Title: My Sunny Boy Presented By: Spotlight Theatrical Company Genre: Comedy Synopsis: My Sunny Boy is a fresh Australian comedy by Gold Coast playwright Amy McDonald. Audrey Hart’s life is turned upside down when her husband Ted leaves her for his pregnant mistress. Pregnant and heartbroken, Audrey escapes to the quirky seaside town of The Cape to rebuild her life. Years later, she has found a peaceful rhythm raising her teenage son George, running a belly-dancing business and enjoying coastal life — until Ted reappears with an offer that threatens to disrupt everything. Filled with sharp humour, eccentric locals and heartfelt family dynamics, My Sunny Boy explores motherhood, heartbreak and finding joy after betrayal. Audition Date: Sunday 7 June 2026 Audition Time: From 10:00am onwards Audition Location and Address: Spotlight Studios, 4/50 Johnston Street, Southport QLD Audition Self-Tape Due (if applicable): Video auditions accepted for those unavailable on audition day. Contact the production team for details. Audition Requirements: Bring completed audition form and relevant audition pieces Audition pieces will be sent after registration or may be requested in advance Include a recent headshot and theatre CV with application Audition Registration: Applications close: 11:59pm Saturday 6 June 2026 https://www.spotlighttheatre.com.au/auditions/2026/MSB/AUDITION%20APPLICATION%20-%20My%20Sunny%20Boy.pdf Audition Pack: https://www.spotlighttheatre.com.au/auditions/2026/MSB/AUDITION%20INFORMATION%20-%20My%20Sunny%20Boy.pdf Performance Dates: 27 August – 12 September 2026 Performance Times: Thursday & Friday: 7:30pm, Saturday: 7:30pm, Sunday matinees: 2:00pm Performance Location: Spotlight Theatre, Southport QLD Rehearsal Dates: Read-through: Thursday 11 June 2026, Rehearsals commence: Tuesday 16 June 2026 Rehearsal Times: Sundays: approximately 9:30am – 12:30pm Tuesdays: 6:45pm – 9:45pm Thursdays: 6:45pm – 9:45pm Warnings: Adult themes, infidelity, references to drug use and strong comedic language/themes. Performer Age: 18+ Creative Team: Director – Helen Maden, Playwright – Amy McDonald Production Website: https://www.spotlighttheatre.com.au/audition-status-msb.shtml Other information: Spotlight membership required if cast ($15) This is a volunteer community theatre production Actors are expected to supply their own make-up, personal garments and usually shoes Callbacks (if required): Tuesday 9 June 2026 at 6:30pm Available Roles/Character Breakdown: George – 18+ preferred, must convincingly play 17–18. Audrey and Ted’s son. Smart, funny, optimistic and easy-going. Loves soccer and guitar and tries to navigate tension between his parents. Bodhi – Early to mid-20s. Audrey’s carefree friend and belly-dancing business partner. A worldly, barefoot yogi type with warmth, humour and hidden depth. Vanessa – 40s. Ted’s second wife. Intelligent, polished and articulate but quietly insecure. Tries hard to fit into a complicated blended family dynamic. Leo – 45+. Audrey’s flamboyant neighbour and trusted confidante. Funny, wise and theatrical with a big personality and plenty of outrageous stories. Pre-Cast Roles: Audrey Ted

Title: Annie Kids Presented By: Shine Performing Arts Academy Genre: Junior Musical Theatre Synopsis: Annie Kids is the licensed junior adaptation of the beloved Broadway musical Annie. Featuring shortened dialogue and songs tailored for young performers, the show follows spirited orphan Annie as she journeys from Miss Hannigan’s orphanage to the home of billionaire Oliver Warbucks, discovering family, friendship, and hope along the way. Audition Date: Tuesday 9 June 2026 Audition Time: 5:00pm – 6:30pm Audition Location and Address: St Benedict’s College – Drama Rooms, 21 St