Title: Jesus Christ Superstar Presented By: Gold Coast Little Theatre (GCLT) Genre: Rock Opera / Musical Theatre / Biblical Drama Synopsis: Featuring music by Andrew Lloyd Webber and lyrics by Tim Rice, Jesus Christ Superstar reimagines the final week of Jesus Christ's life through the eyes of Judas Iscariot. Set against the backdrop of political unrest in Roman-occupied Judea, the musical explores the increasingly complicated relationships between Jesus, Judas, Mary Magdalene, the apostles and the Roman authorities. As Jesus' popularity grows, Judas becomes concerned about the consequences of his influence, leading to betrayal, arrest and ultimately crucifixion. Told entirely through song, this iconic rock opera features a powerful 1970s-inspired score. Audition Date: First Round: Vocal video submissions close 23 October 2026. Second Round: Thursday 29 October 2026 (in-person callbacks and dance call). Audition Location and Address: Gold Coast Little Theatre, 21a Scarborough St, Southport Audition Requirements: The first round consists of a vocal video submission. Audition material depends on the role. Jesus, Judas and Mary Magdalene: Prepare the specified character excerpt using the supplied sheet music and backing track. Role Required Song Starting Point Jesus Gethsemane 1:43 Judas Judas' Death 0:57 Mary Magdalene I Don't Know How to Love Him 2:40 All other named roles and ensemble: Prepare a 1–2-minute excerpt of a 1970s rock or pop song in the style of the production. Instrumentalists: Applicants indicating instrumental ability must also prepare a 30–60-second demonstration of their skills, such as chord progressions, riffs, strumming or plucking. Performers may accompany themselves during their vocal audition. Audition Registration: Register via Google Forms Audition Pack: Jesus Christ Superstar Audition Information (PDF) Performance Dates: 29 January – 20 February 2027. Performance Location: Gold Coast Little Theatre, Gold Coast, Queensland. Rehearsal Dates: Begin Sunday 1 November 2026, late afternoon/evening. Christmas Break: 22 December 2026 – 3 January 2027. Rehearsals Resume / Sitzprobe: Monday 4 January 2027. Rehearsal Times: Primarily Monday and Wednesday evenings and Saturdays during the day. A full rehearsal schedule will be provided at the first rehearsal. Warnings: The production depicts religious persecution, betrayal, suicide, physical violence and crucifixion, with emotionally intense themes surrounding faith, sacrifice, power and death. Creative Team: Director: Andrew Kassab Musical Director: Michelle Watkins Vocal Director / Assistant Director: Ruby Tate Production Website: Gold Coast Little Theatre Auditions Other information: Understudies will be cast for Jesus, Judas and Mary Magdalene, with dedicated performances. Intermediate guitar or bass skills are preferred, but not essential, for Jesus, Judas, Mary Magdalene and Simon. The production is also seeking instrumentalists who can sing and perform as part of the ensemble. Some ensemble performers will double as apostles and priests. Applicants should indicate any instrumental skills when registering. Audition Enquiries: JCS@gclt.com.au Available Roles/Character Breakdown: Jesus Any gender | Rock Tenor | Optional high G5 The central figure of the story and leader of the twelve apostles. Regarded by his followers as the Son of God and King of the Jews, Jesus struggles with the enormous expectations placed upon him and the consequences of his growing influence. Requires a powerful rock tenor voice capable of conveying emotional intensity and vulnerability. Intermediate guitar or bass skills preferred but not essential. Judas Iscariot Any gender | Rock Tenor One of Jesus' twelve apostles and arguably the antagonist of the musical. Judas becomes increasingly concerned about Jesus' fame, the welfare of the poor and the political consequences of his followers' devotion. A complex, conflicted character who drives much of the story. Requires a strong rock tenor capable of delivering emotionally charged material. Intermediate guitar or bass skills preferred but not essential. Mary Magdalene Female-presenting | Mezzo Belter A devoted follower of Jesus who finds herself developing romantic feelings for him. Mary provides a compassionate and stabilising presence amid the escalating conflict. Requires an actress capable of portraying grace, strength, vulnerability and compassion, alongside a strong contemporary musical theatre belt. Intermediate guitar or bass skills preferred but not essential. Pontius Pilate Any gender | Rock Baritone / Rock Alto The Roman governor of Judea who dreams of Jesus' crucifixion before finding himself responsible for determining his fate. Pilate struggles with the political and moral implications of his decisions. Requires a commanding presence and the ability to communicate internal conflict. King Herod Male-presenting | High Baritone The flamboyant King of Galilee, to whom Jesus is brought for judgment. The production describes the character as a David Bowie type, suggesting a theatrical, charismatic and larger-than-life stage presence. Requires strong character acting and confident rock vocals. Peter - Male-presenting | Tenor One of Jesus' twelve apostles. Despite his loyalty, Peter denies knowing Jesus three times on the night of his arrest in an attempt to protect himself. Requires the ability to convey loyalty, fear and remorse. Simon Any gender | High Baritone One of Jesus' twelve apostles who passionately encourages Jesus to lead his followers into battle against Roman rule. An energetic, politically motivated character requiring strong rock vocals and stage presence. Intermediate guitar or bass skills preferred but not essential. Caiaphas Male | Low Bass with Rocky Top The high priest who regards Jesus' growing influence as a threat to the nation and its stability. The production describes Caiaphas as a Mick Jagger type, suggesting a distinctive rock-inspired performance style and strong stage presence. Requires an exceptionally low bass voice with the ability to access a contrasting rock sound. Annas Male | High Baritone A priest who is persuaded by Caiaphas that Jesus represents a threat. Works alongside Caiaphas in the effort to bring Jesus before the authorities. Requires strong character acting and rock vocal ability. Ensemble Rol Seeking versatile performers with strong rock/pop vocals and confident movement skills. Ensemble members will portray a variety of characters throughout the production, with some doubling as apostles and priests. Seeking strong instrumentalists who also possess good rock/pop singing abilities. Some performers will double as apostles and priests. Preferred instruments include: Guitar Electric bass Piano Brass: trumpet and trombone Woodwind: flute and saxophone Violin Auxiliary percussion Instrumentalists must prepare a 30–60-second demonstration of their musical ability as part of their audition.

Title: Annie JR. Presented By: RMT Youth and ROAR Academy Genre: Musical Theatre / Family / Comedy-Drama Synopsis: Based on the beloved comic strip Little Orphan Annie and adapted from the Tony Award-winning Broadway musical, Annie JR. follows a spirited young orphan determined to find the parents who abandoned her on the doorstep of a New York City orphanage. Set during the Great Depression of the 1930s, Annie's optimism and determination help her navigate life under the cruel Miss Hannigan. When she is invited to spend Christmas with billionaire Oliver Warbucks, her life takes an unexpected turn. With help from Warbucks, his secretary Grace Farrell and her loyal canine companion Sandy, Annie discovers that family can be found in the most unexpected places. Audition Date: Saturday 17 October 2026 Audition Time: Three audition sessions available. Each session is limited to 25 auditionees. 10:00am–12:00pm 12:30pm–2:30pm 3:00pm–5:00pm Audition Location and Address: Redcliffe Showgrounds, Bicentennial Room, Scarborough Road, Redcliffe Audition Requirements: Auditionees should prepare the song associated with their preferred character or role category. Auditionees should also be prepared to participate in a dance audition Audition Registration: Register for your preferred audition session through the ROAR Academy Annie JR. webpage. Audition Pack: Annie JR. Audition Pack (PDF) Role Audition Song Annie Tomorrow Other Orphans It's the Hard Knock Life Grace Farrell I Think I'm Gonna Like It Here Rooster Hannigan / Lily St. Regis Easy Street Miss Hannigan Little Girls Older Ensemble NYC Performance Dates: Saturday 6 February 2027 Sunday 7 February 2027 Performance Times: 11:00am and 3:00pm on both days (four performances). Performance Location: Redcliffe Entertainment Centre (REC), Redcliffe QLD. Rehearsal Dates: November: Thursdays 5, 12, 19 and 26 November 2026 December: 14–16 December 2026 January: 20–22, 28 and 30 January 2027 February: 2, 4 and 5 February 2027 Rehearsal Location: All rehearsals take place at the Redcliffe Showgrounds, Bicentennial Pavilion, except the final dress rehearsal on 5 February, which takes place at the Redcliffe Entertainment Centre. Performer Age: ROAR Academy caters to young performers aged 5–18. Specific character playing ages are listed below. Other information: Optional Audition Preparation Workshops: Saturday 10 October 2026 at Redcliffe Showgrounds: 10:30am–12:30pm or 1:00pm–3:00pm These workshops cover vocal preparation and the audition dance routine. Cost: $50, deducted from the production workshop fee if the performer accepts a role in Annie JR. Production Participation Fee: Early Bird: $325 if paid in full by 1 November 