Search Results

Title:  Movie World Fright Nights 2025 Presented By:  Evolution Entertainment Genre:  Live Entertainment / Halloween / Immersive Horror Synopsis: Fright Nights returns to Warner Bros. Movie World in 2025 for another season of scares, screams, and spine-tingling spectacles! Featuring terrifying mazes, eerie scare precincts, live horror performances, and iconic rides operating after dark, this immersive event transforms the park into a nightmare-fuelled Halloween playground. Evolution Entertainment is on the lookout for energetic, committed performers to bring the fear to life. AUDITION INFORMATION: Audition Dates: Wednesday 30th July – 11:00am, 1:00pm, 3:00pm, 5:00pm Thursday 31st July – 7:30am, 9:00am, 11:00am, 1:00pm, 3:00pm Friday 1st August – 7:30am, 9:00am, 11:00am, 1:00pm Audition Location:  Unit 5 / 3 Dalton Street, Upper Coomera, QLD 4209 Audition Registration:   Click here to book your slot Audition Requirements: Must be 16 years or older to audition. Be prepared to participate in movement-based group activities. Bring water and wear comfortable clothing suitable for physical performance and character work. Roles require high energy, commitment, and the ability to perform in character for extended periods. SCHEDULING: You must be available for the following key dates to be considered for casting: Callbacks & Fittings:  August 18–21 Orientation & Training:  September 11–25 Full Cast Rehearsal:  Friday 3rd October Event Nights: October 4 October 10 & 11 October 17 & 18 October 24 & 25 October 31 All cast are required for all event dates. Specific orientation and training times will be confirmed based on casting. OTHER INFORMATION: Warnings: Performances will take place in dim lighting, enclosed spaces, and sometimes loud environments. Physical stamina and the ability to remain in character during high-energy crowd interaction is essential. Production Website:   https://evolutionmanagementco.com.au/evolution-entertainment/ Other Information: Fright Nights is a paid professional event, and performers will be cast into a range of roles across mazes, scare zones, and street theatre-style entertainment.

Title:  Movie World White Christmas 2025 Presented By:  Evolution Entertainment Genre:  Live Entertainment / Christmas Event Synopsis: White Christmas at Warner Bros. Movie World is one of the Gold Coast’s most beloved festive traditions, bringing joy to families every December. The event features dazzling stage shows, a spectacular Christmas parade, beloved characters, magical storytelling, carollers, festive dancers, and more. Evolution Entertainment is seeking a wide range of talented performers to bring this annual spectacle to life! AUDITION INFORMATION: Audition Date(s): Dancers & Vocalists:  Friday 2nd August, 2025 Dancers:  8:00am Vocalists:  12:00pm Actors & Suit Characters:  Saturday 3rd August, 2025 Suit Characters:  8:00am Actors (Open Face):  12:00pm Audition Location: Unit 5 / 3 Dalton Street, Upper Coomera, QLD 4209 Audition Requirements: DANCERS Seeking trained male and female dancers. Be prepared for a dance audition showcasing technique, precision, and performance. Audition Registration:  Click here VOCALISTS Seeking strong singers (all genders) with good stage presence. Prepare 16–32 bars of a Musical Theatre or Contemporary song that best showcases your vocal range. Audition Registration:  Click here ACTORS (Open-Face Characters) Seeking engaging, charismatic actors with strong improvisation skills and festive energy. Expect group activities and character work. Audition Registration:  Click here SUIT CHARACTERS Seeking performers comfortable working in full-body costumes. Must demonstrate physical storytelling, mime, and spatial awareness. Audition Registration:  Click here SCHEDULING: Callbacks & Fittings: Vocalists & Dancers:  10th November Actors & Suit Characters:  11th November Orientation (All Cast):  27th November Training Dates: Dancers & Vocalists:  1st, 2nd, 3rd, 4th & 9th December Actors:  2nd, 4th (TBC), 8th & 9th December Suit Characters:  1st, 2nd, 3rd, 4th (TBC), 8th & 9th December Event Dates (All Cast Required): December 11, 12, 13, 14, 18, 19, 20, 21, 22, and 23 OTHER INFORMATION: You must be 16 years or older to audition. You must be available for all event dates to be considered. This is a paid professional opportunity. Production Website:   https://evolutionmanagementco.com.au/evolution-entertainment/

Title:  Rapunzel Presented By:  Brisbane Arts Theatre Genre:  Musical Theatre (Children’s Production) Synopsis: In this magical musical by Eric Stedman, Rapunzel—kidnapped as a child by the wicked witch Gothel—is locked away in a tower until she is freed by the charming Prince Gunther. But when Gothel discovers their plan to escape, she banishes Rapunzel to the Land of Eternal Winter and blinds the prince. Gunther, his page Rolf, and Rapunzel’s feline companion Pandora must brave the Forest of No Return to reunite with their lost love and restore happiness. Audition Date:  Sunday 13 July, 2025 Audition Time:  1:00pm – 6:00pm (1-hour group slots) Audition Location and Address:  The Lavalla Centre, 58 Fernberg Road, Paddington QLD 4064 Callbacks: Tuesday 15 July, 2025 Audition Requirements: Prepare 2 minutes of a modern musical theatre song (digital backing track required – YouTube is fine). Prepare a comedy monologue (max 2 mins). Cold reading from the script (provided on the day). Participation in a short dance/movement workshop (wear comfortable clothing and closed-in shoes). Auditions will be held in workshop-style groups of up to 10. Audition Registration:   Click here to register Audition Pack:   Download PDF Available Roles: Rapunzel:  Blonde-haired, 15-year-old protagonist with over 20 feet of hair. Prince Gunther:  A brave, charming young man. Gothel:  The old, powerful sorceress and main antagonist. Rolf:  The prince’s loyal and witty page. Pandora:  A white cat and Rapunzel’s loyal friend. Otto & Matilda:  Rapunzel’s birth parents – kind-hearted tinkers. Wheeze, Snort, Gurgle, Whine:  Comedic goblins with quirky personalities. Goblin King:  Armoured ruler of the enchanted forest. Wailing Woods:  Singing trees in the Forest of No Return. The Dreadwyn:  A dragon-like goblin creature. Lone Wolf / Devil Dan:  A forest dweller and a pirate cat. Red Tiger:  A female cat in love with Devil Dan. Shadow/Puppet Roles:  Pandora double, Skeleton in a robe (Black Death), two bluebird puppets. Performance Dates: Wednesday 24 September to Saturday 4 October 2025 Performance Location:  Arcana, 46 Evesham St, Moorooka QLD 4105 Rehearsal Dates: First rehearsal: Sunday 20 July, 2025 Tuesdays & Thursdays: 6:00pm – 10:00pm Sundays: 1:00pm – 6:00pm Recommended Age:  All ages welcome to audition, but must be able to meet singing and movement requirements. Creative Team: Director:  Sarah King Musical Director:  Jen Webber Production Website:   https://www.artstheatre.com.au/productions/rapunzel/ Other Information: Successful cast members must become financial members of Brisbane Arts Theatre ($40 fee). Cast members 18+ must hold or be willing to obtain a Blue Card (free via the company). This is a volunteer/unpaid production.

