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Bleep Quest by Play on Stage Playwright:  Nicky Peelgrane Director:  Virag Dombay Animation Design: L aura Cadart Costume Design:  Lottie Banford Movement Director:  Jack Barrett Lighting Design:  Benjamin Moore Cast: Sascha Holt Lilica Howard Lyra McCrossin Leo Teh “I bleeping know that you cow!” I laughed. Immediately. And so did the other adults around me. That’s the genius of Bleep Quest. Play on Stage have taken something children find wildly fascinating (swearing) and turned it into a clever, funny exploration of language, all without using a single real swear word! The premise is simple and relatable for kids: Kate is being bullied at school. Billy is loud, threatening, and armed with aggressive language. Kate wishes she were her favourite pro-wrestler so she could simply body-slam him into next week… but instead, she asks a much better question: how can I stand up for myself without swearing back? This 45-minute production is tightly paced and packed with ideas. Under Virag Dombay’s direction, the show is a playground of theatrical devices: dance, games, sport, rapping, Shakespeare, wrestling, and even a little scatology (yes, I learned that word from the play — “the study of feces,” apparently!). Kate is a budding artist, and one of my favourite elements was watching her drawings projected through Laura Cadart’s animation design. We see her imagination unfold in real time. Her brainstorms, daydreams, and “what if” scenarios materialise onto the backdrop while music and cheeky sound effects (“woomp woomp”) punctuate the action. The script respects children’s intelligence. It treats big emotions as real and valid, but always with warmth and wit. Sascha Holt as Kate takes on an enormous responsibility. She never leaves the stage and has what feels like (approx) one million lines! Narration, dialogue, audience interaction, rapid-fire brainstorming — she handles it all with admirable stamina. When she leans into expression and timing, her acting instincts really shine. I was highly impressed by her focus and commitment throughout the whole thing. The script allows the other performers to play multiple characters like granny, mum, Italian teacher, annoying big sister, Billy, and more... Lyra McCrossin stood out to me as the most articulate performer, with crisp delivery and clarity that made every joke land well. Lilica Howard embraced the exaggerated comedy, especially as the granny and big sister. Big character choices, which I loved. Leo Teh as Billy was the most naturally expressive, and you could see every emotional beat land clearly. A gentle note (said with so much love): there are some absolute zingers in this script. So slow down your words, my babies! We want to savour those punchlines. They’re gold. What I adored most was the concept of a word fight > physical fight Instead of a physical showdown, Kate arms herself with vocabulary. Knowledge becomes her power. Insults are replaced with articulate retorts. The bully’s feelings are hurt not by fists, but by language. And when Kate is praised for her excellent use of vocabulary? As a teacher myself, I was thinking “yas queen!” from my seat. “People who swear can’t think of anything else to say.” That line alone deserves to be on a classroom poster. The play not-so-subtly introduces the idea that swearing activates a more primitive part of the brain, something playwright Nicky Peelgrane explores with real curiosity and humour. The show doesn’t shame children for finding taboo language fascinating. It simply asks: what if we had better tools? There were audible adult gasps and giggles throughout. The sarcasm and dry wit land even harder because they’re delivered by children. There's something just deliciously funny about a tiny human delivering sharp commentary. There are also sweet moments of audience interaction, where Kate asks open-ended questions and the crowd may shout back suggestions. It creates a sense of shared problem-solving and empowerment. Even the slightly chaotic prop throwing from the wings made me cackle (you all absolutely need to practise your throwing and catching ha!) Theatre that is put together and performed by young people carries a particular magic. We’re not just watching a story. We’re watching their growth, bravery, and skill-building in real time. Learning lines. Taking direction. Collaborating. Showing up. And in this case, exploring how to stand up to bullying without becoming the bully yourself. Bleep Quest  is funny, warm, smart, and surprisingly educational. It proves that language is powerful. That creativity is powerful. That knowledge is powerful. And that sometimes the most satisfying victory isn’t a body slam... It’s a well-delivered sentence. I bleeping loved it!

Title:  Grease Presented By:  Ipswich Musical Theatre Company Genre:  Musical Theatre   Synopsis:   Set in 1959, Grease follows the students of Rydell High as they navigate friendships, romance, and growing up. When new girl Sandy arrives at school, she’s surprised to reunite with Danny, the boy she’d had a summer romance with. The pair struggle to reconcile their romance due to social pressures from their respective cliques - Danny as leader of the Greasers and Sandy with her “good girl” reputation. As their Senior year unfolds, the pair and their classmates experience the highs and lows of teenage life, from parties and school dances to major misunderstandings, heartbreak, and self-discovery. As graduation looms, The Pink Ladies and T-Birds support each other through troubles, dreams, and personal challenges. Filled with iconic songs, energetic dance numbers, and plenty of humour, Grease is a fun-filled and heartfelt story about finding where you belong, and growing up together.   