Benedict’s Close, Mango Hill QLD Audition Requirements: Auditionees do not need to prepare anything prior to auditions. All audition material will be taught on the day. Auditions will consist of: Singing Dancing Acting Lead role auditionees should indicate preferred roles on the audition registration form. Audition Registration: https://forms.gle/wokALtPxEC5rnuxH9 Audition Pack: https://canva.link/6i6i2ar8utm0lf8 Performance Times: Saturday 15 August: 10:30am & 3:30pm and Sunday 16 August: 10:30am & 2:30pm Performance Location: KSP Theatre, Burpengary Rehearsal Dates: Tuesday 23 June 2026 Saturday 18 July 2026 Saturday 25 July 2026 Saturday 1 August 2026 Saturday 8 August 2026 Sunday 9 August 2026 (TBC) Tuesday 11 August 2026 Rehearsal Times: Tuesday rehearsals: 5:00pm – 7:00pm Saturday rehearsals: 9:00am – 3:00pm Rehearsal Location: St Benedict’s College – Drama Rooms, 21 St Benedict’s Close, Mango Hill QLD Warnings: Performers cannot participate in both Annie Kids and Legally Blonde Jr due to rehearsal scheduling conflicts. Performer Age: 6–14 years Creative Team: Producer/Director: Paula-Mary Camilleri Director/Choreographer: Eli J Ball Other information: Total production fee: $290 Show fee: $240 Costume fee: $50 Payment plans available upon request Fee includes: Professional tuition Show shirt Script and rehearsal materials One complimentary ticket Insurance All minors must be accompanied by a parent/carer at auditions Auditionees should wear comfortable clothing and enclosed shoes Available Roles/Character Breakdown: Annie - A tough but vulnerable orphan searching for belonging and family. Miss Hannigan - The bitter, washed-up orphanage manager. Grace Farrell - Oliver Warbucks’ classy and caring secretary. Rooster Hannigan - Miss Hannigan’s scheming brother. Lily St. Regis - Rooster’s glamorous but sleazy partner-in-crime. Oliver Warbucks - A wealthy industrialist who takes Annie into his home. Orphans - Molly, Kate, Tessie, Pepper, July & Duffy. Sandy - Annie’s lovable stray dog companion. Ensemble - Orphans, servants, and New Yorkers.

Title: The Murder Room Presented By: Nash Theatre Genre: Mystery Farce Synopsis: The Murder Room is a fabulous mystery farce concerning newlyweds Edgar and Mavis. Two days after their wedding, Edgar discovers his younger wife is less than faithful. After her first attempt to kill him by poisoning his cocoa fails, Mavis resorts to increasingly creative methods before he can change his will. Audition Date: Sunday May 24th, 2026 Audition Time: From 11AM Audition Location and Address: The Play Shed, 4 Amity Street, New Farm Audition Requirements: No prepared pieces required. Auditions will consist of cold reads from the script. Audition Registration: Please contact the director (Sharon White - sharon_white_@hotmail.com) to register your interest. Performance Dates: August 7th - 29th, 2026 Performance Location: The Play Shed, 4 Amity Street, New Farm Performer Age: 25–70 (depending on role) Creative Team: Director - Sharon White Production Website: Nash Theatre - The Murder Room Other Information: For further information and to register your interest, please contact Sharon White Available Roles / Character Breakdown: Edgar Hollister (50–60) - A somewhat befuddled member of the landed gentry. Mavis Hollister (40s) - Edgar’s very recent bride; glamorous with a vampish edge. Lottie Malloy (55–70) - A sharp-tongued, wise-cracking housekeeper. James Crandall (35–45) - A police inspector; stolid, methodical, and reserved. Abel Howard (50–60) - An intelligent police constable. (Note: This role is doubled with Edgar.) Susan Hollister (25–30) - Edgar’s daughter; bubbly, ditzy, and talkative. Barry Draper (25–30) - Susan’s fiancé; an affable, all-American type.

