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AI May (愛.能) , a captivating new show by Embodi Theatre, delves into themes of grief, love, and artificial intelligence. Written and directed by Amy Chien-Yu Wang, this bilingual production transcends cultural barriers and invites audiences on a heartfelt journey of loss and healing in a world where technology is rapidly evolving, but human emotions — especially grief — remain as complex as ever. Set in the not-so-distant future of Brisbane in 2035, AI May follows Mrs. Jasmine Chen as she navigates the unimaginable grief of losing her 21-year-old daughter, May Chen. The play opens with the tragic event that claims May's life, plunging Mrs. Chen into a world of solitude, uncertainty, and anguish. As she attempts to cope, she is gifted an AI robot that resembles May—'a humanoid grieving companion' designed by May's engineer boyfriend, Jeremy. As the lines between reality and AI begin to blur, we confront the ethical dilemmas posed by this evolving technology in our lives. Can a machine truly replicate human affection? Is it possible to artificially manufacture emotion? Wang's writing beautifully weaves together the personal struggles of the characters with these overarching societal themes. The five characters are richly developed, each embodying the diverse experiences within the Asian migrant community. Clarise Ooi shines in her dual role as May and AI May. As human May, she portrays a conflicted young woman torn between her mother’s traditional values and her own aspirations and desire for independence. In her portrayal as AI May, Clarise Ooi achieves an almost eerie precision in her robotic movements. The emotionless, yet oddly sweet, voice brings to mind Baymax from Big Hero 6 or Janet from The Good Place . Her presence on stage feels both familiar and unsettling—she looks like May, speaks like her, but there’s an uncanny hollowness to her that sharply contrasts with the lively human May depicted in flashbacks and recordings. Even in playful moments, like when AI May attempts to smile or slouch at Mrs. Chen's request, Clarise remains in character without fail. Her ability to seamlessly transition between the dual personas - May's defiant nature and AI May's empty artificiality - is a testament to her versatility and is a marvel to watch. Anna Yen brings an impactful performance as Mrs. Jasmine Chen, a stoic widow grappling with her remorse, her identity, and her purpose in the wake of her daughter's passing. Her sorrow is palpable through every movement—from tearing apart the death certificate to tenderly holding her daughter's possessions, to carrying her weariness in her stride. A particularly poignant moment has Mrs. Chen enveloping herself in May's bedsheet—almost suffocating herself—to symbolise both her overwhelming sorrow and the immense expectations she had imposed on her daughter. Throughout the play, Anna remains on stage, often crumpling to the floor in despair while the rest of the play (and life) continues on around her. Even amidst her grief, Mrs. Chen’s exasperation with modern technology spark moments of humour, including AI brooches that monitor your health 24/7 and frustrating interactions with virtual assistants after asking them a simple question. Justin Ryan adds complexity to the narrative as Jeremy, May's love interest and the robotics engineer who designs AI May. His motivations, at first, seem purely altruistic—wanting to help Mrs. Chen cope by providing her with a version of May she can talk to. However, as the play progresses, it becomes clear that Jeremy, too, is trapped in his own grief. His dependence on technology to "fix" problems reflects Mrs. Chen's desperate attempts to retain authority over her daughter's very existence. Meanwhile, KeZhen Yi infuses the supporting roles of Mrs. Lin and Dr. Tung with delightful energy, offering much-appreciated comic relief. Her performance as Mrs. Lin prompts deeper reflection on the importance of mental health discussions. On the other hand, Dr. Tung's arc underscores the challenges (and opportunities) that arise with technological advancements, obsolescence, and adjustment.   The writing of AI May is terrific in its ability to bounce between humour and heartache, which keeps everyone deeply captivated throughout the show. Even Mrs. Chen delivers dry humour that lands well through her blunt remarks and no-nonsense attitude, particularly in her exchanges with the automated government departments. Through a series of flashbacks, we also witness how Mrs. Chen's overbearing nature affected her relationship with May. Their story beautifully captures the tension that can exist between a mother's well-intentioned guidance and a daughter's yearning for independence. Throughout the production, we see the struggle within Mrs. Chen as she navigates her traditional upbringing while trying to understand the modern Australian world that May inhabits.   Despite some tech issues early on in the performance, the cast handled the situation with such professionalism that it never broke the atmosphere. In fact, it seemed to bring everyone closer together, with the audience rooting for the cast's smooth recovery on opening night. The real-time Mandarin and English surtitles projected on the back wall kept everyone engaged and helped bridge any language gaps. Plus, the lack of an the interval was a smart decision, as it maintained the momentum of the story. The stage design is an eye-catching fusion of futuristic elements and minimalist style. You'll see some interactive projections showcasing videos of memories connected to May, beautifully merging the physical and digital realms. Every scene flows effortlessly with carefully crafted sound and lighting changes, keeping the emotional journey of the play alive. The angled, expansive stage design allows for fluid movement for the actors. The engineer’s pod, where Jeremy creates AI May, serves as both a technological hub and a metaphor for his isolation and disconnection. Plus, the use of augmented reality (AR) glasses and voice-activated systems immerses the audience in a near-future scenario that is both plausible and darkly comedic. In our tech-driven society, AI May invites us to take a step back and appreciate the importance of human and emotional connection. It compels us to think about our own relationships and the ways in which we cope with loss. The play raises a thought-provoking question: if we could recreate the likeness of a loved one in the future, is it ethical or emotionally healthy to do so?   Running at PIP Theatre from October 17 - 27, AI May (愛.能) stands as a powerful testament to the art of storytelling, resonating deeply with anyone who has ever loved and lost. For tickets and further details, visit piptheatre.org/ai-may

Title:   Cinderella Presented By:  Brisbane City Youth Ballet (BCYB) Genre:  Ballet / Youth Dance Production About: Be part of the magic with Brisbane City Youth Ballet’s 2026 Summer Season production of Cinderella ! BCYB invites passionate dancers aged 7 and over from across Australia and New Zealand to audition for this enchanting classical ballet production. Dancers accepted into the Company will rehearse with elite instructors, culminating in a series of professional-level performances at the Conservatorium Theatre, South Bank. Audition Date:  Sunday, 20 July 2025 Audition Location and Address:  BCYB Studios, Millway Street, Kedron Audition Self-Tape Due (if applicable):  Friday, 18 July 2025 Audition Requirements: Open to dancers aged 7+ Dancers may audition in person or submit a video audition. Audition once to be considered for both the Christmas and Summer Seasons, and receive a 15% discount on combined fees if accepted into the Main Company for both productions. Roles will be allocated upon successful casting in Petite, Junior, or Main Company levels. Audition Registration:   Click here to Register Performance Dates: Thursday 22 January – Saturday 24 January 2026 Performance Location:  Conservatorium Theatre, South Bank Rehearsal Dates: Main Company:  12 – 24 January 2026 Junior Company:  15 – 24 January 2026 Petite Company:  18 – 24 January 2026 Rehearsal Times:  Full-time attendance required once accepted. Rehearsals held at BCYB Studios, Millway Street, Kedron Required Age:  Dancers aged 7+ Production Website:   https://bcyb.com.au   Other information: Dancers accepted into both The Nutcracker  and Cinderella  (Main Company only) receive a 15% discount Fees (inc. GST): Main Company: $1880 Junior Company: $1550 Petite Company: $880 A 50% non-refundable deposit is due by 24 August 2025, with the remaining balance due by 26 October 2025 Compulsory Media Fee: $176 per family Uniform & external costs (e.g., shoes, makeup, merchandise, tickets) are additional

