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Title:  Veronica’s Room Presented By:  Nash Theatre Genre:  Psychological Thriller / Drama Synopsis: Set in a mansion outside Boston in 1973, Veronica’s Room  follows Susan, a young woman who is lured into a Victorian-era bedroom under the guise of helping a dying woman find peace. What begins as an innocent gesture quickly spirals into a chilling web of identity, manipulation, and psychological torment. Written by Ira Levin ( Deathtrap , Rosemary’s Baby ), this sinister and suspenseful play keeps audiences on the edge of their seats with a haunting blend of mystery and horror. Audition Date:  Saturday 24 May, 2025 Audition Time:  10:00 am Audition Location and Address: Nash Theatre Play Shed, 4 Amity Street, New Farm QLD Audition Requirements: Cold read from the script. Actors must demonstrate accent capability as per character requirements. Available Roles: One Female and One Male (50–60 years):  Must be capable of performing with both American and Irish accents. One Female and One Male (25–30 years):  Must be capable of performing with American (Boston) accents. Audition Registration:  No pre-registration required. Just arrive on the day. Performance Dates:  8–30 August 2025 Performance Location: The Brunswick Room, Merthyr Road Uniting Church, 52 Merthyr Road, New Farm Production Website:   www.nashtheatre.com Other Information: Open auditions—newcomers and returning Nashies welcome. Cast members must become Nash Theatre members (required by insurance). For enquiries, contact Susan O’Toole-Cridland: susan.cridland@gmail.com

Title:  Hello, Dolly! Presented By:  Savoyards Musical Comedy Society Inc. Genre:  Musical Theatre – Golden Age Comedy Synopsis: Set in 1890s New York City, Hello, Dolly!  is a bold, brassy musical comedy that follows the charming and meddlesome widow Dolly Gallagher Levi – a professional matchmaker with a penchant for meddling. On a mission to find a match for the wealthy and grumpy Horace Vandergelder, Dolly orchestrates romantic chaos not only for him but also for his two love-hungry clerks. Bursting with energy, wit, and unforgettable tunes including “Put on Your Sunday Clothes”, “Before the Parade Passes By” and the iconic “Hello, Dolly”, this classic musical celebrates love, adventure, and the joy of seizing life’s opportunities. AUDITION DETAILS: Audition Dates: Friday 27th June – Monday 30th June, 2025 Audition Times: Friday 27 June – Savoyards Hall, Manly:  7pm – 10pm (Principal Auditions) Saturday 28 June – Wynnum SHS, Manly: 9am – 12:30pm (Principal Auditions) 1pm – 1:45pm (Basic Dance Call) 1:45pm – 2:30pm (Advanced Dance Call) 2:45pm – 5pm (Principal Auditions) Sunday 29 June – Bayside Dance, Wynnum: 9am – 12:30pm (Principal Auditions) 1pm – 1:45pm (Basic Dance Call) 1:45pm – 2:15pm (Ensemble Singing) 2:15pm – 3pm (Advanced Dance Call) 3pm – 5pm (Principal Auditions with accompanist) Monday 30 June – Savoyards Hall, Manly:  7pm – 10pm (Principal Auditions) AUDITION REQUIREMENTS Required Age:  16+ Ensemble Singing – Group Audition: Sunday 29th June, 2025: 1:45pm – 2:15pm No preparation required; a song excerpt will be taught during the audition Please arrive 15 minutes early to register and receive a number allocation No movement component – please also register for a dance call Basic Dance Call – Group Auditions: Saturday 28th June or Sunday 29th June: 1:00pm – 1:45pm Movement video provided upon registration – please familiarise yourself in advance Wear clothing suitable for movement and appropriate footwear Please arrive 15 minutes early Advanced Dance Call – Group Auditions: Saturday 28th June: 1:45pm – 2:30pm Sunday 29th June: 2:15pm – 3:00pm Routine taught on the day – no prior preparation required Please warm up and stretch beforehand Wear clothing suitable for movement and appropriate footwear Please arrive 15 minutes early Principal Auditions – By Appointment: Prepare 2 x 90-second song excerpts (at least one comedic and ideally from the era/Golden Age musicals) Be prepared for a vocal range test Cold reads will be provided on the day – come open to play and explore Bring a completed audition form listing all  clashes with the show calendar Provide a non-returnable colour headshot (minimum size 10cm x 15cm) If using the accompanist (available Sunday 29th June, 3pm–5pm), bring clearly marked sheet music in a display folder If using backing tracks, bring an aux cable–ready device Audition Registration: To register, email auditions@savoyards.com.au   Audition Pack: Click here to access the audition pack SCHEDULING Rehearsal Dates:  Commence Sunday 6th July, 2025 at Wynnum High School, Peel Street, Manly. Rehearsal Times: Sundays: 12pm – 5pm Mondays: 7pm – 10pm Wednesdays: 7pm – 10pm Performance Dates: At Iona Performing Arts Centre, 85 North Road, Wynnum West: Saturday 27th September, 7:30pm Sunday 28th September, 1:30pm Saturday 4th October, 1:30pm & 7:30pm Sunday 5th October, 1:30pm Saturday 11th October, 1:30pm & 7:30pm Creative Team: Director:  Kristen Barros Musical Director:  Jacob Cavanough Choreographer:  Bec Swain Vocal Director/Assistant Director:  Julie Eisentrager Production Website:   savoyards.com.au/audition Other information: Callbacks will be held Wednesday 2nd July, 2025 from 7pm – 10pm at Wynnum SHS. If you are required for call backs, you will be notified at the end of the audition weekend via your mobile contact. Savoyards is a volunteer-run community organisation. All cast members are expected to contribute to bump-in, bump-out, and other backstage elements throughout the production. Notification of offers: Offers via phone Unsuccessful notifications via email Social media blackout applies for successful cast until approved CHARACTER BREAKDOWN: (All character roles require a principal audition) DOLLY GALLAGHER LEVI A charismatic and resourceful widow who makes a living through matchmaking and meddling. Dolly is the heart and soul of the show—bold, brilliant, and full of life. Needs excellent comic timing, warmth, and commanding stage presence. Stage Age:  35–50 Vocal Range:  Mezzo-soprano Dance Ability:  Some HORACE VANDERGELDER A gruff, wealthy feed store owner from Yonkers. Set in his ways and not easily impressed, but ultimately won over by Dolly’s exuberance. Stage Age:  40–60 Vocal Range:  Baritone Dance Ability:  Some CORNELIUS HACKL Vandergelder’s chief clerk. Naïve but earnest, with dreams of love and adventure in New York. A hopeless romantic with strong comedic instincts. Stage Age:  30–35 Vocal Range:  Baritone Dance Ability:  Strong BARNABY TUCKER Cornelius’s younger assistant. Innocent, enthusiastic, and impressionable. Offers comic relief through his sweet, boyish charm. Stage Age:  17–20 Vocal Range:  Baritone Dance Ability:  Strong IRENE MOLLOY A stylish and sophisticated milliner who owns a hat shop in New York. A widow who longs for more excitement in her life. Stage Age:  30–35 Vocal Range:  Soprano Dance Ability:  Strong MINNIE FAY Irene’s young assistant. Talkative, quirky, and high-energy. A comedic role that requires great timing and physicality. Stage Age:  17–20 Vocal Range:  Mezzo-soprano Dance Ability:  Strong AMBROSE KEMPER A well-meaning young artist, slightly anxious but determined to marry Ermengarde despite her uncle’s disapproval. Stage Age:  19–23 Vocal Range:  Tenor Dance Ability:  Strong ERMENGARDE Horace’s melodramatic, tearful niece who is desperately in love with Ambrose. A character role with exaggerated comedic moments. Stage Age:  17–20 Vocal Range:  Mezzo-soprano Dance Ability:  Strong RUDOLPH REISENWEBER The proud, precise, and commanding maître d’ of the Harmonia Gardens. A comedic supporting role with strong presence. Stage Age:  40–60 Vocal Range:  Bass Dance Ability:  Some ENSEMBLE / DANCERS This will be a true ensemble-driven production, and we are seeking strong singers, actors, and dancers  to play a wide variety of featured roles and help bring the world of the musical to life. Ensemble members will portray: Townspeople, Yonkers Band Members, Harmonia Gardens Patrons, Polka Contest Contestants, Lodge Members…and more!