Audition Date:  May 3rd - 4th, 2026  Audition Time:    Sunday 9AM - 6PM Monday 6PM - 10PM Audition Location and Address:   The Old Courthouse, Corner of Roderick & Ginn St, Ipswich     Audition Requirements:  Audition Requirements: First Round - Principal Roles: 5–10 minute private auditions will be allocated. Prepare two contrasting songs in the style of the show (modern musical theatre/pop/rock). Songs must NOT be from Grease . Songs will be performed with backing track only (MP3 or WAV). Backing tracks may be emailed prior or brought on USB on the day. No accompanist will be provided (you may self-accompany if you are a singer/musician). Please bring a CV with headshot (headshot for identification only and will not be returned). First Round - Ensemble: Auditionees will participate in a group movement call (led by the choreographer), a group vocal call (led by the musical director). You will be taught a short piece of music from the show and a short movement combination to perform in groups. No solo singing required. Wear suitable clothing and shoes. Callbacks - Dancers, Cheer Squad & Cha Cha: Participants will attend an advanced movement call where a combination will be taught. You may also be asked to complete technical exercises or present tricks. Those registered must complete the first round ensemble movement and vocal call prior to attending this session. Callbacks - Principals: Movement Call - All performers called back for principal roles must attend a group movement call led by the choreographer. An advanced movement call will be available for experienced dancers. Wear suitable clothing and shoes. Vocal/Acting Call - Principal and supporting role candidates will attend a group session run by the Director and Musical Director. Solo, duo and group material will be provided (role-specific songs shared after first round). You may be taught a harmony line to assess blend and musicianship. Role-specific scenes (provided after first round) will be workshopped to assess direction, chemistry and stage presence. Memorisation is not required, but familiarity with context and accent is expected. Some performers may be required for the full session; others may be released earlier. Audition Registration:   Please complete the online Audition Form HERE by Wednesday April 29th, 2026 Audition Pack:  Ipswich Musical Theatre Company - Grease Audition Pack   Performance Dates:  September 12th - 20th, 2026 Performance Times:    Fridays & Saturdays - 7:30PM Sunday September 13th - 1:30PM Sunday September 20th - 2PM Performance Location: Ipswich Civic Centre, 50 Nicholas St, Ipswich QLD 4305      Rehearsal Dates:  Mondays, Thursdays & Sundays from June 14th onwards Rehearsal Times:    Mondays & Wednesdays 7 - 10PM Sundays 2 - 6PM Rehearsal Location:  Split between two venues - The Old Courthouse, Ipswich Davidia Lind Dance Centre, Mansfield Warnings:   All cast members aged 18+ may be required to have a current Working With Children Check, or be able to apply for one at the time of the first rehearsal. Performer Age:  Auditions are open to people aged 16+ at the time of auditions. Creative Team:  Director - Thomas Armstrong-Grobley Musical Director - Matt Rofe Choreographer - Simon Lind Production Website:   Ipswich Musical Theatre Company - Grease Other information:    As a volunteer-run association, all cast members are required to hold a current Ipswich Musical Theatre Company membership for the duration of rehearsals and performances. Membership Fee - $35. Our sets are a big part of what makes each show so special. As a community theatre company, we love it when cast members, along with family and partners, can jump in and help out at our working bees. If you’d like to get involved, or know someone who might enjoy helping behind the scenes, we’d love to hear from you. Whether it’s set building, painting, costumes, props, dressing or backstage crew, there’s a role for everyone. Just send us an email at ipswichmusicaltheatrecompany@gmail.com . All volunteers are very welcome!   Available Roles/Character Breakdown: Sandy Dumbrowski  – New girl in town; sweet, wholesome, naïve, cute and innocent. Female presenting. Stage age: High school teen (playing age). Vocal Range: Soprano (A3–F#5).All ethnicities. Danny Zuko  – Leader of the T-Birds; good-looking, strong and confident, with an air of easy-going charm. Male presenting. Stage age: High school teen (playing age).Vocal Range: Tenor (D4–B5). All ethnicities. Betty Rizzo  – Leader of the Pink Ladies; tough, sarcastic and outspoken, but with underlying vulnerability. Female presenting. Stage age: High school teen (playing age). Vocal Range: Alto (A3–C5). All ethnicities. Frenchy  – A dreamer; good-natured but not too bright. Heavily made up and fussy about her appearance, especially her hair. Dreams of becoming a beautician. Female presenting. Stage age: High school teen (playing age). Vocal Range: Alto (A3–D5). All ethnicities. Kenickie  – Second-in-command of the T-Birds; tough-looking, tattooed and surly, masking any softness. Possesses an offbeat sense of humour. Male presenting. Stage age: High school teen (playing age). Vocal Range: Tenor (C4–F5). All ethnicities. Doody  – The youngest of the T-Birds; small, boyish and open, with a disarming smile and a hero-worshipping attitude toward the other guys. Ability to play guitar preferred but not required. Male presenting. Stage age: High school teen (playing age). Vocal Range: Tenor (D4–A5). All ethnicities. Sonny LaTierri  – A member of the T-Birds; funny Italian-American, a braggart and wheeler-dealer who thinks he’s a real lady-killer. Male presenting. Stage age: High school teen (playing age). Vocal Range: Baritone (G3–A5). All ethnicities. Roger  – The anything-for-a-laugh, stocky type; a clown who enjoys winding people up. Full of mischief and always dreaming up half-baked schemes and ideas. Male presenting. Stage age: High school teen (playing age). Vocal Range: Tenor (D4–A5). All ethnicities. Jan  – Funny, loud, compulsive eater and awkward member of the Pink Ladies. Loud and pushy with the girls, but shy with boys. Female presenting. Stage age: High school teen (playing age). Vocal Range: Alto (A3–C5). All ethnicities. Marty  – The “beauty” of the Pink Ladies; pretty and appears older than the other girls, but betrays her real age when she speaks. Tries to act sophisticated. Female presenting. Stage age: High school teen (playing age). Vocal Range: Alto (C4–C5). All ethnicities. Teen Angel  – Frenchy’s suave and slick guardian angel who encourages her to stay in school. Any gender. Stage age: Flexible. Vocal Range: Flexible. All ethnicities. Miss Lynch  – A no-nonsense, serious and loud English teacher. Female presenting. Stage age: 40+ (playing age, flexible). Vocal Range: Flexible. All ethnicities. Cha-Cha (Charlene DiGregorio)  – The best dancer at St. Bernadette’s; a loudmouth who wins the dance competition with Danny. Female presenting. Stage age: High school teen (playing age). Vocal Range: Alto (C4–C5). All ethnicities. Eugene Florczyk  – The class valedictorian; physically awkward, with weak eyes and a high-pitched voice. A typical teacher’s pet – smug, pompous, but gullible. Male presenting. Stage age: High school teen (playing age). Vocal Range: Tenor (A3–E5). All ethnicities. Patty Simcox  – A typical cheerleader; attractive, athletic, confident, but prone to bursts of over-the-top enthusiasm. Unpopular with the Pink Ladies and able to twirl a baton. Female presenting. Stage age: High school teen (playing age). Vocal Range: Alto (D4–A4). All ethnicities. Ensemble  – The class of Rydell 1959; an ultra-enthusiastic group of singers, actors, dancers, cheerleaders and tumblers. Any gender. Stage age: Flexible. Vocal Range: SATB. All ethnicities.

