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.

Title: The Trail to Oregon! Presented By: Sunnybank Theatre Group Genre: Musical Comedy / Parody Synopsis: Inspired by the classic Oregon Trail video game, The Trail to Oregon! follows a wildly dysfunctional family heading west after accidentally burning down their old life. Along the way, they encounter bandit kings, animal chaos, illness, questionable choices and audience-driven mayhem. No two performances are exactly the same. Audition Date: Saturday 25 July 2026 Saturday 1 August 2026 Callbacks, if required: Tuesday 4 August 2026 Audition Time: Individual auditions: Saturday 25 July OR Saturday 1 August 10:00am–6:00pm Dance call: Saturday 25 July, 8:00am–9:00am OR Saturday 1 August, 7:00pm–8:00pm Callbacks: 7:00pm Audition Location and Address: Sunnybank Theatre Group, 14 Mains Road, Sunnybank Audition Self-Tape Due (if applicable): Contact trail@bekinddo.art if unable to attend in person. Audition Requirements: Prepare: Two song excerpts in the style of the show, at least one from musical theatre, under 1 minute each Backing tracks Cold read material provided 72 hours before audition Dance excerpt taught via the audition choreography video Audition Registration: Register for an audition Audition Pack: Download the audition pack Performance Dates: 4–21 November 2026 Performance Location: Sunnybank Theatre Group, 14 Mains Road, Sunnybank Rehearsal Dates: From Sunday 9 August 2026 Tech dates include Saturday 24 October and Saturday 31 October 2026 Rehearsal Times: Sundays: 2:00pm–8:00pm Mondays: 7:00pm–10:00pm Wednesdays: 7:00pm–10:00pm Rehearsal Location: Sunnybank Theatre Group, 14 Mains Road, Sunnybank Warnings: Adult themes, strong language including blasphemy, simulated violence and simulated nudity. Performer Age: 18+ Creative Team: Director: Tammy Sarah Linde Associate Director: Luke O'Hagan Musical Director: Rae Rose Choreographer: Anna Ryan Production Website: Sunnybank Theatre Group Auditions Other information: Cast and production volunteers must become financial members of Sunnybank Theatre Group. Membership: $30 for one year or $75 for three years. Enquiries: trail@bekinddo.art Available Roles/Character Breakdown: Father (Tenor) An optimistic man in catastrophic denial. Loves his family deeply but lacks basic competence. Requires strong comic timing, audience interaction and sincerity. Mother (Mezzo) The only competent person on the wagon. Sharp, funny and grounded, with grief beneath her motivation. A strong comedic foil with warmth and authority. Daughter (Mezzo) A teenager caught between naivety and self-awareness. Requires physical comedy, classic musical comedy and emotional range. Son (Soprano) Seven years old and chaotic. A horrible little gremlin with huge physical comedy, stamina and occasional sincerity. Grandpa (Baritone) An eccentric, absurd character with escalating gags played completely straight. A role for a strong clown/character actor. McDoon and Everyone Else (Baritone) The villain of the piece, plus multiple ensemble roles. Requires strong comedy, transformation and theatrical versatility.

Production: Gutenberg! The Musical! Book, Music and Lyrics: Anthony King and Scott Brown Produced by: Second Beat Productions and PIP Theatre Directors: Liam J.K and Daniel Kirkby Musical Director: Rae Rose Chief Designers: Liam J.K and Brigitte Bennet Lighting: Noah Milne “What’s the difference between a wine press and a printing press? One makes you drink. The other makes you think.” I am not entirely sure that Gutenberg! The Musical! taught me anything reliable about Johann Gutenberg, medieval Germany, or the invention of the printing press. I did, however, leave with a comprehensive understanding of musical theatre clichés! Produced by Second Beat Productions and PIP Theatre, this Brisbane staging is directed by Liam J.K and Daniel Kirkby, with musical direction by Rae Rose. J.K takes on Bud alongside Kirkby as Doug, with Rose appearing as their pianist, Charlie. William Kasper also appears as Bud at alternate performances. Written by the hilarious creators of Beetlejuice, Anthony King and Scott Brown, Gutenberg! The Musical! is a musical spoof about Bud and Doug, two aspiring writers pitching their epic historical musical to a room full of potential backers. Their show tells the story of Johann Gutenberg, the inventor of the printing press, as he attempts to bring literacy to the miserable medieval town of Schlimmer (which is German for “worse”). Standing in his way is an evil monk who fears that reading will weaken his control over the townsfolk and reveal his fibs about what the Bible says. Since this is just a workshop, Bud and Doug cannot afford a complete cast, costumes, sets, orchestra, or anything else necessary for staging a Broadway musical. So, they play every character themselves, using baseball caps with names like “Helvetica,” "Rat," and “Drunk” to switch roles. It's a remarkably efficient system. Hat on: new character. Hat off: writer explaining the previous or upcoming scene to us as though we are five years old. The humour is knowingly non-PC, and some of the funniest bits come from exposing the formulas in so-called “original” musicals. I think the best way to see Gutenberg! The Musical! is to know as little as possible and let Bud and Doug explain it to you in real time. They desperately want to! The show breaks the fourth wall immediately, pausing to define theatre lingo, justify their creative choices, and clarify symbolism that requires no explanation whatsoever. They might not be accomplished historians, but they sure are dedicated teachers. We are asked to imagine Schlimmer, a medieval German town where nobody can read or write. We meet the entire population during the opening number, which is an impressive feat since it’s just two people running around swapping hats. The