2026. Standard Fee: $395, due by 1 December 2026. Instalment Option: Three payments of $140, due 1 November, 1 December and 1 January (total $420). The fee includes costumes, script and score, show shirt, pizza party and an after-show party at the Showgrounds following the final performance, including a visit from an ice cream van. ROAR Academy encourages culturally diverse casting. Performers do not need to physically resemble traditional portrayals of the characters, provided they can communicate the character's personality and intentions. Enquiries: Madeleine Johns — 0488 103 759 Available Roles/Character Breakdown Annie Female character | Playing age: 11 A tough, streetwise orphan who is also surprisingly vulnerable. Independent, resourceful, spirited and occasionally aggressive, Annie longs to find a family who will love her. Despite her difficult circumstances, she remains compassionate and optimistic. Requires strong singing and acting abilities, with the confidence to carry the production. Oliver Warbucks Male character | Performer age sought: 15–18 A wealthy, middle-aged billionaire who initially appears confident, authoritative and businesslike. His relationship with Annie gradually reveals a warmer, more affectionate side as he becomes completely charmed by her personality. Requires maturity and a commanding stage presence. Miss Hannigan Female character | Mature character role The cruel, flamboyant director of the orphanage. Manipulative, selfish and convinced of her own glamour, Miss Hannigan can switch instantly between genuine nastiness and exaggerated affection when it suits her. Requires a strong comedic actress with excellent timing, a mature singing voice and the ability to create a larger-than-life character. Grace Farrell Female character | Older youth role Oliver Warbucks' elegant and capable private secretary. Calm, composed, well-dressed and compassionate, Grace becomes an important source of kindness and stability in Annie's life. Requires a strong singer with a more traditional or legitimate musical theatre vocal style. Rooster Hannigan Male character | Older youth role | Brooklyn accent Miss Hannigan's scheming brother. Flashy, confident and dishonest, Rooster moves with the swagger of a gangster and works closely with his girlfriend Lily to swindle Warbucks. Requires strong comedic acting, a wide vocal range and excellent chemistry with Lily. Lily St. Regis Female character | Older youth role | Brooklyn accent Rooster's glamorous but dim-witted girlfriend. Lily is obsessed with appearances, wealth and personal gain. A confident comedic performer is needed, with a strong singing voice and the ability to play off Rooster's schemes. Molly Female character | Playing age: 6 The youngest and smallest orphan. Easily frightened and vulnerable, Molly looks to Annie for comfort and motherly reassurance. Kate Female character | Playing age: 7 One of the youngest orphans, second only to Molly in size. A member of the mischievous orphanage group. Tessie Female character | Playing age: 10 The most emotional orphan, quick to laugh, cry or become overwhelmed. Known for her repeated exclamation, "Oh, my goodness!" Pepper Female character | Playing age: 12 The toughest orphan. Outspoken, strong-willed and defensive, Pepper stands up for herself and the other girls. July Female character | Playing age: 13 The quietest orphan. A more reserved member of the group. Duffy Female character | Playing age: 13 The tallest and most mature orphan, often displaying an older, more confident presence. Supporting and Featured Roles Bundles McCloskey - The orphanage laundry man who enjoys flirting with Miss Hannigan. A character acting role. Apple Seller / Dog Catcher - Small featured roles with dialogue alongside Annie. No solo singing required. Sandy - Annie's lovable stray dog. This production is auditioning a performer to portray Sandy rather than using a live dog. Lieutenant Ward - A police officer who encounters Annie. A featured cameo with dialogue but no solo singing. Drake - Oliver Warbucks' English butler and head servant. Ideally, the performer should be tall or strong enough to carry Annie. Cecille and Annette - French maids employed at the Warbucks mansion. Strong singing ability required, with dance skills an advantage. Mrs. Greer - The head housekeeper at the Warbucks mansion. Part of the mansion staff ensemble. Mrs. Pugh - The Warbucks household cook. Her surname is pronounced "Pew." Star-to-Be - A glamorous aspiring Broadway star with a featured solo in "NYC". A strong singing and performance opportunity. Usherettes - Featured performers with small vocal solos in "NYC". Bert Healy - The charismatic host of the Oxydent radio show. A natural scene-stealer who loves being the centre of attention. Requires a big voice, comic confidence and strong stage presence. Bert Healy's Girls - Three radio show singers who perform close vocal harmonies. Strong ensemble singing and blending required. Radio Announcer - A featured speaking role requiring a polished, professional announcer's voice and manner. Sound Effects Man - A comedic radio performer responsible for operating old-fashioned sound effects props. May be combined with the Radio Announcer role. President Franklin D. Roosevelt - The President of the United States. Requires a performer who can convincingly portray an older, authoritative character, use a wheelchair onstage and imitate Roosevelt's distinctive voice and mannerisms. Louis Howe - President Roosevelt's trusted assistant. A featured supporting role. Ensemble - Additional performers will portray orphans, New Yorkers, tourists, servants, radio performers and other featured characters throughout the production.

Title: Finding Neverland Presented By: Spotlight Theatrical Company Genre: Musical / Fantasy / Drama Synopsis: Based on the Academy Award-winning film and the play The Man Who Was Peter Pan, Finding Neverland follows the relationship between playwright J.M. Barrie and the family that inspired his beloved creation, Peter Pan. Struggling to find inspiration, Barrie encounters recently widowed Sylvia Llewelyn Davies and her four sons in Kensington Park. As he becomes increasingly involved in their lives, he discovers the extraordinary power of imagination, particularly through Peter, a young boy struggling with grief after losing his father. Together, they rediscover the magic of childhood and inspire Barrie to create a theatrical world where children can fly, pirates roam, and nobody has to grow up. Audition Date: Saturday 10 October 2026. Online audition submissions close at 5:00pm on Friday 9 October 2026. Audition Time: Individual audition times allocated through registration. Callbacks, if required, Wednesday 14 October 2026. Audition Location and Address: 4/50 Johnston Street, Southport QLD Audition Requirements: Lead roles: Prepare two contrasting 90-second musical theatre excerpts that demonstrate vocal ability and suitability for the character. Ensemble and youth roles: Prepare one 60–90-second musical theatre song demonstrating vocal ability. Backing tracks: Provide your own accompaniment via USB, AUX or Bluetooth. No rehearsal pianist will be available. Dance/movement: All auditionees must attend a compulsory movement and dance call, except those auditioning exclusively for Mrs. du Maurier. The combination caters to all experience levels, with opportunities for advanced dancers to demonstrate technique. Audition Registration: Register via Jotform Audition Pack: Finding Neverland Audition Brief (PDF) Performance Dates: 4–27 February 2027. Performance Location: Spotlight Theatre Complex, Halpin Auditorium, 185–187 Ashmore Road, Benowa QLD 4217. Rehearsal Dates: Commencing Tuesday 3 November 2026 for approximately 12 weeks, with a break over Christmas and New Year. Rehearsal Times: Sundays during the day, Tuesday and Thursday evenings. Additional filming, photoshoot and marketing calls will be scheduled with advance notice. Warnings: The production explores mature emotional themes, particularly grief, bereavement and family loss. Specific performance requirements include: J.M. Barrie and Sylvia: Onstage romantic intimacy, including hugging, close dancing and kissing. Youth roles: Emotionally challenging scenes involving grief and loss, physical lifting during fantasy/flying sequences, and platonic familial contact such as comforting hugs. Adult cast and ensemble: High-energy movement, theatrical play-fighting and partner lifting. Aerial flying: Selected ensemble performers must be comfortable with heights and professional harness flying. Live animal: Principal and ensemble performers must be comfortable working onstage with a dog. Performer Age: 17+ for adult roles and ensemble, with exceptions for the four child roles. Character ages are suggested playing ages rather than strict performer ages. Applicants outside the listed playing ages may still audition if they can convincingly portray the character. Creative Team: Director/Choreographer: Clay English Musical Director: Shari Willner Creative Producer: Laura English Production Website: Spotlight Theatre Auditions Other information: This is the Queensland premiere of Finding Neverland and an unpaid amateur production. All successful performers must become financial members of Spotlight Theatrical Company and be locally available on the Gold Coast throughout the engagement. All adult cast and crew aged 18+ must hold a current Queensland Blue Card before rehearsals begin. Audition enquiries: findingneverlandgc@gmail.com Available Roles/Character Breakdown: J.M. Barrie Male identifying | Playing age: 30–40 | Vocal range: Ab2–A4 | Scottish accent A successful Scottish playwright with a rebellious, childlike spirit. Barrie struggles against the restrained expectations of society while maintaining a generous, imaginative outlook. Requires excellent comic timing alongside emotional vulnerability, a strong pop/rock tenor voice and confident movement ability. Dance training is not essential. Specific requirements: Romantic intimacy with Sylvia and interaction with a live dog. Sylvia Llewelyn Davies Female identifying | Playing age: 25–35 | Vocal range: F#3–F5 | English RP accent A recently widowed mother of four boys who encourages creativity and independent thinking. Sylvia is warm, playful and spirited but must also navigate serious emotional circumstances. Requires a strong pop/rock belt and mix with confident soprano notes. Specific requirements: Romantic intimacy with Barrie and interaction with a live dog. Charles Frohman / Captain Hook Male identifying | Playing age: 50–60 | Vocal range: B2–G4 | Standard American accent A wealthy American theatrical impresario who has supported Barrie throughout much of his career. Also portrays Captain Hook, representing Barrie's darker alter ego, with a mischievous and wicked sense of humour. Requires a strong character actor with an excellent pop/rock baritenor sound. Strong movement skills are important, although formal dance ability is not essential. Mrs. du Maurier Female identifying | Playing age: 50–60 | Vocal range: C#4–F5 | English RP accent Sylvia's mother, a socially conscious woman who values etiquette, propriety and tradition. Stern and occasionally overbearing, she genuinely wants the best for her daughter and grandchildren. Requires dry comic timing and a strong alto voice with pop/rock sensibility. This is the only role exempt from the compulsory dance/movement audition when auditioning exclusively for the character. Peter Llewelyn Davies Male identifying | Playing age: 8–10 | Vocal range: Ab3–E5 | English RP accent The second youngest Davies boy, Peter is deeply affected by his father's death. Initially withdrawn, angry and reluctant to embrace imagination, he gradually learns to believe in magic and rediscover the joy of childhood through his friendship with Barrie. Requires a pop/rock singing voice and strong emotional acting ability. Specific requirements: Emotionally demanding scenes involving grief, physical lifting and familial contact. George Llewelyn Davies Male identifying | Playing age: 12–14 | Vocal range: G3–E5 | English RP accent The eldest Davies boy. Sensible, mature and responsible, George naturally assumes a leadership role among his brothers while retaining his capacity for imagination and play. His character develops into a more responsible young man during Act Two. Specific requirements: Emotionally demanding scenes involving grief, physical lifting and familial contact. Jack Llewelyn Davies Male identifying | Playing age: 10–12 | Vocal range: A3–Eb5 | English RP accent The second eldest Davies boy. Mischievous, adventurous and outspoken, Jack is often the naughtiest of the brothers, although his cheekiness comes from a good heart. Requires a pop/rock singing voice. Specific requirements: Emotionally demanding scenes involving grief, physical lifting and familial contact. Michael Llewelyn Davies Male identifying | Playing age: 6–8 | Vocal range: A3–Eb5 | English RP accent The youngest Davies boy. Loud, confident and enthusiastic, Michael is unafraid to express himself and embraces the imaginative adventures around him. Requires a pop/rock singing voice. Specific requirements: Emotionally demanding scenes involving grief, physical lifting and familial contact. Mary Barrie Female identifying | Playing age: 25–35 | Vocal range: E4–D5 | English RP accent Barrie's wife and a former actress. Serious, proper and concerned with social appearances, Mary increasingly struggles to connect with her husband's unconventional interests and imagination. Their differences gradually drive them apart. Requires a strong pop/rock sound with soprano ability. The performer will also appear in the ensemble. Minor Roles / Ensemble Any gender | Ages 17+ A versatile, physically expressive ensemble portraying multiple characters, including townspeople, actors, maids, butlers and characters from Barrie's plays, including Peter Pan. Movement and/or dance experience is desirable. Ensemble members will participate in energetic theatrical sequences, with selected performers undertaking aerial flying using professional harness equipment. Some roles also involve interaction with a live dog.

The Addams Family Young@Part Presented by: Second Star Youth Theatre Book: Marshall Brickman and Rick Elice Music and Lyrics: Andrew Lippa Based on characters created by: Charles Addams Director and Musical Director: Lauren McNamara Choreographer: Isabella Maric Date attended: 3 October 2026 “That’s a good distance for romance.” Uncle Fester is talking about the moon. Naturally. The Addams Family Young@Part is packed with gloriously odd lines, and Second Star Youth Theatre’s young cast has a good feel for the comedy. A pause here, a look there, one perfectly dry response, and suddenly I’m cackling at children discussing torture, marriage, death, and the unbearable humiliation of having parents. That last one is what the story comes down to. Wednesday Addams has fallen in love with a normal boy and would very much like her family to behave themselves when his parents visit for dinner. Her parents proceed to do what parents do best: embarrass their child spectacularly. Led by director Lauren McNamara, this show's premise is particularly well suited to this age group - where the horror of your family being weird in front of someone you like probably rivals anything the Addamses keep in the basement! Sacha Fleming as Gomez Addams gets plenty of laughs with his accent, drawn-on moustache, and melodramatic delivery. He knows how to find the always find the joke without forcing it. “When You’re an Addams” quickly introduces both the family and the considerable talent spread through the company. Chloe Coleman as Morticia has suitably formidable presence, although perhaps her greatest threat is a high kick performed in those heels. Lethal! Her quieter tango moment with Gomez during “Live Before We Die” gives the pair a chance to step away for a softer scene together. Harper MacGregor gets an early chance to show off her lovely voice in Wednesday’s solo “Pulled”, a tricky number that she handles with impressive ease and no visible nerves. There’s plenty of strength in her sound, and she has just as much fun with Wednesday’s permanent exasperation outside the songs. Once the Beinekes arrive, Harper wears the growing frustration of realising that absolutely nobody is going to cooperate. Ronin Cooper-Jackson is completely adorable as Pugsley, whose main worry about Wednesday growing up is that she might stop torturing him and ruin all their sibling fun. Ronin gets a lovely vocal moment in “What If”, showing off a powerful, blossoming young voice with plenty of promise. Sacha’s own version of the song gives Gomez his turn to show off his rich voice too. In true Addams fashion, both characters are basically saying “I love you” in their own strange way. Harry Zappert is a particular highlight as Uncle Fester. His wig may leave him looking slightly more Voldemort than Addams on occasion (sorry, Harry), but his performance is so entertaining! There’s a gentleness to his singing, including a soft vibrato that suits Fester’s utterly sincere romantic ballad. With little glowing spherical props, the Moon Dancer (Victoria Rezende), and Harry singing earnestly about his celestial beloved, the number becomes one of the sweetest oddities in an already very odd musical. Leo Crowther is hilarious as Mal Beineke and gets some of my biggest laughs of the show. Isabel Notari-Markey as Alice Beineke acts peppy and sweet, while Nate McKenna as Lucas is simply trying to survive introducing his girlfriend to his parents. The fun is watching this supposedly normal family get dragged further and further into Addams territory. By “Crazier Than You”, both couples are embracing the hullabaloo, with Wednesday/Lucas, and Alice/Mal, all getting their turn to prove that “normal” was never going to last very long! Around them all, the Ancestors have plenty to do rather than becoming decorative ghosts parked at the back of the stage. Choreographer Isabella Maric gives them featured moments through almost every number, while “Full Disclosure” uses the whole company particularly well, with energetic choreography and group tableaux built around the long dinner table. Visually, the production keeps things gothic with red velvet curtains, projections, and that long, dark table. The costumes and wigs add to the characterisation: Morticia’s sleek silhouette, Gomez’s snappy suit, the pale Ancestors, and Fester’s very committed bald look. Also, one useful lesson for any young performer wearing a microphone: assume it is always on! We can hear you backstage darlings. That’s an easy technical habit to learn, though, and it hardly dents the fun of watching this company tackle such character-driven comedy. The jokes depend heavily on timing and delivery, and these young performers understand far more of that rhythm than I was expecting! Second Star Youth Theatre’s The Addams Family Young@Part is full of dry one-liners, odd family affection, strong young voices, enthusiastic dancers, and children discussing torture with alarming casualness. For a family this obsessed with death, they’re having a very good time.