Title:  It's Only Acting Presented By:  BATS Theatre Company Genre:  Modern Australian Comedy Synopsis: Ever watched political advertisements around election time and wondered whether the actors portraying housewives, labourers and retirees actually believe what they are saying - or whether it’s simply another paying gig? Terri dreams of acting professionally but struggles to hold down a regular job and is desperately behind in rent. Just when things seem dire, she is offered a life-changing role in an Australia-wide marketing campaign. There’s just one problem: Terri is a passionate environmental activist, and the campaign promotes the “Aussie First, Second and Third Party,” a right-wing political movement led by a wealthy mining magnate. Does Terri compromise her principles for financial security and career success? IT’S ONLY ACTING is a modern, humorous look at ethics in advertising and the lengths some will go to turn their dreams into reality. Audition Date:  Tuesday March 17th, 2026 Audition Time:  7:30pm Audition Location and Address:  Buderim War Memorial Hall, Cnr Main and Church Streets, Buderim Audition Requirements:  No preparation required. Auditions will be held in a relaxed and friendly environment. Just come along and have fun. Audition Registration:  No formal registration required. For enquiries, contact Bruce on 0457 438 236. Performance Dates:  June 19th - 27th, 2026 Performance Location:  Buderim War Memorial Hall, Cnr Main and Church Streets, Buderim Rehearsal Dates:  Every Tuesday and Thursday Rehearsal Times:  7:30PM - 9:30PM Rehearsal Location:  Buderim War Memorial Hall, Cnr Main and Church Streets, Buderim Warnings:  Themes of politics and adult workplace references. Performer Age:  18+ Creative Team:  Writer & Director – Bruce Olive Production Website:   BATS Theatre Company - It's Only Acting Available Roles/Character Breakdown: Darren:  Male university student and environmental activist in his 20s to 40s. Terri:  Female friend of Darren’s. Similar age to Darren. This is a large role. Barry:  Mining magnate and founder of the Aussie First, Second and Third Party. 50s plus. Flamboyant Aussie. Tabatha:  Flatmate of Terri’s. 20s to 40s. Single mum with three young children. Makes ends meet by managing the Pink Kitten Gentlemen’s Club. Roxanne:  30s plus female. Proprietor of the acting, modelling and television production company. A no nonsense businesswoman. Brian:  Television presenter. Small part. Could be played by the actor playing Darren. Non-Speaking Roles:  Two or three assistants in the television studio (could be played by backstage assistants).

Title:  Snow White (The Melodrama) Presented By:  Allegory Theatre QLD Inc. Genre: Youth Comedy Melodrama Synopsis: Brace yourself for a wildly wacky, anything-goes comedy melodrama bursting with over-the-top audience participation! This is definitely not the Snow White you remember. Meet a can-do Snow White with a tool belt, a Prince who can’t stop speaking in Spoonerisms, and a hilariously high-maintenance Queen who constantly demands advice from the audience (and never quite likes the answers). Add a mouthy Mystic Mirror who delights in tormenting the Queen, plus a bizarre band of former “dwarfs” - Bossy, Corny, Ditzy, Hyper, Klutzy, Loquacious, Silent, Trivial and Whiney - who are no longer dwarfs thanks to an inconvenient alien abduction. Expect nonstop slapstick, goofy wordplay and gleeful chaos! Audition Date:  Saturday March 7th, 2026 Audition Time:  12PM – 4PM Audition Location and Address:  Picabeen Community Centre, 22 Hoben Street, Mitchelton Audition Requirements: Prepare a monologue or nursery rhyme (maximum 1 minute) Memorisation is advantageous Cold reads from the script will be provided Audition Registration: Read the audition information and complete the official registration form HERE Performance Dates:  September 13th - 29th, 2026 Performance Times: Wed 15 April - 11AM Thu 16 April - 11AM Fri 17 April - 6PM Sat 18 April - 11AM Sun 19 April - 11AM (Closing; followed by bump out & cast party) Call time for all performances is 2 hours prior. Performance Location:  To be confirmed by production Rehearsal Dates: Wednesdays and Sundays from March 8th, 2026 Rehearsal Times: Wednesdays 7PM - 9:30PM Sundays 12PM - 4PM Rehearsal Location:  Advised upon casting Warnings: High audience interaction, slapstick comedy and exaggerated melodrama style. Creative Team: Playwright - Michael Wehrli Director - Natalie Murtagh Other Information: All roles are open for casting. Cast members must be available for the majority of rehearsals, all of tech week and all performances. Please declare any known conflicts in your application. Successful cast members must become members of Allegory Theatre QLD Inc for insurance purposes: Adult - $25 Concession - $15 Junior (5–17yrs) - $10 Membership includes 2 complimentary tickets to an Allegory show within the membership year and invitations to members-only events. Available Roles/Character Breakdown: NARRATOR 1 - Takes their job as a narrator seriously, but loves sharing the story NARRATOR 2 - Full of energy and enthusiasm about being a narrator QUEEN - Completely vain. Loves to be Queen and treats everyone like dirt MINERVA - The Queen in disguise as a sweet young girl CRONE - The Queen in disguise as an ancient withered old lady. MYSTIC MIRROR - The Queen's enchanted slave mirror who loves to tease and poke fun at the Queen at any opportunity SNOW WHITE - Smart, capable, kind and full of great ideas. Very naive about the world outside the castle. SERVANT / HUNTER - The servant is stuffy and serious. The Hunter is generally fun loving and nice but has to follow the Queen's orders PRINCE RONALD - Heroic and Brave, though shy when it comes to feelings. When he gets nervous he speaks in Spoonerisms (Spoonerisms is when the first letter of two words are transposed eg: Royal Protocal becomes Poyal Rotocol) ROBBIE RACCOON - A sassy talking raccoon who is very protective of those they care for BOSSY - Loves being in charge of the Dwarfs CORNY - The life of the party! Quick with old corny jokes DITZY - Easily distracted and curious about everything HYPER - Drinks way too much coffee KLUTZY - Does no pay attention and frequently injures themselves LOQUACIOUS - Extremely smart and loves to show off big words SILENT - Quiet, pensive and extremely attentive to everyone and everything around them TRIVIAL Fascinated with all things trivia, facts, and information. An over sharer WHINEY - Generally tends to see the negative side of things