Title:   Highland Fling Presented By:  Act 1 Theatre Genre:  Theatre Restaurant / Musical Comedy Synopsis: Set in a whimsical, cheeky Scottish world, Highland Fling  is a hilariously farcical theatre restaurant production full of fun, songs, silliness, and over-the-top characters. Whether you're a seasoned performer or just want to give it a bash, this rollicking Scottish tale promises loads of laughs and plenty of opportunities to get involved in a wild, theatrical ride. This is a theatre restaurant show, meaning you'll be performing in and around a live audience enjoying a meal. It's less about polish and more about personality! Embrace your inner Scot and get ready to have a blast! Audition Date: Sunday 22nd June 2025 at 11:00am Tuesday 24th June 2025 at 7:00pm Audition Location:  Act 1 Theatre, Strathpine QLD Audition Requirements: No need to be a vocal powerhouse—just bring your best energy, sense of humour, and readiness to have fun! Yes, there are songs, but it’s more about character, comedy, and confidence than opera singing. Available Roles: To be confirmed at auditions – a variety of comedic and quirky characters. Audition Registration: Please message Act 1 Theatre directly to register your interest or for more information. https://www.act1theatre.com.au/auditions Performance Dates: September 5th to September 20th, 2025

Title:   Frozen Jr. Presented By:  KSP Theatre Company Genre:  Youth Musical Theatre Synopsis: Based on the smash hit Disney film, Frozen Jr.  brings the beloved tale of Princesses Elsa and Anna to the stage with all the magic, adventure, and heart audiences adore. With a powerful score including "Let It Go", "Do You Want to Build a Snowman", and more, this enchanting youth production tells the story of love, acceptance, and the unbreakable bond between sisters. Audition Details: Audition Date:  Thursday 3rd July, 2025 Audition Time:  9:00am – 11:00am and 1:00pm – 3:00pm Audition Location and Address:  KSP Theatre, Burpengary QLD Audition Registration:   Click here to register Audition Pack:   View via Canva Audition Requirements: Open to performers aged 7–18 years Prepare from provided character-specific materials (sent after registration) All auditionees will participate in: A Dance Audition (please wear comfortable clothes to move in) A Vocal Audition  (for leads only: sing “Let It Go” from 0:00–1:26) Guide Vocals Backing Track A Cold Read Audition with script excerpts Ensemble-only performers do not need to complete a solo vocal audition Auditionees may audition for as many roles as they wish Scheduling: Performance Dates: Thursday 2nd October, 2025 – 7:00pm Friday 3rd October, 2025 – 7:00pm Saturday 4th October, 2025 – 2:00pm & 7:00pm Performance Venue: Burpengary State Secondary College Rehearsal Dates & Times Leads & Senior Ensemble Venue:  St Benedict’s College, Mango Hill Time:  Saturdays, 9:00am – 12:00pm Junior Ensemble Venue:  KSP Theatre, Burpengary Time:  Tuesdays, 4:45pm – 6:00pm Tech Rehearsals:  Tuesday 30th September & Wednesday 1st October Creative Team: Paula-Mary Camilleri Teagan Fudge Eli J Ball Lauren Bull Chloe Kerr Required Age:  7–18 years Duration:  Approx. 60–70 minutes Other Information:   This is a tuition-based youth production, providing a supportive and professional experience for young performers. Fees: Show Fee: $240 Costume Fee: $50 Includes: Professional tuition with qualified musical theatre directors & choreographers Frozen Jr. Show Shirt Script and rehearsal materials Professional headshot One complimentary ticket Available Roles: Anna: Our main heroine – optimistic, brave, awkward, and full of love. She goes on a journey to save Elsa and their kingdom. Requires strong singing, acting, and comedic timing. Elsa: The Snow Queen. She’s poised, graceful, and powerful – but emotionally conflicted. Needs a confident performer with strong vocals and presence. Kristoff: A rugged ice harvester with a soft heart. Loyal, funny, and a bit awkward. Great opportunity for strong character acting and singing. Hans: Charming and smooth on the surface, but ultimately deceptive. Requires strong acting, good singing, and the ability to play both sincerity and villainy. Olaf: The magical snowman brought to life by Elsa’s powers. Innocent, funny, and warm-hearted. Needs a performer with great comedic instincts, physicality, and singing ability. Sven: Kristoff’s reindeer companion. Non-speaking but expressive and full of personality. Great physical acting and movement role – perfect for a dancer or physical theatre performer. King Agnarr: Father of Anna and Elsa. A caring and protective king who tries to shield his daughters from danger. Small but important singing and acting role. Queen Iduna: Gentle and wise mother of the girls. A nurturing presence with a warm singing voice and calm energy. Pabbie: A wise and mystical leader of the Hidden Folk. Requires clear speech, confident storytelling, and stage presence. Can be played by any gender. Bulda: Pabbie’s energetic and loving counterpart. Fun, affectionate, and comedic. Needs good comedic timing and big personality. Bishop: Performs Elsa’s coronation. A small but important featured role with a calm and regal presence. Young Elsa: Cautious, responsible, and loving. Young Elsa adores Anna but is scared of her growing magical powers. Middle Elsa: Beginning to feel the burden of her powers. Middle Elsa is more withdrawn and anxious than her younger self. Young Anna: A playful, energetic, and loving child. She's curious, excitable, and loves spending time with her sister Elsa. Middle Anna: The bridge between Young Anna and the older version. Wesselton: A comical and pompous visiting duke. Great comedic timing and physical comedy are a must. Oaken: The friendly shopkeeper who runs Wandering Oaken’s Trading Post. A hilarious cameo with a big personality – perfect for a bold performer. Ensemble: Includes townspeople, palace staff, Hidden Folk, castle guards, and more. Lots of singing, movement, and character acting. Featured lines and solos may be assigned. Dancer Ensemble: For those who love to move! These performers will be featured in choreographed sequences and add life and energy to the group numbers.