Title: Freshblood Festival: RISK IT 2026 Presented By: Vena Cava Productions Genre: Festival / New Works / Theatre & Arts Synopsis: Freshblood Festival is an annual theatre and arts festival for emerging writers, directors, performers, artists, and musicians. The 2026 theme is RISK IT, encouraging bold, experimental, absurd, and unexpected new work in a supported creative environment. The festival will feature eight original works, each running approximately 30–50 minutes and receiving four performances across two weekends. Audition Date: Saturday 16 May 2026 + Sunday 17 May 2026 Audition Time: Audition slots run between 9:00am – 6:00pm both days Individual auditions are 10 minutes Audition Location and Address: QUT Kelvin Grove Campus Audition Requirements: Prepare a 1–2 minute monologue that best shows your range. Auditionees should be prepared to take direction from the directors during the audition. Audition Registration: Applications close 12 May 2026 at midnight https://docs.google.com/forms/d/e/1FAIpQLScMuDxFkkAdsplTSWfjWZDc92_GgMcRXweGRJ9hPzL74n57ug/viewform Performance Dates: 7–9 August 2026 and 14–16 August 2026 Performance Location: VENTspace23 Glenelg Street, South Brisbane QLD 4101 Performer Age: Open to performers of varied ages and backgrounds. Applicants under 18 must indicate this on the form. Creative Team: Freshblood Festival Coordinator: Andrew Oxford Other information: Eight original shows will be cast through the general audition process Each show runs approximately 30–50 minutes Cast members must be available for festival tech from 3–6 August 2026 Successful applicants must purchase a Vena Cava membership for insurance purposes Enquiries: freshbloodvcp@gmail.com

Title: You’re A Good Man, Charlie Brown Presented By: Noosa Arts Theatre Genre: Musical Theatre Synopsis: Step into the world of the Peanuts gang in this heartwarming and humorous musical following Charlie Brown and his friends as they navigate friendship, love, and life’s little challenges. Through a series of vignettes filled with charm, wit, and catchy songs, the show captures the innocence and optimism of childhood. Audition Date: April 22nd & 29th, 2026 Audition Time: 6:30PM – 9:30PM Audition Location and Address: Noosa Arts Theatre, 163 Weyba Road, Noosaville, QLD 4566 Audition Requirements: Auditions will consist of singing and dancing, with possible line readings from provided materials. Prepare a musical theatre song in the style of the show, or use the provided audition cuts. If bringing your own song, you must supply your own accompaniment. Please indicate your preferred audition date and desired character when booking. Audition cuts found HERE. Audition Registration: Email jordanj.stagemanager@gmail.com with your preferred audition date and the character you wish to audition for. Audition Pack: Noosa Arts Theatre Audition Page Performance Dates: September 10th - 27th, 2026 Performance Times: Thursdays & Fridays - 7:30PM Saturdays & Sundays - 2PM Performance Location: Noosa Arts Theatre, 163 Weyba Road, Noosaville, QLD 4566 Rehearsal Dates: Starting May 13th 2026, Saturday rehearsals begin 13 June 2026 Rehearsal Location: Noosa Arts Theatre, 163 Weyba Road, Noosaville, QLD 4566 Performer Age: 12+ Creative Team: Director and Choreographer - Jordan J Production Website: Noosa Arts Theatre - You're A Good Man Charlie Brown Other Information: This production accommodates performers involved in other shows (e.g. Cope Creative’s Frozen) by delaying Saturday rehearsals. Enquiries can be directed to jordanj.stagemanager@gmail.com . Available Roles/Character Breakdown: Charlie Brown – Baritone (Bb3 to F4); kind, patient, loyal and determined, but struggles with self-confidence Lucy Van Pelt – Mezzo-Soprano (G3 to F5); bossy yet caring, confident, and secretly in love with Schroeder Linus Van Pelt – Baritone (Bb3 to E4); thoughtful, philosophical, and often the voice of reason Schroeder – Tenor (Bb3 to Ab4); a moody musical genius devoted to Beethoven Snoopy – Tenor (C3 to A5); imaginative, playful, and far from an ordinary dog Sally Brown – Soprano (B4 to Ab5); curious, inquisitive, and reliant on her brother Charlie Brown Ensemble – Mixed vocal parts; performers who will play multiple roles, assist with scene changes, and require strong movement/dance ability

Title: Quartet Presented By: Gold Coast Little Theatre Genre: Comedy / Drama Synopsis: Set in a retirement home for musicians, Quartet follows three former opera singers - Wilfred, Cissy and Reggie - whose quiet routine is disrupted by the arrival of Jean, a once-glamorous diva and Reggie’s ex-wife. As preparations begin for their annual Verdi concert, old rivalries, regrets and egos resurface in a tender and humorous exploration of ageing, ambition and friendship. Audition Date: Saturday May 23rd, 2026 Audition Time: From 10:30am (allocated times) Callbacks if needed scheduled from 6PM on May 26th Audition Location and Address: Molly’s (behind Gold Coast Little Theatre, 21a Scarborough St, Southport, QLD) Audition Requirements: Cold read from the script (no memorisation required) Read in the style of the chosen character British accent expected (middle to upper-middle class) Audition Registration: Complete the Quartet audition form HERE Audition Pack: Quartet Audition Pack Performance Dates: September 4th - 26th, 2026 Performance Times: Fridays & Saturdays - 7:30PM Sundays - 2PM or 7:30PM Performance Location: Gold Coast Little Theatre, 21a Scarborough St, Southport, QLD Rehearsal Dates: Commencing Monday 29 June 2026 Rehearsal Times: Tuesday & Thursday evenings Sundays Rehearsal Location: Gold Coast Little Theatre, 21a Scarborough St, Southport, QLD Performer Age: “Mature” (roles written as 70+, but flexible) Creative Team: Director - Kate Peters Music Consultant - Kirri Adams Set Designer - Michael Sutton Stage Manager - Donna McNish Production Website: Gold Coast Little Theatre - Quartet Other Information: Callbacks (if required): Tuesday 26 May, 6:00pm Small cast (4 roles), most actors required at most rehearsals Available Roles / Character Breakdown: Cecily “Cissy” Robson – Warm, slightly ditsy, loves gossip and the home Reginald Paget – Serious, intellectual, bitter about his circumstances Wilfred Bond – Cheerful, cheeky, slightly risqué personality Jean Horton – Former diva, proud, difficult, resistant to decline

Title: Are We There Yet? Presented By: North Brisbane Theatre Company Genre: Musical Revue / Cabaret Synopsis: Join North Brisbane Theatre Company as they sing and dance their way through an Aussie road trip, featuring music exclusively from Australian artists. The production welcomes performers of all ages and abilities for a fun-filled theatrical adventure. Audition Date: Saturday 16 May Audition Time: 1:00pm – 4:00pm Audition Location and Address: Burpengary State Secondary College, 192 Pitt Road, Burpengary QLD 4505 Audition Requirements: Wear comfortable clothing and enclosed shoes suitable for dancing All minors must be accompanied by a parent/carer Performers wishing to be considered for solo singing should prepare one of the following songs: What About Me — Shannon Noll Evie (Part One) — Stevie Wright You’re the Voice — John Farnham Audition Registration: https://docs.google.com/forms/d/e/1FAIpQLSdZuw8O-UbR66A8r5lCw-6UrPS7UvMJJMA2xUCTSy5N-8Uuhw/viewform Creative Team: Created and Directed by Jess Bradford & Helen Bradford Other information: Talent of all ages and abilities is encouraged to audition Opportunities are also available for backstage crew, set design, construction, technical team, front of house, wardrobe, and other production support roles

Title: The Laramie Project Presented By: Javeenbah Theatre Genre: Drama / Documentary Theatre Synopsis: In October 1998, twenty-one-year-old University of Wyoming student Matthew Shepard was kidnapped, brutally assaulted, and left tied to a fence outside Laramie, Wyoming because he was gay. In the aftermath of the tragedy, over 200 interviews were conducted with the people of Laramie, capturing the community’s reactions, grief, conflict, and compassion. Constructed from these interviews and firsthand observations, The Laramie Project is a deeply moving theatrical experience exploring humanity at both its darkest and most compassionate. Audition Date: Saturday 30 May 2026 Audition Time: Morning session: 9:00am – 11:30am Afternoon session: 12:30pm – 2:00pm Audition Location and Address: Javeenbah Theatre Audition Self-Tape Due (if applicable): 9:00am Saturday 30 May 2026 Audition Requirements: Prepare one monologue provided by the creative team Monologue must be performed in a General American accent Audition panel may include additional activities during the audition process Online auditionees will receive a monologue 48 hours prior to submission alongside their prepared monologue Dynamic movement work will form part of the production, with all actors expected to participate Audition Registration: https://forms.gle/XraYtfJtEwtChcXZA Audition Pack: Audition Pack: https://javeenbah.org.au/wp-content/uploads/2026/04/The-Laramie-Project-Audition-Pack.pdf Monologues: https://javeenbah.org.au/wp-content/uploads/2026/04/The-Laramie-Project-Monologues.pdf Performance Dates: 18–20 September 2026 Performance Times: Friday evening performance, Saturday evening performance, Sunday matinee performance Performance Location: Javeenbah Theatre Rehearsal Dates: June – August 2026 Rehearsal Times: Wednesday evenings and Saturday mornings Rehearsal Location: Coomera and Javeenbah Theatre Warnings: Mature themes including homophobia, violence, hate crime, trauma, and death. Recommended for audiences 18+. Performer Age: Open casting. Under-18 performers welcome. Creative Team: Director: Bryce Berrell Assistant Director: Paige Wilkie Creative Assistant/Stage Manager: Mia MacDonald Written by: Moisés Kaufman and Members of Tectonic Theater Project Production Website: https://javeenbah.org.au/auditions/ Other information: Successful cast members must become financial members of Javeenbah Theatre ($10 annual fee) If any cast members are under 18, all production members must obtain a volunteer Blue Card All cast members are required to assist with bump out after the final performance Available Roles/Character Breakdown: The Laramie Project features multi-role casting, with 50+ characters divided amongst the ensemble during rehearsals. Roles span multiple ages, genders, and life experiences.

