Title: Home, I’m Darling Presented By: Switch Up Productions Genre: Comedy Synopsis: Written by Laura Wade, Home, I’m Darling is an Olivier Award-winning comedy that explores one woman’s obsession with recreating the “perfect” 1950s housewife lifestyle in the modern world. As Judy devotes herself to domestic perfection, the cracks begin to show, revealing the tension between fantasy and reality, identity and expectation. Audition Date: Wednesday April, 22nd 2026 Audition Time: From 7PM Audition Requirements: In-person audition (details to be provided upon registration) Upload headshot and theatrical résumé Provide availability and potential scheduling conflicts Audition Registration: Complete the registration form HERE Performance Dates: July 17th - 25th, 2026 Performance Location: Cambrian Centre, Booval Warnings: Themes of gender roles, identity, and societal expectations Production Website: Swich Up Productions - Home, I'm Darling Other Information: Auditionees must submit contact details, availability, and role preference Headshot and résumé required Availability will be a key consideration in casting Available Roles / Character Breakdown: JUDY (30's-mid 40's) - The protagonist. Obsessed with 1950s nostalgia. Behind her "perfect" domestic exterior lies a deep fragility. JOHNNY (30's-mid 40's) - Judy's husband. He embraces the fantasy but struggles with the pressures of being the sole breadwinner in a modern world. FRAN (30's-mid 40's) - A close friend who loves the aesthetic but refuses to adopt the extreme lifestyle. MARCUS (mid 40's-early 50's) - Fran's husband. Enjoys the retro vibe but represents more traditional, outdated male attitudes. SYLVIA (50-70) - Judy's mother. The ultimate reality check; she lived through the actual 50's and questions her daughter's obsession. ALEX (any age) - Johnny's manager. Represents the modern corporate world and the friction it creates with the couple's fantasy.

Title: Ode to a Lost Love Presented By: Cornerstone Theatre Co. Genre: Drama Synopsis: A story centred on love, loss, and faith. This production explores human connection through honesty, vulnerability, and emotional truth, inviting performers to engage deeply with the material and bring authenticity to their work. Audition Date: April 19th, 2026 Audition Time: Submission close 8PM Audition Location and Address: Online submission Audition Requirements: Self-tape submission (Google Drive or unlisted YouTube link) Include a slate (name + role) Emphasis on honesty, vulnerability, and connection over polish Audition Registration: Register to audition HERE Audition Pack: Ode to a Lost Love Audition Pack Performance Dates: August 27th - September 5th, 2026 Performance Times: Thursdays - 7PM Saturdays - 10AM & 6PM Rehearsal Dates: Tuesdays & Thursdays, July 14th - August 13th, 2026 Dress & Tech Rehearsals August 18th, 20th & 22nd, 2026 Rehearsal Times: July 14th - August 13th - 4PM - 6PM August 18th & 20th - 4PM - 6:30PM August 22nd - 9AM - 5PM Warnings: Themes of love, loss, and emotional intensity Creative Team: Director - Skyla Freitas Other Information: Availability for all rehearsals and performances preferred Parent/guardian details required for performers under 18 or those auditioning for Elara Available Roles / Character Breakdown: Cleo (Younger or Older) – Lead role Theo (Younger or Older) – Lead role Elara – Supporting role Ensemble

Title: Present Laughter Presented By: Javeenbah Theatre Genre: Comedy / Farce Synopsis: Written by Noël Coward, Present Laughter follows the chaotic life of self-obsessed actor Garry Essendine as he prepares to embark on an overseas tour. Over the course of a few days, his world is turned upside down by obsessive admirers, complicated relationships, and personal revelations. Packed with witty dialogue, romantic entanglements, and theatrical flair, the play is a fast-paced farce exploring fame, ego, and human connection. Audition Date: Sunday April 19th, 2026 Audition Location and Address: Javeenbah Theatre, Stevens St, Nerang QLD 4211 Audition Self-Tape Due: If you are unable to attend the audition in person, please email - PLaughterjBah@Gmail.com Audition Requirements: Contemporary comic monologue (approx. 2–3 minutes) If you are auditioning for the role of Mr Garry Essendine, please also prepare one of the monologues listed in the audition pack Audition Registration: Please complete the Audition Registration Form Audition Pack: Present Laughter Audition Pack Performance Dates: August 8th - 22nd, 2026 Performance Times: Friday & Saturday evenings Sunday matinees Performance Location: Javeenbah Theatre, Stevens St, Nerang QLD Rehearsal Dates: Tuesday, Thursday and Saturday weekly Rehearsal Location: Javeenbah Theatre, Stevens St, Nerang QLD Warnings: Contains adult themes, sexual references, and strong language Performer Age: 18+ Production Website: Javeenbah Theatre - Present Theatre Other Information: Volunteer-based production (unpaid) Cast expected to assist with bump-in/bump-out and costumes Strong commitment required Available Roles / Character Breakdown: Garry Essendine | Male, 30s–40s. An egomaniac and man-child who refuses to grow up. Fully aware of his own talent as an actor; charismatic, self-absorbed, and unpredictable. Liz Essendine | Female, 30s–40s. Garry’s ex-wife and theatrical producer; charming, practical, intelligent, and kind. Daphne Stillington | Female, 20s–early 30s. The ingénue; innocent, romantic, and ambitious, with a determined streak beneath her naivety. Joanna Lyppiatt | Female, late 30s–mid 40s. Henry’s wife; attractive, glamorous, ruthless, and shameless. Highly self-assured with considerable charm. Henry Lyppiatt | Male, 40s–50s. Garry’s longtime producer; pompous and oblivious. Impeccably dressed, dapper, and precise. Monica Reed | Female, 30s–40s. Garry’s secretary, confidante, and right-hand woman. Acerbic, highly organised, and efficient. Lady Saltburn / Mrs Erickson | Female, 30s–60s. A dual role: Lady Saltburn, Daphne’s aristocratic aunt, and Mrs Erickson, Garry’s eccentric Swedish housekeeper. Requires strong character versatility. Morris Dixon | Male, 30s–50s. Garry’s friend and producer; a bohemian romantic. Self-involved, charming, and a terrible liar. Fred | Male, 30s–50s. Garry’s valet; grounded and practical, with a simple, no-nonsense outlook on life. Roland Maule | Male, 20s–30s. A struggling playwright with exaggerated views of his own brilliance. Intelligent but irritating; overly earnest, masking nerves with defiance and intensity.