town is populated by familiar theatre characters: the illiterate love interest Helvetica (yes, like the font), a villainous religious figure, assorted peasants (including a Nazi flower girl), and Gutenberg himself, who speaks with an all-American bravado. Liam J.K brings strong Josh Gad qualities to Bud, which makes sense considering Gad originated the role. There's that same mix of strong vocals, genuine emotion, and lovable awkwardness. Every character they play is treated with maximum importance. Monk is particularly memorable, stalking through “Haunted German Wood” before launching into the magnificently overwrought “Stop the Press.” As Monk, J.K sounds like a hillbilly preacher (with a pet cat named Satan). Other characters drift through Cockney, German, and American dialects. Normally, inconsistent accents are one of my pet peeves. But here, they are so blatant and shamelessly embraced that they become one of the funniest parts of the show for me. Daniel Kirkby (as Doug playing Gutenberg) has the smirk of a leading man who knows he's already won over the audience. He also receives the coveted eleven o’clock number, introduced with the explanation that old Broadway shows are very long and very boring, so they need a song near the end to wake everybody up. Bud and Doug poke fun at the obsession with adaptations. Before diving into Gutenberg!, they tried their hand at a Phantom prequel and even a musical about every Stephen King novel. Neither took off because audiences apparently only want books, movies, and history adaptations - preferably with one famous person’s name repeated often enough that nobody forgets who the musical is about. Hamilton... But underneath the parody, there's something surprisingly sweet about Bud and Doug. They're just a couple of dorks who adore musicals, are passionate about their ridiculous creation, and clearly love working together. Their friendship deepens as they share secrets, admit doubts, and face the reality that their masterpiece might not receive the future they dreamed of. Despite the deliberately dubious musical within the musical, the tunes are way better than what you’d expect Bud and Doug to pull off. Every musical theatre convention gets its turn: the “I want” song, the town gossip number, the seductive villain jam, the nightmare sequence, the compulsory tap number and kickline, the traumatic death, and the inexplicable inclusion of suicidal ideation. “Tomorrow Is Tonight” comes with instructions to imagine lasers, an electric drum kit, a gospel choir, and fog. “The Press Song” has a joyous boogie-woogie groove, while “Biscuits” is the pointless upbeat 'charm song' thrown in to give the audience a break from what they really care about and provide an opportunity for a celebrity cameo. They joke, “If we could get Rob Mills, we’d never close!” - a line that lands with spectacularly unfortunate timing (Sorry Waitress!) Rae Rose is the musical engine behind the spectacle, sustaining its frantic pace from the piano and moving confidently between musical styles. J.K and Kirkby direct with a keen sense of pace and clarity, propelling the show forward as they change characters, reinterpret history, and build an entire soundscape. This is not a production for history purists. Anyone hoping for a responsible account of Gutenberg’s life, fifteenth-century Europe or movable type should probably visit a museum. The show announces its historical liberties early and gallops away from accuracy without looking back. Our audience, however, was practically giddy as J.K and Kirkby used physical comedy, shifting accents, imaginary scenery and props, corny puns and a pretend revolve to bring the enormous musical inside Bud and Doug’s heads to life. Brisbane is lucky to receive such a quality production of this rarely-staged musical. With three excellent performers, tons of hats, and almost no reliable history, Gutenberg! makes a very strong case for giving these two loveable dorks their Broadway contract.

Sister Act Presented by Savoyards Director: Andrew Cockroft-Penman Cultural Consultant: Matthew McKenzie Musical Director: Sally Faint Choreographer: Natalie Lennox Lighting: Gabrielle Burton Sound: Ethan Houley/David Sowdon Costume Design: Kim Heslewood Wig, Hair and Makeup: Lynne Swain Photography: Sharyn Hall “You mean I gotta go incog-negro?” Sister Act is like that one friend who shows up to a low-key dinner party with a karaoke machine. Inspired by the beloved film, it tells the tale of disco diva Deloris Van Cartier, whose life takes a wild detour when she witnesses a murder and is placed in witness protection at a convent. Suddenly, she's a nun in disguise, navigating a world of strict rules, routines, and a no-nonsense Mother Superior. But when Deloris gets her hands on the struggling choir, she does more than just change their tune. Rudo Banya steps into Deloris Van Cartier like the spotlight has been personally waiting for her. She has the sass, glamour, and quick-fire reactions the role needs, along with a wonderfully funky voice that sits right in the groove of the disco-driven score. Her Deloris knows exactly how to hold a room, whether she is chasing fame, dodging danger, or trying to survive convent life without completely losing patience. As the show goes on, Banya lets Deloris soften without losing her sparkle, which makes her bond with the sisters feel earned, not just inevitable. As Mother Superior, Beth Lowe is one of the production’s great pleasures. She runs on dry humour, restraint, and the permanent expression of a woman that is one more tone-deaf hymn away from snapping. Lowe never has to push too hard for laughs; so much of the comedy comes from watching her try to remain holy while Deloris causes spiritual and musical mayhem around her. “I Haven’t Got a Prayer” is one of the strongest numbers for me. In a score full of