Title:  COSI Presented By:  Centenary Theatre Group Genre:  Australian Comedy-Drama Synopsis: A beloved Australian classic, COSI  by Louis Nowra is a funny, heartfelt, and chaotic look into the power of theatre, mental health, and human connection.Set in a Melbourne mental institution in the 1970s, a young aspiring director is thrust into the deep end when he's tasked with staging Mozart’s Cosi fan tutte —with a cast of patients, each managing their own unique challenges. What unfolds is a riotous exploration of madness, love, obsession, and the redemptive joy of performance. Audition Date:  Saturday 14th June 2025 Audition Time:  10:00am Audition Location and Address:  Centenary Theatre Group, Halsbury St & Queenscroft St, Chelmer QLD Audition Requirements: Auditions by registration only – bookings essential. Please email the director to receive the audition pack and secure your place. Contact: Julie Collins – directorjules27@gmail.com Available Roles: (Note: Several actors will be required to play multiple roles) Lewis  – Male, 20s. The protagonist, a young and idealistic director. Roy  – Male, 40s–50s. A manic depressive with big dreams and theatrical flair. Julie / Lucy  – Female, 20s. Julie is a patient and junkie; Lucy is Lewis’ girlfriend (small role). Justin / Nick / Zac  – Male, 20s. A triple role: Justin is a social worker; Nick is a director; Zac is a doped-up musician. Doug  – Male, 20s–40s. A pyromaniac with little filter. Cherry  – Female, 20s–40s. An overeater with a fiery crush on Lewis. Ruth  – Female, 30s–50s. An obsessive-compulsive with a keen eye for detail. Henry  – Male, 40s–60s. A silent, stuttering ex-lawyer with a tragic past. Performance Dates: 5th – 28th September 2025 at Centenary Theatre Group, Chelmer QLD Warnings:  Contains themes of mental illness, drug use, and coarse language Production Website:   https://centenarytheatre.com.au/

Season:  9 May – 31 May Lyrics by Tim Rice | Music by Andrew Lloyd Webber Directed and Vocal Directed by David Valks | Choreographed by Jackson Cook & Lucy Martin Spotlight Theatrical Company continues to cement its reputation as a powerhouse of community theatre with its latest production of Joseph and the Amazing Technicolor Dreamcoat . If any dream will do , then this production is surely the dreamiest of them all — a glittering technicolor explosion of energy, humour, and an overflowing rainbow palette of joy. This classic Lloyd Webber and Rice musical may be entirely sung-through, but it’s the physical storytelling, vibrant design, and larger-than-life theatrics that truly make this Joseph  sing. (Well… that, and the powerhouse vocals throughout.) After their dazzling production of Fame , I knew I couldn’t miss seeing how Spotlight would tackle Joseph . I brought my mum along as a special Mother’s Day treat — she hadn’t seen Joseph  live on stage since the 1970s (except for the Donny Osmond film, naturally). I even dressed the part in my brightest rainbow dress, and let’s just say I blended in beautifully — “a walking work of art,” or, as Ashley Williams adorably flubbed mid-show, “a working walk of art.” We love a tongue-tied moment. Director David Valks, who has himself performed this show in the UK, brings his vibrant vision to life on the Gold Coast stage. The brilliance of this show lies in its genre-hopping score: one moment it’s Elvis-style rock ‘n’ roll, the next it's calypso, then it’s country-western, or French chanson. The story follows dream-interpreting golden boy Joseph, the favourite son of Jacob, who is sold into slavery by his eleven jealous brothers (rude…). But don’t worry — this isn’t a tragedy. It’s an all-singing, all-dancing, glitter-clad tale of dreams, despair, and eventual redemption. It’s more than a biblical retelling; it’s a kaleidoscope of camp and show-stopping musical moments that light up the Spotlight stage. Joseph’s Dream Team Ashley Williams is an absolute dream as Joseph — bright-eyed, sweet-voiced, and sparkling with warmth from his very first entrance. He radiates boyish charm, making him instantly loveable (although not to his brothers…), and he sings with a crystal-clear tone that could part the Red Sea. He performs with heart and humility — there’s no obvious ego here, just sheer passion and a connection to the role. From the opening of "Any Dream Will Do," he beams his way through the show like a technicolour tornado. He looks positively fabulous in the iconic coat of many colours, twirling like he's starring in his own Kylie Minogue music video—“I’m spinning around, move outta my way!” But it’s in " Close Every Door" — one of my favourite group ballads — where Ashley truly stops the show. Bathed in dramatic backlight and drenched in reverb, his voice soars with stunning clarity and effortless strength. With the haunting richness of the backing harmonies, it’s one of the most breathtaking moments in the production. I genuinely wish I could bottle that moment and carry it with me. (Though I did expect the children to have faux candles in this scene — it felt like the touch that was missing from the "children of Israel are never alone!" moment.) Leah Erskine is the show’s guiding star — our ever-present Narrator, and the vibrant thread weaving the entire story together. With a rich, expressive vocal tone and the stamina of a Broadway marathoner, Leah tackles this vocally relentless role with ease, beauty, and crystal-clear storytelling. The narrator role is no easy feat — she’s in almost every number, darting between styles and moods at lightning speed — but Leah never drops her energy for a second. Whether delivering tender moments with sincerity in "Poor Poor Joseph"  or charging headfirst into wild chaos like “Potiphar” , or belting the roof off in "Pharaoh Story" , she does it all with seasoned confidence. I would’ve loved to see a little more sass and camp in her delivery at times — but it definitely peeked through during one particularly cheeky moment when her spotlight arrived fashionably late and she gave it a perfectly timed “really?” reaction. In a show bursting with big moments, Leah Erskine remains a steady, sparkling presence. Andrew King is fabulous as the rhinestoned, hip-thrusting Pharaoh. His rendition of “Song of the King” is so wildly entertaining, they give it to us twice. It’s a perfect blend of Vegas glitz, gospel power, and playful absurdity. From the moment he swaggers onstage in his iconic bedazzled jumpsuit, flanked by glamorous showgirls and surrounded by slot machines, Andrew owns the space with magnetic charisma. And watching Ashley, as Joseph, look utterly baffled by this surreal world of glitz and glamour was the cherry on top. The ensemble in Joseph  is an absolute force — bursting with energy, vocal power, and a delicious dose of camp. From the moment the eleven brothers burst through the audience in “Jacob and Sons,” they’re alive with a cheeky theatricality that never lets up. In “Joseph’s Dreams,”  their bitter dramatics are perfectly over-the-top, but then in “Those Canaan Days,”  they channel full faux-French ennui with berets, cravats, and exaggerated misery. Andy Macfarlane  leads the lamentations and his Apache-style dance break with Bianca Riek is electric. And that endlessly drawn-out “where diiiiiiiid they go” line? Iconic. Each performer brings something unique, but in the big group numbers, I couldn’t take my eyes off Greyson Vaughn, Lucy Martin, and Perrin Gilbert — their commitment, expressions, and character choices were magnetic. The whole ensemble shines, but those three are scene-stealing spark plugs. Perrin Gilbert (Naphtali and alternate Joseph) delivers “One More Angel in Heaven” with a yee-haw accent and spirit that’s utterly infectious, leading a sparkling hoedown backed by Lucy Martin as a cowgirl angel. It’s toe-tapping, twangy fun at its finest — and another example of how this ensemble handles every musical style thrown at them with ease.   Carey Parsons brings a dual delight as Jacob and Potiphar — giving the former a melodramatic flair (wailing every time Joseph is mentioned) and grounding the latter with showbiz pizzaz. Jasmine Andrews sizzles as Potiphar’s Wife, making the most of a blink-and-you’ll-miss-it role with a sultry, stylised dance solo that oozes confidence and character. “Potiphar” itself is a standout — styled like a golden-age Broadway number, all flapper flair and barbershop bounce, while Leah steals the scene with her commitment to the frantic pace. The dancers whip through the fast choreography and all their quick changes like pros! Speaking of dancers — the featured sextet of Lucy Martin, Jasmine Andrews, Bianca Riek, Tiahni Wilton, Heidi Haywood, and Natalie Cassaniti are firecrackers. They emerge through the set like disco-dream spirits, glittering in sparkly bralettes and colourful chiffon skirts, lighting up the stage with their beaming faces. In an up-close theatre like Spotlight, there’s no hiding, and these ladies know it. Their faces are always switched on, and it adds so much polish and professionalism to every number they appear in.   “Go Go Go Joseph” erupts in a blur of psychedelic colour, go-go boots, and lightning-fast choreography — the ultimate energy explosion and everything I wanted from this song. If you’re not dancing in your seat by the end, check your pulse because you must be dead. The second act keeps the energy high. “The Benjamin Calypso” is a tropical interlude with Anthony Vitetzakis leading with fabulous flair (and an even more fabulous costume). The choreography here is so vibrant, and I love that Joseph’s attempt to discipline his brothers is met with a full-on dance number. Respect. And just when you think it’s over — boom! The megamix kicks off: an eight-minute extravaganza of all your favourite tunes. Ending in a literal explosion of confetti, rainbow lights, and pyrotechnics. Ashley and Leah reprise “Any Dream Will Do” with heart and harmony — Ashley’s dreamy, Disney-prince vocals are the perfect send-off to leave the audience beaming. The cast must be exhausted by curtain call, but you’d never know it. Their commitment, energy, and love for what they do never falter.   