactly like that (minus the three potential fathers...). ' Under Attack' (aka “Attack of the Zombie Brides”) was a deliriously fun fever dream of choreography, lighting, and costuming ingenuity. Jamie Watt ’s direction made clever use of every corner of the two-level set, layering moments so they felt cinematic while keeping the pace breezy. His staging captured the bustle of a Greek island without feeling crowded. Costumes by Pina Crisafulli Omeros , Millie Talbot , and Nada Kulic  struck the perfect chord between realism and spectacle, from Tanya’s chic, high-fashion flair to the ensemble’s vibrant beachwear and the Dynamos’ glittering retro jumpsuits. Every element reflected care, collaboration, and creativity, and it was clear the entire company poured love into this production. Sold out for the season (and with good reason), Spotlight’s Mamma Mia!  delivered everything audiences could hope for: talent, camp, sentimentality in all the right places, and completely committed to the fun. The opening-night crowd was rowdy, laughing through every gag and cheering like it truly was an ABBA reunion concert. In a world that could use a little more joy, this glitter-splashed Greek holiday was pure escapism. Well done to the entire team for a brilliant season, and hope you were successful in keeping audiences from singing along (because if you’ve ever done this show yourself, you know just how hard that rule is to follow!) Photography by Vargo Studios

Title:  Beauty and the Beast Presented By:  Brisbane Musical Theatre (BMT) Genre:  Musical Theatre Synopsis: Step into the enchanted world of Disney’s Beauty and the Beast , where classic storytelling meets soaring melodies, magical characters, and the timeless tale of love and transformation. With a cast of vibrant characters—from talking candlesticks to scheming villains—this full-scale stage production brings one of the world’s most beloved musicals to life with heart, humour, and a touch of theatrical magic. AUDITION DETAILS: Audition Date:  Saturday, 20 September 2025 Audition Time:  From 12:30pm (auditions run hourly in small groups) Audition Location and Address:  Emerge Church, 1 Coorparoo Rd, Warner Audition Registration:  To book an audition time, email Sara Reynolds at sara_reynolds@mac.com  or text 0404 891 400 with your name, age, email, and preferred role Audition Pack:   Google Drive Folder Audition Requirements: All auditionees will participate in a group audition including: Dance routine taught on the day Performance of one monologue and general audition song (provided in pack) Those auditioning for a lead role must also prepare: 32 bars of a song in the style and range of their character’s main number Bring sheet music for the pianist (MD will play live) Please wear comfortable shoes and bring water, snack, printed audition form, and a headshot SCHEDULING : Performance Dates: Jan 15 @ 7pm, Jan 16 @ 7pm, Jan 17 @ 2pm & 7pm Performance and Rehearsal Location:  Emerge Church Auditorium, Warner Rehearsal Dates: Rehearsals begin 5th October Sundays 12:30 - 3:30pm and Mondays 6:30pm - 9:00pm Jan 4 (Sitzprobe), Jan 5 & 8 (Full Run-throughs), Jan 11 (Orchestra Rehearsal), Jan 13 (Tech), Jan 14 (Dress) OTHER INFORMATION: Production fee: $80 (includes refundable $20 script return) No junior or youth cast—this is an adult-focused production If you’re unavailable for certain rehearsals, communicate early via your audition form Attendance is essential. More than 3 uncommunicated absences may result in withdrawal from the show Performer Age: Open to all performers aged 16+ Children may audition for the role of Chip (ages 7–12) Creative Team: Director:  Jesse Bradford Musical Director:  Mark Beilby Production Manager:  Sara Reynolds Choreographer:  TBC AVAILABLE ROLES: BELLE: A smart, independent young woman who yearns for adventure and is viewed as odd in her provincial town. Age Range:  16–25 Vocal Range:  E3–F5 Required:  Strong vocals, confident acting, strong movement BEAST: A once-handsome prince transformed into a beast due to his arrogance. Gruff, volatile, but capable of deep emotion. Age Range:  25–40 Vocal Range:  A2–F4 Required:  Strong