ESCAPE by DIAVOLO | Architecture in Motion Presented by: Brisbane Festival in association with Queensland Performing Arts Centre Venue: QPAC Playhouse Date attended: 23 September 2026 Creative Director & Choreographer: Jacques Heim Associate Choreographer: Kate Dougherty Writer & Dramaturg: France Nguyen-Vincent Sound Designer & Media Specialist: Simon Larson Greenberg Lighting Designer: Jean-Yves Tessier Costume Designer: David Touster Structure Designers: Adam Davis and Daniel Wheeler Photography: George Simian, Cheryl Mann, and others “Stability is not the absence of movement.” People throw themselves from cages. Doors tilt beneath dancers. Metal arcs become an enormous human hamster wheel. Bodies fling themselves through the air on the assumption that another person will be standing in exactly the right place at exactly the right millisecond. My jaw was clenched for much of the hour. My brain, meanwhile, was going weeeee! Created by Los Angeles company DIAVOLO | Architecture in Motion®, ESCAPE began taking shape during the pandemic, when confinement had become a very literal part of daily life and the urge to get out was hardly an abstract concept. The performers move through a changing landscape of enormous engineered structures, finding themselves trapped, thrown off balance, climbing out, and relying on each other to bring them safely back down. Their backgrounds span dance, gymnastics, parkour, acrobatics, and tricking. You can see those disciplines constantly colliding onstage. They're like very athletic monkeys who’ve been given access to expensive construction equipment. The opening cage proves the comparison immediately. Performers scramble across the metal frame, hanging, leaping, and squeezing themselves through its gaps with a kind of Tarzan abandon. My less sophisticated thought was that I would hit my shins on this thing SO much if I tried that. A performer falls. The audience gasps. Someone catches her. This becomes a dominant rhythm throughout ESCAPE. The company repeatedly introduces the possibility of disaster, lets us imagine it for half a second, and catches the body before gravity finishes the job. There’s no room for vague timing here. The performers call across the stage and yell cues to one another, and I loved hearing the work happen. Their communication becomes part of the score of the production. Things get angrier during the “boxed in” material. Numbered vests replace the earlier black costumes, spoken text asks “Is there anybody out there?”, and the song Another Brick in the Wall hardly needs its metaphor explained. The choreography begins with rigid unison before bodies become more agitated. The spoken language circles confinement, pressure, and a refusal to be constrained. Even the scene changes belong to the company. They haul, rotate, assemble, and climb on this mega playground. Architecture isn’t decoration in ESCAPE. It keeps changing the rules. Curved metal pieces first behave like individual seesaws before combining into the enormous circular structure. With EDM thumping around the Playhouse theatre, performers climb through its spokes while others propel the whole contraption across the stage. Human hamster wheel feels like an undignified description for such a feat of engineering, but I mean it affectionately. This company understands physics in the coolest possible way! In another sequence, a performer holds themselves inside a metal tube with ridiculous upper-body strength. Nearby, a rounded structure riddled with glowing holes looks like a chunk of cratered moon. Bodies pop through its craters like curious aliens. Jean-Yves Tessier’s lighting deepens that otherworldly quality, moving between stark beams, silhouettes, shadows, starlight, and pools of colour. A contemporary duet around a single doorway turns an ordinary object into a balancing apparatus. The dancers climb its frame, counterweight one another, and hang from positions requiring iron grip! Their safety repeatedly sits in the other person’s hands. Set against “Can You Hold Me”, it’s a striking change of scale after all that machinery. The soundscape sees EDM, rock, spoken word, drums, screams, and atmospheric music hammer through the theatre with considerable force. There are gentler stretches too. Twinkling light and softer music give us a break from all that impact. One “Falling Far” sequence had me giggling with glee. That response probably tells you where I sit on the sophisticated contemporary-dance-critic spectrum. The biggest balancing act comes at the end. With choral voices and increasingly insistent drums underneath, an enormous boat-like structure rocks to and fro like a gigantic rocking horse. Performers scatter across it at different heights, adjusting continually as the floor beneath them rises and drops. I hope nobody got seasick! “Someone will always be there to catch you,” we’re told. After watching bodies genuinely catapulted into the air, the idea has muscle behind it. Their colleagues are quite literally the difference between completing a trick and falling. I left with aching sympathy for their shoulders, stunned by their grip strength, and a strong desire to climb on almost every piece of equipment despite possessing none of the qualifications required to survive the attempt. I’d definitely see ESCAPE again.

Shrek the Musical JR Presented by: Stage School Australia Book and Lyrics: David Lindsay-Abaire Music: Jeanine Tesori Date Attended: 1 October 2026 Director: Georgia New Musical Director: Lucy Ross Choreographers: Grayson McBurney and Caity Bond Assistant Musical Director: Lauren Bull Costume Supervisor: Morgan McAleer Sound Operator: Derek Wilson Lighting Operator: Sev Harman Photography: By B'rit Creative "Do you know the muffin man...?" I have now seen Shrek the Musical enough times that I should probably be paying council rates in Duloc. Thankfully, Stage School Australia’s Shrek the Musical JR gives me a new cast of young performers to cheer for, wrapped up in a fast, colourful school holiday production. This is Stage School Australia’s third full-scale Brisbane production (and the third I’ve seen). Directed by Georgia New, the show flies by! It packs a lot of story, music, costumes, and fairytale creatures into its shortened junior runtime. Although I do quietly mourn a few of my favourite songs that have been sacrificed along the way… Harrison Slater plays a sweeter, gentler Shrek than many I’ve seen. I also love the decision to use green face paint rather than covering him with a heavy mask, leaving Harrison’s expressions visible throughout. His enunciation is excellent, and I applaud his attempt at the Scottish accent. Shrek doesn’t actually get a huge amount of solo singing in the junior version, but Harrison opens strongly with “Big Bright Beautiful World”. Also, shoutout for spending the better part of a week painted green. Theatre is so glamorous! Neil Marco II Aballe is an adorable Donkey, tackling one of the wordiest roles in the show and the sheer quantity of memorised dialogue valiantly. His enunciation stays strong through all that chatter, too. “Travel Song” captures the pair’s growing friendship (and the experience of being trapped on a road trip with someone who will not stop talking), while “Make a Move” lets Neil lead the company with full gospel-choir enthusiasm. The duet between Shrek and Fiona, “I Think I Got You Beat”, remains a thing of beauty (romance via competitive childhood trauma and bodily noises). What a courtship ritual! Esperanza Falconi has fun with Fiona’s two settings: pristine storybook princess and ball of aggression. One moment she’s all poised smile and perfect princess manners, and the next she’s ditched the whole facade because Fiona’s impatience or competitive streak has won. Essie carries that same split into her singing. “Morning Person” sits in a pretty, bright head voice, while the unhinged bridge of “I Know It’s Today” (“the waiting, the waiting…!”) lets her unleash a crazed belt. Across both, she has such a strong, assured musical theatre voice, and I really hope this is a path she keeps pursuing. Alongside Indiana Osborne and Chelsea Carman as Young and Teen Fiona, the three voices blend beautifully once the harmonies start stacking together in “I Know It’s Today”. Lucie Roy gets another of the production’s biggest vocal moments as Dragon in “Forever” amid enormous castle gates, glittering knights, and huge dragon wings. Excellent. More is more. I’d love to see gloves added to complete Roy’s Dragon costume and disguise the mechanics of manoeuvring the wings a little more, but the overall effect is suitably grand. Duloc is colourful and mildly terrifying, populated by cloned children maintaining the strained smiles (mostly) through “Welcome to Duloc”. The synchronised choreography is wonderfully rigid and cheerful. A few of the kids occasionally dissociate instead of grinning, which I assume is what happens after several days of rehearsals, performances, and being ordered to smile like a tiny citizen of a fascist theme park. Oskar Stam’s entire Lord Farquaad situation deserves appreciation, from the costume and physical comedy to the small matter of spending virtually the entire week performing on his knees. My knees hurt simply thinking about it! The costumes have plenty to look at, from the detailing on Fiona’s dress and wig to the endless parade of fairytale creature looks. “Story of My Life”, led by Eliza Cullerton as Pinocchio, gives those characters their first chance to spill across the stage together, each with their own personality. Eliza later transforms into the Pied Piper and leads a troupe of tap-dancing rats! “Freak Flag” brings the whole collection of oddballs together. Shoutout to Mina Brailov as Mama Bear and Gracie Ollerenshaw as the Wicked Witch in their lovely featured vocal moments. With such a large company, performers are continually rotated through the musical numbers rather than disappearing into the background for half the show. Grayson McBurney and Caity Bond’s choreography helps with that too, keeping the ensemble busy rather than letting every number dissolve into the same lines and formations. The spoken comedy doesn’t always receive the laughs it’s reaching for, and the accents occasionally take an international holiday between Scotland, America, and Australia. The leads’ clear dialogue helps enormously, particularly given how quickly this version races along and how little time the cast has to learn it. One detail I particularly enjoy is that the experience doesn’t begin and end with the curtain. Characters mingle with audiences before and after the show, with plenty of photo opportunities for kids. School holiday productions like this give young performers a concentrated taste of putting on a full musical: learning choreography, managing costume changes, developing characters, singing as an ensemble, and facing a live audience after an intense rehearsal period. And after all that, everyone still has enough left in the tank for an encore of “I’m a Believer!" Stage School Australia’s Shrek the Musical JR is bright, busy, and fuelled by a young company throwing themselves wholeheartedly into the swamp.