Title:   The Nutcracker Presented By:  Brisbane City Youth Ballet (BCYB) Genre:  Ballet / Youth Dance Production Synopsis: Step into a world of festive enchantment with Brisbane City Youth Ballet’s beloved annual production of The Nutcracker ! BCYB invites dancers aged 7 and up from across Australia and New Zealand to audition for this magical Christmas Season event. Audition Date:  Sunday, 20 July 2025 Audition Location and Address:  BCYB Studios, Millway Street, Kedron Audition Self-Tape Due (if applicable):  Friday, 18 July 2025 Audition Requirements: Open to dancers aged 7+ Dancers can audition in person or via video submission. Audition registration required via the link below Available Roles:  Casting will be based on age and experience level, and placement will be made into the Petite, Junior, or Main Company Audition Registration:   Click here to Register Performance Dates:  19 – 21 December 2025 Performance Location:  Brisbane Powerhouse, New Farm Rehearsal Dates: Main Company:  13 – 21 December 2025 Junior Company:  14 – 21 December 2025 Petite Company:  15 – 21 December 2025 Rehearsal Times:  Full-time attendance required. Rehearsals held at BCYB Studios, Kedron Required Age:  Dancers aged 7+ Production Website:   https://www.bcyb.com.au Other information: Fees (inc. GST): Main Company: $1100 Junior Company: $990 Petite Company: $550 A 50% non-refundable deposit is due by 28 July 2025, with the balance due by 25 August 2025 Compulsory Media Fee: $176 per family Additional external costs include shoes, undergarments, makeup, show tickets, programs, and merchandise Dancers auditioning for both The Nutcracker  and Cinderella  (Main Company) will receive a 15% discount on combined company fees if accepted into both seasons

Title:  Into The Woods Presented By:  Ad Astra Theatre Company Genre:  Musical Theatre Synopsis: James Lapine and Stephen Sondheim take everyone's favourite storybook characters and bring them together for a timeless, yet relevant piece and a rare modern classic. The Tony Award-winning book and score are both enchanting and touching.The story follows a Baker and his wife, who wish to have a child; Cinderella, who wishes to attend the King's Festival; and Jack, who wishes his cow would give milk. When the Baker and his wife learn that they cannot have a child because of a Witch's curse, they set off on a journey to break it. Everyone's wish is granted, but the consequences of their actions return to haunt them later with disastrous results. Audition Date:  Sunday 1st June 2025 Audition Time:  By appointment Audition Location and Address:  Galaxy @ Ad Astra – 210 Petrie Terrace, Brisbane Audition Self-Tape Due (if applicable):  Before Sunday 1st June 2025 Audition Requirements: Prepare two suitable musical theatre songs, with at least one by Stephen Sondheim (you may only perform one in the audition). Focus on songs that showcase storytelling. Live accompaniment is preferred. An accompanist will be provided – bring sheet music clearly marked, in the correct key, and neatly prepared. You may also email a PDF of your music in advance or send it via AirDrop on the day. Backing tracks are permitted if live accompaniment is not possible. Ensure your track is an instrumental only version, with no vocals or guide melodies. Bluetooth and 3.5mm jack playback available. If called back, you’ll be asked to prepare excerpts of music and script from the show. Audition Registration:  Email creatives@adastracreativity.com   Include your CV (Word or Google Doc only) and a recent headshot. Please list which roles you are auditioning for. Available Roles: We are seeking an ensemble cast of 12–14 versatile actor/singer/movers who excel in portraying multiple roles. The production values audience connection and dynamic, intimate storytelling. We deeply value inclusivity and diversity and encourage performers of all backgrounds, cultures, ethnicities, gender identities, physicalities, and sexual orientations to audition. Baker’s Wife Cinderella The Witch Narrator / Mysterious Man / Cinderella’s Father Little Red Riding Hood Jack / Porter Jack’s Mother Rapunzel / Florinda Rapunzel’s Prince / Lucinda Stepmother / Voice of Cinderella’s Mother Onstage Femme Swing Onstage Masc Swing Performance Dates:  24th September – 19th October 2025 (with a possible one-week extension) Performance Times: Thursdays 7:30pm Fridays 7:30pm Saturdays 2:00pm & 7:30pm Sundays 2:00pm Performance Location:  Galaxy @ Ad Astra, 210 Petrie Terrace, Brisbane Rehearsal Dates:  13th July – 7th September Rehearsal Times: Sundays: 4:00pm – 9:00pm Mondays, Tuesdays, Wednesdays: 6:00pm – 10:00pm (by call) Tech / Theatre Rehearsals:  Monday 8th – Tuesday 23rd September Required Age:  16+ Creative Team: Director:  Tim Hill Musical Director:  Ben Murray Choreographer:  Tess Hill Production Website:   www.adastracreativity.com Other information: This is a co-operative production. All cast members will receive a share of ticket sales after expenses. This production will be performed in Galaxy , a brand-new 151-seat proscenium-arch theatre located in Ad Astra’s new home opening in 2025.

Title:  Shakespeare in Love Presented By:  Introspect Theatre Company Genre:  Romantic Comedy / Play Synopsis: “Shakespeare in Love” is a romantic comedy adapted for the stage by Lee Hall, based on the Oscar-winning screenplay by Marc Norman and Tom Stoppard. Set in Elizabethan England, the play follows a young and creatively blocked William Shakespeare as he struggles to write his next masterpiece. When he meets Viola de Lesseps, a spirited noblewoman who dreams of acting, their ensuing romance and artistic collaboration breathe life into what will become one of his greatest works: Romeo and Juliet . Viola disguises herself as a man to audition for the play, leading to mistaken identities, theatrical chaos, and the ultimate triumph of love and creativity. Audition Date: Sunday 18 May, 2025 Audition Location and Address: Northpine Christian College – Drama Room, 29 Hughes Rd E, Dakabin QLD 4503 Audition Registration: Register Here Audition Pack: View the Audition Information Pack Available Roles: William Shakespeare  – Witty, imaginative, self-doubting playwright. Viola de Lesseps  – Bold, passionate noblewoman with a love for the stage. Philip Henslowe  – Savvy theatre owner and reluctant financier. Noble/Patron  – Adaptable role representing aristocratic influence. Ensemble & Supporting Roles  – Actors, stagehands, and more, essential to building the Elizabethan world. Performance Dates: Saturday 11 October 2025 Sunday 12 October 2025 Saturday 18 October 2025 Sunday 19 October 2025 Rehearsal Dates: First Rehearsal: Wednesday 4 June 2025 (First read-through & introductions) Regular Rehearsals: Wednesdays and Sundays Additional Tuesdays commence from Tuesday 2 September 2025 Production Website: https://www.introspecttheatreco.com.au Other information: Media Day will be held on Sunday 20 September 2025 for photoshoots and promotional content. Full tech run-through with costume, lighting, and props will be held on Tuesday 23 September 2025.

