Title: Next to Normal Presented By: Millennial Productions Genre: Musical Theatre / Contemporary Pop-Rock Musical Synopsis: Next to Normal is the story of Diana Goodman and her family. Traumatised by the death of her infant son from an undiagnosed intestinal obstruction, Diana has lived with bipolar affective disorder, experiencing episodes of depression and delusional beliefs for the past seventeen years. The illness has affected everyone in her life and has nearly torn her family apart on several occasions. With subject matter rendered achingly recognisable by Brian Yorkey and a dynamic, energetic pop-rock score by Tom Kitt, Next to Normal enables a small group of actors to showcase powerhouse vocals while exploring pressing contemporary issues of trauma, loss, mental health treatment and the meaning of family. Audition Date: Saturday June 20th, 2026 Audition Time: Individual audition slots (allocated upon registration) Audition Location and Address: Toowong Hall Audition Self-Tape Due: 5PM Friday June 19th, 2026 Audition Requirements: Auditionees will attend an individual audition slot (no dance or movement call required). Please prepare: A short read for your preferred character (using the provided audition dialogue). One song in the style of the show (upbeat) – 45–60 seconds. One contrasting song – 45–60 seconds. Please bring backing tracks on a USB or AUX-compatible device. Audition Registration: Registration is required via the Millennial Productions audition form. Audition Pack: Next to Normal Audition Pack Performance Dates: September 23rd - 26th, 2026 Performance Location: Ron Hurley Theatre, Seven Hills Rehearsal Dates: July 21st - September 20th, 2026 Rehearsal Times: Tuesday & Thursday - 7 - 10PM Sunday - 3 - 8PM Rehearsal Location: Hamilton Town Hall (Tuesdays) Upper Kedron Hall (Thursdays and Sundays) Warnings: This production contains themes and depictions relating to: Mental illness and psychological distress Grief, trauma and loss Suicide and suicidal ideation Emotional conflict within family relationships Psychiatric medication and treatment References to self-harm Strong language and mature themes Depictions of medical treatment Emotionally intense scenes involving anxiety, depression and dissociation These themes are central to the story and may be confronting for some individuals. Millennial Productions has engaged a Mental Health Consultant to support the cast and creative team throughout the rehearsal and performance process. Successful cast members are expected to prioritise rehearsals and disclose any conflicts at the time of registration. Cast members will only be called when required and a full rehearsal schedule will be provided at the first rehearsal. Technical rehearsals will take place at the Ron Hurley Theatre from 21–22 September and throughout production week. Full availability is required for technical rehearsals and all performances. Performer Age: Applicants must be 18 years or older at the time of audition. Creative Team: Director – Taylor Atley (she/her) Musical Director – Victoria Keomahavong (she/her) Associate Director / Intimacy Liaison – Ellen Axford (she/her) Mental Health Consultant – Maddison Joyce (she/her) Production Website: Millennial Productions - Next to Normal Other Information: Millennial Productions is a Brisbane-based not-for-profit organisation dedicated to advancing performing arts culture in South East Queensland through innovative, inclusive and high-quality productions. Millennial Productions recognises the diversity of the Australian performing arts community and strongly encourages applications from performers of varied experiences and circumstances, including performers from culturally diverse backgrounds and performers with disabilities. Performers of all gender identities are encouraged to audition for any role they feel best represents them. The production team strongly encourages performers aged 30+ to audition for the roles of Diana, Dan and Dr Madden. These roles explore the complexities of marriage, parenthood and grief, and the team is seeking performers who can bring authenticity and emotional maturity to the storytelling. This production is non-remunerated. Successful cast members will be required to pay a $25 annual Millennial Productions membership fee. No additional mandatory production fees apply. Available Roles/Character Breakdown: Diana Playing Age: 36–45 | Vocal Range: G3 – F#5 A sharp, intelligent woman battling Bipolar disorder and unresolved grief following the loss of her infant son. Diana struggles to balance reality with the emotional pull of the past, often feeling trapped between medication, memory and identity. Fiercely loving yet emotionally fractured, she longs to reclaim agency over her life and define what “normal” truly means. Gabe Playing Age: 18 | Vocal Range: B2 – C5 The charismatic, magnetic embodiment of the Goodman family's unresolved grief. Though charming and playful, Gabe represents Diana's inability to let go of the past and the emotional wounds haunting the entire family. He is both comforting and dangerous — a constant reminder of what has been lost. Dan Playing Age: 36–45 | Vocal Range: Ab2 – B4 A devoted husband and father who has spent sixteen years trying to hold his family together through optimism and routine. Practical, dependable and deeply caring, Dan avoids confronting his own grief in an attempt to fix everything around him. Beneath his calm exterior lies a man terrified of losing the family he has worked so hard to protect. Natalie Playing Age: 16 | Vocal Range: G3 – G5 A high-achieving pianist desperate for control in a household defined by chaos. Intelligent, cynical and emotionally guarded, Natalie feels invisible within her family and struggles under the pressure of perfectionism. As she begins to rebel against the life around her, she searches for connection, identity and stability of her own. Henry Playing Age: 17 | Vocal Range: G#2 – B4 A laid-back, thoughtful musician who becomes Natalie's emotional anchor. Warm, patient and quietly perceptive, Henry offers honesty and compassion in contrast to the tension within the Goodman household. Beneath his easy-going nature is a young man capable of deep empathy and unwavering support. Dr. Madden / Dr. Fine / Anesthesiologist Playing Age: 30–40 | Vocal Range: A2 – A4 Diana's psychiatrists, often portrayed by the same actor. Dr. Fine is clinical, methodical and focused on medication management, while Dr. Madden represents a more intense and invasive approach to treatment. Together, they reflect the complexities, limitations and ethical challenges of modern mental health care.

Stories in the Spotlight Prime Time Broadway returns to Honour Productions this June with a stacked setlist and a cast ready to step into the spotlight. This year, the musical theatre showcase strips things right back. There is no single theme, no elaborate choreography, and no attempt to force the songs into one neat narrative. Instead, Prime Time Broadway places its performers centre stage, quite literally, with the cast remaining onstage throughout as each number blooms into its own self-contained story. The 2026 setlist is a mix of contemporary musical theatre favourites, lesser-known gems, emotional solos, playful duets, and group numbers. The program celebrates the breadth, humour, heart, and vocal thrill of musical theatre. Ahead of the season, we spoke with director Sheryl-Lee Secomb and several cast members. A Stripped-Back Spotlight Under the direction of Sheryl-Lee Secomb, this now-annual showcase will embrace simplicity this year, placing the focus firmly on the performer. “Alone in a spotlight, the focus is on the artist, the music and the story. The result is unpretentious and relatable. Each song works in our format because we focus on the individual performer and how they connect with the song. When you remove most of these songs from their musical theatre context, you find wonderful storytelling that finds a whole new life in the everyday world of our performers and audiences,” Sheryl-Lee shared. “By interrupting expectations, our aim is to break down the wall between audience and artist,” Sheryl-Lee said, describing the atmosphere as one where “it feels like the audience is sitting in our living room with us, everyone just enjoying wonderful music, laughs and storytelling.” That sense of connection also shapes the way songs were chosen. Some performers requested specific numbers. Some are singing their audition pieces that were too good to leave behind. Others were matched with songs by the creative team. Opening Up the Room Stephanie Lee-Steere opens the show with ‘What’s Inside’ and ‘Opening Up’ from Waitress, two songs she says “capture the heart and spirit of musical theatre from the very first moments.” Even without the sets and costumes of a full production, Stephanie feels the strength of Sara Bareilles’ music and storytelling is enough to “instantly create that world for the audience.” She is especially drawn to the emotional honesty of Waitress, describing the score as “a beautiful balance of vulnerability, humour, and strength.” It’s a perfect choice for the “start of a journey through lots of different stories and styles across Broadway.” Finding the Courage to Sing For Sally Jacobs, her audition song ‘The Life I Never Led’ from Sister Act carries deep personal meaning. Its themes of fear, courage, and