Design, Direction & Dazzle The design elements are every bit as dazzling and dynamic as the show itself. Director David Valks’ clever and kinetic set design uses rotating pieces, neon-glittering pyramids, and hand-painted panels to whisk us from ancient deserts to depressing jail cells to full-blown Vegas in the blink of an eye. The ever-revolving set pieces keep transitions slick and snappy, ensuring the energy never dips and the storytelling never stalls. Valks’ direction leans into the joyful chaos of the show, balancing heartfelt moments with tongue-in-cheek humour scattered throughout—like the 'I identify as a camel' cow—had me snorting out loud (and I’m not even sorry).   Lighting by Thomas Bell drenches the stage in every color imaginable. From moody, golden tones in " Potiphar"  to haunting backlighting in " Close Every Door ," the lighting shifts beautifully with the tone and tempo. Marcus de Toit’s sound design is clean, crisp, and well-balanced — a blessing in a show with so many moving parts and layers. Special mention to the five powerhouse backing vocalists who elevate the ensemble sound with rich, textured harmonies and help fuel the momentum when the ensemble are catching their breath! The music is non-stop and the vocal team of David Valks and Penny Larcombe deserve a standing ovation for balancing the tight harmonies, wild tempos, and ever-changing styles. From the thundering anthems to the melancholic ballads, every number is given the attention it deserves. Costumes by Nada 'Red' Kulic and Pina Crisafulli Omeros are a glittering delight — a delicious buffet of sparkle, color, and cheeky musical theatre references to add a wink of theatrical inside jokes that the audience will adore (and a loving nod to Spotlight’s costume hire glory). From the pineapple headpieces to the show-stopping Elvis-meets-Vegas Pharaoh look, every costume earns its place in the spotlight.   The choreography, crafted by Jackson Cook and Lucy Martin , is an absolute triumph! Polished and energetic, it matches the show’s genre-hopping score beat for beat. Highlights include the hyper-kinetic ensemble mayhem of " Go Go Go Joseph" , the full-bodied hoedown of " One More Angel in Heaven" , and the utterly iconic " Joseph’s Coat"  — where each colour is spelled out with synchronised movement and gleeful precision, culminating in a jaw-dropping finale where Joseph’s coat stretches across the entire stage like a technicolor tidal wave. It’s like watching a human rainbow come to life!   Extra Magic The children’s ensemble (I saw the ‘Pharaoh’ cast) from Spotlight Youth Theatre is an adorable inclusion that gently balances out the surrounding adult chaos. It’s always a joy to see community productions create space for future stars — and these kids shine bright. They even open Act Two entirely on their own as they sing the Entr'acte! That said, a gentle reminder to sit up a little straighter, young ones — a few of you were giving hunchback. Remember we can always see you. And to the sweet boy who stifled a yawn mid-song: bless your cotton socks, you’re doing amazing, sweetie! From high-energy dance numbers and vibrant, glitter-drenched costumes (I loved  Joseph's sparkly sneakers) to unforgettable songs (seriously, just try  getting “Go Go Go Joseph”  out of your head), this show has it all. Spotlight has assembled a seriously talented and cohesive cast who seem to be having the absolute time of their lives. The creative team clearly understands exactly what Joseph  is — a colourful musical fever dream that thrives on spectacle, camp, and sincerity in equal measure. It may have a compact run time — Act 1 is a zippy 40 minutes — but the show packs a punch! It never drags, never dulls. I’d forgotten just how many bangers  are packed into this score. Every number is a celebration, and watching it live is the only way to truly experience its magic. If you’ve never seen Joseph  live — or if, like my mum, it’s been decades — don’t miss this chance to revisit a classic in all its glorious splendour. It’s a silly, sparkly, self-aware celebration of forgiveness, family, and following your dreams (even if your family throws you in a pit and fakes your death). Side note: if Joseph wants to interpret my  dreams, I recently dreamt I was at an actual Elvis Presley concert, but I spent the entire show showering in the dressing rooms. What does that mean ?! If you love theatre, drama, top-tier choreography, killer vocals, adorable kids, rainbows, confetti, and fun (so… everyone, really), Joseph and the Amazing Technicolor Dreamcoat  is an absolute must-see. It’s a wildly entertaining, extremely high-quality production that leaves you floating on a technicolour cloud of musical happiness. Run, don’t walk — and wear something bright! Tickets available here Photographs by Clay English (Vargo Studios)

Title:  The Spongebob Musical - Youth Edition Presented By:  Brisbane Junior Theatre Genre:  Musical Theatre Synopsis : "The SpongeBob Musical" follows SpongeBob and his friends as they face a looming volcanic eruption that threatens to destroy Bikini Bottom. The musical features original songs by various artists and explores themes of optimism, friendship, and community. While the main focus is on saving their home, the musical also touches upon how people react to crisis and how impending doom can affect daily life.  AUDITION DETAILS Audition Date:  June 14, 2025 Time:  1:00 PM – 5:00 PM Location:  Emerge Church, 1 Coorparoo Road, Warner, QLD 4500 Audition Requirements: All performers must prepare a monologue, song, and dance. Younger children may memorise a sentence or two instead of a full monologue. Auditions are required for lead, minor, featured dancer, and soloist roles. Everyone who auditions will be included in the cast. Audition Registration: Register Here Audition Pack: Download Here Audition Intensive: Date:  June 7, 2025 Time:  12:00 PM – 3:00 PM Location:  Emerge Church Upstairs Studio, 1 Coorparoo Road, Warner, QLD 4500 Cost:  $50 Participants will develop essential audition skills, including: Monologue characterisation, movement, projection, and accents Acting while singing, storytelling, and vocal technique Dance and movement preparation Personalised feedback from directors Rehearsals & Performances Rehearsal Dates:   June 30 – July 5, 2025 Rehearsal Times:  Monday – Friday, 8:30 AM – 5:00 PM Performance Dates & Times: Friday, July 4, 2025  – 6:00 PM & 8:00 PM Saturday, July 5, 2025  – 2:00 PM & 4:00 PM Performance Venue: Emerge Church, 1 Coorparoo Road, Warner, QLD 4500 Ticket Costs: Adult:  $25 Student/Concession:  $20 (Tickets available soon) Production Fees: Cost:  $395 (inc. GST) Covers costumes, rights & royalties, scripts, insurance, technical & creative staff, sets, props, venue hire, and a pizza dinner & drink on the Friday performance night. Performers must register and pay before auditioning. Production Website: Brisbane Junior Theatre AVAILABLE ROLES: SpongeBob SquarePants (Range: C3-B4) optimistic, innocent; energetic and sometimes hyperactive. This actor should move well and be an extremely physical actor - unafraid of climbing and being on tall objects. Naturally funny with great comedic skills and precision. Strong pop tenor. Sandy Cheeks (Range: A3-E5) A brainy athletic Texan squirrel who came to Bikini Bottom for a research project. SpongeBob's most trusted ally on their quest to stop the volcano from erupting. Martial Arts skills a plus - unafraid of climbing and being on tall objects. Patrick Star (Range: Bb2-Bb4) Well-intentioned, but clueless; a big softie, who can also be prone to sudden child-like fits of rage or frustration. Squidward Q. Tentacles (Range: A2-F#4) Grumpy, cynical, dry, short tempered, generally negative but loveable! This Actor must move well. Strong tapper preferred. Eugene Krabs (Range: B2-Bb4) The greedy owner of the Krusty Krab, and employer of SpongeBob and Squidward. Does whatever he can to make himself richer. Sheldon J. Plankton (Range: B2-G#4) His personality outweighs his size- slick, scheming, nefarious; has the ability to charm; determined, he will do anything to get ahead in life; but his heart is still open enough to rekindle a romance with his wife. This character will need to dance and rap. Karen the Computer (Range: G#3-F#5) Sassy, the computer wife of Plankton. She's been there for Plankton's every scheme and plot. Strong comic actress, as well as Singer and Mover. Pearl Krabs (Range: Bb3-F#5) Mr. Krabs' teenaged daughter who just wants to be understood by her father and sing with the Electric Skates. This is a character role with Gospel vocal overtones. The Mayor of Bikini Bottom (Range: F#4-B5) Standard Politician Perch Perkins (Range: E2-E4) News reporter French Narrator Spoken role Patchy the Pirate (Range: D3-F4 with F5 falsetto) Misunderstood pirate from the painting Electric Skates: Rock and roll band members, the Skates are hard-core rockers. Very comfortable on skateboards/scooters (ability to do tricks a plus). Also open to rollerskates/inline skating. A variety of character types to play several featured ensemble roles; Roles for groups, soloist and comedians as well as strong dance roles. Sardines, Security Guards, Old Man Jenkins, Mrs. Puff, Gary the Snail, Larry the Lobster, Plankton's Backup Dancers, Pirates And More!!! The Foley Artist Fish is a staged role that produces all sound effects specified in the script and score using percussion instruments, triggered digital effects, and other creative sound makers.

