Never Closer Presented by: Underground Theatre Company Venue: Geoffrey Rush Drama Studio, University of Queensland Date Attended: 8 July 2026 Written by: Grace Chapple Director: Theodore Tupicoff Eales Assistant Director and Sound Designer: Alexander Humphreys Set Designer: Jester Roach Costume Designer and Production Assistant: Rachel Smith Props Designer: Ashleigh Winter Lighting Designer: Reina Vunderink Stage Manager: Christina McMahon Voice and Dialect Coach: Marcus Oborn PRA Intimacy and Fight Coordinator: Michaela Faux Photographer: Nancy Yu “I’m sure you’re a nice fella, but you’re just a reminder of 800 years of occupation.” Nothing says “Merry Christmas!” quite like whiskey and a decade of unresolved resentment. Written by Grace Chapple and presented by Underground Theatre Company, Never Closer places six old friends inside one Northern Irish living room and waits for somebody to strike a match. Set against the Troubles, the play begins in the late 1970s, with five teenagers gathered at Deirdre’s house for a farewell party before Niamh leaves for university in London. They drink, tease each other, and tell ghost stories, while subtle references to religion, checkpoints, and occupation slip easily into the conversation. Ten years later, it is Christmas Eve in 1987. The friends return (uninvited) to the same room carrying grudges, unfinished romances, and very strong opinions. Niamh also brings her English fiancé, Harry... The reunion goes about as smoothly as expected. As the audience trickled in, the actors were already sitting around Deirdre’s living room, chatting and drinking as Irish music played. Tiered seating curved around the set, drawing the sold-out crowd into the gathering and making the room feel lively, intrusive, and difficult to escape. Jester Roach’s set created a convincing family home through mismatched couches, crocheted blankets, fringed lamps, books, and framed prints. It looked accumulated over many years, as though Deirdre had kept every object exactly where it had always been since Niamh left. The furniture also helped map the group’s changing loyalties. Friends paired off on couches, withdrew into armchairs, or hovered behind one another. Director Theodore Tupicoff Eales’ blocking kept exposing the gaps between these friends. An abrupt explosion opened the play through Alexander Humphreys’ sound design. We only learnt later that Conor’s father had been killed, allowing that unseen violence to hang over everything that followed. The political context came through the friendships rather than lengthy explanations. It appeared in defensive remarks and arguments over who had stayed, who had left, and who had supposedly abandoned whom. Zoë Ross portrayed Deirdre as the play’s emotional core. Deirdre was one of those complicated creatures who wanted her friends close but clearly harboured resentment towards them for building lives elsewhere. In one brilliantly handled scene, her restraint finally gave way to everything she had carried for ten years. Sure, Deirdre wasn’t always fair, but Ross made her loneliness easy to empathise with. Tate Newman turned Jimmy into a likeable bundle of awkwardness. His early arrival created a gentle discomfort between him and Deirdre, with Jimmy clearly caring for her but becoming completely tongue-tied whenever their history surfaced. The lesson is simple: don’t wait ten years to confess your feelings dude! Breanna Hartmann was natural and sharp as Mary, the friend most willing to call out everyone else’s nonsense. Her comic timing gave the production welcome breathing room, while small moments of vulnerability stopped Mary from becoming only the blunt observer on the sidelines. Finnley Quinn clearly showed how far Niamh had travelled from the teenager who left home. She came back from London with new confidence, a British accent, and an English fiancé (all of which her friends handled with tremendous maturity...). Quinn kept Niamh’s affection for the group visible, even as she struggled against the hostility surrounding her return. Vince Lapore delivered Harry’s extraordinary collection of ill-advised comments with excellent comic timing. He couldn’t hold his whiskey, hold his tongue, or read the room, and gradually realised he had wandered into a history he couldn’t fully understand. Harry hadn’t created the group’s problems. He had simply arrived with the ideal nationality for everyone to aim them at. Fletcher Colfs gave a forceful performance as Conor, whose grief had hardened into anger at almost everyone around him. Drunk and determined to stir up trouble, he made the others visibly brace whenever his attention shifted towards them, while still letting us see the grief beneath his behaviour. His confrontation with Harry escalated convincingly into physical violence, supported by intimacy and fight coordinator Michaela Faux. Colfs also delivered one of the production’s strongest dialects, and the cast sustained the Northern Irish accents clearly through rapid arguments, emotional scenes, and plenty of intoxicated speech, with Marcus Oborn’s coaching evident throughout. The cast really clicked in the group scenes. A drinking game shifted from teasing to passive aggression, then open cruelty, with sharp timing across the ensemble. Reactions carried as much weight as the dialogue: eyes dropped, bodies tightened, and everyone suddenly found their drink fascinating. Eales controlled the miscommunication and tension well, using humour and flashes of old affection to remind us why these people had once been close. The momentum held across the 100-minute runtime, even when a few arguments circled around and around. That repetition suited a group finally finishing conversations they had avoided for years. The packed audience responded warmly to the comedy, while the silences around the sharper confrontations grew longer. The production also demanded considerable stamina from the cast (especially considering the alarming amount of liquid consumed onstage!). Rachel Smith’s costumes clearly marked the move from adolescence into adulthood. Deirdre’s blue sweater and floral skirt gave her the softer appearance of a teacher, while Mary’s red knitwear suited her boldness. Jimmy’s thick sweater supported his warm presence, and Conor’s loose patterned shirts matched his increasingly unpredictable behaviour. Niamh grew more polished, reflecting the life she had built away from home. Reina Vunderink’s warm lighting gave the room a nostalgic glow, complementing the mustard walls and brown furniture. But that cosiness became increasingly ironic as the evening unravelled. The final scene shifted forward in time again, widening the story beyond this particular group. I’ll avoid the spoiler details, but it offered a moving reminder not to let the sun set on your anger (especially when you’ve already waited ten years). And how homes can outlast the people who once believed they would remain there forever. Never Closer gave Underground Theatre Company’s young cast plenty to sink their teeth into, from political conflict and buried grief to awkward reunions and romance. Grace Chapple’s writing gave them room for humour, discomfort, and the specific cruelty of friends who know exactly where to aim.