Title:  Sister Act Presented By:  Toowoomba Choral Society Genre:  Musical Theatre   Synopsis:   When disco diva, Deloris Van Cartier, witnesses a murder, she is put in protective custody in the one place the cops are sure she won't be a found: a convent! Disguised as a nun, she finds herself at odds with both the rigid lifestyle and uptight Mother Superior. Using her unique disco moves and singing talent to inspire the choir, Deloris breathes new life into the church and community but, in doing so, blows her cover. Soon, the gang is giving chase, only to find they are up against Deloris and the power of her newly found sisterhood.     Audition Date:   Friday 27th & Saturday 28th March 2026 Callbacks - Monday 30th March (Afternoon/Evening). Lead and Minor Lead auditionees must keep this date free. Audition Time:  Allocated one-hour session (Friday auditions run throughout the day) Audition Location and Address:  Toowoomba Anglican School, 2 Campbell St, East Toowoomba     Audition Requirements: Lead/Minor Role: Own choice song (up to 1 minute / 32 bars) in music theatre or soul/gospel style (not from the show) Dialogue excerpt (provided one week prior) Ensemble audition Ensemble/Backstage Singer: Ensemble audition only Own Choice Song Notes: Provide own accompanist, use show accompanist (upload sheet music with audition form), or bring professional backing track (no vocals). Song should demonstrate vocal ability and storytelling. Dialogue: Script excerpts provided prior American accents encouraged (not essential) Dialogue may be reserved for callbacks. Ensemble Audition: Vocal excerpts provided prior. Movement taught on the day - wear suitable clothing and shoes. Audition Registration:  Applications close Friday 13th March, register HERE Audition Pack:   Toowoomba Choral Society Sister Act Audition Pack   Performance Dates:  September 3rd - 5th, 2026 Performance Times: Thursday & Friday - 7:30PM Saturday - 2PM & 7:30PM Performance Location:  Empire Theatre, 54-56 Neil Street, Toowoomba City, QLD 4350   Rehearsal Dates:  Begin Monday 25th May, Mondays & Thursdays (evenings) & Sundays (all day) Rehearsal Location:  Toowoomba Choral Hall, Corner Bridge & Raff Streets, Toowoomba   Warnings: Mild adult themes, staged violence references, loud music, theatrical effects. Performer Age:  18+ (must be 18 by Monday 25th May).   Creative Team: Director/Stage Designer – Mary Quade Assistant Director – Sandie Black Musical Director – Nick Williams Assistant Musical Director/Vocal Coach/Repetiteur – Wendy Burns Choreographer – Holly Petersen Stage Manager – Marty Zarb Costume Design – Debra Nairn Wardrobe Supervisor – Jenny Paynter Head of Construction – John Quade Props Master – Kylie Lee Graphics/Marketing – Kate Banks Sponsorship – Kylie Lee Production Website: Toowoomba Choral Society - Sister Act  Other Information: Membership & Fees: All cast must become financial members of the Toowoomba Choral Society. Adult: $182.50 ($82.50 membership + $100 production levy) Concession/Student: $167.50 ($67.50 + $100 production levy) Current 2026 Financial Members: $100 production levy only Fees due prior to Meet & Greet (24th May). Crew, Orchestra & Volunteers: EOI via production@tcschoral.com.au Full orchestra includes bass, drums, guitar, keyboards (1–3), percussion, reeds, brass, and more. Available Roles/Character Breakdown: Deloris Van Cartier  – Female, 25–45 (Lead) – E3–F#5 Mother Superior  – Female, 50–70 (Lead) – D3–E5 Sister Mary Robert  – Female, 18–25 (Lead) – F#3–A5 Monsignor O’Hara  – Male, 45–60 (Minor) – E3–G4 Curtis  – Male, 30–40 (Minor) – A2–Ab4 Eddie Souther  – Male, 25–45 (Minor) – Ab2–B4 Joey  – Male, 30–40 (Minor) – Bb2–Eb5 Pablo  – Male, 25–40 (Minor) – C4–F5 Sister Mary Lazarus  – Female, 50–70 (Minor) – F3–B4 Sister Mary Patrick  – Female, 35–50 (Minor) – G3–E6 TJ  – Male, 18–30 (Minor) – Db3–Eb5 Sister Mary Martin-of-Tours  – Female, 40–60 (Minor) – Spoken Sister Mary Theresa  – Female, 60–70 (Minor) – Spoken Michelle  – Female, 20–30 (Minor) – Bb3–F5 Tina  – Female, 20–30 (Minor) – Ab3–F5 Ernie  – Male, 25–35 (Minor) – Spoken Ensemble  – Any gender, 18+ (All ranges)

Title:  The 25th Annual Putnam County Spelling Bee Presented By:  Hanson Creative Genre:  Musical Theatre Synopsis: An eclectic group of sixth-graders arrives at the 25th Annual Putnam County Spelling Bee, each with different hopes, struggles and passions. In hilarious and touching songs, quirky characters share their dreams of spelling victory - and what it means to grow up and be heard. The show features a tuneful score by William Finn and a sweet, funny book by Rachel Sheinkin. Audition Date:  March 27th & 28th with Callbacks held March 30th, 2026 Audition Time: Friday from 4PM Saturday from 11:45AM Audition Location and Address:  Backbone, 28 Tallowwood St, Seven Hills, QLD Audition Requirements: Prepare two songs (up to 1 min each — one must showcase comedic ability), one should be in the style of the production; the other choice piece Prepare one provided monologue (from audition materials); does not need to match the role auditioned for Participate in cold reads on the day Bring a CV and headshot Audition Registration:  Register before March 25th by completing the audition application form HERE Audition Pack:   The 25th Annual Putnam County Spelling Bee Audition Pack Performance Dates: July 2nd - 5th, 2026 Performance Location:  BackDock Arts, 103 Brunswick Street, Fortitude Valley, QLD Rehearsal Dates & Times: Table Read - April 19th, 2026 Weekly rehearsals - Mondays, Fridays & Sundays from approx. 