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Title:  17 Again – The Musical Presented By:  Beenleigh Theatre Group Genre:  Pop/Rock Contemporary Musical Comedy Synopsis: Based on the hit 2009 film starring Zac Efron and Matthew Perry, 17 Again  follows Mike O’Donnell — a 35-year-old father who thinks his best days are behind him. A former high-school basketball star with big dreams, Mike’s life didn’t turn out as planned: his marriage is failing, his kids don’t respect him, and his job is going nowhere. When he magically transforms back into his 17-year-old self, Mike sees a chance to rewrite his past — but in doing so, he discovers the deeper beauty of the life he already has.With a contemporary pop-rock score from Alan Zachary & Michael Weiner ( First Date ) and a heartfelt book by Marco Pennette ( Ugly Betty, Mom ), this uplifting musical explores love, family, and the timeless question: “What would you do if you could do it all over again?” Audition Date:  Sunday 2 November 2025 Audition Time:  9:00am – 6:00pm (dance + individual slots throughout the day) Audition Location and Address:  Crete Street Theatre, Beenleigh QLD 4207 Audition Self-Tape Due:  Accepted for those unable to attend in person — due by Friday 31 October.Include both prepared songs, your side read, and the dance routine (choreo video will be emailed to you). Callbacks:  Monday 3 November 2025, from 6:00pm Audition Outcomes:  By Friday 7 November 2025 Audition Requirements: Dance Call Sunday 2 November, 9:00am Everyone must attend. The dance call will include a short routine to assess movement, stage presence, and storytelling through performance. Focus is on energy, character, and connection — not just technique. Individual Audition (singing/acting) Begins 10:00am onwards (10-minute slots). Register for a 1-on-1 session with the audition panel. Prepare two contrasting songs (approx. 32 bars / 1 minute each) in the style of the show. One may be from 17 Again . Songs should show range, character, and emotional flexibility. Bring your own backing track, cued and ready. A speaker and adaptors (AUX, USB-C, Apple) will be provided. Each audition will be filmed. Side Read:   Choose an excerpt for the character(s) you connect with (from BTG website). Perform with an American accent. Audition Information:   Beenleigh Theatre Group Audition Registration:   Book Here Audition Pack:   Download Here Scheduling: Performance Dates: Fri 6, 13 & 20 February 2026  – 7:30pm Sat 7, 14 & 21 February 2026  – 2:00pm & 7:30pm Rehearsal Schedule: Tuesdays & Thursdays:  7:00–10:00pm Sundays:  5:00–9:00pm Rehearsals begin Sunday 9 November 2025. Warnings: Mild adult language, family tension, teen relationships. Performer Age:  15+ Creative Team: Director:  Lachlan Dodd Musical Director:  Mark Mirhan Vocal Director:  Ruby Tate Choreographer:  Meggie Ryder Assistant Choreographer:  Kaitlyn Burton Production Manager:  Bryce Berrell Production Website:   https://beenleightheatregroup.com Other information: This is a community theatre production – all roles are voluntary. Cast must hold Beenleigh Theatre Group membership ($10 per calendar year). Membership required for 2025 and 2026. Bring a picture of yourself to use for identifying Available Roles / Character Breakdown: Mark / Young Mike 15–25, male Vocal range: Bb2–Bb4 Mike’s 17-year-old self. Charismatic, athletic, and still full of teenage energy. Must balance youthful charm with emotional maturity beneath the surface. Strong singer/actor and confident mover. Older Mike   35–45, male Vocal range: G2–G4 The adult version of Mike. Disillusioned and bitter; a man who’s lost sight of what matters. Emotional depth essential. Scarlet 35–45, female Vocal range: F3–E5 Mike’s estranged wife. Warm, grounded, independent, rediscovering her own happiness. Strong belt and emotional vulnerability. Alex   15–25, male Vocal range: A2–G#4 Mike and Scarlet’s awkward son; insecure but lovable. Doubles as Young Ned. Maggie   15–25, female Vocal range: A3–D5 Mike and Scarlet’s daughter. Straight-A student who’s fallen for the wrong guy. Smart, strong-willed, with a pop mix. Ned   25–35, male Vocal range: Bb2–G4 Mike’s best friend — a loveable geek-turned-tech-millionaire. Comic timing required. Naomi   30–45, female Vocal range: Bb3–Db5 Scarlet’s sassy best friend. Upbeat, confident, and full of advice. Principal Masterson   30–45, female Vocal range: Bb3–G5 Authoritative, no-nonsense principal. Coach Murphy   50–60, male Vocal range: Eb3–A4 Gruff basketball coach who doubles as the mystical janitor who gives Mike his second chance. Stan   15–25, male Vocal range: D3–A4 Maggie’s handsome, cocky, dim-witted boyfriend. Must have comedic chops and swagger. Chelsea / Young Scarlet   15–25, female Vocal range: Bb3–C5 Sweet, innocent teenage girl. Doubles as Young Scarlet The Brittanys   15–25, female Vocal range: Bb3–F#5 A trio of high school “it girls” — sharp, sassy, and funny. Pop vocal blend preferred. Additional Ensemble (15–50, all genders) Students, parents, teachers, and townsfolk.