Legally Blonde The Musical Jr.  – Second Star Youth Theatre Directed and Musical Directed by Lauren McNamara | Choreography by Isabella Maric   Second Star Youth Theatre may be new on the scene, but they’ve already made a bright and bold impression with their second ever production, Legally Blonde The Musical Jr.  A clear favourite for youth theatres this year, this 60-minute version of Legally Blonde  is a vibrant, high-energy show packed with challenging vocals, quick changes, and some deceptively tough choreography — and this young cast rose to the occasion with flair and a whole lot of heart.   Taking on the iconic role of Elle Woods was Ava Keller, who brought natural charm, clear and confident delivery, and solid vocals that carried her through the demanding score. Ava had all the makings of a leading lady and handled the role’s emotional and comedic beats with poise, though a little more visible heartbreak in her solo " Legally Blonde"  would’ve taken it to the next level.   Harry Zappert was so likeable as Warner that it almost made me forget I was supposed to root against him—quite the achievement! His voice sparkled in " Serious" , capturing the character's brutal honesty with a beautiful tone. Meanwhile, Emma Lindsay made a wonderfully preppy Vivienne, and when her moment came to belt it out, she did so with a powerful, showstopping voice that earned her a well-deserved moment in the spotlight.   Ainslie Orcullo Ryan brought hilarious sass and heart to Paulette, with a crowd-favourite rendition of " Ireland"  that had the audience giggling and cheering. Sacha Fleming, as Kyle, delivered a performance full of swagger and comic timing — exactly what the role demands. The " Bend and Snap"  number, featuring the whole salon crew, looked like such a fun scene to be part of and was executed with energy and confidence. Harry Morgan as Emmett continues to prove himself as one of the standout young male performers around. He brought a genuine, grounded presence to the stage, matched with confident vocals and strong acting choices for his solo "Chip on My Shoulder." Ben Waller also surprised as Callahan, with a commanding performance that brought the necessary intensity and slickness to the authoritative role.   Portia Taggart had a huge task ahead of her as fitness queen Brooke, with " Whipped Into Shape" demanding cardio, vocals and skipping rope choreography all at once — and she handled it well. Indi Siepen, Mackenzie Knyvett, and Chloe Coleman as Serena, Margot and Pilar brought bubbly charisma to the Delta Nu trio, while Mia Morrison nailed the courtroom comedy as Chutney. Special mention goes to the dog toy version of Bruiser — a hilarious touch! Choreography by Isabella Maric stood out particularly in " What You Want"  and " So Much Better" , which were slick, energetic, and visually dynamic. The ensemble as a whole maintained stamina impressively across the show’s many fast-paced scenes and songs. The clever use of screen projections helped to establish the many different locations quickly and smoothly, an effective tool for a one-act production like this. Costuming was bright, character-appropriate, and most importantly, looked comfortable for the performers. The cast also tackled their American accents with impressive consistency — no easy feat for young Aussie actors! While the microphones did begin to misbehave during the finale " Find My Way" , and had some balance issues against the backing tracks, the performers remained clear and audible — a testament to their excellent vocal projection and professionalism.   Director and MD Lauren McNamara deserves major kudos for pulling this production together in under a week — an unbelievable effort that paid off in spades. It’s no small challenge to get a youth cast whipped into shape in such a short time, and yet this show still sparkled with personality. The finale wrapped up the story in a joyful burst of energy, sending the audience out on a high. Legally Blonde Jr.  by Second Star Youth Theatre was a confident, high-energy showcase of emerging talent. With a fun, fast-paced script and so many standout performances, it’s clear that Second Star is a group to watch. Their future is looking so much better  with productions like this under their belt!

Jekyll & Hyde – The Musical Presented By:  Swich Up Productions Venue:  Ipswich Civic Centre There’s such a fine line... between genius and madness, light and darkness, love and destruction. And Swich Up Productions walks it masterfully. In a thrilling pivot from their previous comedy triumph The Drowsy Chaperone , Swich Up Productions dares to plunge into the chilling depths of gothic horror with Jekyll & Hyde – The Musical . Presented at the Ipswich Civic Centre, this gripping and visually arresting production pulls you into its twisted Victorian world and refuses to let go until its final, gasping breath. And what a breathless ride it is. Originally scheduled for March 2025, the production faced postponement due to Tropical Cyclone Albert—but it returns to the stage with unshakable strength and stunning theatricality. From the first haunting chord to the final, devastating scene, this is a highly professional production. It's hard to believe it’s only running for one weekend. With a powerhouse cast, a thunderous, tight-knit orchestra, and clever design elements, Jekyll & Hyde  marks a bold new direction for this emerging company—and it absolutely pays off. Based on Robert Louis Stevenson’s classic novella, the musical follows the idealistic Dr. Henry Jekyll as he experiments with a formula designed to separate good and evil within the human soul. But when he unleashes his violent alter ego, Edward Hyde, the consequences ripple outward—endangering not only himself, but also those closest to him, including his devoted fiancée Emma, his loyal friend John, and the vulnerable yet strong-willed Lucy.   The Monster Within At the centre of it all, Matt Leigh delivers a jaw-dropping performance as Dr. Henry Jekyll and his sinister alter ego, Edward Hyde. He has this magnetic control over the audience. As Jekyll, he balances polished power with raw vulnerability, making every word resonate. From the opening ballads, " Lost in the Darkness"  and " I Need to Know" , Matt Leigh's vocal tone is pure silk to the ears—crystal-clear, tender, and laced with emotion as Jekyll begins his descent into obsession. But it’s in the showstopping numbers that Matt completely blows the roof off the Civic Centre. By the time we hit " This is the Moment" , Matt has the audience in the palm of his hand. That moment—already one of the greatest musical theatre anthems in my opinion—was everything I hoped for and more. With the orchestra soaring behind him and those incredible key changes, it was a pure rush of energy. I thought I might levitate right out of my seat. And then… comes Hyde. With just the tilt of his head and the curl of a cruel smirk, Matt morphs into Hyde with bone-chilling intensity. In " Transformation" , his physicality shifts completely—more animal than man—and his voice plunges to a guttural growl. It’s so distinct, so sudden, it’s hard to believe it’s the same actor. In " Alive ", as he explores the underground and dangerous world of London, there’s this moment—head bowed, eyes glowing white in the stage light—where he looks out at the audience (a rarity for Hyde) and sends a wave of unease rippling through the room. It’s spine-tingling. His Hyde is magnetic and monstrous, filled with manic glee and unpredictable menace. This is masterful work, elevating the entire production and anchoring the gothic chaos with terrifying brilliance. In the Act One finale, I honestly thought Matt was about to set Anthony O'Donnell