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Pramkicker  by Sadie Hasler Presented by MO Theatre and Door 3 Queensland Theatre Hilarious, heartbreaking, hot pink, high-octane feminism. With teeth. Synopsis What happens when we want more—or less—than what the world expects? Well, as Jude and Susie learn, everyone has an opinion. Especially the ones who shouldn’t. Jude has always known she doesn’t want kids. Susie isn’t so sure. One day, surrounded by a sea of ‘yummy mummies’ in a café, Jude snaps—she kicks a pram down a flight of stairs (don’t worry, no baby involved), gets arrested, and ends up in court-ordered anger management. Susie tags along for moral support... and maybe to confess a secret of her own. Sadie Hasler’s Pramkicker  is a fierce, funny, and unfiltered exploration of womanhood, sisterhood, and the societal expectations placed on anyone with a uterus. Directed by Amy Ingram and Nerida Matthaei, this punchy, provocative, expletive-laced rally cry is for every woman who’s ever felt judged for not ticking the boxes of marriage and motherhood. It tears into the exhausting, generational conversation around what makes a woman “worthy”, especially outside the traditional pathways. First Impressions When you walk into the Diane Cilento Studio (Door 3), you don’t just take your seat. You enter a world. A school hall bulletin board, a line-up of abandoned prams, and a table offering cordial and biccies scream “primary school nostalgia.” Unless, of course, you’re a parent, in which case it might just feel like a Tuesday. The immersive setup pulls the audience in immediately. We’re guided into a makeshift classroom by the voiceover of a “group leader,” while onstage, Jude—snarky and aloof—and Susie—frantic and friendly—are already there, checking name tags and dodging the “wet paint” sign as if we’re all members of the same anger management group. And for the next 75 minutes, we are. Performances Sarah Ann McLeod is formidable as Jude, fiercely clinging to her autonomy and unafraid to kick a metaphorical (or literal) pram to protect it. She’s dry, biting, and brimming with repressed rage that’s all too familiar to many child-free women. Her monologues on motherhood, worth, and invisible womanhood are searing and delivered with razor-sharp honesty. This isn’t just theatre for me. It’s catharsis. Sarah Ogden, as Susie, is the perfect chaotic foil: bubbly, a little too accommodating, and carrying a truth she’s afraid to share. Her performance is a shape-shifting masterclass. Not only is she deeply believable as Susie, she also morphs into a gallery of side characters: a bougie British woman ranting about her trash husband, the snob café mum, a sleazy bogan bloke, a Ken-doll ex-boyfriend named Jason, an LA valley girl called Marcy... Every voice, posture, and facial expression lands. Honestly… what can’t  this Sarah do? Direction & Design The direction is bold and brilliantly paced. Pramkicker  never drags. Every beat is intentional. The sound design by Brady Watkins and lighting by Christine Felmingham elevate the piece, especially the vivid green spotlight monologues and the sardonic voiceovers that veer between absurd and oddly profound (“How do I feel about my period...? I LOVE IT!”). Ada Lukin’s set design nails that lo-fi school assembly vibe: mismatched, duct-taped chairs, a “Stay Cool” baby poster à la Banksy, and layers of DIY that ground the show in something instantly recognisable. Emotional Impact Beneath all the f-bombs and sarcasm lies something raw and real: this is ultimately a story about sisters. About how the same upbringing can yield wildly different paths. About the debt we owe each other—and ourselves—when it comes to honesty and choice. We uncover the 8-year age gap between Jude and Susie and the long-avoided truths. They bicker, they bond, they laugh and break down, sitting side by side in lawn chairs with full Kath & Kim  energy, drink in hand. There’s a plot twist I won’t spoil—but when it lands, it hits hard. And just when you think the show has made its point, it turns the mirror back on you and asks: What societal bullshit have you been putting up with? As a proud, single, child-free woman surrounded by engagements, weddings, pregnancies, and playdates, this show struck a deeply personal chord. It gave voice to the quiet rage of feeling like you “don’t count” without a wedding ring or a baby bump. That rage of being pitied, judged, or dismissed? That’s not fiction. And this show dared to scream back: I am enough. And then there’s Susie, aching with the pressure of choosing the “right” path. Her monologue about motherhood, and the quote that stuck with me—“When does all the knowing start?”—was gutting. Final Thoughts And yet, through the anger and the ache, the show never loses its humour. We wheezed with laughter. There were groans of recognition from women all around me. The Brisbane references landed like little in-jokes for the whole audience. The slow-mo flashbacks (especially Jude’s pram-kick brawl) were downright side-splitting. And by the end, you might want to hug your sister, yell into a pillow, or go full Jude and kick a pram. It’s the kind of show that lodges itself in your bones. That shakes you up. That lets you grieve and laugh at once. I highly recommend seeing it. Especially if you're angry. Or confused. Or just tired of being told what your life should look like. CREATIVE TEAM Directed by:  Amy Ingram & Nerida Matthaei Choreography by:  Nerida Matthaei Set & Costumes by:  Ada Lukin Lighting Design:  Christine Felmingham Sound Design:  Brady Watkins Stage Management:  Lucy Kelland & Thea Raveneau SHOW DETAILS Duration:  75 minutes (no interval) Recommended Age:  15+ Warnings:  Contains haze, flashing lights, strong coarse language, and adult themes including sexual assault, pregnancy, abortion, and drug/alcohol use. Tickets : https://queenslandtheatre.com.au/plays/pramkicker Photography by Morgan Roberts

