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Singin’ in the Rain – 24 Hour Musical Project Director : Tim Wynn Music Director: Jacob Cavanough Choreographer : Grace Clarke Photographs : Loud Photography Plus an enormous creative team, support team, and 20-piece orchestra   "And were there more than 24 hours a day, they’d be spent in sweet content dreamin’ away" It’s my favourite time of year! Walking into a theatre knowing that what you are about to see was put together in just 24 hours. And honestly… Singin’ in the Rain  might just be the perfect storm for it. It’s one of my all-time favourite musicals too. Great choice, gang!   For those unfamiliar, the 24 Hour Musical Project is exactly what it sounds like. A cast is assembled without knowing the show, a shortlist is teased, and then once the title is revealed, the clock starts. Twenty-four hours later, curtain up. No safety net, no time to overthink, just pure adrenaline and instinct!   After a start that was definitely not delayed by 30 minutes… (they plan everything except the parking situation at Stuartholme), the energy in the theatre was lifted. And that theatre was full of community members, friends, and fellow artists, all ready to witness whatever chaos and brilliance was about to unfold. The 1920s-inspired wigs and costumes did a lot of heavy lifting in establishing the world quickly, leaning into classic Hollywood glamour with just enough theatrical flair.   You could sense  the insomnia in the room. There’s a special giddy delirium that hits when you've been awake for far too long, especially  when that time is spent learning and memorising non-stop information. Every joke feels ten times funnier, every mishap is a slapstick masterpiece, and every success is like a whole group triumph. Also, immediate shoutout to the 20-piece orchestra who were operating on a completely different level. They heroically and impressively delivered a worthy performance based on mostly sight-reading. One standout for me was Benjamin Cole in the role of Cosmo Brown. His comedic delivery was divine, and his energy seemed somehow limitless. Make ‘Em Laugh  had me actually laughing out loud, particularly due to the clever addition of chaotic filmed segments. Ben managed to keep it all together superbly and his voice remained remarkably strong throughout. Zach Price as Don Lockwood leaned beautifully into the old Hollywood leading man style, maintaining charm and composure while not-so-subtly eyeing the prompter like a pro. Bec Swain brought a softness and sincerity to Kathy Selden, with You Are My Lucky Star  offering a genuinely lovely vocal moment amidst the drama. Her adorably delirious giggles only added to the charm.   Ellen Axford was a whirlwind force in the role of Lina Lamont. Lack of sleep seemed like the secret weapon to crank up the character's crazy essence. Her melodramatic solo What’s Wrong With Me and the Duelling Cavalier film sequence were comedic high points. David Goodwin as Dexter leaned right into the madness of being a director, serving up a performance that was knowingly unhinged and utterly committed. Carly Quinn as Dora Bailey delivered a shimmering performance with strong character flair, while Kyle Armstrong gave us a smooth crooner moment in Beautiful Girls , complete with a powder blue tux and dancers draped in flowing silks. Across the ensemble, the commitment to bold, heightened character choices was a joy to watch. No one played it safe, and that’s exactly what this format thrives on. And truly, the entire cast are stellar stars in our community, each finding their moment to shine within the madness.   Also worth noting, articulation and accents across the cast were surprisingly strong considering the circumstances. But by Act 2, things became delightfully loopy. I am fairly certain some performers were seeing double by the end. There were moments where I genuinely wondered if the cast knew what they were saying anymore. Prompter delays became punchlines. Timing mishaps between band and actor became comedy beats. But the cast supported each other beautifully, never breaking character ( much ), no matter what went wrong.   More memorable moments: All I Do Is Dream of You  had excellently tight choreography and infectious energy. The fact that any choreography existed at all, let alone moments of cohesion, is honestly remarkable in this format. Moses Supposes  (the tongue-twister nightmare) was attempted with full tap choreography… bravo Zach and Ben! Broadway Melody  showcased the orchestra at their absolute best, with the cast giving it everything they had left in the tank. The filmed sequences, very likely shot in the early hours of the morning, added an extra layer of humour The real pie-in-the-face moment A couple of early onstage falls in the first 10 minutes (hopefully everyone was okay!) The accidental house lights moment… whoops! And a special mention to Andrew CP’s demonstration of the “talking picture"   This kind of performance requires a very specific skill set. Strong memory, excellent sight-reading, quick instincts, and the ability to just go with it when things inevitably go off track. And this cast rose to that challenge with heart, humour, and an incredible sense of community. The 24 Hour Musical Project is a reminder of just how much talent exists within our local community, and how powerful it is when those artists are given the space to simply create together. The audience was rapturous throughout, all sharing in the same unpredictable experience.   If you ever get the chance to see one of these shows, take it. No two are ever the same of course. And sitting in that audience, surrounded by a room full of people cheering them on, it was very clear… this was one of those “you had to be there” nights. And I’m very glad I was!