big group numbers, this quieter solo cuts through because of Lowe’s control, clarity, and beautifully measured frustration. Wednesday Reign is lovely as Sister Mary Roberts, giving her that gentle, soulful quality of a wallflower used to shrinking into the background. When she finds her voice in “The Life I Never Led,” it is like watching a caterpillar transform into a butterfly. It is a beautiful turning point, and Reign gives it sincerity, stillness, and a voice that immediately stands apart. It is hard to describe without reaching for the usual reviewer clichés, but there is something truly unique about her sound; you want the whole convent to stop and listen. Emma Brack attacks Sister Mary Patrick with the terrifying optimism of someone who has never once considered being chill. She leads “It’s Good to Be a Nun” with absolute conviction. The number is tight, well-rehearsed, and full of character from all the sisters. Helen Beauchamp and Constanza Acevedo Burckhardt also make the most of their featured moments, and across the ensemble, the nuns each have their own little pockets of personality. By the time Beauchamp is roller skating, cheerfulness has officially exceeded convent speed limits. That is one of the joys of this show: it gives so many women room to be more than background figures. Every time the sixteen nuns shuffled on, I found myself scanning the group to see who was doing what. Watching them evolve from heartfelt but hopeless choir to glittery disco divas is great fun. “Raise Your Voice” captures that charming stage where confidence precedes before perfection, and the sparkly wimples are the kind of whimsical, fabulous design choice I expect from this show. Lachie Gleadhill delivers a highly natural performance as 'Sweaty' Eddie, complete with an authentic Philly cop accent. He finds the sweet spot between nervous, hopeful, and painfully uncool. “I Could Be That Guy” is especially fun because Gleadhill starts with an intentionally lacklustre vocal delivery, then lets the number burst into a vibrant disco fantasy where his actual voice gets to shine. It shows us exactly who Eddie wishes he could be, helped along by groovy ensemble choreography and a great lift from the orchestra percussion. Warryn James shines as Monsignor O’Hara, balancing church respectability with just enough theatrical flair. He captures the church’s growing excitement as the choir moves from humble parish ensemble to accidental religious girl group. Lonnie Toia nails the gang boss presence for Curtis, rocking the perfect look and voice like he was born for the role. He keeps the threat of the story present while still fitting into the musical’s comic world. “When I Find My Baby” is a fun villain number, especially with his three minions backing him up in perfect harmony. William Chen is a standout among the trio as TJ, bringing big comic commitment and strong dance ability. Together with Joshua Langdon as Joey and Montil Djumapili as Pablo, they turn “Lady in the Long Black Dress” into a super fun disco break, packed with falsetto, swagger, and some unserious romantic strategies. The band, led by Musical Director Sally Faint, does excellent work with Alan Menken’s score, giving it the rhythm, groove and disco pulse it needs. The cast has strong solo and featured vocal moments, especially from Banya, Lowe, Reign and Gleadhill. Some of the larger group vocals could still tighten in blend, particularly when harmonies sit underneath movement or dialogue, but you can feel the cast throwing themselves into the score. If there was one area that needed a little more heavenly intervention on opening night, it was sound. The eternal battle! And to be fair, this is a nightmare of a show to mix, with what appears to be every single person wearing a mic. Natalie Lennox’s choreography has a lot of fun with the show’s disco world, pulling from Motown, funk, girl-group, gospel performance style, and a few hip hop touches in the nun choir version of “Take Me to Heaven.” The cast handles a lot of movement across the night, and the nuns in particular have impressive stamina. “Sunday Morning Fever” has strong drive and staging, although some of the dialogue underneath is difficult to catch. Visually, the production has some striking moments. The set design by Savoyards Team and scenic design by Kaitlin Hague, with stained glass windows, bar setup, fringe glitter curtains, neon signage, neon cross, and disco ball, all help build the contrast between sacred space and showbiz excess. Gabrielle Burton’s lighting adds plenty of colour or heavenly spotlights. Kim Heslewood’s costumes and Lynne Swain’s wig, hair, and makeup design do a huge amount of work in selling the 1970s world full of sequins, afros, sparkly boots, and even sparkly wimples. There are endless wigs in this production — truly, an entire spiritual journey in synthetic hair! Director Andrew Cockroft-Penman leans into the fun of that clash: disco confidence crashing into convent discipline, nightclub sparkle meeting Catholic restraint, and Deloris landing in a place where “blend in” is very much not her natural setting. The pace is snappy, and the big scenes are busy without tipping into chaos. Except for the convent chase scene, of course, which is a comedic whirlwind of staged mayhem. Having Matthew McKenzie credited as Cultural Consultant adds value, given the story is set in 1970s Philadelphia and brings together Black disco culture, Catholic settings, and the social dynamics of Deloris suddenly disappearing into convent life. In the end, Sister Act is about sisterhood, community, courage, and the terrifying but wonderful act of stepping forward and letting yourself be heard. Savoyards’ production has plenty of sparkle, plenty of heart, and enough nuns in glittering headwear to make even the most reluctant churchgoer consider joining the choir.