Production: Singin’ in the Rain Senior Company: Brisbane Arts Theatre Directors: Adelle O’Connell and Kathy Kunde Musical Director: Laraine Griffiths Choreographer: Marisa Bucolo Costume Designer: Kate Clarke Sound Designer: Tara Kenn Lighting Designer: Thomas Ranie Photography: Kris Anderson - Images by Anderson "If we bring a little joy into your humdrum lives, it makes us feel as though our hard work ain't been in vain for nothin'" - Lina Lamont Brisbane Arts Theatre’s Singin’ in the Rain Senior is a cheerful adaptation of a beloved musical, performed by a cast aged 55 and over. The familiar golden-age Hollywood charm is all there, but this version has its own special appeal: watching older performers step into the spotlight with humour, confidence, and the kind of sparkle that only comes from having a few decades of life under your umbrella. Singin’ in the Rain drops us into Hollywood during the bumpy transition from silent films to talkies. Don Lockwood has the charm, Lina has the famous face and famously unfortunate voice, and microphones are suddenly making everyone’s lives harder. With best friend Cosmo Brown and aspiring star Kathy Selden caught in the middle, the story becomes a bright mix of romance, reinvention, and showbiz panic. As someone who grew up with Singin’ in the Rain as part of the household soundtrack, I already have a soft spot for this musical. But full disclosure: my mum plays Lina Lamont in this production, so I am reviewing with both professional eyes and the barely contained pride of someone trying very hard not to whisper, “That’s my mum!” every time she walks on stage. Even accounting for family bias, there is plenty to enjoy in this production! Under the direction of Adelle O’Connell and Kathy Kunde, with musical direction by Laraine Griffiths and choreography by Marisa Bucolo, the production feels made with a lot of care. What I enjoy most is the atmosphere in the room: an audience full of smiles, generous laughs, and that unmistakable community-theatre warmth where everyone wants the cast to succeed. Andrew McArthur makes for a wonderful Don Lockwood, with an easy stage presence that suits the golden-boy movie star. He is at his best when Don drops the public charm and turns into a big romantic softie around Kathy. His “You Were Meant for Me” gets plenty of little “aww” reactions from the audience, and he handles the higher vocal moments really well. And of course, in the iconic song “Singin’ in the Rain,” McArthur lets Don disappear into his own lovey-dovey little world, completely swept up like a teenager with a crush. Robert McLachlan is a highlight as Cosmo Brown, bringing cheeky physicality, sharp comic instincts, and a constant sense that something mildly ridiculous is about to happen. He is one of those performers worth watching in the background because there is usually some mischief making the scene richer. “Make ’Em Laugh” gives him plenty of room to play, while “Fit as a Fiddle” flies along at ridiculous speed. And in “Good Mornin’,” he leads the trio in tap shoes with the ease of a former dancer and a level of skill that had my jaw on the floor! Jo Badenhorst gives Kathy Selden warmth and sincerity, but enough backbone to hold her own in a room full of Hollywood egos. Her scenes with Don have a gentle classic-musical romance, and “You Are My Lucky Star” is a lovely vocal moment, with Badenhorst navigating its deceptively tricky intervals with control. The contrast in “Would You?” is especially fun: after Lina’s version has done crimes against vowels, Kathy’s voice arrives like a rescue mission. “All I Do Is Dream of You,” performed by the girls’ ensemble and Kathy in a cute cake costume, is a real treat — because nothing says romance quite like dressing the leading lady as dessert. Judi Hancock is wonderfully irritating as Lina Lamont, and I do mean that as the highest compliment. Making her stage debut, Hancock throws herself into Lina’s tantrums, diva delusion, and truly alarming self-belief with great comic commitment. She has the “no thoughts behind those eyes” expression down perfectly, floating through scenes like a woman who has never once considered that she might be the problem. And then there is the voice acting: nasal, grating, and loud in exactly the way Lina demands. She keeps it surprisingly on pitch in her solo “What’s Wrong With Me?” — the only song not featured in the original film — while getting plenty of laughs and making the most of every dramatic complaint. I am biased, obviously, but I am also correct. Gabby Gastaldin has a natural authority as RF Simpson, the studio boss. Alex Lanham is also comfortable as Dexter, capturing the frazzled authority of a director whose job just keeps getting harder. Diana Gogulski gives Zelda plenty of style, Lois Cutmore brings Dora’s composed polish, and Maria Chappell makes Roz a frantic, faithful presence whenever she appears. Pamela Smiles and Donnita Maher are great fun in the featured voice-coach roles, treating diction like a life-or-death crisis. Some of the best little moments happen around the edges of the main action, with background characters quietly making everything funnier. The ensemble brings generous group energy throughout, and “Moses Supposes” becomes a wonderfully frantic film sequence as everyone faces the terrifying new reality of microphones. The slow-motion cake-in-the-face blocking is also a very fun touch. Marisa Bucolo’s choreography works well for this cast, giving the production movement and character without overcomplicating the staging. “Broadway Melody” is surprisingly sprightly, with Gastaldin shining as the star, and the blocking with the flats helps cover transitions and costume changes neatly. “Singin’ in the Rain” creates a cute little rain-soaked world with twinkle lights for stars, umbrellas, and yellow raincoats. With a little more vocal lift and expression from the ensemble, this number could travel even further in the large auditorium, but the staging has a lovely homemade theatrical magic to it. It is worth noting that the production is performed without individual microphones, which is no small task in a space this large. Sound designer Tara Kenn keeps the music nicely balanced, and the cast does well to carry dialogue and vocals through the space. A little more front/diagonal-facing delivery would help moments reach even further, but for an unamplified musical in a big auditorium, the cast handles the challenge admirably. The cast does a lovely job carrying the musical side of the production, especially in the solo and featured moments where each performer gets to bring their own personality forward. The group numbers are strongest when everyone leans into the character of the music and lets the story lead the song. Kate Clarke’s costumes are one of the production’s great pleasures, with colour, variety, and a clear nod to golden-age movie glamour. The costumes help define each character quickly, from Lina’s starlet looks to the ensemble’s playful 1920s styling. My brain was perhaps expecting more flapper fantasy in “Broadway Melody,” but the production still gives us plenty of period charm. What makes Singin’ in the Rain Senior so enjoyable is the spirit of it. The cast takes on the singing, dancing, comedy, and old-Hollywood theatrics with clear affection for the material, and there is real joy in seeing older performers placed at the centre of the story rather than tucked around the edges. A reminder, really, that performance does not have an expiry date. With a short runtime, affordable tickets, and plenty of heart, it is an easy show to support. And when the weather turns… you may as well sing!