"If you put an album on of hers, you do not hear her age. You only hear amazing musicality. And you're drawn in." - Amy Lehpamer as Dusty Springfield “Whether you know who Dusty was or not, you’ll leave this show knowing her — and loving her.” - Director Jason Langley Dusty The Musical – In Concert  is set to dazzle Brisbane audiences when it takes over the QPAC Concert Hall from 5–8 June 2025. Presented by Prospero Arts , this semi-staged celebration brings to life the remarkable story of Dusty Springfield — a pop icon whose voice, style, and spirit helped define a generation. From her early beginnings as Mary O’Brien to her meteoric rise as an international star, Dusty’s story is one of grit, glamour, and unforgettable music. Featuring beloved hits like “Son of a Preacher Man” , “The Look of Love” , and “You Don’t Have to Say You Love Me” , the show promises a soul-stirring journey through the swingin’ sixties to the nineties, backed by a live onstage band conducted by Brendan Murtagh with musical supervision by David Young . Taking centre stage is the incredible Amy Lehpamer , returning to the role of Dusty. She’s joined by director Jason Langley  and choreographer Michael Ralph , reuniting the dream team behind the acclaimed 2016 Melbourne production.   I had the absolute pleasure of sitting down with Amy Lehpamer and Jason Langley to chat about what it’s like to step into the world of Dusty, why this music still resonates so deeply, and the magic that’s in store for Brisbane audiences.   A Legend Reborn “Dusty really was a woman that defined pop music,” says lead performer Amy Lehpamer, returning to the role after nearly a decade. Amy admits, returning to this role after nearly 10 years — now as a mother and a married woman — gave her a new perspective. “It’s like my body remembers it, but my brain is catching up. I’m finding new things about Dusty. It’s more than muscle memory, it’s like returning to an old friend with a new lens. But there’s a different maturity now. Some scenes hit completely differently.” “She led with her heart. Her artistry, her creativity, and her joy for performing were unmatched — but offstage, her life was filled with complexity, contradictions, and struggle.” In rehearsal, Amy captures that duality with devastating clarity. I was lucky enough to witness two musical numbers — " You Don’t Have to Say You Love Me"  and " Dancing in the Street"  — and both gave me chills. The first was filled with anguish, Amy’s bright vocals swelling with heartbreak, her facial expressions flickering with Dusty's inner turmoil. The second was a high-energy, choreographed celebration of Dusty's connection to the Motown scene, featuring classic doo-wop backing vocals and a bursting sense of joy from the entire cast. The harmonies popped, the choreography was clean and sharp, and the ensemble exuded the tight-knit chemistry of a well-oiled machine. And what a cast. “They’re phenomenal,” Amy beams. “I’m so inspired by them.”   A Visual and Musical Feast Directed by Jason Langley, who also helmed the 2016 revival, this Brisbane debut of Dusty – The Concert  isn’t just a rehash of what came before — it’s an evolution. “The original version of the show has changed a lot,” Jason shares. “We’ve refined it, reimagined it, and now we get to bring it to Brisbane for the very first time.” He’s not exaggerating when he says this is more than a concert. With over 80 wigs, five LED screens, and AV animations by Craig Wilkinson, the show spans five decades of fashion and music, taking audiences from the 1950s all the way to Dusty's final year in 1999. “Dusty was a fashion trailblazer as much as a musical one,” Jason says. “And the design celebrates that. You’ll see most of her iconic looks, set against a huge catalogue of her music performed live on stage by nine top-tier Brisbane musicians.”   More Than Just the Hits While the show features unforgettable songs like I Only Want to Be with You , I Close My Eyes and Count to Ten , and Middle of Nowhere  (a personal favourite of both Amy and Jason), it's the story that elevates this performance from tribute to theatre. “Dusty was dictatorial in the studio — she knew what she wanted and she made it happen. She was a perfectionist, a visionary, and completely singular in her sound.”   Amy shares the stage with Nikola Gucciardo portraying a young Mary O’Brien (Dusty’s birth name), whose presence haunts the story like a memory made flesh. This dual-performance structure gives audiences rare insight into the inner emotional battles of a woman who was constantly reinventing herself while wrestling with a past she could never quite escape. “She’s not just in the opening scene,” Jason explains. “She lingers. That inner child — the one who was overlooked, who didn’t feel beautiful — she stays with Dusty for life. And that’s such a human, relatable element. It’s really moving.”   A Story Worth Telling More than just a musical biography, Dusty – The Concert  paints a vivid portrait of a woman at war with herself — balancing fame with fear, perfection with pain, and glamour with grief. As a queer woman in a less accepting era, Dusty’s personal life was layered with struggles that remain strikingly relevant. “We use the word ‘icon’ a lot these days,” Amy muses, “but Dusty really was one. And her life story isn’t sugar-coated. She was queer. She was battling mental health issues and substance abuse. She was a perfectionist, often at odds with herself and the world around her.”   