5 pm–9 pm Technical bump-in - June 29th, 2026 Tech rehearsal - June 30th, 2026 Dress run - July 1st, 2026 Rehearsal Location:  Backbone, 28 Tallowwood St, Seven Hills Creative Team: Producer - Emma Hanson Director - Emma Hanson Assistant Director - Lucy Wilding Technical Stage Manager - Riley Montesin Stage Manager - Trish Rosales Production Website:   Hanson Creative - 25th Annual Putnam County Spelling Bee Other information: Parts of the audition may be filmed for casting or promotional use Rehearsal attendance expectations communicated at table read Scheduling accommodates personal/work commitments where possible This is a non-union production. All cast will be paid a flat rate of $200. Available Roles/Character Breakdown: Olive Ostrovsky  – Femme-soprano; shy, loves her dictionary and feels neglected by her parents William Barfée  – Masc-tenor; last year’s spelling champ with an unusual technique and severe allergies Logainne Schwartzandgrubenierre (“Schwarzy”)  – Young politically aware contestant Leaf Coneybear  – Masc-tenor; eccentric homeschooled participant Marcy Park  – Femme-soprano; over-achiever and multi-talented Charlito “Chip” Tolentino  – Masc-tenor; former champion dealing with puberty Rona Lisa Peretti  – Femme-soprano; realtor and former champion Vice Principal Douglas Panch  – Masc; frustrated word judge Mitch Mahoney  – Masc-tenor; comfort counselor for eliminated contestants

Title:  Sleeping Beauty: The Pantomime Presented By:  Spotlight Theatre  Genre:  Pantomime   Audition Date:  March 22nd, 2026 Audition Time:  From 10AM Audition Location and Address: Johnston Street Studios, 52 Johnston Street, Southport     Audition Requirements:  Please prepare 2 contrasting pieces (45 sec – 90 sec) that show off your vocal ability. 1 song must be a pop-rock genre song, the other can be (but is not required to be) in the style of musical theatre. If you are only auditioning only for a Featured Dancer role, please only prepare 1 song (30 sec – 90 sec) from any genre. If you are auditioning for the role of Carabosse, please prepare 2:10min - 2:37min of One Way Or Another by Blondie. This will be additional to your 2 prepared pieces. A backing track will be emailed to you. You may be asked to cold read a section of script or be range tested during your audition. Please bring backing tracks on a USB, or a music playing device that can plug in or connect via bluetooth.   Audition Registration:  Please complete the Audition Form HERE and email your audition pack, theatre resume, and audition form to spotlightonsleepingbeauty@gmail.com along with any questions you may have Audition Pack:   Sleeping Beauty Audition Pack   Performance Dates:  July 1st - 11th, 2026 Performance Times:  Up to 2 shows a day      Performer Age:  15yrs+ Creative Team:   Director - Liv Hardcastle Assistant Director/Choreographer - Georgia Ogge Vocal Director - Jake Goodall Production Website:   Spotlight Theatre - Sleeping Beauty: The Pantomime Other information:  The Pantomime season runs as an intensive show for 2 weeks with up to 2 shows a day. Due to this, leads will have understudies who may have the opportunity to perform during the season   Available Roles/Character Breakdown:    Briar Rose (Sleeping Beauty): Playing Age 18-29 (Female Presenting) A beautiful young girl, both smart and kind but naive to the world. The Princess of the far away kingdom of Regalia, she was hidden away after a curse was placed on her at a young age. Now going under the name Briar Rose and unaware of her true heritage, she must navigate typical teenage troubles, overbearing aunts, a blossoming new romance and an ever-looming threat. Prince Dahl: Playing Age 18-29 (Any Gender) A handsome man, he is adventurous, caring and a bit of a flirt. Unburdened with any duties or difficulties, he is on a tour of his Father's kingdom to better know the locals. But underneath all that bravado, he is just a simple man. Carabosse: Playing Age 18+ (Any Gender) A witch who exudes sophistication and elegance but inside she is as evil as they come. She enjoys the simple things in life like long walks on the beach and cursing young princesses to die by touching the spindle of a spinning wheel. Now, she spends her time trying to locate the princess to ensure her plans come to fruition. Cerulean & Vermilion Playing Age 18+ (Any Gender/ Female Presenting) Twin sister fairies who are the narrators of the show. Under the guise of Auntie Verma and Cera, they are tasked with protecting Briar Rose and keeping her true identity a secret from everyone, including herself. Mittens: Playing Age 15+ (Any Gender) Sleeping Beauty's loving feline companion and best friend in the world. He was discovered as a stray kitten and grew up alongside Sleeping Beauty, promising to never leave her side. He is full of energy and always willing to lend a hand, even if he has no idea what he is doing. Edgar & Allen Playing Age 16+ (Any Gender) Carabosse's vile raven familiars, they are forever loyal to their mistress and track across the world looking for Sleeping Beauty. While they are keen eyed and helpful, it would be hard to find a single brain cell between the both of them. Featured Ensemble & Featured Dancers 15+ Will mostly play a villager in the town that Briar Rose is currently hiding in although will get to play other fairy tale characters as is Pantomime tradition. They will feature in multiple songs and dances throughout the show.

