Title: Shrek The Musical Presented By: Limestone Revue Genre: Musical Theatre Synopsis: Shrek The Musical follows Shrek, a grumpy green ogre who lives alone in his swamp until his home is overrun by exiled fairytale creatures. To reclaim his peace, Shrek sets out on a quest to rescue Princess Fiona for Lord Farquaad. Along the way, he is joined by the endlessly chatty Donkey and discovers that love, friendship and heroism can come in unexpected forms. Audition Date: Video auditions In-person auditions available at the Limestone Open Day on 13 June Audition Location: In-person audition option: North Ipswich Scout and Guide Hut Audition Requirements: Submit a video including: Your name Your age Whether you are a Scout/Guide The character you are auditioning for, if applicable A musical theatre song of your choice The song may be from Shrek The Musical. It is not necessary to audition for a specific character, but performers are encouraged to have a go. Audition Registration: Email video auditions to revue@moreton.scoutsqld.com.au Application Form: https://forms.gle/HVtc6ArooPtvfB1e6 Audition Pack: https://limestonerevue.wordpress.com/cast-sign-on/ Performance Dates: 1–3 October Performance Location: Ipswich State High School Performing Arts Building, 1 Hunter Street, Brassall Rehearsal Times: Sundays and character-related Tuesday nights Rehearsal Location: North Ipswich Scout Den Performer Age: 8-30 (confirm with Limestone) Production Website: https://limestonerevue.wordpress.com/cast-sign-on/ Other information: Limestone Revue is a free activity this season Cast and crew who are able are asked to support fundraising events throughout the season Digital scripts and rehearsal materials will be used Any physical materials must be returned at the end of the season due to licensing compliance Enquiries: revue@moreton.scoutsqld.com.au Available Roles/Character Breakdown: Shrek – Range A2–G#4 - A grumpy ogre who lives alone in his swamp. Initially isolated and defensive, he gradually reveals his layers and becomes the hero of the story. Fiona – Range F3–G5 - Princess of Far Far Away. Quirky, blunt and talented, she transforms into an ogre at night and is not an ordinary princess. Donkey – Range C3–B4 - A talkative, optimistic donkey who joins Shrek’s journey and becomes his unlikely friend. Lord Farquaad – Range B2–D5 - The comically short and ruthless ruler of Duloc. Self-absorbed, lonely and cruel, with strong comic potential. Dragon – Range F3–Eb5 - Imposing and flirtatious dragon guarding Princess Fiona. Eventually falls in love with Donkey. Gingy – Range B3–C#5 - A witty gingerbread man who inspires the fairytale creatures. Puppet role, potentially operated by the performer playing Sugar Plum Fairy. Pinocchio – Range E3–F#4 - Leader of the fairytale creatures. Animated, sassy and prone to lying. Ensemble - A large range of fairytale creatures and featured ensemble roles, with many opportunities for solo lines and character moments.

Title: Roald Dahl’s Matilda JR. Presented By: Brisbane Junior Theatre (BJT) Genre: Junior Musical Theatre Synopsis: Matilda JR. follows the story of Matilda, a clever young girl with an extraordinary imagination and a love of learning. Misunderstood by her parents but encouraged by her caring teacher Miss Honey, Matilda faces the terrifying Miss Trunchbull and discovers the courage to stand up for herself and others. Packed with energetic songs, humour and heart, the show celebrates bravery, creativity and the power of young voices. Audition Date: Saturday 20 June 2026 Audition Time: 1:00pm – 4:00pm Audition Location and Address: Emerge Church, 1 Coorparoo Road, Warner QLD 4500 Audition Requirements: Perform a song Participate in a dance audition Memorise and perform a monologue with characterisation Younger children may prepare only a sentence or two instead of a full monologue Auditions are required for: Lead roles Minor roles Featured dancers Soloists Everyone who auditions will be included in the cast Audition Registration: Registration available via the website Audition Pack: https://brisbanejuniortheatre.com.au/performances/matilda-jr-july-2026/ Performance Dates: Friday 3 July 2026 and Saturday 4 July 2026 Performance Times: Friday: 6:00pm & 8:00pm and Saturday: 12:00pm & 2:00pm Performance Location: Emerge Church, 1 Coorparoo Road, Warner QLD 4500 Rehearsal Dates: 29 June – 3 July 2026 Rehearsal Times: Monday to Friday, 8:30am – 5:00pm Performer Age: Children and youth performers Production Website: https://brisbanejuniortheatre.com.au/performances/matilda-jr-july-2026/ Other information: Wheelchair accessible venue BJT productions operate on a “Show in a Week” rehearsal model An optional Audition Intensive Workshop will be held on Saturday 13 June 2026 from 12:00pm – 3:00pm at Emerge Church Upstairs Studio Intensive cost: $50 Workshop covers audition skills including monologues, singing, movement, accents, characterisation and performance technique with individual feedback provided Available Roles/Character Breakdown: Matilda Wormwood - The hero of the show. She’s brilliant, resilient, creative, and kind, despite growing up in difficult circumstances. Her parents treat her poorly, but Matilda escapes into a world of books, which puts her reading level far above the other children in her class, and she develops a bit of magical power in an effort to defeat Trunchbull. Vocal range: Bb3 - D5 Bruce - One of Matilda’s schoolmates. He has the bad luck to get caught after eating Trunchbull’s cake. Bruce goes through quite a transformation throughout the show and has some important solos. Vocal range: C3 - F#4 Lavender - One of the kids at school with Matilda. She is kind and bright and quickly decides that Matilda is her best friend. Vocal range: C4 - D5 Mr. Wormwood - Matilda’s father. He is egotistical, rude, and not very bright, not to mention a liar. Though Mr. Wormwood is not a good person and he is mean to Matilda, his harebrained schemes can be hilariously funny! Mrs. Wormwood - Matilda’s mother. Like her husband, she dislikes Matilda and does not understand why her daughter loves to read. Mrs. Wormwood is selfish, obsessed with her own appearance, and believes everything she sees on TV. Her dancing lessons with Rudolpho are the most important part of her day. Michael - Matilda’s brother. He is not very bright, though he is the apple of his father’s eye. This is a hilarious supporting role for a silly actor! Miss Honey - A teacher at Matilda’s school. She is kind, is generous, and really cares about the children despite her own desperate circumstances. Vocal top: Bb3 - D5 Agatha Trunchbull - The quintessential terrifying tyrant. As headmistress, she runs her school like a dictator, making up arbitrary rules to suit her every whim and dreaming up creative punishments. Vocal range: C4 - F#5 Rudolpho - Mrs. Wormwood’s self-obsessed dance teacher. This is a hilarious featured role for a comedic performer who moves well. Ensemble - Ensemble roles include Russians, Matilda’s Classmates, Mums, Dads, the School Cook, and the Mechanic.