If you enjoy Sondheim, go see this show. If you don’t enjoy Sondheim, still go see this show. Because this Into the Woods  isn’t just another revival of the Tony Award-winning musical; it’s the perfect tale to launch Ad Astra’s newly refurbished Galaxy into orbit. Once the home of Brisbane Arts Theatre, this intimate, elegant space now gleams with new life. Even on the night of the NRL Grand Final (which stole every other crowd in Brisbane), this audience turned up loud and proud! Our laughter and cheers rippled through the room, egging the cast on to play even bigger, sillier, bolder! You could feel that delicious feedback loop that only live theatre can create; the unpredictable give-and-take between performer and spectator that makes every show a one-of-a-kind experience. The cast absolutely thrived on it; telling me afterward that they had amped up the emotion and improv purely due to our reactions. The Story Into the Woods  is a masterwork of moral chaos from Stephen Sondheim (music and lyrics) and James Lapine (book). It brings together a mismatched bunch of familiar fairy-tale favourites — Cinderella, Little Red Riding Hood and the Wolf, Jack and the Giant, Rapunzel and the Witch, and a cursed Baker and his Wife — all desperate to have their wishes granted. Of course, as Sondheim so deliciously reminds us, getting your wish doesn’t necessarily mean getting what you want.   The Cast Where to even begin? This is one of those ensembles where every character feels distinct, well-crafted, and memorable. Stephen Hirst  and Heidi Enchelmaier , real-life married couple and on-stage Baker and Wife, are absolute couple goals. Their chemistry is naturally effortless (obviously), their banter sharp, and their duet It Takes Two  radiates warmth. Stephen’s portrayal of the hapless, well-meaning Baker hits just the right mix of heart, while Heidi as Baker’s Wife is all wit, warmth, and steel pragmatism. Her Moments in the Woods  is tender, funny, and vocally divine. Stephen also delivers an emotional gut punch in the lesser-known No More  (get close seats to see his tears shining!) Carla Beard  is an absolute spark plug of a Red Riding Hood (septum piercing and all). I adore this interpretation: tomboy edge, tough, feisty, and far more streetwise than she looks. I Know Things Now  is beautifully handled through her journey from wide-eyed innocence to sharp-tongued survivor. Jordan Malone  is a dream as Cinderella: poised, expressive, and vocally pristine. On the Steps of the Palace  (a rhythmic nightmare I fear) lands with crystalline diction. Later, she anchors the ensemble emotionally in No One Is Alone  in a touching, tear-prickling exchange with Carla. Alex Watson  brings bright-eyed energy (in a backwards baseball cap!) as Jack. Giants in the Sky is one of the freshest takes I’ve seen: vocally flawless, emotionally grounded, and framed by a cinematic swirl of fog below. Josh Whitten doubles as the Wolf and Steward. As the Wolf (British, charming, dangerously magnetic “innit?”), he’s so persuasive I might’ve followed him off the path myself. Hello, Little Girl  is gorgeously lit: soft hues as he tempts Red Riding Hood, snapping to ominous blood-red as his thoughts turn predatory. Later, as the Steward, he’s a riotous foil to Elliot Baker’s Prince. Speaking of princes: Elliot Baker  (Cinderella’s Prince) and Jaya Fisher-Smith  (Rapunzel’s Prince) are dynamite. Agony  prompts many girlish giggles and snorts from the audience (mostly from me). I’m personally obsessed with both their voices, plus the excellent comedic acting, superb blocking, and slapstick humour are perfection. The reprise is just as good, as they muse on being unsatisfied with their “happy ever afters.” Elliot is a riot every time he appears: clueless, extra, and gloriously self-obsessed. While Jaya is equally brilliant: goofy, flamboyant, and utterly over the top. With the true voice of a prince, Elliot's Any Moment  is, indeed, a truly great moment. Natasha Veselinovic brings power and depth to the Witch. Vocally, she’s untouchable. The Last Midnight shakes the rafters and her acting choices are strong, but I did crave more chaos from her in Act 1. This Witch could afford to feel a little more unhinged and frightening. And the button blackout at the end of The Last Midnight  didn't land. It's a small tech fix that will provide that thrilling full-stop the song deserves. Aysa Garcia Wong’s  Rapunzel is luminous, her voice cutting through the chaos like silk. She and Natasha play their fraught mother–daughter dynamic convincingly, despite the literal mask barrier. James Shaw , doubling as the Narrator and Mysterious Man, is suave, grounded, and quietly ethereal. He bridges the story and the audience with ease; always observing just outside the unfolding action. And his duet with Stephen is genuinely moving (helped, amusingly, by the fact that the two actually look related). Aurélie Roque  gives a riotous turn as Jack’s Mother in a crazy bold accent (side note: everyone has different accents, so don’t be surprised!) and I only wish she had more stage time. Chloe Rose Taylor  (multi-tasking as Stepmother, Cinderella’s Mother, and the iconic Grandma), Akansha Hungenahally  (Florinda), and Jaya Fisher-Smith  (Lucinda) triple the chaos as the giggling steps trio. Paige   McKay as Milky White, the mute (slightly unsettling) cow puppet, is oddly adorable and wins hearts without saying a word. Every performer in this cast has carved out a unique version of their character. Nobody fades into the background. You can tell there’s been real thought put into each portrayal, and it pays off in spades. The Creative Team Under the direction of Tim Hill , this production keeps the humour sharp, the pacing tight, and the moral lessons deeply human. Into the Woods  is, after all, a musical about consequences, and this cast handles them beautifully. Hill’s direction and set design work hand-in-hand, making great use of the aisles and balcony. The cast frequently moves among the audience, breaking the fourth wall just enough to make us feel complicit in these wishes gone wrong. The set itself is a visual treat too: a living, breathing forest of tangled vines, trees, and timber slats across the rear that allows Wesley Bluff’s  lighting to spill through in shifting colours. That runway of lights as Cinderella flees the ball is a particularly pretty touch. The band, led by Ben Murray , sits upstage behind the foliage. Tackling Sondheim’s famously complex score is no small feat, and Ben’s musicians deserve every ovation they get. Your Fault  (my personal favourite) is razor-sharp and everything I dreamed it to be. Tess Hill’s  choreography adds texture rather than spectacle, which is exactly right for this show: organic, character-driven, and full of wit. Costumes by Tess Hill  and Jem Hill  lean modern-fantasy: Red’s playsuit, Jack’s streetwear, and the Stepsisters’ hoop-frame silhouettes are fun. My only real misstep is the Witch’s design. In Act I, she’s covered in a heavy brown cape and an eye-mask that hides all her facial nuance during Stay With Me (one of the most emotional songs of the act). I truly wish we could see her face clearer in that moment. Her second look in Act II, an emerald gown, is exquisite in colour, but a dramatic cape would sharpen her unsurpassable presence. Still, these designs reflect Ad Astra’s adventurous spirit, something I admire deeply. This isn’t a cookie-cutter production; it’s layered, interpretive, and full of personality.   The Experience Act I is a laugh-fest thanks largely to comedic powerhouses Heidi, Stephen, Jaya, Josh, Carla, and Elliot, and the way they play off each other. Act II deepens into something darker as the fairy tale frays and the wishes unravel into themes that are painfully human, There are moral dilemmas, heartbreak, regret, adultery, violence, fear, death — and somehow, hope. As one lyric warns, “Children may not obey, but children will listen.” (Or my personal favourite: “Children are a blessing… if you know where they are.”) By the time the company joins in No One Is Alone , the emotional impact lands hard. You can feel the show’s moral core: wishes have repercussions, good and evil are rarely clear-cut, and “no one stays untainted by the world.” At roughly three hours, Into the Woods  is a long tale but every minute is worth it. A few practical notes: the theatre can get very chilly, and the accessibility features are still in progress. For visual access to the balcony scenes, and for catching the finer details of faces, tears, and nuance, I recommend sitting within the first four rows. And for the love of all things theatrical: remember do not leave at interval! Act I only pretends  to be a happy ending. That’s the point. The best (and worst) comes after. Ad Astra’s Into the Woods  is a triumph — wonderfully cast, tightly directed, musically rich, and full of heart. It’s a fitting christening for the Galaxy Theatre: an extraordinary celebration of storytelling and the magic of the stage. Don’t wish — go! Tickets here Photography by: B’rit Mobbs, By Brit Crea tive