Sunny Tribe District – Salad Days Collective PIP Theatre, Milton Playwright:  Patrick Mu’a Co-Directors:  Jasmine Prasser & Rebecca Day Lighting:  Noah Milne Sound:  Tommi Civili Producer:  Georgina Sawyer “Catch a falling sadness, put it in your pocket, make sure that it fades away.” I knew within about 30 seconds what kind of night I was in for at Sunny Tribe District . There were friendship bracelets being made pre-show and an audience already giggling as they entered the theatre. This is absurd comedy in its purest form. You have to meet it where it lives. Blink and you’ll miss a joke. Or five. It’s fast, chaotic, and completely committed to its own strange little world. The premise is simple enough. Knick ( Peter Hatton ) arrives at Sunny Tribe District, a wellness-style summer camp run by his missing brother Ken. The goal? Turn “sadlings” into “gladlings”. The problem? The four counsellors running the place are so bizarre they may as well be aliens. This KKKC quartet – Kurt, Kay, Kris and Celly – are completely animated from head to toe. Each of them leans into a wildly distinct voice and physicality. Kurt lives in what I can only describe as “meerkat mode”. Kris commits to a nasal, voice-cracking delivery. Kay bounces around like she's had thirteen Red Bulls. And Celly… every time she opens her mouth with that blunt, southern accent, I lost it. Peter Wood (Kurt), Isabella Berlese (Kay), Darcy Jones (Kris) and Rebecca Day (Celly) are operating at a level of commitment that honestly makes me wonder how they don’t break character every five seconds. Every tiny facial twitch, every odd physical choice, every abrupt accent switch is intentional and so funny. You need four pairs of eyes to catch everything happening onstage at once, and even then you’ll probably miss something ridiculous happening in the corner. Every time a character has something to say, it somehow turns into a full spectacle. And then there’s the stamina. This cast does not stop. Singing, rapping, dancing, sweating, crawling. It’s clear this is a cast that trusts each other completely, which is essential in a show this tightly choreographed and fast-paced. Every line, every beat, every lighting cue and sound effect is locked in with surgical precision. Directors Jasmine Prasser and Bec Day have clearly drilled this into the cast, because it lands like a perfectly timed sitcom… if that sitcom was the opposite of politically correct. Sound by Tommi Civili and lighting by Noah Milne are used to full comedic effect, punctuating jokes like a perfectly timed punchline. Visually, the show embraces a deliberately dodgy aesthetic. Fake grass, inflatable logs, painted clouds, caution tape… it’s giving “this is definitely not a cult” energy. Costumes lean into classic camp counsellor realness with fanny packs, bandanas and boots. The script by Patrick Mu’a leans hard into pop culture. We’re jumping from High School Musical  to Hannah Montana , Stranger Things , The Lion King , Shawshank Redemption , Harry Potter , the Nutbush… The audience were giving uncontrollable, hyena-level laughter every few seconds. I genuinely find myself wanting to see it again just to clock all the references I missed. There’s a looseness to the performance that made me constantly question how much is scripted and how much is improv. It feels like anything could happen at any moment, but the precision says otherwise. Either way, it keeps you on your toes! Standout moments come thick and fast. Darcy’s bizarrely brilliant rap about denying the existence of sadness has strong Turn It Off  from The Book of Mormon  energy. Isabella's alter ego “Bubbles” Welcome to Burlesque  number is full of sexual innuendos. There are puppets, random props (the fish!), abrupt Aussie accents that shouldn’t have made me laugh as hard as they did, and moments where I genuinely sit there thinking, are they all on speed? And celery? Peter Hatton as Knick plays the necessary grounding force, reacting exactly how we are thinking: “WHAT is happening?” Watching him slowly spiral into the madness is half the fun. There are also these unexpected musical and performance moments woven through the show, while other “lessons” spiral into something closer to improv games turned motivational preachy seminar. What I really love is what the show is actually poking at. This obsession with forced happiness. The idea that we can just repress/mask the messy stuff and “fix” people. The counsellors are avoiding discomfort with spectacle, deflection and increasingly unhinged “lessons”. It becomes, in its own bizarre way, a reminder that joy and connection can exist alongside the mess, and that maybe the goal isn’t to eliminate sadness entirely, but to learn how to sit with it… or at least laugh at it along the way! STD is loud, it’s naughty, it’s very self-aware, and it doesn’t apologise for any of that. This really is a zillennial fever dream of nonsense. So, if you’re up for something chaotic, clever, and genuinely different, Sunny Tribe District  is a wild little ride. But if you are an older generation or have a stick up your butt, this might not be your cup of tea. And for the record… as someone who once worked at a summer camp myself, I can neither confirm nor deny that it is exactly like this.