Title:   Little Women Presented by:  Phoenix Ensemble Directed by:  Tammy Sarah Linde Venue:  The Tin Shed Theatre, Beenleigh Season:  Now playing until 24 May – Tickets available here A Sisterhood Brought to Life Phoenix Ensemble’s Little Women  is a warm, nostalgic, and emotionally rich musical that invites us into the world of the March family. Set during the American Civil War, the story is adapted from Louisa May Alcott’s beloved novels Little Women  and Good Wives  (two of my personal favourites!). It follows the lives of the four March sisters—Jo, Meg, Beth, and Amy—as they navigate the trials of growing up, sisterhood, grief, and love. The musical is framed by Jo March (Emma Erdis), a spirited aspiring writer living in New York, who reflects on her youth with her sisters and mother Marmee (Samantha O’Hare) during their father’s wartime absence. As Jo strives for independence and literary success, she battles societal expectations, sibling rivalry, and personal heartbreak, ultimately finding her voice through the power of storytelling. Stephanie Bateman’s set feels cosy and welcoming—oil lamps, quills, fireplace, Amy’s precious sketches, and a little library of well-loved stories—it’s a space brimming with detail and lived-in charm. Maddison Joyce’s period costumes bring a lovely authenticity and softness to each character. Amy’s butter-yellow dress, Jo’s earthy brown tweeds, Beth’s gentle blues—each sister’s personality shines through their wardrobe. From the first harmonies of “Our Finest Dreams,” we’re drawn into the March sisters’ world of rich vocals, sisterly warmth, and instantly engaging energy. The orchestra, neatly nestled in the corner (as always with Phoenix), sounds glorious, with Kym Brown’s musical direction bringing a fullness to the score that supports every musical moment beautifully. If you haven’t heard the Little Women  soundtrack before, every single song is stunning. And not only that, but each is delivered beautifully by this exceptional cast. Emma Erdis is magnetic as the untamed, passionate, and assertive Jo March. They embody Jo’s bold spirit and fierce heart with remarkable ease, whether it’s a fiery retort, a flash of creative direction, or a moment of tender vulnerability. Emma wears Jo's emotions on their sleeve, just as the character demands. Their rendition of “Astonishing” as the Act One closer is a full emotional journey—moving from fury, to inner conflict, to determined resolve—powered by a voice that fuses theatrical strength with moments of operatic grace. Emma also shares a sweet, lavender-hued dynamic with Joshua Bird’s Laurie—playful, mismatched, and brimming with youthful affection. Stephanie Collins presents a gentle and understated Meg—demure and proper on the outside, but with hidden insecurities (and dreams) that peek through her poise. Her duet with Mark James as John Brooke, “More Than I Am,” is softly romantic and divinely performed in Steph's distinctive classical soprano. Kayleigh Bancroft and Madeleine Ford are completely believable as the youngest March sisters, Beth and Amy. Bancroft as Beth feels like a ray of sunshine—exuding sweet optimism and compassion, her radiance lighting up every scene. Her chemistry with Warryn James’ initially gruff Mr. Laurence blooms sweetly in “Off to Massachusetts,” one of the show’s more tender moments. Madeleine Ford’s Amy is a force to be reckoned with—bratty, bold, and brilliantly real. She leans all the way into Amy’s whiny jealousy and self-righteousness, making her tantrum and destruction of Jo’s manuscript genuinely painful to witness (yes, it still hurts!). Jo's reprise of “Better” in response is searing and vocally expressive. I actually hated Madeleine a little in that moment—and I mean that as a compliment. That’s what makes her growth so rewarding. She makes Amy’s transformation feel honest and earned by the end. Joshua Bird as Laurie is delightful, with his beaming grin and buoyant tenor voice lighting up the stage in the vocally demanding “Take a Chance on Me” (no, not the ABBA song). His scenes with Emma are quirky and endearing, although (spoiler alert) the heartbreak in his rejection scene didn’t quite land as hard as it could have. That said, his eventual pairing with Amy in “The Most Amazing Thing” is sweet and feels much more suited. Samantha O’Hare as Marmee grounds the production with dignity, strength, and maternal love. Her solo “Here Alone” aches with loneliness, while “Days of Plenty” is a crushing showstopper—emotionally raw while somehow being vocally perfect, made even more haunting as rain began to fall on the theatre’s tin roof. Thanks for making me cry Sam. Philippa Bowe as Aunt March steals scenes with her commanding presence and dry wit, made even more memorable by her hilariously enormous hoop skirt that feels like a set piece in itself! Her duet with Jo, “Could You?” , is sharp, fun, and vocally strong. August Cocks’ Professor Bhaer doesn’t get much stage time in Act One (since it is Jo’s reminiscence after all), but he shines in Act Two as his affection for (a now grown-up) Jo grows. His German accent is believable, and he plays the awkward intellectual with a real sweetness. His “How I Am” was a quiet favourite of mine, and the final duet “Small Umbrella in the Rain” with Emma is a soft, beautiful capstone to Jo's journey. Mark James is a sincere and bashful John Brooke, particularly sweet in his early interactions with Meg. Though... Mr. Brooke really does need to tie up his hair or curl it away from his face—it blocks too many expressions, and it doesn’t suit the time period. A quick restyle would go a long way! Act Two dives deeper into the bittersweet reality of growing up as each sister walks her own path—Jo in New York, Amy abroad, Meg as a wife and mother, and Beth’s health deteriorating. “Some Things Are Meant to Be,” sung by Jo and Beth as they dream up adventures that will never come to be, is gut-wrenchingly beautiful. Emma’s final numbers, “The Fire Within Me” and “Sometimes When You Dream,” bring Jo’s arc to a powerful, poetic conclusion—her grief, her growth, and her resilience culminating in the novel that tells the story we’ve just lived through. Tammy Sarah Linde’s direction is sensitive and well-paced, capturing both the intimate domestic joys and the sweeping emotional themes of Alcott’s story. It feels like a love letter to the books and their readers. That said, there were a few moments where blocking could have been tightened—occasionally, actors faced directly away from the audience or towards the wings, which disrupted connection. Angling these scenes more would help maintain sightlines and keep the audience emotionally engaged. Similarly, ensuring hair and wigs are styled away from the face would allow facial expressions to land more clearly. A few more interactions between Jo and Beth in Act One (they are supposedly inseparable) would also elevate the emotional clarity of their bond before Act Two’s heartbreaking climax. I didn’t quite feel the full weight of Jo’s devastation and anger when Amy destroyed her manuscript—probably feeling less tense because the actors clearly get along. Likewise, the grief from Laurie, Amy, and Meg over Beth’s death didn’t quite hit with the emotional force it should have. On a different note, Emma conveyed Jo’s elation beautifully in the scenes surrounding her dreams of travelling and literary success. I also loved Kayleigh’s expressive face throughout, and particularly the effective choice to rouge her cheeks during Beth’s scarlet fever, which added to the visual impact of her decline. Hannah Macri’s choreography adds fun and flow, especially in upbeat numbers “I’d Be Delighted” and the criminally short but wonderfully joyful “Five Forever.” Andrew Haden’s lighting design subtly shifts us between playful and poignant tones, while Luke O’Hagan’s sound design ensures vocals and orchestrations blend well throughout. Phoenix Ensemble’s Little Women  is a heartfelt and moving production. With a strong ensemble cast, excellent vocals, and sensitive storytelling, it’s a loving tribute to one of literature’s most beloved families. Whether you’re new to the March sisters or you’ve loved them for years, this show is absolutely worth your time. 🎟️ Click here to book tickets  – the season runs until 24 May.