Title:  You're a Good Man, Charlie Brown Presented By:  Valmy Academy Genre:  Musical Theatre Synopsis: Charlie Brown is the perfect introduction to full-scale musical theatre in a supportive and inspiring environment. This joyful production celebrates friendship, humour and imagination while building confidence, stage skills and ensemble awareness. Every child is given a meaningful moment on stage, creating a positive and empowering first theatre experience. Audition Date:  Sunday March 15th, 2026 Audition Time:  9:30AM – 12:30PM Audition Location and Address:  127 Sandgate Road, Albion Audition Requirements:  Details provided upon registration. All participants are cast. Role placement is guided to support each child’s confidence and growth. Audition Registration:  Register HERE Audition Pack:  Provided after registration (if applicable) Performance Dates:  Saturday April 11th, 2026 Performance Location:  The Hope Centre, Bowen Hills Rehearsal Dates:  April 7th - 10th, 2026 (Week 1 of the April School Holidays) Rehearsal Location:  Valmy Academy, 127 Sandgate Rd, Albion Performer Age:  Ages 5–13 Production Website: Valmy Academy - You're a Good Man Charlie Brown Other information: Cost - $495 per performer What’s Included - • Age-appropriate rehearsal structure • Professional theatre venue performance • Stage lighting and sound • Professional performance video • Cast show t-shirt Available Roles/Character Breakdown: All performers will be cast. Roles from You’re A Good Man, Charlie Brown  include beloved Peanuts characters such as Charlie Brown, Lucy, Linus, Snoopy, Sally, Schroeder and ensemble roles. Casting is tailored to support each child’s development and confidence.

Title:  Writer’s Block Presented By:  Staged Theatre Genre:  Contemporary Comedy Synopsis: Written by Tyraeli Langley, Writer’s Block  follows Margot Jackson, once a successful author, who has one last chance to write something worth publishing. To her surprise (and slight horror), the characters from Margot’s novel come to life to help her finish the story. The only issue is that each character has their own ideal version of Margot’s book - and she has no idea how to make them all happy. Audition Date:  Sunday March 8th, 2026 Audition Time:  6:30PM Audition Location and Address:  Woombye School of Arts, Lower Hall, 1–3 Hill Street, Woombye Audition Requirements: Nothing required to prepare — just bring yourself (and some friends!) to audition for this whacky little play. Audition Registration:  Attend audition on the day or email stagedtheatreau@gmail with enquiries. Audition Pack:  Sides provided at audition (if required). Performance Dates:  April 18th - 19th, 2026 (as part of Noosa Arts Theatre’s Shorts on Stage) Performance Location:  Noosa Arts Theatre, Noosa Rehearsal Dates:  Weekly from March 19th, 2026 Rehearsal Times:  Once weekly (day/time confirmed upon casting) Rehearsal Location:  St. Mark’s Church Hall, Buderim Warnings:  Mild adult themes; references to alcohol use. Performer Age:  20s–60s (depending on role) Creative Team: Playwright: Tyraeli Langley Produced by Staged Theatre Production Website: Staged Theatre Co - Writer's Block Available Roles / Character Breakdown: Margot  (20s–30s) – Failed author; homebody; slightly alcoholic; intelligent but frustrated. Ella  (20s) – Contemporary dancer; confident; slightly snobbish. Lucas  (20s) – Relaxed stoner; Ella’s ex-boyfriend. Rob  (40s–60s) – Police detective; grounded and practical presence.

The Great Gatsby Queensland Theatre & Shake & Stir Theatre Co Playhouse, Queensland Performing Arts Centre (QPAC), Brisbane Based on the novel by F. Scott Fitzgerald Co-Adapted & Co-Directed by: Daniel Evans and Nick Skubij Co-Adaptor & Performer: Nelle Lee Creative Producer: Ross Balbuziente Set & Costume Design: Christina Smith Lighting Design: Trent Suidgeest Composer & Sound Designer: Guy Webster Movement Director / Choreographer / Intimacy Coordinator: Nerida Matthaei “Just when you get to be the best, they turn around and expect more from you.” Few stories have seeped into popular culture quite like The Great Gatsby . A century after its publication, the name “Gatsby” still conjures champagne towers, flapper dresses, glittering parties and Jazz Age glamour. It appears in film adaptations, themed parties, fashion collections and countless stage interpretations. Yet the allure remains the same. Beneath the glitter lies a cautionary tale about wealth, longing and the dangerous persistence of pipe dreams. The Great Gatsby , penned by F. Scott Fitzgerald in 1925, unfolds during the roaring excess of the Jazz Age. The story is narrated by Nick Carraway, a Yale graduate and World War I veteran. Living next door to the mysterious and fabulously wealthy Jay Gatsby, Nick is pulled into a dazzling world of extravagant parties and whispered secrets. As he becomes entangled in Gatsby’s obsession with his former love Daisy Buchanan, now married to the domineering Tom Buchanan, Gatsby’s dream of rekindling their romance grows increasingly unattainable. The story gradually spirals toward tragedy, leaving profound consequences for all involved. Walking into QPAC Playhouse, I settled into my front row seat and quickly realised just how close the action would be! It’s the kind of seat that transforms theatre from a distant spectacle into an immersive experience, where the performance feels poised to spill into your lap at any moment. From that vantage point I could see every cigarette puff drifting through the air, every nervous hand twitch and every bead of sweat under the stage lights. At one particularly memorable moment, an actor (sorry, Ethan Lwin) even ripped his pants, and somehow this mishap only added to the chaotic perfection of the scene at the time. That is the energy of this production. Nothing feels out of reach. This adaptation by Queensland Theatre Company and Shake & Stir Theatre Company kicks off their seasons with a dazzling bang. Directed by the talented duo of Daniel Evans and Nick Skubij, and co-adapted by Nelle Lee , this production invites the audience to not just witness the story, but to feel its pulse and experience its heartache firsthand. The staging at first is deliberately bare bones. A typewriter sits centre stage, clicking away as Nick writes and rewrites his memories. Around it, the world of 1920s New York materialises through light, sound, costume and movement. In true Evans and Skubij fashion, the theatrical language is bold and expressive to immerse the audience in a vivid sensory experience. One moment you are swept into a glittering party filled with laughter, music and fireworks; the next you are abruptly plunged into a haunting wartime recollection, as gunfire and the echoes of WWI reverberate through the soundscape. Christina Smith’s design embraces the idea that we are witnessing memory  unfold rather than a strict reconstruction of place. The visual language shifts dramatically between locations. The vibrant colour of Gatsby’s parties and Myrtle’s apartment contrast with the soft, sheer whites of Daisy’s home, while the journeys between Long Island and Manhattan take on darker, exaggerated motifs. Sets appear and vanish quickly, like fleeting fragments of