Title:  The Soup From Nobody Presented By:  Thundering Productions Genre:  Farcical Murder Mystery Comedy Synopsis: A group of misfit guests is mysteriously invited to a spooky mansion in Romania, promised the most alluring reward of all: soup. But when the enigmatic host is nowhere to be found, ghostly voices begin to echo through the halls, and one of the guests suddenly winds up dead, chaos ensues. Full of sarcastic quips, awkward flirtations, slapstick comedy, and ghostly surprises, The Soup From Nobody  is a modern, hilarious murder mystery with a spooky twist. Originally performed as part of Thundering Productions’ 2024 “New Voices” Scratch Night, The Soup From Nobody  was voted by audiences to be fully produced in 2025 — and now it’s hitting the stage! Audition Date:  Sunday 29th June, 2025 Audition Time:  1:00pm – 2:30pm Audition Location and Address:  Helensvale Library & Cultural Centre, Helensvale QLD Audition Registration:   Register to audition here Audition Requirements: Auditionees must be aged 18+ by the audition date. This is an open audition. To receive audition scripts, register using the online form below or email auditions@thunderingproductions.com . Prepare for group and cold reads using provided audition material. Available Roles: BRENT  – (Male, 18–30s) The sarcastic, dramatic leader of the group. Loyal to a fault, painfully stubborn, and deep in the closet. A master of eye rolls and sass. SIMON  – (Male, 18–30s) The everyman — logical, friendly, and often the voice of reason. For reasons unknown, he’s thoroughly disliked by the others. RHENAE  – (Female, 18–30s) A perfectionist with a trendy edge. Always hyper-prepared, but emotionally awkward. Has a crush on Tom but doesn’t know how to express it. TOM  – (Male, 18–30s) A sweet, bashful ex-high school footballer. Struggles with a stutter after a past head injury. Has a soft spot for Rhenae, but fears she’ll never feel the same. CHRISTIAN  – (Male, 18–30s) Looks like he could bench-press a fridge, but is sweetly naïve and socially clueless. Adopted into Brent’s social orbit. Performance Dates: Thursday 21st August, 2025 – 7:30pm Friday 22nd August, 2025 – 7:30pm Saturday 23rd August, 2025 – 2:00pm (matinee) & 7:30pm Performance Location:  Javeenbah Theatre, Gold Coast QLD Rehearsal Dates & Times: To be confirmed after casting.  A standard community theatre rehearsal period of 6–8 weeks is expected. Warnings:  Includes spooky content and murder mystery themes in a comedic tone. Required Age:  18+ Duration:  Approx. 90 minutes Production Website:   https://thunderingproductions.com Other Information:  This is an unpaid opportunity. Cast and crew are part of a not-for-profit community production team.

Title:   Hairspray Presented By:  Queensland Musical Theatre Genre:  Musical Theatre Synopsis: Set in 1962 Baltimore, Hairspray  follows plus-sized teen Tracy Turnblad whose dream is to dance on the Corny Collins Show. When she finally gets her chance, she becomes an overnight sensation and uses her new platform to fight for integration and inclusion. A joyful and high-energy musical, Hairspray  celebrates individuality, resilience, and the power of coming together. Audition Details: Audition Date:  Saturday 19 & Sunday 20 July 2025 Audition Time:  By appointment (book via audition form) Audition Location and Address:  Queen Alexandra Home, 347 Old Cleveland Rd, Coorparoo (beside Coorparoo State School) Audition Self-Tape Due (if applicable):  Sunday 20 July, 5:00pm Callbacks by invitation: Monday 21 July 7:00pm Audition Registration:   Click here to register Audition Pack:   Download the Audition Pack PDF Audition Requirements: All auditionees will do a singing and movement audition. Vocal: Prepare two contrasting musical theatre song excerpts  (32 bars or approx. 1 min each). Songs from Hairspray  are allowed for one selection only. Bring backing tracks on a phone or device (no CDs/USBs) or provide sheet music for a pianist. No a cappella auditions. Acting: Cold reads may be required from the script for lead roles. Dance Audition  (Sunday 20 July): Group 1 (10:00–11:00am)  – Minimal/no formal dance training Group 2 (11:15am–12:30pm)  – Moderate to advanced dance experience If unavailable during those times, note your situation on the audition form to arrange an alternative/video option. Available Roles: ( All ages are stage-playing ages ) Tracy Turnblad (F, 16–20s, Mezzo Belt): Big voice, big personality, and even bigger hair! Tracy is optimistic, determined, and passionate about social justice. Must be a strong mover with excellent comedic timing and charisma. Edna Turnblad (Male-identifying, 40s–50s, Baritone/Tenor): Tracy’s mother, traditionally played by a man in drag. Warm, maternal, and comedic with a big heart. Requires great comedic skill and comfort with physical comedy. Wilbur Turnblad (M, 40s–50s, Baritone) Tracy’s loving and quirky father. Sweet, supportive, and kind-hearted. Seaweed J. Stubbs (M, Black/African Descent, 16–20s, Tenor) Cool, confident, and smooth. A talented dancer with great vocals. Must exude charisma and warmth. Romantic lead opposite Penny. Motormouth Maybelle (F, Black/African Descent, 40s–50s, Mezzo/Alto with strong belt) Bold, wise, and strong-willed. A local DJ who’s also a powerful civil rights advocate. Must have powerhouse vocals. Link Larkin (M, 16–20s, Tenor) Heartthrob teen idol and Tracy’s crush. Must be vocally strong, charming, and able to balance smoothness with sincerity. Penny Pingleton (F, 16–20s, Mezzo Belt) Tracy’s dorky and sheltered best friend. Awkward at first, she blossoms into a brave and outspoken character. Excellent comedic timing required. Amber Von Tussle (F, 16–20s, Mezzo/Soprano with belt) Snobby, entitled, and competitive. Corny Collins dancer and Tracy’s rival. Strong dancer with the ability to play mean girl to the max. Velma Von Tussle (F, 40s, Mezzo Belt) Amber’s mother and the producer of the Corny