La Cage aux Folles — Gold Coast Little Theatre Music and Lyrics: Jerry Herman Book: Harvey Fierstein Based on the play by: Jean Poiret Directed by: Joshua McCann-Thomson Musical Direction by: Steven Days Choreography by: Jacksoon Kook and Lucy Taylor Photography: Clay English, Vargo Studios “If you can’t be truthful, be vague...” La Cage aux Folles is basically Meet the Parents. But make it gay, musical, and French. The story's got all the ingredients for a disastrous family dinner... then adds choreography for extra flair. Just like the director, Joshua McCann-Thomson, I'd known about La Cage aux Folles for ages, yet somehow never managed to witness its feathered flamboyance live. I was familiar with its history though, and of course, The Birdcage, (starring Robin Williams and Nathan Lane), which is one of my all-time favourite films. So, I approached with high curiosity, anticipating glitz, glamour, and heart. Gold Coast Little Theatre’s performance delivered exactly that. Taking place in 1970s Saint-Tropez, La Cage aux Folles follows Georges, who runs a drag nightclub with his partner Albin - also the club’s star attraction under the stage name Zaza. Their vibrant and affectionate life is disrupted when Georges’ son reveals his engagement to Anne, the daughter of a conservative politician. Jean-Michel arrives with youth, charm, and... the audacity. Because in an attempt to make his family appear more “respectable,” he asks his father to tone everything down and, most painfully, requests that Albin stay away. While there is plenty of farce in the cover-up, underneath the comedy lies a simple, heartbreaking wound: being asked to hide by someone you love. Naturally, the whole scheme goes awry. Thankfully, Ashley Williams portrays Jean-Michel in a likeable manner, because on paper that boy is testing the limits of my forgiveness! But Williams plays him with enough excited romantic optimism to soften the edges, particularly in “With Anne on My Arm.” His scenes with Isabella Wiesenthal as his fiancé Anne help us to see him as a young guy swept up in love, rather than just a son making a crappy request; even if it comes from fear and immaturity rather than malice. Tomer Dimanstein as Georges has the aura of a man who's already hosted enough chaos to know how to smile through it. He plays the devoted father and partner with warmth and a fabulous purple jacket. His accent sits somewhere in the realm of kinda-sorta-French, but it suits the MC quality of the role. Dimanstein’s velvety vocal tone shines in “With You on My Arm” and “Song on the Sand,” and his serenade to Albin is one of the sweetest moments of the production, complete with an accordion-ish flourish. David Valks absolutely crushes it as Albin/Zaza. “I Am What I Am” steals the show in Act One, delivered with dignity and power rather than treated as a stock-standard belt anthem. Albin has to be a diva, a wounded partner, a comedian, a mother figure, and a nightclub legend (sometimes all in the same scene), and Valks shifts through those layers with ease. While I expected a little more from the Zaza persona, she still serves and slays as the club’s headliner, commanding the room with her fierce makeup, fabulous gowns, and sass to the max. Albin is then hilariously out of his depth in the Act Two “Masculinity” sequence, where heterosexuality appears to be the hardest role of all! Luan Fitzgerald as Jacob (the butler/maid/queen), enters every scene with mischief. Decked out in wigs, gowns, maid outfits, an endless supply of attitude, and the serenity of a fire alarm going off at 3am, Fitzgerald quickly became a crowd favourite. He grabs every chance to ake the role pop, and his slow-motion death drop is exactly the kind of over-the-top behaviour that I respect. I bet Hank Azaria would be impressed. Nicky Fisser as Jacqueline glides through with a posh persona, French accent and gorgeous gowns, arriving just when the evening needs another fabulous enabler. Carey Parsons and Melissa Quirk as Mr and Mrs Dindon arrive deep into Act Two with disapproval and confusion. The home has been redecorated in monk-like restraint, the dinner table is prepared, the lies are served, and everything is just a moment away from disaster. The Cagelles — Nathan Gollan, Jasper Jacovou-Johnson, Hiwaru “Wasz” Paku, Ziv Manor — bring sass, stamina and plenty of visual fun. The can-can scene is completely bonkers, with fierce high kicks and choreography that looks exhausting before you even factor in the shoes! Jasper as Hannah, complete with a whip and kitty-cat dancers, was especially fierce. Plus, Melissa Quirk's incredible soprano voice caught me completely off guard in "The Best of Times," which was one of the night's brightest group performances. Visually, this is not a beige production. Thank goodness! The set, designed by Michael Sutton and Joshua McCann-Thomson, includes a glittering archway for the club’s main stage, a rolling set with a chaise perfect for a dramatic swoon, a hot pink vanity and cocktail bar, and pop-art of Zaza overseeing everything like the patron saint of fabulous choices. Thomas Bell’s lighting splashes the stage with colour, of course. Plus, the queens turn the audience rat-run into their personal runway during the club performances, adding extra engagement and cheekiness for us. The live orchestra, led by music director Steven Days, is a major strength. Although the musicians are out of sight, they are the driving force beneath the performance. When it comes to costumes, the show really gets to shine (literally). The costume team — Nada “Red” Kulic-Cvetkovic, David Valks, Joshua McCann-Thomson, Pina Crisafulli Omeros — understood the assignment: more is more! Think feathers, lace, sequins, leather, chains, and wigs with their own gravitational pull. Side note: Zaza’s green gown? David Valks wears it better than most women could. Choreographers Jacksoon Kook and Lucy Taylor give the show many of its strongest visual moments, particularly when leaning into the Cagelles’ athleticism and mayhem. The choreography works so well because it lets the performers be polished and ridiculous at the same time, which is exactly where this show lives. Joshua McCann-Thomson’s direction keeps one foot in glitter and one foot in the family drama. The acting style is occasionally uneven, with some performers leaning into farce more freely while others feel a little more restrained. Still, the writing gives them plenty to play with, including killer lines like “With hair like mine, you can do anything,” and “You are a boy. She is a girl. What will you talk about??” The sold-out audience was clearly having a wonderful time, responding strongly to the comedy, costumes, and cabaret. But beneath the glitter, I found something really moving in watching Albin/Zaza continue to bring joy after being brushed aside and insulted. Even when asked to disappear, they return with their head held high. It is worth remembering when this story is set. In the 1970s, this family would not be received with the same public acceptance many modern audiences may offer now. The show’s politics may arrive in heels rather than with a lecture, but the message is still clear: love is love, family is family, and no one should have to edit themselves into acceptability. Gold Coast Little Theatre’s La Cage aux Folles does not hold back. It strides in, strikes a pose, and waits for the applause.