ablaze. The violence is immediate and intense. And the way he wields Hyde's cane—it’s not just an accessory, it’s an extension of his madness. While I know it’s controlled for the safety of the actors, it still feels dangerously real. In " Confrontation" , Matt switches between Jekyll and Hyde with blistering speed and unnerving clarity. And the lighting crew were fighting for their lives out there! Meanwhile, the ensemble’s eerie choral harmonies and hissing sound effects lingered underneath. Matt stands alone in a one-man battleground, physically and vocally pushing himself to the limit. It’s epic, unsettling, and utterly gripping from start to finish. The Women of Jekyll & Hyde Playing opposite Matt Leigh’s towering performance are Nykita O'Keeffe as Lucy and Samantha Sherrin as Emma, and both deliver standout performances in their own right. Nykita O'Keeffe’s portrayal of Lucy emerges as an unforgettable force on stage. She steps out in that figure-cutting corset and belts " Bring on the Men"  like it’s nobody’s business, oozing fierce confidence and sass with a wink and a hip-pop. From the get-go, she owns the stage with this sultry, fiery presence—but it’s what she does beyond that bold entrance that makes her performance so remarkable, creating a Lucy that is multifaceted and heartbreakingly human. "Someone Like You"  (no, not the Adele song—although she'd give her a run for her money) is a masterclass in storytelling through song. Every lyric lands like a confession. Her voice is soaked in longing, and then she lets rip with this jaw-dropping belt that could probably be heard from outer space. In " A New Life ", O'Keeffe plunges us into profound emotional depths that are nearly unbearable to witness due to their futile optimism. In "Dangerous Game," Lucy's seductive, yet ultimately tragic, allure is depicted in a perilous dance with the devil. Nykita just keeps getting better and better. I dare say—her voice is flawless, her delivery impeccable, and her emotional depth unmatched. She doesn’t merely sing her songs; she inhabits them. And we feel every moment of it. Samantha Sherrin is equally glorious in the role of Emma Carew, Jekyll’s devoted and sophisticated fiancée. Radiant, poised, and quietly powerful. But don’t be fooled by the gentle soprano—this Emma has strength, and Sherrin does not let her fall into the trap of being a passive love interest. Her duet with Matt Leigh, " Take Me As I Am" , is a blend of soaring vocals and emotional truth. Their chemistry is beautiful, and their silhouetted shadows against the backdrop during this number? Unintentional and stunning. Sherrin’s voice is crystal clear and effortlessly floats above all else, but she’s also got a belt that sneaks up on you when the music calls for it. A particular highlight is her duet with Nykita O’Keeffe, " In His Eyes".  With the two women unaware of each other, positioned on opposite sides of the stage, they sing with such vulnerability and longing that the whole audience seems to lean in. Their voices weave together in this angelic harmony that’s just breathtaking. (Though I will say—and this isn’t on them—a full set change happening dead centre during the climax of the song kind of pulled me out of the moment... more on that later.) What I loved most about Sherrin’s Emma is that she never fades into the background. Even in the quieter moments, her presence is felt. She embodies the emotional heart of Jekyll’s world and brings such care and dignity to the role that by the time we reach her final scenes, you’re fully invested in her fate.   Standout Supporting Performances The supporting cast in this production is stacked with talent, each performer bringing great texture and nuance to their roles. And a special shout-out here: the accents throughout the show are wonderfully strong (a pet peeve of mine when they’re not consistent). I love that they aren’t just generically British but are divided by class too. Jekyll is extremely proper, while Lucy leans into a grittier Cockney. Cameron Rollo is magnetic as both the uptight Simon Stride and the sleazy, predatory Spider. His transformation between the two is wild; my guest didn’t even realise it was one actor. As Spider, he oozes this captivating menace, lurking around as the pimp of the The Red Rat . His vocal delivery drips with unsettling charm, and once you clock the Scar-from-The Lion King  voice… you cannot un-hear it. And honestly? It works perfectly. Leo Mylanos brings a grounded sincerity to John Utterson, Jekyll’s loyal friend and confidant. His presence is steady amidst the chaos, and he plays the role with restraint and quiet strength, offering a much-needed moral anchor for the audience. That said, there’s room to deepen the emotional arc—particularly in the later scenes. In moments like the lab confrontation, it’s crucial for us to sense Utterson's rising fear, worry, and desperation for his friend. Let us glimpse the cracks in that calm exterior. When the final tragedy unfolds, it is Utterson who must embody the consequences of Jeykll's actions and the weight of the devastation. Adrian Carr, doing double duty as Sir Danvers and set designer (and President of SUP, of course), offers a dignified Victorian presence. Simone Behrendorff as Lady Beaconsfield adds flair to every scene she appears in. The Red Rat ladies are another standout, particularly in " Dangerous Game" . Their stylised, involuntary movements create a deeply unsettling atmosphere—like they’re under some dark puppetry spell. The ensemble as a whole is a force. Vocally strong, choreographically sharp, and fully committed, they elevate every number they’re in. Aidan Cobb deserves a special shout-out for those soaringly clean tenor lines in the opening "Facade "—seriously impressive! Jennifer B. Ashley’s choreography makes excellent use of the ensemble and those lush Victorian costumes, especially in " Facade"  and " Murder, Murder" , which are both visually striking.   Atmosphere and Design This production doesn’t just set a scene—it drenches you in it. From the moment the lights plunge us into red, we’re transported straight into the grime of Victorian London, and it’s a feast for the senses. Adrian Carr’s set design is moody with dreary grey buildings, wrought-iron details, and chimney smoke that give the whole show a foggy, shadow-drenched aesthetic. Jason Bovaird’s lighting is a total knockout—cinematic and bold. Green floods signal Hyde’s monstrous arrival, stark spotlights isolate characters in their most vulnerable moments, and deep reds wash over scenes of chaos and violence. Jack Alfred Kelly’s use of projections in black and white keeps the focus sharp and helps to cleanly transition scenes without being overbearing. The visuals never overtake the story—they simply enhance it, slipping in and out like Hyde hiding in the fog. Costume design by Glenn Baylis is divine. From the lavish conservative ballgowns and finery to the sultry Red Rat attire, every piece feels period-accurate but stage-savvy. The textures and colours pop under the lighting, and accessories—like Spider’s fur coat and specs, or Jekyll’s transformation top hat and coat—add so much to the storytelling.   Sound and Music Under Julie Whiting’s baton, this orchestra is electrifying. From the first ominous notes to the heart-pounding ending, the musicians conjure a soundscape that’s cinematic and utterly immersive. It’s Les Mis  meets Phantom  with a splash of Sweeney Todd —and it works so well. Julie's musical direction ensures that the score doesn’t just accompany—it drives the show, building tension and release in all the right places. This is a production where the music is a character in its own right: expressive, relentless, and unforgettable. Vocally, this show is a monster (almost entirely sung-through), and Swich Up Productions rises to the challenge. The choral work is spine-tingling, with moments in “Alive,” “His Work and Nothing More,” and “Confrontation” that are so insanely rich. The ensemble is never just “there”—they’re narrators, shadows, and reflections of the themes unfolding in front of us.   