Langley adds: “It’s about what happens to creative people who weren’t the most popular kids in school — how the thing that allowed them to blossom can also be the thing that holds them back.”   About more than just nostalgia, Dusty's story still resonates today — in a world where we’re still fighting for LGBTQ+ rights, mental health awareness, and women’s equality in the music industry. “She was an enigma in her time,” Amy says. “Her music was bold, her fashion was bold, but her personal identity — her queerness, her mental health — that all had to be hidden. And it hurt her. But she still created beauty out of that pain.”    Don’t Miss It With its blend of powerhouse vocals, iconic fashion, and heartfelt storytelling, Dusty The Musical – In Concert  offers a vibrant celebration of a true music legend. With only four performances across one week, this is a blink-and-you’ll-miss-it event. Whether you’re a longtime fan of Dusty or only know her name in passing, this production promises to blow the socks off audiences with its artistry, intimacy, and story that needs to be told. So, come for the hits and stay for the heart. DUSTY – THE MUSICAL IN CONCERT Presented by:  Prospero Arts Venue:  QPAC Concert Hall, Brisbane Dates:  5–8 June 2025 Book Tickets Here Starring:  Amy Lehpamer as Dusty Springfield Directed by:  Jason Langley Choreography by:  Michael Ralph AV Design:  Craig Wilkinson Costume Design: Isaac Lummis Musical Direction:  Brendan Murtagh Musical Supervision:  David Young

Title:   Taylor Made – The Ultimate Swiftie Singalong Presented By:  The Little Red Company Genre:  Concert / Pop / Tribute Show Synopsis: Taylor Made  is a high-voltage singalong concert experience packed with joy, heartbreak, revenge, release and – of course – all things Taylor Swift. With an electrifying live band, powerhouse vocalists, and lyrics projected for full audience participation, it’s a Swiftie dream come true. This sequin-studded show invites you to scream-sing every word with hot mics and sky-high vibes. Audition Date:  Saturday 21 June 2025 Audition Time:  10:00am – 3:00pm Audition Location and Address:  Thomas Dixon Centre, 406 Montague Road, West End, QLD Audition Requirements: Applicants must be female-identifying vocalists aged 12–17. Submit a 90-second video (landscape orientation, well-lit room) singing any Taylor Swift song. No tech or performance bells and whistles needed – just your voice and presence! Must be based in South East Queensland. Parent/guardian must be available to attend all rehearsals and performances. Guitar ability is a bonus but not required. Available Role: One young vocalist (female-identifying, aged 12–17) to perform two songs alongside the professional cast during the concert. Audition Registration:   Google Form Performance Dates:  Friday 25 July 2025 Performance Location:  The Tivoli, Brisbane Rehearsal Dates: Monday 21 July – 6:00pm to 9:00pm Wednesday 23 July – 6:00pm to 9:00pm Thursday 24 July – 6:00pm to 9:00pm Production Website:   thelittleredcompany.com Other information: This is a voluntary (unpaid) role. Created by Naomi Price and Luke Kennedy Song arrangements by Scotty French

Title:  Accidental Death of an Anarchist Presented By:  Villanova Players Genre:  Comedy, Political Satire Synopsis: A quick-witted madman infiltrates a police station to expose the suspicious “accidental” death of a political prisoner. With outrageous disguises, farcical comedy, and razor-sharp satire, the play unravels corruption, chaos, and absurdity in the justice system. As the line between truth and farce blurs, the play asks: is justice even possible in a world this corrupt? Audition Date:  Sunday 6 July 2025 Audition Time:  10:00 AM – 12:30 PM Audition Location and Address:  Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills QLD 4170 Audition Requirements: Book an audition time via TryBooking. Complete an Expression of Interest form (even if you cannot attend auditions in person). Contact info@villanovaplayers.com  or call Leo on 0428 867 994 for more details. Audition Registration: Book Audition Time Expression of Interest Form Available Roles: The Maniac  (Male): An unnamed, compulsive performer who is the only character who can see the audience. Playing age: late 20s to early 40s. Superintendent Curry  (Male): The station chief. Playing age: mid 50s. Detective Dan Daisy  (Male): A plain-clothes detective. Playing age: 30s–40s. Inspector Burton  (Male): From the third floor. Playing age: 40s–50s. PC Joseph  (Male): Superintendent’s aide. Playing age: 20s–30s. PC Jackson  (Female): From the third floor. Playing age: 20s–30s. Fi Phelan  (Female): A journalist. Playing age: 20s–40s. Note: Jackson and Phelan are in different halves of the play and may be played by the same actor or cast separately. Performance Dates:  3rd to 5th October 2025 Performance Location:  Ron Hurley Theatre, Seven Hills, QLD Rehearsal Times:  Monday and Wednesday evenings, Saturdays Director:  Thomas Wood Production Website:   villanovaplayers.com