The 25th Annual Putnam County Spelling Bee Presented by: Hanson Creative Venue: BackDock Arts Director / Choreographer / Designer: Emma Hanson Assistant Director: Lucy Wilding Music Director: Benjamin Richards Photography: Pip Suschinsky and Mia Lierich “Adulthood brings its own peculiar rejections.” I had better use some fancy vocabulary in this review, given the circumstances... This was my first time seeing The 25th Annual Putnam County Spelling Bee, and it didn’t take long to see why people speak about it with such fondness. Hanson Creative’s production at BackDock Arts was part musical, part competition, part group therapy session for overachieving, socially awkward kids trying to spell their way to glory. It was a lexical battlefield with juice boxes! The show follows six young contestants as they navigate parental pressure, perfectionism, perception, and their own blossoming personalities. Each child brings something different to the competition: overachiever Marcy Park, politically aware Logainne Schwartzandgrubenierre, homeschooled Leaf Coneybear, intense William Barfée with his “magic foot,” lonely Olive Ostrovsky, and returning champion Chip Tolentino, who is dealing with some inconvenient puberty-related distractions. Emma Hanson took on the roles of director, choreographer and designer, with Lucy Wilding assisting and Benjamin Richards leading the music. Hanson’s direction balanced broad comedy with real vulnerability, which is essential in a show that could easily become a parade of wacky characters if the audience did not care about them. The scenes and songs may seem silly, but they require an enormous amount of precision in both direction and choreography from Hanson. The small set resembled a school gym, complete with posters and banners, lettered wooden blocks, an adjudicators’ table, and the all-important microphone. It had the look of a community event assembled with care. Plus, it gave the cast lots of space for the fast-paced action. BackDock Arts was a perfect fit for this kind of close-up comedy. The audience gets pulled into the spelling bee almost immediately, not just as spectators but as part of the competition! Three members of the audience are always roped in to join the bee and I salute them. The chosen participants (only in Act 1) were excellent at spelling words, joining choreography when needed, and reacting in the moment. It takes courage to stand in the spotlight, all while fictional kids are having emotional breakdowns around you. The last audience member left standing kept getting words correct, which made the whole thing even funnier. Eventually, the last-resort Māori word arrived and did its job. (Props to Caleb Hocking's pronunciation of it!) The crowd was audibly enjoying themselves throughout, with plenty of snort-laughing and polite clapping for correctly spelled words like proud parents at an actual spelling bee. Kimberley Rigby brought sunshine and support to Miss Rona Peretti. She embodied the perfect former-champion-turned-host energy, taking the bee very seriously while genuinely caring about these strange little humans and their emotional well-being. Her vocals were especially beautiful in “The I Love You Song,” where her soaring soprano blended gorgeously with Reid McWha and Megan Hargraves. Isabella Hansen brought Mitch Mahoney to life as the comfort counsellor doing community service, marking each elimination with the solemn ritual it deserved. Caleb Hockings excelled as Vice Principal Douglas Panch, embodying the pedantic assurance of a man destined to wield a clipboard. He dished out progressively unhinged definitions with an official demeanour and deadpan wit, no matter how hilarious the “use it in a sentence” examples became. (My favourite was 'exclamation.') Panch is one of those roles where the actor has to control the pacing of the whole room, especially when audience participants are involved, and Hockings handled that brilliantly. The contestants each brought their own unique juvenile energy. They showed up with name tags and fully formed neuroses, like a bunch of precocious stress machines ready to go. Alicia Lorie as Leaf Coneybear may very well be my spirit animal. Leaf was gregarious in the way only a homeschooled child in a cape can be, and Alicia captured that strange little brain beautifully. Their “I’m Not That Smart” solo was wonderfully weird, using vocal modulation, puppet work, and adorable kiddie logic. Lara Anderson played Logainne, bringing a perfect lisp and a fierce little political-warrior intensity to the role. She had the focused determination of a child who has attended more political meetings than birthday parties, and her “Woe Is Me” was a great character number, capturing both Logainne’s aplomb and the pressure placed on her by her two dads. Meg Hargraves gave one of the strongest vocal performances as Olive Ostrovsky, the sweet, neglected and nervous contestant who finds comfort in words. “My Friend, the Dictionary” was beautifully sung and hinted at a lot going on beneath the surface. By the time the show reached “The I Love You Song,” alongside Kimberley Richards and Reid McWha, Hargraves had made Olive so sympathetic that the show’s heart grew three sizes. Varni Keioskie as Marcy Park was polished, terrifyingly capable, and one extracurricular away from total combustion. Her precise elocution made “I Speak Six Languages” a standout solo, presenting Marcy as the queen of bragging and the patron saint of overcommitted children. With a cameo from Jesus himself, the number became a glorious academic spiral of perfectionism, pressure and identity crisis. Reid McWha’s William Barfée was a theatrical little gremlin, full of rage, self-importance and deeply serious foot-based spelling technique. With a touch of Alan Cumming about him, Reid captured all the irritation, intelligence and strange magnetism the role needs. Dominic Ambrose handled Chip Tolentino’s spectacular adolescent downfall in “My Unfortunate Erection,” which is a hard song to pull off (pun intended). Throwing snacks at the audience mid-crisis, and the number brought exactly the kind of mortified teenage chaos the role needs. The ensemble work was one of the production’s strengths, with the cast easily shifting into other assorted roles without taking focus from the contestants. At times, they even gestured to people in the audience as “characters,” which suited the playful, semi-improvised feel. Standout group numbers like the cacophonous “Pandemonium,” “Goodbye” and “Second” captured the rising stakes of the competition while keeping the tone light. The band, led by Benjamin Richards, was precise and well-balanced in the space, supporting the cast through the score’s fast comic rhythms. Everyone in this cast must have studied hard — not only their spelling, but their timing, character work, and emotional nuances. This is a sesquipedalian (yes, I used a thesaurus) way of saying: quirky characters, great musical! Hanson Creative’s The 25th Annual Putnam County Spelling Bee celebrated the kids who are trying their best. On the surface, it is a musical about spelling increasingly difficult words. Really, it is about growing up, feeling out of place, wanting to feel special, and finding moments of connection through competition. I would call that a S-U-C-C-E-S-S.