Choreography and Direction Under the direction of Timothy Wynn, Jekyll & Hyde  finds its heart—not just in the spectacle, but in the stillness, the silences, and the simmering tension. Wynn clearly understands the gothic melodrama at the show’s core, but rather than leaning into caricature, he steers the production with emotional pacing that is deliberate and considered, allowing moments of reflection to breathe between the chaos and horror. There’s an excellent balance of scale and subtlety here—a sense that every choice, from blocking to lighting to a simple touch between characters, serves the story’s psychological depth. There’s constant interplay between order and disorder—between the pristine world of science and society and the decaying corners where Hyde lurks. The recurring use of the scrim, silhouettes, shadows, and cross-stage divides (especially in “In His Eyes” and “His Work and Nothing More” ) adds layers of visual poetry as multiple threads play out in tandem. Jennifer B. Ashley’s choreography elevates every group number. Sharp, stylised, and dripping with dramatic intent, her movement choices make full use of the cast and space. From the elegant partnering in the ballroom scene to the twisted, puppet-like movements of the Red Rat girls, each sequence is packed with storytelling. “Façade” sets the tone early with dynamic formations and crisp execution. “Murder, Murder” is practically a mini-musical of its own—intense, swift, and completely riveting. And I was so taken aback by the end pose of "Alive"  that I genuinely gasped and clutched my pearls like a true drama queen. Her choreographic choices won't please everyone, but to me they feel Victorian yet modern and polished yet primal. I found the direction and choreography worked in tandem well to serve the dualities at the heart of this story—order vs. chaos, light vs. dark.   Small Suggestions If I had one note—okay, two—it would be these: Scene Transitions – The cast and crew are impressively efficient with transitions, keeping the show moving well. However, some scene transitions interrupt key song moments, jumping the gun during climactic vocal phrases. Set pieces roll onstage, ensemble members position early, or the scrim comes down, pulling focus during songs like “In His Eyes” or “Someone Like You.” This momentarily breaks the spell. Trust the power of stillness—those final notes ring out. Shifting transitions to occur during our applause instead of mid-song would preserve these epic moments beautifully. Sound Balance – The orchestra is phenomenal, and the vocalists are powerhouse talents—and that’s exactly why the mix matters. At times, the volume from the pit overpowers the vocals or vice versa. Microphones sit just a tad too hot or aren't turned on, and some of the softer emotional beats are swallowed in the darkness (like the end of Façade ). These are small tweaks in an otherwise gorgeously crafted show—the kind of refinements that could lift this already thrilling production to even greater heights.   Final Thoughts Swich Up Productions has made a bold leap from the glitzy, meta-musical comedic success of The Drowsy Chaperone  into the bloodstained, gothic world of Jekyll & Hyde —and what a leap it is. It is a must-see for a dark and thrilling night at the theatre. And let’s not forget the real horror story here—not the split personalities or mad science experiments, but the stark truth that sometimes the scariest monster isn’t a creature of the night, but man himself. If you can get a ticket, grab it fast. The theatre was packed on the night I attended, and for good reason. Congratulations to the entire cast, crew, orchestra, and team for pulling off a professional, polished, and memorable production—made all the more meaningful for its triumphant comeback after the storm. Tickets available here

Charlotte’s Web Presented by PIP Theatre | Adapted by Joseph Robinette | Based on the book by E.B. White   Wilbur the pig is in danger of becoming someone’s dinner—until a clever and kind-hearted spider named Charlotte hatches a brilliant plan to save him. With the help of their barnyard friends and a few miraculous words spun into a web, the two forge an unlikely friendship that changes their world forever. From the moment audiences arrived, children were welcomed with pre-show activities like crafting and colouring—setting the tone for an imaginative and joyful experience. Inside, the set transported us straight to the farm, with a charming white picket fence, lush green grass, and of course, Charlotte’s iconic web. A clever rotating set transformed the barn into a vibrant carnival scene later on, with particularly beautiful artwork that brought the fair to life. The adult cast, specially chosen by PIP Theatre as their children's ensemble for the year, truly embodied the energy, playfulness, and heart required for a show like this. You could feel the dedication and joy radiating from every performer. Tayla Rankine was utterly adorable as Wilbur, the sweet, naïve piglet, bringing excellent physicality and expressive charm to the role. Ella Shegog’s Charlotte exuded grace and warmth, with her delicate black dress and spidery appendages making her both elegant and intriguing—a wise and whimsical guide on Wilbur’s journey. The remaining ensemble cast juggled multiple characters with high energy and quick changes, never missing a beat. Max Kingsbury brought big laughs as Templeton, the grumpy, food-obsessed rat—his larger-than-life performance added the perfect dash of chaos. Jack Barrett was particularly hilarious as the honking Gander, with exaggerated voice and physical comedy that had the kids (and adults...) cracking up. Ben Cole was delightfully posh as the Goose and Lucy Holt gave us plenty of sass and sparkle as the fabulous Sheep. Liam Hartley served as both our storybook-style narrator and the boisterous, bogan-esque Uncle Pig at the fair—earning plenty of chuckles. Hannah Herwin brought sincerity and sweetness as Fern, the animal-loving girl at the heart of the tale. The warm lighting and clever sound design helped create a fully immersive barnyard world, with thoughtful touches throughout—from the playful country accents to the magical reveal of Charlotte’s glittering web messages. “Some Pig,” “Terrific,” “Radiant,” and finally “Humble”—each word not only described Wilbur but perfectly captured Charlotte’s own spirit. While Charlotte’s Web  is famous for its bittersweet ending, Director Ava Moschetti handled it with sensitivity and care. The themes of loss, mortality, and compassion were presented in a way that respected young viewers’ emotional intelligence without ever becoming too heavy. At just 60 minutes, the show was the perfect length to keep children completely engaged, and the room was filled with laughter, wide eyes, and plenty of heartfelt reactions throughout. It’s one of those rare children’s shows that entertains while quietly planting seeds for deeper reflection. This was a clever and heartfelt production that honoured the original story while breathing fresh life into it for a new generation. I was very grateful to be invited—it reminded me just how special theatre can be when seen through the eyes of a child. A huge congratulations to PIP Theatre for choosing such a timeless story to launch their children's season. It was some  show indeed!