Title: Jagged Little Pill Presented By: NAPA Ensemble Genre: Contemporary Musical / Drama Synopsis: Inspired by Alanis Morissette’s seminal album, Jagged Little Pill is an exhilarating musical exploring raw emotion and contemporary social issues. The Healy family appear to be a picture-perfect suburban household, but beneath the surface they are struggling with trauma, identity, and connection. As their lives begin to unravel, they must confront difficult truths about themselves, their relationships, and the world around them. The show explores themes of addiction, mental health, sexual assault, race, and healing. Audition Date: Saturday April 18th, 2026 (Dance Call & Video Due) Saturday April 25th, 2026 (Callbacks) Audition Time: April 18th from 4PM (Dance Call) April 25th from 6PM (Callbacks) Audition Location and Address: West End Studio, 3 Stevenson Ct, Burleigh Heads QLD Audition Self-Tape Due: Saturday April 18th, 2026 at 11:59 PM Audition Requirements: Video audition - Two contrasting contemporary songs (90 seconds each) in the style of the show Dance call required (except for Mary Jane and Steve) Callbacks as required Audition Registration: Complete the Audition Form to register Audition Pack: Jagged Little Pill Audition Pack Performance Dates: July 9 - 19th, 2026 Performance Times: Thursdays to Saturdays - 7PM Sundays - 2PM & 7PM Rehearsal Dates: Mondays, Wednesdays & Saturdays commencing Saturday May 2nd, 2026 Rehearsal Times: Mondays & Wednesdays 6:30PM - 10PM Saturdays 2PM - 6PM View full rehearsal schedule HERE Rehearsal Location: NAPA Studios Warnings: Contains mature themes including sexual assault, trauma, addiction, substance abuse, mental health, racism, homophobia, and strong language Performer Age: 18+ (must be 18 by start of rehearsals) Creative Team: Director - Hunter Wall Choreographer - Kim Reynolds Vocal Director - Jonathan Whitlow Musical Director - Laila Chequer de Souza Production Website: NAPA Ensemble - Jagged Little Pill Other Information: Attendance at rehearsals is mandatory unless prior conflicts are submitted An intimacy coordinator will be engaged for the production All unavailabilities must be declared at registration Available Roles / Character Breakdown: Mary Jane Healy – Female-presenting, 40–50, Mezzo-Soprano (F3–F5) Frankie Healy – Female-presenting POC, 16, Mezzo-Soprano (F#3–F#5) Nick Healy – Male-presenting, 18, Tenor (Eb3–Bb5) Steve Healy – Male-presenting, 40–50, Baritone (A3–A5) Jo – AFAB gender non-conforming, 16, Alto (E3–G5) Phoenix – Male-presenting, 16, Tenor (E3–Bb5) Bella – Female-presenting, 18, Mezzo-Soprano (F#3–A5) Andrew – Male-presenting, 18, Tenor (F#3–A4) Ensemble – Any gender, multiple featured roles including doctors, parents, students, and community members Casting Requirements: Frankie must be played by a female-presenting person of colour Jo is open to AFAB gender non-conforming performers

Kinky Boots - Swich Up Productions  (no, it’s not misspelt – it’s short for Ip swich !) Ipswich Civic Centre Book by  Harvey Fierstein Music & Lyrics by  Cyndi Lauper Director : Adrian Carr Musical Director:  Julie Whiting Choreographer : Holly Leeson Photography: Kris Anderson "Be yourself; everyone else is already taken." For this production of Kinky Boots, Ipswich did not come to play! The Civic Centre foyer was full of boots, glitter, and people who clearly understood the assignment. Maybe it was the pre-show runway, or maybe it was the reputation of Swich Up Productions, now firmly cemented as an award-winning company. Either way, for a one-weekend-only season, this was a must-be-there event. And what an event it was. The story follows Charlie, who inherits his family’s struggling shoe factory and, through an unexpected partnership with drag performer Lola, sets out to save it in a most unconventional way. Kinky Boots  explores growth, shifting perspectives, leading with kindness, and looking beyond the surface. At the centre of it all was Carl de Villa as Lola, stepping into the role just three weeks before opening. If you didn’t know, you’d never guess! Carl was completely at home, bringing a cheeky confidence and effortless charisma that never wavered. Vocally, they soared, with Hold Me in Your Heart  landing as a true highlight — soulful, glamorous, and emotionally grounded (in a white gown that absolutely delivered). There was a playful ease to the performance that made Lola instantly loveable and undeniably magnetic. And not to be weird, but their legs deserved their own applause. Conor