Title: All I Want for Christmas Presented By: Lind Theatre Genre: Comedy / Christmas Play Synopsis: On Christmas Eve, a desperate father walks into a gift and toy store searching for his daughter and takes the remaining customers hostage. With police involvement, family tensions, unexpected helpers and plenty of chaos, All I Want for Christmas is a festive comedy about strangers caught together in a crisis. Audition Date: 15 & 16 July 2026 Audition Time: 6:30pm Audition Location and Address: The Lind Theatre, 16 Mitchell Street, Nambour Audition Registration: Contact Cec Rebetzke: 0411 044 452 or cecwr45@hotmail.com Performance Dates: 23–31 October 2026 Performance Location: The Lind Theatre, 16 Mitchell Street, Nambour Production Website: The Lind Theatre Auditions Available Roles/Character Breakdown: Dusty Peters (30–40) Sales clerk in his mother’s gift/toy store. Bran Haste (20–30) Single ladies’ man working at the store in a Santa outfit until his acting career takes off. Maggie Grant (20–30) Attractive but intimidating licensed vet technician with horrible taste in men. Howard Concord (35–40s) Mailman whose wife has left him and taken their ten-year-old daughter. Linda Applebee (35+) Self-absorbed socialite who looks younger than her age. Requires a good singing voice. Alvin Applebee (10 years old) Linda’s son. Spoiled, smart-alecky and loves robots and trains. Wilma Peters (60+) Dusty’s mother and owner of the gift store. Frugal. Doug O’Brien (40+) Police Chief who would rather be spending a quiet Christmas Eve at home. Alex Camerun (Male or Female, 25+) Young, eager detective keen to impress the Chief during a crisis. Jessica Concord (9–10 years old) Howard’s daughter. Loves model trains and her father. Minor role. Voice Roles: Radio DJ and Alice Concord, Howard’s soon-to-be ex-wife.

Title: Women in Uniform Presented By: Coolum Theatre Players Genre: Comedy / Musical Theatre / Ensemble Theatre Synopsis: Set in a remote all-women army barracks of the United Nations Peace Keeping Forces, Women in Uniform follows a rag-tag group of quirky, mismatched female soldiers stationed at Camp Firebird. Tasked with staging a morale-boosting Parade Drill to impress a visiting general, the group quickly finds things spiralling into a chaotic variety show while navigating military mishaps, personal dramas and the absurdity of army life. Audition Dates and Times: Sunday 12 July: 2:00pm or 4:00pm Wednesday 15 July: 6:30pm Callbacks, if required: Sunday 19 July at 1:00pm at Rory Williamson School of Dance. Audition Location and Address: Sunday auditions: Rory Williamson School of Dance, 12 William Street, Coolum Beach Wednesday audition: Coolum Civic Centre, Park Street, Coolum Beach Audition Requirements: All auditionees will be taught a song excerpt and choreography, then perform in groups. Speaking role auditionees should familiarise themselves with provided script excerpts. Solo singing role auditionees should prepare a maximum 2-minute song excerpt with backing track. Wear comfortable shoes suitable for dancing. No thongs or bare feet. Audition Registration: Book an audition time Enquiries: linda@gefken.com.au Audition Pack: Audition Requirements and Information Cast List and Voice Ranges Audition Script Excerpts Draft Script Audition Form and Participation Conditions Performance Dates: 20, 21, 22, 27, 28 and 29 November 2026 Possible additional performance Saturday 28 November at 7:30pm and possible preview Sunday 15 November at 2:00pm. Performance Location: Coolum Civic Centre, Park Street, Coolum Beach Rehearsal Times: Commencing Wednesday 2 September 2026 Wednesday evenings: 6:30pm–9:30pm Sunday afternoons/evenings: 4:00pm–8:00pm Monday evenings may be added from October if required. Compulsory tech/dress rehearsals: Saturday 14 and Sunday 15 November, 9:00am–5:00pm Compulsory mid-run rehearsal: Wednesday 25 November Rehearsal Location: Wednesday rehearsals: Coolum Civic Centre, Park Street, Coolum Beach Sunday rehearsals: Rory Williamson School of Dance, 12 William Street, Coolum Beach Creative Team: Director: Linda Gefken, Writers: Liza Burgess and Linda Gefken Production Website: https://coolumtheatre.com.au/auditions/ Other information: All cast sing and dance in the ensemble. Cast size expected to be 16–20. All cast and crew must become financial members of Coolum Theatre Players ($15). Cast must provide black, flat lace-up boots. No roles are paid. Stage, tech crew and front of house volunteers are also sought. Auditions will be videoed for the director’s reference. Production contains military comedy, personal drama and references to domestic violence, mental health, prison/ex-con experience and army life. Available Roles/Character Breakdown: Sergeant “Mac” MacDonald (30+) - Tough but fair leader of Camp Firebird. Dry wit, hidden warmth and a soft spot for Luna. Small solos and duets. Corporal Morgan Schmidt (25+) - Over-organised logistics perfectionist who tries to control the chaos. Fancies herself as an opera singer. Small solos. Private Luna “Tick” Bell (18+) - Spacey dreamer and wannabe star. Creative, scrappy and impulsive. Small solos and duets. Private Dana “Kapow” Gregory (25+) - Heavily tattooed ex-con and pyromaniac turned explosives and camouflage specialist. Explosive temper and deep distrust. Small solos. Private Francis “Frankie” Thomas (25+) - Sarcastic, loyal Corps mechanic with a heart of gold. Misses her wife and daughter. Small solos. Private Ellie Rogers (18+)Sweet, shy and seemingly unsuited to army life. A wallflower with a surprising poetic side and powerful voice. Two large solos plus small solos. Private Barb “Barbara Anne” Bateman (18+) - Optimistic team player and 1950s fanatic. A domestic violence survivor finding strength through friendship. Small solos and duets. Private Patty Pink (18+) - Outrageously bizarre, joyful and pink-obsessed misfit with dry wit. Non-singing speaking role. Private Rachael “Posh Spice” Fortescue-Spencer (18+) - Upper-class British, snobbish, wordy and neurodivergent. Hygiene-focused and proud of her family history. Small solos. Private Yasmin “Whiner” Winehouse (25+) - Amy Winehouse-inspired character who claims to have been a backing singer but cannot sing. Whingey, whiny and a little dim. Non-singing speaking role. Commander Jane Ironwood (40+) - Cold, no-nonsense commanding officer of Camp Firebird. Secretly supports the women. One duet. General Gloria Mallory (50+) - Brutal, straight-arrow U.N. General with a hidden theatre-kid past and surprising softer side. One solo, dancer. Additional Ensemble - Other members of the Firebird Corps and the General’s entourage.