The Addams Family Presented by: Millennial Productions Venue: Ron Hurley Theatre, Seven Hills Music and Lyrics: Andrew Lippa | Book: Marshall Brickman and Rick Elice | Based on characters by: Charles Addams Director: Taylor Atley | Assistant Director: Amelie Clarke Musical Director: Kaitlin Evans Choreographer: Lauren Bensted | Assistant Choreographer: Kennedy Foley Lighting Design: Pavani Wickremasinghe Sound Design: Lane Agostinelli Costume and Wig Design: Taylor Atley Set Design: Taylor Atley and Jacob Atley Photography: By B’rit Creative and Red Dog Productions "Life is a tightrope, my child, and at the other end is your coffin." I have somehow made it this far in life without seeing The Addams Family musical! So, I arrived knowing only the important basics: the click click, the monochrome branding, and the general commitment to death as a personality trait. What caught me off guard was how much heart was sitting beneath the gloom. It's really a story about growing up, letting go, and accepting that the people we love might be slightly different weirdos than the weirdos we expected they'd be. Presented by Millennial Productions at Ron Hurley Theatre, The Addams Family follows Wednesday Addams, who is growing up and has fallen in love with Lucas Beineke: a sweet, seemingly normal boy from a respectable Ohio family. She invites Lucas and his parents over for dinner, but first asks her dad (Gomez) to do the unthinkable... keep her engagement a secret from Morticia! For a guy whose entire personality is his devotion to his wife, this is basically emotional terrorism. Throw in Uncle Fester, Lurch the butler, little bro Pugsley, wacky Grandma, and a house full of dead Ancestors and you've got yourself a par-tay! Naturally, this strange dinner quickly spirals with family pressure, truth-telling games, accidental potions, and the Addams clan facing something their beloved darkness cannot shield them from: change. Tristan Vanyai heads the family as Gomez, a loveable, devoted husband and father who would do anything to keep the women in his life happy, even when that means emotionally short-circuiting for two acts, much to the audience’s enjoyment. His song “Happy Sad” with Wednesday captures that painful little parental realisation that your child is becoming their own person. His dynamic with Ruby Thompson’s Morticia is a treat too, with their height difference played for laughs and their chemistry full of frustration and flirtation. Ruby Thompson is a clear standout as Morticia. She looks the part instantly: tall, slinky and elegant, with sharp brows, dramatic liner, striking nails, and hips that don’t lie. She floats through the production with the composure of someone who has never once apologized for being overdressed at a funeral. Thompson brings dry humor, a killer smile, fluttering eyelids and tightly controlled drama to the role. Every line carries a hint of danger, and her old Hollywood-style voice suits the smoky glamour and gloom of Morticia beautifully. While Morticia may appear cool on the surface, Thompson lets the cracks show whenever Wednesday pulls away. And it stings because mother and daughter are so clearly cut from the exact same black velvet cloth. Angelina Bourke gives Wednesday all the eerie, rigid, deadpan intensity you want, while still showing the pull of a young woman caught between her family and her feelings. Her solo “Pulled” is an early highlight, showing off her insanely impressive voice and dark comedic touch. “Crazier Than You” shines too, because by then, the idea of being crazy in love actually sounds pretty appealing. Jamieson leaps onto the stage as Pugsley like a hyperactive little frog. Amid all the sibling shenanigans, Pugsley’s fear of losing Wednesday gives the character an emotional undercurrent. Their solo “What If” turns little-brother anxiety into something surprisingly tender: the heartache of realising your favourite torture buddy is growing up and leaving you behind. Caleb Holman is a crowd favourite in the role of Uncle Fester, bringing a playful, offbeat sweetness to every scene. Fester's romantic saga with the moon is one of the oddest bits of the musical (and that's really saying something), but Holman dives in with full enthusiasm. Plus, kudos to him for shaving his head for the part. Now that's commitment! Aden Lowry has mastered the art of playing Lurch: stillness, silence, miming, and the looming presence of the Frankenstein-adjacent butler. Lowry spends the show lurking around in a maid’s outfit and observing everyone else’s chaotic antics without cracking a smile (which is definitely harder than it looks!) Mik Bobart as Grandma is random, noisy, and completely unbothered by conventional reality. She seems to operate on her own private frequency, occasionally tuning into the rest of the show only to cause trouble before wandering back into the mist. Carly Wilson is a major highlight as Alice Beineke. At first, she is polite, cheerful and deeply repressed, but once the truth starts escaping, Wilson turns her into full musical theatre detonation. Her solo “Waiting” is belted out with comedy, frustration and liberation. Her duet with Ruby Thompson in “Secrets” also works beautifully, with Morticia’s cool control contrasting Alice’s increasing instability. Zach Price gives Mal Beineke the necessary stiff-collared rigidity, setting up the collision between respectable suburbia and gothic household. Hunter Ireland brings an earnest sweetness to Lucas, Wednesday’s normal boyfriend - though in this show, “normal” should always come with quotation marks. The Ancestors, played by Caitlyn Brindley, Emily Fuller, Ally Hickey, Lucinda Isbel, Aidan Cobb, Peter Wood, Ellen Axford, Emily Rohweder, and Sian Van Blerk, bring the Addams family’s dead relatives to life (get it?) with committed, detailed character work and odd little portraits from the family tree. Also, shoutout to Daniel Lelic as Thing, popping up throughout as the household’s disembodied helper. Taylor Atley and Jacob Atley’s set design wastes no time dropping us into the Addams family home, which is less “come on in and get cozy” and more “please mind the electric chair.” The set is like a spooky graveyard playground, packed with all sorts of morbid little details. Here, headless dolls and dead bunnies are not red flags, but rather interior design choices. As the iconic Addams Family theme played, the audience instinctively snapped along - it must be hardwired into our collective memory! Lane Agostinelli’s sound design and Pavani Wickremasinghe's lighting adds haunted-house vibes, while fog creeping from the staircase adds to the ghostly drama. That visual world is most enhanced by Atley’s costumes, wigs, and makeup. Each member of the Ancestors ensemble possesses their own ghostly backstory, so well disguised that I almost failed to recognise any of the performers! Lauren Bensted’s choreography keeps the stage buzzing, especially whenever the Ancestors suddenly join the routine. “When You’re an Addams” and “One Normal Night” have that satisfying big-group buzz at this haunted family reunion. “Tango De Amor” showcases Ruby Thompson’s Morticia in all her gothic elegance - the dress, the wig, the shoes, the backbend! While “Death is Just Around the Corner” turns from solo into spectacle, complete with a kick-line and faultless harmonies. Kaitlin Evans’ musical direction brings out the score’s mix of comedy, character and big musical theatre drama. “Full Disclosure” is the strongest group moment, with the vocals, drama, and prop choreography all working together. But the final surprise belongs to Aden Lowry, whose glorious bass voice appears after a whole show of silent looming. Millennial Productions finds the warmth beneath the cobwebs in a production that is funny, visually detailed, and full of big character performances. It has all the gloom, glamour and family dysfunction you could want. The Addams family may be obsessed with death, but this production is very much alive.