Collins Show. Manipulative, racist, and fiercely ambitious. Needs strong vocals and commanding stage presence. Corny Collins (M, 20s–40s, Tenor) Smooth-talking, charismatic host of the Corny Collins Show. Supports integration and change. Needs charm, energy, and strong vocals. Little Inez (F, Black/African Descent, 10–13, Mezzo) Seaweed’s younger sister. Sassy, confident, and talented beyond her years. Big personality and strong dance ability. ( Must be 10 or older at the time of auditions ) The Dynamites (3 Females, Black/African Descent, 20s–40s, Sop/Mezzo Belt) A Supremes-style trio with strong harmonies, powerhouse vocals, and diva attitude. Prudy Pingleton / Gym Teacher / Matron / Female Authority Figure (Female, 30s–50s) Penny’s overbearing mother, plus ensemble female adult roles. Great comedic versatility required. Mr. Pinky (Male or Female, 30s–50s) Owner of Mr. Pinky’s Hefty Hideaway. Fun, flamboyant, and confident. May double with other adult roles. Ensemble Roles (All genders, 15+) Corny Collins Council Kids Record Shop Kids Students Protestors Locals Prison Matron, Teachers, Reporters, etc. Strong singers and dancers of all ethnicities and body types  are encouraged. Scheduling: Performance Dates:  21 - 30 November 2025 Performance Location:  Twelfth Night Theatre Rehearsal Dates:  Starting Sunday 27 July 2025 Rehearsal Times: Sundays: 1:00pm–5:00pm (some cast from 11:00am) Mondays & Wednesdays: 7:00pm–10:00pm Full-day rehearsals: Sunday 12 & 19 October Sitzprobe: Sunday 19 October (all day) Warnings:  Themes of racism and discrimination reflective of the time period. Required Age:  Minimum audition age is 15 years old (except for Little Inez – minimum 10 years old) Creative Team: Director:  Deian Ping Musical Director:  Nicky Griffith Choreographer:  Julianne Burke Production Website:   queenslandmusicaltheatre.com Enquiries:   auditions@queenslandmusicaltheatre.com Other information: Info & Workshop Afternoon: Join the creative team for a fun and informative session to learn more about the show and auditions. Includes a short choreography workshop, Q&A, and meet & greet. Date:  Sunday 29 June 2025 Time:  12:00pm Location:  Queen Alexandra Home, Coorparoo Register:   Register for Workshop Cast Requirements: All cast must become QMT financial members All cast members are required to pay a Production Fee. Cast expected to help with promotional efforts (e.g. social media, posters) If over 18, cast must hold/apply for a Blue Card

Title:  The Foreigner Presented By:  Growl Theatre Genre:  Comedy / Farce Synopsis: Shy Englishman Charlie Baker arrives at a rural fishing lodge in Georgia, USA, desperately seeking peace, quiet, and escape from his problems. To help his friend avoid unwanted conversations, British Army demolitions expert Froggy LeSueur tells the lodge residents that Charlie doesn’t speak a word of English. This little white lie leads to a whirlwind of hilarious misunderstandings, unexpected confessions, shady dealings, and ultimately—heroic transformation.Larry Shue’s The Foreigner  is a warm-hearted, fast-paced comedy that celebrates identity, bravery, and the unexpected ways we find connection—with a few chaotic twists along the way. Audition Details: Audition Date:  Thursday 24 July 2025 Audition Time:  6:30pm Audition Location and Address: Windsor School of Arts, 381 Lutwyche Rd, Windsor Callbacks:  Sunday 27 July, 1:30pm Audition Requirements: Prepare a comic monologue of your choice. Be prepared for cold reads from the script. Email a recent headshot and acting CV to: production@growltheatre.org.au Audition Pack:   PDF Link Audition Registration:   Online Form Available Roles: Charlie Baker  (Male, 30–early 50s): A painfully shy Englishman who must adopt a “foreign” persona to avoid social interaction—until he discovers his confidence. Requires a British accent and a “made-up foreign” accent. Froggy LeSueur  (Male, 30–early 50s): Charlie’s outgoing best friend, a British Army demolitions expert. Requires a Cockney accent. Betty Meeks  (Female, 60+): The widowed, sweet-hearted owner of the fishing lodge. Speaks in a southern accent, and communicates loudly with the “foreigner”. Rev. David Marshall Lee  (Male, mid 20s–30s): A charming Southern preacher hiding a dark agenda. Must appear sincere while being slyly manipulative. Speaks with a smooth southern drawl. Catherine Simms  (Female, 20s–30s): A rich former debutante bored with her life. Engaged to David but rethinks everything after opening up to Charlie. Speaks with a southern drawl. Ellard Simms  (Male, mid 20s): Catherine’s socially awkward younger brother who surprises everyone with his hidden potential. Speaks with a thick southern accent. Owen Musser  (Male, mid 20s–50s): A bigoted local property inspector and co-villain of the play. Speaks with a heavy southern accent. Note:  An accent coach will be provided to support actors with dialects. Scheduling: Performance Dates: 25, 26, 31 October, 1, 2, 7, 8 November 2025 Performance Times: Evenings:  6:00pm – 10:00pm (25, 31 Oct; 1, 7, 8 Nov) Matinees:  1:00pm – 5:00pm (26 Oct; 2, 8 Nov) Performance Location and Address: Windsor School of Arts, 381 Lutwyche Rd, Windsor, QLD, Rehearsal Dates: Starting Sunday 3 August 2025 Rehearsal Times: Mondays & Thursdays:  6:30pm – 9:30pm Sundays:  1:30pm – 5:00pm Backup Weekend:  Cast must be available 14–15 November in case of postponements. Warnings: This play includes depictions of racist and intolerant attitudes, which are challenged within the narrative. Required Age:  16+ Directed by Julie Bray Production Website:   https://growltheatre.org.au/auditions/ Other Information: Cast must become financial members of Growl Theatre ($30 annual membership). Most costumes are provided, but actors may be required to supply small items (e.g., socks, gloves, foundation/makeup basics). Please ensure full availability for performance dates and key rehearsals before auditioning.