Title:  Secret Bridesmaids’ Business Presented By:  Ipswich Little Theatre (ILT) Genre:  Contemporary Comedy / Drama Synopsis: It’s the night before Meg’s wedding, and the bridal party is ready to celebrate. But when an unexpected scandal emerges, the night spirals into chaos. Secret Bridesmaids’ Business  is a sharply funny and heartfelt play by Elizabeth Coleman that captures the mayhem, secrets, and strong personalities that can turn a seemingly perfect celebration into a wedding nightmare. As tensions rise and loyalties are tested, this witty, character-driven story explores the complex bonds between women—and whether marriage is really worth all the fuss after all. Audition Date: Monday, 9 June 2025 Audition Time: 7:30 pm Audition Location and Address: Ipswich Little Theatre Audition Requirements: Please complete the online audition form  before attending. Prepare for a cold read or selected monologue; sides and monologues are available to download from the audition page. You do not need to be a current ILT member to audition, but successful cast members will be required to hold a current membership. Audition Registration: Complete the Audition Form Here Audition Pack: Download Sides and Monologues Available Roles: Colleen Bacon (55+)  – The bride’s mother. Flustered, bossy, but always well-intentioned. Meg Bacon (33)  – The bride. Smart, warm-hearted, and trying to keep it all together. Angela Dixon (34)  – Matron of Honour. Loyal and giving, though occasionally a bit vague. Lucy Dean (34)  – Bridesmaid. Earthy, direct, and impulsive. Naomi Bartlett (28)  – A friend of the bride. Sexy, self-absorbed, and emotionally conflicted. James Davis (35)  – The groom. Successful, confident, and genuinely sincere. Performance Dates: Wednesday 17 September to Saturday 4 October 2025 Matinee Performances: Sunday 21 and Sunday 28 September Performance Location: Ipswich Little Theatre, Cnr. Limestone and Elizabeth Streets, Ipswich QLD Warnings: Mature themes, adult language, relationship conflict Required Age: 18+ Creative Team: Director: Martie Blanchett Assistant Director: Shane Mallory Production Website: https://www.ilt.org.au/getinvolved/auditions/ Other Information: If you’re not cast, you're welcome to assist with backstage or front-of-house roles—just indicate your interest on the audition form.

Title:  Clue On Stage Presented By:  Lind Lane Theatre Genre:  Comedy / Farce / Murder Mystery Synopsis: Get ready for the craziest, madcap comedy of the year! Clue On Stage , adapted by Sandy Rustin from the cult classic film and based on the iconic board game Cluedo , brings the characters, weapons, rooms and hilarity you know and love to life onstage.This fast-paced farce follows a mysterious dinner party where murder and mayhem ensue. As bodies pile up, everyone is a suspect—and everyone has something to hide. It’s a race against time to solve the mystery before the killer strikes again! Audition Dates: Monday 9th June 2025 – 6:30pm Wednesday 11th June 2025 – 6:30pm Audition Location and Address:  The Lind Theatre, Nambour Audition Requirements: Please prepare a 1-minute comic monologue of your favourite character either from Cluedo  or any comedy character of your choice. Audition will also include cold reads from the script. Looking for actors with strong comic timing, a love for physical comedy, and a willingness to lean into the farce and fun. Audition Contact: Director – Kathryn Barnes Phone: 0434 879 014 Email: thelind.production@gmail.com Available Roles: WADSWORTH  – Traditional British butler; uptight, formal, and proper. The driving force of the play. COLONEL MUSTARD  – Pompous, dense military man; full of bluster. PROFESSOR PLUM  – Arrogant and self-impressed academic. MR GREEN  – Timid, nervous rule-follower with awkward energy. MR BODDY  – Slick, noir-style gangster type. YVETTE  – French maid with a seductive air and thick (but clear) French accent. MISS SCARLET  – Sardonic and secretive madam with a dry wit. MRS PEACOCK  – Eccentric, high-strung senator’s wife prone to hysteria. MRS WHITE  – Pale and morbid woman, possibly a serial widow. THE COOK  – Gruff and threatening woman. THE MOTORIST  – A stranded driver. CHIEF OF POLICE  – A straightforward, helpful cop. THE UNEXPECTED COP  – A bumbling, average Joe. ADDITIONAL BODIES  – Various male and female ensemble roles. Rehearsal Dates:  Week of 4th August onwards Rehearsal Times:  To be confirmed post-casting Performance Dates: Friday 24th October 2025 – Saturday 1st November 2025 Performance Location: The Lind Theatre, Nambour Warnings:  Mild language, slapstick violence, and comedic death Production Website:   www.lindlane.com.au

A Tale of Small-Town Dynamics and Big Conversations On a sweltering Australia Day, I had the pleasure of seeing Mates Theatre Genesis Inc.'s production of ' The Appleton Ladies' Potato Race' , a heartwarming and insightful Aussie comedy written by Melanie Tait. Set in the fictional town of Appleton, where tradition reigns and gossip travels fast, the play offers a sharp exploration of gender equality, small-town values, and the strength of women. It's equal parts humorous and emotionally intense, laced with enough nostalgia and niche Australian references to captivate even the most reserved audience members.   The narrative centres on Penny Anderson, played with natural authenticity by Amanda Lay. After years away, Penny returns to Appleton, having built a career as a doctor. As a single, childless, and educated woman, she now feels like an outsider in her hometown. Her return causes a stir when she learns that the prize money for the town's annual potato race is five times greater for men than for women. Determined to challenge the status quo, Penny embarks on a quest for equality, igniting a campaign that faces hostility from the close-knit community rooted in long-standing traditions.   Amanda captured Penny's frustration and determination beautifully. It felt as though she wasn't even acting—just living the experience of a woman navigating the return to a place where old opinions die hard. Penny's intelligence and good intentions are frequently dismissed as arrogance, and Amanda portrayed that outsider energy perfectly; a sentiment that resonated deeply with me as a city girl who also relocated to a small town. I could easily relate to Penny in her solitude, especially when she admitted that she "sucked at sports" and was often excluded, preferring to work independently.   The ensemble cast shone in their roles, each bringing a distinct personality to the stage. Diana Gogulski delivered a compelling performance as the no-nonsense Bev Armstrong. Bev is stern, proper, and sometimes harsh, particularly toward Penny. Diana's standout moment came during a poignant monologue where Bev shares the weight of her husband's stroke, her son's struggles, and her own declining health. She expertly depicted a character whose tough exterior conceals a complex and vulnerable heart. Peta Townend as Nikki Armstrong, Penny's fierce cousin and a single mum working two jobs to raise her four sons, was a force of nature. Outspoken, tough as nails, and endlessly resilient, Peta's performance stood out in a cast full of talent. Claire Marchesi as the bubbly Barb Ling brought vibrant energy and humour reminiscent of Kath from ' Kath & Kim' . She delivered a gut-wrenching monologue about infertility, which was heartbreakingly sincere and added depth to her otherwise cheerful character.   Rhea Basha, who joined the cast late, played Rania Hamid, a refugee who brings kindness and wisdom to Appleton. Her friendly demeanour and excellent accent made her performance memorable and heartfelt. Plus, she added a crucial perspective to the play's themes of acceptance and community. Paul Hynes provided comic relief as the radio announcer and various other characters. His versatility was impressive, particularly during the news montage where he switches between different accents and personas with ease.   The script, dripping with nostalgia and witty humour, doesn't shy away from confronting uncomfortable truths about small-town life. One powerful line stayed with me: "People always notice when women try to get anything they don't have." The play doesn't sugarcoat the challenges faced by women or the darker themes of racism, sexism, homophobia, addiction, alcoholism, and financial hardship.   Yet amidst these tensions, the play remains incredibly funny, with witty one-liners like the brutally honest declaration: "80% of the time, kids suck." The show balanced humour and pathos brilliantly, with recurring jokes (like the town's seemingly endless supply of men named Billy) providing much-needed levity. The flashback scene to 1988 was a playful addition, complete with Supré-inspired 80s outfits that took us back in time   Given that this was a community production, the creative team deserves immense praise for their resourcefulness. Adelle O'Connell's direction brought out the absolute best in the cast, creating a cohesive and dynamic performance. The costumes, provided by the cast themselves, added authenticity to their characters. The set, sound, and lighting were simple yet effective, allowing the performances to take centre stage. The handmade props were a charming touch, and the involvement of volunteers behind the scenes demonstrated the heart and dedication of this theatre company.   The play wraps up beautifully, with a heartwarming resolution that ties everything together. Despite the family feuds and escalating tensions, ' The Appleton Ladies' Potato Race'  ultimately champions the power of community and change. This was my first experience with Mates Theatre Genesis Inc., and I was struck by the warmth and kindness of the company. On that hot Australia Day, they delivered a performance that was as delightful and layered as a good serving of potato bake. Thank you to the entire team for such a memorable experience.