Title: The Architect Presented By: Centenary Theatre Group Genre: Contemporary Australian Drama Synopsis: Award-winning Australian playwright Aidan Fennessy's The Architect is a moving and uplifting contemporary drama about friendship and the unexpected connections that can change our lives. When Helen's partner John heads overseas, she reluctantly agrees to employ a temporary carer. Against all expectations, she chooses Lennie – a young drifter and jack-of-all-trades whose qualifications are questionable, but whose enthusiasm for life is undeniable. As an unlikely friendship develops, Helen and Lennie help one another confront difficult truths, discovering that hope, humour and companionship can be found in the most unexpected places. Warm, funny and deeply human, The Architect explores end-of-life choices, resilience and the comfort we find in meaningful connection. Audition Date: Saturday 11 July 2026 Audition Time: 10:00am Audition Location and Address: Chelmer Community Centre, 15 Queenscroft Street, Chelmer QLD Audition Requirements: All auditionees will be required to cold read excerpts from the play. Performance Dates: 5–27 September 2026 Performance Location: Chelmer Community Centre, 15 Queenscroft Street, Chelmer QLD Warnings: Themes of terminal illness and end-of-life choices. Director: Brian Hinselwood Production Website: https://www.centenarytheatre.com.au/auditions For enquiries, contact Brian Hinselwood on 0417 622 553 or brian@hinselwood.net. Available Roles/Character Breakdown: Helen (Female, 60s–70s) - Intelligent, fiercely independent and confronting a life-changing diagnosis. A complex, emotionally rich leading role. Lennie (Male, 20s–30s) - A charismatic drifter and jack-of-all-trades with boundless optimism and a significant secret. Warm, engaging and full of life. John (Male, 60s–70s) - Helen's devoted partner. Practical, caring and deeply committed to those he loves. Jeremy (Male, 30s–40s) - A doctor and close friend of Helen and John. Compassionate, professional and supportive.

Fireface Presented by: The Velvet Collective Venue: PIP Theatre Attended: 26 June 2026 Written by: Marius von Mayenburg Translated by: Maja Zade Director: Nic Davidson Stage Manager: Ursula Heesh Composer and Sound Designer: Hannah Page Lighting and Vision Designer: Teddy Waddingham Set and Costume Designer: Harrison Thorne Graphic Designer: Lucille Bennett Intimacy Coordinator: Cindy Ambridge “Those who don’t eat get eaten. Those who don’t burn, get burned.” There are dysfunctional families, and then there is the family at the centre of Fireface... Every warning sign is blinking red, the teenagers are building Molotov cocktails, and somehow nobody thinks, “Perhaps we should intervene immediately.” Written by Marius von Mayenburg and translated by Maja Zade, Fireface follows siblings Kurt and Olga, two teens who are dreading growing up and becoming like their parents. Their unhealthy co-dependence grows more dangerous when Olga begins a relationship with Paul, an outsider carrying his own bruises from home. This is not a gentle family drama. This one’s got incest, sexual trauma, violence, arson, neglect, and several more choices that had me internally yelling, “Can someone please be the adult here?!” Spoiler alert: no one steps up to the plate. Harrison Thorne’s set places the family inside a sparse home. With just a bed, a dining table, a TV, and some dividing walls for good measure, it’s like a starter kit for suburban living. It’s familiar enough to recognise, but there is little warmth or privacy. Teddy Waddingham’s lighting and vision design makes the space even more uneasy. A TV monitor works like a nosy neighbour peeking through the blinds. The characters are constantly visible, yet rarely understood. The digital window, with its lone tree outside, is another clever touch. Hannah Page’s composition and sound design builds the tension steadily. By the final scenes, the lighting, video, and sound turn the home into a domestic hellscape. Mayenburg’s script is made up of short fragments, with scenes beginning and ending before the audience has time to settle. Characters step out of the action to share memories, thoughts, and strange pieces of narration. Some of these asides were intriguing, while others remained difficult to follow. The rapid shifts also meant that a few emotional moments passed before they could fully land. The early performances had some stiffness too, where several exchanges and arguments sounded recited. As things became more dangerous, though, the acting stepped up a notch. Logan So gives the standout performance as Kurt. You can spot his isolation right from the start through his statue-like stillness, thousand-yard stare, and habit of drifting away from the people around him. His fascination with bombs, fire, and violence is unnerving because he often discusses destruction with the passion of someone describing a hobby. As Kurt’s mental health deteriorates, he becomes increasingly detached and eventually almost non-verbal. The line, “His mind had closed off. The shutter had come down,” suits So’s performance perfectly. He draws Kurt inward until the eventual violence seems like the result of every warning being ignored. Ava Ryan takes on the difficult role of Olga, a character who cries, provokes, controls, and eventually attempts to escape the relationship messes she created. Her incestuous bond with Kurt is intentionally unsettling to witness and designed to make you squirm. Cindy Ambridge’s intimacy coordination allows the production to depict that relationship clearly without dwelling on it unnecessarily. Olga initiates the sexual contact, while Kurt does not resist, leaving both siblings trapped in a relationship where affection, sexuality, and childhood have become tangled together. Ryan captures Olga’s volatility and fear of abandonment, and she embraces the ugliness of the role. Adam Dobson brings a welcome naturalism to Paul. At first glance, he seems like the average Joe boyfriend stumbling into this unusual household. It turns out he’s sticking around because his own father is violent, and this family offers him shelter. Dobson and So create one of the production’s most convincing conflicts. Paul and Kurt come across like two emotionally numb young men who see a bit of themselves in each other, even as Olga stands between them. Their scenes had a natural flow that some of the family exchanges lacked, and their physical tussle was handled convincingly. Amy Chien-Yu Wang as the Mother worries about her children’s increasingly alarming behaviour, yet never seems able to do anything useful about it. Her exhausted line, “Don’t even try, I’ve given up,” was darkly funny and appalling under the circumstances. Christopher Farrell as the Father retreats behind his newspaper and stories about serial killers (probably hoping the news about serial killers will make his parenting seem top-notch by comparison). They have different parenting styles, but neither offers the children any real stability. It’s like the parents and kids are living on different planets. The teenagers show little affection towards their parents, while the adults become increasingly frightened of the people they raised. Every warning is dismissed as puberty, temperament, or difficult teenage behaviour. Kurt becomes fixated on weapons, kills animals, builds explosives, commits arson, and withdraws from speech before anyone takes meaningful action. Director Nic Davidson keeps the pace sharp and uses the space well. His blocking often places the family close together while making their emotional distance obvious. The play does not excuse Kurt and Olga, but it does ask how they reached this point. Angry, lonely, and frightened of growing up, they drink, insult one another, dissociate, and chase destruction simply to feel something. Once their behaviour becomes calculated and murderous, there is no redemption. The question hanging over the play is how many cries for help can be ignored before tragedy stops being unexpected. Its abrupt ending suits the story. There is no recovery, final lesson, or indication that anyone has learned from the catastrophe. It simply reaches the end of its destructive path and stops. I have never seen a drama quite like Fireface. It was confronting, unpleasant by design, and increasingly gripping as the family spiralled towards catastrophe. Fireface is a play about teenagers setting fires while every adult nearby complains about the smoke. By the time someone finally acknowledges the flames, there is very little left to save.