“Well hello, Dolly… it’s so nice to have you back where you belong.” Step aside, modern revivals! Savoyards are here to remind Brisbane why the Golden Age classics endure. Their glittering new production of Hello, Dolly!  is a tribute to big hats, bigger feathers, and grand personalities. Under the warm, witty direction of Kristen Barros , the show feels both timeless and freshly polished, a brilliant finale to Savoyards’ 2025 season. Known to many through Barbra Streisand’s 1969 film adaptation, Hello, Dolly!  is set in 1890s New York and follows professional matchmaker, meddler, and all-round businesswoman Dolly Gallagher Levi as she skilfully weaves her way into the life (and wallet) of wealthy store owner Horace Vandergelder. Along the way, she plays cupid for a string of mismatched lovers: clerks Cornelius and Barnaby, the hat-makers Irene Molloy and Minnie Fay, and the hopelessly-in-love Ermengarde and Ambrose. The wigs, costumes, and accents are perfectly fitting to immerse us in this bygone world without ever feeling dated. Miranda Selwood  strides in as Dolly Levi, resplendent in an apricot-coloured frock, feathers in her hat, and a knowing glint that says, “I’ve already made up your mind for you.” She perfectly embodies Dolly as the mischievous and endearing busybody, yet beneath the sparkle reveals a woman of real depth; a confident façade concealing flashes of loneliness for her late husband. Watching the young lovers dance, she reflects, “I’m like an oak leaf… without colour, without life.” Her Act I showstopper Before the Parade Passes By  is a triumph of spirit and sincerity, as Dolly resolves to “rejoin human life,” her voice soaring while a literal parade moves through the aisles. Kat Suschinsky  delivers a glowing performance as Irene Molloy, captivating the audience with her old-Hollywood voice, smooth as velvet in the enchanting Ribbons Down My Back . Her interpretation is a heartfelt expression of longing as she flips between delicate notes and passionate belts like it's no big deal. Katyia Wills brings bright, exuberant energy as Minnie Fay with her comic charm and natural spontaneity, prompting laughter with lines like, “That hat is far too provocative for a widow!” Warryn James  gives a grounded performance as Horace Vandergelder, revealing the man beneath the bluster. His number It Takes a Woman  becomes an unexpected highlight thanks to the male ensemble’s rich harmonies and silly swagger. Conor Ensor  and Zach Price  as Cornelius and Barnaby are the show’s embodiment of youth and optimism. As they lead us into the exuberant Put On Your Sunday Clothes , the simple yet striking ensemble blocking lets the audience share their excitement as they prepare for a day of adventure (and I was left humming its infectious refrain for days on end!). Conor Ensor  and Kat Suschinsky  later share the tender It Only Takes a Moment , a duet so full of hope and romance it almost makes you weep. Speaking of tears, Stephanie Lee-Steere’s  perpetually sobbing Ermengarde is a delightful treasure. Then there's that iconic staircase moment: Dolly’s grand entrance, cutting quite the figure in her red sparkling gown, framed by a string of golden light and crowned with a feather plume big enough to make a peacock jealous. She commands the room and everyone in it with complete authority. Kristen Barros’s  direction leans into the comedy in all the right places, ensuring every laugh is well-timed and every moment of slapstick shines. Add the delightful chaos of Motherhood March , the laugh-out-loud dinner disaster of The Polka , and the tap-dancing whirlwind of Hello, Dolly!  (complete with a kickline, of course), and you have a show that never stops delighting. From the opening vocals of Call on Dolly , you know you’re in safe hands. Under the music direction of Jacob Cavanough , the orchestra sounds lush and full, with rich brass and soaring strings that instantly transport you to turn-of-the-century New York. The sound design by Ethan Houley  and David Sowdon  is impeccable, perfectly balanced in those full ensemble harmonies that lift the entire theatre. Savoyards always excel at the classics, but this Hello, Dolly!  might be their most visually sumptuous yet. The costume team, Cody Newnham  and Kim Heslewood , with wigs by Lynne Swain , deliver a true feast for the eyes. Every fabric, parasol, hoop skirt, glove, and bustle sings with period perfection. (Side note: can men please start dressing like this again?) The set design by Glenn Anderson  and Greg Heslewood  is cleverly dynamic, with moveable pieces, multiple levels, and swift transitions that keep the action flowing. Gabrielle Burton’s  lighting bathes each scene in a golden cinematic glow, and I didn’t spot a single mishap all night. Bec Swain’s  choreography sparkles, particularly in Dancing , where the featured dancers twirl and glide like porcelain dolls come to life. And I do love a good dancing-waiters moment: The Waiters’ Galop  delivers dazzling, over-the-top joy that had me grinning the whole way through. Hello, Dolly!  is grand, funny, heartfelt, and old-fashioned in the best possible way. It’s the kind of show that reminds you why musical theatre endures, because sometimes a little colour and joy are exactly what we need to rejoin human life. The detail, the discipline, the evident love, it all radiates from the Savoyards stage. I feel genuinely privileged that Miranda Selwood was my introduction to Dolly, and that Savoyards was my introduction to this musical. If I could hire Dolly Levi to sort out my love life, I absolutely would. Until then, I’ll happily settle for this dazzling dose of musical matchmaking. Don’t let the parade pass you by; catch it before 11 October. Tickets here. Photography by Sharyn Hall

Title:  Matilda JR. (Workshop + Performances) Presented By:  The Dance and Theatre Factory Genre:  Family Musical (JR. Edition) Synopsis: Rebellion is nigh! Matilda Wormwood is brilliant, brave, book-obsessed—and armed with a touch of magic. With the kind Miss Honey in her corner and a school full of “revolting children,” Matilda stands up to the tyrannical Miss Trunchbull in this funny, fast-paced musical about courage, imagination, and choosing your own story. Audition Date:  Thu 4, Fri 5, Sat 6 December (individual slots) Audition Time: Thu 4 Dec: 3:15–4:15pm Fri 5 Dec: 4:00–6:30pm Sat 6 Dec: 12:00–3:00pm Audition Location and Address:  On the Boards Theatre Company, Unit 1/433 Wondall Rd, Tingalpa QLD Audition Requirements: Performer age: 8+ Prepare two contrasting musical theatre songs (approx. 32 bars each). Panel may not hear both. Bring a backing track on an AUX/Bluetooth-capable device Acting side: Familiarise one excerpt from the audition pack to read in the room. Notes: Only audition if you want a speaking/lead role. No audition required for ensemble participation. Audition Registration:   Register Here Audition Pack:   Download Here Performance Dates:  Sat 17 – Sun 18 January Rehearsal Dates: Workshop block:  Fri 9 Jan – Fri 16 Jan (January school holidays) Rehearsal Times:  9:00am–5:00pm daily during the workshop Participation Fees: 10-day program (9–18 Jan): $495 (principal roles) 6-day program (12–18 Jan): $375 (ensemble roles) Payment plans available on request. Fees include: costumes, rights/royalties/scripts, insurance, technical & creative staff, sets/props, venue hire. Available Roles/Character Breakdown: Matilda Wormwood  (D5–Bb3) – Brilliant, fiercely independent, and compassionate; escapes into books and discovers surprising powers to outsmart injustice. Miss Honey  (D6–Bb3) – Gentle, brave teacher who champions Matilda’s gift despite her own difficult past; warm mix/soprano with heart. Agatha Trunchbull  (F#5–C4) – Comic villain; the iron-fisted headmistress who relishes rules and punishments; commanding presence and timing essential. Mr. Wormwood  – Blustering, small-time schemer; dismissive of Matilda and hilariously deluded by his “business genius.” Strong comedic patter. Mrs. Wormwood  – Vain, self-absorbed dance devotee; prioritises looks and TV over parenting; larger-than-life comedy with dance flair. Michael  – Matilda’s monosyllabic brother; minimal lines, deadpan comedy. Mrs. Phelps  – Kindly librarian who delights in Matilda’s storytelling; warm, supportive presence. Escapologist  (F3–E3) – Heroic, grand figure from Matilda’s tale; bold, theatrical delivery. Acrobat  (A4–D4) – Graceful counterpart to the Escapologist within Matilda’s story; lyrical performance quality. Bruce  (F#4–C3) – Good-natured classmate who faces Trunchbull’s infamous chocolate-cake trial; requires comedic stamina and featured vocals. Lavender  (D5–C4) – Matilda’s upbeat bestie; resourceful and loyal; featured lines and song moments. Nigel  (D4–C3) – Sweet, anxious classmate who gets flustered but pulls through; comic beats and small solos. Amanda  (Eb5–C4) – Spirited classmate with the iconic pigtail-toss moment; featured solo lines. Hortensia  (D5–C4) – Confident truth-teller among the kids; solos and dialogue. Alice  (D5–C4) – Classmate with featured vocal lines. Tommy  (Eb4–C3) – Classmate with featured vocal lines. Rudolpho  – Mrs. Wormwood’s flamboyant dance partner; movement/dance feature and comic swagger. Sergei  – Intimidating but ultimately pragmatic client; brief featured scene with Matilda. Ensemble  – Russians, Little Kids, Big Kids  (incl. Big Kid 1–3), Kids, Mums, Dads, the Cook, the Mechanic . Ensemble sings, moves, and creates the show’s world; plenty of featured moments.