Title: An Evening on Broadway: Reversing the Roles! Presented By: Introspect Theatre Company Genre: Musical Theatre Cabaret Synopsis: The newest instalment in Introspect’s Evening on Broadway series, Reversing the Roles! encourages performers to step outside their traditional casting types to perform songs and roles they would not normally get the opportunity to play. Celebrating authenticity, creativity, and joy, this high-energy cabaret aims to break traditional casting boundaries and create an entertaining, collaborative performance experience for both cast and audience. Audition Date: Sunday 31 May 2026 Audition Time: Individual audition slots (times allocated upon registration) Audition Location and Address: University of Queensland – St Lucia Campus Audition Self-Tape Due (if applicable): Sunday 31 May 2026 at midnight Audition Requirements: Please prepare: One song (up to 2 minutes) outside your traditional casting type or comfort zone One contrasting song (up to 2 minutes) showcasing your abilities A short dance call (sent via email before auditions) MC applicants must also prepare a monologue up to 1 minute Video submissions must be accessible via shared link Audition Registration: https://forms.gle/6W1pFbarYz38ULTHA Audition Pack: https://drive.google.com/file/d/13o_f6XW7JiLMq2uohNVBGGd2D1iFvna- Performance Dates: Early September 2026 (exact dates TBC) Performance Location: Thirsty Chiefs Brewery, North Lakes Rehearsal Dates: Commencing Sunday 7 June 2026 Rehearsal Times: Wednesdays: 7:00pm – 10:00pm, Sundays: 5:00pm – 8:00pm Performer Age: 18+ Creative Team: Director/Writer: Lily Chippendale Music Director: Ashlie Beauchamp Choreographer: Antoni Torrisi Stage Manager: Cameron Grimmett Production Website: https://www.introspecttheatreco.com.au/eob-auditions/ Other information: Tech/Dress rehearsals (compulsory attendance): Wednesday 26 August 2026, 6:00pm – 10:00pm Sunday 30 August 2026, 10:00am – 5:00pm Wednesday 2 September 2026, 6:00pm – 10:00pm Successful cast members must purchase an Introspect Theatre Company membership ($60) Available Roles/Character Breakdown: Performers — Singers, dancers, and musical theatre performers for solos, duets, and group numbers. Strong movers and engaging performers encouraged. Audience interaction and collaborative choreography involved. MCs (2 roles) — Performers acting as hosts throughout the cabaret while also participating in musical numbers. Strong acting, improvisation, and audience engagement skills desired.