self-discovery sit close to her own life. “In 2021, I made the decision to return to singing, to reconnect with something I once loved and had devoted so much of my life to. The journey toward recovery brought many tears and challenges as I faced perfectionism, fear of failure, self-doubt, and the feeling of never being good enough. But slowly, I began to find my voice again.” For Sally, the song “speaks to the parts of ourselves we hold back, the dreams we silence, and the risks we don’t take. But at its core, it is also a song about courage. It’s about choosing to be brave enough to step into the unknown, to take chances, and to truly live, because life is too precious to spend on the sidelines.” For Merryn Holder, the show offers a chance to explore one of musical theatre’s great survival songs: ‘I’m Still Here’ from Follies. “I’m delighted to perform this Sondheim classic,” she said. “Talk about a challenging song!” The number, sung by a former showgirl reflecting on a life of triumphs, knocks, reinventions, and sheer persistence, is one Merryn feels requires lived experience. “One needs to be of a certain age to sing this song with conviction. As I am now in my golden years, I relish the opportunity to act out this life story. I look forward to sinking my teeth into this song.” The showcase will also feature younger performers tackling material from 13 the Musical and Tuck Everlasting, bringing even more shades of courage and discovery into the room. A Song for an Angel For Laura Fois, ‘To My Angels’ from SuperYou is both a personal choice and a tribute. “I heard ‘To My Angels’ randomly on YouTube and it spoke to me. It is one of those songs that represents struggles, and I feel it can talk to anyone struggling with absolutely anything. It’s a scream for help in solitude but singing that makes you feel heard.” Laura first worked on the song with her vocal teacher, Loic Valmy, during a difficult time in her life. “I wasn’t well,” she shared. “I had to stop taking classes and before I could go back, Loic suddenly, heartbreakingly and unexpectedly, passed. This is the last song I took to him, and I knew it needed to be performed somehow,” Laura said. Prime Time Broadway, with its focus on individuality and personal storytelling, felt like the right place to bring it forward. “So here I am, with this beautiful song, which is a shared story and an homage to my teacher and everything he taught me.” Yearning For More Kinta Suryadarma brings ‘Wild Uncharted Waters’ from the live-action The Little Mermaid into the program, reimagining a song originally written for Prince Eric, and one she describes as having “such aggressive yearning.” For Kinta, the song’s appeal lies in its cinematic sweep and “visceral feelings of longing and chasing something you can’t fully explain yet.” Taking it out of its original context has allowed her to make it her own: “it’s about wanting more from life, taking risks, following your instincts,” she said. Gender-bending the number has also opened up more room to play. “I can’t just follow what Jonah Hauer-King does in the movie, because clearly I’m not a guy,” she laughed. “It leaves a lot of room to explore different colours and dynamics that make it feel more authentic and comfortable for me vocally.” Cassie Midgley is performing ‘Say the Word’ from The Unauthorized Autobiography of Samantha Brown, a song that began as her audition piece and has now found its way into the show. “It holds a really special place in my heart,” Cassie said. She was drawn to the writing of Kerrigan and Lowdermilk, particularly their “incredible ability to capture the nuance and complexity of human emotion in a way that feels deeply real,” she said. For Cassie, ‘Say the Word’ stands out because it does not rely on a huge dramatic declaration of love. Instead, she said, “the emotions are quieter, more uncertain, more complicated, but that doesn’t make them any less raw or meaningful. Real life is often like that. Sometimes it’s confusion, hesitation, longing, overthinking, hoping someone will finally say what you need to hear.” The yearning does not stop there, with Cassie also performing ‘Will He Like Me’ from She Loves Me, and Ashlie Beauchamp bringing the beautifully anxious ‘When He Sees Me’ from Waitress to the stage. When the Harmonies Hit For Maddi Halvorson, ‘When the Chips Are Down’ from Hadestown brings something different to the setlist: groove, attitude, and tight three-part harmony. “I love to bring a really fun number with strong female harmonies to Prime Time,” Maddi said. “‘When the Chips Are Down’ is so unique with its deep and rich vocal texture… it’s so satisfying to perform live.” Maddi saw Hadestown in Sydney last year and has been hooked ever since. “I have been obsessed with every song in the show,” she said. “I love to see strong alto roles!” The show will also feature some very fun duets, trios, and quartets, including ‘Love You till the Day’ (It Shoulda Been You), ‘The Doctor is In’ (Charlie Brown), ‘Been a Long Day’ (How to Succeed), and ‘What You Got’ (Freaky Friday), proving there is nothing quite like musical theatre characters trying to communicate. Full-Circle Moment This writer, Samantha Hancock also has her own little place in this year’s show. “What keeps bringing me back to Prime Time is the community of it all: the kindness in the room, the intimacy of the format, and the chance to hear people express themselves through songs that genuinely mean something to them.” This year, I will be performing ‘Thank You for the Music’ from Mamma Mia!, which feels very full circle. “ABBA was part of my life long before I ever played Sophie Sheridan (my first role in a musical), and returning to this song now feels like revisiting a younger version of myself with a lot more life behind me.” “I am dedicating the song to my singing students, and to my late uncle, who passed on his instruments, his love of music, and so much of his joy for life to me. In that way, he still lives on in me through music. ‘Thank You for the Music’ is a song about gratitude, and at this point in my life, music really is my whole world. It is my career, my hobby, my first love, my escape, and my freedom.” More Than a Setlist That is the heart of Prime Time Broadway. It is not just a list of songs. It is a room full of performers stepping forward with pieces that mean something to them, whether that meaning is funny, nostalgic, technically satisfying, quietly vulnerable, or deeply personal. Among them, Laura Bye will perform ‘How Did We Come to This’ from The Wild Party, another audition song that has found its way into the showcase. Drawn to the song’s musicality and the chance to shape it for her own range, Laura hopes audiences connect with the question at its centre: “how did we come to this?” For her, that question reaches beyond the musical itself and into “the bigger picture of the world at the moment, including the ways politics and the environment have come to dictate so much of our lives.” There will also be plenty of moments designed to thrill, surprise, and make you laugh. Kirsten Brown will take on ‘Watch What Happens’ from Newsies, so come along and watch whether she runs out of oxygen while attempting this non-stop song! There will be dramatic moments too, including songs from the more overlooked worlds of The Hunchback of Notre Dame and Hercules. While Jacob Ewan and James Hogan bring ridiculous humour to their solos from Freaky Friday and She Loves Me. Basically, if your preferred flavour of musical theatre is emotional devastation, vocal gymnastics, character comedy, or Disney grandeur, you should be well looked after. Some songs will be familiar. Some may be brand new discoveries. And with the cast onstage together throughout the show, each moment becomes part of something shared. The result is a showcase built not just around repertoire, but around connection: to character, to story, to memory, to music, and to the joy of performing in a room full of people who love this stuff just as much as each other. For Sheryl-Lee Secomb, that shared feeling is what she hopes audiences take away. “We love it when audiences leave our theatre talking about how they feel. They’re often surprised by the level of excellence in performance, the fact that the cast is diverse, and the whole experience is much more than something they witness; they feel seen. And our fabulous live band usually blows them away!” Bring your love of musical theatre, your curiosity for hidden gems, and possibly your singing voice. With this many musical theatre people in one room, you never know when audience participation may come calling! The full setlist is already available to peruse, and the 2026 cast features Ashlie Beauchamp, Cassie Midgley, Emily Egan, Emma Parkinson, Emma Watts, Jacob Ewan, James Hogan, Jamie Cripwell, Jordan Atiga, Jordana Johnstone, Kinta Suryadarma, Kirsten Brown, Laura Bye, Laura Fois, Leon Sparrow, Maddi Halvorson, Merryn Holder, Mike Zarate, Natarlia Pouli-LeFale, Sally Jacobs, Samantha Hancock, Stephanie Lee-Steere, and Yzabel Santos. Prime Time Broadway plays at Honour Productions (3/61 Holdsworth Street, Coorparoo), for four shows across 13 and 14 June 2026. TICKETS AVAILABLE HERE