74 Redland Grove Book, Music, and Lyrics: Mark Westby Directors: Chris O’Leary and Tammy Sarah Linde Date Attended: 1 July 2026 Cast: Roselie Chase, Samuel Craig, Hannah Davies, Emma Hodis, Michael Lawrence, Jason Lawson, Amie O’Callaghan, Gillian Simpson, Josephine Stockdale, Josie Yarham, Nathaniel Young, and Emily Straus “Some part of us thinks our parents will live on forever.” Writing a full original musical is no small thing. Writing the book, music, and lyrics yourself, then handing that creation to a cast and putting it in front of an audience, takes massive guts. 74 Redland Grove, written by Mark Westby and directed by Chris O’Leary and Tammy Sarah Linde, is certainly an odd creation. It’s ambitious, imaginative, and at times so bizarre that I found myself wondering whether I was watching a family drama, nostalgic comedy, puppet show, or trauma musical. Set in working-class Nottingham, 74 Redland Grove begins with the funeral of Marina Coningsby, mother of eight, before travelling back through the chaos of family life at number 74. Jason Lawson guides the story as the older Riffs (the unplanned youngest child), reflecting on his childhood from a seat downstage through memories, commentary, and fragments of poetry. We meet Marina, her often-absent husband Jonathan, and their many children, some played by actors and others represented by large puppets. Each child is named after the date they were born (Seven, for example), except for Riffs, whose name sets him apart. The set places us inside a colourful, cluttered 1970s living room of hand-drawn graphics and cardboard-style props. Its texta-and-cardboard aesthetic turns the house into a child’s reconstruction of events, and the oddball puppets push that idea into increasingly warped territory. There’s the mohawked child, gossiping neighbour Drag Ash Lil with her rollers and cigarette, moustachioed Officer Flirt, and some genuinely nightmarish creations involving a bristle brush and washing machine. Having some of the eight children played by actors and others represented by puppets is another curious choice, though I’m never entirely sure of the point of that distinction. The script deals with generational trauma, neglect, parental frustration, and sibling rivalry. Marina is a harsh, exhausted mother who hits her children, washes their mouths with soap, and responds to pain with, “I’ll give you something to cry about.” Beneath the surreal presentation are children craving attention in a house where nobody seems to have enough softness to spare. Amie O’Callaghan brought strong vocals and emotional weight to Marina, finding some humanity beneath the character’s temper and cruelty. Her portrayal softened Marina as the story progressed, particularly after younger Riffs went missing and we saw more of an overwhelmed mother beneath her harsher behaviour. The entire ensemble committed wholeheartedly to this unusual theatrical world. The music has promise, though several songs feel underdeveloped. There are catchy and amusing ideas, including the number about dinner needing to be on the table at 5:05 and the firemen’s song, “Size Does Matter.” At this performance, the singers were generally capable and the microphones mostly functional, though clarity was an ongoing issues. Enunciation needed more attention across the cast. I struggled to catch a considerable amount of the lyrics and dialogue, and I wasn’t the only one. With an original musical, where we’re encountering every line and lyric for the first time, losing words also means losing big chunks of the story. Tonally, 74 Redland Grove is difficult to pin down. It moves between domestic drama, surreal puppet comedy, and bawdy adult humour, and those elements don’t sit comfortably together. The script contains some cheeky humour, though at my performance many of the jokes received little response, particularly the sexual ones. Act Two is where the show lost me most. Act One has a clearer structure, with its stranger elements grounded in Riffs’ memories of childhood and family life. In Act Two, that connection becomes harder to follow as the story grows longer, looser, and considerably more bizarre. The pool table puppet, the “spanky time” gimp mask puppets, and the more adult humour seem to belong to a different theatrical world, and I struggled to understand how they related to the family story around them. In the final scene, the grown-ups’ reflections continue too long after their point is made, and the final song stretches beyond its natural conclusion. There were some practical issues affecting the flow at this performance too. Pauses around backing tracks needed smoother handling, some scenes needed firmer rehearsal, and transitions often stalled the momentum. At times, the cast also seemed caught between playing the material for laughs and treating it with pathos, leaving me unsure how some scenes should be received. Despite my many reservations, I don’t want to dismiss the sheer amount of imagination behind this production and what they attempted. There’s a distinctly handmade aesthetic, community performers throwing themselves into a peculiar concept, and a script that produces some striking lines and images. For me, this isn’t my kind of show. The era, family dynamic, and puppet-heavy style don’t connect strongly with my personal tastes or experiences. Still, I can see the sincerity in its examination of how children remember trauma, how families process dysfunction, and how ordinary household objects become enormous, grotesque monsters in a child’s memory. 74 Redland Grove is ambitious and deeply odd, with ideas spilling out in almost every direction. Beneath the chaos, though, there’s imagination, local originality, and a handmade quality that gives this peculiar new musical an identity entirely its own.