emotional acting, commanding stage presence GASTON: A vain, egotistical hunter determined to marry Belle. Charismatic, comedic villain with a booming voice and swagger. Age Range:  25–40 Vocal Range:  A2–E4 Required:  Strong physicality, comedic timing, confident vocals LEFOU: Gaston’s bumbling sidekick. Comedic, energetic, loyal, and often the punchline. Age Range:  20–35 Vocal Range:  B2–F#4 Required:  Comedic timing, agility for slapstick moments MAURICE: Belle’s eccentric and warm-hearted father. A quirky inventor who deeply loves his daughter. Age Range:  50–65 Vocal Range:  Bb2–Db4 Required:  Strong acting and characterisation MRS POTTS: A warm, maternal teapot and head of the kitchen staff. Age Range:  40–60 Vocal Range:  F#3–G5 Required:  Strong vocals with emotional warmth COGSWORTH: The tightly-wound, rule-obsessed clock and head of the household staff. Dry humour and great comedic timing. Age Range:  30–60 Vocal Range:  A2–E4 Required:  British-style character accent preferred LUMIERE: The charming, flirtatious French maître d’ turned into a candelabra. Age Range:  25–45 Vocal Range:  F#2–F#4 Required:  Strong comedic timing, bold presence, French accent BABETTE: A saucy, playful feather duster. Flirtatious, comedic, and full of personality. Age Range:  20–35 Vocal Range:  C4–F5 Required:  Confident movement, flirtatious energy CHIP: Mrs Potts’ young son turned into a teacup. Curious, energetic, and kind-hearted. Age Range:  7–12 Vocal Range:  A3–F5 Required:  Strong stage presence for a child actor SILLY GIRLS (3): Gaston’s fangirls. Vain, dramatic, and obsessed with Gaston. Age Range:  20–30 Vocal Range:  Various Required:  Strong character performers, comedic flair, strong ensemble vocals ENSEMBLE: Includes villagers, enchanted objects (plates, napkins, forks, knives, etc.), wolves, townspeople, and mob. Featured roles include: Monsieur D’Arque (sinister asylum keeper) The Wardrobe (larger-than-life opera diva) Enchanted Chorus (dancers/ensemble with object roles) Age Range:  16+ Vocal Range:  Various Required:  Strong vocal and movement skills, dance experience helpful

Title:  Scenes from a Climate Era Presented By:  Javeenbah Theatre Company Genre:  Contemporary Drama / Epic Theatre Synopsis: Scenes from the Climate Era  explores the enormity and immediacy of the climate crisis through sixty-five short scenes that range from comic to tragic and everything in between. Featuring themes like artificial reefs, zombie mice, and beachless coasts, this bold and compelling work examines the way we live, the choices we’ve made, and the hopeful (and sometimes harrowing) possibilities of tomorrow. A kaleidoscopic look at the human experience in the era of climate change. Written by: David Finnigan Audition Date:  Sunday, 27 July 2025 Audition Time:  10:00am Audition Location and Address:  Javeenbah Theatre, Cnr Ferry and Stevens Streets, Nerang Audition Self-Tape Due (if applicable):  Contact director to discuss alternatives Audition Requirements: 1 x long monologue and 1 x short monologue (from the audition pack) Be ready to run a pair scene Be prepared for physical and group activities. This is an open audition. Please wear comfortable rehearsal attire. Audition Registration:   RSVP Form Audition Pack:   Download Here Performance Dates:  24th - 26th October 2025 Performance Location:  Javeenbah Theatre, Nerang Rehearsal Dates:  From early August 2025 Rehearsal Times:  Monday and Wednesday evenings, Sundays (AM or PM – cast dependent) Performer Age:  16+ Director:  Jocelyn Moore-Carter ( jocelyn.moore-carter@tlc.qld.edu.au ) Production Website:   javeenbah.org.au/auditions Other information: All roles are open to actors of all genders, cultures, and backgrounds. This is a collaborative ensemble production rooted in Epic Theatre techniques and physical storytelling. Available Roles: There are no named characters. Cast will consist of up to 8 versatile actors, each playing multiple roles. Characters are identified as A, B, C, etc., with scenes including monologues, duologues, and multi-actor moments. The style shifts between emotional depth, clinical tone, and ensemble-based storytelling.