Title: Romeo & Juliet Presented By: Vox Theatre Arts Genre: Shakespeare / Tragedy Synopsis: Romeo & Juliet by William Shakespeare is reimagined by Vox Theatre within the stunning natural surrounds of the Forest Lake Amphitheatre this September. Inspired by the celestial beauty and grandeur of Roman mythology, this evocative retelling transforms Shakespeare’s timeless tragedy into a sweeping theatrical experience beneath the stars. Accompanied by an original score by Mark James, the production blends poetic language, dynamic storytelling and emotionally charged relationships with the thrill of live stage combat and swordplay. With a smaller, highly collaborative cast, performers are given rich and demanding acting opportunities driven by passion, connection and visceral storytelling as two young lovers fight for each other against the tides of fate, family and destiny. Audition Dates: June 19th - 21st, 2026 Audition Time: Acting Role Auditions June 20th & 21st: 9AM - 12PM Vocalist Auditions June 10th: 6PM - 8PM June 21st: 2PM - 4PM Audition Location and Address: Acting Auditions - Forest Lake Amphitheatre Vocalist Auditions - Upper Mt Gravatt State School Hall Audition Requirements: Auditions include: Group movement and ensemble workshop Warm-up exercises Ensemble movement and response-to-direction activities Acting Roles Attend one casting workshop and perform: Two contrasting Shakespearean/Renaissance monologues One dramatic and one comedic Maximum 2 minutes per piece Singing Roles Prepare: One classical piece in your vocal range One original piece by Mark James in your chosen vocal range Maximum 1 minute 30 seconds Audition Registration: Complete the Audition Booking form to register. Audition Pack: Romeo & Juliet Audition Pack Performance Dates: September 17th - 26th, 2026 Performance Times: 7PM Performance Location: Forest Lake Amphitheatre Rehearsal Dates: Sunday June 28th - Meet & Greet / First Rehearsal Sunday July 5th - Stage Combat & Ensemble Workshop Sunday July 12th - Photo Shoot & Media Day Sunday June 28th - Thursday 17 September – Rehearsal Process Tuesday September 8th - Thursday September 17th - Tech & Dress Week Rehearsal Times: Rehearsals held Tuesdays, Thursdays and Sundays. Warnings: Stage combat and swordplay Onstage violence and death Intimacy/kissing scenes Outdoor performance conditions Performer Age: All performers must be 18 years or older by commencement of rehearsals. Creative Team: Director - Rhona Bechaz Assistant Director/Intimicay & Fight Coordinator - Dugald Lowis Composer/Musical Director - Mark James Stage Manager/Musical Director - Maddy Simons Production Website: Vox Theatre Arts - Romeo & Juliet Other Information: This is an amateur production - no roles are paid Vox Theatre strongly encourages performers from diverse backgrounds and experiences to audition Cast members missing more than three rehearsals without disclosed conflicts prior to casting may be replaced Full cast availability required for tech and dress week dates Tips: Memorisation encouraged Outdoor performance requires strong vocal projection Passion, purpose and playfulness encouraged Available Roles / Character Breakdown: Juliet - Any Gender | Playing Age 15–22 Only child of Capulet. Forced toward marriage with Paris but falls deeply in love with Romeo. Intimacy/kiss with Romeo Onstage violence & death Capulet - Any Gender | Playing Age Late 20s–40s The fiery matriarch of House Capulet, constantly at odds with Montague. Onstage combat Angelica - Any Gender | Playing Age Late 20s–40s Juliet’s Nurse and second mother figure, balancing compassion and practicality. Potential intimacy/kiss with Tybalt Tybalt - Any Gender | Playing Age 20s–40s Passionate protector of House Capulet and skilled fighter. Potential intimacy/kiss with Angelica Onstage combat & death Sampson - Any Gender | Playing Age Late 18–30 Hot-headed Capulet servant who understudies Romeo. Onstage combat Gregory - Any Gender | Playing Age Late 18–30 Quick-witted Capulet servant who understudies Juliet. Onstage combat Romeo - Any Gender | Playing Age 16–25 Passionate and impulsive son of Montague whose love for Juliet drives the tragedy. Intimacy/kiss with Juliet Onstage violence & death Montague - Any Gender | Playing Age Late 20s–40s Concerned parent of Romeo seeking peace amid the family feud. Onstage combat Mercutio / Friar John - Any Gender | Playing Age 18–30 Witty and volatile friend of Romeo. Onstage combat & death Intimacy/kiss with Benvolio Benvolio - Any Gender | Playing Age 18–30 Romeo’s calm and peacekeeping cousin. Onstage combat Intimacy/kiss with Mercutio Abram - Any Gender | Playing Age 18–30 Montague servant who may play multiple roles. Onstage combat Balthasar - Any Gender | Playing Age 18–30 Romeo’s loyal servant who may play multiple roles. Onstage combat Paris / Prince Escalus / Peter - Any Gender | Playing Age 18–25 Potentially played by one actor. Paris hopes to marry Juliet; Prince Escalus attempts to maintain peace in Verona; Peter is a lively Capulet servant. Paris includes onstage combat & death

Title: Shrek the Musical Jr Presented By: Valmy Academy Genre: Musical Theatre Synopsis: Valmy Academy’s Holiday Productions are known across Brisbane for their supportive environment, high production value and strong sense of community, making them the perfect school holiday musical theatre experience for children and teens who love performing arts. Every registered participant performs in the production, with auditions designed to help determine where each young performer will shine brightest within the show. Audition Date: Saturday June 14th, 2026 Audition Time: 9:30AM - 12:30PM Audition Location and Address: Valmy Academy Studios, 127 Sandgate Road, Albion Audition Requirements: Lead and featured role auditions require - A 1-minute musical theatre song A 1-minute monologue Song requirements - Songs must not be from Shrek No acapella singing No singing over vocals in backing tracks Backing tracks may be played from YouTube if performers know the exact timestamp and section required Ensemble performers do not need to prepare a solo audition. Audition Registration: Participants must be officially registered for the Holiday Production before attending auditions. Register HERE. Audition Pack: Monologue sides available HERE. Performance Dates: Friday July 4th, 2026 Performance Location: Hope Centre, Bowen Hills Workshop/Rehearsal Dates: June 29th - July 4th, 2026 Rehearsal Location: Valmy Academy Studios, 127 Sandgate Road, Albion Performer Age: Prep - Grade 12 students Production Website: Valmy Academy - Shrek the Musical Jr Other Information: Every registered participant performs in the production Auditions are intended to be supportive, low-pressure and confidence-building Full refunds are available prior to cast lists being announced Once cast lists are released, workshop fees become non-refundable Ensemble performers are fully included in the rehearsal process and live performances Workshop fee includes: Full week musical theatre rehearsal process Two live theatre performances Professional rehearsal direction Singing, acting and dance training Costumes and production elements Professional theatre venue experience Performance opportunities for every participant Cast bonding and team-building experience Professional production environment A safe, inclusive and supportive creative community A souvenir production t-shirt Professional filmed show video and production photos A production script for each participant Available Roles / Character Breakdown: Principal Characters Shrek Fiona Donkey Lord Farquaad Dragon Gingy Pinocchio Young Fiona Teen Fiona Ensemble Performers - Ensemble performers are fully included in both rehearsals and live performances. No solo audition preparation is required.

Title: Camp Legends Presented By: Fame Performing Arts Genre: Musical Theatre Workshop Synopsis: This could be the mischievous show you have been waiting to experience in the upcoming school holidays. Our workshops are open to current Fame students and new-to-Fame students who would like to experience the world of Musical Theatre. Young performers aged 6–15 are invited to hone their singing, acting and dancing skills while working on a Fame original adaptation featuring some of your favourite legendary moments, songs and characters. Participants will spend five action-packed days from 9:00 am – 3:00 pm developing their performance skills under the guidance of our expert creative team, culminating in an unforgettable performance. Audition Date: June 13th, 2026 Audition Time: 1:30PM - 3:30PM Audition Location and Address: Fame Studios, 6/43 Lang Parade, Milton Audition Requirements: Not specified Audition Registration: Book your workshop spot HERE Performance Dates: July 3rd, 2026 Performance Times: 5PM & 6:30PM Performance Location: Hamilton Hall, 36 Racecourse Road (corner of Rossiter Parade), Hamilton Qld 4110 Rehearsal Dates: June 29th - July 3rd, 2026 Rehearsal Times: 9AM - 3PM Rehearsal Location: Fame Studios, 6/43 Lang Parade, Milton Performer Age: 6–15 years Creative Team: Fame Creative Team Production Website: Fame Performing Arts - Camp Legends Other Information: Workshop fee: $495 inc GST. Includes audition day, costumes and pizza party. Additional supervision from 3:00 pm – 5:00 pm available for $16.50 per day inc GST. Open to current Fame students and new-to-Fame students. Available Roles / Character Breakdown: Participants will perform in a Fame original adaptation featuring legendary musical theatre moments, songs and characters. Specific roles not specified.