School of Rock! The Musical Book by Julian Fellowes | Lyrics by Glenn Slater | Music by Andrew Lloyd Webber Presented by Passion Productions Director:  Connor Clarke Musical Director:  Jacqueline Atherton Choreographer:  Stephanie O’Shea Featured Cast Dewey Finn:  Lachie Gleadhill / Rhys Schwarten Rosalie Mullins:  Isabel Kruse Ned Schneebly:  Jackson Kellaway Patti Di Marco:  Isabella Farry Summer Hathaway:  Saana Chang / Olivia Cowdrey Tomika:  Alessia Lily Monteverde / Addison Vogel Zara:  Emily Winwood / Olivia Hancock Freya:  Chloe Coleman / Alex Andrews Katie:  Shaynna Allen / Darci Allen Lawrence/Laura:  Joshua Ngo / Ammi Johnson Billy:  Henry Hedger “You guys have what everyone wants… and that’s talent.” When wannabe rock star Dewey Finn poses as a substitute teacher at a prestigious school, he accidentally discovers a classroom full of hidden musical talent. What starts as a scheme to pay rent quickly turns into something much bigger, as Dewey forms a secret band with his students and sets their sights on the ultimate goal: Battle of the Bands. As a music teacher myself, I had so many reflective moments at this show. That excitement, that pride, that spark where a young performer realises what they're capable of. That feeling of spotting something special and wanting to nurture it is something Passion Productions' School of Rock  captures beautifully. It already feels like something’s about to happen when you take your seat. The lighting hits straight away, bold, colourful, and very “rock concert”. Paired with a live on-stage band, the production has a strong sonic and visual foundation from the get-go. Let’s start with the obvious: the kids run this show, and they absolutely know it. From their very first entrance, there’s a spark. Not just fizzling energy, but an unfeigned thrill to be on that stage. And what makes it even better is that they’re not pretending to be a band… they are one. Playing their own instruments, navigating choreography, vocals, and dialogue, and doing it all with confidence in front of a packed audience. Honestly, some of these kids are already cooler than I’ll ever be. I don’t want to single anyone out too heavily, because the ensemble as a whole is incredibly strong. No one fades into the background. The cohesion, the commitment, the character work, it’s all there. That said, there are a few moments that really land. Olivia Cowdrey as Summer is all precision and assurance, kicking off Act 2’s opener Time To Play like she’s been waiting her whole life for it. Addison Vogel as Tomika delivers an Amazing Grace  that completely stops the room; an astonishingly soulful sound from someone so young, it will catch you off guard. With more acting experience, she will grow into a knockout performer. Olivia Hancock as Zara brings a smooth, warm tone that sits beautifully in the mix while shredding on the electric guitar. Henry Hedger as band stylist Billy is an energetic delight, full of personality and completely in his element in this role. Alex Andrews as Freya is a tiny powerhouse behind the drum kit, already showing serious control and rockstar attitude. Darci Allen locks in on bass as Katie with a cool, confident air, while Ammi Johnson’s Laura on keys brings a quiet focus that balances out the group. The musicianship across the board is genuinely impressive… and, not going to lie, a little intimidating! As Dewey Finn, Lachie Gleadhill steps into the big shoes of Jack Black and makes the role his own Aussie version. He captures the scruffy charm of the character well, with a strong vocal presence for his many songs and an easy rapport with both the audience and the kids. I would have loved him to push even further into the goofiness at times, really leaning into that larger-than-life comedy, but there is no denying his command as this mighty character. Isabel Kruse as Principal Rosalie Mullins is poised and polished to perfection, with a stunning soprano and just the right amount of rigidity to make her arc land. Jackson Kellaway’s Ned fits the “classic teacher” awkward mould perfectly, and Isabella Farry’s Patti is… a lot, in exactly the way she’s meant to be. With many roles double cast, there’s clearly a huge pool of talent across the company, and it would be well worth catching the alternate cast to see what a completely different lineup brings to these roles. Under Jacqueline Atherton’s music direction, the band and vocals work harmoniously together, creating a full rock sound while still allowing the young performers' voices to shine. At times, particularly in faster-paced stamina songs or rapid dialogue exchanges, clarity slips slightly. Stick It to