Title:  A Midsummer Night’s Dream Presented By:  Villanova Players Genre:  Comedy, Shakespeare, Fantasy Synopsis: Love and magic collide when four lovers and a group of clumsy actors enter a fairy-filled forest. Chaos, spells, and mistaken identities will have you laughing as mischievous fairies meddle with fate. Will love survive the enchantment? This joyful and energetic production will explore the theme of dreams—ranging from the whimsical to the nightmarish. Expect pillow fights, ethnic dancing, Eurovision music, bedroom-inspired sets, and a whole lot of fun, mischief, and magical mayhem. Audition Details: Audition Dates:  Saturday 9 August 2025 Audition Time:  10:00 am – 5:00 pm (Hourly Sessions for Major Roles, 1:30 pm group session for Chorus) Audition Location and Address:  The Hut, Jean Howie Drive, Balmoral Park, Morningside QLD 4170 Audition Registration:   Book Your Audition Time via TryBooking Audition Pack:   Download the Audition Pack Expression of Interest:   Complete this Form Audition Requirements: For Major Roles  (Oberon, Titania, Bottom, Puck, Theseus, Hermia, Helena, Lysander, Demetrius):Prepare a 1–2 minute comic monologue (preferably from Shakespeare, Wilde, Shaw, Coward, or similar). You’ll also read scenes with other auditionees. For Minor Roles & Chorus  (Mechanicals, Fairies, Elves, etc):No monologue required. Be ready to sing, move, and read in a group audition session. The group audition is recommended at 1:30pm, but you may book a different time if needed. Available Roles: THE LOVERS Hermia (F, 20–30) – Bold, defiant, deeply in love with Lysander Lysander (M, 20–30) – Romantic, brave, determined Helena (F, 20–30) – Passionate, insecure, in love with Demetrius Demetrius (M, 20–30) – Stubborn, once in love with Helena, now pursuing Hermia THE COURT Duke Theseus (M, 30+) - Duke of Athens – planning to get married Queen Hippolyta (F, 30+) - Queen of the Amazons – about to wed Theseus. Egeus (Any Gender) - Hermia’s Father or Mother Philostrate (Any Gender, any age) - Theseus's Royal Wedding planner - Master of Revels – General Butler THE MECHANICALS Nick Bottom (M, any age) – Over-the-top weaver; comic gold Peter Quince (Any Gender, any age) – The “director” of the play Francis Flute (M, young man) – Forced into a dress, awkward but sweet Snug (Any Gender, any age) – Timid, scared of forgetting lines Tom Snout (M, any age) – Grows in confidence Robin Starveling (Any Gender, any age) – Irritated moonlight narrator THE SUPERNATURALS Oberon (M, 30+) – Fairy King Titania (F, 30+) – Fairy Queen Puck (Any Gender, 12+) – Mischievous and full of energy, preferably short Peaseblossom, Cobweb, Moth, Mustardseed (M/F, 8+) – Singing, dancing fairy attendants Scheduling: Performance Dates: Friday 7 November 2025 at 7:30 PM Saturday 8 November 2025 at 2:00 PM & 7:30 PM Sunday 9 November 2025 at 2:00 PM Friday 14 November 2025 at 7:30 PM Saturday 15 November 2025 at 2:00 PM & 7:30 PM Sunday 16 November 2025 at 2:00 PM Rehearsal Dates: Further Auditions (if needed): Monday 11th August 7:30pm - 9:00pm Call backs: Wednesday 13th August 11:00 – 1:00pm Public Holiday Workshops & Play readings: Sunday 24th August - Sunday 31st August Rehearsals start: Sunday 7 September 2025 Tuesdays & Thursdays: 7:00 pm – 9:30 pm Sundays: 11:00 am – 4:30 pm Rehearsals begin with Shakespeare games, then move into formal blocking, singing, and dancing. Warnings:  Physical activity, energetic choreography, potential for minor staged combat, and loud music Required Age:  8+ (children welcome for Fairy Chorus roles) Director: by Leo Bradley Production Website:   Villanova Players Auditions Other information: Even if you can’t make the audition date, you are encouraged to fill out the Expression of Interest form.