Title: An Ideal Husband Presented By: St Luke's Theatre Society Genre: Comedy-Drama Synopsis: When a ruthless blackmailer threatens to expose a government minister’s past corruption, his pristine public reputation and marriage are pushed to the brink. This sparkling Oscar Wilde comedy-drama hilariously dismantles the dangerous myth of human perfection in Victorian high society. Audition Date: Saturday 6th June, 2026 Audition Time: 9AM - 12PM Audition Location and Address: St Luke's Ekibin, 193 Ekibin Road East, Tarragindi, Brisbane, Queensland Audition Requirements: Cold readings from the script. Auditionees may also prepare a piece if desired. Audition Registration: Contact Matthew Hobbs at matthewhobbs456@gmail.com to book a half-hour audition slot or arrange an alternate time. Audition Pack: Script available for free download online. Performance Dates: Friday 28th August (Evening) Saturday 29th August (Matinee & Evening) Friday 4th September (Evening) Saturday 5th September (Matinee & Evening) Friday 11th September (Evening) Saturday 12th September (Matinee & Evening) Performance Times: Evening shows - 7:30PM Matinees - 2PM Performance Location: St Luke's Ekibin, 193 Ekibin Road East, Tarragindi, Brisbane, Queensland Rehearsal Dates: Monday 22nd June – Wednesday 26th August Rehearsal Times: Mondays & Wednesdays - 7PM - 9PM Sundays - 3PM - 6PM Rehearsal Location: St Luke's Ekibin, 193 Ekibin Road East, Tarragindi, Brisbane, Queensland Warnings: RP English accents required. Performer Age: Flexible ages; relationships between characters should be maintained. Creative Team: Directed by Matthew Hobbs Production Website: St Luke's Theatre Society - An Ideal Husband Other Information:Set in 1890s London. Available Roles / Character Breakdown: Robert Chiltern - The epitome of an honourable, well-respected man, looked up to by all. But when a dark secret from his past is revealed, he must find a way to hide his mistakes and prevent his world from collapsing. Gertrude Chiltern - Just as well respected as her husband, and for good reason, she cannot tolerate dishonesty in any form. But will her high standards mean she lacks forgiveness? When she discovers her husband’s true past, her love for him is put to the test. Mabel Chiltern - Gertrude’s younger sister. Sweet and innocent, but with a feisty sense of humour. Her zest for life occasionally pushes the boundaries of acceptable behaviour for a young girl in the 1890s. Only she could possibly capture the attention of the perpetually single Lord Goring. Lord Goring - A confirmed bachelor and thoroughly flippant man about town. But his roughish charm disguises a deep sincerity — a veil which, despite his best efforts, occasionally slips to reveal a man of great fortitude. Lord Caversham - Driven to distraction by his wayward son, Lord Goring. If only he could convince him to settle down like a proper gentleman. Mrs Chevely - Behind her elegant and charming demeanour is a woman who knows where all the bodies are buried. She has achieved her fortune through single-minded ruthlessness, and now she has come for Robert. But her armour is not complete; she has a weak spot. Lady Markby - A perfect example of 19th-century London society. A woman deeply concerned with everything that does not matter, and entirely unconcerned with anything that does. Lady Basildon - Appears in one scene only. A companion and, in all ways, an equal of her friend Lady Markby. Phipps - Appears in one scene only. Lord Goring’s long-suffering servant.

Midnight Murder at Hamlington Hall Presented by Centenary Theatre Group Written by Mark Kilmurry and Jamie Oxenbould Directed by William McCreery-Rye There are few things more terrifying in theatre than an opening night disaster. Forgotten lines? Bad. Broken sound? Worse. Seven sick cast members, council reps judging your funding, and a 21st birthday party next door? Community theatre nightmare fuel! Thankfully, Midnight Murder at Hamlington Hall takes that opening night disaster and wrings every possible laugh from it. Presented by Centenary Theatre Group, this affectionate farce celebrates every theatre volunteer who keeps shows alive, often with no warning, and a slowly unravelling grip on reality. Written by Mark Kilmurry and Jamie Oxenbould, the play follows the fictional Middling Cove Players, a community theatre troupe very similar to CTG. Their opening night show is supposed to be a classic 1950s whodunnit with all the usual ingredients: a confined country house, mysterious clues, dramatic deaths, and a cast of suspicious characters, because apparently nobody in Britain can just be normal. Remember the report-and-isolate era? Same... Their cast is sick. The understudies are sick. There are only three actors left, one deeply unwilling stage manager, and one poor “audience member” dragged into the fire. Why? Because the show must go on of course! There are council members watching, funding is on the line, and apparently this is what we do for fun. Or for the distant dream of “actually getting paid to do this thing we call show.” Think The Play That Goes Wrong meets community theatre survival mode. Act One takes place downstage, in front of the curtain, as the surviving members of the troupe attempt to solve the completely unsolvable. Jonathan Knox is immediately standout as Shane Tweed, the panicked director in a shiny lavender tracksuit, radiating British nicety and suppressed internal collapse. Shane regularly puts his foot in his mouth and somehow manages to be both wildly articulate and deeply unhelpful. Jill Brocklebank plays leading lady Phillipa “Pip” Chidley, bringing stern presence, many wigs, and a touch of Moira Rose-level theatrical self-importance. Pip has no intention of letting a few missing cast members ruin her moment. In Act One, some of Jill's dialogue feels a little more recited than conversational, but she comes into her own beautifully once the play-within-the-play begins. In Act Two, she is poised, classy and unflappable, holding the collapsing production together through sheer self-belief. Isaac Tibbs is a comedic whirlwind as Barney Simpson, a founding member of the fictional company and amateur actor (who works at Harvey Norman). Barney is very extra, slightly sleazy, and absolutely believes he is helping in his odd way. Isaac throws himself into the role with excellent physical comedy, panicked quick changes of toupées and jackets, dodgy "improv", excellent accents, and facial expressions that scream, “I have made a terrible mistake.” Watching Barney realise, in real time, that he needs to be in two (or three places) at once is one of the show’s best running gags. Ashleigh Tibbs is wonderfully dry as Karen, the stage manager whose entire persona says, “I did not sign up for this,” which is ironic given she chose this as her community service. With a nasal Aussie tone, a deadpan stare, and the emotional investment of someone counting the minutes until release, Karen is overworked, unimpressed, and eventually shoved onstage all because she knows the script. I have actually seen that happen to an SM here recently, so I can confirm it’s very plausible! Ash makes Karen deeply funny without ever making her try too hard. Act One does a lot of useful set-up, though it could move with a sharper sense of panic. With stakes this ridiculous, the chaos needs to feel immediate, and at times the pacing drags because the characters are not quite reacting as though their opening night is actively bursting into flames. The theatre jokes are knowingly on the nose and land funniest if you have spent time backstage. There is still plenty of affectionate cringe here, and when the jokes click, they click with painful recognition. Then Act Two arrives, the curtain opens, and the whole thing properly detonates. This is where Midnight Murder at Hamlington Hall becomes the glorious mess it promises to be. The murder mystery finally begins, though following the actual plot is almost beside the point. There is a plot (apparently) but it is fighting for its life beneath the real entertainment: the Middling Cove Players desperately trying to survive their own production. Doors slam. Luggage tumbles. Characters vanish. Direction disappears. Quick changes become cardio. Someone gets injured. The whole cast lifts in Act Two. Paul Toolis is great fun as Richard in Act Two, the planted audience member suddenly promoted to emergency cast member and handed the roles of doctor and solicitor. With his nose buried in the script and the grumpy energy of a man realising he should have stayed home, Richard adds another excellent layer to the collapsing illusion. Meanwhile, Shane (Jonathan Knox) tries to direct from inside his role as the detective, correcting lines, coaching blocking, chasing people on and offstage, and getting increasingly grouchy as the whole thing disintegrates around him. Knox is particularly strong here, somehow maintaining crisp delivery and accents while Shane loses control of the situation in real time. Isaac as Barney is in his element: jumpy, puffed, overcommitted, and always two seconds away from disaster. His not-so-subtle “corrections” are bloody hilarious to me. And once Barney cops a concussion, the memory loss means he forgets the “safe word”, which is about as helpful as you would expect. As someone who has broken a foot onstage myself, this felt less like farce and more like a flashback. Jill as Pip becomes the eye of the storm, gliding through the chaos with confident calm. Ash as Karen also gets some of the best chaos to manage, especially when her twelve-year-old niece is roped in to run sound and lights. The real lighting and sound work by Brian Hobby and Christian McCreery-Rye is timed beautifully for comedy, with cues landing cleanly enough that the “mistakes” read as deliberate. That is always the trick with a show about things going wrong: the actual production has to be very right. William McCreery-Rye directs and designs the set, and the curtain reveal is used to great effect. Act One keeps us trapped in front of the stage with the troupe, before Act Two opens up Hamlington Hall and lets the farce properly run wild. Once we are inside the murder mystery, the production gains pace, momentum and plenty of visual payoff, with a set that gives the performers plenty to play with, trip over, misplace, and break. The window gag is a great touch too, with clever projection additions. Costumes by Serena Bardsley are also key to the comedy, especially with Barney’s frantic role-swapping. Never underestimate the comedic value of a bad wig! Underneath all the silliness, there is a lovely sincerity here. Midnight Murder at Hamlington Hall is a farce, yes, but it is also about community theatre people making it work because they love it. Or because someone has handed them a script and blocked the exit. Either way, they are there. The line “We need the silliness to distract us from life” lands beautifully because that is exactly what this show offers. It knows theatre people are silly. It knows community theatre survives on goodwill, volunteers, and one person doing six jobs. On that note, shout out to the real stage management team, including Hugo Foong and assistant director/stage manager India Charlton, because a show built on fake chaos needs very real control behind it. Any actual mistakes are impossible to spot in a production designed to look like one giant mistake. By Act Two, the audience around me was laughing so hard people were practically having coughing fits, which feels like a fairly strong endorsement in any demographic. It is a show for anyone who has ever loved theatre, survived theatre, volunteered in theatre, or watched from backstage as a production collapses internally while the cast pretends everything is fine.