the Man  is easily the standout for pure energy. Stephanie O’Shea’s choreography is punchy, scrappy, and full of attitude. Not overly polished, just the right amount of mess to appear rebellious. This is where the cast really lets loose, and you can feel it ripple through the audience. If Only You Would Listen presents a lovely tonal shift, beginning with an intimate performance by a group of four before broadening to include the entire youth cast to highlight the strain and distance between the parents and kids. And then Teacher’s Pet  closes things out exactly how you want: loud, proud, and fully committed. Rhythm and cohesion in this number is tricky, but they absolutely rise to the challenge and do their best! Connor Clarke’s direction leans into the fun of the piece, and it’s clear the cast, especially the kids, have been given space to play. There are some great improv moments scattered throughout, which keeps the show feeling fresh and alive rather than mechanical. The accents, the little local nods, the throwaway jokes that only we would get, all gives this production its own identity rather than feeling like a copy of the original. My favourite was the line: “Without Battle of the Bands, there’s no Harvard or QUT… you might get stuck going to Griffith,” which definitely got a snort-laugh from this reviewer! The staging works cleverly with the space too. With no elevated stage, the action spills outward, especially during Battle of the Bands , pulling the audience right into the action rather than keeping them at a distance (shoutout to the daggy dad and mum dancing on stage left!) Visually, the contrast between strict school uniforms and full rockstar transformation is noticeably brilliant. By the end, it’s safe to say these kids are running the school. What really stuck with me wasn’t just the performances, but the effort behind them. This is community theatre, and while it’s not a professional production, the level of passion, commitment, and talent on display proves just how strong this community really is. Between the live music, the fearless young performers, and a creative team that clearly understands the joy at the core of the show, School of Rock  delivers exactly what it promises. It’s about finding your voice… and having the guts to use it. And this cast? They’ve definitely found theirs.

Title:  Ravenscroft Presented By:  Growl Theatre Genre:  Gothic Mystery / Dark Comedy Synopsis: A body lies at the foot of the stairs in a lonely country manor. Inspector Ruffing is called in to discover the truth, but nothing at Ravenscroft is straightforward. Five women - each with her own secrets, suspicions, and eccentricities - draw the detective into a world of tangled relationships, eerie undercurrents, and darkly comic revelations. Is Ravenscroft haunted? Is the truth hidden in the walls - or in the hearts of its inhabitants? Don Nigro’s Ravenscroft  is a witty, gothic mystery with dry humour, twisting suspense, and a cast of characters who keep both the detective and the audience guessing until the very end. Audition Date:  Sunday May 10th, 2026 Audition Time:  6:30PM Audition Location and Address:  Windsor School of Arts, 381 Lutwyche Rd, Windsor Audition Requirements: Download and review the audition pack (includes character descriptions & rehearsal schedule) Prepare audition pieces (3 provided; familiarity preferred, full memorisation not required) Bring headshot and acting CV Audition Registration: Complete audition registration form Email headshot & CV to production@growltheatre.org.au Audition Pack: Ravenscroft Audition Pack Performance Dates:  August 15th - 29th, 2026 Performance Location:  Windsor School of Arts, 381 Lutwyche Rd, Windsor Rehearsal Dates:  Starting Sunday June 7th, 2026 Rehearsal Times: Mondays & Thursdays - 6:30PM – 9:30PM Sundays - 1:30PM – 5:00PM Rehearsal Location:  Windsor School of Arts, 381 Lutwyche Rd, Windsor Warnings:  Themes of death, psychological tension Performer Age:  30–50 (current role); additional roles TBA Creative Team: Director - Pauline Davies Production Website:   Growl Theatre - Ravenscroft Other Information: Membership fee - $30 (required if cast; valid through 2026) Costumes largely provided; cast must supply basic makeup Female roles will be announced later Available Roles / Character Breakdown: Inspector Ruffing  (30–50) A weary, intelligent detective investigating a suspicious death. Rational and methodical, he becomes increasingly unsettled as the women of Ravenscroft outmanoeuvre him. Requirements: Strong dry comic timing; ability to transition from authority to vulnerability; high stamina (onstage for most of the play).