Title:  Brainstorm Productions – 2026 Season (Full-Time Touring Actors) Presented By:  Brainstorm Productions Genre:  Educational Theatre / Theatre-in-Education (Primary & Secondary) About: Join one of Australia’s leading school theatre companies performing high-impact shows to 260,000+ students each year on bullying, cyber safety, resilience, mental health and respectful relationships. Actors tour to schools in professional two-hander teams delivering live theatre and post-show discussions. Full-time, paid contracts in Sydney, Brisbane and Melbourne. Audition Date:  Applications open 1 Oct 2025 (self-tape). Callbacks: Mon 10 Nov 2025 Audition Location and Address:  Initial self-tape; in-person callbacks in Brisbane/Sydney/Melbourne (venues advised by email) Audition Self-Tape Due:  5:00pm AEDT, Wed 5 Nov 2025 Enquiries : auditions@brainstormproductions.edu.au Audition Requirements: Complete the online application form (opens 1 Oct 2025) Monologues & self-tape instructions available on the application portal from 1 Oct 2025 Upload audition video: perform one provided monologue, sing “Happy Birthday” unaccompanied, and briefly state why you want to work for Brainstorm & what you’ll bring Attach current CV and headshot Essential criteria: 19+; playing range 16–24; current driver’s licence & good record; fit/healthy; able to travel away from home when required. Singing/physical theatre/dance a plus Brainstorm is a Child Safe Organisation—police check/WWCC required prior to offer 1 ‘female role’ & 1 ‘male role’ Shows:  ‘ Cyberia’ and ‘Saving Lil & Archie’ Performance Dates: 5 Jan – 4 Sep 2026 (possible extension). Performance Times:  Weekdays during school hours; some travel weeks as scheduled Performance Location:  Schools in the actor’s base city (Sydney / Brisbane / Melbourne) with limited touring weeks as scheduled Rehearsal Dates:  Pre-rehearsal 2–5 days prior to contract start. Warnings:  Working with children; driving company vehicles; periods away from home; physically active shows Performer Age:  19+ (playing range 16–24) Creative Team:  Brainstorm’s in-house creatives, teachers and psychologists (scripts regularly updated) Production Website:   https://www.brainstormproductions.edu.au/work-with-us/ Other information: Pay: Above Live Performance Award when performing ($1,482.27/wk before tax in 2025); rehearsals at Award; holiday & sick pay; super; workers comp Allowances: LAFHA $1,371.09/week when away from base; accommodation provided on long away blocks + meals/incidentals allowance Company cars provided.

Photography by Creative Street Lisa Alsop (Kate), Samantha Sherrin (Elizabeth), Isaac Brown (Lucas) What if one choice — left or right, yes or no, answer or ignore — could change everything? Every choice leads us somewhere, opening one door while closing another. If/Then  is a musical all about those little choices that change our lives in big ways. With its powerhouse score, clever sliding-door narrative, and bold ballads, it’s a rare Broadway gem now landing in Brisbane. This VOX Theatre Arts production is brought to you by producer Rhona Bechaz, director Hayley Gervais , choreographer Ruby Thompson , and music director Alex Angus . I’m here to give you the insider scoop from the team about their own “what if” moments, the challenges of telling two stories at once, and why this production is so special to us. Cameron Rollo (Josh) and Sam Sherrin (Liz) A RARE BROADWAY GEM The story will whisk you away to New York City, where Elizabeth’s life branches into two possible paths: one as Liz (the one with glasses) and the other as Beth , following her down the roads she takes and the ones she leaves behind. Samantha Sherrin  ( Guys and Dolls, Xanadu, Jekyll and Hyde ) takes on the monumental role(s) of Elizabeth. Playing opposite her is the “how can someone so handsome be so awkward” Cameron Rollo  ( Jekyll and Hyde, Company ) as Josh, the army medic whose chance encounter with Liz alters everything. For Samantha, stepping into a role originated by musical theatre royalty Idina Menzel ( Frozen  and Wicked ) has been both daunting and exhilarating. But she is thrilled for audiences to finally see this special show: “There’s so much happening across the multiple timelines that everyone will find something to relate to, especially us over-thinkers and people pleasers!” And for anyone wondering what lesson she takes from Elizabeth’s journey? Samantha believes the message is clear: “This show tells us that whatever is meant for us will find us, and not to get lost in the ‘what might be’s.’” Lisa Alsop  ( Legally Blonde, Carrie ) brings fiery passion as Elizabeth’s fiercely loyal neighbour Kate, alongside Micheal Enright  ( Fun Home, The Addams Family ) as Kate’s partner Anne. Making her stage debut is Amiel Morris  as Elena, Beth’s confidante through her toughest life decisions. Dominic Bradley  ( The Crucible, The Importance of Being Earnest ) takes on the role of Beth’s boss Stephen, while Isaac Brown  ( Ride the Cyclone, Jesus Christ Superstar ) plays her activist friend Lucas, with Jackson Muir  ( My Fair Lady, Chess ) as his romantic interest David. Phew! You still with me? I asked Rhona Bechaz , artistic director for VOX Theatre Arts, what drew her to this stunning 2014 Broadway musical. Confession time: I myself had only ever heard two songs from it now... I know, extremely slack for someone who lives and breathes musicals! Rhona explained: “I was drawn to If/Then for its raw, real stories and characters, and the incredible musical score. I knew that Hayley’s fresh take on the story would be incredible, and I really wanted to see it come to life under her direction.” She’s talking about Hayley Gervais , the well-known artistic director of Phoenix Ensemble, who has directed countless productions and brings her signature heart to this multiverse tale. Micheal Enright (Anne) and Lisa Alsop (Kate) SONGS THAT HIT HARD Our music director Alex Angus  deserves superhero status for steering us through this score and for