Title:  A Night With The Villains Presented By:  Mira Ball Productions Genre:  Cabaret / Musical Theatre / Parody Synopsis: It’s Halloween, and some of musical theatre’s most villainous souls return for a sinister cabaret. A Night With The Villains  is a darkly hilarious concert event that invites performers to embrace their inner baddies in an evening of twisted musical theatre and pop tributes. This Matilda-nominated production blends cabaret, comedy, and a touch of the macabre to honour the tyrants, misfits, and mischief-makers of stage and screen. Don your finest costume and prepare to howl — this Halloween celebration is not for the faint of heart. Audition Date:  Submit video audition online by Sunday 22 June 2025 at midnight Audition Requirements: Submit a 1–2 minute video performance of your most villainous song or special skill (comedy/circus encouraged!) Submit a 2-minute monologue as a villain of your choice Provide a current headshot and performance CV List any unavailability that conflicts with key dates Characterisation and bold choices are highly encouraged Audition Registration:   Register Here Audition Pack:   Click here to download Available Roles: Casting is open to performers of all genres, backgrounds and abilities, aged 18+. Looking for villainous musical theatre performers, cabaret acts, comedians, circus/variety performers, and all-around deliciously dark talent. Performance Dates:  Thursday 30 October – Sunday 2 November 2025 Performance Times:  Evenings – approx. 7:00pm start Performance Location:  Ron Hurley Theatre, Seven Hills Hub, Brisbane QLD Rehearsal Dates:  Sundays only Rehearsal Times:  Starting Sunday 24 August 2025 Required Age:  18+ Creative Team: Director/Writer:  Elodie Boal Choreographer:  Jennifer B Ashley Musical Director:  Rae Rose Costume Design:  Jackie Fredericksen Makeup & Hair Design:  Rosie Humphreys Lighting Design:  Tony Kerr Associate Producer:  Andrew Charles Production Website:   www.villainsnight.com Other Information: Callbacks will be held in-person on Monday 30 June, Tuesday 1 July, and Thursday 3 July Callback requirements include a prepared villain song (materials provided) and a group dance call Tech/Dress Rehearsals: Monday 27 – Wednesday 29 October 2025 Cast must be 18+ This is a profit-share production. A formal agreement will be provided to cast members. All enquiries to: hq@villainsnight.com

Title:  GLOW Cabaret: Flip The Script Presented By:  Phoenix Ensemble Genre:  Cabaret / Musical Theatre Synopsis: We all have roles we can’t play — whether due to gender, age, ethnicity, or vocal range — but why should that stop us? In this year’s GLOW Cabaret , Phoenix Ensemble proudly flips the script and brings you bold, unexpected performances that challenge traditional casting. What happens when Annie’s in her thirties? When Elphaba is a baritone? Or the Phantom becomes the Phantom-ess  of the Opera? Join us for an unforgettable evening of daring interpretations, rule-breaking renditions, and boundary-pushing talent. One night only — grab your ticket now to see the roles reimagined like never before! Performance Date:  Saturday 21 June 2025 Performance Time:  7:30 PM – 10:00 PM Performance Location and Address: The Pavilion Theatre, Beenleigh Showgrounds, James Street, Beenleigh QLD 4207 Performer Application Register:   GLOW Cabaret Application Form Application Requirements: Song 1: Title and show Song 2: Title and show Headshot (for marketing purposes) A video link of yourself singing (this can be one of the submitted songs or any other audition/showreel video) Availability for soundcheck prior to the 7:30 PM performance

Title:  2025 Musical Theatre Audition Workshop Presented By:  Queensland Academy of Excellence in Musical Theatre (QAEMT) About: Are you planning to audition for a tertiary Musical Theatre course? The 2025 Musical Theatre Audition Workshop offers aspiring performers in Year 11 and above the chance to develop their audition skills through expert-led, small-group training. Participants will receive intensive coaching in audition techniques, etiquette, material selection, and repertoire development, as well as dance training and mock auditions. They’ll also gain insights from current students and industry professionals on life inside the QAEMT Bachelor of Musical Theatre program and beyond. Audition Requirements (for application): Submit an audition video (combined into one file and uploaded to YouTube or Vimeo as unlisted) including: A 2-minute musical theatre song cut that showcases singing and acting A jazz dance no longer than 2 minutes Application Deadline:  Monday 16 June 2025 Offers Made:  Wednesday 18 June 2025 Payment Due:  Monday 23 June 2025 Workshop Dates: Week 1: 30 June – 4 July 2025 Week 2: 7 – 11 July 2025 (Preference can be selected on the application form) Location and Address: Queensland Performing Arts Centre (QPAC), Cnr Grey and Melbourne StreetsSouth Brisbane, QLD Ages:  Year 11 and above Cost:  $565 per participant Application: Apply Now via Microsoft Forms Production Website: More Information What to Bring (if accepted): Two x 2-minute audition cuts of musical theatre songs (sheet music in display folder or taped) Two monologues (one from QAEMT set list and one memorised own choice) FAQs Highlights: Open to Year 11, Year 12 and post-school applicants Not open to Year 10 students Preference for workshop week can be selected Full attendance is strongly encouraged Wear comfortable activewear and jazz shoes (if owned)

Title:   Rumors Presented By:  Sunnybank Theatre Group Genre:  Comedy / Farce Synopsis: At a stylish townhouse in Sneden’s Landing, four high-society couples gather for the 10th wedding anniversary of the Deputy Mayor of New York. But the party takes a chaotic turn when the host is discovered to have shot himself (just a flesh wound!) and his wife is missing. What follows is a whirlwind of miscommunications, lies, physical comedy, and spiralling absurdity as the guests desperately try to hide the situation from each new arrival. With fast-paced dialogue and eccentric characters, Rumors  is a masterclass in farcical hilarity by Neil Simon. Written By:  Neil Simon Directed By:  Julie Jones Audition Date:  Sunday 22 June 2025 Audition Time:  10:00am Audition Location and Address:  Sunnybank Theatre, Brisbane QLD Audition Requirements: This is an open audition – no individual times will be scheduled. You must register online in advance to be considered. Actors are encouraged to come prepared and present their interpretation of the character they are