Title: Hadestown: Teen Edition Presented By: Valmy Academy Genre: Contemporary Musical Theatre Synopsis: Hadestown: Teen Edition is a bold and contemporary musical presented as a fully staged holiday production for committed young performers. Designed for teens ready to engage in a focused rehearsal process, the production develops advanced ensemble skills and culminates in performances to a live ticketed audience in a professional theatre venue. With rich storytelling, layered ensemble work and contemporary musical theatre technique, this is a serious and rewarding performance experience. Audition Date: Saturday March 14th, 2026 Audition Time: 1PM - 4PM Audition Location and Address: 127 Sandgate Road, Albion Audition Requirements: All participants will be cast. Auditions determine principal and featured roles. Audition Registration: Registration required prior to audition. Register HERE. Audition Pack: Provided upon registration (if applicable). Performance Dates: Friday April 17th & Saturday April 18th, 2026 Performance Location: Old Museum Building, Bowen Hills Rehearsal Dates: April 13th - 17th, 2026 Rehearsal Times: Intensive structured rehearsal process (daily schedule provided upon casting) Rehearsal Location: 127 Sandgate Rd, Albion Performer Age: 12–17 years Production Website: Valmy Academy - Hadestown Other Information: Teen Holiday Production (13–18 April) $495 per performer Cast capped at 30 performers Includes professional theatre venue performance Stage lighting and sound design Professional performance video Available Roles / Character Breakdown: ORPHEUS: High Tenor with falsetto up to G#5. (A2 – F5). Orpheus is an optimist, an idealist, a counter-culturalist. Orpheus should feel unique and have the sensitive soul of an artist. Plays guitar. HADES: Bass. G1 – Eb4 Lord of the Dead. Powerful, immortal and deeply in love with Persephone. Strong authoritative presence. Tyrannical and a bit menacing. PERSEPHONE: Alto/Mezzo. (E3 – C5). Goddess, playful, mercurial and fun. Persephone is not too feminine and lets her sharp edges show. She is the seasons and is cut from the same cloth as Orpheus. She must have a wryness and intelligence that she uses sharply for both entertainment and as a defense mechanism. HERMES: Tenor/baritone. (D3 – B4) Hermes is the narrator/guide/emcee of the story. Charismatic, often mysterious, with a trickster-ish quality. EURYDICE: Alto/Soprano. (E3 – E5). A practical leading heroine with an extremely vulnerable underbelly, a haunted bird. She takes the leap to the underworld as a step towards something reliable. There is both toughness and delicacy in her being and her singing; she uses a belt for some songs, real subtlety for others. FATE 1: (F#3 – E5) FATE 2: (G3 – E5) FATE 3: (F3 – C5) Powerful and dark. Operate as one of the “voices in the heads” of the other characters. Fates may play instruments of some kind and should be skilled with harmonies

A Night of Sherlock Holmes Three classic tales in radio play format Directed by Jason Nash Play 1: The Adventure of the Speckled Band Play 2: A Scandal in Bohemia Play 3: The Case of the Blue Carbuncle “It’s my business to know what other people don’t know.” If modern FM radio is all loud ads, endless chatter, and the same five songs on repeat, then this is its elegant, intelligent ancestor. Long before podcasts, television, or breakfast hosts yelling nonsense in your car, radio was theatre placed right in your home. It relied on voice, atmosphere, and your own imagination. And Nash Theatre dives headfirst into that vintage magic with A Night of Sherlock Holmes. Five vintage-style microphones line the front of the stage. A glowing “On Air” sign reminds us we are in the recording studio. An “Applause” light prompts our participation to clap like we mean it. Just performers, scripts and sound. But wait, what's that upstage? Along the back wall are three live foley artists, concocting entire worlds from an assortment of random objects. Hats off to Mark Corben, Lara Latham and Emma Latham, who clearly relish every second of their controlled chaos. Foley is a delicate craft though. Sometimes, we could hear every little rustle of their scripts and every accidental movement through the mics. Tightening those silent moments will make the illusion even more immersive. Arthur Conan Doyle first unleashed the dynamic duo of Sherlock Holmes and Dr. Watson upon the world in 1887, and it's hard to think of a literary character that's stuck around longer. Nash Theatre has made it a habit to kick off their year with a radio play, and this time they went for a hat-trick of Holmes adventures. Director Jason Nash makes strong use of his experienced cast by rotating roles across the three plays. Between acts, the old-timey advertisements were humorous and well executed. However, trimming all the ads slightly next time would tighten the overall pacing. The jokes land without needing the entire promotional monologue, which probably adds 15 minutes to the run time. The short violin transitions between scenes paid a nice tribute to Holmes' musical inclinations. While I do question their necessity, they certainly added a touch of dramatic flourish. There were nine performers in total, immaculately dressed in 1930s glamour. Ladies Sandy Adsett, Jenny Bonney-Millett and Kiah Latham embodied the era with polished poise. Red lips, pearls, furs and heels reminded us that even radio demanded style. Clear diction, supported projection and expressive delivery ensured that every clue landed cleanly. The cast remained fully engaged throughout. Even when seated, they listened and reacted. Mark Corben, in particular, was picking up every twist and turn. You'd think he was binge-watching his favourite show. By the end of the evening, I was mentally exhausted from the concentration because I enjoy trying to solve the mystery before the reveal. Play One: 1930s – The Adventure of the Speckled Band Domonic Thurlow stepped into the shoes of Sherlock like he was born with a magnifying glass in hand, alongside David Hill as Dr Watson to deliver a refined and measured interpretation. Domonic is a standout for his natural pacing and ease with accent work. His Holmes feels assured and grounded, never forcing the intellect but simply inhabiting it. Kiah Latham portrayed Helen Stoner with believable anxiety. Her voice carried genuine fear without tipping into melodrama. Bruce Edgerton’s Dr Grimesby Roylott was suitably booming and threatening, a voice that filled the room with menace. Meanwhile, in the foley corner, Lara Latham was having the time of her life. She frequently stole focus in the best way. The baboon sequence had the audience cackling because of the absolute commitment behind it. Play Two: 1940s – A Scandal in Bohemia The second story shifted tone into something more stylised and playful. Caleb Hockings delivered a loveable, slightly goofy Watson with a very committed “gov’ner!” accent that drew plenty of laughs. Alex Thompson’s Sherlock retained intellectual sharpness, though he did trip over a word or two. The accent buffet in this tale was quite the feat and had me recalibrating my ears with so many variations flying around. Bruce Edgerton’s German-accented King of Bohemia suited him comfortably. Matt McNeice’s Irish accent was perfectly convincing. One of the evening’s most memorable lines comes here: “I was once tricked by a woman.” Even Holmes, it seems, is not immune to humility. Play Three: 1950s – The Case of the Blue Carbuncle This was my personal favourite. For clarity, we are dealing with a dazzling blue gemstone here, not a dermatology 'carbuncle' emergency. Caleb Hockings returned, this time as Sherlock, opposite Matt McNeice as Dr Watson. Their back-and-forth was completely elementary, dear reader. Notably, they barely looked at their scripts, which gave their performance a freedom and confidence that lifted the entire piece. Set at Christmastime, the atmosphere was playful from the outset. Jingle bells rang. Carollers sang enthusiastically off key. Holmes began by deducing the entire life story of a man from a lost hat, played with smug precision by Caleb. His eyebrow acting alone conveyed complete intellectual superiority. Matt’s Watson was the perfect grounding force of the partnership, like a comforting cup of tea. Together, they most aligned with my mental image of the iconic duo. By this point, the humour was knowingly tongue-in-cheek, and it worked. Jenny Bonney-Millett’s radio announcer in this final segment was sometimes difficult to hear over the background music, but a little music adjustment would fix that in a jiffy. Three decades. Three interpretations of Holmes and Watson. One nostalgic evening of storytelling. Radio theatre asks us to lean in and truly listen. It reminds us that you do not need spectacle to create compelling theatre. You need skilled performers, precise sound and an audience willing to imagine. By the end of the night, I was as mentally wiped out, because I love playing detective and cracking the case before the big reveal! A Night of Sherlock Holmes delivers exactly that. If you enjoy clever dialogue, well-crafted accents, vintage glamour and the delight of watching artists clearly having a ball, this is well worth tuning into.