Rusalka Presented by: Opera Queensland, with the Opera Queensland Chorus and Queensland Symphony Orchestra Venue: Glasshouse Theatre, QPAC Date Attended: 25 June 2026 Composer: Antonín Dvořák Conductor: Vladimir Fanshil Director: Sarah Giles Set Designer: Charles Davis Costume Designer: Renée Mulder Lighting Designer: Paul Jackson Video Designer: David Bergman Movement and Intimacy Coordinator: Lyndall Grant Chorus Master: Narelle French Photography: Steph Do Rozario / Murray Summerville “Be carefree, just like you were before the world deceived you.” There is no brightly coloured underwater kingdom here. No cheerful fish sidekicks, no crustacean percussion, and certainly no guarantee that changing your entire body for a man will work out well. Opera Queensland’s Rusalka instead opens beneath a vast ceiling of lily pads. Pale figures sit scattered across a black, reflective lakebed. It is bleak as hell. It is also gorgeous. Antonín Dvořák’s opera follows Rusalka, a water nymph who has fallen in love with a human prince and longs to leave her underwater existence. Sound familiar? She begs her father, Vodník, to let her become human, but when he refuses, she turns to the witch Ježibaba. Her wish is granted, but she will be mute among humans, and returning home after rejection will bring terrible consequences for both her and the Prince. Director Sarah Giles frames the story as a dream, a nightmare, and a cautionary fairytale. Rusalka escapes one restrictive world only to discover ours. It is essentially The Little Mermaid with considerably more supernatural damage. Charles Davis’ set is sculptural and deliberately unfamiliar. Scrims and backdrops shift between reflection and transparency, opening layers above, behind and beneath the performers. Suspended strands suggest falling droplets or tendrils, while lily pads float overhead like the underside of another world. David Bergman’s video design deepens the illusion. Early in Act I, a figure swims through the lake across the scrim as Rusalka reaches towards him. Later, ripples and drifting wisps make it difficult to tell where the physical set ends and the projection begins. The opening moves slowly, but the Queensland Symphony Orchestra draws us in before anyone sings. Under Vladimir Fanshil’s direction, the score shimmers, sighs, and occasionally surges with frightening force. At the centre of it all is Eleanor Lyons in an extraordinary performance. Rusalka is a punishing soprano role, requiring control, dramatic power and considerable stamina. Lyons meets every demand with a radiant tone. Her Act I scenes establish Rusalka as sincere and dangerously idealistic. She begs Vodník to let her leave the lake and, when Daddy says no, she naturally goes to the local sparkly witch instead. Her famous “Song to the Moon” is a plea for escape. Lyons lets the melody float through the theatre beautifully, while Rusalka prepares to abandon everything for a man she doesn't know (ew). The transformation into human form happens onstage through a slick quick change. Rusalka gains hair, glamour and a completely unfamiliar pair of legs. Watching her learn to use them is delightful. Lyons waddles like a toddler, stumbles on stairs and is baffled by human shoes. The physical comedy makes her vulnerable and immediately endearing. By Act II, she is serving Barbie bombshell while having absolutely no idea what is happening. Renée Mulder’s gold-and-black gown gives her enormous sleeves and a striking silhouette, while making movement look almost impossible. She appears spectacular and profoundly uncomfortable. Silent, pale and completely out of her depth (pun intended), Rusalka clings to the Prince, tries to charm him without words and grows increasingly jealous as the Duchess enters his orbit. Her muteness becomes a prison. It is tough having a human soul, isn’t it? Rosario La Spina gives the Prince a commanding vocal presence. He is drawn to Rusalka’s beauty and strangeness, then becomes frustrated once that strangeness inconveniences him. Then his ex arrives at his engagement party! What a hag. Eva Kong’s Duchess is confident, expressive and completely at home within the court. Kong commands attention immediately, bringing vocal brilliance and sharp dramatic instincts to a role that needs very little time to destabilise the engagement. The entire human court looks as though it has wandered in from the Capitol in The Hunger Games. Mulder’s costumes are magnificently excessive, with compressed fabrics, exaggerated proportions and rigid silhouettes. The chorus wears masks and stylised wigs that create an eerie sameness beneath all that fashion. Their long tableaux are particularly effective, with coordinated hands and frozen expressions making the court seem like one watchful social organism. The feast is also one of the best fake stage feasts I have seen. There is abundance everywhere, yet Rusalka remains completely isolated within it. Despite their visual differences, the two worlds are not so far apart. The underwater creatures are bald and dressed in similar flowing garments. The humans exaggerate individuality through fashion, but hide behind masks and strict social behaviour. Ashlyn Tymms has an excellent time as Ježibaba, and so do we. Ježibaba is sassy, sparkly and dngaf. Her trolley is loaded with human rubbish “treasure”, probably gathered from supermarkets, op shops and lost-property departments across Brisbane. At one point, she casually eats a banana? Tymms brings rich vocal colour and excellent comic timing, while keeping the danger beneath Ježibaba’s humour. Maia Andrews, Eleanor Greenwood and Shikara Ringdahl are equally memorable as the Wood Sprites. Their bark-like bodies, branch crowns and enormous trailing arms transform them into strange sculptures. They resemble haunted woodland couture versions of wacky waving inflatable arm-flailing tube creatures. Their voices are quick and mischievous, while their movement brings welcome playfulness to the production. Act III becomes particularly strange when the trio launch into what I can only describe as a supernatural ego trip, accompanied by playful flute. Warwick Fyfe gives Vodník considerable authority while keeping his grief close to the surface. He warns Rusalka about humanity, then has to watch every one of his fears come true. His anger towards the Prince comes from helplessness and heartbreak. Fyfe’s scenes with Lyons are among the strongest of the evening, particularly when Rusalka regains her voice and laments her regret as the orchestra rises beneath them with enormous force. Act III transforms the stage again. Rusalka returns veiled, pale and almost spectral. Her makeup leaves her looking neither alive nor dead, while lily pads and layered video surround her in a watery limbo. Elevated beneath a narrow shaft of white light, she resembles a drowned saint or an apparition from her own funeral. She no longer belongs above or below the surface. Lyons spends long passages almost completely still, looking rightfully tortured. It is a powerful image, although I did occasionally wonder how bored she must have become standing up there. Rusalka began the opera desperate for movement and change, only to end trapped inside her own transformation. Paul Jackson’s lighting frequently isolates performers beneath narrow silver spotlights, repeatedly drawing our attention back to Rusalka’s loneliness. Lyndall Grant’s movement and intimacy work is equally important as Rusalka shifts from fluidity underwater to comic awkwardness on land, then rigidity at court and near-total stillness. Even the surtitles become part of the production design, moving above different characters as the blocking changes. It is a clever solution that keeps the audience’s attention near the action. The two intervals are understandable given the scale of the set changes, and necessary so everyone involved can rehydrate before returning for further emotional destruction. There is no single moral in Rusalka, and the production does not force one upon us. It can be read as a warning against changing yourself for love, but Rusalka is also brave enough to admit that her world makes her unhappy. She wants freedom and a life beyond what she has been given. Her choices are catastrophic, but they are still hers. Opera Queensland’s Rusalka is a visual and musical triumph. The orchestra is glorious, the voices are magnificent, and the design turns the Glasshouse Theatre into a beautiful mythical world.