Title: &Juliet Presented By: Gold Coast Little Theatre Genre: Pop Musical / Jukebox Musical Synopsis: &Juliet flips a familiar story on its head, imagining what might happen if Juliet chose a different ending. Driven by a soundtrack of contemporary pop hits, the show celebrates courage, identity, self-discovery and the freedom to write your own story. Audition Date: First round online auditions due by 5:00pm Saturday 25 July 2026 Callbacks: Saturday 1 August 2026 2:00pm - 6:00pm Callback Location and Address: NAPA Studios, 3 Stevenson Court, Burleigh Heads Audition Requirements: Submit a first-round audition video including: Approx. 90 seconds of a song in the style of the show or character One short monologue in the style of the character auditioning for Ensemble-only auditionees do not need to submit an acting piece Callback auditionees will attend a mover or dancer call Audition Registration: Register for an audition Audition Pack: Download the audition pack Performance Dates: 12 November - 5 December 2026. Performance Location: Gold Coast Little Theatre, 21a Scarborough Street, Southport Rehearsal Times: Mondays and Wednesdays: 6:30pm–9:30pm, Sundays: 2:00pm–6:00pm, extending to 8:00pm once rehearsals move into GCLT Rehearsal Location: NAPA Studios, 3 Stevenson Court, Burleigh Heads Then Gold Coast Little Theatre, 21a Scarborough Street, Southport Performer Age:17+ Creative Team: Director & Choreographer: Kim Reynolds Associate Director: Emily Monsma Associate Choreographer: Cooper Swain Vocal Director: David Valks Stage Manager: Di Morgan Production Website: Gold Coast Little Theatre Auditions Other information: Questions: juliet@gclt.com.au Early submissions are encouraged. Cast members will be required to follow the production’s Safe Space Policy. All cast must be available for technical rehearsals, dress rehearsals and performances. Availability may affect casting. Available Roles/Character Breakdown: Juliet (female-presenting, early 20s) Pop soprano with strong belt. Fierce, passionate and full of life. A dynamic leader with humour, strength and emotional depth. Anne Hathaway (female-presenting, mid 30s–40s) Mezzo with strong belt. Smart, grounded and modern. Offers perspective, wit and emotional clarity as she co-authors Juliet’s new journey. William Shakespeare (male-presenting, mid 30s–40s) High baritone/tenor. Confident, theatrical and frequently outshone by others. Blends ego with vulnerability. Angelique (female-presenting, 35+) Mezzo with strong belt. Juliet’s nurse; bold, confident, flirtatious and warm, with strong comedic timing. May (non-binary/gender diverse, early 20s) Flexible voice type. Warm, thoughtful and self-assured. Explores identity, love and belonging with quiet strength. François (male-presenting, 20s–30s) Tenor. Earnest, kind-hearted and awkward. Finds courage through connection and self-expression. Lance (male-presenting, 35+) Baritone. François’s father. Traditional and proud, but with a soft centre and openness to change. Romeo (male-presenting, 20s–30s) Tenor. Charismatic, flamboyant and full of himself. A comic romantic lead with swagger and big personality. Shakespeare’s Players (all gender presentations, all voice types, 17+) A versatile ensemble who shape the worlds of the production through movement, vocals and storytelling.

Title: Ben Hur Presented By: Ipswich Little Theatre Genre: Comedy / Farce / Stage Adaptation Synopsis: Patrick Barlow’s Ben Hur follows an amateur theatre troupe attempting to stage the epic story of Judah Ben-Hur with only four actors. As Ben-Hur falls from prince to galley slave and rises to champion charioteer, the performers wrestle with chariot races, sea battles, stage combat, rivalries and offstage romances in a comic, fast-paced retelling from the writer behind The 39 Steps. Audition Date: Monday 27 July 2026 Audition Time: 7:30pm Audition Location and Address: Jean Pratt Building, ILT Complex Audition Requirements: Audition pieces TBA. Copies of the script and/or sides can be obtained from director Sam Hoepner. Audition Registration: Complete the audition form via Ipswich Little Theatre. Performance Dates: 18 November – 5 December 2026 Performance Location: Ipswich Little Theatre,15 Burley Griffin Dr, Ipswich QLD 4305 Creative Team: Director: Sam Hoepner Assistant Director: Melind Park Available Roles/Character Breakdown: Actor 1 / Daniel (30s–40s) Plays Melchior, Ben-Hur and Nubian dancer. Actor 2 / Omar (20s–30s) Plays Caspar, Archangel Gabriel, Messala, Jesus, Galley Captain, Roman Captain, Galley Slave 2, Nubian dancer and Valentinyo. Actor 3 / Crystal (20s–30s) Plays Mary, Tirzah, Esther, Ancient Slave and Nubian dancer. Actor 4 / Edgar (40+) Plays Balthasar, Sara, Centurion, Slave-driver, Quintus Arrius and Pontius Pilate.