Title: A Drop Too Many Presented By: Maxi Mossman / Backbone Festival Genre: Physical & Visual Theatre Synopsis: A Drop Too Many is a multidisciplinary physical and visual theatre work exploring Australian stories of hardship and joy connected to natural disasters. Combining verbatim storytelling, poetry, movement, and visual theatre, the production examines droughts, floods, grief, resilience, and the power of community across rural and urban Australia. Originally presented as a site-responsive work, this redevelopment reimagines the production for a blackbox theatre setting. Audition Date: Saturday 16 May 2026 Audition Time: 9:00am – 12:00pm Audition Location and Address: Backbone, 28 Tallowwood Street, Seven Hills QLD 4170 Audition Requirements: Prepare an environmentally-themed text piece (maximum 2 minutes), such as a monologue, poem, news article, verbatim text, or song lyrics. Examples here Auditionees should demonstrate thoughtful and experimental use of movement, be prepared to collaborate and devise in a group setting, and wear clothing suitable for movement work. Audition Registration:Applications close 9:00am Monday 11 May 2026 https://docs.google.com/forms/d/e/1FAIpQLSedNXpWiynfD_lj26ourROsDUUqq32mysflCmvkEP3Nczblvw/viewform Audition Pack: Available via the application form and project materials Performance Dates: Between 1–17 October 2026 (3 performances as part of Backbone Festival) Rehearsal Dates: Creative Development: 29–30 May 2026 and 5–6 June 2026 Rehearsal Period: July – October 2026 Warnings: This production contains: Stylised and physically demanding movement Themes relating to natural disasters Psychological trauma Loss and grief Use of materials such as water and dirt during creative exploration Creative Team: Lead Creative / Director / Designer: Maxi Mossman Sound Designer: Andrew Oxford Lighting Designer: Caleb Bartlett Vision Designer: Lani Dwyer Other information: Seeking an ensemble of 4–5 performers Particularly encouraging movers, actors, dancers, and circus artists with strong movement backgrounds Profit-share opportunity Successful applicants must be available for all rehearsals, tech days, and performances Audition notifications sent Tuesday 12 May 2026 Enquiries: maximossman@gmail.com

Three Little Words Ad Astra | Pluto Theatre Written by Joanna Murray-Smith Director: Greg Scurr Assistant Director: Ellen Hardisty Stage Manager: Kat Coomber Sound Design: Greg Scurr and Peter Eades Lighting Design: Daniel Endicott Set Design: Greg Scurr Fight and Intimacy Coordinator: NJ Price Costume Assistant: Eleanora Ginardi Production Assistant: Sarah Speller “The whole world sees us as one thing.” After seeing Three Little Words, I'm now more certain than ever that I should never get married. Seriously, if there's one thing I learned (aside from what a tantalus is), it's that couples should be obligated to go to marriage counselling before attempting to assemble IKEA furniture together. Minor spoilers ahead. Joanna Murray-Smith’s Three Little Words has landed in the cosy Pluto Theatre at Ad Astra in Petrie Terrace. The married pairs of Tess and Curtis, and Bonnie and Annie, are seasoned friends who fit neatly into each other’s lives. That is, until Tss and Curtis decide to shake up their 20th anniversary celebration by announcing three little words that blow the evening apart: "We're splitting up". Suddenly, the once rock-solid stability of everyone involved begins to wobble. The set, designed by director Greg Scurr, keeps us boxed inside the characters’ world. With brick walls, modern artwork, a full bookshelf, a dining table, a bar trolley and ample alcohol, the space slowly devolves from a stylish dinner party into emotional warfare. As our merry band of characters gets tipsier by the minute (and very convincingly act so), their etiquette and understanding fly out the window. In the eye of the storm is Julie Cotterell as Tess, a book publisher who is highly articulate even while drunk, spiralling, or uprooting her life on what feels dangerously close to a whim. Tess explains how she has moved from the role of a daughter, then a wife, then a mother... And now she is stuck inside an identity crisis so large that she starts swinging it at everyone around her. She talks a big game about desiring freedom, but cannot properly express what she wants. This duality makes her character simultaneously fascinating and frustrating, hypocritical and sometimes just plain mean; and Cotterell never sands down those jagged edges. She starts off looking groomed and composed but by the end, she is giving off feral goblin energy. Cameron Hurry is superb as Curtis, Tess’s seemingly supportive husband (or at least pretending to be). Since the character is a teacher, Hurry captures that trained instinct to keep calm, absorb, encourage, and put on a brave face, even as the ground is disappearing beneath him. There is an easy awkwardness to his humour that makes Curtis unexpectedly endearing, which caught me off guard because I found myself thinking, “Wait, am I sympathising with a man here?!” Hurry plays the early restraint beautifully, letting Curtis’s hurt leak out before the dam finally