Title:  Blithe Spirit Presented By:  Villanova Players Theatre Genre:  Comedy Synopsis: An iconic comedy from one of the greatest British wits, Noël Coward, often considered his best.The novelist Charles Condomine invites a medium, Madame Arcati, to a dinner party, who accidentally brings back the ghost of his deceased wife, Elvira.Charles can see Elvira, but she is invisible to everyone else, including his current wife, Ruth. Elvira’s arrival causes chaos, as both women fight for his love and attention. Audition Date:  Sunday May 10th, 2026 Audition Time:  10AM - 12PM Audition Location and Address:  Ron Hurley Theatre, 28 Tallowwood St, Seven Hills QLD 4170 Audition Self Tape : If you’re unable to make it to in-person auditions, please submit a video audition to info@villanovaplayers.com by May 10 and please email with any questions. Audition Requirements: Cold read in audition Audition Registration: Complete the Expression of Interest form HERE and Book your Audition Time HERE Audition Pack: Blithe Spirit Audition Pack Performance Dates: July 17th - 26th, 2026 Performance Times:   Fridays - 7:30PM Saturdays - 2PM & 7:30PM Sundays - 2PM Performance Location:  Ron Hurley Theatre, 28 Tallowwood St, Seven Hills QLD 4170 Rehearsal Dates:  Rehearsals begin May 24th, 2026 Rehearsal Times: Tuesdays & Thursdays - 7PM – 9:30PM Sundays - 11AM – 4:30PM Rehearsal Location:  Ron Hurley Theatre, 28 Tallowwood St, Seven Hills QLD 4170 Performer Age:  18+ (role dependent) Creative Team: Director - Roslyn Johnson Production Website:   Villanova Players Theatre - Blithe Spirit Other Information: For more information: info@villanovaplayers.com  or 0428 867 994 Submit an Expression of Interest even if you cannot attend the audition in person. Available Roles / Character Breakdown: Edith  – The housemaid; nervy, eager to please (Female, 18+) Charles Condomine  – Novelist, widower researching the occult (Male, 35+) Ruth  – His wife; smart, business-like, practical (Female, 28+) Dr Bradman  – Middle-aged dinner guest (Male, 40+) Mrs Bradman  – His wife (Female, 40+) Madame Arcati  – Eccentric, over-the-top medium (Female, 40+) Elvira  – Ghost of Charles’ first wife; vain, playful, petulant (Female, 30+)

Title:  Senior IMPACT Ensemble 2026; Peter Pan & Wendy Presented By:  Empire Youth Arts Genre:  Devised Theatre / Contemporary Ensemble Performance Synopsis: The Senior IMPACT Ensemble is an audition-based performance program for young artists aged approximately 15–20. Participants collaborate with professional creatives to devise and perform an original work, exploring contemporary themes and personal stories through an ensemble-driven creative process. Audition Date:  May 11th - 12th, 2026 Audition Time: 4PM - Group Audition From 5PM - Solo Auditions Audition Location and Address: Empire Theatre, 54–56 Neil Street, Toowoomba QLD Audition Requirements: Prepare a short monologue (published work) Present an original/devised piece (e.g. monologue, poem, movement, etc.) Attend both group and solo audition components Audition Registration: Submit application form via email to youtharts@empiretheatre.com.au  or via the Empire Theatre website Application Form included in Audition Pack Audition Pack: Senior Impact Ensemble Audition Pack Performance Dates:  October 9th - 10th, 2026 Performance Times:  7PM Performance Location: The Armitage Centre, Empire Theatre, 54–56 Neil Street, Toowoomba QLD Rehearsal Dates: May – October 2026 (including school holiday intensives) Rehearsal Times: See Audition pack for detailed rehearsal schedule. Rehearsal Location: Empire Theatre, 54–56 Neil Street, Toowoomba Warnings: Content may explore mature or contemporary themes (typical of devised youth theatre) Performer Age: Approx. 15–20 years Production Website: Empire Youth Arts - Senior Impact Ensemble Other Information: Participation fee applies (payment plans/assistance may be available) Opportunities also available for Assistant Creatives and Writers Open to performers of all experience levels Focus on collaboration, creativity, and original storytelling Available Roles / Character Breakdown: Ensemble-based production (approx. 8–14 performers); roles devised collaboratively during rehearsal process rather than pre-cast characters