auditioning for. American accents required for all roles. Please read the provided character sides and plot synopsis ahead of time. A high-energy ensemble piece with fast-paced farcical timing and heavy reliance on physical and verbal comedy. Visit Sunnybank Theatre Auditions Page  for registration and access to audition materials. Audition Registration: Click here to register Available Roles: Ken Gorman  (Male, 60+): Lawyer, serious and pompous, comedic physicality required (becomes temporarily deaf). Chris Gorman  (Female, 50+): Lawyer, elegant, anxious, and tipsy in Act 2. Physical comedy required. Claire Ganz  (Female, 50+): Sarcastic, sharp society wife with a witty edge. Lenny Ganz  (Male, 50+): Sarcastic and outspoken accountant with a large comedic monologue. Ernie Cusack  (Male, 60+): Psychiatrist, mild-mannered but stressed, mistaken for the butler. Cookie Cusack  (Female, 40+): Quirky TV cook with frequent dramatic back spasms. Physical comedy essential. Glenn Cooper  (Male, 50+): Polished politician running for State Senate, secretly shady. Cassie Cooper  (Female, 20+): Glenn’s jealous and eccentric young wife, full of tantrums and drama. Officer Welch  (Male or Female): No-nonsense police officer investigating suspicious behaviour. Performance Dates:  5 September – 20 September 2025 Performance Location:  Sunnybank Theatre, Brisbane QLD Rehearsal Dates:  From 24 June 2025 Rehearsal Times: Tuesdays 7:00pm – 9:30pm Thursdays 7:00pm – 9:30pm Sundays 2:00pm – 5:00pm Warnings:  Prop smoking (Chris), back spasms (Cookie), loud noises/gunshot sound effects Required Age:  18+ Director : Julie Jones Production Website:   www.sunnybanktheatre.com.au

Title:  Broadway Rising Stars Presented By:  Broadway Rising Stars Genre:  Youth Cabaret / Musical Theatre Synopsis: Broadway Rising Stars is a heartwarming youth cabaret performance, spotlighting talented young performers aged 17 and under. This event is all about celebrating musical theatre passion in a positive, supportive, and empowering environment. It’s completely free to audition and perform, with no entry fees or hidden costs—just an open stage and a chance to shine. Audition Self-Tape Due: Sunday 8 June 2025 Audition Requirements: Record a video of yourself singing two contrasting musical theatre songs that show off your vocal ability and style. These are the same songs you intend to perform during the open mic. No fancy equipment needed—a smartphone is fine as long as the video is clear and well-lit, with minimal background noise. Upload the videos to any platform (YouTube, Vimeo, etc.) with a shareable link. Submit your audition via the form below. Audition Registration: Apply Now via Google Form Performance Date: Sunday 22 June 2025 at 1pm Required Age: 5–17 years old (Submission options for ages: 5 & under, 6–9, 10–13, 14–17) Other information: Participation is 100% free This is a wonderful platform for young performers to gain experience and be seen Applicants are asked to provide additional fun details in the form, including favourite musicals, dream roles, and memories of being onstage Social media consent and tagging preferences are optional

Now Playing at New Farm Nash Theatre until May 31 By Bess Wohl | Directed by Phil Carney   "I do realise that's what marriage is; A contract to be tied to each other's stupidity."   It’s a quiet evening in a cookie-cutter retirement village. Bill and Nancy set the dinner table to the sound of a string version of Lewis Capaldi’s Someone You Loved . It’s quiet, tense, and oddly poetic—like watching a couple perform a routine they've perfected over decades, with no warmth left between the movements. Nancy is glaring at Bill like a flatmate who’s had it up to here  with someone setting the table wrong for 50 years. And then—boom—first line of the play: “I want a divorce.”  Bill doesn’t even flinch. Just nods and mutters, “Alright.”  And thus begins Grand Horizons , a sharp, cheeky, and unexpectedly emotional comedy about long-term marriage, family dysfunction, and the glorious chaos that follows when older adults stop pretending and start telling the truth.   This show suits the small stage at Nash Theatre perfectly—intimate, focused, and grounded in reality. The set feels depressingly accurate: neutral-toned furniture, bland kitchen decor, and that eerie sameness of independent living communities. Phil Carney’s direction and set design capture that suburban staleness beautifully. The world may look orderly, but beneath it, things are gloriously messy.   Linda Morgan (Nancy) and Eddie Bruce (Bill) own  the stage. Their dynamic is dry, biting, and utterly hilarious. Linda’s delivery is pure gold—dry as toast, but with a wicked aftertaste. Eddie plays the deadpan, borderline oblivious husband to perfection. You absolutely believe these two have tolerated each other’s quirks and silences for half a century. These characters, now in their 70s, come from a generation where marriage was the expected path—often chosen too young, too fast, and maintained out of duty more than joy. Linda lands a line that had me in absolute stitches: “I’ll make you a sandwich before you go,”  as she kicks Bill out of their home. That sums this whole show up perfectly—cutting humour layered with years of resentment, tenderness, and unspoken care. And then there's Bill’s ill-fated stand-up comedy—offensive, outdated, completely tone-deaf—and somehow, still  hilarious. Eddie leans into it with such conviction, it’s hard not to laugh… even when you know  you shouldn’t.   