gives way. And that slow release predicts his eventual messiness still to come... because nobody gets to stay on the morally high ground in this play for long. Hurry and Cotterell are particularly gripping (and vicious) in their final scene together, where the polite wreckage of their marriage becomes a full war of the spouses. Years of resentment are pulled out and sharpened - earnings, intellect, ownership, self worth - are all dragged into the fight. Cotterell and Hurry (and fight coordination by NJ Price) handle the scene with the kind of trust and rigour that makes it appear believably dangerous. Every insult lands like it has been waiting years for permission. Luckily, they never really turn their teenage daughter into a weapon, because by that point I was starting to see a little too much of my own childhood in the room. The focus stays on the adults and their collapsing sense of self, which is painful enough. As Annie, Bianca Butler Reynolds is sweet-natured, passive, and quietly wounded in a way that sneaks up on you. Annie seems like the fun and softer presence in the group, but Reynolds allows us to see the little fractures underneath. She has a lovely lightness on stage, never overplaying when Annie is hurt, which makes it all the more impactful. Nicola Jayne (NJ) Price as Bonnie is cool as a cucumber on the outside, but that calm is not emptiness. Price gives Bonnie a deliciously composed presence, all sharp eyes, sharper wit, and the kind of confidence that can make a room behave. Bonnie is observant, stylish, and capable of slicing through everyone else’s nonsense with brazen honesty. Her explanation of a mid-life crisis is marvellous: the boredom, the discontent, the self-sabotage, the desperate reach for some “spiritual awakening.” Bonnie is here to tell you that what waits on the other side is not enlightenment, but a barren battlefield. Together, Price and Reynolds make Bonnie and Annie’s relationship just as compelling as the louder collapse happening beside them. Their dynamic is like a well-worn pair of mismatched socks: comfortable but just a tad prickly. They begin as the couple observing the disaster, reacting, gossiping, judging; but of course they are not safe either. Tess and Curtis think their split will be civil and sensible. Bonnie and Annie think they are only witnesses. Everyone is wrong. Everybody's strong acting abilities made me believe these people have indeed been tangled up in each other’s lives for twenty years. It is in the body language, the shared memories, and even the story of how Tess and Curtis first met, which has the looseness of a tale retold too many times at dinner parties. That history makes Bonnie and Annie’s position in the fallout especially messy as they become like the children of the separation, stuck between two parents who keep pulling them aside to talk about the other. Bonnie and Annie listen, report back, swap loyalties, and give some dreadful advice. I love that Joanna Murray-Smith’s writing never hands us a clean side to stand on. People say cruel things while trying to sound enlightened. They ask for freedom while demanding control. They insist they are not clichés while walking directly into cliché-shaped potholes. I also appreciate that the play does not pretend Tess’s chase for selfhood comes with any easy answers. Singlehood does not magically fix Tess. From where I’m sitting, it looks more like another room with different wallpaper and the same unresolved problems. Director Greg Scurr and Assistant Director Ellen Hardisty handle all the overlapping dialogue, rapid emotional pivots, and boiling tension. The blocking keeps the room active, with no one ever quite able to escape each other. The production earns so much from subtle acting choices: fiddling with wedding rings, flinching at a touch, drinks poured aggressively, and hair/clothing that become neglected. The backing music gives the scenes a neat little pulse between domestic implosions. On the night I attended, the lighting system was clearly having issues, so I do not feel I can properly comment on Daniel Endicott’s design beyond noting that the red-toned world of the play still gave the room an appropriately heated edge. I am not exactly the target demographic here: 30, unmarried, and very happy to go home to my cats. But I understand separation. I understand the heartache of being blindsided, and I understand how one person’s “fresh start” can become everyone else's heartbreak. Nonetheless, I really enjoyed it, and the audience around me was completely engaged too as we chuckled, gasped, or sat in astonished silence. I kept looking at my friends for their reactions like we were watching a particularly thrilling reality show. I laughed, winced, sympathised, and judged, often within the same scene. So, I’m not even sure whether to classify it as a comedy or a drama at this point. It feels more like a dinner party where everyone should have just left two wines earlier. Three Little Words pokes at marriage, friendship, identity, compromise, the quiet resentments people swear they are fine about, and Ad Astra lets us sit right in the awkward, wine-soaked middle of it.