Title: The Nutcracker Presented By: Toowoomba Ballet Theatre Genre: Ballet / Dance Synopsis: Toowoomba Ballet Theatre's 2026 production reimagines the beloved Christmas classic The Nutcracker with a contemporary twist. Rather than a traditional classical ballet, this production draws inspiration from the Four Realms, introducing new characters, storylines and worlds while showcasing dancers of a wide range of styles and strengths. Audition Date: Sunday 12 July 2026 Audition Location and Address: Toowoomba Ballet Theatre Studios, 9 Railway Street, Toowoomba City Audition Self-Tape Due (if applicable): Video submissions due Saturday 11 July 2026 (for dancers unable to attend in person). Audition Requirements: In-person auditions are strongly preferred. No solo is required for the 2026 Nutcracker auditions. All audition content will be taught on the day. Audition classes include classical technique, pointe (where appropriate) and combinations taught during the audition. Wear a plain leotard and ballet tights for classical sections. Fitted shorts or short skirts/half tutus may be worn if appropriate. No costumes or props. Dancers with special skills requiring apparatus (e.g. aerial silks or lyra) may submit a supplementary video at no extra cost. Minimum audition age: 8 years. Audition Registration: Register online: https://pci.jotform.com/form/261097808126865 Audition Pack: View the 2026 Prospectus: https://www.toowoombaballettheatre.com/auditions/ Performance Dates: Saturday 19 December 2026 Performance Location: The Empire Theatre, Toowoomba Rehearsal Dates: Monday 28 September – Friday 2 October 2026 (Studio Rehearsals) Saturday 3 October 2026 (Photo Day) Sunday 18 October, Sunday 1 November, Sunday 15 November & Sunday 29 November 2026 (Alternate Sunday rehearsals) Sunday 13 December – Thursday 17 December 2026 (Studio Rehearsals) Friday 18 December 2026 (Stage Rehearsal) Warnings: Attendance at rehearsals and performances is expected. Dancers may miss up to three rehearsal days for prior commitments. Participation involves strenuous physical activity. Performer Age: Ages 8 years to Adult Creative Team: Artistic Director: Mia Huston Production Website: https://www.toowoombaballettheatre.com/auditions/ Other information: Registrations close Friday 10 July 2026. Audition Fee: $30 (In Person) or $50 (Video Submission). Production Fee: $849 per dancer (includes rehearsals, costume hire, insurance, production shirt, videography and more). Adult dancers (18+) receive a 50% fee reduction.

Title: Rope Presented By: St Luke’s Theatre Society Genre: Psychological Thriller Synopsis: Rope is a tense psychological thriller in which Wyndham Brandon convinces his impressionable friend Charles Granillo to commit murder purely for the thrill of it. They conceal the body in a chest and host a dinner party around it, inviting guests including the victim’s father. As the evening unfolds, suspicion grows—particularly from the perceptive Rupert Cadell—and the strain of their crime begins to unravel the pair. The play, which predates the famous film adaptation by Alfred Hitchcock, presents a gripping exploration of morality, arrogance, and psychological pressure. Audition Date: Saturday March 21st, 2026 Audition Time: 10AM Audition Location and Address: St Luke’s Theatre, 193 Ekibin Road East, Tarragindi, Brisbane, Queensland Audition Requirements: Prepare a 2-minute monologue (preferably from a 20th-century drama; no comedy) Be prepared to read excerpts from the script (provided at audition) Audition Registration: Email interest or enquiries to the director, Nigel Munro-Wallis on nigelmunrowallis@gmail.com Audition Pack: Script excerpts provided at the audition Performance Dates: June 5th - 20th, 2026 Performance Location and Address: St Luke’s Theatre, 193 Ekibin Road East, Tarragindi, Brisbane, Queensland Warnings: Themes of murder and psychological tension Performer Age: All performers must be adults (18+) Creative Team: Director - Nigel Munro-Wallis Production Website: St Luke's Theatre Society - Rope Other Information: For questions or to register interest, email: nigelmunrowallis@gmail.com Script readings will be part of the audition process Available Roles / Character Breakdown: Wyndham Brandon Male, Early–Mid 20s A confident and intellectual student who masterminds the murder for the thrill of it. Charles Granillo Male, Early–Mid 20s A nervous and impressionable student who is drawn into Wyndham’s plan. European background. Kenneth Raglan Male, Early–Mid 20s A fellow student and guest at the dinner party. Leila Arden Female, 20s–30s A sharp and socially aware young woman. Mrs Debenham Female, 40s–60s A formidable and strong-willed woman. Sir Johnstone Kentley Male, 35–60 A thoughtful, bookish man and father of the victim. Rupert Cadell Male, Late 20s–30s A perceptive and probing would-be poet who begins to suspect the truth. Sabot Any gender, any age A servant present throughout the dinner gathering.

Written by Matthew Ryan Presented by Ad Astra Director | Fiona Kennedy Assistant Director, Set Design, Projections, Wigs | Stacie Hobbs Stage Manager | Chloe Rose Costume Design | Georgina Purdie Lighting Design | Geoff Squires Sound Design | Tommi Civili Choreography | Nicholas Coubrough I always find it hits differently when a story is set somewhere you know well. Brisbane isn’t just a backdrop here, it’s the TITLE and the heartbeat of the story. We don’t often think of Brisbane as a “war story” setting, but it turns out, history was unfolding right here in our own backyard. The play is set in 1942 and is told by 14-year-old Danny, who has a head full of stories and a romanticised view of war. He idolises his older brother Frank, until reality crashes in with devastating force. When American troops arrive in Brisbane, Danny’s world begins to shift in ways he could never have imagined. This coming-of-age tale is shaped by war, loss, and a reality Danny is unprepared for. The writing blends wartime realities with a distinctly Aussie perspective, where humour, resilience, and a touch of cheekiness coexist with heartbreak. The impact of combat loss hits sooner than I expected, shattering the family's illusion that Frank was somehow invincible. Under Fiona Kennedy’s direction, and Bailey Sprecak’s lively narration, the piece sustains a strong sense of momentum and brings a contemporary theatrical rhythm to the historical setting. The Galaxy stage at Ad Astra Theatre is used in full, with a multi-level wooden set that captures both the intimacy of a family home and the expansiveness of memory. A simple armchair, lamp and radio ground us in the 40s era, while a bare tree silhouette, enhanced by projections, shifts us through different seasons and times of day. This is definitely a performance-focused piece, and Bailey Sprecak gives Danny an endearing awkwardness. Portraying a slightly dweeby, imaginative 14-year-old who idolises his older brother, he brings a warmth and innocence to the role at first. But when Danny is confronted with the reality of death for the first time, there is a noticeable and unsettling character shift. His innocence fractures, leading to a gradual spiral into confusion, anger, and a desperate attempt to make sense of loss. The relationship between Danny and Frank, played by Liam McMahon, is beautifully realised. Their dynamic is playful and supportive, with a natural sense of brotherly connection that makes Frank’s absence loom large over everything that follows. McMahon reappears as Andy, an American pilot who takes on the role of a surrogate brother figure. The parents provide a realistic emotional anchor. Brent Dunner plays the quintessential gruff Aussie dad. Shaped by his own experiences and injuries from WWI, he quietly carries trauma while trying to keep busy with constant renovations on the Queenslander family home. Lisa Hickey delivers some of the most heartbreaking moments of the piece. Her motherly grief manifests in denial and dissociation, clinging to the idea that her son is still alive. It’s uncomfortable, raw, and deeply affecting to