Title:  Harvey Presented By:  Tugun Theatre Company Genre:  Comedy / Drama Synopsis: Elwood P. Dowd insists on including his friend Harvey in all of his sister Veta’s social gatherings. Trouble is, Harvey is an invisible six-foot-tall rabbit! As Veta becomes increasingly concerned about Elwood’s sanity, a whirlwind of misunderstandings, charm, and unexpected friendships unfolds in this heartwarming classic comedy. Audition Date:  May 2nd, 2026 Audition Time:  From 3PM Audition Location and Address:  Tugun Theatre Company, 414 Coolangatta Rd, Tugun QLD 4224 Audition Requirements:  Open to performers of all ages and experience levels; details provided upon booking Audition Registration:  Email director.tuguntheatre@outlook.com  or visit www.tuguntheatre.org Performance Dates:  August 7th - 29th, 2026 Performance Times:   Fridays - 7:30PM Saturdays - 2PM & 7:30PM Performance Location:  Tugun Theatre Company, 414 Coolangatta Rd, Tugun QLD 4224 Rehearsal Dates:  Beginning June Rehearsal Times:  Monday and Thursday evenings Rehearsal Location:  Tugun Theatre Company, 414 Coolangatta Rd, Tugun QLD 4224 Performer Age:  All ages welcome Creative Team:  Director - Judy Neumann Production Website: Tugun Theatre Company - Harvey Other Information:  Spaces are limited; early booking is encouraged Available Roles / Character Breakdown: Elwood P Dowd Veta Louise Simmons Myrtle Mae Simmons Dr William B Chumley Betty Chumley Duane Wilson Dr Lyman Sanderson Nurse Ruth Kelly Judge Omar Gaffney Mrs Ethel Chauvenet

Title: Joseph and the Amazing Technicolor Dreamcoat Presented By: Shine Performing Arts Genre: Musical Theatre / Youth Performance Synopsis: Told entirely through song with the help of a main character Narrator, the musical follows preferred son Joseph. After being sold into slavery by his brothers, he ingratiates himself with Egyptian noble Potiphar, but ends up in jail after refusing the amorous advances of Potiphar’s wife. While imprisoned, Joseph discovers his ability to interpret dreams, and he soon finds himself in front of the mighty but troubled, Elvis-inspired, Pharaoh. Joseph’s solution to Egypt’s famine elevates him to Pharaoh’s right-hand man and reunites him with his family. The magical musical is full of catchy songs in a variety of styles, from a parody of French ballads (“Those Canaan Days”), to country-western (“One More Angel in Heaven”) and calypso (“Benjamin Calypso”), along with the unforgettable classics “Any Dream Will Do” and “Close Every Door.” Appropriate for all audiences and groups, Joseph is performed hundreds of times a year around the world. Audition Date: April 18th, 2026 Audition Time: 11AM - 1PM 2PM - 4PM Audition Location and Address: St Benedict’s College, 21 St Benedict’s Close, Mango Hill Audition Self-Tape Due: Video Auditions for the characters of Narrator and Joseph will also be accepted. These must be received prior to the before 8am on 18th April. Please send a shareable link to info@shineperformingartsacademy.com.au Audition Requirements: Make sure you are wearing comfortable clothes that you can move in You must sing a song from the show relating to the character you are auditioning for. These songs can be found in the character descriptions. You only need to attended morning or afternoon session All people auditioning will sing with tracks. All auditioning for ensemble will sing solo lines. We have licensed the UK Tour version of the show, so please use this version for your audition. Audition Pack: Joseph and the Amazing Technicolor Dreamcoat Audition Pack Performance Dates: July 3rd - 11th, 2026 Performance Times: Fridays - 7:30PM Saturdays - 2PM (July 11th only) & 7:30PM Sunday: 4PM Performance Location: Burpengary State Secondary College, 192 Pitt Rd, Burpengary QLD 4505 Rehearsal Dates and Times: Tuesdays & Thursdays - 7PM - 9PM Saturdays - 1PM - 4PM Rehearsal Location: St Benedict’s College, 21 St Benedict’s Close, Mango Hill Warnings: Includes theatrical haze and strobe lighting effects Performer Age: Children’s Chorus - 8–14 years Other roles - 16+ All performers 18+ must hold a current Blue Card Creative Team: Director - Paula-Mary Camilleri Musical Director/Choreographer - Nikki Glowacki Associate Musical Director - Benjamin Sitarz Production Manager - James Reid Costuming - Shan Michaels, Sarah Hunt & Viv Moss Production Website: Shine Performing Arts - Joseph and the Amazing Technicolor Dreamcoat Other Information: There is a $80 production fee (includes one comp ticket). Discounts are available for families and payment plans can be arranged. Cast members may be required to supply some costume items; shoes are the performer’s responsibility. All performers must be available for all performances and must sign a cast agreement and code of conduct. Additional rehearsals may be scheduled closer to the show. The production runs approximately 2 hours with a 20-minute interval. Available Roles / Character Breakdown: Pre-cast roles: Pharaoh, Jacob Narrator – Strong rock vocalist (mezzo/soprano or tenor), strong comedic ability, moves well (Song: Jacob & Sons) Joseph – Tenor. Dreamer and central character (Song: Close Every Door) Joseph’s Brothers (16+) – Strong singers and movers. Featured styles include country, calypso, and French café (Songs: One More Angel in Heaven, Canaan Days, Benjamin Calypso) Reuben, Simeon, Levi, Naphtali, Issachar, Asher, Dan, Zebulun, Gad, Benjamin, Judah Potiphar – Baritone, Noël Coward-style character (Song: Any Dream Will Do) Butler – Character role (played by a brother), contrasts with Baker Baker – Character role (played by a brother), contrasts with Butler The Wives (16+) – 8 female ensemble roles, strong dancers and singers (Song: Prologue) Mrs Potiphar – Small acting role Ensemble – Mixed voices, strong movers (Song: Prologue) Dance Ensemble – 12 dedicated dancers Choir & Children’s Chorus (8–14) – Strong vocal group featured throughout the show (Song: Any Dream Will Do)

Title: My Hamster is a Pirate Presented By: Brisbane Arts Theatre Genre: Family / Adventure / Comedy Synopsis: When ordinary boy Ben discovers that his hamster Stig isn’t merely a seed hoarder—but a swashbuckling pirate captain in search of treasure—he’s whisked away on a miniature voyage full of sea‑faring mayhem, rival pets, neighbourhood “villains,” and unlikely bravery. This whimsical adaptation explores imagination, courage, and the power of friendship in unexpected places. Audition Date: Sunday 26th April 2026 Audition Time: 12PM – 4PM (with additional slots opening 4PM–6PM if required) Audition Location and Address: Lavalla Centre, 58 Fernberg Road, Paddington QLD Audition Requirements: CV (if available) and headshot (or clear face photo) to bring or email One‑minute monologue for the character you’re auditioning for Those auditioning for Lucy to prepare a one‑minute song with backing track connectivity for playback Cold reads from script possible Audition Registration: Register for an audition HERE Audition Pack: My Hamster is a Pirate Audition Pack Performance Dates: July 4th - 11th, 2026 Performance Times: 11AM Daily Performance Location: Southbank TAFE Auditorium, South Bank QLD Rehearsal Dates & Times: Please see audition pack for full rehearsal schedule Rehearsal Location: Lavalla Centre, Paddington QLD Warnings: Family‑friendly material; no strong adult themes noted. Performer Age: 15+ eligible to audition; roles include younger parts played by older actors as specified. Creative Team: Director - Sandra Harman Production Website: Brisbane Arts Theatre - My Hamster is a Pirate Other Information: All successful cast members are expected to become financial members of Brisbane Arts Theatre (membership details available on the theatre website). Available Roles / Character Breakdown: Ben  – The central boy (cast as older kid/actor) Lucy  – A spirited younger girl (cast as older kid/actor) Mum  – Adult female (30s–40s) Dad  – Adult male (30s–40s) Stinky  – Hamster puppet (puppeteer visible) Doris Pegg  – Elderly lady (70s) Algernon Pickles  / Talent Show MC  – Thief character Sasha  – Child (cast as older kid/actor) Raoul / Robbo  – Ensemble roles Larry Skinner  – Thief character Steven Bradbury  – Olympic speedskater character Angelica - Sasha’s sister (8) / sachet of ketchup Kid With Sign  – Child roles Carrot / Meat Pie  – Non‑speaking roles (doubled as talent show kids)

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

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

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