Singin' in the Rain Senior (Ages 55+) Presented by Brisbane Arts Theatre Directed by Adelle O’Connell and Kathy Kunde Musical Direction by Laraine Griffiths Choreography by Marisa Bucolo Photography by Kris Anderson - Images by Anderson "If we bring a little joy into your humdrum lives, it makes us feel as though our hard work ain't been in vain for nothin'" - Lina Lamont I can't remember the first time I watched Singin’ in the Rain. But, I do remember the warm fuzzy feeling it gave me. It was part of the soundtrack of my childhood, first loved by my mum and then, inevitably, by me. The songs, the laughs, the old Hollywood magic, and all that tap-dancing talent made it one of those rare musicals that seems to have happiness baked right in. Now, Brisbane Arts Theatre brings that golden-age show to South Bank this July with Singin’ in the Rain Senior, an adapted version of the beloved musical performed by a cast aged 55 and over! Set during Hollywood’s bumpy transition from silent films to talkies, the story follows screen star Don Lockwood, his longtime buddy Cosmo Brown, aspiring performer Kathy Selden, and the famously shrill Lina Lamont. It is a musical about an industry finding its voice, adapting to change, and performers stepping into something new. In this Senior adaptation, that theme of reinvention takes on new meaning. It also offers a joyful counterpart to the Junior and Teen editions so often seen on Brisbane stages, reminding audiences that the thrill of performance does not belong to one age group. Ahead of their season, we spoke with co-director Kathy Kunde about the Senior adaptation, the joy of working with this cast, and the value of creating opportunities for older performers on Brisbane stages. Samantha: I have seen my fair share of Junior and Teen editions of musicals around Brisbane. But, a Senior edition is something my readers and I are far less aware of. Given that there are only a handful of Senior musicals currently available for licensing, what made Singin’ in the Rain Senior feel like the right choice for Brisbane Arts Theatre, especially as a company with such a long history of its own? Kathy: Finding out Brisbane Arts Theatre was doing a Senior adaptation of Singin’ in the Rain was very exciting. When I first discussed the directing opportunity with the President of Brisbane Arts Theatre, Paje Battilana, she noted that they wanted to put something in the season that their older members could become involved in and enjoy. I suppose I have been very lucky over the last number of years, being involved with MATES Theatre Genesis in Birkdale. As part of the season program, they always put on a senior production in the month of October to celebrate Seniors Month. I have worked with many and varied seniors over this time who bring a huge amount of experience with them, including having an opportunity to write scripts to perform on stage, and for many of the actors involved, being able to fulfil a dream of “treading the boards” that, in their busy lives, they may not have had time to do. A number of these seniors are also involved with U3A, University of the Third Age, which also puts productions on during the year. Samantha: To be involved, performers must be aged 55 and over. What has been special about working with a cast who bring such rich life experience into the rehearsal room? What do you think this version offers the performers and audiences that a traditional community theatre season may not? Kathy: The Brisbane Arts Theatre Singin’ in the Rain Senior adaptation has brought in people who have never done theatre before. They may have danced or sung in their lives, but not experienced performing live on stage. We had a wonderful group who auditioned for us, with some even auditioning while travelling overseas. As I keep on telling anyone who will listen, they are all much fitter than I am! Over the last couple of months of rehearsals, I have been continually impressed with every single person and what they are bringing with them. Everyone is so kind to each other, always on time (or actually there before rehearsals start), checking in with someone who may have missed a rehearsal, and downloading apps so we can all communicate together. It has been wonderful. I should also note that the oldest member involved with the production is not actually on stage. This is our beloved Una, who is helping with set design and set/prop construction. She is 91 years young! Samantha: The show sits in that golden Hollywood world of charm, comedy, romance, and spectacle. What directorial approach have you taken for the performance style and world of the musical? Kathy: Sitting down with members of the cast and talking about characterisation has been a joy. They bring in their own experiences, and reflecting on the time that this musical is based in, around the silent movie era, has certainly provided a lot of conversation. The result is a production that does not simply recreate the familiar characters, but allows the cast to find their own way into them. Both Laraine (MD) and Marisa (Choreo) have ensured that the cast are able to work with the music and the dancing so that the show brings a wonderful energy. Helping Adelle direct this musical has been a wonderful and fulfilling experience. I know that the audience will enjoy the show and the experiences that the cast bring to the stage. If Singin’ in the Rain Senior proves anything, it is that there is no expiry date on performance. Some cast members are dusting off skills they have carried for years, while others are bravely stepping into live theatre for the first time. For audiences, the appeal is twofold: the cherished sparkle of Singin’ in the Rain, seen through performers whose own experiences infuse the story with something beautifully unique. It's your chance to enjoy a classic musical while cheering on a production that gives the spotlight to performers who are often overlooked. And if that does not convince you, tickets are only $25 for concessions and $35 for adults, which is about the cost of one dinner delivered to your couch, except this is worth leaving the house for. Plus, my mum is playing Lina Lamont, so I am proudly biased and obnoxiously telling everyone within earshot to get a ticket. Singin’ in the Rain Senior will be presented by Brisbane Arts Theatre from 2–11 July 2026 at TAFE Queensland South Bank Auditorium. For tickets and more information, visit the Brisbane Arts Theatre website.