watch. Hannah Sisson brings a gentle warmth to Rose, offering moments of calm amidst the chaos unfolding around the family. Her relationship with Danny carries an added complexity, as his closeness to her becomes entangled with his longing to take his brother’s place. Aimee Duroux as Patty is the standout performer for me. She adds a completely different energy as Danny’s ever-present and exasperating friend. Wearing a leg brace and constantly on the receiving end of cruel labels, Patty has built a tough exterior, armed with biting humour and brash language as a defence mechanism. Her sharp tongue and fiery presence bring both levity and edge, particularly in the way she pushes back against how she’s perceived by others, while still revealing glimpses of vulnerability beneath. The remaining actors shift between roles such as brash American soldiers, wary locals, schoolyard bullies, and historical figures, showing strong versatility across the ensemble. Jay Koloi’s voice work in the newsreel montage is a standout moment, with impressive vocal control and characterisation. Jack Winrow’s dry humour is particularly notable as he takes on multiple roles including Winston Churchill and General Monash. He and Mike Escober both stand out for their ease on stage, bringing a natural, assure quality to each moment. Natasha McDonald is particularly notable as the leader of the cricket boy bullies. One of the more interesting threads throughout the show is the tension between Australians and the arriving American troops. The contrast is often played for laughs, especially in the exaggerated reactions of Brisbane women swooning over the “Yankies”, while local men bristle with resentment. Beneath that humour, however, is a genuine exploration of cultural friction and shifting social dynamics. As Danny’s journey continues, the story takes a darker turn. His attempts to step into his brother’s place, to support his mother’s delusions, and to connect with an American soldier who physically resembles Frank all build toward an identity crisis. The escalation into impulsive anger and violence is intentionally jarring. The production also leans into its setting in subtle yet effective ways. There are nods to Brisbane’s history and locations, including its reputation for danger in certain areas. Even the pre-show atmosphere contributes, with swing dancers performing in the courtyard in period costume before reappearing during the Cloudland scene (not the club in the Valley). The lighting design is also very effective, using colour and spotlights to clearly define and split scenes, while the sound design is abrupt in a way that deliberately jars the audience. Costumes and wigs feel authentically of the era, like they could have been pulled straight from 1942… aside from that questionable moustache (sorry Jack). At its core, this is a story about the ripple effects of war. Not just on the battlefield, but within families, communities, and young people forced to grow up too quickly. It explores masculinity across cultures, women’s roles during wartime, the tension between civilians and soldiers, and the emotional toll of sudden loss, both literal and psychological, and how that trauma manifests over time. While the performances are consistently strong, the script didn’t fully resonate with me on a personal level. At times, the narration and sound design become quite loud and frantic, making some lines difficult to catch, particularly in group sequences. It’s a small but noticeable barrier in an otherwise engaging production. That said, the cast’s commitment is undeniable, and there is plenty to appreciate here, particularly for audiences interested in Brisbane’s history and wartime storytelling. This is a thoughtful, locally grounded piece that blends humour and heartbreak, offering a perspective on WWII that is extremely close to home.

Title: Shrek The Musical JR Presented By: Stage School Australia Genre: Junior Musical Theatre Synopsis: Based on the Oscar-winning DreamWorks film and the hit Broadway musical, Shrek The Musical JR. follows the story of an unlikely hero who sets out to rescue the feisty Princess Fiona from a dragon-guarded tower. Along the way, Shrek is joined by the wisecracking Donkey and a colourful cast of fairy tale creatures banished by the villainous Lord Farquaad. Packed with catchy songs, memorable characters and plenty of laughs, this feel-good musical celebrates friendship, courage and embracing what makes us unique. Audition Date: Video submissions due: Friday 10 July 2026 In-person auditions (invitation only): Sunday 19 July 2026 Video callbacks (if required): Wednesday 22 July 2026 Audition Location and Address: Video submissions via email In-person auditions: Brisbane State High School (Gate M5), Ernest Street, South Bank Audition Self-Tape Due (if applicable): Friday 10 July 2026 Audition Requirements: Video Submission Open to performers aged 10–19 years. Prepare a 16-bar musical theatre excerpt from the provided audition selections. Use a general American accent. Ages 10–13: Select from the Young Voices material. Ages 14–19: Select the appropriate Teen Voices material for your vocal type. Upload your audition as an Unlisted YouTube video. Email Submission Must Include: Full name Date of birth Performing CV/experience Current Stage School class (if applicable) Height and clothing/shoe sizes Link to your YouTube audition video Selected applicants will attend an in-person vocal and movement audition. Audition Registration: Email submissions to casting@stageschool.com.au Audition Pack: Download from the Stage School Australia website. Performance Dates: 30 September – 3 October 2026 Performance Times: 30 September: 7:00pm 1 October: 11:00am & 2:30pm 2 October: 11:00am & 2:30pm 3 October: 11:00am, 2:30pm & 7:00pm Performance Location: The Draney Theatre, Marist College, 112 Glenlyon Drive, Ashgrove Rehearsal Dates: 2nd August - 30th September Rehearsal Times: See schedule for varying call times. Warnings: Full attendance at rehearsals and performances is compulsory. Selected cast will attend a photoshoot on 2 August. Video and audio recording may occur during auditions for internal casting purposes. Performers aged 10–13 will be double cast. Mandatory participation fee and ticket commitment apply. Performer Age: 10–19 years Production Website: https://stageschool.com.au/shows/shrek-jr-brisbane Other Information: Participation Fee: $250 Includes rehearsal expenses, insurance and cast t-shirt. Ticket Commitment: Each cast member must sell or purchase 20 tickets. Ticket prices: Matinees: $34 Evening/Weekend: $39 Rehearsals are designed to replicate a professional musical theatre experience. Available Roles/Character Breakdown: Shrek - A gruff but kind-hearted ogre who enjoys living alone in his swamp until his peaceful life is interrupted. His unexpected quest leads him to discover friendship, love and acceptance. Strong singer, actor and comedic performer. Princess Fiona - A feisty princess with a sharp wit and adventurous spirit. Far from a typical fairy tale princess, Fiona is brave, funny and capable of taking care of herself. Requires a confident triple-threat performer. Donkey - A fast-talking, endlessly optimistic companion who insists on becoming Shrek's best friend. Excellent comic timing, strong character acting and singing required. Lord Farquaad - The comically tyrannical ruler of Duloc who banishes fairy tale creatures from his kingdom. A big personality with excellent comedic acting and strong vocals. Dragon - A powerful dragon who guards Fiona's tower but has a romantic side when she meets Donkey. Strong singer with commanding stage presence. Pinocchio - Leader of the fairy tale creatures. A cheeky puppet whose nose grows whenever he lies. Energetic comedic role with strong vocals. Gingy - The spirited gingerbread man who refuses to be defeated despite Lord Farquaad's attempts to intimidate him. Puppetry role with lots of personality. Big Bad Wolf - A sassy, scene-stealing fairy tale character who joins the group of exiled creatures. Young Fiona - Appears as Fiona during childhood. Strong young singer and actor. Teen Fiona - The teenage version of Fiona. Continues Fiona's story before adulthood. Strong singer with emotional range. Storytellers 1, 2 & 3 - Guide the audience through the story while also doubling as other characters throughout the production. Strong performers with excellent storytelling ability. Fairy Tale Creatures Three Little Pigs Three Bears Three Blind Mice Peter Pan White Rabbit Fairy Godmother Wicked Witch Ugly Duckling Mad Hatter Humpty Dumpty Elf Dwarf Puss in Boots Pied Piper Ensemble Duloc Performers Guards Knights Angry Mob Woodland Creatures Rats