Ensor as Charlie anchored the show with emotional weight. Vocally, he was rock solid. Those belts are no joke! But it was his acting that cut through. Charlie’s downward spiral was uncomfortable in the way it needed to be: harsh, messy, and recognisably human. Audience members audibly reacted to his unwarranted cruelty, a testament to how effectively the performance landed. Soul of a Man  became an intense emotional release, charged with power and control by Conor. You found yourself rooting for him, while also begging him to make better choices. Jaime O’Donoghue as Lauren was a scene-stealer. She leaned fully into Lauren’s awkward chaos with impeccable comedic timing and a beautifully easy vocal in her solo The History of Wrong Guys . I love that the show tries so hard to convince us she is not a catch with the sweater, the pigtails, the brash accent… and respectfully, I did not believe it for one second. Jaime completely overruled that narrative with her sheer star quality. Dominic Bradley as Don was thoughtfully handled, evolving beyond a close-minded bully into something far more accepting. There was a subtle shift across his performance that allowed the audience to soften towards him without ever fully letting him off the hook. It made his arc land with more weight than I expected it would. Abby Page’s Nicola was perfectly insufferable (compliment!) Sharp, polished, and just the right amount of cutting, she leaned into the role with confidence, making every appearance deliciously frustrating in the way only a well-played antagonist can be. Fiona Buchanan and Simone Behrendorff grounded the factory world with personality and humour. Their presence added a sense of history and community warmth to the space, making the stakes of the factory’s future feel more tangible and personal. The Angels brought unstoppable energy every time they hit the stage. Slick, cohesive, and clearly having a fabulous time, they lifted the pace of every number they were in. A special mention to Isaac Brown, whose punchy rock-pop vocals in In This Corner  cut through with soaring clarity and fierce attitude. Visually, there was plenty to take in. The set didn’t just sit at the back of the stage, it surrounded the performers from all sides, creating a fully realised world that transported us straight into a British factory. Detailed brickwork, an upper-level office, moving staircases, and conveyor belts — yes, fully functioning conveyor belts — were not just impressive but cleverly embedded into the choreography by Holly Leeson. Lighting and projections were outstanding, particularly in split scenes, and the handcrafted props added lovely authenticity. There was a clear sense of care in every visual choice. And then there were the costumes. The Angels? Iconic. Wigs, makeup, costumes, and boots were exactly the right amount of flamboyance that you want from Kinky Boots . Every time the Angels hit the stage, the energy jumped several levels… as it should. Lola’s wardrobe and wigs became an event in itself too. Musically, the production packed a punch. Under Julie Whiting’s direction, the blend of live band and EDM elements gave the score a driving, high-energy edge, with numbers like Sex Is in the Heel  hitting with a club-like dazzle. The ensemble harmonies were clear and bright, featured actors shone with ease, and there was a shared momentum that carried right through the show. The Most Beautiful Thing in the World  stood out with its full-bodied, resonant vocals, while What a Woman Wants  took the crown for me. Of course, there were a couple of small hiccups. At times, muffled dialogue was hard to catch over the underscoring. A persistently ringing phone during Not My Father’s Son  also pulled focus from what should have been one of the show’s most tender moments — and you could feel the audience collectively losing their patience each time it rang again. Apologies to the cast. Theatre etiquette is such a peeve of mine. Revisiting this show again after almost a decade since it came to QPAC, what stayed with me most was the heart of the piece. This is a production that celebrates individuality without apology. It champions openness, kindness, and the courage to be unapologetically yourself. It does not tiptoe around its message either: drag is not niche… "drag is mainstream", it is powerful, and it belongs. And when it’s all wrapped up in big voices, bold visuals, and a cast clearly having the time of their lives… how could you not say yeah? Be yourself. Be loud. Wear the boots!