conducting the formidable 13-piece orchestra. The rhythms in This Day  are wild, the key changes in It’s a Sign  are relentless, and some numbers split into eight-part harmonies that make my brain do flips! For many cast members, the music is what makes this show so powerful. Cameron Rollo  admits: “Isaac’s solo ‘You Don’t Need to Love Me’ hits the hardest for me, with ‘I Hate You’ a close second. Sam’s acting breaks my heart so much that it makes me reluctant to leave the stage, even though my character must do so.” Lisa Alsop  agreed that the emotions come thick and fast when “Samantha Sherrin sings literally anything. She is my theatre crush! ‘Love While You Can’ (a stunning duet between Kate and Anne) is almost impossible to get through without crying.” For Amiel Morris , the impact is equally powerful: “I’ve literally never made it through this show without crying… ‘Always Starting Over’ (the mammoth five-minute ballad from Sam) has a special place in my heart.” And Ryan Bascle , also making his stage debut, added: “‘No More Wasted Time’ knocks my socks off every time. The harmonies of these four powerhouses at once reverberates within my soul. Couple that with a message of breaking out of patriarchal expectations and you get to the heart of what I think this show is about: forging your own path regardless of the direction or outcome.” From my own spot in the ensemble, I can confirm there’s no lull in this score. It’s a true no-skip album, with numbers like What the F*ck ?, Ain’t No Man Manhattan , Surprise , and of course What If?  Each is a multiverse adventure that will leave you breathless to see how profoundly the timelines diverge. Rounding out the ensemble is Molly Parker, Alicia Brite, Casper Haringcaspel, Ryan Bascle, Mark James and yours truly, Samantha Hancock . And let me just say: this ensemble is the hardest-working bunch of NPCs I have ever worked with. We might be background New Yorkers, but we give it our all in every crosswalk, coffee sip, and subway shuffle. Isaac Brown (Lucas) and Jackson Muir (David) CHALLENGES AND REWARDS Tackling a Broadway show this complex isn’t a walk in the park. For Cameron Rollo , the challenge is vocal: “handling the high G# I have to keep singing!"   Jackson Muir  is breaking new ground: “This is the first time I’ve been in a role where my character is in a relationship.”   Dom Bradley  reflected on walking the fine line between Stephen’s flaws and his humanity: “He could be played as a complete asshole, but I like to think he’s got good qualities.” Lisa Alsop  added that part of the reward has been the process itself: “This show has so many different ways it can be interpreted, so it’s been really rewarding hearing each actor’s perspective for their character and working with such a talented group of people to present a considered and impactful performance.” Lisa Alsop (Kate), Amiel Morris (Elena), Sam Sherrin (Beth), Micheal Enright (Anne) WHAT AUDIENCES CAN EXPECT What makes If/Then  unique is its sliding-doors structure. Dom Bradley  said: “I think audiences will enjoy all the times we see a scene twice. There are many moments we do a scene, the worlds swap, then we see it again in the other timeline.” There are plenty of hidden gems too. Lisa Alsop  hinted: “The saga of Kate’s ring is something the audience might not notice, but we’ve put thought into.”  Plus, my own little background romance with “sexy guitar guy” might not be something audiences consciously notice, but it’s a detail we’ve woven into our tracks because this show is all about those unseen choices and connections. Rhona Bechaz adds, “I hope the audience finds special moments of reflection in the story. I personally find so many places where theatre mirrors life, and I know our audience will see themselves in the characters and their stories. I hope they leave with both a tear and a smile — our goal in theatre is to make our audience connect with our stories, and this one absolutely ticks ALL the boxes!” And after being part of the rehearsal room, I can safely say Rhona was right. ADVICE FOR ELIZABETH When asked what advice they’d give Elizabeth, the cast had plenty to say. “Choose out of love, not out of fear,”  said Cameron Rollo . Lisa Alsop’s  response was lighter: “Have a bev and chill out a bit.”   Dom Bradley  went straight to the point: “Make a f* cking decision. Don’t worry about the what-might-have-beens. Just think about what could be.” Ryan Bascle  offered this thoughtful advice: “I think I’d tell Beth the same thing I try to remind myself and others often — trust yourself. You never know if a decision is right until after you’ve made it, so trust yourself to handle it when things don’t go the way you’d hoped, and to be able to appreciate the good things that come while they’re there.” Sam Sherrin (Beth) and Dominic Bradley (Stephen) Like Elizabeth, I have plenty of “what if” moments that replay in my mind. What if I had stayed in the career I was building before COVID pulled the rug out from under me? What if I had never posted that video of me singing, the one that was seen by the right person and swivelled my life in a completely new direction? Would I still be here, telling stories on and off the stage? Or would I be sitting in an office somewhere wishing I had followed the music instead? The roads not taken are always tempting to imagine. That’s why If/Then  hits home for so many of us. It’s not just Elizabeth's story, it’s all of ours. Every decision we make, or don’t make, nudges us in a new direction. Being part of this show reminds me that while we can’t live both timelines, we can choose to embrace the one we are in fully. As the lyric says, “You learn to love the not knowing...” Yes, you’ll laugh, you’ll cry, and you’ll leave reflecting on your own “what if” moments. Performances run at Arcana, 46 Evesham Street, Moorooka on Friday 10 and Saturday 11 October. Tickets are $49 (concession $45, groups 10+ $39) and are available now ! One woman. Two paths. Infinite possibilities.