Homegrown Presented by: Loose Tooth Theatre as a co-production with PIP Theatre Writer: Sarah Esser Co-Directors: Annabel Gilbert and Grace Longwill Set and Costume Designer: Scarlett Hughes Lighting and Vision Designer: Charlii Lobley Sound Designer: Annabel Gilbert Puppet Fabricators: Sarah Esser and Grace Longwill Photography: Annabel Gilbert and Sarah Esser “Every relationship has a gardener and a flower.” I've accidentally sent enough houseplants to the great garden in the sky to understand their dramatic nature. However, it wasn't until seeing Homegrown that I considered they might also be emotionally manipulative. Presented by Loose Tooth Theatre at PIP Theatre, Homegrown is a 90-minute play blending dark humour with unsettling strangeness. It begins in the painfully realm of infertility and relationship strain, then sprouts into something closer to The Exorcist: Bunnings Edition. Written by Sarah Esser and co-directed by Annabel Gilbert and Grace Longwill, the play creeps between relationship drama, psychological thriller, magical realism, and botanical horror. The story follows Tash and Sophie, a couple who share a home, a life, and a semi-successful gardening publication. After eight failed cycles their dream of motherhood has curdled into sorrow and exhaustion. When Sophie’s latest attempt fails, Tash wishes to close this chapter move on, while Sophie is not ready to give up. When a spilled fertility drink mixes with a mysterious plant spray, something starts sprouting beneath their floorboards. Tash assumes it's a weed and wants it gone. Sophie, still grieving and drawn to the possibility of new life, pleads to study it instead. Before they know it, the plant is growing faster than a teenager's appetite and becoming more like an overbearing roommate with zero regard for boundaries! At the centre of the play were two vulnerable and physically demanding performances from Geena Schwartz and Billy Fogarty. Tash was supportive and practical, but underneath, her life was a compost bin of unresolved messes. She was carrying religious trauma, nightmarish premonitions, sensual dreams about the overtly sexual postman, and the tension between her queer identity and her mother’s faith. Schwartz had to let all that inner chaos spill out through voice modulation, choking, gagging and stage combat, and she made every bit of it seem truly connected to Tash’s fear and frustration. Fogarty was equally strong as Sophie: a loving partner, wounded, stubborn, and consumed by the desire to have a family. As a character with a doctorate in botany whose world was built around growth, the infertility carried an especially cruel irony. Fogarty captured the frustration and devastation of that with painful accuracy, especially in lines like, “I wanted so bad to follow the rules of my own biology. To think nature has got my back.” Both Schwartz and Fogarty gave realistic intimacy, arguments, breakdowns, and frightening screams of trauma. Their performances had that awful recognisable rhythm of two people who love each other, but have been stuck hurting in the same pattern for too long. The Plant, played by Indiah Morris, was a standout stage creation. Painted green and bonneted, it looked like a curious baby straight from Whoville. Morris had such particular physicality in her movements — toddling, crawling, tripping, and observing everything with wide eyes. The way she played it was both cute and unsettling. The costuming and puppet fabrication were well-crafted too, subtly evolving scene by scene as the Plant claimed more space in the house. The Plant was not scary in a “feed me, Seymour” kind of way. At least, not at first... It was a reflection of what both women desired and dreaded. For Sophie, it offered a sense of motherhood, attachment, and nurture. For Tash, it became an invasive sickness, a poison pushing her toward psychosis. The Plant was not inherently harmful; it was more like an infant: needy, grabby, and amoral. Oscar Thelander brought great comic contrast as the Postman, strutting in with an aggressive commitment to package delivery. His scenes interrupted the domestic tension, allowing Homegrown to explore farcical elements amid the heavier themes. The writing captured the exhaustion of fertility treatment with brutal simplicity: “Run all the tests, rack up all the costs, and then… nothing.” That line sums up so much of the play’s emotional terrain: the endless tests, money, hope, routines, humiliation, and feeling abandoned by nature while others seem to bloom. Homegrown took that pain and externalised it into something impossible to ignore. Scarlett Hughes's set design features an expansive lower and elevated stage with a dollhouse, tattered couch, and plant décor, and an underlying hollow space that gave the whole thing a secretive, rotting-under-the-surface quality. The dollhouse was a clever visual metaphor too: a mini version of the perfect home they desired, while their real home grew feral around it. Multimedia elements, including videos, graphics, and sound, conveyed a sense of reality distorting and glitching. Charlii Lobley's lighting and Annabel Gilbert's sound design make the home feel progressively unstable. Homegrown kept diverting expectations, beginning as an intimate relationship drama before twisting into something stranger, bloodier and much harder to categorise. It dug into infertility, grief and sacrifice, while still making room for wit, imagination and bold choices. It was a curious little beast of a play and it trusted the audience to follow it all the way into the garden shed of emotional doom.

EPIC Love Stories Presented by VOX Theatre Arts at The Loft, West End Directed by Tayla Simpson Hosted and Vocal Direction by Rhona Bechaz Band: Sean Alan Fagan, Benjamin Richards and Nathan Cho Set Design: Tamzen Hunter Sound and Lighting: Maddy Simons, Steve Maples and Melanie Simons Photography: Aylish Tan – Artist Focused Valentine's weekend can be a bit of a minefield. Maybe you're happily loved up, maybe you're rolling your eyes at the price of roses, or maybe you've watched The Princess Bride enough times to firmly believe that nobody will ever top Wesley and Buttercup (Just me?) Thankfully, VOX Theatre Arts had the perfect answer. Epic Love Stories was a cheeky cabaret-burlesque celebration of iconic couples from film and musicals, taking all those swoon-worthy romances, grand gestures and wonderfully ridiculous tropes we know and love and turning them up several notches. And what a collection of couples it was! Dirty Dancing, Titanic, Wicked, The Addams Family, Mamma Mia!, Rocky Horror, The Great Gatsby, Death Becomes Her, Brokeback Mountain, Little Shop of Horrors, Barbie and Ken, and even the Mystery Inc. gang all got their moment in the spotlight. The Loft in West End was made for this sort of show. Audience members enjoyed themed cocktails while settling in for a night of romance, nostalgia and blushing. Guiding us through the evening was vocal director Rhona Bechaz, whose old-Hollywood accent, dimpled smile and gloriously bad jokes quickly won over the crowd. Under Tayla Simpson's direction, the show gleefully embraced every cliché. There were longing gazes, dramatic dances, discarded items of clothing, and enough smouldering looks to fog up the room. No matter what nonsense arrived next, everyone threw themselves into it without hesitation. The evening opened with a sweet rendition of L-O-V-E, before Hannah Box brought all the sass and razzle dazzle required for Funny Honey (Chicago). She later joined Aimee Segal for a spirited queer rendition of What Is This Feeling? (Wicked), complete with plenty of knowing glances between Elphaba and Glinda. Historia Scott and Campbell Briggs made a highly convincing Morticia and Gomez, bringing plenty of passion to Live Before We Die (Addams Family), while Ashlin Cork looked like she was having a blast in the wonderfully silly I'm Just Ken/Barbie Girl mash-up. Venus brought Romy and Michele's particular brand of disco glamour to life and had me singing along! Elsewhere, Lay All Your Love On Me (Mamma Mia) delivered all the yearning that young love could muster, while Billy Gray arrived in gold hotpants and absolutely no shame for Touch-a, Touch-a, Touch Me (Rocky Horror). Skye Schultz and Jack Barrett's Save a Horse, Ride a Cowboy gave Brokeback Mountain a theatrical makeover, leaning into the joke with cowboy hats, hobby horses, and absolutely no concern for subtlety. Annie Rose Paroz proved to be one of the vocal powerhouses of the evening. Her voice soared through several numbers, particularly Back to Black, where her vocals accompanied Tayla Simpson's sultry performance inspired by Daisy and Jay from The Great Gatsby. Paroz returned later with a gorgeous rendition of My Heart Will Go On, while Angelina Mustafay and Skye