Queens and Wannabes Presented by Queensland College of Dance at Queensland Multicultural Centre Director: Tim Hill Musical Director: Jacqui Devereux Choreographer: Tess Hill Assistant Choreographer: Lauren Bensted There is a reason musical theatre keeps returning to high school. It is already theatrical. Adolescence is rich territory for reinvention, insecurity, longing, rebellion, humiliation, and self-discovery. With Queens and Wannabes, Queensland College of Dance stepped straight into that chaos, opening the locker on some of musical theatre’s funniest, fiercest, and most vulnerable characters. Created by Tim Hill and Jacqui Devereux, the showcase moved through the four years of high school. I thought this was such a clever framework, especially for a cohort made up mostly of teenagers themselves. With songs from the likes of Heathers, Mean Girls, Spring Awakening, Fame, Dear Evan Hansen, Grease, The Prom and many more, the students were given a wide playground of characters to step into. With a large cohort of 36 students, the whole show had that “big performing arts school” feeling rather than feeling like a simple string of songs. The creative transitions helped tie everything together, with school announcements bridging the leap between freshman, sophomore, junior, and senior year. There were some tricky technical circumstances to navigate though. With so many performers on stage, individual head mics were understandably not possible, so the music began quite softly to allow the unamplified voices to carry. In the first half, some students were clearly working very hard to project into the space, and at times that effort began to show through vocal strain, shakiness, or cracks. Encouragingly, the sound balance improved noticeably in the second half! The overhead mics picked up the voices more effectively, the music was able to come up in volume, and the students sounded more supported and comfortable. What was most impressive, especially under those circumstances, was the commitment. Every student on stage was switched ON. In the full ensemble numbers, we could see every single face, and nobody dropped their character. It showed discipline, training, and a real understanding that ensemble work was not “waiting for your solo.” The group intensity and cohesion were one of the strongest features of the whole showcase. The show opened, very understandably, with “Beautiful”, the opening number from Heathers, led by Gisella Vickers. It was the perfect entry point into this world of hallway hierarchy. This flowed into a delicious mashup of “Candy Store” and “Meet the Plastics”, performed by six fabulously intimidating queens. “Telephone Hour” from Bye Bye Birdie was an early highlight, with bright choreography, polka dots and breathless teenage gossip. It captured the infectious cheer of the musical’s vintage style. Costumes throughout were well matched to the repertoire, quickly establishing the worlds of their songs, whether through the modesty of Spring Awakening, the flair of The Prom, the big skirts of Grease, or the rebellion of Jagged Little Pill. The solo song choices were thoughtfully matched to each soloist. Miranda Brown brought clear youthful character work to “The Lamest Place in the World”, while Georgia McNamara captured the beautifully unfiltered enthusiasm of “I Love Play Rehearsal.” Ava Fitzsimons had a ball with “Think of Meryl Streep,” embodying that specific theatrical-kid ingénue energy. Fangirls followed, with Sianna Thew performing “Wait and See.” She captured the feeling of being 14 years old and finding comfort through a pop star obsession. Been there, girl. Her voice carried impressively without a mic, with a soaring quality to her sound. The Spring Awakening section shifted the tone fast. Kai Sorbello stepped into Melchior for “All That’s Known” with real presence and young star power. This was followed by Rowan Eastgate and Ben Smith leading the excitable boys through “The Bitch of Living,” giving the group a chance to tap into frustration, rebellion, and restless adolescent energy. “Sincerely Me” from Dear Evan Hansen was one of the most enjoyable character numbers of the evening. Oscar Lowe brought strong comedy and vocal confidence as Connor, while Rowan Eastgate was a winsome and believable Evan, nailing that final note with real control. Maximillian Martin was very funny as the extremely unhelpful Jared. The six boys in this cohort had a lot of featured opportunities, and they made strong use of them. Neilla Bradstreet brought a powerful voice to “Ironic,” complete with full chair-ography by the ensemble. Cooper Lansley burst onto the stage as Jamie in “And You Don’t Even Know It.” It was camp, high-energy, and a total crowd-pleaser. The dancers earned big cheers, and Cooper led the number with sparkle. And now I want a full version from this cohort immediately. Ben Smith made a strong impression with “Michael in the Bathroom,” balancing the awkward dorkiness of the character with a solid vocal performance. It was a song that needed both humour and genuine pessimism, and he found both. One of the strongest group numbers was “Second Thoughts,” featuring Miranda Brown, Rowan Eastgate, Oscar Lowe, Josie Folland, and Isabelle Thomsett. I will admit, this was a number I was not familiar with, but it was wonderful to experience. The blend of personalities, the staging, and the overlapping clarity of vocal lines made it one of the most polished moments in the showcase. Among the many upbeat numbers, Laine Devoy’s “Once Upon a Time” from Bare stood out for its stillness and vulnerability. It was one of the rare ballads in the program, and Laine brought one of the strongest unamplified voices of the night. The song required emotional openness without melodrama, and he handled that beautifully. The second half continued to make room for both familiar and lesser-known repertoire. Vanities, another musical I was less familiar with, gave Keira Whyte, Jaiselle Hunter, and Jasmine Sinclair a wonderfully sassy moment with “Organised Life.” With southern belle accents, plastered grins, and a plan to rig the homecoming queen vote, they were a terrifying little trio. Indya Munroe stepped into queen bee mode for “Killer Instinct” from Bring It On, bringing confidence, attitude, and impressive vocal riffs. It was a great fit for her, and she knew exactly how to command the moment. The mascs had an absolute blast with “Mama Says” from Footloose, led by Maximillian Martin as Willard, crutches and all. They were all clearly loving every second of playing up the redneck, country-boy comedy. These boys were very comfortable being clowns, and that is absolutely a compliment. Speaking of, “Screw Loose” from Cry-Baby, performed by Tessa Parrish, was another standout comedy solo. Her gliss, belt, tone, and unhinged character choices all landed well, making it one of the most vocally and comedically exciting moments of the night. Zombie Prom brought in some fun full-group staging, led by Rhiannon Baird, before the inevitable inclusion of Grease. Charlotte Ball had a strong moment as Sandy, especially in the “But now! There’s nowhere to hide...” section, which she delivered with great conviction. Eulla Cadoo-Dagley was OTT extra as Rizzo, to the point that she accidentally hit the overhead mic multiple times. Then came “The Ballad of Sara Berry,” a favourite of mine, and it was epic! Led by Olivia Crow, who showcased a great low register despite the lack of amplification, the group choreography in prom dresses was sharp and the beat was killer once the music was turned up. It was one of the numbers that really benefited from the full group’s commitment. To bring us back to a more wholesome version of high school, Theo Hunt led “It’s Time to Dance” from The Prom. It closed the main body of the showcase with a full dance section from the entire cohort. The tempo was fast, the synchronisation was slick, and everyone gave 110%. By this point, the students had well and truly earned their ovation. The evening came full circle with “Bring On Tomorrow” from Fame, as the “graduates” looked ahead. It was a sweet closing choice and brought a lovely sense of optimism. After a showcase filled with popularity battles, heartbreak, obsession, insecurity, and rebellion, this final number felt like a hug. The students were living through their own formative years as artists, learning how to take up space, support each other, and find their voices. The program also reminded me how many high-school-set musicals exist! I did find myself mentally adding Carrie, High School Musical, and Hairspray to the list. The creative team clearly understood how to build a showcase that served both the students and the theme. Tim Hill’s direction gave the evening a clear arc, Jacqui Devereux’s musical leadership allowed a wide range of repertoire to sit within one world, and Tess Hill’s choreography, with assistance from Lauren Bensted, gave the cohort plenty of opportunities to move with style. With a group this large, it would have been easy for the evening to feel crowded or uneven, but the structure kept the momentum moving and gave the students room to shine. These students are all at exciting stages of their musical theatre journeys. What I admired most was that they were all having a go at big material. They were tackling songs that asked for stamina, vulnerability, humour, stylisation, accents, high-speed choreography, and strong character choices. Even with the challenges of sound, they remained focused, brave, and committed. That is how young performers grow. Not by waiting until everything is perfect, but by stepping into the work with heart and giving it a go!