Title:  When The Wind Blew: A New Australian Musical Presented By:  Shine Performing Arts Academy Genre:  Family-Friendly Original Australian Musical Synopsis: ‘When The Wind Blew’ is a heartwarming new Australian musical that follows Hazel, a young sugar glider who’s afraid of gliding. When a fierce storm separates her from her family, Hazel must summon the courage to journey home. Along the way, she meets a cast of uniquely Aussie characters—each helping her grow in bravery and confidence. With 22 original songs, dance numbers, theatrical magic, and tap dancing, this show is bursting with energy, colour, and charm for all ages. Audition Details: Required Age:  9+ Audition Date:  Saturday 5th July, 2025 Audition Time: 8:30am–10:00am – Children (Ages 9–12) 10:30am–12:00pm – Ensemble 12:30pm–2:00pm – Featured Dancers 2:30pm–5:30pm – Individual Auditions Online auditions accepted by 5pm, Saturday 5th July Audition Location:  Alchemy Studios, Albion Audition Self-Tape Due (if applicable):  By 5pm Saturday 5th July to info@shineperformingartsacademy.com.au Audition Registration:   Audition Registration Form Audition Pack: Download Audition Pack Audition Requirements CHILDREN’S AUDITIONS (AGES 9–12) For roles: Brenda, Tommy, Oliver, Liam, Sophie, Sophie S, and Children’s Ensemble Group dance call (movement capability assessment) Learn and perform a short song from the show Solo singing for those going for named roles Group singing for ensemble auditions Bring a colour headshot (non-returnable) Wear dance shoes (jazz preferred) and comfy movement clothes (no thongs or sandals) ENSEMBLE AUDITIONS (AGES 13+) Beginner & Intermediate dance call options Learn and perform a short song from the show (group presentation) Bring a colour headshot (non-returnable) Dance shoes and movement-appropriate clothing essential FEATURED DANCER AUDITIONS (AGES 14+) Advanced dance call Corner work: turns, leaps, kicks Optional tap combination for those with tap experience Bring a colour headshot and appropriate footwear (jazz and tap shoes) INDIVIDUAL AUDITIONS (Lead/Featured Roles 12+) Prepare two contrasting 1-minute (or 32-bar) sections of musical theatre songs Provide sheet music with clear cuts for accompanist, or bring USB/device with backing track Cold read may be required Bring a colour headshot (non-returnable) Dress to move, wear jazz shoes if you have them Scheduling: Performance Dates: Thursday 6th November 7:30pm Friday 7th November 7:30pm Saturday 8th November 2pm & 7:30pm Performance Location:  StageHouse Theatre, Stafford Rehearsal Dates: Start: Thursday 10th July Rehearsal Times: Tuesdays and Thursdays: 7pm–9pm Sundays: 9am–1pm Rehearsal Location:  St Benedict’s College, Mango Hill Not all cast called to all rehearsals. A detailed schedule will follow casting. Other information: Crew applications can be made by contacting: info@shineperformingartsacademy.com.au All cast aged 18+ must hold a valid Blue Card or be willing to obtain one. All cast must adhere to the Shine Performing Arts Academy Child Safety Action Plan. This is an unpaid community production. No fees required to participate. Tech Week begins Sunday 2nd November Callbacks: Sunday 6th July, 2pm–6pm at Alchemy Studios Albion All auditionees will be notified of outcomes by phone or email following auditions Available Roles: LEAD & PRINCIPAL ROLES HAZEL Female | Playing Age: 12–16 | Voice: Soprano - A young sugar glider struggling with her fear of gliding. Must deliver emotionally rich performances with strong vocal and acting ability. ZIGGY Male | 20–40 | Voice: Baritone/Tenor - A mysterious echidna with a comic edge. Strong comedic timing and physical character work needed. ARTHUR Male | 18–30 | Voice: Tenor - A shy spider seeking his courage. Requires expressive vocals and a natural flair for comedy. PEANUT Female | 18–30 | Voice: Soprano - A sparkly-hearted koala with tap skills and strong presence. Must combine showy dance ability with genuine emotion. DIESEL Male | 18+ | Voice: Tenor - A dingo with a dark, misunderstood edge. Strong actor with haunting intensity and powerful vocals. CURLY Any Gender | 18–30 - A clumsy, comedic curlew. Requires excellent comedic instincts and physical comedy ability. BRIELLE Any Gender | 18–30 - A sneaky goanna with mischief in their stride. Strong stage presence and cheeky charisma needed. COCO Female | 18+ | Voice: Soprano - A nurturing, wise wallaby who narrates the tale. Warm, maternal energy with strong storytelling through song. ADULT SUPPORTING ROLES HAZEL’S MUM Female | 25+ | Voice: Soprano - A loving, supportive figure with gentle warmth. HAZEL’S DAD Male | 25+ | Voice: Baritone/Tenor - Firm yet kind-hearted. Needs paternal warmth and emotional clarity. UNCLE STEVE Male | 25+ | Voice: Baritone/Tenor - Hazel’s energetic and loving uncle. Needs a joyful, light-hearted presence. STEWART Male | 18+ | Voice: Baritone/Tenor - A flamboyant Tiger Quoll. Over-the-top energy and boldness. MILLY / TILLY / LILLY Female | 18–30 - Three flirty Red Wattlebirds. Must be animated, sassy, and vocally confident. CHILDREN’S ROLES (9–12) BRENDA  – Sassy dunnart TOMMY  – Pompous myna bird OLIVER  – Energetic lorikeet LIAM  – Nerdy platypus SOPHIE  – Nosy owl SOPHIE S  – Kind lizard CHILDREN’S ENSEMBLE  – Variety of Australian native animals. Must be enthusiastic movers and character-driven performers. FEATURED ENSEMBLE ROLES (18+) Grouped as Female 1–6  and Male 1–5 , these roles include: Understudies for lead characters News reporters, Emus, Galahs, Wombats, Platypuses, Adventurers, and more Many of these roles have featured solo lines, quick character turns, and physical comedy Ideal for character actors who enjoy quick changes and versatility DANCERS’ ENSEMBLE (14+) A select group of strong dancers with jazz and musical theatre training. Tap, ballet, and acrobatics are a bonus. These roles will enhance musical numbers with high-energy choreography and may feature minor speaking/singing parts.