Schultz turned Jack and Rose's doomed romance into something far less tragic and far more ridiculous as Rose gradually strip off while displaying very little concern for poor Jack's fate. I never thought I'd find myself laughing like a hyena through a song that normally leaves me sobbing. Somehow, Titanic, burlesque, and a few well-placed props proved to be a winning combination. Speaking of props, Jack Barrett's Grow For Me alongside a particularly frisky Audrey II puppet provided one of the biggest laughs of the night. That plant had absolutely no business behaving the way it did, and yet somehow the audience accepted its questionable behaviour without hesitation. And then there was Let's Get It On. Featuring the Mystery Inc gang and Mark James singing as Scooby-Doo himself, the number descended into complete nonsense. You really haven't lived until you've witnessed a Scooby-Doo orgy parody. And somehow, this is actually my second... The live band, featuring Sean Alan Fagan, Benjamin Richards and Nathan Cho, brought a warmth and spontaneity that recorded tracks simply can't match. Tamzen Hunter's oversized heart set piece dominated the stage with all the subtlety of Sharpay Evans entering East High. Lighting and sound from Maddy Simons, Steve Maples and Melanie Simons kept pace with the show's constant swings between romance, comedy and after-dark antics. By the time the company came together for This Will Be (An Everlasting Love), I left feeling exactly as a Valentine's cabaret should make you feel: transported, thoroughly entertained, and perhaps just a little bit flustered. In a world that feels permanently glued to bad news headlines, I can't think of a better excuse to indulge in a little fantasy for a couple of hours. Epic Love Stories reminded me that sometimes it's perfectly okay to surrender to the cheese, root for the happy ending, and sing along to the love songs. Because the world could always use a little more epic romance...

Into the Blue Presented by: The Australian Voices Artistic Director / Composer / Conductor: John Rotar Tides of Ocean — Matthew Orlovich Pearl — Gordon Hamilton Anthos — Alys Rayner Meteora — Meta Cohen And There Was No More Sea — Margaret Tesch-Muller Island Songs — Stephen Leek Bellbird Valley — John Rotar Into the Blue — John Rotar Waltzing Matilda — Traditional, arranged by John Rotar “There is a magic in the world when you’re a kid” There’s nothing quite like strolling into a choral concert and being whisked away on a mental vacation across the vast Australian landscape, all through the power of voices. No orchestra, backing tracks, or elaborate staging — just lungs, humans, harmony, and vocal control that makes me wonder if these singers have superpowers! Founded over 30 years ago, The Australian Voices is renowned for championing contemporary Australian choral music, and this program was a strong reminder of just how much variety, imagination, and emotional colour can exist within a choir. Led by the maestro of melodies, John Rotar introduced the inspiration behind the program and its individual pieces. The concert explored the vastness of the Australian environment, from the deep seas to open skies, flower fields to childhood beaches and the little mythologies we build around places. John spoke passionately to offer context that shaped the listening experience and encouraged us to engage our own imaginations actively. After all, listening to music is not a passive activity. The venue itself beautifully enhanced the visual and auditory experience. The tall archways and brickwork of St Brigid's Church were illuminated with gradients of colour, transitioning through blues, violets, oranges, and pinks based on the mood of each piece.The acoustics were so clear that you could pick out individual voices distinctly, even within the full ensemble sound. At one point, a little songbird in the eaves joined in, which was either a coincidence or excellent unpaid immersive design. The concert opened with Matthew Orlovich’s Tides of Ocean, which ended up being my favourite. It was bright, consuming, and full of movement, with the choir creating wave-like sounds that pulled the audience straight into the water. Without any instruments, the singers created an entire oceanic world through shifting vocal patterns. It was like being serenaded by a school of musical fish. Gordon Hamilton’s Pearl was like a musical cloud floating through the room, with layered harmonies, descending trills, and some beautifully controlled soprano lines floating above the ensemble. The low bass moments were particularly resonant too. The balance between the voice parts and dynamics was one of the choir’s major strengths, with the ensemble shifting swiftly from delicate transparency to a much fuller sound without losing clarity. Alys Rayner’s Anthos and Meta Cohen’s Meteora redirected our attention skyward, moving from flower fields and blue skies to a cosmic journey through galaxies and vast distances. Both pieces explored ideas of separation and connection, particularly the image of two people gazing up at the same sky from different corners of the world. Meteora was especially demanding, playing with repeated text, canons, and tempo changes. In Anthos, the phrase “under the air” returned again and again in different forms, passed around the ensemble until it seemed to orbit overhead. Margaret Tesch-Muller’s And There Was No More Sea took us on a deep dive into the murkier waters of life’s big questions. Penned by a member of the choir, the piece explored mortality, chaos, and the sea, with the men’s voices bringing a low, thunderous weight to the sound. It was something of a philosophical storm at sea, giving the program a moment to sit with something more existential. Stephen Leek’s Island Songs honoured the choir’s founder, and I had a little personal flashback here. I once sang the good old Monkey and Turtle in a bossa nova arrangement — a sentence that will make instant sense to choir people and absolutely no sense to everyone else. That small connection was a lovely reminder of how widely Australian choral music travels through classrooms, choirs, and community spaces, often shaping musical memories in ways we do not realise at the time. John Rotar’s Bellbird Valley was one of the most moving parts of the concert. Based on a family poem and a location held in memory, the piece captured the warm, bittersweet nostalgia of looking back at a place you cannot quite return to — not because it has vanished, but because you are no longer the person who first knew it. The world premiere of Into the Blue transformed John Rotar’s childhood memories of Coonarr beach into a grand narrative. The work had a childlike mythology to it — the way a beach can become an entire kingdom when you are small. The composition featured depictive lyrics, percussive vocal effects, manipulated vowels, and even a cheeky nod to the Jaws motif for the bull sharks. It captured the magical blend of wonder, danger, and imagination in childhood memories. This concert differed from my usual coverage of plays and musicals, which involve characters, staging, choreography, design, and narrative all working together. Into the Blue was far more stripped back, but definitely not simpler. If anything, it required closer attention because the music is exposed and immediate. No lighting cue or costume change could save a harmony or mask an imperfect entrance. It served as a reminder that skilled singers like these can evoke landscapes, weather, tension, humour, memory, and movement with just their voices. The Australian Voices performed with focus, stamina, discipline, and a shared understanding of the music. Most pieces were memorised, with eyes fixed on John’s conducting as entrances, cut-offs, dynamics, and tempo shifts landed with impressive precision (and some seriously strong breath control!). John was visibly working hard too — conducting contemporary choral music is clearly not a low-sweat activity. The large crowd packed into the church seemed very willing to take the journey with them, and it was heartening to see hundreds of people turn up for contemporary Australian choral music. Unfortunately, I had to leave before the finale because Into the Blue was only the first stop on a three-show review day! But watching a video later of John Rotar’s arrangement of Waltzing Matilda confirmed what a fitting closing choice it was. Concluding a program of sea, sky, landscape, and national sound with a fresh percussive take on a familiar tune perfectly suited a choir dedicated to evolving Australian music. Into the Blue was thoughtfully programmed, exquisitely sung, and deeply connected to place. More than anything, it showed how powerful a room full of voices can be when they are used with this much care, imagination, and purpose.