Title:  OZ (Inspired by Wicked  and The Wizard of Oz ) Presented By:  Toowoomba Ballet Theatre (TBT) Genre:  Dance theatre – ballet, jazz, contemporary, acrobatics (all-styles) Synopsis: A large-scale, original TBT production inspired by the worlds of Wicked  and The Wizard of Oz . Expect an ensemble-driven adventure through Emerald-hued realms with feature moments for classical, contemporary and acro specialists. Created to showcase regional dancers in a full professional venue with cinematic scale. Audition Date:  Sunday 9 November 2025 Audition Time:  Class times advised after registration (grouped by age) Audition Location and Address:  TBT Studios, 9 Railway St, Toowoomba City QLD Audition Self-Tape Due (if applicable):  Video auditions accepted; due Sunday 2 November 2025 Audition Requirements: Register online and upload a headshot (clear, recognisable). In-person audition (preferred): short classical technique class (+ pointe if appropriate), taught combos, and an optional solo (≤2 min) in your best style (classical, contemporary, jazz, acro, etc.). Special skills on apparatus (e.g., lyra/silks) may be submitted by video. Video audition option (if you cannot attend): include barre/centre, solo/variation and any skills footage (clearly identify the dancer). What to wear: Plain leotard and ballet tights for classical; fitted shorts/half-tutu permitted for solo. No costumes/props. Hair in neat classical style. You may miss up to three rehearsal days for pre-existing studio commitments (catch-up via rehearsal videos required). Audition Registration:   https://form.jotform.com/251982516106861 Audition Pack:  2026 Prospectus (dates, fees, policies): https://www.toowoombaballettheatre.com.au/audition Performance Dates:  Sunday 19 April 2026 (matinee & evening) Performance Location:  Empire Theatre, Toowoomba Rehearsal Dates: Sundays in Term 1 (Studios):  8, 15, 22, 29 March 2026 School Holidays – Week 1 (Studios):  Mon 6 – Fri 10 April Photo Day:  Sat 11 April School Holidays – Week 2 (Studios):  Mon 13 – Fri 17 April Stage Rehearsal:  Sat 18 April Performer Age:  8+ (age as at 1 Jan 2026). No upper age limit. Adults (18+) welcome. Other information: Registrations close:  Sunday 2 November 2025 (strict). Fees:  Production fee $849 per dancer (includes rehearsals, costume hire, production shirt, 2x tights, videography, insurance/admin). Deposit $250 (non-refundable) secures your place after offer. Adults (18+) receive 50% fee reduction. Payment plans available. Casting is at the Artistic Director’s discretion; some dancers may shadow/understudy roles. Available Roles/Character Breakdown: This is an original, Oz-inspired creation. Casting will be built around the company’s strengths with roles drawn from Emerald City citizens, witches, wizards, travellers, guardians, and realm creatures. Opportunities for: Classical/neo-classical features  (court/emerald ensembles, waltzes, lyrical solos) Contemporary & character work  (witches’ courts, citizens, storytellers) Jazz & musical-theatre numbers  (city scenes, travellers, guards) Acro/contortion/tumbling  highlights (creatures of the realms, storm sequences)

Title:  &Juliet Presented By:  Empire Theatre, Toowoomba Genre:  Jukebox Pop Musical (Music & Lyrics by Max Martin and Friends; Book by David West Read) Synopsis: What if Juliet’s ending was really just her beginning? Bursting with pop anthems by artists like Britney Spears, Katy Perry, and the Backstreet Boys, & Juliet  flips Shakespeare’s tragedy on its head. With Anne Hathaway (Shakespeare’s wife) taking control of the quill, Juliet embarks on a journey of self-discovery, independence, and joy. A hilarious, heart-filled celebration of love, identity, and rewriting your own story. Audition Dates:  Friday 24 – Monday 27 October 2025 Audition Time: Fri 24 Oct: 6:00–9:30pm Sat 25 Oct: 9:00am–5:30pm Sun 26 Oct: 9:00am–5:30pm Mon 27 Oct: 6:00–9:30pm Audition Location and Address:  The Empire Theatre (Church Theatre), 54–56 Neil Street, Toowoomba QLD Audition Requirements: Singing:  Prepare two own-choice songs in musical theatre pop style (approx. 32 bars/1 min each). Backing track or accompanist required (no vocals on tracks). Acting:  Short script excerpt (provided with confirmation email). Prepare lines for max two roles. Cold reads and direction may be given. Dance:  Compulsory group movement/dance call (taught on the day). Wear clothes you can move in; no jeans, sandals, or restrictive clothing. General:  Expect 10 mins for sing/act and 45 mins for dance. Must be 16+ years (by 1 Dec 2025). Audition Registration:   Apply online Audition Pack:   Download here Performance Dates: Friday 13 March 2026 – 7:30pm Saturday 14 March – 7:30pm Sunday 15 March – 2:30pm Friday 20 March – 7:30pm Saturday 21 March – 7:30pm Sunday 22 March – 2:30pm ( Additional shows may be added to meet demand ) Rehearsal Dates:  From Saturday 17 January 2026 Rehearsal Times: Saturdays & Sundays: 9:30am–5:30pm Mondays & Tuesdays: 6:00–9:30pm ( Detailed weekly schedule in audition pack. Tech/dress from 7–12 March 2026 ) Warnings: Production features mature themes, relationship content, intimacy, and LGBTQIA+ representation. Dance/movement is required for most roles. Performer Age:  16+ Creative Team: Director:  Tim Hill Choreographer:  Tess Hill Music Supervisor:  Luke Kennedy Production Website:   https://empiretheatre.com.au/auditions Other Information: Orchestra & backstage opportunities available (email: orchestra@empiretheatre.com.au  or productions@empiretheatre.com.au ) Available Roles/Character Breakdown: Principal Roles Juliet  – Bold, independent, rewriting her own fate. (F3–F#5, strong MT pop belt). Anne Hathaway  – Witty, assertive wife of Shakespeare; challenges his work and rewrites Juliet’s story. (A3–E5). William Shakespeare  – The Bard himself, playful, egotistical but reluctantly adaptable. (Db3–Bb4). May  – Juliet’s non-binary best friend; sensitive, funny, and deeply authentic. (G3–A4, pop). Angelique  – Juliet’s nurse, loyal but yearning for independence. (E3–E5). Francois  – Shy, awkward young Frenchman pushed into duty, discovers new love. (Bb2–B4). Lance  – Francois’s stern father with a surprising soft side. (F2–F4, French accent). Romeo  – Juliet’s dramatic ex-lover; charming, chaotic, and irresistible. (E3–E5). Ensemble Roles Judith, Richard, Lucy, Eleanor  – Shakespeare’s troupe; colourful, comedic, and versatile. Lord Capulet / Lady Capulet  – Juliet’s authoritative parents; powerful presences. Benvolio  – Romeo’s loyal, fun-loving best friend (played by femme track). Femme Players  – Interchanging roles (Susanna, Rosaline, Helena, Portia, etc.); sopranos/altos with belt. Masc Players  – Interchanging roles (Augustine, Henry, Gregory, etc.); tenor/baritone/bass, strong pop vocals.