The 18th Annual Miss Virtue Beauty Contest Created and Presented by: Vena Cava Productions Venue: VENTspace, South Brisbane Date Attended: 27 September 2026 Director: Daniel Gough Assistant Director: Lottie Babic Artistic Director: Georgia Hollis Sound Designer: Hannah Grabski Lighting Designer: Jon Whitehead Stage Manager: Kat Coomber Assistant Stage Manager: Abi Roots Cast: Cleo Bell, Annabel Baker, Sophie Duck, Reid McWha, Nicola DeFazio, Georgia Holland, Genevieve Nix, Lillian Murrell-Edwards, Millie Costello, and Liv Gainsford. Photography: Aidan Calleja "Empowered women change societies!" Welcome to The 18th Annual Miss Virtue Beauty Contest! The smiles are compulsory, the beauty standards unattainable, and all the contestants wish for world peace. Their visible distress is no cause for concern. Presented by Vena Cava Productions, this student-devised theatrical experiment takes the spectacle of a beauty pageant and subjects it to a rather gruesome makeover. Beneath the glitter, gowns, and fake pleasantries lies an industry that exploits women and commodifies their bodies. The cast and creative team have devised this unnatural world together. Our lovely contestants have labels like Miss Chastity, Miss Liberty, Miss Joy, Miss Courage, and Miss Kindness. Each represents an admirable quality. Right? They resemble reality TV personalities, programmed to be appealing and endlessly available for public consumption. Draped in satin and sequins, these women parade before us with plastered smiles and terrified eyes. Their bodies twitch, jerk, and glitch like robots caught in the rain, as though their programming is beginning to malfunction. The competition follows familiar pageant conventions, including glamorous introductions and the all-important talent portion. Singing, juggling, ballet, magic... all perfectly respectable choices. But one contestant takes a slightly different approach to demonstrating her talents. She gives birth onstage. Yes, childbirth as a talent. I suspect that's a first for the pageant circuit! And given the show's warning that audiences may encounter blood splatter, those sitting closest to the action have good reason to remain vigilant. The beauty industry's relationship with consumerism receives particularly scathing treatment through a series of live advertisements. From weight-loss solutions and cosmetic surgery to nappies and motherhood products, the contestants enthusiastically promote everything a woman supposedly needs to "get perfect fast!" These commercials are performed behind a sheet, with live footage projected onto its surface. The women deliver their sales pitches with the nervousness of hostages reading prepared statements. They're selling products while being presented as products themselves. Elsewhere, the pageant's corporate dealings unfold behind translucent sheeting, like a crime procedural we're not supposed to be witnessing. The real competition happens beyond the contestants' control, in rooms where money and influence dictate their fate. Even the pageant hosts remain anonymous. Concealed behind a pink glitter curtain, they communicate through microphones and expressive hand gestures. The people orchestrating this nightmare remain safely out of sight. Even the programme serves the purpose. Designed like a police investigation report, it describes each creative through their physical appearance and suitability as the 'perfect contestant'. Under Daniel Gough's direction, Miss Virtue unfolds as a collage of advertisements, pageant rituals, and disturbing interruptions. There's no conventional narrative to follow, and the writing swings wildly between broad satire and graphic horror. The creative team draws inspiration from disturbing real-world revelations. Their writing reflects a generation watching these stories emerge and wondering how much worse the truth could be. There's anger behind the satire, and a confronting awareness that the freedoms many of us enjoy coexist with suffering elsewhere. The play doesn't pretend to have solutions. It's more interested in making us uncomfortable enough to question what we accept, and for how long. I admire the ambition of this young ensemble. They've created the work together, from its initial concept to the finished product. There's an appealingly rebellious quality to the whole affair. They've taken every expectation of what a respectable beauty contest should look like and fed it through a meat grinder. The 18th Annual Miss Virtue Beauty Contest is messy, provocative, and grotesque. And after all that smiling, singing, and suffering, one contestant is crowned the winner. Of course, the title comes at a price. In this competition, the winner can be purchased by whoever is willing to pay the most. Smile for the cameras, ladies. Someone's always watching. After all, guess who co-owned the Miss Universe Organisation for nearly two decades? Go look it up.

Pride & Prejudice* (*sort of) Produced by: Neil Gooding Productions & Woodward Productions Venue: QPAC Playhouse Written by: Isobel McArthur, after Jane Austen Directed by: Simon Harvey Date Attended: 30 September 2026 Associate Direction & Choreography: Simone Sault Set & Costume Design: Ana Inés Jabares-Pita Lighting Design: Jason Bovaird Composition & Sound: Michael John McCarthy Sound Design: Marcello Lo Ricco Musical Direction: Kohan van Sambeeck Dialect Coach: Jennifer White Photography: James Terry “I've got a really sexy pair of ankles.” Before a single Bennet daughter has made any stupid romantic decisions, the household maids have the audience doing the YMCA. Dressed in white frocks, black boots, and yellow cleaning gloves, they wander through the theatre stalls making friendly conversation and encourage a Mexican wave for us in the balcony. Written by Isobel McArthur and directed by Simon Harvey, Pride & Prejudice (sort of) takes one of literature's most beloved romances, hands it to the servants, and lets five versatile performers run riot with it. There are Regency gowns, switching accents, disastrous marriage prospects, live instruments, karaoke classics, quick changes, and enough drama to keep Mrs Bennet permanently on the verge of a nervous breakdown. Somewhere among the chaos, Austen's original story remains intact. Austen's sharp observations about class, gender, and the absurdities of human behaviour have always been witty, even if the bonnets and ballroom etiquette might put some people off. McArthur simply turns up the volume. The Bennet household is still desperately trying to marry off five daughters because, in Regency England, a woman's financial future depends on securing a husband. Romance is lovely, of course, but so is having somewhere to live. While the wealthy families of Longbourn, Netherfield, and Pemberley concern themselves with marriage, manners, and money, their overworked servants have been watching the whole business unfold. Now they're taking charge of the storytelling! And the best part? Not a single man in the cast. The five sisters bicker, tease, interfere, gossip, and are prepared to strangle one another at a moment's notice. Like any siblings would, regardless of era. Their personalities are exaggerated: the overlooked Mary, the dramatic Lydia, the absent Kitty, the lovestruck Jane, and Elizabeth, whose tolerance for people is very limited. Teo Vergara plays Elizabeth Bennet with all the bite and sarcasm the character deserves. Their Liz is outspoken, intelligent, stubborn, and unimpressed by the social circus surrounding her. When Mr Darcy arrives with his considerable fortune and equally considerable inability to hold a conversation, the familiar battle of wits begins. He's the OG socially awkward rich man. Zoe Ioannou plays both Mrs Bennet and Mr Darcy, two characters who could hardly occupy more distant ends of the emotional spectrum. Her Mrs Bennet is loud, embarrassing, and perpetually melodramatic. Her Darcy, meanwhile, barely moves a facial muscle. With his nose in the air, an intimidating stare, and a posture suggesting he'd rather be anywhere else, he's a complete buzzkill. His manspreading is so extreme that she's practically holding a second-position plié. "You know who I can't stand? People." The audience is still rooting for Elizabeth and Zoe as Mr Darcy. Every meaningful glance, awkward exchange, and romantic development earns a chorus of gasps, cheers, and appreciative 'ooohs'. Considering we've known how this relationship ends for more than 200 years, the excitement is unexpected and adorable. Amy Lehpamer is a particular favourite of mine, performing as Charles Bingley, Caroline Bingley, and Charlotte Lucas. Her Caroline is the sort of wealthy, insufferably superior woman who could comfortably join Pru and Trude from Kath & Kim for a lengthy discussion about expensive homewares and people they consider beneath them. She even borrows their accent, and I couldn't stop mimicking it during interval. Her pursuit of Darcy inspires an outrageous display of seduction, complete with peacocking and a Nutbush dance break. I couldn't tell how much was choreographed and how much Amy improvised. As Charlotte, Lehpamer introduces an unexpected romantic crush that adds a different perspective to the familiar story. Ruby Shannon throws herself into the different personalities of Mary Bennet, Lydia Bennet, and Mr Collins. The latter is an irritating creation, all nasal delivery, misplaced confidence, and a remarkable talent for misunderstanding social situations. Shannon switches between the sisters' exaggerated personalities and Collins' pompous nonsense at remarkable speed. Koari Maeda Judge is equally busy as Jane Bennet, George Wickham, and Lady Catherine de Bourgh. Her Jane is all romantic optimism and girlish desperation, while Wickham is theatrical as hell and Lady Catherine's sense of self-importance is as bloated as a pufferfish. And spare a thought for Mr Bennet, represented by an armchair and a newspaper. Given how much he contributes to solving his family's problems, it's an accurate portrayal. Ana Inés Jabares-Pita's set and costumes create a Regency playground. A sweeping white staircase dominates the stage, books decorate the steps, and a towering bookcase stretches so high you'd need a pogo stick to reach the upper shelves. The elegant drawing room accommodates modern intrusions too, from red plastic party cups and Pringles to microphones and an enormous rubbish bin dubbed the 'Jane Aust-Bin'. Empire-waist gowns, decorative feathers, and elaborate period detailing fill the stage, while the actors swap bonnets, jackets, and accessories at breakneck speed. The Netherfield ball descends into chaos, with karaoke replacing the refined entertainment Austen might have imagined. Jane and Bingley's romantic duet of 'Will You Still Love Me Tomorrow' provides a sweet musical interlude, while Darcy receives a deserved serenade of 'You're So Vain'. Act Two opens with 'Holding Out for a Hero', which is certainly one way to drag an audience back from interval. 'Careless Whisper', 'Smooth Operator', and 'Chapel of Love' also make appearances, sometimes only for a fleeting musical joke before the story races onwards. A personal favourite is Jane arriving on horseback, singing 'At Last' with enormous romantic conviction. The horse itself is a magnificent theatrical contraption, accompanied by traditional coconut-shell hoofbeats. Although I was half-expecting Daryl Braithwaite's 'The Horses' to start playing. A missed opportunity, perhaps? The performers provide live musical accompaniment throughout. Lehpamer moves between violin and piano, Shannon plays guitar and kazoo, and Maeda Judge handles percussion, accordion, and xylophone. The arrangements, under musical director Kohan van Sambeeck, are full of playful surprises. Under Simon Harvey's direction, with associate direction and choreography by Simone Sault, the action moves at an alarming pace. Entrances, exits, musical interruptions, physical comedy, and dramatic scene changes arrive in rapid succession. The lighting by Jason Bovaird and sound by Michael John McCarthy and Marcello Lo Ricco punctuate revelations and overblown entrances with precise comic timing. Between the handheld microphones, head mics, live instruments, and constant character changes, I can only imagine the backstage coordination required. Somewhere, a stage manager deserves an enormous glass of wine. The production also knows its audience. There are cheeky references to famous screen adaptations, including a nod to Darcy's absence from a certain lake. Contemporary expressions slip casually into the Regency dialogue, with one servant declaring Mr Darcy a "dead set legend", while another character surveys the wealthy surroundings and announces, "Fuck me, it's posh!" This is Austen with swearing, sexual innuendo, and no respect for the fourth wall. Familiarity with Pride and Prejudice helps. Some of the funniest jokes rely on recognising the characters, anticipating plot developments, or knowing how thoroughly McArthur is misbehaving with the source material. With five actors portraying so many people, newcomers may need a moment to catch up. Still, I enjoyed hearing audience members gasp at revelations as though the story had only just been published. Beneath all the partying, ridiculous accents, and karaoke, the story's gender politics remain relevant. These women are constantly scrutinised, judged, and encouraged to secure their futures through marriage. Having performers take on both female and male roles adds another layer of commentary. The servants, usually overlooked in grand romantic narratives, finally get to have their say. Having recently enjoyed Queensland Theatre Company's more traditional production of Pride and Prejudice, I find it fascinating how differently the same material can be interpreted. Austen's characters are so richly drawn that they can survive even the most outrageous adaptations. Pride & Prejudice (sort of) is so ridiculously funny that I found myself cackling obnoxiously throughout. It's a rom-com for literature lovers and musical theatre enthusiasts, full of affection for the novel it's busy dismantling. And as someone stuck living with her mum, I could've done without the pointed observation that "loads of people live with their mums indefinitely..."