Title: Grease Presented By: Elements Theatre Co. Genre: Musical Theatre / Senior Production Program Synopsis: Elements Theatre Co. presents Grease as part of its 2026/27 Senior Production Program. Grease follows the students of Rydell High as they navigate friendship, romance, reputation and growing up in 1950s America. After a summer romance, Sandy and Danny unexpectedly reunite at school, only to discover that fitting in can be more complicated than falling in love. Audition Date: Registrations close Monday 13 July 2026. Auditions will be held during the first weeks of Term 3, 2026. Audition Location and Address: Elements Theatre Co. – Oxenford Studio 1A, 131–135 Old Pacific Highway, Oxenford QLD 4210 Audition Requirements: Auditions will be used to determine lead roles, featured roles, vocal solos and special performance opportunities. All registered participants will be cast in the production. Once registered and either paid in full or on an approved payment plan, participants will receive an audition pack with character information and preparation resources. Audition Registration: Register here Audition Pack: View the information pack Performance Dates: 19–21 March 2027 Performance Times: Friday 19 March: 6:00pm Saturday 20 March: 1:00pm & 6:00pm Sunday 21 March: 1:00pm Performance Location: Nerang Bicentennial Community Centre, 833 Southport Nerang Road, Nerang QLD 4211 Rehearsal Dates: Weekly rehearsals commence Wednesday 15 July 2026. Program runs 15 July 2026 – 24 March 2027. January Intensive: 20–24 January 2027 Tech Week: 16–18 March 2027 Rehearsal Times: Weekly Wednesdays: 7:00pm–9:00pm January Intensive: Wednesday 20 January: 5:00pm–9:00pm Thursday 21 January: 5:00pm–9:00pm Friday 22 January: 5:00pm–9:00pm Saturday 23 January: 10:00am–4:00pm Sunday 24 January: 10:00am–4:00pm Tech Week: Tuesday 16 March: 4:00pm–9:00pm Wednesday 17 March: 4:00pm–9:00pm Thursday 18 March: 4:00pm–9:00pm Rehearsal Location: Elements Theatre Co. – Oxenford Studio 1A, 131–135 Old Pacific Highway, Oxenford QLD 4210 Tech Week: Nerang Bicentennial Community Centre, 833 Southport Nerang Road, Nerang QLD 4211 Warnings: Grease contains themes, language and content reflective of its 1950s setting, including some mature references. Parent/guardian discretion is advised for younger performers. Performer Age: Ages 13+ to Adult. Participants must turn 13 before 19 March 2027. Creative Team: Director: Cassie Zorko Musical Director & Choreographer: Lauren Beatson Assistant Musical Director: Michelle Phair Production Website: Elements Theatre Co. Productions Other information: Registrations close Monday 13 July 2026, unless capacity is reached earlier. Every registered participant will be cast. Attendance is required for weekly rehearsals, January Intensive, Tech Week and all performances. Program fee: $1,260 upfront or $40 per week over 35 weeks, plus transaction fees. Fees include script, cast shirt, costume hire, weekly rehearsals, January Intensive, Tech Week, performance season, cast celebration and full educational musical theatre program. Complimentary Grease Kids Club available during rehearsals for cast members who are parents.

Title: Seussical the Musical Presented By: Phoenix Ensemble Genre: Musical Theatre Synopsis: Jojo, a small Who with a huge imagination, struggles to fit in until the Cat in the Hat guides him through a world where Horton the Elephant hears a tiny voice and creatures of all kinds discover loyalty, courage and friendship. Seussical celebrates imagination, individuality and the belief that even the smallest voice can make a difference. Audition Date: Friday 24 July 2026 - Saturday 25 July 2026 Audition Time: Friday from 7:00pm Saturday from 10:00am Dance call: Saturday 25 July, 12:30pm–1:30pm Group singing call: Saturday 25 July, 1:30pm–2:30pm Audition Location and Address: Friday: Queensland Show Choir, 480 Gregory Terrace, Bowen Hills Saturday: Beenleigh Neighbourhood Centre, 10-12 James St, Beenleigh Audition Self-Tape Due (if applicable): Video submissions accepted if unable to attend in person. Email auditions@phoenixensemble.com.au for requirements. Audition Requirements: All auditionees must complete an individual audition and attend the compulsory group dance and singing calls. Prepare: Two contrasting musical theatre songs in the style of the show, approx. 1 minute each Backing tracks One 1–2 minute monologue or excerpt that reflects the character you would like to play No songs from Seussical No acting material from The Cat in the Hat, Horton Hears a Who, The Grinch or Green Eggs and Ham Audition Registration: Book your audition Audition Pack: Download the Seussical Audition Pack Performance Dates: From Friday 6 November to 28 November 2026 Bump out: Sunday 29 November 2026 Performance Times: Friday & Saturday evenings Saturday matinees No Sunday performances Performance Location: Phoenix Ensemble / The Tin Shed, Beenleigh Showgrounds, James Street, Beenleigh Rehearsal Dates: Rehearsals commence Sunday 9 August 2026 Photoshoot: Sunday 9 August 2026, 9:00am–12:00pm Sitzprobe: Sunday 18 October 2026 Tech/final rehearsals commence Sunday 18 October 2026 Rehearsal Times: Mondays & Wednesdays: 7:00pm–10:00pm Sundays: 12:00pm–5:00pm Rehearsal Location: Phoenix Ensemble / The Tin Shed, Beenleigh Showgrounds, James Street, Beenleigh Performer Age: 18+ for all roles except Jojo Creative Team: Director: Kristen Barros Musical Director: Hayley Marsh Choreographer: Hannah Crowther Production Website: Phoenix Ensemble Auditions Other information: No roles are paid. This is not a youth production. All performers must be 18+ by the first rehearsal, excluding the actor playing Jojo. Callbacks, if required: Wednesday 29 July 2026 from 7:00pm Casting notification: Sunday 2 August 2026 Cast members must become Phoenix Ensemble financial members. Cast members must hold or be willing and able to obtain a valid Blue Card. Enquiries: auditions@phoenixensemble.com.au Available Roles/Character Breakdown: The Cat in the Hat (Any gender, baritone/mezzo) Mischievous, imaginative and comic. The host and emcee of the show, appearing in almost every scene and playing multiple comic roles. Strong singer with strong movement skills and comic ability. Jojo (Any gender, playing age 8–10, soprano) A young Who with a huge imagination. Awkward, inventive and constantly in trouble for thinking differently. Strong singer/actor. Horton the Elephant (Any gender, tenor/mezzo) Gentle, loyal and big-hearted. Believes in doing the right thing and protects the tiny world of Whoville. Strong singer/actor with good comic timing. Gertrude McFuzz (Any gender, soprano) Shy and self-conscious at first, but grows into a kind and caring protector. In love with Horton. Strong singer/actor with movement skills and comic timing. Mayzie La Bird (Any gender, mezzo-soprano) Vain, selfish and manipulative, but not entirely bad. Strong singer/actor with strong movement skills and comic ability. Mr & Mrs Mayor (Any gender, tenor & mezzo-soprano) Jojo’s parents, trying to raise him in a difficult world. Loving but often overwhelmed. Strong singers/actors. Featured Ensemble (Mixed genders and voice types) Includes characters such as Sour Kangaroo and General Schmitz. Requires confident singing, dancing and acting. Ensemble (Mixed genders and voice types) Includes roles such as the Bad Girls, Wickersham Brothers and the Grinch. Requires confident singing, dancing and acting.