Title:  School of Rock (Musical) Presented By:  Passion Productions Genre:  Rock Musical / Comedy Synopsis: Based on the hit film, School of Rock follows wannabe rock star Dewey Finn who fakes his way into a substitute teaching gig at an elite prep school—then secretly turns his class into a kick-ass band bound for Battle of the Bands. It’s rebellious, high-energy, and all heart. Audition Date:  Saturday 6 December 2025 (group calls) Audition Time:  You’ll be allocated a 60-minute group slot after registering Audition Location and Address:  Northgate Hall, 71 Scott St, Northgate QLD 4013 Audition Requirements: Dance:  Learn the combo in advance (taught briefly on the day). Choreo video in pack. Singing (Adults):  30–45 sec each of two MT songs — one rock style + one classical/traditional MT. Singing (Kids):  30–45 sec own choice song and set cut of “Stick It to the Man” (link in pack). Acting:  Cold reads may be requested at audition or callbacks; no prep needed. Bring a device for your backing tracks; wear clothes/shoes you can move in. All performers 18+ must hold a current Blue Card. Audition Registration:   Register for a timeslot (Airtable) Audition Pack:   Info Pack (PDF) Performance Dates:  10–12 April 2026 (possible extension to 18 April based on sales) Rehearsal Dates:  From Sunday 18 January 2026 (full schedule linked in pack) Rehearsal Times:  Thursdays 6:30–10:00pm & Sundays 10:00am–4:00pm (Bardon Hall) Callbacks:  Sunday 7 December 2025, 2:00pm at Northgate Hall Warnings: Family musical with mild language and references (swearing by adult and child cast in context), references to alcohol/drugs, characters defying authority. Full list of scripted words provided in the Info Pack. Performer Age: Adults & teens: 15+ (adult ensemble/roles); Kids’ roles as per character list below. Production Website:   https://www.passionproductions.com.au/auditions Other information: Community theatre; unpaid, no production fees or mandatory membership. Cast may be asked to assist with sourcing basic costume pieces/props (designer-approved). Available Roles/Character Breakdown: Adults Dewey Finn  (mid-20s–30s) – High rock tenor (B2–E5, head belt). A lovable, chaotic rock tragic who transforms his class into a band. Strong comedy/improv; basic guitar a must. Rosalie Mullins  (mid-20s–30s) – Soprano with operatic top and strong belt (A3–D6). Strict headmistress with a buried rock heart. Precision, authority, and a secret love of Stevie Nicks energy. Ned Schneebly  (mid-20s–30s) – Rock bari-tenor (C3–F#4). Ex-rocker turned timid man-child under Patty’s thumb; Dewey’s old mate. Patty Di Marco  (mid-20s–30s) – Belt (B3–E5). Ned’s no-nonsense partner; pragmatic, protective, and allergic to Dewey’s chaos. Adult Ensemble  – Teachers, parents, and featured cameos (e.g., Jeff Sanderson – Battle of the Bands manager; Theo/Doug/Bob/Snake – No Vacancy; Stanley; Security Guards 1 & 2). All vocal ranges; character acting; light movement. Kids – Instrumentalists   (playing the instrument is a strong plus but not always mandatory) Zack  (guitar) – (A3–D5) Gifted but stifled; angry at not being heard. Finds voice through lead guitar. Lawrence  (piano/keys) – (A3–D♯5) Shy brainiac; blossoms under Dewey’s encouragement. Freddy  (drums) – (A3–D5) Boundless energy; rough-around-the-edges kid who channels it at the kit. Katie  (bass) – (A3–D5) Cool, calm anchor of the band. Minimal fuss, maximum groove. Kids – Non-Instrumentalists / Featured Tomika  – (A3–G5) New kid with powerhouse voice; quiet until she isn’t. Soulful belt. Summer  – (A3–D5) Type-A class leader; self-appointed manager who keeps Dewey honest. Marcy & Shonelle  – (A3–G5) Sassy, tight backing vocalists; blend and stage presence. Billy  – (A3–D5) Budding fashionista; comic flair with heart. Mason  – (A3–D5) Tech whiz; clever problem solver. Sophie, James, Madison  – (A3–D5) Ensemble kids with pop/rock vocals; learn multiple tracks.

Title:  Deal With It Presented By:  Emma Hanson Productions Genre:  Dark Comedy / Contemporary Theatre Synopsis: Alix’s roommate Bridget is strange: she’s never around and behind on rent. But when that changes overnight, it leaves Alix’s partner Max deeply suspicious. Why is there blood in the apartment? Can Bridget be trusted? The devil is in the details. Deal With It  is a dark comedy tackling themes of patriarchy, bodily autonomy, inherited misogyny, and cycles of violence. Written with gender-inclusive casting, the play challenges traditional power dynamics through intimacy, humour, and horror. Audition Date:  Sunday 5th & Monday 6th October 2025 Audition Time:  Individual 15-min sessions (book via form) Audition Location and Address:  Backbone, 28 Tallowwood St, Seven Hills QLD 4170 Audition Self-Tape Due (if applicable):  Video auditions available on request; send to emhansone03@gmail.com Audition Requirements: Prepare two monologues (1 min each): one of your choice, one provided from audition material. Be ready for cold reads on the day. Bring a CV and headshot. Auditions are by appointment only. Callback: Tuesday 7th October. Some auditions may be filmed for casting/marketing. Audition Registration:   Book audition here Audition Pack:   Audition Material (Google Doc) Performance Dates: 28 January 2026 – Preview 29 January – Opening Night 30 January – Evening 31 January – Matinee & Evening 1 February – Matinee & Evening 4 February – Evening 5 February – Evening 6 February – Matinee & Evening 7 February – Matinee & Evening Performance Times:  Evenings (6:30–7pm starts), weekend matinees 1–2pm approx. Performance Location:  Pip Theatre, Milton Rehearsal Dates: 19 October – Table Read 28 December – Rehearsal Start 4–24 January – Wednesdays, Fridays, Sundays 25 January – Bump-in 26 January – Tech 27 January – Dress Run Rehearsal Times:  Evenings (7–9:30pm) & Sundays (afternoons). Warnings: This production includes intimacy and fight choreography, licensed coordination, fake blood, partial nudity, violence, misogyny, and death depictions. Performer Age:  20s preferred for lead roles (18+ minimum). Creative Team: Producer: Emma Hanson Co-Director: Aimee Sheather Co-Director: Aarya Dath Stage Manager: TBA Production Website:   https://emmaelizabethhanson.wordpress.com/ Other information: Compensation:  Flat fee $300 (non-union). Cast must be comfortable with intimacy direction and sensitive content. Applications close 3 October 2025 (11:59pm). Rehearsal resources provided at table read; near-off-book expected by January. Available Roles/Character Breakdown: Bridget  – Woman, early–mid 20s. Complex, unsettling; intimacy scene with John. Partial nudity. Alix  – Early–mid 20s (any gender). Bridget’s roommate, devoted to partner Max. Movie buff. Intimacy with Max. Max  – Early–mid 20s (any gender). Aspiring novelist, devoted to Alix. Intimacy with Alix. Paul  – Man, mid–late 20s. Overbearing, eccentric. Man (Derrick)  – Man, mid–late 20s. “Soy boy” energy. Jake  – Man, early–mid 20s. Dude-bro. John  – Man, mid–late 20s. Charismatic delivery driver; intimacy scene with Bridget. Zizi  – Pre-cast. The Devil/Beelzebub.