Messa Da Requiem – Queensland Ballet Glasshouse Theatre, QPAC With Queensland Symphony Orchestra, Canticum Chamber Choir, Brisbane Chorale, and Opera Queensland Choreographer:  Christian Spuck Music:  Giuseppe Verdi Conductor:  Simon Hewett Set Designer:  Christian Schmidt Costume Designers:  Emma Ryott, Christopher Parker Lighting Designers:  Martin Gebhardt, Elfried Roller Chorus Director:  Emily Cox Dramaturg:  Claus Spahn Featured Singers:  Naomi Johns (Soprano), Cassandra Seidemann (Mezzo-Soprano), Kyle Stegall (Tenor), Jeremy Kleeman (Bass-Baritone)   Watch out, Timothée Chalamet, because we’ve got both ballet and  opera going on at QPAC. With more than 140 performers packed onto the stage and an orchestra ready to shake the walls, Messa Da Requiem  wastes no time reminding you just how powerful live performance can be.   Written back in 1874, Verdi’s Requiem  transforms this traditional Catholic funeral mass into something far more theatrical . This is not your traditional narrative ballet. There’s no neat storyline to follow or main character to latch onto. Instead, choreographer Christian Spuck tackles big, overwhelming, sometimes uncomfortable truths. And he does it by letting the music lead, trusting Verdi’s monumental score to carry us through the experience.   One of the coolest elements of this production is how blurred the lines are between different art disciplines. The choir doesn't just stand there like musical statues; they move, shape the space, and become part of the choreography. The 110 choristers move in waves, ripple through canon patterns, and shift across levels to constantly reshape the enclosed stage. Without any theatre wings, performers appear and disappear through the back corners, adding a sense of mystery, like figures emerging from memory and slipping away again. Trumpeters play from above, surrounding the audience. There’s no clear separation between pit and stage, singer and dancer, sound and movement. Everything feeds into everything else. Right from the start of Requiem et Kyrie , you’re hit with slow, intentional movements and striking stage visuals. Then, BOOM… Dies Irae (Day of Wrath) hits. If you haven’t heard this piece, you’ve got to give it a listen. Preferably loudly. It’s the most recognisable section of the work and easily the most relentless. It absolutely erupts in the new Glasshouse Theatre. The crashing drums and blazing brass bring out the terror of Judgement Day, with a nonstop urgency. The Queensland Symphony Orchestra delivers it with such force it almost feels seismic. The choir’s voices are unified and urgent, while dancers covered in ash contort and pulse through the chaos like an bug being tortured under a magnifying glass. There's a moment where the whole group surges across the stage in a frenzy like ants, and it's somehow both completely wild but incredibly precise.   The visuals kept surprising me too. The stage is surrounded by these towering grey walls that turn out to be blackboards, and later get covered in chalk scribbles that looked like signatures from where I was sitting. Some tables and chairs are constantly shifted and reworked to create new levels and areas. A movable light box creates stunning silhouette shadows of the dancers, especially in a pas de deux where lift after lift sends clouds of ash drifting into the air. There’s even a moment where dancers scale the wall like they’ve suddenly become gravity-defying creatures (very Spider-Man).   The choreography itself is a rich blend of classical ballet and contemporary movement. There are some delicate and lyrical pointe work, contrasted with almost primal floor work. The dancers crawl, roll, and ripple through the space like a swarm of insects. Then, just as quickly, everything goes still. There are also some truly beautiful smaller moments woven throughout. The pas de trois is fluid and sculptural, while a later pas de deux paired with the Agnus Dei  features soft, interconnected movement and genuine tenderness. A section featuring a dozen partnered couples moving in sync was particularly striking. During the tenor solo, stillness is used to great effect, with dancers (including the men) appearing in tulle gowns, bare backs turned away from us, moving in hypnotic unison.   Vocally, the work is just as impressive. Cassandra Seidemann’s mezzo is rich and velvety, with a grounded warmth that carries beautifully, while Kyle Stegall’s tenor rings out with clarity and precision, slicing cleanly through the texture. Jeremy Kleeman’s bass-baritone provides a deep, resonant foundation that anchors the sound. And then there’s Naomi Johns, whose soprano soars effortlessly above the 110 voices of the choir and cuts through the orchestral swell… honestly unfair how easy she makes it sound.   The Sanctus  gives the choirs a chance to really shine, and it’s thrilling to hear that many voices working together with such clarity and power. The a-cappella quartet section is another standout for its restraint… although, unfortunately, it was interrupted by an audience phone ringing not once, not twice, but four times! A gentle reminder that live theatre etiquette is still very much a thing (we beg of you).   What I appreciated most about this production is how immersive it feels. Not in a gimmicky, interactive way, but in the sense that you’re completely surrounded by it. The sound, the movement, the sheer scale of bodies on stage, it all pulls you in. There are moments of beauty, moments of intensity, and moments that are deliberately unresolved. This isn’t a light, easy watch. It gets slow in places, highly introspective, and is unapologetically dramatic. But if you enjoy opera, choral and classical music, ballet, contemporary dance, or simply witnessing what a huge group of artists can create together, there is so much to admire here.   It’s one of those experiences I'm very glad I didn’t miss, even if I wouldn't hurry back right away. Still, I'm pumped to see what Queensland Ballet and Opera Queensland have in store this season, and I might even check out a performance by the Queensland Symphony Orchestra, Brisbane Chorale, or Canticum Chamber Choir while I'm at it.