Xanadu | Presented by Mira Ball Productions at Ron Hurley Theatre Book: Douglas Carter Beane | Music and Lyrics: Jeff Lynne and John Farrar Producer: Elodie Boal | Director: Timothy Wynn Choreographer: Jennifer B Ashley Music Director: Rae Rose | Band Leader: Ruby Tate Makeup, Wigs and Set: Rosie Humphreys | Costumes: Jackie Fredericksen Sound Design: Jacob Cash | Lighting Design: Carter Firmager Pegasus Design: Garry Hull Photography: By B’rit Creative “Let it be known: in 1980, inspiration left the arts!” The original Xanadu film may have been considered a flop in 1980, but Mira Ball Productions’ stage version was anything but! This was a vivid, shimmering, farcical, self-aware journey on wheels. Literally. I’d never seen Xanadu before (oops!), so I went in only knowing the basics: roller skates, disco balls, Olivia Newton-John, Gene Kelly... and what I experienced was a full-throttle musical fever dream about inspiration, Greek mythology, legwarmers, and the terrifying thrill of making art and hoping someone else sees the magic in it too. The script was completely on the nose and absolutely knew it. It was packed with 80s slang, fourth-wall breaks, and some cheeky local and current references tucked into the glorious nonsense. Nothing about this production asked to be taken seriously, which was exactly why it worked. But beneath all the camp, Xanadu revealed a genuinely beautiful little heart: a love letter to every theatre person who knows the chaos of making something from nothing. That is where we truly live: somewhere between inspiration, panic, and sequins. The story follows struggling LA artist Sonny Malone, who is ready to give up on his life (bit dramatic...) when the Greek muses magically come to life from one of his murals. Clio disguises herself as an Aussie gal named Kira and stays on Earth to help inspire Sonny. Together with Danny McGuire, they dream up Xanadu, an entertainment venue in Venice Beach. But when two jealous muse sisters decide to meddle, love breaks divine rules, and suddenly we are off to Mount Olympus... a disco in the sky! Nykita O’Keeffe was enchanting as Kira/Clio. She had exactly the sweet, shimmering tone needed for this score, with that clean 80s popstar quality that made the whole thing feel bright and dreamy. As Clio, she carried herself with magical muse confidence. As Kira, she committed fully to the terrible (American idea of an Australian) accent. I also genuinely think Nykita had been possessed by the spirit of roller-disco Barbie. She glided around the stage with this sparkly quality, all while remembering singing, acting, blocking, landing jokes, and skating in circles like she had no concern for dizziness. Her sng “Suspended in Time” was especially beautiful, giving her a chance to show off her angelic voice while riding a Pegasus, as you do. Croft Phillips was wonderfully sweet and ridiculous as Sonny Malone. His Sonny was artsy, funky, chatty, sincere, and magnificently delusion in the way only a struggling artist in a musical can be. He gave Sonny such an earnest golden retriever heart towards Kira. His voice sparkled in the melodramatic “Don’t Walk Away.” I also need to mention the epic XANADU sign, which looked fantastic, even if Croft put the N backwards. Spelling is hard. Dreams are harder. Chris Kellett brought old-school charm and authority as Danny McGuire, later doubling as Zeus with great (bearded) fun. His duet with Nykita, “Whenever You’re Away From Me,” had a beautiful crooner quality, and the dance work by Jaya was slick, playful, and full of vintage glamour. Then there were the sisters. Samantha Sherrin as Melpomene and Kennedy Foley as Calliope were a wickedly funny pair, and their number “Evil Woman” absolutely brought the house down. Sam had us eating out of the palm of her hand. She knew exactly when to command the room, when to throw in some improv, and when to let a look do the damage. And Kennedy proved she could do no wrong, with immaculate comic timing and a gift for making every ridiculous moment completely intentional. Together, they were theatrical menace in drapes. Peter Wood, Ashleigh Grabasch, Jaya, Molly Campbell, Sam Caruana, and Sophia Marzano gave the show so much of its sparkle. They kept popping up with little comic beats that made them impossible to glance away from. I kept catching something funny happening just off to the side: a face being pulled, a dramatic pose being struck, or a muse silently judging someone’s choices with divine authority. “Fool” became a bright, upbeat anthem, with Nykita leading beautifully while her sisters swirled around her like a glittery emotional support system with attitude. I particularly loved Jaya, Peter Wood, and Sam Caruana as three of the “sisters,” bringing supportive backup with sass, singing, and plenty of dance flair. The choreography by Jennifer B Ashley knew exactly what show this was. It was camp, character-driven, and full of fun. “Dancin’” was a highlight, throwing 1960s swing against 1980s excess in a dance-off that let the cast really play with the clash of styles. The muses constantly swept in and out of scenes with purpose, creating that feeling that inspiration could strike at any second, probably wearing a toga. Musically, the show was in strong hands with Rae Rose as Music Director. The band, featuring Ruby Tate, Mark Mirhan, Bryce Francis, and Dominic Nicholson, was tucked tightly into the "wings" but sounded fantastic. Ruby especially killed it in those jazzy keys moments. The live music gave the production a huge lift, and the score had that bright, electric nostalgia that made it very hard to stay seated. There were moments where the group vocals became a little overwhelming. Everyone on that stage had a powerful voice, which was a great problem to have, but it meant the blend occasionally got lost when they were all singing together. It may have been a mic balance issue rather than a performance one, but a little more definition in the mix would have helped the harmonies land more clearly. Visually, the show was a sugar rush. Jackie Fredericksen’s costumes were perfectly bright, sparkly, and outrageous in all the right ways, while Rosie Humphreys’ makeup, wigs, and set gave the production its cartoonish pop. Everyone looked like they had been styled by a Greek muse who had discovered an 80s aerobics VHS. Garry Hull’s Pegasus design added a wonderful bit of stage magic, and Carter Firmager’s lighting filled the world with every colour of the rainbow. The Olympus scene was one of the most absurd parts of the night, and I mean that as a compliment. The gods appeared with wild accents, wilder logic, and a parade of mythological creatures. Once Cyclops, Medusa, and Nessus appeared, the production had fully surrendered to its own madness. That was where Timothy Wynn’s direction really worked its magic. He let the show be ridiculous, but every pause, pose, and dramatic reveal was placed with care. The cast played the comedy boldly, but still cared enough about the story to make the audience care too, so that by the end we were on our feet giving them a standing ovation. I genuinely left with a headache from grinning/laughing so much. Mira Ball Productions gave us a glitter-drenched celebration of creativity, carried by a cast who committed completely to the bit. For all its neon and mythological chaos, it found something genuinely magical underneath it all. It was a ridiculous, joyful reminder that sometimes the dream really is worth chasing, especially if it comes with roller skates.