Title:  Shrek the Musical (Holiday Workshop Production) Presented By:  Communication in Action Genre:  Musical Theatre (Comedy, Family, Fantasy) Synopsis: Based on the Oscar-winning DreamWorks Animation film, Shrek the Musical  is a hilarious and heartfelt fairy-tale adventure. With larger-than-life characters, irreverent humour, and show-stopping songs, this production turns the classic fairy-tale world upside down while celebrating friendship, acceptance, and the joy of being different. Everyone who auditions will be cast, making it a full-scale ensemble experience with opportunities for performers of all levels. Audition Date:  Sunday 26 October 2025 Audition Time: Group 1: 2.00–3.30pm Group 2: 3.30–5.00pm Audition Location and Address:  Thomas Dixon Centre, West End Audition Self-Tape Due (if applicable):  26 October 2025 Audition Requirements: Enrolment in the program is required before audition materials will be sent. Final role distribution at director’s discretion. All performers will be cast in the ensemble or featured roles. Video auditions accepted if unable to attend in person. Audition Registration:  Via enrolment form at communicationinaction.net Performance Dates:  Saturday 17 January 2026 Performance Location:  Talbot Theatre, Thomas Dixon Centre, West End Rehearsal Dates:  Monday 12 – Saturday 17 January 2026 (Holiday Workshop Week) Rehearsal Times:  9.00am – 3.00pm daily Performer Age:  Open to students in Year 3 and up (school year in 2026 – current Year 2s may enrol). Creative Team: Director:  Tim Hill Choreographer:  Justin Anderson Vocal Coaching provided as part of workshop tuition. Production Website:   communicationinaction.net Other Information: A preparatory Shrek Musical Theatre Masterclass  is available prior to auditions for skill development. Dates:  Sunday 12 & 19 October 2025 Time:  2.00–5.00pm Venue:  Thomas Dixon Centre, West End Cost:  $120 + GST (6 hrs tuition total) Limited places to ensure personalised attention. Available Roles/Character Breakdown: Shrek  – The grumpy but lovable ogre with a big heart. Fiona  – A princess with a secret, feisty and funny. Donkey  – Shrek’s wisecracking, loyal companion. Lord Farquaad  – The comically villainous ruler with a larger-than-life personality. Dragon  – Fierce, sassy, and soulful. Pinocchio, Gingy, Three Little Pigs, Three Bears, Wicked Witch, Ugly Duckling, Fairy Tale Creatures  – Ensemble of bold, comedic characters with strong singing and acting moments. Ensemble:  Villagers, Guards, and Fairy-Tale ensemble roles with group singing/dancing.

Title:  Bonnie & Clyde Presented By:  Phoenix Ensemble Genre:  Musical Synopsis: Set in Depression-era America, Bonnie & Clyde  tells the electrifying story of Bonnie Parker and Clyde Barrow, small-town dreamers whose hunger for fame and escape from ordinary lives leads them down a path of love, crime, and infamy. Their daring heists, turbulent romance, and relentless pursuit of freedom make them both heroes and villains in the public eye. Featuring a thrilling score blending blues, gospel, and rockabilly, Bonnie & Clyde  is a sexy, action-filled tale of two of history’s most notorious lovers, leading to their inevitable and tragic downfall. Audition Date: Group Dance & Vocal Workshop (all auditionees):  Thursday 16 October 2025 — 6:30pm or  8:00pm (90 minutes) Individual Auditions (Principals + Preacher):  Saturday 18 October 2025 — 9:00am–3:00pm Callbacks (by invitation):  Tuesday 21 October 2025 — from 7:00pm Audition Location and Address:  Phoenix Ensemble, Pavilion Theatre (“Tin Shed”), Beenleigh Showgrounds, James St, Beenleigh QLD Audition Requirements: All auditionees must attend a group dance & vocal session. You will learn a short routine and vocal harmony in groups. Wear movement clothes and closed shoes. If auditioning for Principals (Clyde, Bonnie, Buck, Blanche, Ted, Preacher): Prepare two contrasting songs (max 1 min each) in the style of the show. Bring a backing track on an AUX/Bluetooth device (speakers/adaptors provided). Prepare one of the provided monologues (Southern American accent). This does not need to be memorised. Ensemble auditionees need only attend the group workshop unless also auditioning for featured tracks. Southern American accents are required for all roles. Audition Registration:  Book your slot via phoenixensemble.com.au/audition Audition Pack:   Download here (PDF) Performance Dates:  Friday 20 February – Saturday 7 March 2026 (3-week season) Performance Times:  Fridays & Saturdays (evenings), Saturday matinees (no Sundays) Rehearsal Dates:  Commence Sunday 9 November 2025. Rehearsal Times:  Mondays & Wednesdays 7:00–10:00pm; Sundays 1:00–6:00pm. Holiday break: 22 Dec 2025 – 2 Jan 2026. Sitzprobe: Sunday 1 February 2026. Tech/Final rehearsals: From Monday 9 February 2026. Rehearsals and Performance Location:  Phoenix Ensemble, Pavilion Theatre, Beenleigh Showgrounds Warnings: Contains intimacy, stylised violence, firearms, adult themes, and passionate physicality. An intimacy coordinator will be engaged to ensure safety. All cast must be 18+ by the first rehearsal, except for Young Clyde and Young Bonnie, who will be cast separately at a later date. Performer Age:  18+ (excluding youth roles). Creative Team: Director:  Kym Brown Musical Director:  Sally Faint Choreographer:  Julianne Clinch Production Website:   phoenixensemble.com.au/audition Other Information: Phoenix Ensemble is a community company; all roles are voluntary/unpaid. Cast must become financial members by the first rehearsal and hold (or obtain) a valid Blue Card. Available Roles / Character Breakdown: Clyde Barrow Male-presenting, stage age: 21 Vocal range: A2–C5 (high tenor belt). Reckless and magnetic; a small-town boy craving fame and notoriety. Charismatic, daring, impulsive, and utterly in love with Bonnie. Requires stamina, vocal power, and strong physical presence. Bonnie Parker   Female-presenting, stage age: 20 Vocal range: G3–F5 (mezzo belt). A beautiful, ambitious waitress and poet, torn between love and fame. Headstrong, stubborn, and vulnerable. Chemistry with Clyde essential; must handle intimate and emotionally charged material. Marvin “Buck” Barrow   Male-presenting, stage age: 25–35. Vocal range: B2–G4. Clyde’s loyal older brother, torn between his outlaw life and Blanche’s disapproval. Adventurous but conflicted. Needs strong acting depth to balance bravado with moral struggle. Blanche Barrow   Female-presenting, stage age: 25–35. Vocal range: G3–Eb5. A devout and moralistic woman; deeply religious, righteous, and disapproving of her husband Buck’s choices. Provides comic relief and emotional grounding. Ted Hinton   Male-presenting, stage age: 25–30. Vocal range: C3–A4. A kind police officer caught between his duty and his unrequited love for Bonnie. Honest, earnest, and gentle, but ultimately on the opposite side of Bonnie and Clyde’s world. Ensemble / Featured Roles  — Each ensemble member covers featured tracks: Cumie Barrow:  Clyde & Buck’s mother, pragmatic and weary. Female-presenting, 30–50. Emma Parker:  Bonnie’s mother, supportive but fearful. Female-presenting, 25–40. Governor Miriam Ferguson:  Strong and authoritative. Female-presenting, 35+. Sheriff Schmid:  Relentless lawman pursuing Bonnie & Clyde. Male-presenting, 35+. Preacher:  Gospel powerhouse; requires strong tenor (A2–C5). Male-presenting, 35+. Henry Barrow:  Clyde & Buck’s father, weary and resigned. Male-presenting, 30+. Deputy Bud:  Young, naive; Clyde’s first victim. Male-presenting, 20–40. Judge / Captain Hamer:  Stern, commanding, final pursuer of the couple. Male-presenting, 40+. Ensemble also appears as townsfolk, church congregation, bank/store customers, police, and guards, often with solos or spoken lines. Young Clyde  — Male-presenting, around 10. Treble/unbroken voice (B3–A5). Young Bonnie  — Female-presenting, 10–15. Vocal range: C#4–C5. Contemporary tone required.