Title: Singin’ in the Rain - Senior Presented By: Brisbane Arts Theatre Genre: Musical Theatre Synopsis: Set in 1920s Hollywood, Singin’ in the Rain follows silent film star Don Lockwood as the industry transitions to “talkies.” When his leading lady Lina’s voice threatens their success, aspiring actress Kathy Selden steps in—sparking romance and chaos. Audition Date: April 18th, 2026 Audition Time: 1PM - 4PM Audition Location and Address: Brisbane Arts Theatre, Suite 3a/70 Prospect Terrace, Kelvin Grove QLD 4059 Audition Requirements: All applicants must be 55+ Please provide a headshot on the day Prepare a 'read' for the character you are interested in (Audition Reads found HERE) Please prepare an excerpt of a theatrical/ Broadway upbeat song of no more than 2 minutes. You must bring a recorded backing track that can be connected to a Bluetooth speaker. You may be asked to sing some simple vocal exercises to determine vocal range. Prior to the audition, please learn the choreography snippet in the video HERE. Ensure you wear comfortable clothes and shoes you can easily move in and bring your water bottle. You will be learning additional choreography on the day. Tap shoes are not required, but please bring them along if you own a pair. Audition Registration: Complete the online registration HERE Audition Pack: Singin' in the Rain Senior Audition Pack Performance Dates: July 2nd - 11th, 2026 Performance Times: 5PM Sunday evening 7PM all other evenings Performance Location: Southbank Tafe, 66 Ernest St, South Bank Rehearsal Dates: April 23rd - July 1st, 1016 Rehearsal Times: Tuesdays & Thursdays - 6PM - 9:30PM Sundays - 12PM - 7PM Rehearsal Location: Lavalla Centre, 58 Fernberg Road, Paddington Warnings: Requires singing, dancing (including tap), and physical movement. Time commitment required for rehearsals. Performer Age: 55+ (Senior version) Creative Team: Directors - Adelle O’Connell & Kath Kunde Musical Director - Laraine Griffiths Choreographer - Marisa Bucolo Production Website: Brisbane Arts Theatre - Singin' in the Rain Senior Other information: Audition form will request personal details, vocal range, and conflicts Cast members are expected to commit to rehearsals and attendance requirements. Available Roles/Character Breakdown: Don Lockwood (M) Cosmo Brown (M) Kathy Selden (F) Lina Lamont (F) Dora Bailey (F) Roz (F) R.F. Simpson (M) Roscoe Dexter (M) Young Lady (F) Miss Dinsmore (F) Zelda Zanders (F) Teacher (M/F) Other Ensemble (M/F) Kathy’s Girls / Chorus Girls (F) – for those with strong dance abilities Singers – for those with mobility considerations

Title: The Wizard of Oz Presented By: Villanova Players Genre: Musical Theatre Synopsis: The timeless tale in which young Dorothy Gale travels from Kansas, over the rainbow, to the magical Land of Oz. This production uses the RSC version, which stays faithful to the classic film while being adapted for the stage. Characters such as Glinda, Scarecrow, Tinman, Lion, Wizard, and the Emerald City Guard also have Kansas counterparts, and the show features expanded chorus roles with singing and speaking parts. Audition Dates: April 9th - 10th, 2026 EXTENDED 7th - 9th May, 2026 Audition Time: 11AM - 10PM Audition Location and Address: Ron Hurley Theatre, 28 Tallowwood Street, Seven Hills, QLD Audition Self-Tape Due (if applicable): April 10th, 2026 Audition Requirements: Please prepare 2 contrasting songs of about 30 seconds each. At the audition, you will be asked to do a cold read and will be taught choreography that you will have to present during the session. Please bring chorus/dance shoes if you have them. Audition Registration: Complete Expression of Interest form and Book an Audition Time. Video auditions can be submitted to jacquelinekerr28@gmail.com. Audition Pack: The Wizard of Oz Audition Pack Performance Dates: November 20th - 22nd, 2026 (Possible performances November 25th & 26th). Performance Times: Friday - 7:30PM Saturday - 2PM & 7:30PM Sunday - 2PM Performance Location: Ron Hurley Theatre, Seven Hills, QLD Rehearsal Dates: September 2nd - November 19th, 2026 Rehearsal Times: Monday & Wednesday, 7PM - 9:30PM Saturday September 5th, 1PM - 5PM Saturday September 12th, 1PM - 5PM Sundays (from September 20th), 10AM - 4PM Rehearsal Location: Ron Hurley Theatre, Seven Hills, QLD Performer Age: Adults and children (children will be double cast) Creative Team: Director - Jacqueline Kerr Production Website: Villanova Players - The Wizard of Oz Other information: Dorothy Gale has already been cast. Contact Jacqueline Kerr via email for further information. Available Roles/Character Breakdown: Glinda / Aunty Em (Female, 40–50s): Must sustain high soprano Scarecrow / Hunk (Male, 20–40s): Tenor Tinman / Hickory (Male, 20–40s): Tenor Lion / Zeke (Male, 20–40s): Tenor Wizard / Travelling Salesman (Male, 20–40s): Non-singing role Emerald City Guard / Uncle Henry (Male, 40–50s): Tenor Wicked Witch / Miss Gulch (Female, any age): Non-singing role Chorus: Adults (14 total): Dancers with skills in ballet, soft shoe, tap, or jazz. Singing and acting ability advantageous. Children (20 total, 10 per show – double cast): Roles include Munchkins, poppies, and monkeys. Must be able to sing and perform basic movement.