“I’m not crazy. I’ve just been in a very bad mood for the last 40 years.”   Southern Comfort at Its Finest In their milestone 75th year, Gold Coast Little Theatre presents a heartfelt and homely staging of Steel Magnolias , thoughtfully directed by Tony Campbell. Robert Harling’s 1987 play may be decades old, but its exploration of female strength and unshakeable friendship is as resonant as ever. The title says it all: these women are as delicate as magnolias, yet steely at their core. The dialogue is a treat, quick, clever, and full of Southern spice. Campbell’s direction honours the script’s emotional honesty, allowing humour, heartbreak, and humanity to bloom organically. He leans into a grounded, naturalistic style so that each emotional beat rises and falls with authenticity. The story is given room to breathe, with well-timed pauses, punchy laughs, and raw emotion. The conversations feel real: gossip mingles with wisdom, and laughter cushions sorrows. Set entirely in a beauty salon in small-town Louisiana, Steel Magnolias  offers a window into six women’s lives as they navigate weddings, babies, holidays, heartbreaks, and healing. At its centre is Shelby, a young woman with type 1 diabetes, and her strong-willed mother, M’Lynn, as she makes life-altering choices about marriage and motherhood. The play unfolds across four separate days at the salon. It begins on Annelle’s first day, which also happens to be Shelby’s wedding day. This is followed by a lively Christmas gathering, then a reunion some years later marked by life-changing news, and finally, a crisp autumn morning where the air is colder, the stakes are higher, and the bond between these women feels stronger than ever. The rhythms of their community—how news spreads, the small rituals, and the quiet acts of support—feel comfortingly familiar. I’ve never seen the film, but it’s no wonder this play is so cherished. This cast brings it to life with the perfect mix of timing, twang, and tenderness.   A Sisterhood in Sync It’s in the haven of Truvy’s store and the comfort of a salon chair that we meet the six women whose lives intertwine through years of celebrations, challenges, and growth. The ensemble is strong across the board, with each actor bringing unique depth to capture their character's authenticity. Corinne Le Claire delivers a searing, honest performance as M’Lynn: equal parts composed strength and vulnerability cracked open. Her climactic monologue, filled with shaking rage and an unbearable sorrow, is one of the production’s most powerful moments. The emotional crescendo lands like a punch to the chest, and what makes it even more affecting is how the rest of the cast responds to her anguish, as if they’re hearing it for the very first time. From the moment Olivia French steps onstage, she radiates optimism. Her portrayal of Shelby balances youthful hope with steely resolve, capturing the quiet complexities of invisible illness with grace. Whether she’s beaming about her wedding or standing her ground against her mother’s concern, her spirit is luminous, drawing everyone in. The chemistry between French and Le Claire is tender and layered, especially in the simmering tension that threads through their mother-daughter relationship. Katie Stargazer brings charm and warmth to Truvy, the beating heart of the salon. With big hair and an even bigger heart, she commands the space with a friendly, no-nonsense presence. As the glue that holds this group together, Truvy is always ready with a quip, a kind word, or a teasing nudge. Stargazer brings sparkle and steadiness to the role, anchoring the salon as both refuge and routine. Her evolving bond with Annelle is a beautiful slow burn that blossoms over time. As Annelle, Tianna Paget gives a beautifully restrained and grounded performance. Her character’s evolution—from shy and uncertain stylist to self-assured and devout community member—unfolds with organic ease (all while sporting gorgeous hair of her own). She uses posture, tone, and expression to chart this transformation, without requiring any big, dramatic moments. By the end of the play, Annelle feels like a fully realised, completely changed woman, and the subtlety of that shift makes it all the more powerful. Kate Peters OAM is a scene-stealer as the grumpy and glorious Ouiser. Her every entrance delights, and each line lands with perfect comedic bite. She masterfully balances exasperation with care, never tipping into caricature. Sharp, unpredictable, and endlessly entertaining, Peters garners some of the show’s biggest laughs with nothing more than a well-timed groan or a deadly look. Laney McLean is an elegant favourite as Clairee, bringing a calm poise that beautifully balances the more eccentric energies around her. McLean delivers some of the script’s most iconic one-liners as her dry wit slices through the conversation with surgical precision, while her character’s quiet wisdom and maternal presence add warmth to every scene she’s in.   Live Beauty in Action The entire play unfolds in Truvy’s bustling beauty salon, one of the most richly detailed sets I’ve seen in some time. Designed by Andrew Kassab and Lawrie Esmond, the staging is a masterclass in immersive world-building. Wood-panelled floors, working wash station, hair-drying hood, floral artwork, seasonal décor, and shelves stacked with beauty products—you can almost smell the conditioner and hairspray! It’s not just a backdrop—it’s a seventh character—a sanctuary, a confessional, a community hub. Adding an extra layer of authenticity is the live hairstyling and beauty work, overseen by Ann-Britt Riget during rehearsal. From nail painting and roller setting to full-on hair washing and blow-drying, everything happens in real time. This tactile pampering unfolds right before our eyes, grounding the show in realism and heightening our sense of intimacy with the space. A particularly clever directorial choice lies in how the transitions between the four acts are handled. Instead of elaborate or jarring set changes, stagehands—disguised as salon staff—quietly reset the space, spritzing counters and refreshing props as though preparing for a new day of clients. Paired with calming music, these transitions gently signal the passage of time while the actors change costumes with impressive speed. Andrew Borg’s lighting design subtly shapes the show’s emotional arc, shifting with the s easons and moods. During Shelby’s hypoglycaemic episode, the salon’s warm glow fades just enough to signal a chilling change. Later, as the ton e darkens, the light gradually drains from the space, echoing the heaviness carried by the characters. The lighting never demands attention—it's quiet, intentional, and responsive. Costumes, by Katie Stargazer, suit each character to a tee. From Truvy’s bold prints and chunky hoops to Clairee’s chic elegance and Shelby’s signature pinks, every outfit is a reflection of personality. Ouiser, of course, is delightfully unbothered—her wardrobe is as unpredictable as she is. These thoughtful costume choices give us a sense of who these women are before they even open their mouths. Simon Fox’s sound design gives the world a subtle but vital heartbeat. The soft hum of a radio, the bark of a dog, gunshots—these ambient cues ground us firmly in Chinquapin Parish, reminding us that the life extends beyond the salon’s walls, even as these women’s stories unfold within. One of the production’s quietest strengths is its ambiguous sense of era. While some elements suggest a modern setting—like the clothes and hairstyles—others, like landline phones, portable radios, and the unhurried pace of life, evoke a bygone time. The show floats in a kind of timeless in-between: familiar and unbound by specific dates. It’s a smart, subtle choice that allows the story’s emotional truths to resonate across generations.   