Long Gone Lonesome Cowgirls Presented by Ad Astra Written by Philip Dean Directed by Prue Robb Music Direction by Meg Kiddle Set Design: Prue Robb Costuming: Erin Lowry Lighting Design: Dan Endicott Sound: Danielle Park Photography: Kris Anderson - Images by Anderson “A good friend is better than a husband. And more reliable!" Brought to you by Ad Astra, Long Gone Lonesome Cowgirls is a heartwarming two-hander about lonely women and unreliable men. Written by Philip Dean, it first hit the stage at La Boite back in 1995, and it still has that distinctive Queensland feel, making it a perfect fit for Ad Astra’s black box theatre, Pluto. With a soundtrack full of Hank Williams, the play has country music flowing through its veins. Good thing I wore my Texan cowboy boots... Theatre demands commitment, folks! In a small outback town during the 1960s, a young Catholic housewife and a no-nonsense barmaid are dealing with similar relationship issues, despite their wildly different personalities. Vicki is at home taking care of her baby while her husband is always on the road, and Rae is already fed up with her new cowboy husband, Earl. One is restless, the other is stuck, but both strive to create a fulfilling life from what the men around them have failed to offer. When Rae gets abandoned in town, she crashes at Vicki's place (after sweetening the deal with some rare vinyl records), picks up a bartending gig, and starts dating around the local scene. They quickly hit it off in that special way women sometimes do when life throws a curveball. They drink Jim Beam, play dress-up, sing “Crazy,” and form a sister-like bond. Together, these two women navigate life's highs and lows. The setup (design by Prue Robb) gives off an old-school Aussie country hall feel. You've got vintage posters, homely 60s décor, vinyl records, and a live band right inside the world of the play. The piano, drums, and guitar are not simply accompaniment; they make the whole space come alive. especially love the detail of Vicki’s American-obsessed secret cupboard. She may be living in a tiny Qld town, but mentally she's halfway to Nashville, chatting away to her framed photo of Hank Williams like a teen with a celebrity poster on her wall. Some things never change... like having a hopeless crush on a musician. We’ve just traded Hank Williams for Harry Styles. Cheney Hossack gives Vicki a sweetness that makes her easy to love from the start. She's got her head in the clouds, romanticising America and frontier wives as though they might offer her a doorway out of her dull, sheltered life. Always imagining her marriage could be something grander than it is. Hossack’s lovely singing voice suits that softness, while still letting us see the frustration simmering beneath it. And Vicki is certainly no fool. She’s not getting the appreciation or love she deserves, and she’s starting to see that the issue isn’t that she “expects too much.” Nah girl. You expected the bare minimum, and even that was apparently too ambitious. Isabel Kruse makes Rae impossible to ignore from the moment she arrives. She's got a voice that could send a beer flying off a pub table and a gritty confidence that makes the line “You sayin’ I’m not f*ckin’ refined?” land exactly as it should. But underneath her bluntness and tough exterior, there's a woman bruised by disappointment, and Kruse lets that hurt surface during her solo “Walking After Midnight.” It's one of the standout musical moments, full of real heartbreak. She doesn’t even need a mic for that song (which is lucky because it wasn’t working!) The script uses that dry Aussie humour that does not need to announce itself. What could easily become a string of ordinary domestic scenes instead becomes surprisingly engaging, because the writing and performances give every situation something to play with. The structure moves quickly across multiple years, and I really enjoy that we only see the story through the lens of these two women. Husbands come and go, babies arrive, brothers complicate things, neighbours gossip, and yet these people around them exist through conversation alone rather than appearance. The stage belongs firmly to Vicki and Rae. These women are learning that no cowboy, contractor, musician, brother, or fantasy man is coming to rescue them. But they do have each other, and eventually, they find themselves too. Prue Robb’s direction keeps the story moving well, with clear affection for these women and their world. The pacing lets the emotional shifts hit home without turning the whole thing into a misery rodeo. Rae’s monologues from the rolling bar help give context to her life outside Vicki’s kitchen, while Vicki’s phone calls with her husband remind us of the marriage she is trying to make sense of. The kitchen set is functional and well-used as a grounded domestic centre. Given the limits of a black box space, I can understand why the band is tucked around the corner, though I do wish they were a little more visible as such a key part of the production’s world. There were also a few times, particularly on stage left, where some conversations are directed towards the wall instead of the audience. The hospital scene after Vicki gives birth is the main moment where I found myself wanting a clearer view of their faces. The country songs arrive in neat little bursts, never overstaying their welcome and always giving the women something they cannot quite say in plain conversation. The band, led by Oscar Lowe on piano as assistant musical director, sounds fantastic. Plus, Oscar gets a few chances to shine vocally, which is great to see. Erin Lowry's costume work gives Rae a short visual journey, from wearing flannels and denim shorts to rocking those bright 60s dresses. Her outfits show how Rae goes through different phases of reinvention. On the other hand, Vicki's look pretty much stays the same, with the same demure dresses and hair across the years. Rae changes because she wants to keep moving forward, while Vicki stays in the same domestic loop. The production also balances its comedy with some heavier 1960s context. Around Vicki and Rae’s personal dramas, Australia is shifting too - feminism, contraception, conscription, and Vietnam all pressing in at the edges. It gives the story more substance without turning it into a history lecture. When the reality of the war comes knocking, Vicki’s reaction lands with a jolt. By that point, these women are dealing with more than just lousy husbands and lonely nights. The whole country is shifting around them, for better or worse. Long Gone Lonesome Cowgirls understands the strange miracle of being found by the right friend at the right time. Vicki and Rae don't magically fix each other’s lives, but they give each other a place to share their loneliness. Ad Astra’s production shines because of the two performers who make every moment of that friendship feel real, from the first spark of connection to the ache of being apart. This is friendship as a lifeline: messy, musical, slightly tipsy, and held together by someone who loves you enough to welcome you back when you finally ask for help.