Dare to Dream Jr. – A Disney Musical Revue Presented by On the Boards Theatre Company Venue: The Old Museum, Brisbane   I’m writing this while sipping coffee from my Little Mermaid mug—the one that says “Follow Your Heart”—which feels very appropriate after seeing Dare to Dream Jr. , On the Boards Theatre Company’s Disney-filled celebration of dreams, courage, and childhood wonder.   Stepping into this revue felt like stepping right into Disneyland: colour, sparkle, music, and magic bursting from every corner of the stage. A perfect pick for the April school holidays, Dare to Dream Jr. was an uplifting celebration of imagination and determination, with a heartfelt message about chasing your dreams. For Disney lovers of all ages, this revue offered a vibrant showcase of favourite songs and a few surprises too. While the show leaned heavily into Disney-style clichés (truly enough to make a game out of spotting them all), that was part of the charm. Every earnest quote and heartfelt lyric were delivered with genuine conviction by the young cast, making even the cheesiest moments feel authentic and sweet.   Directed by Lyn Pelgrave, this 60-minute musical revue follows a group of enthusiastic Imagineering trainees on their first day at the Walt Disney Imagineering Studio. As they navigate self-discovery and creative collaboration, they explore the idea of dreams—how they inspire us, unite us, and keep us going even when things get tough.   The stage, populated by a huge and wonderfully diverse youth ensemble from Dance and Theatre Factory in Wynnum, was buzzing from the get-go. Colourful overalls, ribbons, and Minnie Mouse-inspired polka dots adorned the cast. The set was made up of bright, modular blocks that moved around the expansive Old Museum stage with ease, creating versatile and playful environments for the story to unfold.   Musical Director Robert Clark, Vocal Director Laine Loxlea-Danann, and Choreographers Ella Astle, Mel Nobes, and Poppy Nobes crafted a show that was tightly rehearsed and joyfully executed. The sound was beautifully balanced—clear mics, rich backing tracks, and vocals that carried perfectly throughout the space. Major kudos to the tech team for that flawless delivery.   Some musical highlights included cleverly arranged mashups such as “When You Wish Upon a Star”/ “A Dream Is a Wish Your Heart Makes” and “How Far I’ll Go”/ “Part of Your World.” These combinations not only gave the performers more depth to explore musically but also highlighted the thematic thread of self-discovery that ran through the entire revue. “Just Around the Riverbend" / "Out There” was breathtaking. Kaitlin Everitt and Aidan Boak absolutely nailed their solos, and the vocal harmonies gave me chills.   Felicity Rapson and Ben Rimes kicked things off with star quality, leading “A Dream Is a Wish” (the Disney Channel Circle of Stars version - Ahhh I love me some millennial nostalgia!) and “Be Our Guest.” It felt like watching a performance straight from a Disneyland stage show. Their confidence and charisma were magnetic, and their presence lit up every ensemble number they were part of.   Young soloists Azumi Masuda Kevans ( “How Far I’ll Go” ) and Willow Christer ( “Part of Your World” ) handled these challenging songs with grace and control. Watching the cast create an ocean with flowing fabric around them added a stunning visual touch, and the transition straight into “I Just Can’t Wait to Be King,” led by Yunmi Tan, was magical. It was like the sea itself had released a wave of tiny dancers onto the stage.   Other standout moments included: “Surface Pressure” led by the confident Matilda Bradshaw, paired with hip-hop choreography to highlight the emotional weight of feeling overwhelmed by expectations. A stripped-back, five-part harmony version of “Let It Go” led by Hayley Pope and her vocal group—this arrangement was absolutely killer . The harmonies were tight and beautifully blended, and the ribbon dancers swirling around them made the number feel like a snowstorm of talent. “Friend Like Me” was a huge showstopper featuring tap dancers, tumblers, and a wonderfully energetic lead performance by Eva Rose McMurray. She also shone in a sweet, sincere duet of “You’ve Got a Friend” with Kai Boak, bringing quieter emotional warmth to the show. “Try Everything” (from Zootopia ) was a prop lover’s paradise—hats and outfits galore! Reuben Newlands and Matilda Bradshaw brought the house down. Matilda’s follow-up solo “Go the Distance” was a vocal triumph. Alone in a spotlight, she delivered a performance that was mature, polished, and deeply moving. Group numbers like “Dig a Little Deeper” (led by Alina Gilmour) and “Hakuna Matata/Bare Necessities” delivered big energy and tight choreography. Felicity and Ben led the latter with their trademark positivity—I could absolutely see these two working at Disney parks one day. The tiniest cast members got their moment in “When I Am Older,” led again by Yunmi Tan and featuring the cutest tap dancers. One surprise hit was the nonsense medley — “Heigh Ho,” “Higitus Figitus,” “Trashin' the Camp,” “Bibbidi Bobbidi Boo,” and of course, the crown jewel: “Supercalifragilisticexpialidocious.” The final domino-line fall? Perfection! Rockettes, eat your heart out. And just when you thought your heart couldn’t take any more, “Remember Me” followed—complete with a Spanish verse and emotional harmonies from performers Molly Hitson, Maya Napthali, Violet Staff, Julieta Munoz, and Liam Francis. It was the kind of moment that made the entire audience pause, breathe, and feel.   Hats off to Lyn Pelgrave and the entire creative team for pulling together a production that felt polished yet playful, structured yet spontaneous. It’s no small feat to manage such a large group of young performers and deliver something that feels so cohesive and professional while keeping all the fun and joy alive. You could feel their excitement radiating from the stage—it was completely contagious. Many young audience members were singing along, and I had to bite my tongue not to join in too! What made this show even more special was how clearly visible every single cast member was—from the confident leads to the tiniest tap dancer—no one faded into the background—you could see every beaming face from any seat in the house.   Dare to Dream Jr. was everything you want from a Disney revue: uplifting, nostalgic, and heartwarming. It celebrated young talent, shared the spotlight generously, let audiences of all ages escape into a world of wonder, and reminded everyone watching that dreams, however cheesy they may seem, are always worth believing in. For this Disney-loving millennial, this show felt like stepping into my childhood. I might not have been on that stage, but a huge part of me wished I was. Bravo, On the Boards Theatre Company and the Dance and Theatre Factory. You made us believe in dreams all over again.

The Pajama Game Presented by: 24 Hour Musical Project Venue: Hillbrook Theatre, Enoggera What do you get when you combine over 120 creatives, 24 hours, a musical most people have never heard of, and a whole lot of chaos, caffeine, and community spirit? The answer is 24 Hour Musical Project – and what a glorious, hilarious, and heartwarming mess it was! After a pandemic pause, this much-loved annual event made its triumphant return under the direction of Miranda Selwood and the new 24HMP Foundation Ltd., with Timothy Wynn at the helm as director. Hayley Gervais supported as assistant director, while musical direction was fearlessly led by Sally Faint with Jacob Cavanough and Hayley Marsh assisting. The lively choreography was courtesy of Hannah Crowther, assisted by Grace Clarke. Let me explain, because I’ve had some non-theatre friends think I was watching musicals back-to-back for 24 hours (can you imagine ?). The actual challenge is to fully produce and perform a full-scale musical in just 24 hours — from the show announcement to curtain call — but the purpose runs deeper. This project aims to unite as many performers, creatives, musicians, and volunteers as possible from all over South-East Queensland, all collaborating on a single, incredible goal. I spotted many familiar faces from performances I've reviewed, past productions I’ve been in, and even from the last 24 Hour Musical I saw before COVID ( Starlight Express , anyone?!). The twist? No one knows what show they’re doing when they sign up. The audition process is blind — performers don't know what they’re auditioning for, and the creative team casts the show without revealing roles. A shortlist of potential musicals is teased (thankfully Cats got yeeted early), and the cast only find out the show and their role at 6pm Saturday. The final shortlist had come down to Oklahoma! and The Pajama Game , and I, for one, was relieved when the lesser-known show won out. Without audience nostalgia clouding things, the performers could let the show’s quirky merits shine. Rehearsals run through the night, with some snatched naps, a whole lot of snacks and coffee, and 24 hours later… at 6pm Sunday, it’s showtime! There’s only one performance (because, hello, they need to sleep ), and it always sells out — so get in early next time! Based on the novel 7½ Cents by Richard Bissell, this musical is a toe-tapping romp through a pajama factory, exploring the tensions between management and labour, all while a romance blossoms between the fiery union leader (Babe) and the dashing new superintendent (Sid). Think Guys and Dolls energy meets union strikes and gender politics. This musical is from the 1950s, which means... it's long. Act 1 