When their adult sons crash in to “fix things,” things spiral beautifully. Erik de Wit as the older brother Ben is an odd mix of uptight, overwhelmed lawyer and bumbling buffoon. Tyson Hargreaves as the younger brother Brian, a flamboyant, slightly neurotic gay drama teacher, is his polar opposite. Their sibling dynamic is painfully real—who’s more successful, who helps out more, who is the favourite son? Their squabbles echo through the theatre like the sound of every family argument ever. As Ben states while crashing out: "Start a family... That sounds stupid. How stupid does that sound right now?"   There’s also Jess, Ben’s wife and a psychologist—played with understated brilliance (and absolute girl boss energy) by Catherine Sturk. She’s the only one who seems remotely capable of handling this chaos, until she too breaks down in frustration and rage. Her Act II monologue is a feminist mic drop: a rally cry for every woman who has ever felt erased by the titles of wife or mother. And then there’s Tommy—Brian’s one-night stand turned reluctant therapist—played with sparkle and sass by Matthew Ginman. He’s barely in the show, but steals  every second he’s on stage. Their brief scene is one of the funniest of the night: all miscommunication, sexual tension, and total mismatched energy. I loved it.   The Act Two scene between Nancy and Carla (played by Gillian Simpson) is a masterclass in tonal shifts—starting with awkward small talk about scarves, moving into existential rage about aging, and then sliding into hilariously inappropriate 'girl talk'. It’s whiplash in the best way, and a reminder that older women are still bold, brilliant, and not to be underestimated. Bess Wohl’s writing is sharp, insightful, and deeply human. Yes, some of the acting is a little clunky here and there—but honestly? It works. This isn’t Shakespeare. It’s real, uncomfortable, hilariously familiar Aussie family chaos. The imperfections make it all the more relatable. In fact, there are so many little moments in this show that feel scarily  real. Like Nancy’s random late-night confession to Brian about a secret she’s held for decades—while he’s curled in a blanket fort trying desperately  not to hear her cringy oversharing.   There’s a brilliant moment in Act One that ends in a gasp-worthy special effect (no spoilers, but… damn), and Act Two escalates things with more surprises, more yelling, more painful truths, and somehow… more laughs. The audience on the night I attended was absolutely with  the show—laughing, gasping, and groaning at the sheer accuracy of the family dysfunction on display.   The final scene between Bill and Nancy is stunning. It’s chaotic, humorous, poignant, and utterly genuine. This play resonates deeply. My mum was my guest, and she cackled  through it, recognising aspects from her own life—then offered the perfect summary: “Children often struggle to see their parents as real people, and parents are often oblivious to the effect they have on their kids." I couldn’t have put it better myself.   Grand Horizons  is funny, moving, and brimming with uncomfortable truths. If you haven’t seen it before, go. You’ll laugh, you’ll cringe, you might even see your own family in the mess of it all. Go for the aching reminder that love, in all its messiness, still has room to grow—even after fifty years. It’s never too late to speak the truth, or to finally feel seen.

Title:  Heathers: The Musical Presented By:  Beenleigh Theatre Group Genre:  Musical Theatre / Dark Comedy About the Show: Based on the cult 1989 film, Heathers: The Musical  is a darkly comedic, high-energy show set in the halls of Westerberg High. It follows Veronica Sawyer, an intelligent but socially invisible teen who suddenly finds herself embraced by the popular and feared clique of the three Heathers — Heather Chandler, Heather Duke, and Heather McNamara. As Veronica navigates the perilous social ladder and a twisted romance with the brooding new kid, Jason “J.D.” Dean, she must confront deadly events disguised as suicides and fight to reclaim her identity. Packed with sharp wit, catchy tunes, and powerful messages about teen pressure, mental health, and redemption, Heathers  is a bold, subversive look at the challenges of fitting in and standing out. Audition Details: Audition Dates: Saturday, 28 June 2025 Sunday, 29 June 2025 Video auditions accepted on Sunday, 29 June 2025 Location: Crete Street Theatre, Crete Street, Beenleigh QLD 4207 Booking Link: Book your audition time here Audition Pack: Download the Heathers Audition Pack (PDF) Audition Sides: Download Audition Sides (PDF) Audition Requirements: Dance Call: Saturday 3:00 PM or Sunday 9:00 AM One dance routine to showcase a range of skills — all skill levels welcome! Focus on dance technique, characterisation, and performance energy. If you can’t attend in person, submit a video audition following the choreography tutorial provided by the choreographer, Holly Leeson. Individual Auditions: Saturday from 5:00 PM onwards Sunday from 12:00 PM onwards Prepare two contrasting songs (one can be from Heathers ) about 32 bars or 1 minute each. Bring backing tracks cued and ready on your device. Prepare a side read from the audition pack. Choose a scene that suits you best. What to Bring: A picture of yourself for identification Backing tracks on a device (Bluetooth speaker, aux cable, USB-C, and Apple adaptors supplied) Comfortable clothes and shoes for dancing Video Auditions If unable to audition in person, video submissions are welcome. Please submit at least 48 hours before auditions, including sides reading, two contrasting songs, and a dance video (provided in advance). Casting Notes and Inclusivity Statement: Beenleigh Theatre Group is deeply committed to diversity, inclusion, and authentic representation. They welcome all auditionees regardless of race, age, gender identity, or ability to apply for any role. Please note:  This production contains mature themes and is only