Welcome to Falsettoland! Phoenix Ensemble has kicked off its 2025 season with a bold and brilliant pick— Falsettos —a deeply moving and wildly entertaining sung-through musical that masterfully balances humour, heartbreak, and humanity. With its demanding score, complex characters, and poignant themes, this show is no easy feat. Yet, under the direction of Hayley Gervais, the cast and creative team rise to the challenge, delivering a performance that is both powerful and profoundly personal. With a relatively small ensemble, each performer is given the space to shine and evolve. I find the intimacy of Phoenix Ensemble’s theatre always enhances the experience, drawing the audience in and making us feel more connected to the story as it unfolds. If you've never seen Falsettos  before (like me), be warned—there is no spoken dialogue. This is a fully sung-through show, and the music is intricate, fast-paced, and Sondheim-esque in its lyrical complexity and demanding harmonies. Music director Emma Erdis guides the cast through these vocal acrobatics with remarkable precision. The layered vocals in the early number "Love is Blind"  are particularly stunning, demonstrating not only the cast’s technical skill but also their ability to blend as an ensemble. The band, led by Erdis, is impeccable, with a special shoutout to Sally Faint, who impressively juggles at least four different instruments throughout the show.   Falsettos  tells the story of Marvin, a man who leaves his wife, Trina, to be with his lover, Whizzer, while struggling to maintain a sense of family for their son, Jason. As Trina finds love with Marvin's psychiatrist, Mendel (talk about a plot twist), and Jason prepares for his bar mitzvah, their unconventional family dynamic is tested in unexpected ways. Set in the late 1970s and early 1980s, the show takes a serious detour turn as Whizzer falls ill, forcing everyone to confront the heavy themes of love, loss, and the fragility of life. Both deeply personal and universally resonant, ' Falsettos'  is a heart-wrenching yet uplifting exploration of love, identity, and what it truly means to be a family, whether you're born with them or choose them.   From the very first number, Falsettos  makes it clear that this isn’t your typical musical. " Four Jews in a Room Bitching"  immediately sets the tone with its sharp wit and brazen humour. Young Jason (Fraser Goodreid) joining in on the number only heightens the comedy, perfectly encapsulating one of the show’s central tensions—childhood innocence clashing with the messiness of adulthood. Another notable number is Mendel's rapid-fire interrogation in the " Three-Part Mini Opera ." This number demands the audience's full attention to keep up with the nonstop stream of questions. Additionally, the trio number " Everyone Tells Jason to See a Psychiatrist " stands out, humorously capturing Jason's plight as he's caught in a tug-of-war of expectations from the adults surrounding him.   At the centre of Falsettos  is Marvin, played with remarkable depth by Luke O’Hagan. Marvin is a man caught in his own contradictions—selfish yet loving, domineering yet insecure, desperate to maintain control over a family that is rapidly slipping away. O’Hagan nails this complex cocktail of traits with nuance, you’ll find yourself both shaking your fist at him and nodding in sympathy. His on-stage chemistry with Joshua Brandon’s Whizzer is compelling, perfectly embodying the push-and-pull of their tumultuous relationship.   Brandon’s Whizzer is effortlessly charismatic, exuding confidence and charm, yet beneath his bravado lies a quiet vulnerability. The contrast between the two men is striking—Whizzer, self-assured and free-spirited, versus Marvin, rigid and still struggling to figure out who he is. Their dynamic feels intentionally unbalanced, their friction palpable, making the moments of tenderness between them all the more impactful. Together, O’Hagan and Brandon create a relationship that feels raw, real, and ultimately heartbreaking.   Genevieve Tree as Trina is a revelation. She delivers " I’m Breaking Down "—a comedic tour de force—with astonishing vocal control. The number is an unhinged, wildly entertaining descent into Trina’s spiralling thoughts as she desperately tries to hold herself together while baking. Her manic energy and animated delivery make this number a standout moment in the show. Yet, beneath the hilarity lies genuine heartbreak. Tree masterfully balances the absurdity of the moment with the devastation of a woman grappling with the collapse of the life she built and the foolishness she feels. Later, her vulnerability in " Trina’s Song" is deeply moving, showcasing her remarkable range as both a singer and an actor. Her vocals never falter, no matter the demands of the score, and her physicality and comedic instincts make her an undeniable scene-stealer. With every note and expression, she stamps her place as one of the evening’s most memorable acts. The infamous "March of the Falsettos"  feels like a fever dream—aptly so, as it’s essentially Trina’s surreal imagination, performed with impressive skill as the men’s falsetto voices must blend with Jason’s unbroken tone. As Act One builds to its climax, " Making a Home"  provides a beautifully tender moment between Trina and Mendel, while Marvin and Whizzer’s relationship begins to unravel in " The Chess Game"  and Whizzer’s introspective solo, " The Games I Play."   Alex Smith is endearing as Mendel, bringing warmth, cringy charm, and easy comedy to the role. His therapist-turned-stepfather arc with Jason is a particular highlight, with their therapy sessions playing out as rapid sparring matches where Jason seems to out-psychoanalyse the therapist. Smith balances Mendel’s neuroses with sincerity, encapsulating the quiet hope of a man eager to build something stable amid the chaos. Fraser Goodreid excels as Jason, embodying the dry wit and exasperation of an only child caught in the crossfire of his parents’ drama. His delivery of " My Father’s a Homo"  is priceless, and he holds his own vocally alongside the adult cast with impressive confidence. He brings an authenticity to Jason’s journey, making him more than just the wisecracking kid—he’s the reluctant anchor holding this family circus together. The first act crescendos with the gut-wrenching " I Never Wanted to Love You",  where the cast’s harmonies soar with raw emotion, each voice carrying the weight of heartbreak and frustration. It’s a breathtakingly painful moment, immediately followed by " Father to Son" —a gentle and deeply affecting scene where Marvin, stripped down to his most vulnerable state, reaches out to Jason in a rare moment of tenderness. This number lingers, leaving the audience with a sense of both resolution and uncertainty as the curtain falls on Act One. In Act Two, Rae Rose as Charlotte and Michael Enright as Cordelia bring a cozy blanket of warmth, a sprinkle of humour, and big ol' heart to the show. Their presence adds a much-needed sense of community and support as the story takes a more sombre turn. Rose’s straightforward and compassionate Charlotte complements Enright’s endlessly loveable Cordelia, whose efforts to bring levity amid tragedy enhance the impact of their scenes. Together, they anchor the story in themes of love, friendship, and resilience.   Though Falsettos  is technically two musicals fused into one, Act Two undeniably feels stronger. The " Year of the Child" establishes Jason’s Bar Mitzvah preparations as a thread that ties the family together, but it’s Whizzer’s declining health that casts a shadow over everything, shifting the show from playful dysfunction to profound poignancy. Though the show is long, the pacing never falters—each song is swift, purposeful, and propels the story forward with precision. " A Day in Falsettoland" and "The Baseball Game" are well-staged, intertwining the various relationships into a lively musical tapestry. "The Fight" provides insight from Jason’s perspective as he witnesses his parents argue once more. And Mendel’s character arc takes an intriguing turn as he appears weary and bitter, yet still strives to comfort Jason during " Everyone Hates His Parents" , a surprisingly upbeat song enhanced by an entertaining dance routine by choreographer Jackson Poole.   