the mind. At times the mechanics of the Playhouse Theatre reveal themselves, with rigging and backstage elements exposed to remind us that the glittering world of Gatsby is built on illusion and façade, much like live theatre. Highly fitting for a story about people who spend much of their lives pretending. Trent Suidgeest’s lighting design heightens these shifting worlds beautifully, bathing the stage in saturated colour and dramatic contrast. From smoky nightclub reds to haunting wartime blues and shadowy silhouettes, the lighting helps sculpt each moment of memory. The parties are a spectacle, despite the modest cast size. Glitter curtains descend. Confetti blasts into the audience. Jazz pulses through the theatre. One particularly raucous sequence set to “ Do Your Thing ” (the song from 2001) erupts into a loud, glamorous swirl of choreography and sequins, with Nerida Matthaei’s movement direction giving the party scenes a pulsing, kinetic energy. The ensemble move with swagger and vitality, while the costumes become a feast of fringe, florals, sequins and sparkle. Nick Carraway, played with boyish charm and tortured introspection by Ryan Hodson , acts as our guide through this opulent world. Much like Nick himself, we become the wallflowers at every gathering, quietly observing the new-fashioned glamour and the cracks forming beneath it. Hodson's performance holds this duality in perfect tension, allowing us to feel both the intoxicating thrill of the social scene and the weight of its inherent superficiality. Hodson frequently directs his asides toward the balcony audience, reinforcing that we are not merely passive observers but conspirators in his recollection. Ultimately, Ryan Hodson emerges not just as the story’s observer, but as an incredible emotional lens through which we experience it. Jay Gatsby does not even appear until roughly thirty minutes in, which only heightens the myth and allows the audience to build their own imaginations surrounding him. When Shiv Palekar finally steps into the light, he commands the room instantly. Gorgeous, clean-shaven, and dressed in a perfectly tailored pink suit, he moves with deliberate purpose. Whether still and watchful or crossing the stage in a flash, every word and gesture feels carefully chosen, old sport ! And every detail of his appearance is meticulously curated down to his pale pink shoes. Palekar's portrayal of Gatsby is not merely charming and magnetic; it carries an unmistakable hint of boyish desperation beneath the polish. Opposite him, Jess Vickers plays Daisy Buchanan with delicate restraint. She appears almost doll-like on stage, dainty and ethereal, her soft costumes enhancing the sense of fragility that surrounds her. Yet behind that seemingly unbothered façade, Vickers allows constant flickers of anxiety to surface. There is always the sense that Daisy is holding something back, caught between what she wants and the expectations placed upon her by society. As one line reminds us, “Daisys [of the world] tell people what they want to hear. It’s an affliction of the beautiful.” Vickers moves fluidly between charm and melancholy, capturing a woman who leaves those around her enchanted yet unfulfilled. Libby Munro as Jordan Baker steals every scene with her cool demeanour. With brilliant one liners and impeccable posture, she radiates self assurance. Munro carries herself with a sleek confidence that makes Jordan impossible to ignore, even in crowded ensemble moments. Her wardrobe is a visual feast of chic playsuits and tailored sets (that I immediately want to steal for my own closet), embodying the essence of a modern woman who knows her worth and isn’t afraid to flaunt it. Jeremiah Wray’s Tom Buchanan is equally compelling, though for very different reasons. He leans fully into the character's arrogance and entitlement, creating a presence that is imposing and deeply infuriating. Wielding his wealth and status like a weapon, he bullies and manipulates those around him with chilling ease. As his temper simmers and erupts, I found my own body tightening in response. You can almost feel the weight of his dominance pressing down on the room. This visceral reaction he provokes is a testament to Wray’s terrific performance. Nelle Lee brings chaotic energy to Myrtle Wilson, the loud, chatty and unapologetically unhinged mistress caught in Tom’s orbit. She stands in sharp contrast to the more restrained characters around her, bursting into scenes with brash presence and restless ambition. Lee clearly relishes the role, making her Myrtle is messy, unmissable and inescapable. Loren Hunter’s vocals drift through the production like a smoky jazz record playing in the corner of a crowded speakeasy. Her voice is outstanding and used to perfect effect throughout the play, punctuating scenes to guide the emotional rhythm. Her performance of “ I Get Along Without You Very Well ” becomes one of the evening’s most visually striking sequences, with the set slowly rotating as she serenades. Characters weave in and out of the space as if passing through Nick’s recollection, while the reverb on Hunter’s microphone gives the whole sequence a dreamy, almost ghostlike quality. The ensemble work throughout is equally impressive. Donné Ngabo and Ethan Lwin in particular seem to pop up everywhere as intriguing characters. Their transformations help fill the stage with partygoers, soldiers, train passengers, and underworld figures, making the world feel far larger than the cast size suggests. Some of the most effective moments come from the smallest details: The sharp click of Nick’s typewriter punctuating the silence. Jay nervously fidgeting his fingers. A sheer curtain billowing in the breeze, turning the actors into shadowy silhouettes. The enormous grille of Gatsby's car suddenly looming so large that I can barely see the actors behind it. Or when Daisy appears in a sequined green dress, a visual echo of the famous green light that haunts Gatsby’s dreams. The dialogue moves quickly, bouncing between characters with an almost musical rhythm, with subtle differences in New York dialect reflecting shifts in class and background. Fitzgerald’s iconic lines land sharply amid the chaos of parties and shouting matches. The confrontation in the sweltering hotel suite becomes one of the most gripping scenes. Gatsby, Daisy, Tom, Jordan and Nick lock into a tightly wound scene, until it feels like the entire room might explode like a grenade. The implied heat, the alcohol and the rising tempers combine with Guy Webster’s uneasy soundscape to keep the audience on edge. What makes this production particularly engaging is its relentless entertainment. It never allows the audience to drift into boredom. Every moment offers something to watch or hear. A spotlight lands. A jazz riff kicks in. A burst of choreography erupts to life. Even though the story is a hundred years old, the audience responded with true astonishment, perhaps encountering the tale for the very first time. Ultimately, this Great Gatsby  understands the delicate balance at the heart of Fitzgerald’s story. It is dazzling and devastating in equal measure. And from the front row, the illusion proves completely intoxicating.