Brace Brace Presented by: PIP Theatre Written by: Oli Forsyth Directed by: Deidre Grace Sound Design: Freddy Komp Set Design: Bill Haycock Lighting Design: Geoff Squires Fight Director: Jason McKell Intimacy Director: Heidi Gledhill Photographer: Kris Anderson “You would think a hijacking would kill the romantic mood.” Ray and Sylvia’s story began like so many love stories do: eyes meeting across a crowded room. Romance followed. Then marriage. Then a honeymoon flight, with a whole future waiting for them on the other side of landing. But they never get the honeymoon they imagined. Brace Brace, written by Oli Forsyth and produced by PIP Theatre, is the kind of play that grips you by the shoulders and pulls you into a visceral journey. It is oddly funny, properly frightening, and painfully human. Told through Ray and Sylvia’s own voices, the production seats the audience close around the action on three sides. It does not let us sit back as distant witnesses. Instead, it pulls us into the fractured memory of the event. We are there with them, trapped in the noise, confusion, and terror of the plane cabin. In a single moment, a wild-eyed male passenger storms towards the cockpit and suddenly, the plane is plummeting towards the ocean. Sylvia, unbelted and thrown towards the front of the aircraft, makes a choice to act. Or perhaps her body makes the choice before her mind has time to catch up. In doing the unthinkable, she saves everyone on board. We are often captivated by disaster stories because they make us wonder, “What would I do in that moment of crisis? Would I fight, flee, freeze, help, hide?” But Brace Brace is not really about the flight. Not entirely... It is more interested in what happens afterwards, when survival comes with moral, psychological, relational, and physical consequences: the “why me?” moments, the survivor’s guilt, the anger, and the fragile coexistence of relief and grief. It is about what it takes to keep living after catastrophe, while parts of yourself remain forever altered and your nervous system is still somewhere in the sky, bracing for impact. Amelia Slatter and Henry Solomon are seated in theatre before the story begins, eyes fixed on the floor, waiting in lounge chairs like passengers called to a gate that no one wants to pass through. Brace Brace is primarily a narrated two-hander, and the dynamic between Henry and Amelia is truly compelling. Playing Ray and Sylvia, they swiftly and convincingly build a bond, then spend the rest of the play showing us how two survivors of the same event can process it so differently. Amelia Slatter is the blazing centre of this production. She is portrayed as tough, reactive, vulnerable, furious, and detached all at once. She moves between love, anger, and numbness like a pendulum of trauma, never at rest. Amelia’s performance feels deeply informed, whether through research, lived understanding, or extraordinary empathy for survivors. Sylvia’s PTSD is not portrayed through obvious symptoms, but through the paranoia infiltrating her home, depersonalisation, an insistent need for understanding, and the simultaneous presence of relief and grief. It is in her terror of being misunderstood and her desperation for someone to affirm her reality; someone to say, “Yes, this really happened. It was as bad as you say. You did the right thing.” Henry Solomon is funny, comforting, and quick-witted, delivering many of the play’s best one-liners. His dry, irreverent delivery injects much-needed life between the play’s more harrowing moments. But he is more than just comic relief; his portrayal is painfully human, even when frustrating to witness. He tries to remain himself, or at least convince himself that he can. His instinct is to move forward, to rationalise, to keep the relationship from being defined by the worst thing that has happened to them. Sometimes his stance suggests strength; other times, avoidance. Sylvia and Ray’s coping paths diverge so strongly that their shared experience becomes another kind of isolation. The more Ray wants to move away from the event, the more Sylvia is pulled back into its relentless grip. There is a brutal frustration in watching trauma alter a person’s fundamental sense of self while everyone around them waits for them to become “normal” again. Then there is Matthew Filkins, who gives a genuinely chilling performance as The Man. During the hijacking sequence, he is terrifying without needing to say a word. His physical presence, facial expression, and unstable intensity create an air of dread. The psychotic look he gives teeters somewhere between fractured reality and chilling intention. It is the sort of face that would haunt nightmares. Despite knowing he is a sweetie in real life, Matt’s unsettling portrayal sent chills through me more than once. Matthew is also astonishingly quick in his character shifts. As a television interviewer, he snaps into a completely different mode, with that bright, polished, hungry media personality down to a fine art. Each character portrayal feels so distinct that, in a blink, he can become a grateful father, the pilot, the shrewd interviewer, or the man at the centre of the nightmare. The production’s first clever design detail appears before the play even begins: the program resembles an aircraft safety card. Inside, Bill Haycock’s minimalist set transforms the stage into a runway-like aisle, evoking a plane without literal interior props. No clutter, no hiding spaces, just bodies, words, sound, light, and my rising blood pressure! Freddy Komp’s immersive sound design feels visceral, with aircraft effects that seem physical rather than decorative. There are moments where I felt my body preparing for impact while my brain knew perfectly well I was sitting safely in a theatre. It reminded me of Darkfield’s Flight from 2024. Geoff Squires’ lighting design is colourful, controlled, and uneasy. Much of the audience remains in darkness while the action moves up and down the raised, narrow stage. The LED strips, like emergency exit lighting, are tied to the breath of the play, tightening and releasing with the same awful rhythm as panic. The physical sequences are some of the most impressive parts of the production. With Jason McKell as Fight Director and Heidi Gledhill as Intimacy Director, the attacks feel frighteningly real. Amelia and Henry narrate moments as they play them, which could easily create distance, but here it has the opposite effect. We hear what is happening while seeing bodies commit to it, so it becomes both memory and immediate action at once. Writer Oli Forsyth populates the play with brilliant one-liners, ethical knots, and emotional landmines, all perfectly placed and paced. It grapples with fear, power, identity, blame, justice, and the messy aftermath of doing what is “right.” As Sylvia exclaims in exasperation, “I had no idea helping stop a plane crash would have such moral consequences!” A key strength of the script is its tonal whiplash, jolting from humour to violence, tenderness to discomfort, and absurdity to deep sadness. Director Deidre Grace keeps those shifts moving with thrilling precision. There is not a wasted moment. The 80 minutes fly by (bad wording sorry!). The pace is relentless but not rushed, full of words, emotions, and action, yet still spacious enough for silence, tension, and dread. “Stop letting him define you!” may be a rallying cry, but this production makes painfully clear how impossible that can feel when trauma rewires your sense of safety. Together, the writing and direction understand that the real question is not simply, “What happened on the plane?” It is about “the person you choose to be after the worst happens.” Though I am fortunate never to have endured such trauma myself, members of my family have. This play makes me reflect much more deeply on how a single event that may last just minutes can cast long, haunting shadows; stretching on in ways no headline or court case can contain. I kept thinking of words shared by a family member during the Port Arthur 30th anniversary just last month: “Even in the face of profound darkness, there can still be a will to protect life. When people speak about survival, they often imagine strength as something immediate and visible. But for many of us, survival is quieter than that. It was learning how to gain confidence in a world that suddenly felt unsafe. It was carrying the grief, confusion, guilt, and questions that we may never have answers to. The scars people carry are real. They do not simply disappear with time. Even when the world moves on, and when headlines fade, and the attention shifts elsewhere, for those of us touched by that day, it is never forgotten. It lives within us.” That sense of surviving beyond the moment itself is what Brace Brace captures so well. This production is a rollercoaster in the truest sense (sending a similar rush of adrenaline through me actually!). It is strangely funny, confronting, and violent, but ultimately, it is about connection; the people we cling to, the ones we lose, and the ones, if any, who truly understand our pain. This is a meticulously directed, beautifully performed, and technically striking piece that leaves the audience charged with tension. I would see it again in a heartbeat. I might also, perhaps, like never to board a plane again, though that is a separate matter entirely.