Walking through the rainbow door of Thank God You’re Queer, I immediately thought, “Okay, this is either going to be brilliant or super difficult to review without mentioning the word dildo.” Turns out, it was both. Brought to you by Brisbane Powerhouse in partnership with Second Beat Productions and Big Fork Theatre, this improv show took the popular format of Thank God You’re Here, added a splash of queer chaos, and turned it into a competition to crown Brisbane’s Best Ally. The show was held in the big tent at Brisbane Powerhouse during the Brisbane Comedy Festival. I'm really hoping it returns for the Melt Festival because I arrived late, having been outside awkwardly shouting at Will Gibb from my scooter, letting him know I'm a fan. I grew up watching Thank God You’re Here on TV and absolutely loved the thrill of seeing someone walk through a door with no idea what they were walking into. This version kept that same panic, but gave it a sharper, queerer, more unhinged twist. The setup was a showdown between a queer cast and a straight cast, with the straight guest improvisers tossed into scenes based on audience-submitted prompts. They entered each scene with only seconds to catch up, smile through the fear, and pretend they understood what was happening. It was beautiful... The show was hosted by Daniel Kirkby, who kept things lively with their quick wit and easy command of the room. The pace was fast, with scenes launching before anyone had time to overthink them. Ideas appeared, mutated, and became fully formed comedy in the space of seconds. The joy of improv is that no two audiences will ever see the same show, which means I can technically spoil everything and ruin nothing. That is a very freeing feeling as a reviewer! So, I can tell you that there was a pirate search for buried treasure, aka boobs, a sexy caveman scenario, a Mary Poppins moment that took a sudden turn away from Disney innocence, and a kink fair featuring a hand-holding stall that was so stupidly adorable. The comedy worked best when it found the sweet spot between cleverness and nonsense. This cast was insanely intelligent and witty. They were building worlds, picking up cues, setting each other up, and then gleefully knocking the whole thing sideways. I loved the fumbling humour of it all, especially in those early moments when the guest has about ten seconds to figure out the prompt, the scene, the tone, and make sure they didn’t accidentally say something totally off the wall. The straight cast, made up of Taylor Edwards, Luka Dale, Liz Talbot, and Rhys McCane, understood the assignment, which was essentially: “be game, be goofy, and let yourself be roasted for heterosexuality.” There was no defensiveness to their performances, only willingness. They made fools of themselves with great skill, which is exactly what this format needs. As with any improv, not every line hit the mark, but that was part of the thrill. The show moved too quickly for any weaker moment to matter for long. Writing your own dialogue in real time, while also listening, reacting, building character, following the scene, and trying not to derail the entire thing, is no small task. The best moments had a slightly edgy feeling, as if everyone onstage was only one choice away from disaster, but trusted each other enough to jump anyway. Liz Talbot was particularly brilliant as a science teacher, explaining complete nonsense with the confidence of a Year 10 biology teacher who's seen it all. Rhys McCane was also a standout in the caveman scene, which reached a level of ridiculousness that made me wonder how many centuries of human evolution led us to that moment. And when elderly Mrs. Mabel showed us “safe spanking,” the show reminded us that it is definitely not family-friendly programming. At one point, a Mary Poppins-inspired bit gave us the immortal line, “When there’s a job that must be done, you just stick it up your bum!” I do not know what Julie Andrews would have thought, but I know what the audience thought, because we were howling. Taylor Edwards snagged the title of Brisbane’s Best Ally, chosen by a crowd reaction. Her scene redesigning and rebranding a glory hole for council approval was so committed that I had completely forgotten the original prompt by the end of it. That's the power of great improv: you kick off with a basic concept and somehow wind up at a civic infrastructure planning meeting for sexual innovation. The queer cast, including Ollie Windsor, Beef, Caitlin McGrath, Cameron Watson, and Kelsey Wynn, were the engine of the show. They stayed alive to every shift in the room, feeding each other ideas, redirecting scenes without derailing them, and knowing when to heighten a joke or hand the spotlight over. Kelsey Wynn really stood out to me with her strong character choices, playful voice work, and sharp instinct for shaping the story. One of my favourite scenes involved made-up queer terms being explained to a supportive mum and a deeply confused dad because it also captured what the show did so well: celebrating queer experience without flattening it into one thing. All the prompts allowed room for identity, awkwardness, language play, community, and the challenge of explaining yourself to loved ones who are still catching up. I left feeling part of the joke, part of the crowd, and completely unable to hear Mary Poppins the same way again. Thank God You’re Queer worked because underneath all the filth and nonsense, the cast were seriously good at what they were doing. Thank god.