alone clocked in at over 90 minutes! The cast and orchestra had to learn a huge amount of material — vocally, musically, and choreographically — and I applaud them. I’d be far too delirious, grumpy, or hyper (possibly all three) to retain new songs at 4am, yet somehow, they did it. Let’s take a moment to acknowledge the sheer size of this beast too: a cast of 30 and an orchestra of 20 — all volunteers, all saying “yes” to a mystery show and willingly sacrificing sleep, sanity, and personal space for a day of madness. Why? Because they’re legends, obviously. Featuring some of South-East Queensland’s brightest musical theatre talents, every role was well-cast and each performer clearly handpicked for their comedic strengths and vocal chops. Yes, I knew most of the cast. And yes, I'm biased. But also? They were phenomenal no lie. Jacob Ballard was a perfectly cast Sid, his smooth Bublé vocals and confident stage presence anchoring the show. His three solos in Act 1 alone were a feast for the ears, and his chemistry with Kat Suschinsky's Babe made their duet “There Once Was a Man (I Love You More)” an absolute highlight. Kat brought sass, strength, and beauty to the role of Babe, and her rendition of “Hey There” in Act 2 was sincerely moving. Ruby Thompson as Gladys was the standout for me. She was a triple-threat tornado of charisma, comedy, and dance chops — particularly in the iconic “Steam Heat”, which managed to be slick, sharp, and cheeky at once. Not only that but she has a gorgeous voice, as showcased in "Hernando's Hideaway" and many other numbers. Aaron Anderson was a comedic firecracker as Prez — his sleazy charm delivered in spades, and excellent vocals as he led “Her Is” and the unforgettable “7½ Cents”. Samantha Sherrin brought effortless hilarity as Mabel, shining in her duet “I’ll Never Be Jealous Again” with the always-fabulous Tristan Vanyai as the high-strung, knife-throwing Hines, who led the elaborate number "Think of the Time I Save." The supporting cast were a joy: Stacie Hobbs as Mae felt so at home in the role I had to wonder if she’d done this show before; Michael Enright made an adorably memorable Poopsie (yes, that is the character's name...); Russell Morgan had gravitas and great comedic timing as the blustering Hasler; and Luke O’Hagan brought delightful eccentricity as Babe’s stamp-collecting dad. A special shoutout to Lachlan Dodd, the stealthiest cast member of all, who voiced Sid’s inner monologue during “Hey There”. This male duet sung beautifully by Lachlan and Jacob's angelic voices, with Lachie hiding behind a set piece for many many scenes... The ensemble work was smartly divided — a strategic decision, no doubt, to help ease the cognitive load. They nailed (to an extent) the challenging layered vocals in numbers like “Racing With the Clock”, and pulled off some surprisingly polished choreography in ensemble pieces like “Once-a-Year Day” and “I’m Not at All in Love”. And let’s talk about that choreography. With less than a day to learn, clean, and execute multiple full-company numbers, the dancing was genuinely impressive. By the final curtain, with the cast donning vibrant pajamas, it felt almost poetic that a show set in the ‘Sleep Tite’ factory ended with everyone mercifully getting ready to sleep tight themselves—many of whom looked just seconds away from collapsing into an actual nap (Zach). Part of the joy of a 24 Hour Musical is expecting the slip-ups, and the cast did not disappoint—in the best way. Spotlights wandered, entrances were missed (Aaron) or mistimed (Russell), and props had a mind of their own, but it was all handled with the kind of good-natured improv and professionalism that proves these performers are top-tier. Whether it was a not-so-subtle glance at the teleprompter (a true unsung hero) or a quick cover for a rogue prop, it only added to the charm. Special shoutout to MD Sally Faint literally mouthing all the song lyrics from the orchestra like a musical guardian angel. The production team also deserves massive applause. The set had the orchestra elevated behind a giant “Sleep Tite” window, flanked by sewing tables and fabric racks. Props were entirely cardboard (genius), and the hand-drawn backdrops did the job. Lighting by Jason Gardner and sound by Ben Murray were smooth and effective, even with the frantic pace. Costumes by Michelle Peloe, Carly Quinn, and Alexander Ellem were colourful and delightfully vintage — especially the finale’s pink and yellow PJs, a sweet nod to 24HMP’s brand colours. They also had those classic bouncy 50s hair curls, and I am genuinely baffled by how they found time to pull that off. Respect. Despite the inevitable exhaustion, the energy was electric. What they lacked in rehearsal time they made up for in sheer guts, caffeine, and group chemistry. The cast may have been running on adrenaline and sugar (Kat’s bright blue tongue in the finale was all the proof we needed), but they poured every ounce of love, talent, and humour into the show. And the audience felt like part of the ensemble—my cheeks genuinely hurt from laughing so much. It was one of the most supportive, joy-filled theatres I’ve sat in all year. Beyond the fun and frenzied energy, the heart of this project lies in community. In a time where many companies struggle with resources, burnout, or disconnection, this project actively fosters cross-company collaboration and trust. It’s not just theatre—it’s therapy, teamwork, and a celebration of what’s possible when creative people come together for something bigger than themselves. What truly blows my mind is the iron-clad structure behind the chaos—this isn’t just a group of people pulling something off on vibes alone. There’s clearly an enormous amount of pre-planning from the creative team, tech crew, volunteers, and everyone in between. Their meticulous prep work allows the performers to shine despite the lack of time. Honestly, I wish every community show was run like this. From the slick rehearsal scheduling, to the online raffle with genuinely awesome prizes, to the professional-quality program, there was a sense of care and forethought that felt beyond compare. If you’ve ever wondered what you’re capable of, or wanted to meet the people who make up Brisbane’s incredible theatre scene, I genuinely recommend throwing your hat in the ring next time. Whether to perform, play, volunteer, or just cheer from the audience—you will leave with a full heart. I ran a little Instagram poll and over 60 of my followers said they’d love to try the 24HMP challenge one day! Meanwhile, I’ll be cheering from the comfort of the audience, coffee in hand, watching the sleep-deprived chaos unfold with glee—laughing and cheering louder than ever. 24HMP… can I request Spamalot  for next time? Visit this page to support the foundation

Title:  Blackrock Presented By:  Thrive Productions Genre:  Drama / Contemporary Australian Theatre Synopsis: It’s Toby Ackland’s birthday party down near the surf club—and that should mean heaps of grog, drugs and good clean fun. But by the morning a young girl, Tracy, is dead—raped and bashed with a rock. Who is responsible? Blackrock  is an intimate and strongly shaped human drama which examines the social forces behind the impulse to violence in individual lives. This powerful and confronting play tackles themes of toxic masculinity, peer pressure, consent, and accountability, with a focus on the ripple effects of violence within a community. Written By: Nick Enright Director:  Susan O'Toole Cridland Audition Date:  Wednesday 21st May 2025 Audition Time:  6:00pm Audition Location and Address:  Chermside Library, Brisbane Audition Self-Tape Due (if applicable):  Prior to 21st May – email to thriveproductions24@gmail.com Audition Requirements: Prepare a 1–2 minute monologue that you feel best showcases the character(s) you're auditioning for. Be prepared for cold reads from the script on the day. Audition Registration:   Audition Form – Google Forms Please note: several roles have already been cast Available Roles: Cherie Milenko, 15 - Best friend of Tracy (the victim), she has a growing rage towards the community, towards the culture and towards her mum, Gladys. Rachel Ackland, 16 - Girlfriend of Jared (the confidant). She always seems to face the root of the problem, all the while re-evaluating her relationships with everyone, including her family. Toby Ackland, 18 - Facing the truth, and taking accountability for the events that happened at his own birthday, he will face the consequences. Tiffany, 21 - Girlfriend of Ricko (the culprit), is constantly the punching bag for his destructive behaviour, even though she is tough, there’s only so much someone can endure. Brett Ricketson (Ricko), 22 - Ricko is Jared’s best mate, almost a father figure to him, a Blackrock hero. He confides in Jared, but the truth of his actions is coming to light and his culpability for it is catching up, fast. Performance Dates: Thursday 26th September – 7:30pm Friday 27th September – 2:00pm & 7:30pm Thursday 3rd October – 7:30pm Friday 4th October – 2:00pm & 7:30pm Plus a High School Tour:  Monday 15th – Friday 19th September 2025 (All cast must be fully available for tour week.) Performance Location:  BackDock Arts, Fortitude Valley Rehearsal Dates:  From late May Rehearsal Times: Wednesdays: 7:00pm – 10:00pm Saturdays: 10:00am – 4:00pm Warnings:  Contains strong adult themes, violence, sexual assault references, drug and alcohol use, and coarse language. Required Age:  Assume auditionees must be at least 18 years old (Confirm with Director) Other information: This is a profit-share production.