A Love Letter to Womanhood At its heart, Steel Magnolias  is a celebration of community; the kind that flourishes over coffee, laughter, and a fresh hairstyle. It’s about chosen family, the people who show up for each other through joy and heartache. Though we never meet the men so often mentioned, their presence lingers in the women’s stories. More than that, we sense the hum of a whole town just beyond the salon walls, supporting, complicating, and ultimately loving. This isn’t a show of spectacle or grand drama. Its power lies in its truth. The women we meet in Truvy’s salon are gloriously human: funny, fierce, generous, complicated, and strong in ways that aren’t always loud. This show is a tribute to real women and real love. Their strength is in showing up. In listening. In knowing when to crack a joke and when to simply offer a hand. And the script walks that tightrope between comedy and drama with grace, teaching us how to laugh, how to cry, and how to do both at the same time. That final act—where the women gather again, bruised but unbroken—lands with profound emotional weight. The salon endures, just like they do. And in the smallest gestures—a friend brushing your hair, handing you a coffee, or making you laugh when you thought you couldn’t—the play offers gentle answers to life’s biggest questions. How do we keep going? The answer is simple: together. Nothing about this production feels overworked or performative. It’s lovingly observed, deeply grounded, and drawn with tender clarity. It moves with the rhythm of real conversation, and in doing so, it feels less like theatre and more like overhearing a conversation at your hairdresser's, eavesdropping on women who remind you of your mum, your friends, maybe even yourself. It is theatre that is lovingly crafted from top to bottom. Like the best kind of haircut, it leaves you feeling a little lighter, a little braver, and a little more yourself. Now playing until 14 June

The Children By Lucy Kirkwood Directed by: Heidi Gledhill Produced by: A Moveable Theatre and Amanda McErlean Presented by: PIP Theatre At PIP Theatre | 4th – 21st June 2025 “Hi! Are you well? Would you like to come and get cancer with me?” Lucy Kirkwood’s  The Children invites us into a world that’s both domestic and apocalyptic; where former colleagues sip wine, air old grievances, and quietly confront the question of what we owe the next generation. Inspired by the real-world echoes of the 2011 Fukushima disaster, this “nuclear-powered dark comedy” is less boom and more slow burn—haunting, human, and surprisingly intimate.   The story centres on Hazel and Rob, two retired nuclear engineers living in quiet isolation near a radioactive exclusion zone after a natural disaster-turned-nuclear catastrophe reshaped their world. Their familiar, slightly strained routine is disrupted by the unexpected arrival of Rose—an old colleague they haven’t seen in nearly forty years, and who they’d long assumed was dead. What begins as a small-talk reunion quickly shifts into a gripping moral standoff, as Rose presents a proposition that forces Hazel and Rob to confront uncomfortable truths about sacrifice, accountability, and the legacy they’ll leave behind.   Despite the enormous, almost apocalyptic backdrop, The Children  is a deeply personal conversation between old friends; albeit one steeped in decades of grief, guilt, resentment, and tension simmering just beneath the surface. The three actors, Amanda McErlean (Rose), Julia Johnson (Hazel), and Terry Hansen (Rob), deliver a delicious dynamic that captures the emotional complexity of their characters intertwined pasts, unresolved present, and uncertain future. Julia Johnson’s performance as Hazel is quietly magnetic—measured and meticulous, with an undercurrent of anxiety that never quite settles. She perfectly captures Hazel’s fierce pragmatism and subtle righteousness, especially as the character tries to maintain order in a world that’s long since spiralled out of her control. Her blend of sharp intelligence, self-preservation, passive-aggressive wit, and weary caution makes Hazel both frustrating and deeply human. Her monologue near the end is phenomenal: tense, real, and emotionally layered. Hazel’s vivid recounting of the disaster—the earthquake, tsunami, the reactors exploding, and the chaos of returning to a home swallowed by water and mud—was incredibly affecting. It brought back sharp memories for me. No, I wasn’t in Japan, but my own home went under in the 2011 Brisbane floods, and I’ll never forget the mess, the smell, and the overwhelming sense of displacement. Though the play’s catastrophe is fictional and set in Australia, its emotional truth hit me like a wave. Hazel and Rob abandoned their home, their farm, their cows, and their former lives—feeling too old and too overwhelmed to start again. Amanda McErlean’s Rose arrives like a ghost from the past with a proposition that’s hard to refuse, and even harder to accept. Amanda plays her with silent intensity, carrying the heavy guilt of a generation who left behind more mess than solutions. Her delivery of, “We can’t have everything we want just because we want it,” is one of several truth bombs that lingers from the script. I could truly see both sides of the debate between her and Hazel. I don’t know what I would do in their position either. The two women are fascinating opposites: Hazel, clinging to the comforts of routine and the illusion of control; Rose, desperate to do something meaningful before it’s too late for “the children.”   Terry Hansen’s Rob provides comic relief and emotional grounding. His natural charisma and dry humour are perfectly executed, adding levity without ever undercutting the gravity of the story. I especially loved his witty exchanges with Hazel; their affectionate insults landing like a long-married couple who’ve weathered both disasters and dinner parties. He also injects a surprising tenderness to the role, stepping in with emotional steadiness when it counts. On a personal note, I used to listen to Terry every morning on the 97.3 breakfast radio show during my hour-long drive to high school, so seeing him live on stage felt like a nostalgic little thrill. His comic timing landed beautifully—especially with the older audience, who laughed knowingly at many of his jabs about marriage and ageing. Without consistent power or clean water, the characters survive on salads, bread, and homemade wine (which fuels much of the passive-aggressive digs between the women). The dialogue is tightly written, layered, and rich with subtext. Much remains unspoken, which makes the slow reveal of emotional history and long-held resentments all the more powerful. Themes of environmental responsibility, intergenerational sacrifice, and the creeping burden of ageing permeate the conversation. The set design by Helena Trupp complements the tone perfectly. The simple cottage interior feels lived-in and homely, yet oddly wrong, being perched on the edge of a radioactive no-go zone. Her beautifully designed video backdrop of a changing sky and looming power lines serves as a subtle reminder of the radiation and electricity still lingering in their world. Director Heidi Gledhill maintains a deliberate yet engaging pace, allowing the characters to develop and the tension to build gradually without feeling sluggish. One of the play’s most piercing lines is delivered by Rob: “You have a duty to that girl to fuck off at some point.” It’s a brutal and candid statement—a reminder of our mortality and the terrifying reality that we won't always be there to guide and protect our loved ones. By the time the ending arrives, equally open-ended, bleak, and hopeful, it feels deeply earned. The Children doesn’t spoon-feed you answers. It simply hands you the weight of its question and lets you carry it out of the theatre. It asks what we owe future generations, what we’re willing to give up, and whether any choice we make today can truly undo the damage already done. If you’re drawn to smart, character-driven drama with moral complexity and a sprinkle of dark humour... this is for you. Tickets Available Here Photography by Kris Anderson (Images by Anderson) and Naz Mulla Photography