Title: Big Fish Presented By: Spotlight Theatrical Company Genre: Musical Theatre Synopsis: Big Fish follows Edward Bloom, a travelling salesman known for his larger-than-life stories. As his life nears its end, his son Will seeks to uncover the truth behind these incredible tales and understand the man his father really is. The musical blends fantasy and reality in a heartfelt story about family, love, and storytelling. Audition Date: Sunday April 12th, 2026 Audition Time: From 10AM Audition Location and Address: Spotlight Theatre, 185-187 Ashmore Rd, Benowa QLD 4217 Audition Requirements: Dance Call - Auditionees do not need to prepare anything in advance. Please wear clothing suitable for movement and appropriate footwear. Bring a water bottle and arrive stretched and warmed up. Vocal Auditions - Prepare two contrasting songs (approximately 90 seconds each) that best showcase vocal, acting, and character ability. The panel may not hear both pieces. Please bring backing tracks on a device that can connect via Bluetooth speaker. Callbacks - Callbacks will be held on Monday 13 April 2026. Selected auditionees will be provided with material from the show to prepare. Successful performers will be contacted within a few days following callbacks. Audition Registration: Complete the Audition Form HERE. Audition Pack: Big Fish Audition Pack Performance Dates: July 30th - August 15th, 2026 Performance Location: Spotlight Theatre, 185-187 Ashmore Rd, Benowa QLD 4217 Rehearsal Dates: Starting Sunday April 19th Rehearsal Times: Mondays & Thursdays - 7 - 10PM Sundays - 10AM - 6PM Rehearsal Location: Spotlight Theatre, 185-187 Ashmore Rd, Benowa QLD 4217 Warnings: Themes surrounding illness, death, and complex family relationships Performer Age: Typically 16+ (varies by role) Production Website: Spotlight Theatrical Company - Big Fish Other information: Spotlight is a community theatre company producing large-scale musical productions with opportunities for performers, creatives, and volunteers. Available Roles/Character Breakdown: Edward Bloom (Male, 25–55): A charming, charismatic storyteller nearing the end of his life and seeking to reconnect with his son. Loving husband and father with a passion for storytelling. Young Edward is optimistic, energetic, and romantic; must captivate the audience and sell his larger-than-life tales. Strong actor with a big voice and movement ability; capable of leading musical numbers. Role spans ages 18–60 and may be split between two actors.Vocal Range: Bari-Tenor (G2–G4)Songs: Be the Hero, Fight the Dragons, Showdown, Start Over, How It Ends, Out There on the Road, Time Stops, Closer to Her, Daffodils, Red White and True Sandra (Female, 25–55): Patient, calm, and the grounding force to Edward’s enthusiasm. Deeply devoted to both her husband and son, she strives to bring them together. Young Sandra is sweet, hopeful, and romantic. Requires strong vocals, expressive acting, and solid dance ability. Role spans ages 18–60 and may be split between two actors.Vocal Range: Soprano (G3–E5, mix/belt)Songs: Alabama Lambs, Time Stops, Daffodils, Red White and True, Two Men in My Life, I Don’t Need a Roof Will Bloom (Male, 20–30): Earnest, serious, and thoughtful. Struggles to reconcile his father’s fantastical stories with reality. A successful professional and new husband, he must guide the emotional journey toward understanding and acceptance. Strong tenor voice required; no dance; strong acting focus.Vocal Range: Tenor (C#3–G4)Songs: Strangers, Strangers Reprise, Showdown, What’s Next, Be the Hero (Reprise) Young Will (Male, 10–12): Curious and increasingly skeptical of his father’s stories. Participates in storytelling scenes. Primarily an acting role with a small singing moment in Fight the Dragons. Josephine (Female, 20–30): Will’s wife. Intelligent, grounded, and compassionate. Acts as a bridge between Will and Edward, helping interpret the meaning behind the stories. Non-singing, non-dancing role requiring strong acting. Karl the Giant (Male, any age): Edward’s gentle, intelligent best friend. Shy with a quiet charisma but a commanding presence. Requires a strong bass voice and physical presence; must be comfortable performing on stilts.Vocal Range: Bass (A2–D4)Songs: On the Road, Start Over Amos Calloway (Male, 30–50): Eccentric and flamboyant circus owner (and werewolf in Edward’s tales). Requires strong character acting and comedic ability. Singing role with emphasis on personality over vocal power.Vocal Range: Baritone (C3–F5, touches G5)Songs: Closer to Her, Start Over The Witch (Female, any age): Commanding, confident storyteller who inspires Edward to live boldly. Strong belt required with some movement ability.Vocal Range: Mezzo (F3–F5)Songs: I Know What You Want Ensemble / Featured Ensemble (12 performers): All ensemble members sing and move; some will have more advanced dance requirements. Featured ensemble roles are drawn from this group. Jenny Hill (Female, 25–55): Edward’s first love; a dreamer in youth, later disillusioned but dignified. Plays a key role in helping Will understand Edward. Strong belt preferred with some movement. May be split between two actors.Vocal Range: Mix/Belt to E5Songs: Ashton’s Favorite Son, Out There on the Road Don Price (Male, 20–45): Snarky bully and Sandra’s former fiancé; later becomes mayor. Larger-than-life character with strong acting presence.Vocal Range: Baritone (C3–F#4)Songs: Out There on the Road, Start Over Zacky Price (Male, 20–45): Don’s awkward, nerdy brother. Character role requiring strong acting. Doctor Bennett (Male, 30+): Kind, warm, and honest physician. Straight acting role; no singing or dancing required. Red Fang (Male, 18–28): War villain. Requires physicality for fight scenes and movement. Ashton Mayor (Male, 30+): Classic small-town mayor; friendly and approachable character. Alabama Lambs (Female, 18+): Two performers who act as Sandra’s friends at the circus. Strong singing and dance ability required. Fisherman (Any, 18+): Comedic hometown character. Strong singing and movement skills preferred.