suitable for performers 18 years and older. Content Warnings: The show explores serious and mature topics, including: Explicit language and sexual content Suicide and attempted suicide (visualisation included) Abuse and toxic relationships Gun use (prop guns) and violence Eating disorders and body shaming Bomb threats Actors should carefully consider their comfort with these themes before auditioning. Rehearsal & Performance Details: Rehearsal Schedule:  Tuesdays and Thursdays (7 PM - 10 PM), Sundays (5 PM - 9 PM) Performance Dates:  Fridays 3, 10, & 17 October 2025 (7:30 PM), Saturdays 4, 11, & 18 October 2025 (2 PM & 7:30 PM), Sunday 19 October 2025 (Bump Out) Creative Team: Director: Blake Russell Musical Director: Julie Whiting Choreographer: Holly Leeson Producer: Tiarnii Richardson Character Breakdown: Veronica Sawyer Playing Age:  17 Vocal Range:  G3 - A5 (high belt/mix belt up to A5) Character Description: Veronica is the smart, witty, and sarcastic protagonist, navigating high school life with a sharp cynicism but underneath, a vulnerable insecurity. Initially swept up into the popular clique of the Heathers, she soon questions her place and falls for the troubled Jason "J.D." Dean. This role demands a performer who can expertly switch between comedic timing and intense emotional depth, capturing Veronica’s sarcastic exterior and vulnerable inner world. Heather Chandler Playing Age:  17 Vocal Range:  A3 - F5 (high belt/mix belt to F5) Character Description: The ultimate queen bee and leader of the Heathers, Heather Chandler is confident, wealthy, and unapologetically ruthless. While she seems invincible, a hidden vulnerability simmers beneath her tough, glamorous facade. Director’s Notes: Needs a commanding presence with strong comedic timing. The character should be poised and intimidating. Heather McNamara Playing Age:  17 Vocal Range:  G3 - F5 (strong belt/mix belt to D5) Character Description: Heather McNamara is sweet, naïve, and often overshadowed by the other Heathers. She struggles with self-identity but is part of the popular group. Heather Duke Playing Age:  17 Vocal Range:  A3 - G5 (strong belt/mix belt to D5) Character Description: Initially overshadowed by Heather Chandler, Heather Duke is sarcastic, smart, and dry-humoured. After Chandler’s death, she rises to take control, becoming a cold and calculating leader. Jason "J.D." Dean Playing Age:  17 Vocal Range:  C3 - Bb4 (strong belt up to A4) Character Description: J.D. is Veronica’s dangerous, brooding love interest with a dark worldview. Charming yet psychotic, his complex personality drives much of the show’s tension. Martha Dunnstock Playing Age:  17 Vocal Range:  G3 - F5 (strong belt/mix belt to F5) Character Description: Martha is a kind-hearted outcast, bullied for her size but earnest and hopeful for acceptance. She brings both comedy and emotional poignancy. The actor should balance comedic timing with emotional vulnerability, and present the character with authentic plus-size representation. Ram Sweeney Playing Age:  17 Gender:  Male Vocal Range:  Bb2 - A4 (belt to G4) Character Description: A stereotypical jock: athletic, popular, arrogant but loyal. Ram is comedy relief amid darker themes. Kurt Kelly Playing Age:  17 Vocal Range:  B2 - Ab4 (belt to A4) Character Description: Quarterback and Ram’s best friend. Arrogant and not very self-aware, he offers comedic and dark humour. Adult Male Triple Roles  (Casting flexibility encouraged) Kurt’s Dad / Veronica’s Dad / Principal Gowan Playing Age:  30–45 Vocal Range:  Baritone/Tenor — country/gospel belt with range to G or higher Character Notes: Various supporting roles including a straightforward suburban dad, distant father, and worn-down principal. Requires versatility and character differentiation. Adult Male Triple Roles Ram’s Dad / Big Bud Dean / Coach Ripper Playing Age:  40–45 Vocal Range:  Baritone/Tenor — country/gospel belt to Ab or higher Character Notes: Includes a nostalgic ex-athlete dad, a volatile single father with hidden rage, and a tough coach. Requires strong presence and emotional range. Ms. Fleming Playing Age:  Late 30s to 50s Vocal Range:  Ab3 - F5 (belt to C5, optional higher) Character Description: The eccentric, oblivious ex-hippie teacher who means well but is comically ineffective. She adds levity and absurdity to the show. Ensemble Roles Playing Age:  17+ Character Descriptions: Includes diverse stereotypical high schoolers and adult authority figures. Each ensemble member must bring fully developed, distinct characters—no blending into the background. Boy 1: Beleaguered Geek  (Male, 18+, vocal range Ab3-F#4) Boy 2: Preppy Stud  (Male, 18+, vocal range Eb3-F#4) Boy 3: Hipster Dork  (Male, 18+, vocal range Bb2-F4) Girl 1: New Wave Girl  (Female, 18+, vocal range Bb3-A4) Girl 2: Stoner Chick  (Female, 18+, vocal range Ab3-Eb5) Girl 3: Young Republicanette  (Female, 18+, vocal range Ab3-Bb4)