Title: Madagascar – A Musical Adventure JR. Presented By: Brisbane Arts Theatre Genre: Junior Musical Synopsis: Based on the hit DreamWorks film, Madagascar JR. follows Alex the lion, Marty the zebra, Gloria the hippo and Melman the giraffe as they leave the safety of New York's Central Park Zoo and find themselves shipwrecked on the island of Madagascar. Filled with colourful characters, catchy songs and plenty of comedy, this family musical is a celebration of friendship, adventure and discovering where you truly belong. Audition Date: Sunday 19 July 2026 (Call backs: Monday 20 July 2026) Audition Time: One-hour workshop sessions between 12:00pm–4:00pm (additional sessions 4:00pm–6:00pm if required) Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington Audition Self-Tape Due (if applicable): Video auditions accepted for those unable to attend and must be submitted on or before Sunday 19 July 2026. Audition Requirements: Open to performers under 18 years of age at the time of auditions. Prepare up to one minute of a song with recorded backing on a Bluetooth-compatible device. Cold reads from the script. Bring a headshot (or clear photo) and CV (if available), or email them to Madagascar26@artstheatre.com.au. Audition Registration: Book an audition via the Brisbane Arts Theatre website. Audition Pack: https://artstheatre.com.au/events/auditions-madagascar-jr/ Performance Dates: 26 September – 3 October 2026 Performance Times: 11:00am daily Performance Location: Southbank TAFE Auditorium, 66 Ernest Street, South Brisbane Rehearsal Dates: 20 July – 24 September 2026 Rehearsal Times: Mondays & Wednesdays: 6:00pm–9:30pm Sundays: 12:00pm–4:00pm Tech rehearsals: 20–26 September (daytime) Rehearsal Location: Lavalla Centre, Paddington and Southbank TAFE (Tech Week) Performer Age: Under 18 years Creative Team: Director: Natalie Murtagh Assistant Director: Michelle Dagan Musical Director: Rhea Basha Choreographer: Szonja Meszaros Stage Manager: Vladimir Bartowski Production Website: https://artstheatre.com.au/events/auditions-madagascar-jr/ Other information: Successful cast members must become Brisbane Arts Theatre members ($40 annual membership). Full availability is required for tech week and performances. Enquiries: Madagascar26@artstheatre.com.au | (07) 3369 2344 Available Roles/Character Breakdown: Alex (Any Gender) The confident "King of New York City." A charismatic showman with a love of steak and his friends. Strong singer and actor. Marty (Any Gender) A zebra dreaming of life beyond the zoo. Likeable, adventurous and optimistic. Strong singer and actor. Gloria (Any Gender) A bold, caring hippopotamus who acts as the group's protector. Strong singer and actor. Melman (Any Gender) A lovable hypochondriac giraffe with excellent comic potential. Strong actor and singer. Skipper (Any Gender) Leader of the penguins. Confident, commanding and funny. Kowalski (Any Gender) The intelligent second-in-command penguin. Rico (Any Gender) The tough, karate-chopping penguin. Private (Any Gender) The adorable and innocent penguin. King Julien (Any Gender) The flamboyant King of the Lemurs. Excellent comic timing with strong singing, dancing and acting skills. Maurice (Any Gender) King Julien's cautious second-in-command. Mason (Any Gender) A witty chimpanzee with plenty of personality. Mort (Any Gender) The tiny, lovable lemur. Lynn, Lew, Lee & Lars (Any Gender) Energetic lemurs with speaking roles. Foosa Leader (Any Gender) Leader of the fearsome Foosa predators. Featured Dancers (4) Also portray Lionesses, Steaks, Animal Control Officers and Foosa. The ensemble portray a variety of characters including: Lionesses Lemurs Penguins Foosa Zoo Animals New Yorkers Servers Featured speaking cameo roles include: Candy Hammernose Ship's Captain Passerby Cameraman Newspaper Man Old Lady Police Officers Animal Control Officers

Title: The Unexpected Guest Presented By: New Farm Nash Theatre Genre: Mystery / Thriller Synopsis: On a foggy night in South Wales, a stranger stumbles into a house to find a man dead and his wife standing over him with a smoking gun. What follows is a web of secrets, lies and shocking revelations as the truth slowly unfolds. Directed by Susan O'Toole Cridland, this production remains true to Agatha Christie’s style while exploring darker, more sinister and gothic undertones. Audition Date: Sunday 19 July 2026 Audition Time: 2:00pm Audition Location and Address: Nash Playshed, 4 Amity Street, New Farm Audition Requirements: No prepared piece required. Performers will be asked to cold read from script excerpts. English accent required (a general English accent is suitable). Richard Warwick will be doubled with Inspector Thomas, Julian Farrar and Sergeant Cadwallader. Performance Dates: 13 November – 5 December 2026 Performance Location: The Brunswick Room, Merthyr Road Uniting Church, 52 Merthyr Road, New Farm Creative Team: Director: Susan O'Toole Cridland Production Website: https://www.nashtheatre.com Other information: Ages are approximate and flexible depending on casting. Actors of all backgrounds are encouraged to audition. Available Roles/Character Breakdown: Laura Warwick (Female, 20s–40s) Elegant, composed and emotionally complex. The wife of the murdered man who appears fragile but possesses quiet strength and depth. Michael Starkwedder (Male, 30s–50s) A confident, quick-thinking stranger who becomes entangled in the situation. Charismatic, observant and morally ambiguous. Richard Warwick / Inspector Thomas / Julian Farrar / Sergeant Cadwallader (Male, 30s–60s) A versatile performer to play multiple roles: Richard Warwick: The deceased husband whose brief appearance is pivotal to the story. Inspector Thomas: Methodical, perceptive and authoritative police inspector. Julian Farrar: A reserved and somewhat enigmatic neighbour. Sergeant Cadwallader: Practical, grounded police officer. Miss Bennett (Female, 40s–60s) Laura's efficient and observant secretary. Intelligent, composed and quietly perceptive. Henry Angell (Male, 50s–70s) A devoted and loyal servant. Warm, sincere and protective of the household. Jan Warwick (Male presenting, late teens–20s) Richard's younger half-brother. May be played by a female-presenting, non-binary or gender-diverse performer. Sensitive, troubled and emotionally vulnerable. Mrs Warwick (Female, 50s–70s) Richard's mother. Strong-willed, sharp and formidable, with a commanding presence.