The shift in tone begins when neighbour, Dr. Charlotte, starts to sense that something ominous is unfolding within the gay community. Rae Rose performs "Something Bad is Happening" with outstanding vocals, capturing the growing fear of an unknown disease and the looming dread that becomes tragically real when Whizzer gets hit with the diagnosis. From this point forward, the performances grow even more emotionally charged. The cast does a phenomenal job depicting the weight of this crisis—Whizzer appears physically frail yet holds onto a quiet strength, while Marvin, Charlotte, and Cordelia rally around him in " Unlikely Lovers" , a beautifully harmonised piece that is further enhanced by the gorgeous flute and clarinet accompaniment. Joshua Brandon offers an beautiful performance in " You Gotta Die Sometime ", leading the audience through Whizzer’s emotional journey from denial to acceptance. Luke O'Hagan brings the show to a close with " What Would I Do ", projecting such power that his microphone is unnecessary. The finale is profoundly moving, with the entire cast digging deep to deliver a powerful ending, despite their evident exhaustion.   The 70s aesthetic is well-realised, from the clothing and hairstyles to the magazines featured. It’s a time capsule that not only grounds the story’s historical context but also enhances the realism of the characters. The lighting, designed by Tammy Sarah Linde, is a stunning spectrum of colour—naturally, every hue of the rainbow makes an appearance. Linde’s design bathes the stage in a constantly shifting colour palette, mirroring the emotional tides throughout the musical. Staging is dynamic and purposeful, with director Hayley Gervais ensuring that every inch of the space is utilised to its full potential.   The set design is simple and striking, with two oversized chess pieces flanking the stage—a nod to the recurring chess motif. The stage floor, checkered in an askew pattern, symbolises the imperfect relationships that unfold. The pastel-coloured chessboard designs along the walls further enhance the retro vibe, fully immersing us in the era. The movable cubes create a versatile playground for the actors, allowing them to navigate the ever-shifting characters' lives.   Phoenix Ensemble’s Falsettos  is a triumph—a beautifully performed, deeply affecting production. The show’s complexity demands a strong cast, and this ensemble more than rises to the challenge. With stellar vocals and musicians, sharp character work, and an intimate setting that makes every moment feel personal, all these elements come together to serve the show’s central theme: life is a game of strategy, and love doesn’t always follow the rules. Tickets available here

This Nash Theatre production revives the legendary Gunsmoke  radio play, which first hit the airwaves in 1952. Rather than modernising it, they fully embrace its old-timey charm, presenting three 30-minute episodes. Directed by Eddie Bruce, the production pays homage to the golden age of radio plays, where storytelling relied entirely on voice acting and sound effects. For those unfamiliar, Gunsmoke  follows Marshal Matt Dillon as he strives to maintain law and order in 1870s Dodge City, Kansas. His loyal right-hand man, Chester, helps keep the peace, while Miss Kitty provides a romantic subplot. This production features three distinct episodes— Start of a Legend , Bloody Hands , and Chester’s Dilemma —each showcasing different aspects of the Western drama, from thrilling action, moral dilemmas, and comedic exchanges. The story later made the leap to television, and my father recalls watching the series as a child. It’s fascinating to see how a tale that first captivated audiences over seventy years ago still holds its charm today.   Radio plays offer a unique theatrical experience. Unlike traditional theatre, where actors can rely on facial expressions and physical movement, here, everything hinges on vocal performance. There’s no room for mumbling, stumbling, or merely reciting lines—each actor must fully embody their character, making every word feel new and alive. The entire cast excelled at this, with many juggling multiple roles, seamlessly transporting us to the Wild West through strong country accents and dynamic vocal performances.   Marshal Matt Dillon, played by Stuart Loudon, is commanding and authoritative, spending nearly the entire show on his feet delivering his lines. His steadfast presence anchors each episode. At his side, Tyson Hargreaves is outstanding as Chester—his accent feels natural, his delivery effortless, and his comedic timing strong. He even looks the part, strangely enough! The chemistry between Matt and Chester is one of the show’s highlights, their dynamic feeling both lived-in and true.   David Hill deliver a witty performance as both Doc Adams and the Announcer, with well-timed comedic moments. Julia Cox is sweet and naïve as Mrs Bonney in Start of Legend , but I much prefer her as the bold and sassy Miss Kitty later on. Sam Herde is excellent as Francine and even stronger as Edna in Episode 3, where she delivers a charming, manipulative, and flirtatious performance with a wonderful Ohio twang.   There isn’t a weak link in this cast. Brian Bodell’s gravelly voice as Stanger carries the perfect undertone of suspicion and menace, while his portrayal of Charlie, the gruff old mail carrier, is just as memorable. Ian Bielenberg makes a strong impression in his brief scenes as Adam, Brand, and Jonas, bringing distinct energy to each role. Bruce Edgerton’s delightfully over-the-top Ziegler, complete with his exaggerated Dutch accent, adds an extra layer of humour and character.   But the real scene-stealers? The foley artists. Aiden Carey, who also features in Episode 1, showcases incredible versatility. His comedic timing and knack for sound effects make me hopeful that he'll take on more foley work in the future. Overseen by Mark Corben, the foley work does an excellent job as auditory illusion—coconuts for horses, chains for spurs, even scratching on rock to mimic quill writing. Close your eyes, and you’re transported to the Wild West—minus the ridiculous dry heat. Rob Brook’s technical FX design ensures no detail is overlooked, from the sound of a horse dismounting to crickets at dusk. Aiden and Mark were an absolute highlight, often stealing scenes with their exaggerated reactions to key moments—completely unseen by the radio actors, of course—which only made it all the more amusing for the audience.   Bloody Hands brings a more serious tone, reminiscent of the brutal reality of the Wild West—a time when killings were all too common (think A Million Ways to Die in the West , but without the satire). But my favourite of the three is Episode 3, Chester’s Dilemma . It’s the funniest of the lot and stars two of the production’s standouts: Tyson Hagreaves and Sam Herde. Their rapid-fire back-and-forth exchanges never misses a beat, despite never looking at each other behind the microphones. The entire cast has clearly rehearsed to perfection. As a clever touch, the production incorporates period-accurate advertisements from L&M Cigarettes. These add an amusing layer of authenticity, especially when Bruce Edgerton exaggeratedly wheezes and coughs during the ad—a not-so-subtle reminder that Nash Theatre is not endorsing smoking!   One of the biggest challenges in a radio play is engaging the audience without visual cues, yet Gunsmoke  kept me fully engaged. The commitment to authenticity extended beyond the performances. The radio microphones and horse saddles, wanted-style posters, the cast program, and even the atmosphere of the venue built in the 1970s—Merthyr Road Uniting Church—contributed to the experience. While I don’t personally recall the golden era of radio, my 67-year-old mother, who I brought along, does. She tells me it feels like stepping back in time, a nostalgic trip to a format that once dominated entertainment.   At a comfortable length with an interval to break things up, the production strikes the perfect balance of suspense and entertainment. It’s a wonderful slice of theatrical history, executed with skilled storytelling, excellent sound design and a whole lot of heart. Seeing it before the recent cyclone business was a stroke of luck, but for those considering going— tickets are still available here ! I highly recommend grabbing a show before this slice of theatre rides off into the sunset!