Caravan Presented by Nash Theatre Written by Donald MacDonald Directed by Phil Carney Nothing screams "Aussie adventure" like a carefree beachside caravan holiday, and nothing's more relatable than watching that dream unravel in real life. Unfortunately, Caravan had its opening weekend delayed due to sickness, so I caught one of the later performances in the season instead. But the show must go on even after a bumpy road to get there! Credit to the Nash Theatre team for powering through and getting this caravan back on track. Caravan takes the classic holiday with old friends setup and gives it a firm shove into chaos. What kicks off as a breezy beach escape soon turns into a circus of lousy weather, awkward sleeping arrangements, an overabundance of booze, a shortage of personal space, and friendships we damage along the way. Directed by Phil Carney, Caravan follows two older couples, a bachelor, and a very out-of-place young girlfriend as they attempt to share the cramped interior of a caravan for two weeks. As old secrets, age gaps, romantic disappointments, and marital resentments begin to bubble up, the holiday environment becomes increasingly unbearable and hilarious. Set over one week in this single caravan, the play highlights the comedy of claustrophobia. Trapped by Mother Nature, the characters drink, argue, complain, play cards, read, and annoy each other... it was the 80s after all, with little else to do. Right from the start, the sounds of beach birds, waves, and cars let you know you're by the coast, even before the drama kicks off. The set, designed by Phil Carney, is one of the production’s strongest visual elements. It creates an instantly recognisable nostalgic environment. Inside the caravan, it's snug and practical, detailed and deliberately cramped. This isn't some roomy holiday spot with 360 degree ocean views and a fancy cheese platter. It's six people packed in close, with about four of them pretending they are coping far better than they are. By the grand finale, the slowly flooding caravan transforms the whole thing into a disaster zone. Watching everyone get progressively wetter, drunker, grumpier, and on the verge of snapping is a hilariously satisfying farcical treat. The sound design by Mark Corben and Dave Griffiths includes the beach birds, waves, passing cars, rain, and dripping water, which help build the world outside the caravan while also making the inside feel increasingly miserable. The dripping sounds are especially effective because they are irritating as hell. You understand instantly why the characters are losing patience. It's the kind of sound that starts off as background noise and ends up feeling like psychological torture. The lighting design, also by Phil Carney, supports the realistic style of the production clearly. Caravan dives into the world of long-term relationships and what unfolds when adults start acting like teenagers on a summer escapade. This isn't just a comedy stacked with zingers (although there are some great one-liners). The humour largely stems from how realistic the conflict feels. I might not be the target audience, but I can identify with the camping mayhem and the battles between spouses. Small spoilers ahead... Playing Penny Robinson, Phillipa Bowe brings a lovely sense of polite control to the group’s hostess and peacekeeper. Penny is doing her best to keep the holiday on track, even as secrets and irritation simmer underneath. Bowe shows us the pent-up wife beneath the surfce, quietly stewing while trying hard to maintain civility. Her tension builds nicely across the play, and when Penny finally snaps, it's wonderfully satisfying. Her shouting match with Monica is a major moment, and later, the drunken bonding between the two women has a funny, messy, girlhood quality that is very recognisable. James Hogan plays Parkes Robinson, the grumpy bugger married to Penny, with a vile temper and a slightly sleazy edge. Hogan has excellent dialogue delivery and handles Parkes’ grumbling, irritation, and outbursts with strong timing. He captures a man who complains easily and is used to getting his own way. Hogan adds a lot to the tense atmosphere inside the caravan, and his temper makes the space feel even more cramped. As Monica Price, Gemma Keliher is one of the funniest presences in the production. Monica is deeply unimpressed by everything: the caravan, camping, the weather, and almost everyone around her. Keliher gives her a brilliant face of visible distaste (RBF), making it extremely clear that Monica does not want to be there. Her awkward chitchat with the young Gwendolyn sets the strained social scene early on, and her later drunken antics are spot on acting (It was acting right?). Also, the detail that Monica happily has two cats and no kids is a whole mood. Nathan Seng brings a laid-back and straightforward vibe to Rodney Price, your typical Aussie bloke who prefers to keep things simple. Rodney’s back-and-forth with Parkes adds to the sense that the guys are always just one gripe away from a blow-up. There's a lot of shouting, especially among the men, and while it can become a little repetitive at points, it does suit the mounting chaos of the piece. Hayden Sullivan plays Pierce, the slightly pretentious bachelor. He feels slightly ridiculous among the long-term couples, particularly with his much younger girlfriend in tow. His relationship with Gwendolyn adds to the play’s themes of age, maturity, and social discomfort, and he seems to invite judgment from the others simply by existing As Gwendolyn, Samantha Herde is excellent at showing discomfort without needing many lines. Her face gives away everything before she speaks. Playing the 26-year-old fish out of water among old pals and older couples, Herde’s reactions are a quiet highlight throughout the play. She often looks like she is trapped in someone else’s parents’ divorce, which is both super funny and strangely spot-on. Her politeness in the middle of all the passive aggression and increasingly unhinged adult behaviour makes the group dynamic complete. Together, this ensemble works well to build the slow breakdown of the story. The actors make us believe that these characters have known each other long enough to know exactly how to push each other's buttons. The awkwardness between the three women is particularly effective early in the play, while the guys' arguing adds another kind of pressure. The best group moments come from the final act when everyone is stuck inside together, wet, cranky, drunk, bored, and rapidly running out of patience. By the end, it feels like they're about ready to strangle each other as the caravan slowly sinks. There are some wonderfully memorable lines throughout, like “This is far worse than with the children!” The writing has a cheeky attitude toward marriage, fidelity, friendship, and blurred boundaries, and Nash Theatre’s cast leans into the messiness with commitment. The pacing does drag slightly, with the middle section losing some momentum and dwelling too long on the same issues. However, the final act revives the energy significantly and offers the production's strongest comedic moments. It's like witnessing a late-night drunk gathering where everyone has moved past politeness into shouting, arguing, oversharing, and emotional honesty. We've all been there... Nash Theatre delivers a funny and increasingly ridiculous portrait of a beach holiday from hell. It may not make you want to book a caravan getaway anytime soon, but it will absolutely make you grateful for a solid roof, separate bedrooms, and holidays where nobody has to say, “What’s a husband between friends?”

The Agent Presented by Zebramez Creative at Anywhere Festival Brisbane Written by Meryn Cooper Directed by Mel Poole Assistant Director: Sebastien Skubala Movement Director: Megan Hind Stage and Props Manager: Isabel Folland “It’s important to look successful.” The Australian housing market already feels like a spy thriller. There are secret offers, suspicious phone calls, emotional manipulation, people lurking around houses they cannot afford, and a constant feeling that someone knows something you don’t. There is something uniquely humiliating about trying to secure housing in Australia. Add in the words “property manager” and I personally begin preparing for psychological warfare. So when The Agent turned real estate agents into secret agents, complete with inflated egos, office farce and a giant amount of self-importance, it did not feel like a huge leap. The experience began before the play did, with the program presented like a top secret document and the audience entering as though we were attending an auction. It was a clever little framing device that immediately put us in the right state of mind. The venue itself, The Warehouse in Milton, was being sold to us by Phoebe Maher’s brilliantly named Jane Bond, who enthusiastically auctioned it off for a casual $1.9 million. Bargain, really. At the centre of the story was Michelle Schrodinger, played by Meryn Cooper, an ambitious real estate agent determined to land a major sale before the Real Estate Agent of the Year Awards. Cooper’s author’s note explained that the show came from her own frustration with the housing market, and that came through clearly. The script took the dehumanising process of renting, buying, applying, inspecting and being judged by your financial worth, then filtered it through farce rather than fury. The real estate agent/secret agent pun was very much on the nose, but that was part of the fun. The writing had clearly come from lived experience, because the satire was painfully recognisable. Cooper was excellent as Michelle, with the exact voice of a real estate advertisement: bright, polished and smooth enough to sell you a granny flat as a “rare opportunity.” Michelle was relentless, self-important and entirely convinced she was the hero of her own action film, especially when she responded to a buyer stating “My mother recently passed…” with “Wonderful!” Horrifying, yes. Unfortunately accurate. Plus, her power suit was fabulous, and the chunky old-fashioned key necklace was a brilliant costume detail. Jamie Delmonte was very funny as Brad, the flamboyant receptionist who was loveable, dramatic, and spectacularly bad at his job. Brad danced, did the splits, ignored responsibilities and seemed personally attacked by the office phone ringing (relatable). His side plot involved bloating and constipation caused by his diet, which is not my personal favourite genre of humour, but the audience certainly enjoyed it. Delmonte threw himself into Brad’s chaos, making him impossible not to enjoy, even when the jokes got a bit, well, digestive. Sarah McNally brought a dry, efficient bite to Joan McGroan, the office worker who seemed to have long ago made peace with the fact that nobody around her was competent. She used AI, social media gimmicks, and whatever else was available to keep the machine moving. McNally gave her a practical kind of cynicism, making Joan one of the most quietly funny characters in the office. Sam Herbertson was surprising as Jock Lovegrove, the increasingly unhinged “No Junk Mail” bloke who was desperate to stop the flood of real estate advertising invading his life. His escalating attempts to get the agents to leave him alone were wonderfully bizarre, and the reveal that he was also a sexy radio personality added a ridiculous extra layer. Phoebe Maher made a kooky impression as Jane Bond. Her auction-style opening established the world quickly and gave the audience an immediate sense of participation. Damian Smith also had great fun as the self-inflated MC of the awards, capturing the smug, glossy atmosphere of industry events where everyone is clapping for themselves. The whole ensemble worked well together, leaning into the exaggerated tone and creating the atmosphere of a workplace where everyone seemed busy, but somehow nothing useful was happening. Under Mel Poole’s direction, assisted by Sebastien Skubala, the production kept moving with a brisk, playful pace. The production did not need elaborate design to make its point. The world was built through tone, costume, props, performance style and recognisable real estate vocabulary. Beneath the ridiculousness was a very real frustration with the housing system and the emotional toll it takes on people trying to secure something as basic as a home. You are expected to perform stability, success, and desirability, whether you are renting, buying or just trying to exist somewhere with walls and a roof. The twist ending gave the whole thing a satisfying final kick, pulling the show together with a cheeky sense of theatrical payoff. It was a strong ending for a work that clearly had plenty of affection for spy tropes, office farce and the shared national trauma of property listings. The Agent was silly, self-aware, and painfully familiar. For anyone who has ever rented, bought, inspected, applied, been outbid, received unsolicited junk mail, or been told a glorified cupboard has “potential,” this one hit close to home.