Title: K-POP Neon Warriors Presented By: Starbound Productions Genre: K-Pop / Live Music / Dance / Contemporary Musical Entertainment Synopsis: Neon Warriors is a brand-new, high-energy K-pop stage spectacular coming to HOTA on the Gold Coast in January 2027. This 90-minute professional production combines live vocals, dynamic choreography, dazzling costumes and an inspiring story to create an exciting theatrical experience inspired by the world of K-pop. Starbound Productions is seeking talented singers and dancers with strong stage presence, energy, confidence and personality to bring this original production to life. Audition Date: Sunday 25 October 2026 Audition Time: 8:30am: Check-in and studio open for warm-ups. 9:00am: Dance auditions for all dancers. 10:00am: Dance auditions for singers. 11:00am–12:00pm: Vocal auditions. 3:00pm: Callbacks for selected singers and dancers. Audition Location and Address: Dance HQ, 2/1 Geary Crescent, Molendinar QLD 4214 Audition Requirements: Starbound Productions is seeking confident performers with strong performance skills, stage presence, energy and personality. Dancers: Attend the scheduled dance audition. Demonstrate strong movement ability, confidence and performance energy. Be prepared to perform choreography suitable for a high-energy K-pop production. Singers: Prepare an upbeat K-pop-style song for the vocal audition. Attend the singers' dance audition. Demonstrate strong vocal ability, stage presence and confidence. Selected performers may be invited to callbacks at 3:00pm on the audition day. Audition Registration: Register via Ticketebo Auditions are free, but places are limited and registration is required. Performance Dates: Sunday 24 – Monday 25 January 2027 Performance Location: HOTA – Home of the Arts, Gold Coast QLD Rehearsal Dates: Late December 2026 and January 2027 Performer Age: Lead Singers: 15 years and over. Lead Dancers: 15 years and over. Junior Ensemble: 11–18 years. Production Website: https://www.starboundproductions.com.au/casting Available Roles/Character Breakdown LEAD SINGERS Age Requirement: 15 years and over Starbound Productions is seeking talented vocalists to lead the live musical performances throughout Neon Warriors. Performers should demonstrate confident singing, strong stage presence, personality and the ability to connect with an audience. Performance Requirements: Strong live vocal ability in a contemporary K-pop style. Confidence performing upbeat, high-energy musical material. Ability to combine singing with movement and choreography. Strong characterisation, performance energy and stage presence. Availability for rehearsals and both performances. Audition Preparation: Prepare an upbeat K-pop-style song and attend the singers' dance audition. LEAD DANCERS Age Requirement: 15 years and over Seeking dynamic, expressive dancers to feature in the production's major choreographic sequences. Performers should have strong movement skills, confidence and the ability to deliver energetic, visually engaging performances. Performance Requirements: Strong dance technique and musicality. Confidence with contemporary commercial and K-pop-inspired choreography. Excellent performance energy, expression and stage presence. Ability to work effectively within a dance ensemble. Availability for rehearsals and both performances. Audition Preparation: Attend the scheduled dance audition. JUNIOR ENSEMBLE DANCERS Age Requirement: 11–18 years Young dancers are invited to audition for the junior ensemble, performing alongside the production's lead singers and dancers. This ensemble will contribute to the show's high-energy musical and choreographic sequences. Performance Requirements: Strong enthusiasm for dance and performance. Confidence learning and performing choreography. Good musicality, coordination and stage presence. Ability to work collaboratively with other performers. Commitment to all scheduled rehearsals and performances. Audition Preparation: Attend the scheduled dance audition.

Taking a Bite Out of Dracula: Inside Ghostlight Theatre’s Bloody New Production I recently had the opportunity to attend a rehearsal for Ghostlight Theatre Company’s Dracula. Reagan Warner, portraying the Count, already seemed entirely at ease embodying evil. He observed Van Helsing with a faintly amused, knowing expression, as if Dracula relished just how badly outmatched everyone else was. Warner's low Transylvanian accent added to the menace, complemented by the red eyes, dark features, and some truly wild eyebrow acting. This is not a tragic, glittery vampire lover. Ghostlight Theatre Company is bringing William McNulty’s stage adaptation of Bram Stoker’s Dracula to Beenleigh Theatre for just four performances this October. Yasmin Elahi is producing and directing, while also handling set, costume, and lighting design. She is supported by a talented team: Tomm Burnett as Assistant Director, Dan Pohlmann as Fight Choreographer, Sarah Latter as Choreographer, Christina McMahon as Stage Manager, and Charlotte Horn in charge of SFX Makeup. This dedicated team has much to manage, including fight choreography, blood effects, prosthetic makeup, physical transformations, stunning set pieces, a complex soundscape, ballroom dancing, and even a performer on stilts. Which version of Dracula are we getting? For over a century, Dracula has been everything from a fanged monster and mysterious aristocrat to a seductive antihero, a children’s character who runs a hotel, a classic Halloween costume, and even... Nicolas Cage. Based on Bram Stoker’s 1897 novel, Dracula follows the Count’s arrival in England and the gory consequences for those unfortunate enough to cross his path. As Lucy and Mina fall within his sights, Professor Van Helsing and his allies begin to work out exactly what they’re dealing with and how they might stop him. McNulty’s adaptation condenses Stoker’s sprawling epistolary novel into something more manageable for an evening at the theatre. This is probably wise. “We’d be here for 12 years if we tried to do the whole novel,” Warner says. Ghostlight chose this adaptation because of one important distinction. “Because it was the only one that we found that was classed as a horror and not a gothic romance,” Warner explains. “Part of the idea behind this particular production is to make it disturbing and macabre without adding too many of the romantic elements.” So anybody hoping Dracula and Mina might stare tragically into one another’s eyes while contemplating their forbidden eternal love may need to adjust their expectations. There is desire, Warner explains, but love is another matter. “He’s absolutely not capable of love in this one. Absolutely not.” Warner likens this Dracula more to Nosferatu. He’s predatory, grotesque, and ravenous, but there’s still plenty of personality beneath the fangs. I noticed that in the scene where Van Helsing first meets the Count. Warner shifted from a mysterious, almost amused host into something far more aggressive, while Andrew MacArthur’s Van Helsing held his ground firmly. MacArthur brings a calm authority to the scene, which only seems to encourage Dracula to provoke him harder. “There’s so much gravitas to that role that Andrew brings,” Warner says. In the other scene I watched, Harker and Van Helsing confronted Dracula with a crucifix. Instead of recoiling as expected, Dracula mocked them and kept pushing until the encounter turned physical. And it got loud and bloody very quickly. How do you play a vampire without making him sexy nowadays? “I get to eat so many people,” Warner told me, sounding very pleased with himself. “There’s quite a body count in this show. I pity the poor sucker who’s got to mop the stage afterwards.” Anyone who knows Reagan Warner will know that Dracula isn’t exactly a wild casting departure. He wears almost exclusively black, has long joked about sleeping in a coffin, and has been a fan of the macabre for most of his life. Actually playing Dracula, however, has required more than turning up in his usual wardrobe. “Horror is so difficult,” he says. “The preparation predominantly comes down to how the audience is going to perceive the show. I have to think about how the audience is going to experience it and make sure that it is being conveyed properly.” Much of Warner’s work has gone into Dracula’s voice. “We have discussed the accent at length,” he says. “I think that the accent is inherently a part of the character and his origin. It is probably something I spent the most time on.” Warner is a linguist and admits to being particular about accents. That same attention runs through the production, with the cast looking closely at regional voices, clothing, physicality, and the relationships between their characters. How to freak out an audience without touching them? Ghostlight’s horror plans aren’t confined to bites and blood. Warner says the production uses sensory details designed to unsettle an audience before they quite realise why. “It’s one of the rare shows that employs Theatre of Cruelty techniques,” he explains. “Things that play with the audience, make the audience feel uncomfortable subconsciously, things like scent and sound that you don’t realise is there until it stops, and special effects that will toy with the psychology of a person.” Yes indeed, scent. I sought further clarification but was advised to wait and see. Ghostlight’s soundscape combines classical music, layered voices, unsettling effects, and, naturally, bats. The familiar Toccata and Fugue appears, along with a nod to Swan Lake, which Warner points out plays at the beginning of the classic Bela Lugosi Dracula. “The atmospheric sound has been a big part of this and a big focus, and I think they’ve done a really good job so far.” Sound can tip into haunted-house territory if every entrance, scare, or suspicious moment comes with its own musical exclamation mark. From what I heard in rehearsal, Ghostlight avoids that. The sound designer was constantly tweaking cues, replaying sections, and layering sounds while scenes were being worked around them. Who is going to clean this up? The rehearsal I attended gave just as much attention to the physical aspects of the horror. At one point, Alynta Scott, who plays Lucy, was carefully working through the logistics and movement of a bite. Vampirism requires choreographic direction too. Nearby, Rhys Schwarten as Renfield rehearsed with Alex Andrews, who plays the Child. Having a child performer woven into scenes immediately makes the situation more intriguing and raises the stakes. Warner had only recently seen some of the blood effects when we spoke. “I just absolutely gasped.” Fake blood bags were on every table at rehearsal, waiting patiently for their chance to ruin somebody’s costume. Warner’s own costume includes a heavy, high-quality velvet