The Importance of Being Earnest by Oscar Wilde Presented by Passion Productions Oscar Wilde once penned, “The truth is rarely pure and never simple.” But here's a truth that's as clear as a bell: I adore this play. I've already reviewed several versions, and I've got another lined up for this weekend. Call me a theatre addict, I dare you! Passion Productions’ take on The Importance of Being Earnest  was a sharply executed celebration of Wilde’s beloved comedy, bursting with social satire, absurd plot twists, and enough witty banter to fill a teacup (or several). Director Prue Robb and her whip-smart cast delivered a fresh, fearless staging that paid tribute to the original while gleefully playing with its possibilities.   Set in what seemed to be a 1950s/60s-infused version of Wilde’s world, the production took a bold stylistic approach with anachronistic costume choices. And while this may have felt a little out of place at first, it quickly became clear that the commitment to character and comedy far outweighed any need for strict period accuracy. Instead, we were treated to paisley prints, go-go boots, dramatic wigs, and silk playboy robes and fluffy slippers. Algy strutted around in a groovy purple getup, while Miss Prism's hair reached for the sky, and Lady Bracknell's wardrobe made sure all eyes were on her. The set was minimal but functional. With so much colour and chaos radiating from the characters themselves, the simplicity of the staging gave them plenty of space to move, scheme, and snack their way through Wilde’s deliciously tangled plot.   From the moment Rushad Katrak sashayed onstage as Algernon Moncrieff, it was clear we were in confident comedic hands. With Rupert Everett-esque charisma, a devilish smirk, and a twinkle of sin in his eyes, Rushad’s Algy was an irresistible blend of dandy and disaster. He played the character’s bottomless appetite—for food, drama, and a good old-fashioned fun—with infectious glee. Rushad’s Algy may have been a walking whirlwind, but every storm needs its eye—and that’s where Michael Ware’s Jack Worthing came in. Michael was the perfect foil, grounding the mayhem with gentlemanly awkwardness, dry wit, and some some truly cackle-inducing physical comedy. Having previously seen him portray this same role with Villanova Players Theatre, it was a treat to witness him lean even further into the humour this time with his overly-refined accent, earnest expressions, and barely concealed exasperation—as if Jack might unravel completely at any given moment. Angela Lal as Gwendolen Fairfax was an absolute hoot—poised, perky, and perfectly ridiculous. With a voice dipped in sugar and sarcasm, she zoomed through Wilde’s endless wordplay with precision and unending energy. Gwendolen never stops talking, and honestly, I have no clue when Angela found time to breathe! Every line was delivered with theatricality and her exaggerated obsession with the name Ernest  bordered on tragicomedy. Her second act crash-out was a comedic highlight; equal parts elegance and hysteria.   Maeve Lynch’s portrayal of Cecily Cardew was a bright, bubbly whirlwind of romantic fantasy and youthful charm (and just a little bit unhinged). Decked out in go-go boots and hippie florals, she floated through the show like a lovestruck daydreamer and drama queen. Maeve infused Cecily’s innocence with an intelligent unpredictability; she was wide-eyed and sweet, but not without bite. Her frenemy tension and petty exchanges with Gwendolen were always accompanied by a sharp retort, delivered with a polite sparkle. All smiles and all daggers. Then there was Bradley Chapman as Lady Bracknell, and what a moment it was. From the vibrant wig to the booming voice and every judgmental glance in between, Bradley didn’t just portray Lady Bracknell/Aunt Augusta—he became her. His very first entrance commanded the attention, dripping with grandeur and disdain. With haughty elegance, he delivered each line with delicious precision. Whether it was a disapproving scowl, delivering a verbal smackdown, or reacting in perfectly timed horror, Bradley was magnetic. Stacie Hobbs was a treat as the adorably flustered Miss Prism. Completely transformed by her self-made wig, tweedy costume, and impressively aged-up makeup, she threw herself into the role with perfectly tuned nervous energy. Paired with Damien Quick as the wonderfully awkward Reverend Chasuble, the duo brought a sweetly repressed tension to their scenes. Damien, also aged up with white hairspray, gravelly voice, and a walk slower than a sloth, was the perfect counterbalance to Prism’s frazzled charm. Together, they portrayed the awkward elderly flirtation so well, I almost forgot they weren’t actually pensioners.   Alex Graves, who filled in at the last moment for an unwell cast member (Malithi Weragama), was a quiet MVP in the dual roles of butlers Lane and Merriman. With barely a day of rehearsal, he slotted in seamlessly; an impressive achievement in a show packed with fast-paced banter. His wonderfully dry delivery, hovering presence, and perfectly timed comebacks added a layer of understated humour that elevated every scene he appeared in. You’d never have guessed he was a last-minute replacement—his performance was cool, consistent, and genuinely impressive.   What really made this production pop was how tight and articulate everyone was. Wilde's text is like a verbal obstacle course—ready to trip up the unprepared—but this cast crushed it. No mumbling, no tripping over words, and no sagging accents. Each emphasised word landed, every punchline hit its mark, and the audience ate it up like cucumber sandwiches.   Director Prue Robb struck a brilliant balance between tradition and playful irreverence. Certain scenes were reimagined in clever, surprising ways, and the cast embraced every choice with enthusiastic gusto—bringing a joyful unpredictability to even the most familiar lines. It was clear the ensemble understood both the style and stakes of Wilde’s world, and their passion made this century-old text feel more alive than ever.   Yes, the set was simple, but that only allowed the performances to shine even brighter. While a more immersive backdrop might have added atmosphere, it was clear this production didn’t need it to succeed. The vibrant costumes and dynamic character work provided the visual flair, while the stripped-back staging gave the actors ample room to explore every inch of the comedy. The audience’s laughter came easily and often, feeding the infectious sense of fun onstage that never wavered. Bravo to all involved!