Title: Hot Tub Presented By: Ad Astra Theatre Company Genre: Dark Comedy / Satire / Contemporary Theatre Synopsis: Winner of the Patrick White Playwrights Award, Hot Tub is a tragicomic fever dream set on the Gold Coast during Schoolies Week. Dido, a teenager from North Queensland, arrives at her estranged family’s crumbling beachside tower seeking money for weight-loss surgery. When refused, she teams up with her scheming stepbrother to raise funds online. Meanwhile, the family matriarch faces a criminal investigation but refuses to sell the building. The play is a satirical takedown of Australia’s upper crust, packed with absurdity, secrets, and camp theatricality. Audition Dates: April 5th - 6th, 2026 Audition Time: TBC (scheduled upon application) Audition Location and Address: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane Audition Requirements: Short scenes will be provided prior to audition. Actors will workshop material in the room with the director Audition Registration: Email creatives@adastracreativity.com with current CV (Word or Google Doc only) and a recent headshot. Specify the role(s) you are auditioning for. Audition Pack: Scenes provided upon securing an audition time Performance Dates: August 6th - 29th, 2026 Performance Times: Thursdays and Fridays - 8PM Saturdays 2PM & 7:30PM Performance Location: Ad Astra – Galaxy, 210 Petrie Terrace, Brisbane Rehearsal Dates: Weekly from May through August Rehearsal Times: TBC (two weekday/night rehearsals and one weekend rehearsal per week) Rehearsal Location: Brisbane (Ad Astra venues) Warnings: Adult themes, strong language, satirical and camp content Creative Team: Writer - Lewis Treston Director - Daniel Lammin Production Website: Ad Astra Theatre Other information: This is a co-op production; cast receive a share of ticket sales after expenses Seeking performers with strong comic timing, work ethic, and willingness to embrace camp and absurdity Available Roles/Character Breakdown: Dido Hunter – Female, 17. Recently graduated from a North Queensland high school; estranged daughter of Murray. Murray Hunter – Male, 50–55. Gambler; married into the White family. Eunice White – Female, 70s. Family matriarch; mother of Jade. Jade Hunter-White – Female, 35–45. Mystic; mother of Reese. Reese White – Male, 17. “Demon twink”; recent high school graduate; son of Jade. Macka – Male, 30–35. Double agent. Officer Sheryl – Female, 30–40. Chaotic free agent. Stinger – Male, 30–35. Bikie lord (non-suspect). Note: Macka and Stinger will be played by the same actor.

Title: Mamma Mia! The Musical Presented By: The Star Gold Coast, The Very Popular Theatre Company Genre: Jukebox Musical Synopsis: Set on a Greek island, Mamma Mia! follows Sophie, a young woman about to be married, who secretly invites three men from her mother Donna’s past in hopes of discovering which is her father. Told through the music of ABBA, the story celebrates love, friendship, and identity. Audition Date: March 30th, 2026 Audition Self-Tape Due: Submissions close 11:59PM, March 30th, 2026 Audition Requirements: First round auditions will be by video submission and should include the following in one video: Slate & Introduction (Max 1 min) - Please state your name and which role(s) you would like to be considered for Audition Song - Perform a song of your choice in the style of the show (do not perform a song from the show) Audition Registration: Submit your video audition via the link HERE. Submissions should include: Self Tape (unlisted YouTube or Vimeo link ONLY; videos that require downloading will not be considered, ensure your link is working before submitting) Headshot (JPEG or PNG with performer’s name as file name) Resume/CV (PDF format with performer’s name as file name) Audition Pack: Mamma Mia! Audition Pack Performance Dates: September 4th - 20th, 2026 Performance Times: Tuesday to Friday - 7:30PM Saturday - 2PM & 7:30PM Sunday - 1PM & 6PM Performance Location: The Star Theatre, 1 Casino Dr, Broadbeach QLD 4218 Rehearsal Dates: August 18th - September 4th, 2026 Rehearsal Times: Principal Cast - Tuesday to Friday 1PM - 9PM & Weekends 10AM - 6PM Ensemble Cast - Tuesday to Friday 6PM - 9PM & Weekends 10AM - 6PM Rehearsal Location: Gold Coast Production Website: The Star Gold Coast - Mamma Mia! Other Information: Principal artists will be engaged under a weekly fee of $1,350 Amateur Ensemble artists will receive an honorarium of AUD $2,000 Available Roles/Character Breakdown: The roles of Donna and Bill have been cast Sophie Sheridan – Female – Pop Soprano/Mezzo (F#3–E5) Female, Caucasian, 18–20. A very special young woman determined to find the romance and happiness she feels eluded her mother. Has a wild, zany spirit despite pursuing a conventional marriage. Strong pop belt with upper mix. Harry Bright – Male – High Baritone/Tenor (C#3–F#4) Male, Caucasian, 40–45. May be Sophie’s father. A British financier—wealthy, buttoned-up, and conservative, but trying to reconnect with his freer, youthful self. Actor who sings. Baritenor. Strong English accent. Tanya – Female – Mezzo-Soprano (E3–E5) Female, any ethnicity, late 30s to mid 40s. A former singer in the Dynamos. Rich, sophisticated, acerbic, funny, and witty. Actor who sings. Mezzo belt. Rosie – Female – Alto/Mezzo (E3–D5) Female, any ethnicity, late 30s to mid 40s. A former Dynamo who now runs a feminist press. Confident and funny on the outside but shy underneath. Kooky, playful, and a strong comic actress. Actor who sings. Sam Carmichael – Male – High Baritone (D3–Ab4) Male, Caucasian, 40–45. May be Sophie’s father. A charming, successful architect who left Donna years ago due to another engagement. Actor who sings. Bari/tenor. Sky – Male – Tenor/High Baritone (Eb3–D5) Male, any ethnicity, mid to late 20s. Sophie’s fiancé. Athletic and very attractive. Has given up his business life to help rebuild Donna’s taverna and marry Sophie. Strong singer. Ali – Female – Mezzo-Soprano (G3–D5) One of Sophie’s best friends and a bridesmaid. Impulsive, bubbly, and fiercely loyal. Forms a tight vocal trio with Sophie and Lisa. Strong mover/dancer required. Lisa – Female – Mezzo-Soprano (G3–Db5) Sophie’s other best friend and bridesmaid. Vibrant, fun-loving, and excited for the wedding. Provides strong vocal harmonies. Strong mover/dancer required. Pepper – Male – Baritone/Tenor (A2–F5) A bartender at the taverna and one of Sky’s friends. High-energy, cheeky, and confident—famously makes a bold move on Tanya. Excellent dance skills required; acrobatics a plus. Eddie – Male – Baritone/Tenor (A2–E5) Helps run the taverna and is one of Sky’s mates. Laid-back, good-natured, and comedic. Often distracted but eager to help. Strong movement skills required. Amateur Ensemble – Female/Male Any ethnicity. Excellent singers with strong pop/rock voices and very good dance ability. Acrobatics and partnering skills are a plus. Seeking dynamic and diverse performers across all voice types (Altos, Mezzos, Sopranos, Basses, Baritones, Tenors). Some ensemble members may cover principal roles.