cape that looks suitably extravagant and very fun to sweep around the stage in. The production isn’t holding back on practical effects either. There will be prosthetics, transformations, physical fights, gore effects, and one performer handling combat while on stilts. Who put this bloody thing together? Along with producing and directing, Yasmin Elahi has designed the set, costumes, and lighting, while the wider team tackles choreography, combat, makeup, effects, sound, and the puzzle of getting an ambitious horror production onto an independent theatre budget. The cast and creatives have been working from shared mood boards and visual references so they’re all inhabiting the same version of Stoker’s world. “We’ve really worked on the aesthetics,” Warner says. “We’ve done a lot of inter-relational work between the characters.” I’ve seen Ghostlight’s past four productions, so I’ve had a pretty good look at the sort of theatrical worlds this company likes building. Their production of The Exorcist remains one of the very few straight horror productions I’ve seen onstage, and I still think about it often. Horror has a different set of toys in a theatre than it does on screen. There’s no camera choosing exactly where you look, no edit to cut away at the right moment, and whatever awful thing is happening is usually only a few metres from your seat. This also happens to be one of several Dracula productions appearing on local stages this year. So, why should audiences make the trip to Beenleigh for this one? For Warner, part of the answer is simply how rarely we get to see horror onstage. “Horror is so seldom done on stage,” he says. “I can only really think of The Woman in Black off the top of my head, and this is adapting a very well-known classic specifically for the stage.” Warner is hardly new to performing either. After years of stage work across almost 100 productions, he arrives at Dracula with plenty of experience behind him, plus a lifelong affection for the character. He’s equally enthusiastic about the people doing it with him. “The cast are phenomenal,” he says. “I’ve worked with many of the cast before and can testify to their hard work and their ethic, and just how good they are to work with.” I only saw two scenes, but there was already plenty happening before the production had put all its teeth in. When I asked Warner to sum it all up, his answer was simple: “Ambitious.” He paused and added, “Dude, I hope it’s good.” With only four performances, audiences won’t have long to find out! Photography: Christopher Sharman Tickets available here: https://www.trybooking.com/events/landing/1579528 Please note: This show contains strobe lighting, loud noises, horror themes, violence, blood and gore, simulated nudity and simulated firearms. Recommended for audiences aged 16+.

Essgee’s Pirates of Penzance Presented by: Savoyards Musical Comedy Society Venue: Iona Performing Arts Centre Date attended: 26 September 2026 Original work: W.S. Gilbert and Arthur Sullivan | Adaptation: Essgee Entertainment Director / Set Designer: David Harrison | Assistant Director: Joshua Moore Choreographer: Julianne Burke | Assistant Choreographer: Caley Monro Musical Director: Nicky Griffith Stage Manager: CJ Avery Costume Coordinator: Kim Heslewood Wigs, Hair & Makeup: Lynne Swain Lighting: Gabrielle Burton Sound: Ethan Houley and David Sowdon Photography: Sharyn Hall and Bec Swain “With cat-like tread, upon our prey we steal.” They sing this extremely loudly. Subtlety is nowhere to be found. Gilbert and Sullivan wrote the original nearly 150 years ago. Essgee Entertainment’s 1994 Australian adaptation gives The Pirates of Penzance a poppier makeover while keeping G&S’s musical parody intact. Savoyards takes that already cheeky version and piles on another layer of theatrical mischief. Director David Harrison fills the production with plenty of fourth-wall breaks, audience interaction, and exaggerated movement. The result reminds me of Spamalot and Robin Hood: Men in Tights. Frederic (Oliver King) has spent his young life among pirates (and Ruth, the only woman he has ever known). Then he encounters Major-General Stanley’s many daughters and the poor boy doesn’t stand a chance... Frederic’s sudden exposure to eligible young women turns into a magnificent display of peacocking. He poses, thrusts his pelvis, and behaves like a male bird midway through an elaborate mating dance. The daughters keep spawning from nowhere while he sings, swooning in increasing numbers. It’s like watching The Bachelor set in 1879. King’s singing has a warm, rounded, old-fashioned quality that suits Frederic beautifully, like a romantic operetta lead who has wandered into a Monty Python sketch. Of course, the sole woman Frederic knows before all this is Ruth (Meg Kiddle), his former nursemaid, now considerably older than him and determined to convince him she’s a viable romantic option (totally normal right?). Kiddle sings “When Frederic Was a Little Lad” with a lovely warmth, and her voice suits the more traditional operetta writing particularly well. Ruth is already such an odd character that I’d happily see Kiddle push her characterisation further into the ridiculous. There’s room for more shamelessness in Ruth’s wildly inappropriate pursuit of this bewildered young man. Mabel (Kat Suschinsky) wastes no time staking her claim on Frederic's attention. Suschinsky’s operatic voice sails above the surrounding silliness, while her characterisation has a sweet aggression to it. Mabel can flash a pretty smile while violently elbowing her sisters out of the way. Suschinsky milks the contradiction perfectly. Against the dizzy fluttering around Frederic, her vocal confidence always powers through without fail. Anna Roche-Kelly, Ashlin Cork, and Constanza Acevedo Burckhardt are a ball as Edith, Kate, and Isobel. Decked out in vibrant dresses and blonde wigs, they look like a Victorian girl group ready to bust out “Three Little Maids” if given the chance. Alas, their actual song “Climbing Over Rocky Mountain” demands an extraordinary effort from them all. They’re moving, acting, navigating musical complexity, and keeping their harmonies precise while pretending their brains aren't whirring like crazy. As for the ensemble, the Stanley daughters collectively exude the energy of 24 women vying for a single rose. Jordan Ross’s Pirate King treats the entire theatre as territory available for conquest. Between the swagger, audience play, games with the spotlight operator, and excursions into the aisles, Ross keeps reacting to whatever is happening around him. That gives his comedy a freshly invented quality, even when every beat has obviously been rehearsed. He’s charming, witty, and makes the Pirate King look like he’s having just as much fun as we are. Vocally, Ross’s stunning deep tone reminds me of the Lion from The Wizard of Oz, which completely suits this larger-than-life rogue. His pirates follow accordingly. At one point I spotted an ensemble member running with Jack Sparrow energy, and I momentarily forget which pirate universe we'd sailed into. That’s one of the pleasures of this enormous cast. There is always some piece of character business happening somewhere. In crowded scenes, watching the ensemble becomes its own activity. Everybody has been given permission to build a complete character rather than waiting politely for their next chorus entrance. Warryn James' performance of “I Am the Very Model of a Modern Major-General” is a remarkable display of verbal dexterity, executed with precision by James, the orchestra, and all involved. He zips through it with the cheerful oblivion of a guy who’s just unknowingly dragged a whole crowd through a verbal marathon. Also, I didn't understand a word. Act Two belongs to the policemen. Graham Colenutt leads a squad of glorious professional incompetents equipped with phony moustaches, wobbly legs, elaborate formations, and absolutely no desire to catch criminals. When the Foeman Bares His Steel” erupts into organised “Tarantara” pandemonium, while “When a Felon’s Not Engaged in His Employment” confirms that these men will perform virtually any activity available to them provided it does not resemble policing. Their commitment to doing their jobs as badly as possible is magnificent. “With Cat-Like Tread” sees the pirates boldly claim to sneak around like ninjas, then make enough noise to wake the entire neighbourhood. Throw in a kickline, and any hope of stealth vanishes. Better yet, they keep providing an encore. And another. Ross’s Pirate King grows more exasperated each time the song refuses to die, until his frustration finally shifts toward the maestro, as though she personally has the power to stop this musical hostage situation. The joke is ancient and blatantly obvious, yet everybody commits to it so completely that it keeps getting funnier. Musical Director Nicky Griffith conducts a 22-piece orchestra from upstage, with the musicians becoming part of the personality of the evening. Griffith is acknowledged throughout and occasionally steps outside the usual invisible-conductor role. Her finest act of piracy may be unleashing Pirates of the Caribbean on the audience. The full company’s rendition of “Hail, Poetry” is like finding a beautiful flower in the middle of a food fight. Sung a cappella, it strips away the orchestra and lets the ensemble’s harmonies speak for themselves. For a few minutes, this circus of pirates, policemen, and ladies turns into a very fine choir. Julianne Burke and Caley Monro’s choreography understands that these people should never move as expected. Even when the stage is packed, the movement stays rooted in character. The Act One finale shows just how much coordination sits beneath the apparent disarray, with “Pray Observe the Magnanimity” moving from partnerwork into full-company choreography and carefully engineered mayhem. Visually, Harrison’s set keeps the world bright and theatrical, with ship imagery, lattice structures, and vivid green and red sails. Kim Heslewood’s costumes favour colour over historical solemnity. Pirates arrive in layered, mismatched textures and accessories, while the Stanley daughters resemble a walking box of jewel-toned sweets. Lynne Swain’s wigs, hair, and makeup push the characters another step towards storybook beauty. This is my first time seeing The Pirates of Penzance, and I’m surprised by just how contemporary the comedy can feel. The plot is absurd, everyone is trapped by increasingly dumb definitions of honour and duty, and nobody behaves themselves for more than thirty consecutive seconds. Savoyards gives the silliness room, trusts the performers to commit to it, and lets their large cast behave like they’ve all been invited to the same pirate-themed improv night. Some things simply survive the passage of time.