Title: The Opposite Sex Presented By: Act 1 Theatre Genre: Adult Comedy Synopsis: David Tristram, author of What's For Pudding?, turns his attention to marital infidelity and its warring consequences in this adult-humoured comedy. Mark and Vicky are having June and Eric over for dinner. But there’s a catch: they’ve all met before, just not in the combinations you’d expect. It’s a hilarious, fast-moving comedy about secret pasts and very public meltdowns. Audition Time: Sunday 10 May: 10:00am and Tuesday 12 May: 7:00pm Audition Location and Address: Act 1 Theatre, In the foyer at the theatre, Address: 238 Gympie Rd, Strathpine QLD 4500 Audition Requirements: Be ready for a cold read from the script. Audition Registration: For more information, email acttheatre2@gmail.com Performance Dates: 7–23 August Performance Location: Act 1 Theatre Strathpine Performer Age: 18+ Creative Team: Director: Lilian Harrington Production Website:www.act1theatre.com.au Available Roles/Character Breakdown: Mark: High-strung, perhaps a little too aware of his own importance. Vicky: Sharp, organised, and trying to keep it all together. Eric: A bit more "down to earth" (and perhaps a bit oblivious). June: Bold, direct, and definitely not afraid to speak her mind.

Title: Alice (In Wonderland) Presented By: Mousetrap Theatre Genre: Contemporary Musical Theatre Synopsis: Alice is a bold new musical reimagining of the classic Wonderland tale through the lens of mental health, identity, and personal growth. When Alice, a typical Australian high school girl, is drawn into a fractured Wonderland, she must navigate a divided world where emotion is suppressed, logic is distorted, and the mysterious Desolation is spreading. This is not a traditional fairy tale, but a psychological journey exploring anxiety, depression, self-doubt, emotional expression, and learning to live with uncertainty. Audition Date: Tuesday 12 May Audition Time: 7:00pm Audition Location and Address: Mousetrap Theatre, 157 Sutton Street, Redcliffe Audition Requirements: For named non-ensemble roles: Prepare a song of your choice, maximum 2 minutes. Bring a backing track on USB or phone with any required adaptors, or email the track to the director no later than 2 days before the audition. Auditionees will also complete a cold read from the script, with no script preview available beforehand. For ensemble-only roles: No song preparation required. Auditionees will be taught a section of a song from the show and sing it as a group. All auditionees will learn a dance piece at the audition. Wear clothes you can move in. Mobility needs and injuries will be accommodated and will not disadvantage casting. Audition Registration: No booking details listed. Enquiries and backing tracks can be emailed to john@johndacruz.com.au Audition Pack: https://tinyurl.com/2vyua4ss Performance Dates: 31 July - 16 August Performance and Rehearsal Location: Mousetrap Theatre, 157 Sutton Street, Redcliffe Rehearsal Times: Tuesday and Thursday evenings, and Sundays Warnings: Themes include mental health, anxiety, depression Performer Age: Cast members must be a minimum of 15 years old and no older than 40 at the time of audition. Creative Team: Written and Directed by John Da Cruz Production Website:https://mousetraptheatre.asn.au/auditions.html Other information: Successful auditionees are required to become members of Mousetrap Theatre. Membership is due no later than 2 weeks after accepting a role. Available Roles/Character Breakdown: Alice — Stage age 16–18, female, soprano. Curious, overwhelmed, and quietly resilient. A modern teenager learning to navigate uncertainty and find balance within herself. Brief kiss required. Mad Hatter — Stage age 19–30, male, high baritone. Cunning, charismatic, brilliant, unpredictable, and dangerously persuasive. Queen of Hearts — Stage age 20–30, female, soprano. Regal and commanding, believing strength lies in emotional control. Knave of Hearts — Stage age 17–22, male, tenor. Loyal servant who begins questioning his identity. Brief kiss required. The Cheshire Kat — Stage age 19–30, female, alto/mezzo soprano. Sultry, confident, perceptive, and challenging. White Rabbit — Stage age 15–30, any gender, flexible voice. Kind and avuncular, still hoping Wonderland can change. The March Hare — Stage age 20–30, any gender, flexible voice. Loyal confidant to the Mad Hatter; chaotic but with moral scruples. Ace of Spades — Stage age 15–19, female, flexible voice. Young page to the Knave with an unrequited crush; eager but accident-prone. Trilby, Panama, and Beret — Stage age 17–25, female, flexible voices. Hatter’s bodyguards and dancers. Tweedle-Dee and Tweedle-Dum — Stage age 15–30, any gender, baritone/tenor/flexible voices. Once playful figures, now dark heralds of the Jabberwock. The King of Hearts — Stage age 20–30, male, baritone. Gentle and kind, softening the Queen’s ruthlessness. Ensemble — Multiple roles, ages 15–40, any gender presentation and any voice type.