Your Song The Little Red Company Venue:  Brisbane Powerhouse Director:  Naomi Price Cast:  Jason Arrow, Luke Kennedy, Irena Lysiuk, John O’Hara Band:  Mik Easterman (drums), OJ Newcomb (bass), Damian Sim (keys), Stephen Ward (guitar) I was barely in my seat before I was already smiling. Enormous shiny baubles hung around the stage, coloured lights danced across the space, and a live band sat ready to launch into a night of concert, cabaret, and storytelling. And just to be clear, as they cheekily warn us early on, this is not an Elton John tribute show. “To avoid a lawsuit, none of us are playing Elton John.” What it is, though, is something far more interesting. Instead of impersonation, Your Song  is built around real stories submitted by the public. Weddings, funerals, births, heartbreaks, identity journeys, chaotic life events… all tied together by the music of Elton. The cast bring these stories to life with short monologues and musical numbers, creating a patchwork of human experience that is deeply personal yet universal. It also invites you to reflect on your own relationship with his music. I certainly found myself doing exactly that, thinking back to my first exposure through The Lion King  (when I was still in the womb, technically), The Road to El Dorado , and the inevitable family vinyl collection. You’re not just watching a show, you’re remembering alongside it. The quartet of Jason Arrow, Luke Kennedy, Irena Lysiuk, and John O’Hara are, quite frankly, annoyingly and ridiculously talented. The vocals are pristine across the board, with fresh harmonies when the arrangements take unexpected turns. Jason Arrow’s I Guess That’s Why They Call It the Blues  leans into smooth, almost boyband-style harmonies (think Westlife meets Human Nature), while Luke Kennedy’s Rocket Man showcases a falsetto so clean, performed alongside Jason on guitar, Irena Lysiuk is a standout in both presence and versatility. Her ukulele version of Your Song is gentle and sweetly funny (“you can tell everybody this is your song… or not”). She also brings emotional weight to Sorry Seems to Be the Hardest Word  and, frankly, looks incredible doing all of it in that neon orange jumpsuit. John O’Hara rounds out the group with engaging storytelling and strong musicality. His Crocodile Rock  taps into a daggy Aussie dad energy that gets easy laughs, while Goodbye Yellow Brick Road , is stripped back to a raw, belted piano moment that feels like a private emotional release by John. One of the show’s greatest strengths is its willingness to play with the material. You won’t hear these songs the way you expect, and that’s very much the point. Don’t Go Breaking My Heart  becomes a road trip-ready country number with acoustic guitar and double bass, prompting the audience to bop along whether they mean to or not. The band, a tight four-piece, handles these stylistic shifts with ease. Piano features heavily (as it should), and the arrangements are consistently thoughtful rather than gimmicky. Candle in the Wind , joined by the Little Red Choir, is genuinely haunting, particularly as it connects to stories of Princess Diana. It’s one of those moments where the room noticeably stills. The emotional range of the storytelling is where Your Song  really finds its heart. Some stories are touching, particularly those centred on queer identity and self-discovery, reflecting the impact of Elton John’s unapologetic presence in both the industry and the world. Then there are the totally wild stories, like a roller-skating wedding set to Tiny Dancer  involving a groom named Tony. And then there’s the divorce party set to I’m Still Standing , which is just pure catharsis and it might have been my favourite moment of the night. I would love if the audience was encouraged to stand up for that number, because it totally deserves it. When the finale megamix arrives, showcasing iconic colored sunglasses, feathered shoulders, and a full-company dance party with songs like Can You Feel the Love Tonight , Pinball Wizard , That’s What Friends Are For , and more, it's nearly impossible not to be swept up in the excitement. What makes this show land is its sense of connection. It’s polished, yes. The vocals are exceptional, the band is tight, the design is colourful and engaging. But it never feels distant or overly slick. There’s a genuine sense that the performers are sharing something with you, not just presenting it. It celebrates not just Elton John’s catalogue, but the way songs weave themselves into our lives, marking moments big and small. It’s heartfelt without being heavy, funny without undercutting its sincerity, and inventive without losing sight of what makes these songs so beloved in the first place. And if you don’t like the arrangements? Well… you can always go home and put your Elton album on. But I’d recommend staying for this instead.