Mae lives on a farm in dire poverty with her not-brother, Lloyd. In an effort to excavate herself from this dreary existence, Mae is going to school and dreams of a future that doesn’t involve living among pigs. But Lloyd, well, he’s quite content wallowing in the pigsty. When Lloyd gets sick, Mae enlists the help of their neighbour Henry, and suddenly, it’s a love/hate triangle with more twists than a pig’s tail. Frustrated and desperate, Mae realises she must flee from these two men who rely on her. But has she already sunk too deep in the mud?   Written by the greatest playwright you’ve never heard of, María Irene Fornés, and presented by Salad Days Collective and PIP Theatre: Mud is bleak, grotesque, and utterly captivating—a play that revels in its unfiltered, uncompromising reality while unexpectedly inserting moments of dark humour that leave you laughing before you realise you maybe shouldn’t be. The entire production, presented by the newly Matilda Award-winning team, is a testament to how powerful theatre can be in the right hands. Even before the show began, the audience was treated to Tiffany Payne's remarkable vocals out on the PIP Theatre patio. As part of The Vintage Belles trio, she established a nostalgic atmosphere—perfectly suited for the bygone world we were about to step into. And what a world it was. As I took a seat in the PIP Theatre (choose any seat, your sightline will be excellent), I was struck by how this intimate venue continues to reinvent itself. This time, the audience surrounds the stage on three sides. The set (designed by Laurent Milton) itself is a grim tableau—dirt, rags, and antique furnishings set the scene for a life of bleak, rural poverty that screams "Welcome to the middle of nowhere!" As the audience enters, Mae and Lloyd are already engaged in their activities—Mae is busy pressing clothes with an iron literally made of iron, and Lloyd is curled up in the dirt like an afterthought. He is visibly unwell and emanating decay, embodies filth and stagnation. Your first impression paints him as crude, uneducated, and rather primal. From the very first moments, Mud  is confronting. The language is harsh but infrequent, making it all the more jarring when it does strike. The dark comedy of the piece is immediate and unsettling—I caught myself laughing at moments I felt I shouldn’t, yet that discomfort seems entirely intentional. Jasmine Prasser delivers an arresting performance as Mae, a young woman clinging to education as a lifeline. Mae sees beauty in the simplest things—a mirror, a song, a moment of grace before a meal—yet she is painfully aware of her own insignificance. She is restless, curious, and utterly determined to claw her way out of this mud—both literally and figuratively. What makes Prasser's performance so striking is her ability to completely embody Mae in a way that makes her pain feel visceral. She can shift her entire energy depending on who she’s interacting with. Her disdain and resentment for Lloyd is palpable, but in that sibling-like way where you almost  sense a sliver of affection buried beneath the frustration. With Henry, she’s hopeful, softer—until the dynamic shifts and that resentment creeps back in. George Oates delivers a performance that is both deeply unsettling and strangely hilarious as Lloyd. He must navigate a role that demands the actor to strip away all sophistication. He must communicate with a severely limited vocabulary, struggling to form complex thoughts, and his lack of comprehension makes even the simplest exchanges frustrating. Lloyd is a pitiful figure and a source of grotesque humour, often in the same breath. There’s a casual mention of him having contracted something from a pig (a moment that earns a stunned, nervous laugh from the audience), and suddenly, everything about him feels even more revolting. And yet, you can’t look away. Oates' physicality—flinching, cowering, shrinking into himself—paints a boy clinging desperately to the last scraps of control over his world. Watching him writhe in agony, unnoticed by Mae and Henry, was devastating—I found myself physically grimacing, torn between horror and sympathy. And yet, Mud  never lets us settle into one emotion for too long. In the midst of all this filth and degradation, there are heartbreaking glimpses of innocence. When Mae proudly reads aloud from her book, Lloyd is momentarily ecstatic, filled with childlike wonder as she recites a passage about starfish. For a fleeting second, we see his genuine pride in her—only for it to curdle into something resentful almost instantly. It’s a gut-wrenching performance, and Oates plays every beat with a tragic honesty. Mae's interactions with Henry, played with an awkward charm by Alexander O’Connell, reveal her desperate search for something more out of life—especially considering Henry is portrayed as decades older than Mae and Lloyd. To enhance this, O’Connell is styled with makeup and costume to appear significantly older (and slightly disturbing). He also adopts a British accent, setting him apart from the two Aussie characters and giving Henry an air of authority and sophistication. His vocal delivery is particularly striking—a unique choice that you must hear for yourself. Initially, Henry seems like the hero of this strange little tragedy—sweet, articulate, and devoted to Mae. But Mud  doesn’t deal in easy heroes and villains, and O’Connell’s performance ensures we feel every moment of Henry’s decline—especially when the tables turn on him in a way that is cruelly ironic. Directed by Calum Johnston, this one-act production is concise, with no moment wasted. The farmhouse kitchen is the singular setting, grounding us in the claustrophobia of their world. The lighting design by Noah Milne enhances every emotional shift. Scene transitions are hypnotic—punctuated by freeze frames, the ticking of a clock, and the eerie repetition of a distorted melody. The lighting subtly dulls and brightens, mirroring the passage of time and the suffocating cycle Mae is trapped in. The costumes reinforce the class divide—Lloyd in tattered underwear and grime, Mae in tattered dresses and skirts, and Henry in clothes that, while simple, signify a level of dignity the others lack. When Lloyd takes Henry’s dress pants (and money), it’s a powerful shift in their dynamic. The play builds to a devastating climax (which I won't spoil). As Mae’s situation grows increasingly hopeless, Henry—once her escape—becomes just another weight dragging her down. The role reversal between Lloyd and Henry is brilliantly executed, with O’Connell’s transformation into a physically broken, yet still cruelly superior figure, being a darkly ironic twist. The comedy runs through the play like an undercurrent, continually catching the audience off guard time and time again. For example, Lloyd's attempt (and failure) to feed Henry is both hilarious and tragic to watch. Even in its darkest moments, Mud finds a way to make you chuckle—before immediately yanking you back into discomfort. Mud  is not an easy watch, nor should it be. It is ugly, harsh, and unrelenting, much like the life Mae tries to escape. At times, I found myself physically recoiling from the intense despair portrayed by all three actors on stage. A moment when Prasser turned towards my side of the audience, utterly shattered, lost, and trapped, left me stunned. It’s the kind of performance that sticks with you like glitter after a night out at the Beat—impossible to shake off once the house lights come up. It’s clear that this play has done exactly what it set out to do. It leaves you squirming, laughing, and, ultimately, devastated. Like a pig stuck in the mud, Mae is swallowed by her circumstances, and we, the audience, are left helplessly watching. And yet, it is beautiful in its brutality—an unflinching look at cycles of poverty and the tragic futility of self-improvement when the world refuses to let you rise. This production is a triumph, and a harrowing experience I won’t soon forget. Content Warnings:  Strong coarse language, sexual assault. Now playing: 14th – 22nd March 2025 Tickets: Available here   CAST Mae: Jasmine Prasser Henry: Alexander O’Connell Lloyd: George Oates   CREW Produced By: Salad Days Collective Producer & Stage Manager: Georgina Sawyer Director: Calum Johnston Assistant Director: Jackson Paul Stage Hand/Operator: Cutter Harris Lighting Designer: Noah Milne Set Designer: Laurent Milton