Sidekicks - Written by Stephen Vagg Produced and Co-Directed by:  Tammy Tresillian & Simon Chugg Venue:  PIP Theatre Cast:  Tammy Tresillian as Caitlin Buckner (CB), Simon Chugg as Mackenzie Graham (Mac)  “Dearly departed, we have gathered here today to say goodbye to my sex life.” Are you the hero of your own story… or just the person holding the hero’s handbag? That’s the question at the heart of Sidekicks , a fast-talking, whip-smart two-hander that had me laughing one minute and feeling personally attacked the next. Because let’s be honest, most of us have been the sidekick at some point (right?). The supportive best friend. The “duff”. The one with the unrequited crush. The one who convinces themselves they’re fine in the background… From the moment we meet CB desperately trying to stop her friend Robyn from marrying the truly awful Hunter (* unter , as she calls him), we’re thrown straight into the chaos. Mac is quick to remind her they are not the main characters here. They love their best friends. They also kind of can’t stand them. Yet somehow, they’ve let their lives revolve around them. The script moves at a cracking pace. We see flashbacks to how Mac and CB met, their competitive “my friend is shinier than yours” showdowns, rom-com style plotting sessions between the boys, and endless Brisbane and pop culture references like the line: “She chained herself to the Regatta Hotel to gain the right to drink herself to death like any man!” Tammy Tresillian and Simon Chugg have an enormous task here. They play CB and Mac, but also Hunter, Robyn, and various side characters by switching genders through exaggerated physicality, quick costume additions, and vocal shifts. CB herself is a wonderfully fiery character. Rude, impassioned, fiercely loyal and not afraid to call things exactly as she sees them, described as the slightly jaded “Judy Greer” sidekick archetype we know from films like 27 Dresses  or Suddenly 30. Simon’s portrayal of Robyn and Tippy is delightfully unhinged and extra. And Tammy as Hunter is genuinely infuriating. I hated the way Hunter spoke to and about people – baiting, sleazy, offensive – and that’s absolutely a compliment to the actress. Tammy plays him so convincingly that I found myself physically bristling. It’s a testament to the writing and performances that we can laugh at the satire while also recognising how painfully real those dynamics are. The dialogue is relentless. Sitcom-fast with Gen Y dry wit like: “I’m single and insecure and work really hard to compensate to tell myself I didn’t peak in my twenties.” One of my favourite sequences is when Mac and CB narrate their inner thoughts while trying to decode flirtation: “ Are these signals or does she have a sore neck?!” Then comes the "sex scene", which is blocked as an aerobics workout under disco lights. It’s outrageous, theatrical, and hilariously unsexy in the most genius way. A brilliantly choreographed farce. The show cleverly pokes fun at the rules of the romantic comedy while still giving us one to root for. It knows every trope it’s playing with. The awkward flirting, the self-sabotage, the emotional realisations. One line sums up the whole premise beautifully: “I come along at key point to alter the story!” It highlights the irony that sidekicks often shape the narrative, even while ignoring their own wants and needs. The idea itself is loosely inspired by Rosencrantz and Guildenstern from Hamlet , those famous side characters who exist on the edge of someone else’s story. “There is a dignity in being alone.” Tammy’s final monologue about self-worth genuinely moved me. The rapid-fire wrap-up of each character’s future is playful and satisfying, like a rom-com end-credit montage. The chemistry between Tammy and Simon is rehearsed to precision but still sparkles with the energy of spontaneity. What I found most interesting is that this piece is written by a male playwright, Stephen Vagg, who manages to capture both male and female perspectives with surprising accuracy. His observations of modern dating, friendship dynamics, and personal insecurity are packed with jokes that land like a perfectly paced sitcom episode. If you’ve ever stood slightly to the side of your own life waiting for your cue, this one might sting a little. In a good way. Highly relatable. Highly entertaining.

Title:  Hadestown: Teen Edition Presented By:  Valmy Academy Genre:  Contemporary Musical Theatre Synopsis: Hadestown: Teen Edition is a bold and contemporary musical presented as a fully staged holiday production for committed young performers. Designed for teens ready to engage in a focused rehearsal process, the production develops advanced ensemble skills and culminates in performances to a live ticketed audience in a professional theatre venue. With rich storytelling, layered ensemble work and contemporary musical theatre technique, this is a serious and rewarding performance experience. Audition Date:  Saturday March 14th, 2026 Audition Time:  1PM - 4PM Audition Location and Address:  127 Sandgate Road, Albion Audition Requirements: All participants will be cast. Auditions determine principal and featured roles. Audition Registration:  Registration required prior to audition. Register HERE . Audition Pack:  Provided upon registration (if applicable). Performance Dates:  Friday April 17th & Saturday April 18th, 2026 Performance Location:  Old Museum Building Rehearsal Dates:  April 13th - 17th, 2026 Rehearsal Times:  Intensive structured rehearsal process (daily schedule provided upon casting) Rehearsal Location:  127 Sandgate Rd, Albion Warnings: Intensive rehearsal schedule; suited to committed performers seeking a focused production process. Performer Age:  12–17 years Creative Team:  Professional production team including lighting and sound design specialists. Production Website: Valmy Academy - Hadestown Other Information: Teen Holiday Production (13–18 April) $495 per performer Cast capped at 30 performers Includes professional theatre venue performance Stage lighting and sound design Professional performance video Available Roles / Character Breakdown: Full ensemble and principal roles from Hadestown: Teen Edition .Auditions will determine principal and featured casting within a capped ensemble of 30 performers.