Title:  The Wizard of Oz Presented By:  Redcliffe Musical Theatre Genre:  Musical Theatre Synopsis: In this beloved classic based on L. Frank Baum’s stories and the iconic MGM film, young Dorothy Gale is swept away by a tornado from her Kansas farm to the magical land of Oz. Joined by her loyal dog Toto and a trio of unforgettable companions — the Scarecrow, Tinman and Cowardly Lion — Dorothy sets off to meet the mysterious Wizard, hoping he can help her return home. Along the way, they must evade the Wicked Witch of the West and discover that the answers they seek may lie within themselves all along. Audition Dates: Saturday 17th May Sunday 18th May Wednesday 21st May (strictly for Lead Roles and Adult Ensemble) Audition Time:  Specific time confirmed upon registration Audition Location and Address:  THEATRE 102, 102 Anzac Avenue, Redcliffe Audition Requirements: All auditionees must register online via the Audition Registration Form Prepare the relevant audition song and dialogue as outlined in the Audition Pack Please wear comfortable clothing and dance shoes (if available). Munchkins (Ages 6–12) Learn and perform: Song : Ding Dong the Witch is Dead  (Bars 112–143) Dance : Set piece taught on the day. Dialogue : Selected script excerpt provided at the workshop. Can attend a Pre-Audition Workshop on Saturday 10 May at Theatre 102. This is highly recommended for younger performers to gain confidence and become familiar with the material. RMT are looking for a minimum of 40 munchkins - creating two casts of at least 20 in each. Junior Ensemble (Under 16 years) Learn and perform: Song : Merry Old Land of Oz  (Bars 37–68) Dance : Set piece taught on the day. Dialogue : Short monologue or scene provided on registration. Strong stage presence and movement ability desired. Adult Ensemble & Lead Roles (Ages 16+) Auditionees will participate in group dance auditions and perform vocal and dialogue pieces individually. Strong triple-threat performers are encouraged to audition for lead and featured ensemble roles. Please prepare: Song : Required vocal audition piece specific to the character you're auditioning for (see “Available Roles” below). Dialogue : A short dialogue scene (provided upon registration) or cold reading from the script. Dance : You may be asked to participate in a movement audition even if your role is not dance-heavy. Scheduling: Performance Dates: Friday 29 August at 7:30pm Saturday 30 August at 2:00pm & 7:30pm Sunday 31 August at 2:00pm Friday 5 September at 7:30pm Saturday 6 September at 2:00pm & 7:30pm Sunday 7 September at 2:00pm Performance Location:  Redcliffe Entertainment Centre Rehearsal Dates:  Commencing Sunday 1st June at Theatre 102 Redcliffe Rehearsal Times: Tuesdays and Wednesdays: Lead roles Sundays: Leads, Ensemble and Munchkins From July 14 onwards: Mid-week rehearsals added for full cast Required Ages: Munchkins: Under 13 Junior Ensemble: Under 16 Lead Roles & Adult Ensemble: 16+ (Dorothy may be considered from 13+) Creative Team: Producer/Director: Madeleine Johns Musical Director: Rhonda Davidson-Irwin Production Website:   www.redcliffemusicaltheatre.com Other information: A free pre-audition workshop for Munchkins will be held Saturday 10th May at Theatre 102 Callbacks (if required) will be held Wednesday 28th May from 6:00pm and advised by Sunday 25th May RMT welcomes performers of all levels and backgrounds Rehearsals are frequent and attendance at all tech/dress/performance calls is mandatory All cast must be available for every performance Available Roles: Dorothy Gale   Female – Stage Age 16 Vocal Range:  G3–C5 (E5 optional) Our sweet yet spirited heroine. Innocent, strong-willed, kind-hearted, and full of wonder. Must carry the emotional core of the show. Audition Song:  Somewhere Over the Rainbow Hunk / The Scarecrow Male – Stage Age 16–40 Vocal Range:  Bb2–F#4 (Ab4 optional) Clumsy and endearing, with a desire to have a brain. Needs flexibility and strong physicality. Audition Song:  If I Only Had a Brain  (Bars 20–50) Hickory / The Tinman Male – Stage Age 16–40 Vocal Range:  Bb2–G4 Warm, gentle and romantic under his shiny exterior. Tap skills highly regarded. Audition Song:  If I Only Had a Heart  (Bars 12–43) Zeke / The Cowardly Lion   Male – Stage Age 16–40 Vocal Range:  Bb2–F4 Big, loveable and hilarious. A scene-stealer. Strong comic timing essential. Audition Song:  If I Only Had the Nerve  (Bars 10–41) Aunt Em / Glinda   Female – Stage Age 35+ Vocal Range:  G3–C5 Kind, maternal and nurturing. Glinda brings warmth and poise to Oz. Audition Song:  Come Out, Come Out  (Bars 16–37) Uncle Henry / Oz Guard   Male – Stage Age 40+ Vocal Range:  Bb2–Eb4 Hardworking and no-nonsense in Kansas; comedic and sentimental as the bumbling palace guard. Audition Song:  Merry Old Land of Oz  (Bars 37–68) Almira Gulch / Wicked Witch of the West   Female – Stage Age 40+ Non-Singing Role Harsh, vindictive and commanding. Requires strong character acting and vocal projection. Audition: Script reading Professor Marvel / The Wizard of Oz   Male – Stage Age 50+ Non-Singing Role Warm, eccentric and slightly deceptive. Requires range in characterisation from showman to sage. Audition: Script reading Featured Characters & Ensembles Crows   Trio – Male Vocal Range:  B2–E4 / B2–B4 Comic character voices; will interact closely with the Scarecrow. Audition Song:  If I Only Had a Brain  (Bars 20–51) Trees   Trio – Female Vocal Range:  B3–C5 / B3–E5 Sassy, cheeky, and full of personality. Audition Songs: Ding Dong the Witch is Dead  (Bars 112–143) You're Out of the Woods  (Bars 72–97) Munchkins  (Ages 6–12) Playful, energetic and full of joy. May also be considered for Flying Monkeys depending on ability. Audition Song:  Ding Dong the Witch is Dead  (Bars 112–143) Junior & Adult Ensemble  (Ages 13+) Ozians, Poppies, Snowflakes, Winkies, Jitterbugs, Ghosts, Flying Monkeys Audition Song:  Merry Old Land of Oz  (Bars 37–68) Dance and acting ability required. Additional harmony singing and featured vocal lines may be assigned.