Next to Normal Produced by: Millennial Productions Presented at: Ron Hurley Theatre, Seven Hills Date attended: 26 September 2026 Music: Tom Kitt | Book and Lyrics: Brian Yorkey Director: Taylor Atley Associate Director / Intimacy Liaison: Ellen Axford Musical Director: Victoria Keomahavong Production Manager: Jaime O'Donoghue Stage Manager: Daniel Lelic Lighting: Pavani Wickremasinghe | Sound: Lane Agostinelli Costume: Ned Kelly |Props: Lauren Bensted Mental Health Consultant: Maddison Joyce Photography: Jacob Atley “We haven’t had a normal day in years.” I’d never seen Next to Normal before, but with Millennial Productions’ reputation and this creative team behind it, I knew I was in safe hands. The tissues being sold at the bar should probably have warned me what those hands were about to do though... By the end, I understood why. The Goodman family have spent seventeen years arranging themselves around grief and mental illness. Diana (Morgan Heynes) swings between mania and medication. Dan (Conor Ensor) keeps reaching for the next practical fix, as though enough appointments and reassurance might hold the house together. Natalie (Madeline Harper) retreats into piano and perfection. Gabe (Jackson Hughesman) hovers close to Diana, loving and unsettling in equal measure. Henry (August Cocks) tries to reach Natalie from outside the family’s orbit as her sweetly persistent boyfriend. Diana’s psychiatrists, Dr Fine and Dr Madden (both played by Sam Ford), are entrusted with decisions that can alter the shape of her life. Director Taylor Atley places the Goodmans in a recognisably suburban home where they move around each other on autopilot. Lauren Bensted’s props fill it with the usual family clutter, right down to medication bottles scattered across the kitchen bench. A raised level stretches above the set, creating space for characters who are present yet seem detached from the reality below. Pavani Wickremasinghe’s lighting, including LED strips framing the upper level and doorway, shifts the house between warmth, unease, memory, and the cooler world of treatment while the scenery itself stays fixed. That domestic ‘normality’ feeds straight into “Just Another Day”. Everyone races through the morning, performing the rhythms of a functioning family while the routine is already fraying around the edges. Brian Yorkey’s writing can jump from observational humour to absolutely vicious within moments, and this production embraces that whiplash. “It’s Gonna Be Good” lets the room relax into laughter before “You Don’t Know” tears straight through it with Diana’s rage. Nobody receives the courtesy of one emotion at a time. Morgan Heynes has an enormous task as Diana, vocally and dramatically, and never flattens her into a diagnosis. Her acting keeps Diana mercurial: she adores her family, resents them, reaches for help, rejects it, and describes herself with the beautifully understated, “My mum called me high-spirited” (relatable). Heynes’ control of those shifts is as impressive as her singing. In “I Miss the Mountains”, Diana has reached the point where medication has dulled everything, including the parts of herself she misses. Heynes changes her vocal texture as the song grows, letting rough cries break through the cleaner phrases until the desire to feel anything becomes physical. Later, following ECT, she alters Diana’s entire presence. Her gaze disconnects, her responses arrive differently, and familiar people seem to be standing in the wrong places inside her own life. The contrast is unnerving, showing just how much detail Heynes has built into Diana beyond the score. Jackson Hughesman as Gabe initially appears protective, a son hovering near his mother when she needs him. The gentleness of his character makes his eventual pull over Diana far more disturbing. In “I’m Alive”, Hughesman unleashes a voice full of riffs, height, and rock power, but distress and torment sit underneath all of it. Gabe wants to remain. He wants to be remembered, not erased. Depending on where Diana is emotionally, he shifts between comfort, grief, temptation, and threat. His physical presence feeds that unease. He climbs onto furniture, looms above the family, and draws Diana towards the promise of peace with a magnetic insistence. He occupies the house completely while remaining unreachable to everyone living outside Diana’s reality. And then the production turns Gabe towards Dan. I won't discuss that sequence in detail because I’d like at least one other unsuspecting person to suffer as I did. Ensor and Hughesman’s “I Am the One” had people all around me wiping their faces. Ensor’s reaction strips away years of repression in seconds. Conor Ensor is excellent at showing exhaustion without playing Dan as permanently defeated. Earlier, “I’ve Been” gives him space to admit what maintaining this family has cost him. His support for Diana is loving, desperate, and increasingly threadbare. The production also lets us see the much younger Dan and Diana, full of hope at 22, before parenthood and loss rearranged their lives and love. Natalie is dealing with a different kind of disappearance. She’s gifted, driven, embarrassed by her family, frightened by what she sees happening to her mother, and woefully aware of how frequently she is overlooked. “You tend to miss a lot of things,” she tells Diana. Madeline Harper has a beautiful, expressive voice that rises easily through Kitt’s demanding score. In “Superboy and the Invisible Girl”, resentment keeps cracking wounds open, while “Catch Me I’m Falling” builds into the panic of a daughter asking to be noticed before she disappears completely. And when Diana decides to stop taking her medication, Natalie begins self-medicating. August Cocks brings a welcome softness to Henry, keeping him warm, earnest, and slightly awkward. His “This planet is pretty much broken beyond all repair” philosophy is perhaps not the cheeriest opening gambit for teenage romance, but his scenes with Harper have an easy sweetness that lets Natalie briefly drop the hyper-achiever armour. Their relationship gives the show room to breathe, even as the chaos at home keeps pressing in. Sam Ford’s doubling as Dr Fine and Dr Madden marks one of the production’s more theatrical departures from the Goodman household. Diana’s treatment suddenly resembles a rock concert, her psychiatrist elevated into “Doctor Rock” as medications, diagnoses, and treatment options fly at her. The humour evaporates once those choices carry frightening consequences. Diana needs medical care, yet handing parts of her mind and body over to treatment is terrifying. When the pain of living is unbearable, which is worse: the illness, or what the treatment takes from her? Is feeling nothing preferable to feeling everything? With Maddison Joyce as mental health consultant and Ellen Axford as intimacy liaison, the production approaches Diana’s illness as lived experience rather than spectacle. And Dan and Natalie’s exhaustion, neglect, and fear are given equal weight. Musically, this cast is formidable. Victoria Keomahavong guides a score that barely gives its performers time to breathe, and the layered harmonies in numbers like “Song of Forgetting” are so beautifully controlled. The main issue is sound balance. At points, the underscoring sits too loudly beneath dialogue and lyrics, swallowing lines that carry important information in an already dense story. Still, this is a musical built around people missing things. Diana loses pieces of her memory, Natalie is missed in plain sight, and Dan hides grief from himself. Next to Normal is brutal, but Millennial Productions doesn’t leave us entirely in the dark. “Light” arrives as a beautiful sliver of hope after so much trying, failing, and trying again. Around me, the audience quietly wept and gathered themselves after everything that came before.